ArtSlant - Recently added en-us 40 Group Show - Sharjah Art Foundation - July 31st - October 12th Sat, 27 Aug 2016 06:42:00 +0000 Sighard Gille - Museum der bildenden Künste Leipzig - October 30th - January 22nd, 2017 <p class="bodytext" style="text-align: justify;">The Leipzig Museum of Fine Arts Leipzig will proudly present the first comprehensive retrospective on the painted oeuvre of Sighard Gille (*1941 Eilenburg) in autumn 2016. It will show around seventy paintings extending from the late 1960s to the present day. The complete catalogue raisonn&eacute; of his paintings will be published on the occasion of the exhibition.</p> <p class="bodytext" style="text-align: justify;">The exhibition will focus on Gille&rsquo;s artistic output during the GDR period, in which the artist portrayed everyday life in a socialist society with the attitude of a sensitive yet ironic commentator. Gille quickly set himself apart from many of his older and younger colleagues in Leipzig by his refusal to select a heroic, glorifying narrative, turning his attention instead to the significant irrelevancies and public displays of intimacy which the ideological overload otherwise stripped from its subjects. This tendency is clearly apparent in what is perhaps his most famous work from this period, &lsquo;The Brigade Celebration&rsquo; of 1977, which prompted an outcry from the powers that be, and also in his most important commissioned piece, the large-format ceiling painting, &lsquo;The Song of Life&rsquo;, for the Gewandhaus in Leipzig. The exhibition will also provide clear insight into Gille&rsquo;s work after the reunification of Germany, when the artist was appointed Professor at the Academy of Fine Arts, and as a teacher also contributes significantly to the development of contemporary art in Leipzig. Gille&rsquo;s oeuvre during this period is dominated by private topics, portraits, nudes and ironic reflections on everyday situations. Artistic musings on the political and social transformation also feature heavily in this phase. Eros comes to the forefront of his work as a driving force behind human intercourse. Moreover, the artist has opened up to a sensitive form of outdoor painting in recent years, turning to the landscape as a place to ponder the human condition.</p> <p class="bodytext" style="text-align: justify;">His artistic experiments with photography and various printing techniques aside, the focus of Sighard Gille&rsquo;s work has always been on a style of painting based on precise observation and studies of nature. His brilliant application of paint and his exuberant compositions reveal Gille to be a master of illustrative painting. Applying expressive articulation and gentle irony, the painter questions art on its relationship with life. After all, whatever the societal form and political constellation may be, Gille&rsquo;s overarching topic remains focused on individuals and their inherent humanity.</p> <p class="bodytext" style="text-align: justify;">Edited by Ina Gille, the catalogue and its introduction by Uwe M. Schneede will provide insight into how Gille influenced painting in Leipzig, and will hence become an important foundation for future research into post-1945 art in Leipzig.</p> <hr /> <p class="bodytext">&nbsp;</p> <p class="bodytext" style="text-align: justify;">Das Museum der bildenden K&uuml;nste Leipzig zeigt im Herbst 2016 die erste umfassende Retrospektive des malerischen Werkes von Sighard Gille (*1941 Eilenburg). Pr&auml;sentiert werden etwa 80 Gem&auml;lde von den sp&auml;ten 1960er Jahren bis in die Gegenwart, darunter auch das selten gezeigte Modell f&uuml;r die Ausmalung der Decke des Leipziger Gewandhauses.</p> <p class="bodytext" style="text-align: justify;">Trotz verschiedener k&uuml;nstlerischer Experimente bildet die Malerei auf Basis von pr&auml;ziser Beobachtung das zentrale Arbeitsgebiet Sighard Gilles, der bei Bernhard Heisig studiert und lange Zeit an der Leipziger Hochschule f&uuml;r Grafik und Buchkunst unterrichtet hat. Gilles fulminanter Farbauftrag und die &uuml;berbordenden Kompositionen zeigen ihn als einen Meister des Malerischen. In expressiver Artikulation und leichter Ironie befragt der Maler die Kunst &uuml;ber ihre Beziehung zum Leben. Denn &uuml;ber alle Gesellschaftsformen und politischen Konstellationen hinweg bleibt Gilles gro&szlig;es Thema der Mensch und das Menschliche.</p> <p class="bodytext" style="text-align: justify;">Die Ausstellung beginnt mit Gilles Schaffen in der DDR, als der K&uuml;nstler in der Haltung eines einf&uuml;hlsamen, aber auch ironischen Kommentators allt&auml;gliche Situationen des Lebens im Sozialismus festhielt. Der Schwerpunkt der Ausstellung liegt dann auf Gilles Malerei nach der Wende, als der K&uuml;nstler zum Professor an die Hochschule f&uuml;r Graphik und Buchkunst berufen wird und auch als Lehrer Anteil an der Entwicklung der Leipziger Kunst der Gegenwart nimmt. In seinen Fokus r&uuml;cken neben Themen des Alltags und Portraits verst&auml;rkt auch Akte, komplexe Weltbilder und die Landschaftsmalerei.</p> <p class="bodytext" style="text-align: justify;">Anl&auml;sslich der Ausstellung erscheint ein Katalog beim E.A. Seemann Verlag mit dem vollst&auml;ndigen Werkverzeichnis seiner Gem&auml;lde von Ina Gille, einer Einf&uuml;hrung von Uwe M. Schneede und einem Aufsatz von Fr&eacute;d&eacute;ric Bu&szlig;mann. Die Ausstellung wird gef&ouml;rdert durch die Peter und Irene Ludwig Stiftung, Aachen.</p> Fri, 26 Aug 2016 19:32:00 +0000 Albert von Zahn - Museum der bildenden Künste Leipzig - September 8th - January 8th, 2017 <p class="bodytext" style="text-align: justify;">Was Albert von Zahn an art historian, artist or even both? This exhibition aims to address this question in depth. Zahn, born in Leipzig in 1836, studied Painting at the K&ouml;nigliche Akademie der bildenden K&uuml;nste in Dresden from 1854 to 1858. After graduating he did not pursue the career of an artist, turning instead to the science of art. He studied Philosophy and History at Leipzig University and was curator of the Leipziger Kunstverein and St&auml;dtisches Museum (present-day Museum der bildenden K&uuml;nste Leipzig) from 1860 to 1868. Following this he was appointed the first Director of the Gro&szlig;herzogliches Museum in Weimar and, in 1870, to the Directorate General of the K&ouml;nigliche Sammlungen in Dresden. Albert von Zahn, who numbered amongst the most promising art historians of the 19th century, joined other scholars in resolving the so-called Holbein Madonna dispute &ndash; a key marker in establishing Art History as a university subject in its own right. Had he not died in 1873 at the age of just 37, his name would undoubtedly have been better known.</p> <p class="bodytext" style="text-align: justify;">In contrast, the fact that Albert von Zahn was not only a scientist but also an artist has been completely forgotten. Thanks to the rediscovery of a collection of works in the Graphic Collection of the Museum der bildenden K&uuml;nste Leipzig it is now possible to observe this parallel talent for the first time. The focal point of the exhibition will be upon drawings that he executed during his stay in Italy in 1866. Zahn embarked upon a tour, beginning in Rome, which also took him to the mountain village of Olevano, where he stayed at the artists' refuge Casa Baldi. At this place, that carries so much symbolism for German art of the 19th century, Zahn executed sketches, following in the path trodden by his great role models Joseph Anton Koch and Adrian Ludwig Richter. The result was detail studies and monumental landscapes which impressively documented Zahn's return to the world of the artist. These wholly unknown and high-quality drawings are displayed in the exhibition together with copies and tracings of works of art &ndash; such as the Holbein Madonna &ndash;, which Zahn produced for academic purposes. &nbsp;</p> <p class="bodytext" style="text-align: justify;">Exhibition and accompanying catalogue have received the support of Hecker Werner Himmelreich Rechtsanw&auml;lte and the Maximilian Speck von Sternburg Foundation at the Museum der bildenden K&uuml;nste Leipzig.</p> <hr /> <p class="bodytext" style="text-align: justify;">War Albert von Zahn Kunsthistoriker, K&uuml;nstler oder gar beides? Dieser Frage will die Kabinettausstellung auf den Grund gehen. Zahn, 1836 in Leipzig geboren, studierte von 1854 bis 1858 an der K&ouml;niglichen Akademie der bildenden K&uuml;nste in Dresden Malerei. Doch nach Abschluss seines Studiums schlug er nicht die Laufbahn eines K&uuml;nstlers ein, sondern wechselte stattdessen zur Kunstwissenschaft. An der Universit&auml;t Leipzig studierte er Philosophie und Geschichtswissenschaften und war von 1860 bis 1868 Kustos des Leipziger Kunstvereins und des St&auml;dtischen Museums (dem heutigen Museum der bildenden K&uuml;nste Leipzig). Im Anschluss wurde er zum ersten Direktor des Gro&szlig;herzoglichen Museums in Weimar und 1870 zum Referenten der Generaldirektion der K&ouml;niglichen Sammlungen in Dresden ernannt. Albert von Zahn, der zu den vielversprechendsten Kunsthistorikern des 19. Jahrhunderts z&auml;hlte, l&ouml;ste zusammen mit anderen Gelehrten den sogenannten Holbein-Madonnen-Streit aus &ndash; ein Markstein in der Etablierung der Kunstgeschichte als ein eigenst&auml;ndiges Universit&auml;tsfach. W&auml;re er nicht 1873 mit nur 37 Jahren fr&uuml;h verstorben, w&uuml;rde sein Name zweifellos bekannter sein. Dass Albert von Zahn nicht nur Wissenschaftler sondern auch K&uuml;nstler war, ist hingegen vollkommen in Vergessenheit geraten. Dank der Wiederentdeckung eines Zeichnungskonvoluts in der Graphischen Sammlung des Museums der bildenden K&uuml;nste Leipzig ist es erstmals m&ouml;glich, dieser Doppelbegabung nachzugehen. Im Zentrum der Ausstellung werden Zeichnungen stehen, die er w&auml;hrend seines Italien-Aufenthaltes 1866 anfertigte. Zahn unternahm von Rom aus eine Rundreise, die ihn auch in das Gebirgsdorf Olevano f&uuml;hrte, wo er in der K&uuml;nstlerherberge Casa Baldi wohnte. An diesem f&uuml;r die deutsche Kunst des 19. Jahrhunderts so symboltr&auml;chtigen Ort zeichnete Zahn nach der Natur und folgte dabei seinen gro&szlig;en Vorbildern Joseph Anton Koch und Ludwig Richter. Es entstanden Detailstudien und monumentale Landschaftsausblicke, die Zahns R&uuml;ckkehr ins K&uuml;nstlertum eindrucksvoll dokumentieren. Diese g&auml;nzlich unbekannten und qualit&auml;tvollen Zeichnungen werden in der Ausstellung zusammen mit Kopien und Pausen nach Kunstwerken &ndash; wie zum Beispiel der Holbein-Madonna &ndash; gezeigt, die Zahn f&uuml;r wissenschaftliche Zwecke anfertigte.</p> <p class="bodytext" style="text-align: justify;">Ausstellung und begleitender Katalog werden gef&ouml;rdert durch Hecker Werner Himmelreich Rechtsanw&auml;lte, Leipzig, und die Maximilian Speck von Sternburg Stiftung im Museum der bildenden K&uuml;nste Leipzig.</p> Fri, 26 Aug 2016 19:27:08 +0000 Max Klinger - Museum der bildenden Künste Leipzig - August 10th - January 8th, 2017 <p class="bodytext" style="text-align: justify;">Mit &bdquo;Vom Tode. Zweiter Teil&ldquo; (Opus XIII) kn&uuml;pfte Klinger, das Todesthema wieder aufnehmend, an sein Opus XI an. 25 Jahre lang besch&auml;ftigte er sich mit den Arbeiten dieser Folge. Ausgangspunkt ist die im &bdquo;Vom Tode. Erster Teil&ldquo; gewonnene Einsicht von der Notwendigkeit des Todes. In intensiver Besch&auml;ftigung mit den Werken Arthur Schopenhauers und Friedrich Nietzsches sowie den Evolutionstheorien von Charles Darwin werden nun Aspekte des menschlichen Lebens unter dem Gesichtspunkt des Werdens und Vergehens betrachtet.</p> <p class="bodytext" style="text-align: justify;">An seinen letzten Radierzyklen Opus XIV &bdquo;Zelt&ldquo; Teil I und II arbeitet Max Klinger gut f&uuml;nf Jahre, von 1911 bis 1916. Auf 46 Bl&auml;ttern erz&auml;hlt Klinger eine fantastisch anmutende Geschichte &uuml;ber ein Frauenschicksal. Neben der Protagonistin agieren unter anderem eine G&ouml;ttin, ein Zauberer, eine K&ouml;nigin, Sklavenh&auml;ndler, B&ouml;sewichte und ein Ritter. Des Weiteren herrschen Wollust, Sinnlichkeit und Grausamkeit. Reale wie m&auml;rchenhafte Elemente verweben sich zu eigenwilligen Bildern. Klinger &auml;u&szlig;erte sich zum Zyklus mit folgenden Worten: &bdquo;&hellip; ich will ja auch nur ein M&auml;rchen erz&auml;hlen, und zwar ein richtiggehendes, wo die K&ouml;pfe so wenig sicher sitzen, wie die Hemden, mal rauf, mal runter &hellip;&ldquo;</p> Fri, 26 Aug 2016 19:23:35 +0000 Ursula Arnold, Arno Fischer, Evelyn Richter - Museum der bildenden Künste Leipzig - July 3rd - October 3rd <p class="bodytext" style="text-align: justify;">An exhibition of the Evelyn Richter Archive of the Ostdeutsche Sparkassenstiftung at the Museum der bildenden K&uuml;nste Leipzig &nbsp;</p> <p class="bodytext" style="text-align: justify;">For the first time in a museum exhibition, the three photographers Ursula Arnold (1929-2012), Arno Fischer (1927-2011) and Evelyn Richter (*1930) are being presented together, with a representative selection of their extensive bodies of work displayed in relation to one another. Commonalities and differences become apparent, together with the respectively specific approaches. In this exhibition three oeuvres and vitae of the leading exponents of socio-artistic photography can be discovered, each of whom chose their own path to escape the prevailing imagery of the GDR. &nbsp;</p> <p class="bodytext" style="text-align: justify;">Whilst Arno Fischer had an autodidactic approach to photography, Ursula Arnold and Evelyn Richter both completed apprenticeships as photographers, learning the art of traditional photography in a studio. The two young photographers met in Leipzig in 1953. After completing their apprenticeships they went on to study at the Leipzig Academy of Visual Arts. They became bound by a deep friendship, as well as interacting with their art. Arno Fischer and Evelyn Richter met in Leipzig in 1957. Fischer was enthusiastic about Richter's work, which he saw in the action fotografie exhibition. The two stayed in contact, following each other's work with mutual respect. Whilst Ursula Arnold took up a position as television camerawoman in Berlin in 1957 and subsequently only took photographs in her spare time, Evelyn Richter and Arno Fischer continued to work as freelance photographers in Leipzig and Berlin respectively. All three photographers look for and find their motifs in everyday life. Subjective pictures from and of their direct environment are created as a result. Rejecting the official motifs of the GDR, their photographs contradicted the socialist world view that was promoted. Their work instead posed questions and told the stories that lay behind the pictures. &nbsp;</p> <p class="bodytext" style="text-align: justify;">The first major museum exhibition of the Evelyn Richter Archive, established in 2009, aims to focus attention beyond the region on the still-neglected subject of photography in the GDR, expanding the discussion at national level. &nbsp;</p> <p class="bodytext" style="text-align: justify;">The catalogue accompanying the exhibition is published by Kettler Verlag Dortmund. &nbsp;</p> <p class="bodytext" style="text-align: justify;">The exhibition is possible thanks to the Ostdeutsche Sparkassenstiftung in co-operation with Sparkasse Leipzig.</p> <hr /> <p class="bodytext" style="text-align: justify;">Erstmals werden in einer Museumsausstellung die drei Fotografen Ursula Arnold (1929&ndash;2012), Arno Fischer (1927&ndash;2011) und Evelyn Richter (*1930) gemeinsam pr&auml;sentiert und ihre umfangreichen OEuvres in repr&auml;sentativer Auswahl miteinander in Beziehung gesetzt. Gemeinsamkeiten und auch Unterschiede sowie die jeweilige spezifische Sichtweise werden deutlich. In der Ausstellung sind drei Lebenswerke und Lebensl&auml;ufe der wichtigsten Vertreter der sozial-k&uuml;nstlerisch engagierten Fotografie zu entdecken, die jeweils einen eigenen Weg w&auml;hlten, um sich den herrschenden Bildvorstellungen der DDR zu entziehen. &nbsp;</p> <p class="bodytext" style="text-align: justify;">W&auml;hrend Arno Fischer als Autodidakt zur Fotografie gelangte, haben Ursula Arnold und Evelyn Richter jeweils eine Lehre als Fotografin absolviert und die traditionelle Portr&auml;tfotografie im Atelier erlernt. Die beiden jungen Fotografinnen lernten sich 1953 in Leipzig kennen. Sie studierten im Anschluss an ihre Lehre an der Leipziger Hochschule f&uuml;r Grafik und Buchkunst. Fortan verband sie eine tiefe Freundschaft und sie pflegten den k&uuml;nstlerischen Austausch. Arno Fischer und Evelyn Richter begegneten sich 1957 in Leipzig. Fischer war von Richters Arbeiten, die er in der Ausstellung &bdquo;action fotografie&ldquo; sah, begeistert. Beide suchten k&uuml;nftig den Austausch und verfolgten ihre Arbeiten mit gegenseitigem Respekt. W&auml;hrend Ursula Arnold 1957 in Berlin eine Stelle am Fernsehen als Kamerafrau begann und nur noch privat fotografierte, arbeiteten Evelyn Richter in Leipzig und Arno Fischer in Berlin als Fotografen im eigenen Auftrag weiter. &nbsp;</p> <p class="bodytext" style="text-align: justify;">Alle drei Fotografen suchen und finden ihre Motive im Alltag. Subjektiv gepr&auml;gte Bilder aus und von ihrer unmittelbar erlebten Umwelt entstehen. Die offizielle Bildsprache der DDR lehnen sie ab, ihre Fotografien widersprechen dem propagierten sozialistischen Weltbild. Vielmehr stellen ihre Werke Fragen und erz&auml;hlen Geschichten, die hinter den Bildern liegen. Die erste gro&szlig;e Museumsausstellung des 2009 gegr&uuml;ndeten Evelyn Richter Archivs soll &uuml;berregional den Blick auf die immer noch vernachl&auml;ssigte Aufarbeitung der Fotografie in der DDR lenken und die Diskussion national weiter &ouml;ffnen. &nbsp;</p> <p class="bodytext" style="text-align: justify;">Der Katalog zur Ausstellung erscheint im Kettler Verlag Dortmund. &nbsp;</p> <p class="bodytext" style="text-align: justify;">Die Ausstellung wird erm&ouml;glicht durch die Ostdeutsche Sparkassenstiftung gemeinsam mit der Sparkasse Leipzig.</p> Fri, 26 Aug 2016 19:20:01 +0000 Harald Kirschner - Museum der bildenden Künste Leipzig - May 22nd - August 28th <p class="bodytext" style="text-align: justify;">Traditional celebrations, pilgrimages, jubilees, Catholic congresses, congregational life and ecumenical practices form the backbone of this exhibition. Kirschner developed his own language of images in the GDR, in which his artistic work focuses on human beings and their portraits.</p> <hr /> <p class="bodytext" style="text-align: justify;">Die Ausstellung zeigt an einzelnen Beispielen kirchliches Leben in der DDR der 1980er Jahre. Traditionelle Feiern, Wallfahrten, Jubil&auml;en, Katholikentreffen, Gemeindeleben und gelebte &Ouml;kumene bilden den inhaltlichen Schwerpunkt. Der 1944 im b&ouml;hmischen Reichenberg (dem heutigen Liberec) geborene Fotograf Harald Kirschner, der seit Mitte der 1960er Jahre in Leipzig lebt und arbeitet, beobachtet mit der Kleinbildkamera auf der Stra&szlig;e den Alltag in seinen vielf&auml;ltigen Facetten. Kirschner, Vertreter der sozial engagierten k&uuml;nstlerischen Fotografie, hat in der DDR eine eigenst&auml;ndige Bildsprache entwickelt. Die Darstellung des Menschen und das Portr&auml;t stehen im Zentrum seines k&uuml;nstlerischen Schaffens. In &uuml;ber 70 Schwarzwei&szlig;fotografien beleuchtet &bdquo;Credo &ndash; Kirche in der DDR&ldquo; das vielf&auml;ltige religi&ouml;se Leben in einem atheistischen und religionsfeindlichen Umfeld. Die Fotografien Harald Kirschners erz&auml;hlen von Verhalten und Verh&auml;ltnissen des Einzelnen und zeigen die Kraft des Glaubens in der Gemeinschaft.</p> <p class="bodytext" style="text-align: justify;">Die Ausstellung ist ein Beitrag zum 100. Deutschen Katholikentag.</p> Fri, 26 Aug 2016 19:15:57 +0000 Group Show - Museu de Arte Contemporânea - Niterói - September 2nd - October 23rd <div id="moz-reader-content" style="display: block;"> <div id="readability-page-1" class="page"> <div> <div class="textoBlog"> <p style="text-align: justify;">A ocupa&ccedil;&atilde;o na Varanda do Museu de Arte Contempor&acirc;nea, em forma de work in progress, que acontece de 6 a 21 de agosto de 2016, compartilha com o p&uacute;blico o programa "Ba&iacute;a de Guanabara: &aacute;guas e vidas escondidas", que busca desenvolver processos art&iacute;sticos e pedag&oacute;gicos de irradia&ccedil;&atilde;o na cidade abordando quest&otilde;es ambientais. A exposi&ccedil;&atilde;o resultado deste processo ser&aacute; inaugurada no dia 02 de setembro, ficando em cartaz at&eacute; 23 de outubro.</p> <p style="text-align: justify;">A varanda do MAC &eacute; tomada como processo aberto para percursos de instala&ccedil;&otilde;es e irradia&ccedil;&otilde;es que remetem a processos de engajamentos e colabora&ccedil;&otilde;es entre artistas, pesquisadores ambientalistas e comunidades. Uma instala&ccedil;&atilde;o especial de Nelson Leirner, "Terra &agrave; vista", e a obra de Adriana Varej&atilde;o, "M&atilde;e D&acute;&aacute;gua' e o Panorama da Ba&iacute;a de Guanabara, assim como a trajet&oacute;ria de interven&ccedil;&otilde;es na paisagem da Boa Viagem de Katie Scherpenberg, servem de &acirc;ncoras para reunir nesta borda circular do MAC um conjunto de projetos experimentais entre artistas, cientistas e comunidades e condi&ccedil;&otilde;es de vida escondidas e desconhecidas.</p> <p style="text-align: justify;">Assumindo conceitual e simbolicamente como refer&ecirc;ncia e voca&ccedil;&atilde;o intuitiva da arquitetura aberta da varanda do MAC a experi&ecirc;ncia ambivalente de mirante e sentinela, entre paisagem e meio ambiente, entre arte e mundo, vidas e saberes vis&iacute;veis e invis&iacute;veis. O museu encontra na janela aberta para a Ba&iacute;a de Guanabara sua borda experimental para processos de irradia&ccedil;&otilde;es da arte para a vida. O nome de Niter&oacute;i como "&Aacute;guas Escondidas", no idioma tupi-guarani, &eacute; apropriado como inspira&ccedil;&atilde;o conceitual que aponta para rela&ccedil;&otilde;es que ultrapassam o vis&iacute;vel dentro de um ecossistema de vidas. "A Ba&iacute;a de Guanabara, bar&aacute; = mar, ou ent&atilde;o guana (seio) bara (mar), mar do seio, n&atilde;o &eacute; habitada apenas para satisfazer as necessidades do reino humano, mas de um universo de seres e belezas que co-habitam a paisagem", explica Guilherme Vergara.</p> <p style="text-align: justify;">Nesta proposta, o anel da varanda inaugura um percurso geogr&aacute;fico de instala&ccedil;&otilde;es que tamb&eacute;m remetem ao conceito de irradia&ccedil;&otilde;es com diferentes interfaces entre arte e ci&ecirc;ncia, obras e processos de colabora&ccedil;&otilde;es entre artistas e agentes de a&ccedil;&otilde;es coletivas e colaborativas em comunidades; cientistas, mergulhadores e pescadores, que definem tend&ecirc;ncias experimentais de um museu laborat&oacute;rio. Ressalta-se a voca&ccedil;&atilde;o arquitet&ocirc;nica do MAC para o projeto arte e a&ccedil;&otilde;es ambientais, onde tanto os artistas quanto o pr&oacute;prio museu s&atilde;o agentes de conex&otilde;es sociais e de saberes na produ&ccedil;&atilde;o de redes ecol&oacute;gicas. Uma terceira margem de cruzamentos ou transbordamentos art&iacute;sticos e culturais invoca o princ&iacute;pio feminino universal presente nas diferentes deusas ligadas &agrave;s &aacute;guas e oceanos, de Iemanj&aacute; e Afrodite (representada pelo coletivo Re-Afrodite do Chipre).</p> <p style="text-align: justify;">Participam, ainda, desta exposi&ccedil;&atilde;o um conjunto de colabora&ccedil;&otilde;es internacionais, tais como Nuno Sacramento, curador do Scotish Sculpture Workshop, Aurelien Gamboni e Sandrine Teixido (Fran&ccedil;a), o coletivo Re-Afrodite, com Evanthia Tselika, Chrystalleni Loizidou, Athina Antoniadou, da Universidade de Nic&oacute;sia, Chipre.</p> <p style="text-align: justify;">O programa MAC F&oacute;rum tamb&eacute;m lan&ccedil;ar&aacute; importantes filmes especialmente desenvolvidos a partir de quest&otilde;es ambientais, como Os Descartados (The Discarded), de Annie Costner. Ainda previsto como parte do Programa Ba&iacute;a de Guanabara, o lan&ccedil;amento do filme de Celine Cousteau como parte do semin&aacute;rio internacional previsto para outubro. A vis&atilde;o e voca&ccedil;&atilde;o do MAC como museu laborat&oacute;rio para uma perspectiva de arte em a&ccedil;&atilde;o ambiental, se realiza como plataforma para pr&aacute;ticas art&iacute;sticas experimentais e colaborativas, reunidas neste programa como perspectivas de novas tend&ecirc;ncias conceituais de atravessamentos entre artistas-pesquisadores e coletivos em diferentes locais e condi&ccedil;&otilde;es adversas da Ba&iacute;a de Guanabara.</p> <p style="text-align: justify;"><strong>Artistas participantes com as suas respectivas obras</strong></p> <p style="text-align: justify;"><strong>Katie Van Scherpenberg</strong> &ndash; V&iacute;deo e fotos registrando a trajet&oacute;ria das interven&ccedil;&otilde;es conceituais da Katie Scherpenberg na paisagem da praia da Boa Viagem V&iacute;deo (MENARA) com os registros das diferentes performances da artista, incluindo Sal + 1 sobre areia realizadas na Praia de Boa Viagem.</p> <p style="text-align: justify;"><strong>Gabriela Bandeira e Rodrigo Freitas</strong> &ndash; "Entorno" &ndash; v&iacute;deo-instala&ccedil;&atilde;o a partir das imers&otilde;es realizadas na col&ocirc;nia de pescadores C&iacute;cero Queiroz, na regi&atilde;o do Gradim, em S&atilde;o Gon&ccedil;alo. As imagens s&atilde;o potencializadas com uma instala&ccedil;&atilde;o sonora. Na tela, document&aacute;rio com entrevistas com quatro pescadores dessa comunidade no fundo da Ba&iacute;a de Guanabara, onde h&aacute; imagens do contexto destas entrevistas costurando e ilustrando os relatos dos pescadores.</p> <p style="text-align: justify;"><strong>Nuno Sacramento</strong> &ndash; "Mesa Baldio - Da arte cr&iacute;tica &agrave; arte do cuidado" &ndash; projeto apoiado pelo British Council, iniciado em 2014 pelo Scottish Sculpture Workshop (Esc&oacute;cia), em parceria com o Observat&oacute;rio de Favelas, MAC Niter&oacute;i e Macquinho, que se debru&ccedil;a sobre quest&otilde;es do territ&oacute;rio e do direito da cidade no Rio de Janeiro. O projeto &eacute; baseado numa s&eacute;rie de a&ccedil;&otilde;es coletivas lideradas por jovens habitantes de favelas do Rio de Janeiro e de Niter&oacute;i. Na primeira a&ccedil;&atilde;o (Nova Holanda, Mar&eacute;) construiu-se uma mesa baseada na ideia de miolo. Com a ajuda de dois carpinteiros e de uma arquiteta, os jovens desenvolveram um processo de constru&ccedil;&atilde;o e design inspirado em uma rua da Mar&eacute; (Rua Miolo), e que deu origem a um conjunto de mesas. Na segunda a&ccedil;&atilde;o, um conjunto de jovens do Morro do Pal&aacute;cio (Niter&oacute;i) constru&iacute;ram uma composteira, seguida de alguns canteiros onde produziram vegetais. Na terceira a&ccedil;&atilde;o, os jovens fizeram pratos e tigelas de cera^micas. Finalmente, foram feitas bases, cadeiras e canecas, seguidas de uma refei&ccedil;&atilde;o banquete.</p> <p style="text-align: justify;"><strong>Ign&ecirc;s Albuquerque e Priscila Grimberg</strong> &ndash; A descoberta da "Casa Verde" do Sr. Hernandes no Bumba pela In&ecirc;s Albuquerque &eacute; o ponto de partida e inspira&ccedil;&atilde;o desta colabora&ccedil;&atilde;o que se desdobra em pr&aacute;ticas de agenciamentos que ultrapassam categorias convencionais entre arte e vida, artista e n&atilde;o artista. A Casa Verde do Sr. Hernandes &eacute; tamb&eacute;m uma escultura muito especial de reinven&ccedil;&atilde;o est&eacute;tica e terap&ecirc;utica ambiental do habitar. Pode-se &agrave; primeira vista aproximar este caso com a obra-viva do artista Kurt Schwitters (1887-1948), Merzbau, ou Casa Merz. As apropria&ccedil;&otilde;es e reinven&ccedil;&otilde;es do Hernandes tamb&eacute;m estar&aacute; sendo colocada em aproxima&ccedil;&atilde;o e diferen&ccedil;as com a obra de Nelson Leirner. Por&eacute;m o Sr. Hernandes n&atilde;o &eacute; um artista e toda essa guinada na vida que transforma sua casa em uma grande assemblagem ou bricolage existencial e afetiva &eacute; fruto de uma grande perda de sua companheira e esposa. Por outro lado, a In&ecirc;s assume tamb&eacute;m um papel fundamental como artista educadora e agente de processos de valoriza&ccedil;&atilde;o e ressignifica&ccedil;&atilde;o social da vida e talentos de Sr. Hernandes. Trata-se, aqui, de uma trajet&oacute;ria de encontros e afetos m&uacute;tuos como um acontecimento com plena potencia de futuro. Ambos s&atilde;o agentes e atuam em uma transborda da vida que se reinventa como arte e a arte que se reconfigura como lugar de transforma&ccedil;&otilde;es compartilhadas de sentidos de pertencimento e a&ccedil;&otilde;es ambientais coletivas.</p> <p style="text-align: justify;"><strong>Martha Niklaus</strong> &ndash; "Horizonte Negro / Di&aacute;rios de Bordos" &ndash; uma obra-instala&ccedil;&atilde;o diante da vista da Ba&iacute;a de Guanabara que se apresenta como manifesto com a participa&ccedil;&atilde;o dos velejadores da Marina da Gl&oacute;ria. No dia 12 de julho de 2015, eles realizaram a performance Horizonte Negro, na Baia de Guanabara, que trouxe 26 embarca&ccedil;&otilde;es, com grandes bandeiras pretas em seus mastros, criando uma coreografia n&aacute;utica, que foi avistada da Praia do Flamengo e da Urca. Foi criada pela artista em solidariedade &agrave; luta dos velejadores contra a transforma&ccedil;&atilde;o da &uacute;nica marina p&uacute;blica da cidade do Rio de Janeiro em um polo gastron&ocirc;mico, shopping, &aacute;rea de eventos e estacionamento. A obra se coloca em luto contra todos os problemas da cidade, inclusive em rela&ccedil;&atilde;o ao meio-ambiente. Por outro lado, uma ordem e escala alternativa de rela&ccedil;&otilde;es humanas se espalha como sa&iacute;das para o coletivo, para as micro-geografias de resist&ecirc;ncias sociais, po&eacute;ticas e ambientais. Os Di&aacute;rios de Bordo trazem um pequeno testemunho de vidas escondidas de pessoas que transformam seus barcos em casas flutuantes como habitantes invis&iacute;veis da Marina da Gl&oacute;ria e Ba&iacute;a de Guanabara.</p> <p style="text-align: justify;"><strong>Fernando Moraes</strong> &ndash; "BiodiversidArte Marinha" toma da vista das Ilhas das Cagarras diante da varanda para unir ci&ecirc;ncia e arte em suas componentes da hist&oacute;ria, biologia e oceanografia formam um amalgama in&eacute;dito com exemplares biol&oacute;gicos, fotos, v&iacute;deos e iconografias raras do pa&iacute;s que tem a maior costa atl&acirc;ntica do mundo e um povo miscigenado. O mundo submarino registrado pelas lentes dos cientistas-artistas resgata uma outra fronteira entre &aacute;guas e vidas escondidas como indaga&ccedil;&atilde;o tamb&eacute;m entre o dentro e o fora do museu e da arte.</p> <p style="text-align: justify;"><strong>Lia do Rio e Enrique Banfi</strong> &ndash; "Vozes de Baleias &ndash; S&eacute;c. XVIII / S&eacute;c. XXI" &ndash; Reprodu&ccedil;&atilde;o da pintura de Leandro Joaquim "Vista da Baia de Guanabara com Baleias, s&eacute;c.XVIII" &ndash; Instala&ccedil;&atilde;o sonora com os sons emitidos pelas baleias para criar uma tens&atilde;o entre o acontecimento relatado no quadro pintado no s&eacute;c. XVIII e a vis&atilde;o atual.</p> <p style="text-align: justify;"><strong>Coletivo Re Aphrodite</strong> &ndash; "Shrines / Habits - Santu&aacute;rios / H&aacute;bitos" &ndash; Colcha de Milagres Cotidianos. Com a colabora&ccedil;&atilde;o da Universidade de Nicosia.</p> <p style="text-align: justify;">Artistas: Evanthia Tselika, Chrystalleni Loizidou, Athina Antoniadou Colaboradores: Rosa Couloute, Stephanos Staphanides e a Federation of Filipino Organizations Cyprus (FFOC).</p> <p style="text-align: justify;">S&eacute;rie de interven&ccedil;&otilde;es em espa&ccedil;os p&uacute;blicos na forma de instala&ccedil;&otilde;es fluidas de Santu&aacute;rios para a Deusa da &Aacute;gua (Afrodite) no Chipre e no Rio de Janeiro. Elas s&atilde;o propostas ritualisticamente de tal maneira que sejam abertas para hist&oacute;rias, quest&otilde;es e trocas com a participa&ccedil;&atilde;o do p&uacute;blico.</p> <p style="text-align: justify;">Re-Aphrodite &eacute; um grupo de mulheres independentes sem fins lucrativos, baseado em Chipre, de pesquisadoras e agentes ativistas com foco nas quest&otilde;es de g&ecirc;nero, desigualdade social e outras quest&otilde;es pol&iacute;ticas e sociais cipriotas atrav&eacute;s de pesquisa e pr&aacute;ticas educativas, curatoriais e criativas. Come&ccedil;aram esta iniciativa em 2010 com Chrystalleni Loizidou e Evanthia Tselika, e, desde ent&atilde;o, atuam como coletivo.</p> <p style="text-align: justify;"><strong>Aurelien Gamboni e Sandrine Teixido</strong> - "A Tale as A Tool" &ndash; Uma f&aacute;bula como ferramenta</p> <p style="text-align: justify;">Patroc&iacute;nio: Pro Helvetia</p> <p style="text-align: justify;">Projeto site-specific resultante de uma investiga&ccedil;&atilde;o de longo prazo, baseada sobre o conto do Edgar Allan Poe, A descida no rodamoinho (maelstr&ouml;m). No contexto da exposi&ccedil;&atilde;o &ldquo;Ba&iacute;a de Guanabara: Vidas e &Aacute;guas Escondidas&rdquo;, Gamboni e Teixido pretendem estabelecer liga&ccedil;&otilde;es com a hist&oacute;ria do ambiente da Ba&iacute;a de Guanabara e com percep&ccedil;&otilde;es do lugar estabelecidas pela arquitetura do Oscar Niemeyer. A interven&ccedil;&atilde;o tem a forma de uma parede de investiga&ccedil;&atilde;o, incluindo arquivos &aacute;udio e imagens, que ser&aacute; completada no decorrer da exposi&ccedil;&atilde;o. Para isso, ser&atilde;o organizados encontros, ativa&ccedil;&otilde;es p&uacute;blicas, entrevistas com a perspectiva de pensar o equipamento necess&aacute;rio para construir novas rela&ccedil;&otilde;es e preocupa&ccedil;&otilde;es compartilhadas.</p> <p style="text-align: justify;"><strong>Adriana Varej&atilde;o</strong> &ndash; Apoio 'Immensum'</p> <p style="text-align: justify;">Uma instala&ccedil;&atilde;o especial de obras da Adriana Varej&atilde;o, incorporada ao circuito de transbordas entre artistas, cientistas e a&ccedil;&otilde;es colaborativas ambientais. A obra M&atilde;e D'&aacute;gua de Adriana Varej&atilde;o traz a imagem de Iemanj&aacute; negra como se estivesse no fundo do mar. Ainda o Panorama da Ba&iacute;a de Guanabara da artista pintado em um estilo de pintura chinesa remete mais uma vez &agrave;s bordas entre paisagens dentro e fora do museu, entre tempos e m&uacute;ltiplas temporalidades que comp&otilde;em a natureza &ldquo;anacr&ocirc;nica do contempor&acirc;neo&rdquo;.</p> <p style="text-align: justify;"><strong>Nelson Leirner</strong> &ndash; 'Terra &agrave; Vista' &ndash; instala&ccedil;&atilde;o especial para a varanda</p> <p style="text-align: justify;">A obra de Leirner ser&aacute; um ponto culminante de passagens entre gera&ccedil;&otilde;es de artistas e as novas tend&ecirc;ncias conceituais de arte em a&ccedil;&otilde;es ambientais. Concebida especialmente para a vista da paisagem envolvendo a arquitetura e os visitantes em uma &uacute;nica experi&ecirc;ncia entre espectador e tripulante de uma arca de criaturas que cruzam imagin&aacute;rios popular, religiosos e zool&oacute;gicos. Os visitantes entram na obra como parte de uma fam&iacute;lia que ultrapassa a esp&eacute;cie humana.</p> </div> </div> </div> </div> Fri, 26 Aug 2016 19:12:15 +0000 Marcel Broodthaers - Museo Nacional Centro de Arte Reina Sofía - October 5th - January 9th, 2017 <div class="field field-name-field-exposicion-texto field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">The Museum of Modern Art, New York, and the Museo Reina Sof&iacute;a have organised what will be one of the most comprehensive retrospectives devoted to Belgian artist Marcel Broodthaers (1924&ndash;1976). His remarkable output in the 1960s and 1970s established him as one of the most important artists on the international scene, and one of the most influential for numerous contemporary artists from that time to the present day. Following his initial work as a poet, journalist and photographer, in 1964 Marcel Broodthaers decided to become a visual artist, and from that moment on a response to the basic questions in plastic arts can be discerned across his work as he questioned the idea of representation and the production of meaning through the use of existing knowledge systems.</p> <p style="text-align: justify;">Throughout his career, from the early objects made from mussels and eggs to the subsequent fictitious museum, the <em>Mus&eacute;e d&rsquo;Art Moderne. D&eacute;partement des Aigles</em>, or the retrospective <em>D&eacute;cor. A Conquest by Marcel Broodthaers</em>, unveiled in 1975 in the Institute of Contemporary Arts, London, Broodthaers always occupied a unique place in the art world. By way of a radical approach to traditional focuses on poetry, film, books and exhibitions, the artist found his own path for expressing his personal viewpoint in the burgeoning years of Pop Art and Conceptual Art, as well as creating a whole structure centred on institutional critique.</p> <p style="text-align: justify;">The exhibition, which spans the multiple sides of the artist via the selection of around 300 works representing his artistic practice, will be joined by the publication of an extensive catalogue, with both Spanish and English editions, featuring texts by curators and art historians such as Jean-Fran&ccedil;ois Chevrier, Thierry de Duve and Benjamin H. D. Buchloh, in addition to a selection of chapters devoted to different parts of the Belgian artist&rsquo;s work.</p> <p style="text-align: justify;">Supported by:</p> <p style="text-align: justify;"><img src="" alt="" width="191" height="63" border="0" /></p> </div> </div> </div> <h2 class="accesorio" style="text-align: justify;">Exhibition&acute;s details</h2> <div class="field field-name-field-exposicion-organizacion field-type-text field-label-inline clearfix" style="text-align: justify;"> <p class="field-label">Organized by:&nbsp;</p> <div class="field-items"> <p class="field-item even">Museo Nacional Centro de Arte Reina Sofia, Madrid and The Museum of Modern Art, New York</p> </div> </div> <div class="field field-name-field-exposicion-comisariado field-type-text field-label-inline clearfix"> <p class="field-label" style="text-align: justify;">Curatorship:&nbsp;</p> <div class="field-items"> <p class="field-item even" style="text-align: justify;">Manuel Borja-Villel, Director of Museo Nacional Centro de Arte Reina Sofia, Madrid and Christophe Cherix, The Robert Lehman Foundation Chief Curator of Drawings and Prints, The Museum of Modern Art, New York</p> <hr /> <div class="field field-name-field-exposicion-texto field-type-text-long field-label-hidden" style="text-align: justify;"> <div class="field-items"> <div class="field-item even"> <p>El Museum of Modern Art de Nueva York y el Museo Reina Sof&iacute;a han organizado la que ser&aacute; una de las retrospectivas m&aacute;s completas dedicadas al artista belga Marcel Broodthaers (1924-1976). Su extraordinaria producci&oacute;n art&iacute;stica durante las d&eacute;cadas de los a&ntilde;os sesenta y setenta del siglo XX, lo situ&oacute; como uno de los artistas m&aacute;s importantes del panorama internacional, ejerciendo desde ese momento hasta la actualidad una gran influencia en muchos artistas contempor&aacute;neos. Tras un trabajo inicial dedicado a la poes&iacute;a, la cr&iacute;tica period&iacute;stica y la fotograf&iacute;a, Marcel Broodthaers decide en 1964 convertirse en artista visual. A partir de entonces, se percibe en toda su obra una preocupaci&oacute;n por dar respuesta a las preguntas b&aacute;sicas de las artes pl&aacute;sticas, cuestion&aacute;ndose la idea de representaci&oacute;n y la producci&oacute;n de significado a trav&eacute;s del uso de sistemas de conocimiento existentes.</p> <p>A lo largo de su carrera, desde sus tempranos objetos formados por mejillones y huevos hasta su posterior museo ficticio, el <em>Mus&eacute;e d&rsquo;Art Moderne.D&eacute;partement des Aigles</em>,o la retrospectiva <em>D&eacute;cor. A Conquest by Marcel Broodthaers</em> que inaugur&oacute; en 1975 en el Institute of Contemporary Arts de Londres, Broodthaers mantuvo siempre una posici&oacute;n &uacute;nica dentro del mundo del arte. A trav&eacute;s de un planteamiento radical de los enfoques tradicionales de la poes&iacute;a, el cine, los libros o la propia exposici&oacute;n, el artista encontr&oacute; su propia v&iacute;a para desarrollar un trabajo con el que dar un personal punto de vista a los por aquellos a&ntilde;os nacientes arte pop y conceptual, as&iacute; como a crear toda una estructura centrada en la cr&iacute;tica institucional.</p> <p>La exposici&oacute;n, que plantea un recorrido por las m&uacute;ltiples facetas de este artista mediante la selecci&oacute;n de un conjunto de aproximadamente 300 obras representativas de su pr&aacute;ctica art&iacute;stica, estar&aacute; acompa&ntilde;ada por la publicaci&oacute;n de un extenso cat&aacute;logo, con ediciones en castellano e ingl&eacute;s, con textos de los propios comisarios junto a historiadores del arte como Jean-Fran&ccedil;ois Chevrier, Thierry de Duve y Benjamin H. D. Buchloh, as&iacute; como de una selecci&oacute;n de cap&iacute;tulos dedicados a diferentes apartados de la producci&oacute;n del artista belga.</p> <p>Con la colaboraci&oacute;n de:</p> <p><img src="" alt="" width="191" height="63" border="0" /></p> </div> </div> </div> <h2 class="accesorio" style="text-align: justify;">Datos de la exposici&oacute;n</h2> <div class="field field-name-field-exposicion-organizacion field-type-text field-label-inline clearfix" style="text-align: justify;"> <p class="field-label">Organizaci&oacute;n:&nbsp;</p> <div class="field-items"> <p class="field-item even">Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid y The Museum of Modern Art, Nueva York</p> </div> </div> <div class="field field-name-field-exposicion-comisariado field-type-text field-label-inline clearfix"> <p class="field-label" style="text-align: justify;">Comisariado:&nbsp;</p> <div class="field-items"> <p class="field-item even" style="text-align: justify;">Manuel Borja-Villel, Director del Museo Nacional Centro de Arte Reina Sof&iacute;a, Madrid, y Christophe Cherix, Comisario Jefe de Dibujos e Impresiones de The Robert Lehman Foundation, The Museum of Modern Art, Nueva York</p> </div> </div> </div> </div> Fri, 26 Aug 2016 19:02:02 +0000 Txomin Badiola - Museo Nacional Centro de Arte Reina Sofía - September 22nd - February 26th, 2017 <div class="field field-name-field-exposicion-texto field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">The retrospective by Basque artist Txomin Badiola (Bilbao, 1957), housed in the Palacio de Vel&aacute;zquez, will present a broad selection of his output &ndash; photographic works, drawings, sculptures and multimedia installations &ndash; spanning from the 1980s to the present day.</p> <p style="text-align: justify;">Curated by the Museo&rsquo;s Deputy Director of Art, Jo&atilde;o Fernandes, the show will centre on the problem of form as both the particular way of understanding artistic creation and a process that assimilates its own transgression. To Badiola, the art form is always a &ldquo;bad form&rdquo; which, at the same time as it creates a vision, denies recognition. The artist works against culture, dismantling conditions of visibility and invisibility. The museum device, conceived from a curatorial process which has involved seven other close artists, gives shape to a kind of text-exhibition that enables at once simultaneity and a certain linearity, developing dialogue relations and references that cross through different works. Furthermore, a chronological reading becomes complex by dint of structural meta-comments and leaps in time that put forward possible developments or invoke forgotten origins.&nbsp;</p> <p style="text-align: justify;">After graduating from the Faculty of Fine Arts, Bilbao, Txomin Badiola worked at the same school as a professor between 1982 and 1988. He has put together a catalogue raisonn&eacute; of Jorge Oteiza&rsquo;s work and curated his exhibitions at the Caja de Pensiones Foundation in Madrid and Barcelona, and the Museo de Bellas Artes, in Bilbao, in 1988, as well as the show <a href="" target="_blank"><em>Oteiza. Mito y Modernidad </em></a>(Oteiza. Myth and Modernity), curated alongside Margit Rowell, for the Guggenhein Museum in Bilbao and New York in 2004 and 2005, and for the Museo Reina Sof&iacute;a in 2005.</p> <p style="text-align: justify;">Awarded the Gure Artea Prize in 1986 and the ICARO Prize for outstanding young artist in 1987, his work has been the subject of solo and collective exhibitions, most notably <em>PRIMER PROFORMA 2010 BADIOLA EUBA PREGO 30 ejercicios 40 d&iacute;as 8 horas al d&iacute;a</em> at Le&oacute;n&rsquo;s MUSAC in 2010; <em>La Forme Qui Pense</em> at the Muse&eacute; d'Art Moderne de Saint-&Eacute;tienne, France, in 2007, and <em>Malas Formas 1990-2002 </em>at MACBA, Barcelona, and the Museo de Bellas Artes, Bilbao, in 2002.</p> <hr /> <div class="field field-name-field-exposicion-texto field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Exposici&oacute;n antol&oacute;gica del artista vasco Txomin Badiola (Bilbao, 1957) que presentar&aacute; en el Palacio de Vel&aacute;zquez una amplia selecci&oacute;n de su producci&oacute;n &mdash;obras fotogr&aacute;ficas, dibujos, piezas escult&oacute;ricas e instalaciones multimedia&mdash; desde los a&ntilde;os ochenta hasta la actualidad.</p> <p style="text-align: justify;">Comisariada por Jo&atilde;o Fernandes, subdirector Art&iacute;stico del Museo, esta muestra se centra en el problema de la forma en tanto modo particular de entender la creaci&oacute;n art&iacute;stica como un proceso que incorpora su propia transgresi&oacute;n. Para Badiola, la forma del arte es siempre una &ldquo;mala forma&rdquo; que al tiempo que crea una visi&oacute;n niega un reconocimiento. El artista trabaja contra la cultura desmontando las condiciones de&nbsp; visibilidad e invisibilidad. El dispositivo museogr&aacute;fico, concebido a partir de un proceso curatorial en el cual ha involucrado a otros siete artistas de su entorno m&aacute;s inmediato, se conforma en una suerte de texto-exposici&oacute;n que permite tanto la simultaneidad como una cierta linealidad, desarrollando relaciones de di&aacute;logo y referencias cruzadas entre las distintas obras. Asimismo, la lectura cronol&oacute;gica se complejiza mediante meta-comentarios estructurales y saltos en el tiempo que avanzan posibles desarrollos o remiten a or&iacute;genes olvidados.</p> <p style="text-align: justify;">Licenciado en la Facultad de Bellas Artes de Bilbao, Txomin Badiola ejerce como profesor en la misma entre 1982 y 1988. Es autor de la catalogaci&oacute;n de la obra de Jorge Oteiza y ha comisariado las exposiciones del mismo para la Fundaci&oacute;n Caja de Pensiones en Madrid y Barcelona, y el Museo de Bellas Artes de Bilbao, en 1988, as&iacute; como la muestra <a href="" target="_blank"><em>Oteiza. Mito y Modernidad</em></a>, comisariada junto con Margit Rowell, para el Museo Guggenhein en Bilbao y Nueva York en 2004 y 2005, y para el Museo Reina Sof&iacute;a en 2005.</p> <p style="text-align: justify;">Galardonado con el premio Gure Artea 1986 y el premio ICARO al artista joven m&aacute;s sobresaliente en 1987, su obra ha sido objeto de muestras individuales y colectivas entre las que caben destacar <em>PRIMER PROFORMA 2010 BADIOLA EUBA PREGO 30 ejercicios 40 d&iacute;as 8 horas al d&iacute;a</em> en MUSAC, L&eacute;on, en 2010; <em>La Forme Qui Pense</em> en el Muse&eacute; d'Art Moderne de Saint-&Eacute;tienne, Francia, en 2007, y <em>Malas Formas 1990-2002 </em>en el MACBA, Barcelona, y el Museo de Bellas Artes de Bilbao en 2002.</p> </div> </div> </div> </div> </div> </div> Fri, 26 Aug 2016 18:59:40 +0000 Damián Ortega - Museo Nacional Centro de Arte Reina Sofía - May 5th - October 2nd <div class="field field-name-field-exposicion-texto field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Dami&aacute;n Ortega (Mexico City, 1967) started out as a newspaper cartoonist in the 1980s, approaching the political scene with acerbic wit. His artistic concerns shifted when he joined the Taller de los Viernes (Friday Workshop) in Tlalpan (active from 1987 to 1992), a self-styled school and the place where he would come into contact with a creative community that was both diverse and an alternative to the dominant reactionary muralism in Mexico at the time. It was in this <em>milieu</em> that he realised his first sculptures, continuing the ironic tone from his previous profession.</p> <p style="text-align: justify;">Throughout his oeuvre, Ortega&rsquo;s interests have been sparked by particular situations and everyday objects, which he alters and transforms to raise questions on broader notions, for instance the economic, social and political discourses that articulate matter and the relationships it is encapsulated within. It is precisely matter on numerous levels, from its composition and molecular behaviour to the discourses that shape it or place it in the dynamics of property and hierarchy, that is at the heart of his investigations.</p> <p style="text-align: justify;">In this regard, architecture sits in a privileged place as the artist places emphasis on its skin-like nature, as a border that divides space and determines its perception. For instance, the height of a building calls into question the laws of gravity, whilst also describing a discursive framework &ndash; the language of diverse interests. Works like <em>Materia y esp&iacute;ritu </em>(Matter and Spirit, 2004), <em>Piel</em> (Skin, 2007) and <em>Pir&aacute;mide invertida</em> (Inverted Pyramid 2009&ndash;2010) explore the twofold nature of architectural aspects, the physical and the symbolic. With <em>De la serie Torre Latino</em> (From the Torre Latino Series, 2007) he proceeds from a specific construction, Augusto H. &Aacute;lvarez&rsquo;s Torre Latinoam&eacute;rica, built between 1949 and 1956 and regarded as one of the most relevant exponents of modern architecture in Mexico. Ortega considers the singular nature of its foundations, which possess an elasticity that is resistant to earthquakes in the area. In his piece he buries them in a globe, out of which a tower rises to underscore the building&rsquo;s inherent resolve to endure and overcome adverse conditions.</p> <p style="text-align: justify;">For his intervention in the Palacio de Cristal, Ortega revisits the Torre Latinoam&eacute;rica, in this instance turning it into a pendulum and inverting and suspending it, using a steel wire, from the highest dome in the Palacio. It is structured by printed skin, thus setting up an interplay between its flexibility and ductility and the solidity represented by the architectural structure. Its hollowed interior houses a sand tank which, like an hourglass, and as the pendulum oscillates, releases grains of sand on the ground to draw unpredictable forms. This last aspect &ndash; the movements and unexpected variations produced in matter &ndash; are at the core of other pieces such as <em>Tusks</em> (2012) and <em>Materia en reposo</em> (Resting Matter, 2004).</p> <p style="text-align: justify;">Dami&aacute;n Ortega&rsquo;s artistic career is extensive, and he has been the subject of solo exhibitions in art centres and museums around the world, for instance HangarBicocca in Milan (2015), the Museo Jumex in Mexico City (2014), the Museum of Contemporary Art, Los Angeles (2005), Tate Modern in London (2005), the Kunsthalle in Basel (2004) and ICA, Philadelphia (2002). He also participated in the 50<sup>th</sup> Venice Biennale (2003) and the 27<sup>th</sup> S&atilde;o Paulo Biennial (2006) and, in parallel, he has carried out significant publishing work as co-editor and contributor for <em>Casper Magazine</em>, between 1998 and 1999, and as the editor of the Alias project, which disseminates the work and thought of authors who are highly relevant to contemporary art and previously unpublished in the Spanish language.</p> <hr /> <div class="field field-name-field-exposicion-texto field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Dami&aacute;n Ortega (Ciudad de M&eacute;xico, 1967) se inicia como dibujante de historietas para peri&oacute;dicos en los a&ntilde;os ochenta, abordando la escena pol&iacute;tica con acidez. Sus inquietudes pl&aacute;sticas dan un giro cuando se incorpora al Taller de los Viernes en Tlalpan (activo de 1987 a 1992), una suerte de escuela aut&oacute;noma, donde entra en contacto con una comunidad creativa plural y alternativa al muralismo reaccionario dominante en M&eacute;xico en aquel momento. En este marco realiza sus primeras esculturas, conservando el tono ir&oacute;nico de su anterior ocupaci&oacute;n.</p> <p style="text-align: justify;">A lo largo de su producci&oacute;n Ortega se interesa por situaciones espec&iacute;ficas y objetos cotidianos que altera y transforma para problematizar nociones m&aacute;s amplias, como los discursos econ&oacute;micos, sociales y pol&iacute;ticos que articulan la materia y las relaciones en las que esta se ve inserta. Es precisamente la materia a muy diversos niveles, desde su composici&oacute;n y comportamiento molecular hasta los discursos que le dan forman o la sit&uacute;an en din&aacute;micas de propiedad o jerarqu&iacute;as, el centro de sus investigaciones.</p> <p style="text-align: justify;">En este sentido, la arquitectura cuenta con un lugar privilegiado. De ella el artista destaca su condici&oacute;n de piel, de frontera que divide el espacio y determina la percepci&oacute;n del mismo. La altura de una construcci&oacute;n, por ejemplo, pone en cuesti&oacute;n las leyes de la gravedad y, al mismo tiempo, describe un entramado discursivo, es el lenguaje de intereses diversos. Obras como <em>Materia y esp&iacute;ritu </em>(2004), <em>Piel</em> (2007) o <em>Pir&aacute;mide invertida</em> (2009-2010) exploran esta doble condici&oacute;n de lo arquitect&oacute;nico, f&iacute;sica y simb&oacute;lica. Con <em>De la serie Torre Latino</em> (2007) parte de una construcci&oacute;n concreta, la Torre Latinoamericana, obra de Augusto H. &Aacute;lvarez, edificada entre 1949 y 1956, y considerada uno de los exponentes m&aacute;s relevantes de la arquitectura moderna en M&eacute;xico. Ortega reflexiona sobre la singularidad de sus cimientos, que poseen un car&aacute;cter el&aacute;stico resistente a los se&iacute;smos de la zona. En su pieza los entierra en un globo terr&aacute;queo, sobre el que se alza la torre, subrayando la voluntad inherente de las edificaciones de perdurar e imponerse a las condiciones adversas.</p> <p style="text-align: justify;">Para su intervenci&oacute;n en el Palacio de Cristal, revisita la Torre Latinoam&eacute;rica. En esta ocasi&oacute;n hace de ella un p&eacute;ndulo, invirti&eacute;ndola y colg&aacute;ndola mediante un hilo de acero desde el punto m&aacute;s alto de la c&uacute;pula del Palacio. Emplea, para su estructura, piel impresa, estableciendo de esta manera un juego entre la flexibilidad y ductilidad de esta y la solidez que se le presupone a la construcci&oacute;n arquitect&oacute;nica. Su interior vaciado alberga un dep&oacute;sito de arena, que a modo de reloj y a medida que el p&eacute;ndulo oscila, libera los granos sobre el suelo del espacio dibujando formas imprevisibles. Este &uacute;ltimo aspecto, el movimiento y las variaciones inesperadas que produce en la materia son los temas centrales de otras piezas como <em>Tusks</em> (2012) o <em>Materia en reposo</em> (2004).</p> <p style="text-align: justify;">Dami&aacute;n Ortega cuenta con una dilatada carrera. Ha sido objeto de exposiciones individuales en centros de arte y museos de todo el mundo, como en el Hangar Bicocca de Mil&aacute;n (2015), el Museo Jumex de M&eacute;xico D. F. (2014), el Museum of Contemporary Art de Los &Aacute;ngeles (2005), la Tate Modern de Londres (2005), la Kunsthalle de Basel (2004) o el ICA de Filadelfia (2002). Asimismo ha participado en la 50&ordf; Bienal de Venecia (2003) y la 27&ordf; Bienal de S&atilde;o Paulo (2006). De forma paralela, desarrolla una importante labor editorial como coeditor y colaborador de la revista <em>Casper Magazine </em>entre 1998 y 1999, y como editor del proyecto Alias, que difunde la obra y el pensamiento de autores significativos para el arte contempor&aacute;neo que no hab&iacute;an sido antes publicados en habla hispana.</p> </div> </div> </div> </div> </div> </div> Fri, 26 Aug 2016 18:55:30 +0000 Ulises Carrión - Museo Nacional Centro de Arte Reina Sofía - March 16th - October 10th <div id="moz-reader-content" style="display: block;" dir="ltr"> <div id="readability-page-1" class="page"> <div class="field-item even"> <p style="text-align: justify;">A key figure in Mexican conceptual art, Ulises Carri&oacute;n (1941, San Andr&eacute;s Tuxtla, Mexico &ndash; 1989, Amsterdam) was an artist, editor, curator, and theorist of the post-1960s international artistic avant-garde.</p> <p style="text-align: justify;">Due to his interest in new art forms and innovative trends, he actively participated in most of the artistic disciplines of his time. He cofounded the independent artists' run space In-Out Center in Amsterdam and founded the legendary bookshop-gallery Other Books and So (1975&ndash;79), the first of its kind dedicated to artists&rsquo; publications that, in 1980, would become Other Books and So Archive. The name &ldquo;Other Books&rdquo; indicates the purpose of this bookshop-gallery: the presentation, production, and distribution of publications that were no longer literary texts nor about art, but rather books that were art or, as Carri&oacute;n himself called them, &ldquo;non books, anti books, pseudo books, quasi books, concrete books, visual books, conceptual books, structural books, project books, statement books, instruction books&rdquo; (Advertisement flyer, 1975). The second part of the name "and So" refers to all kinds of publications, such as magazines, newspapers, LPs, postcards, posters, musical scores, multiples, etc.</p> <p style="text-align: justify;">Along with his artistic activities, Ulises Carri&oacute;n developed a wide range of theoretical work, highlighted by his 1975 manifesto &ldquo;The New Art of Making Books.&rdquo; Though conceived with the goal of opening new avenues for traditional writers, it would have a great influence on young visual artists. It is fascinating to see that Ulises Carri&oacute;n&rsquo;s theories are seemingly word-for-word precursors to more recent art theories of the twenty-first-century digital world. By way of example, we can cite his idea of plagiarism as the &ldquo;starting point of the creative activity.&rdquo; In a type of pamphlet he stated, &ldquo;Why is there plagiarism? Because&mdash;There are too many books&mdash;It takes so long to read or write a book&mdash;Art is not private property&mdash;They represent love for the author&mdash;They give a book a second chance to be read&mdash;They make reading unnecessary&mdash;They do not lend themselves to psychological interpretations&mdash;They do not have utilitarian purposes&mdash;They lack commercial value&mdash;They are simple and absolute&mdash;They are beautiful&rdquo; (<em>Fandangos</em>, no. 1, Maastricht, December 1973).</p> <p style="text-align: justify;">Clues to his oeuvre may also be found in artists&rsquo; books such as <em>Looking for Poetry</em> (1973), films like <em>The Death of the Art Dealer</em> (1982), or the video <em>TV-Tonight</em> (1987). During his most creative artistic period, his participation in the international mail art network gave birth to, among others, the magazine <em>Ephemera</em> (1977&ndash;78), dedicated to the daily receiving of works circulating throughout this network. For Ulises Carri&oacute;n, mail art was a kind of guerilla strategy. Whether one uses the mail system as a support&mdash;as one would use canvas, paper, or wood&mdash;or as a means of distribution, both &ldquo;art&rdquo; and &ldquo;mail&rdquo; coalesce to control the production and distribution of art (<em>Mail Art and the Big Monster</em>, 1977).</p> <p style="text-align: justify;">This retrospective focusing on Ulises Carri&oacute;n&rsquo;s personal and groundbreaking approach seeks to illustrate all aspects of his artistic and intellectual work. The exhibition spans from his early career as a young, successful writer in Mexico, to his college years as a postgraduate student exploring language and linguistics in France, Germany, and Britain, to his numerous activities in Amsterdam, where Carri&oacute;n established himself in 1972 and lived until his untimely death at the age of forty-nine.</p> <p style="text-align: justify;">The exhibition is composed of nearly 350 pieces that include books, magazines, videos, films, sound pieces, mail art, public projects, and performances, along with Carri&oacute;n&rsquo;s initiatives as curator, editor, distributor, lecturer, archivist, art theorist, and writer. It is a significant body of original work structured so as to place a spotlight on every facet of his production.</p> <p style="text-align: justify;">Without losing sight of the unclassifiable nature of his oeuvre, this exhibition emphasizes Ulises Carri&oacute;n&rsquo;s constant search for new cultural strategies and the extent to which his projects were determined by two fundamental themes: structure and language, representing artistic guidelines that, influenced by a literary education, are pervasive in his work even if he always fought against it. This duality corresponds to the exhibition title "Dear reader. Don&rsquo;t read"&mdash;taken from his diptych of the same name&mdash;which illustrates his ambiguous relation to literature, a recurring theme in his work.</p> <hr /> <div class="field field-name-field-exposicion-texto field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">Ulises Carri&oacute;n (1941, San Andr&eacute;s Tuxtla, M&eacute;xico - 1989, &Aacute;msterdam, Holanda), figura clave del arte conceptual mexicano, fue artista, editor, comisario de exposiciones y te&oacute;rico de la vanguardia art&iacute;stica internacional posterior a la d&eacute;cada de los a&ntilde;os sesenta del siglo xx.</p> <p style="text-align: justify;">Su atenci&oacute;n e inter&eacute;s por las nuevas formas del arte y las tendencias innovadoras le impulsaron a participar activamente en la mayor parte de los campos art&iacute;sticos de su tiempo. Fue cofundador del espacio gestionado por artistas independientes In-Out Center en &Aacute;msterdam, y fundador de la m&iacute;tica librer&iacute;a-galer&iacute;a Other Books And So (1975-1979), la primera de su g&eacute;nero dedicada a publicaciones de artistas, que en 1980 se transform&oacute; en el archivo Other Books And So. El nombre &ldquo;Other Books&rdquo; indica la finalidad de esta librer&iacute;a-galer&iacute;a: la presentaci&oacute;n, producci&oacute;n y distribuci&oacute;n de publicaciones que ya no eran textos literarios o relacionados con el arte, sino libros que eran arte o, tal como los denominaba Ulises Carri&oacute;n, &ldquo;nolibros, antilibros, pseudolibros, cuasilibros, libros concretos, libros visuales, libros conceptuales, libros estructurales, libros proyecto, libros declaraci&oacute;n, libros instrucci&oacute;n&rdquo;(folleto, 1975). La segunda parte del nombre, &ldquo;and So&rdquo;, alude a todo tipo de publicaciones, como revistas, peri&oacute;dicos, discos, postales, carteles, partituras, publicaciones m&uacute;ltiples, etc.</p> <p style="text-align: justify;">Junto con sus actividades art&iacute;sticas, Ulises Carri&oacute;n desarroll&oacute; una amplia labor te&oacute;rica en la que destaca su manifiesto <em>El arte nuevo de hacer libros</em> (1975) que, aun siendo concebido con el objetivo de abrir nuevas v&iacute;as para los escritores tradicionales, ejerci&oacute; gran influencia en muchos j&oacute;venes artistas visuales. Resulta curioso observar que las teor&iacute;as de Ulises Carri&oacute;n son casi literalmente precursoras de otras teor&iacute;as del arte m&aacute;s recientes en el mundo digital del siglo xxi. Podr&iacute;amos citar, por ejemplo, su concepci&oacute;n del plagio como el &ldquo;punto de partida de la actividad creativa&rdquo;. En una especie de panfleto declar&oacute;: &ldquo;&iquest;Por qu&eacute; plagios? Porque - Hay demasiados libros - Se tarda mucho en leer o escribir un libro - El arte no es propiedad privada - Denotan el amor que se profesa al autor - Ofrecen una segunda oportunidad de leer un libro - Hacen innecesaria la lectura - No se prestan a interpretaciones psicol&oacute;gicas - No tienen fines utilitarios - Carecen de valor comercial - Son sencillos y absolutos - Son bonitos&rdquo;(<em>Fandangos</em>, n&ordm; 1, Maastricht, diciembre de 1973).</p> <p style="text-align: justify;">Tambi&eacute;n encontramos las claves de su obra en trabajos como el libro de artista <em>Tras la poes&iacute;a</em> (1973), la pel&iacute;cula <em>The Death of the Art Dealer</em> (1982) o el v&iacute;deo <em>TV-Tonight</em> (1987). De su participaci&oacute;n en la red de arte correo durante su per&iacute;odo m&aacute;s creativo surgieron, entre otros frutos, la revista <em>Ephemera</em> (1977-1978), dedicada a la recepci&oacute;n diaria de las obras que circulaban a trav&eacute;s de esa red. Para Ulises Carri&oacute;n, el arte postal era una suerte de estrategia de guerrilla. Con independencia de que se use el sistema de correos como soporte &mdash;igual que se usa el lienzo, el papel o la madera&mdash; o como medio de distribuci&oacute;n, tanto &ldquo;arte&rdquo; como &ldquo;correo&rdquo; confluyen para controlar la producci&oacute;n y la distribuci&oacute;n de arte (<em>El Arte Correo y el Gran Monstruo</em>, 1977).</p> <p style="text-align: justify;">Esta retrospectiva, centrada en el enfoque personal y pionero de Ulises Carri&oacute;n, tiene como objetivo ilustrar todos los aspectos de su obra art&iacute;stica e intelectual: desde su trayectoria inicial como joven escritor de &eacute;xito en M&eacute;xico, sus a&ntilde;os de universidad como alumno de posgrado en Francia, Alemania e Inglaterra durante los que estudi&oacute; lenguaje y ling&uuml;&iacute;stica; hasta sus numerosas actividades desarrolladas en &Aacute;msterdam, donde Carri&oacute;n se estableci&oacute; definitivamente en 1972 hasta su prematura muerte a los 49 a&ntilde;os de edad.</p> <p style="text-align: justify;">Se exponen alrededor de 350 piezas, entre las que se incluyen libros, revistas, v&iacute;deos, obras sonoras, arte correo, proyectos p&uacute;blicos y performances, as&iacute; como sus iniciativas como comisario, editor, distribuidor, conferenciante, archivero, te&oacute;rico del arte y escritor. Un gran corpus de obras originales, estructurado en base a cada aspecto de su producci&oacute;n.</p> <p style="text-align: justify;">Sin perder de vista el car&aacute;cter inclasificable de su obra, esta muestra pone de relieve su b&uacute;squeda permanente de nuevas estrategias culturales y hasta qu&eacute; punto sus proyectos vienen determinados por dos aspectos fundamentales: la estructura y el lenguaje, que constituyen las directrices de sus creaciones, influidas por su formaci&oacute;n literaria, siempre presente en sus trabajos aunque en permanente conflicto. Esta dualidad se corresponde con el t&iacute;tulo de la exposici&oacute;n, <em>Querido lector.</em> <em>No lea</em>, que alude al d&iacute;ptico de Ulises Carri&oacute;n del mismo nombre, e ilustra su ambigua relaci&oacute;n con la literatura, el tema recurrente en su obra.</p> </div> </div> </div> </div> </div> </div> Fri, 26 Aug 2016 18:52:55 +0000 Rémy Zaugg - Museo Nacional Centro de Arte Reina Sofía - March 31st - August 28th <p style="text-align: justify;">The Palacio de Vel&aacute;zquez welcomes the first monographic exhibition in Spain on Swiss artist R&eacute;my Zaugg (Courgenay, 1943 &ndash; Basel, 2005). The exhibition&rsquo;s title <em> The Question of Perception </em> is in reference to the artist&rsquo;s concerns with exploring language and perception as a medium for activating the spectator. Zaugg&rsquo;s fascination with the materialisation of language and its phenomenological implications, his analyses of architecture and urbanism, and his practical-theoretical reflections around the presentation of the artwork are key to understanding the full extent of his work.</p> <p style="text-align: justify;">The exhibition also shines a spotlight on the tautological nature of Zaugg&rsquo;s oeuvre, visible in his early work on C&eacute;zanne, or his investigations into perspective developed in the 1970s, for instance. The importance of the act of seeing, or not, of witnessing or concealing, of perceiving or going unnoticed advances a conceptual and physical experience, bolstered by the use of colour and typography, and by repeated messages that flow unhampered in the here and now.</p> <p style="text-align: justify;">Zaugg&rsquo;s work has been on display in galleries and museums, as well as a range of public spaces. His interest in the architectural and urban analysis of space, particularly exhibition space, led to his habitual collaboration with the architects Herzog and de Meuron, resulting in projects for the Campus of the University of Dijon and the Urban Study of Basel, both of which feature in the exhibition. He also wrote a number of texts, deemed essential in museum studies, for instance <em> Das Kunstmuseum, das ich mir ertr&auml;ume. Oder der Ort des Werkes </em> <em> und des Menschen</em>, 1987 (The Art Museum of My Dreams. Or a Place for the Work and the Human Being).</p> <p style="text-align: justify;">The exhibition also sheds some light on the depth and intensity with which R&eacute;my Zaugg studied the phenomenon of perception, integrated with more than one hundred works from relevant European museums and private collections. It sets out from <em> Esquisses Perceptives d'un tableau </em> &nbsp;(1963&ndash;1968), his annotations on Paul Cezanne&rsquo;s renowned painting <em> La maison du pendu</em>, in which Zaugg replaces fragments of images with literal descriptions. The exhibition also presents a significant ensemble of works from the series <em> Ein Blatt Papier</em>, <em> Le Monde Voit</em>, <em> About Death III</em>, <em> F&uuml;r ein Bild </em> and <em> One Word One Support</em>.</p> <p style="text-align: justify;">Moreover, it includes documents on his relationship with Herzog and de Meuron and two videos of actions, one of which features the artist filmed while he smokes a cigarette and watches a performance by Abramovich and Ulay.</p> <hr /> <p style="text-align: justify;">El Palacio de Vel&aacute;zquez acoge la primera exposici&oacute;n monogr&aacute;fica en Espa&ntilde;a del artista suizo R&eacute;my Zaugg (Courgenay, 1943 &ndash; Basilea, 2005), cuyo t&iacute;tulo <em>Cuestiones de percepci&oacute;n</em> hace referencia al inter&eacute;s del artista por la exploraci&oacute;n del lenguaje y la percepci&oacute;n como medio de activaci&oacute;n del espectador. La fascinaci&oacute;n de Zaugg por la materializaci&oacute;n del lenguaje y sus implicaciones fenomenol&oacute;gicas, sus an&aacute;lisis sobre la arquitectura y el urbanismo, as&iacute; como sus reflexiones pr&aacute;ctico-te&oacute;ricas en torno a la presentaci&oacute;n de la obra de arte son claves para entender su trabajo en toda su dimensi&oacute;n.</p> <p style="text-align: justify;">La exposici&oacute;n presta tambi&eacute;n atenci&oacute;n al car&aacute;cter tautol&oacute;gico de la obra de Zaugg, visible, por ejemplo, en sus primeros trabajos sobre C&eacute;zanne o en sus investigaciones sobre la perspectiva desarrolladas en los a&ntilde;os setenta. La importancia del acto de ver o no, presenciar y ocultar, percibir y pasar desapercibido propone una experiencia conceptual y f&iacute;sica, reforzada por el uso del color y de la tipograf&iacute;a, as&iacute; como por la repetici&oacute;n de mensajes que fluyen sin trabas en un aqu&iacute; y un ahora.</p> <p style="text-align: justify;">La obra de Zaugg se ha presentado en galer&iacute;as y museos, pero tambi&eacute;n en espacios p&uacute;blicos diversos. Interesado por el an&aacute;lisis arquitect&oacute;nico y urban&iacute;stico del espacio, especialmente del espacio expositivo, ha colaborado en numerosas ocasiones con los arquitectos Herzog y de Meuron. Fruto de esa colaboraci&oacute;n son los proyectos para el Campus de la Universidad de Dijon y el Plan Urban&iacute;stico de Basilea, que se presentan en la exposici&oacute;n. Es tambi&eacute;n autor de algunos textos considerados esenciales en los estudios museol&oacute;gicos; destaca entre ellos <em>Das Kunstmuseum, das ich mir ertr&auml;ume. Oder der Ort des Werkes</em><em> und des Menschen</em>, 1987 (El museo de arte de mis sue&ntilde;os. O el lugar de la obra y del hombre).</p> <p style="text-align: justify;">La muestra arroja luz sobre la profundidad e intensidad con las que R&eacute;my Zaugg estudi&oacute; el fen&oacute;meno de la percepci&oacute;n y est&aacute; integrada por m&aacute;s de un centenar de obras procedentes de relevantes museos y colecciones particulares europeas. Tiene su punto de partida en sus&nbsp;<em>Esquisses Perceptives d'un tableau</em>&nbsp;(1963-1968),&nbsp;hojas de anotaciones sobre el c&eacute;lebre cuadro de Paul Cezanne&nbsp;<em>La maison du pendu</em>, en las que Zaugg sustituye los fragmentos de imagen por descripciones literales. Adem&aacute;s,&nbsp;la exposici&oacute;n presenta un importante conjunto de obras de las series&nbsp;<em>Ein Blatt Papier</em>, <em>Le Monde Voit</em>, <em>About Death III</em>,&nbsp;<em>F&uuml;r ein Bild</em>&nbsp;y&nbsp;<em>One Word One Support</em>.</p> <p style="text-align: justify;">Se incluye tambi&eacute;n documentaci&oacute;n sobre su relaci&oacute;n con los arquitectos suizos Herzog y de Meuron y dos v&iacute;deos de acciones, uno de ellos, la filmaci&oacute;n del artista fumando un cigarrillo mientras observa una performance de Abramovich y Ulay.</p> Fri, 26 Aug 2016 18:52:16 +0000 Erlea Maneros Zabala - Museo Nacional Centro de Arte Reina Sofía - August 26th - August 29th <div class="field field-name-field-exposicion-texto field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">The work of Erlea Maneros Zabala (Bilbao, 1977) analyses the conditions and effects of image production, addressing the contexts generated and the modes of distribution. The issues raised by her work can be found in the academisation of languages of abstraction, the notion of authorship and the relationships established between handicrafts and mass production through the use of mechanical resources in production processes.</p> <p style="text-align: justify;">This site-specific project for the Fisuras (Fissures) programme sees the artist proceed from works belonging to the Museo&rsquo;s Collection. Taking the name of the programme in its most &ldquo;material&rdquo; sense, as a crevice, it connects exhibition rooms on two floors of the Sabatini Building: room 403, on the 4th floor, devoted to works from the Collection, with Space 1, on the 1st floor, which contains temporary shows.</p> <p style="text-align: justify;">A selection of ink drawings on paper is also presented from the series <a href="" target="_blank"><em>Exercises on abstraction</em></a> (2007&ndash;2015), with some forming part of the Collection and others belonging to works produced between 2014 and 2015.</p> <p style="text-align: justify;">Erlea Maneros Zabala&rsquo;s studied at the Glasgow School of Art and CalArts in Los Angeles, her current city of residence. Her work has been exhibited in institutions that include Museo Experimental El Eco (Mexico City), REDCAT (Los Angeles), Guggenheim Museum (Bilbao) and the Kadist Art Foundation (Paris).</p> <hr /> <div class="field field-name-field-exposicion-texto field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">El trabajo de Erlea Maneros Zabala (Bilbao, 1977) analiza las condiciones de producci&oacute;n de las im&aacute;genes y sus <em>efectos, </em>atendiendo alos contextos en los que se generan y los modos en que se distribuyen. Entre las cuestiones abordadas en sus obras se sit&uacute;an la academizaci&oacute;n de los lenguajes de la abstracci&oacute;n, la noci&oacute;n de autor&iacute;a y las relaciones que se establecen entre artesan&iacute;a y fabricaci&oacute;n en serie a partir del uso de los medios mec&aacute;nicos en los procesos productivos.</p> <p style="text-align: justify;">En este proyecto espec&iacute;fico para el programa <em>Fisuras</em>, la artista toma como punto de partida obras de la Colecci&oacute;n del Museo. Entendiendo el nombre del programa en su sentido m&aacute;s &ldquo;material&rdquo;, como una grieta, conecta las salas de dos plantas del edificio Sabatini: la sala 403, en la planta 4&ordm;, dedicada a la exhibici&oacute;n de fondos, con el Espacio 1, en la planta 1&ordm;, destinada a las muestras de car&aacute;cter temporal.</p> <p style="text-align: justify;">Tambi&eacute;n se presenta una selecci&oacute;n de dibujos en tinta sobre papelde la serie <a href="" target="_blank"><em>Exercises on abstraction</em></a> (Ejercicios de abstracci&oacute;n, 2007-2015). Algunos forman parte de los fondos del Museo y otros han sido realizados entre los a&ntilde;os 2014 y 2015.</p> <p style="text-align: justify;">La formaci&oacute;n de Erlea Maneros Zabala est&aacute; vinculada a las escuelas de arte de Glasgow y CalArts en Los &Aacute;ngeles, ciudad en la que reside actualmente. Su trabajo ha sido expuesto en instituciones como el Museo Experimental El Eco (M&eacute;xico D.F.), REDCAT (Los &Aacute;ngeles), Museo Guggenheim (Bilbao) y Kadist Art Foundation (Par&iacute;s).</p> </div> </div> </div> </div> </div> </div> Fri, 26 Aug 2016 18:46:23 +0000 Group Show - Museo Nacional Centro de Arte Reina Sofía - April 27th - September 26th <div class="field field-name-field-exposicion-texto field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">The exhibition <em>Campo Cerrado </em>takes its name from the homonymous novel by Max Aub and looks to examine Spanish art in the complex and controversial 1940s, a decade that has received little attention and one that exists in a critical and historiographical vacuum, despite its importance in structuring modern sensibility in Spain.</p> <p style="text-align: justify;">In 1938, at the height of the Civil War, Eugenio d&rsquo;Ors, General Director of Fine Arts, selected works by Spanish artists linked to the art that preceded the conflict, including Zuloaga, representing Spain&rsquo;s fascist camp at the Venice Biennale. In 1951, the writer and critic Rafael Santos Torroella and architect Jos&eacute; Antonio Coderch designed the Spanish Pavilion for the IX Milan Triennale, thus setting up a dialogue between popular craftsmanship and contemporary design which included both Lorca&rsquo;s poetry and the paintings of a young Guinovart. The comparison between the contents of Spain&rsquo;s representations at both international events, which could bee seen as symbolic boundaries in this exhibition, could also evoke a linear evolution ranging from the most academic conservatism, in line with the rigours of early fascism, to the opening out of modernity, in keeping with a political time that strived to put an end to the international isolation of the France regime. Nevertheless, the analysis of how much lies beneath, not only in both exhibitions but also in the intervening time between the two, reveals an infinitely more complex reality.</p> <p style="text-align: justify;">In order to reconstruct that period, the exhibition is divided into the following sections, which will combine wide-ranging views with case studies: 1939; image and propaganda; from the restoration of academic art to renewal: Eugenio d&rsquo;Ors; the country and the city: aspects of daily life in autarchic Spain; exiles and expatriates; the return of Mir&oacute; and the rescue of avant-garde movements in history; from the Escuela de Altamira and Dau al Set; architectural renovation; the abstraction-figuration debate and the official appropriation of the modern.</p> <hr /> <div class="field field-name-field-exposicion-texto field-type-text-long field-label-hidden"> <div class="field-items"> <div class="field-item even"> <p style="text-align: justify;">En abril de 1939, con la entrada en Madrid del ej&eacute;rcito sublevado al mando del general Franco, comienza en Espa&ntilde;a una larga dictadura. En septiembre de 1939 se inicia en Europa la Segunda Guerra Mundial, que concluye en 1945 con la derrota de los pa&iacute;ses del Eje, pol&iacute;ticamente afines a Franco. Sobre un pa&iacute;s asolado y aislado internacionalmente desde 1945, el r&eacute;gimen franquista impone una campa&ntilde;a de (re)construcci&oacute;n nacional, literal y metaf&oacute;rica, que afecta decisivamente a la cultura. Es un tiempo de contrastes en el que conviven, no sin violencia, el deseo solemnizador y la pobreza, la ret&oacute;rica de un pasado glorioso y la dureza del presente, las continuidades y las rupturas, el af&aacute;n de supervivencia en el interior y el exilio en el exterior. Esta situaci&oacute;n altera, endurece y enturbia las relaciones entre el poder y el arte, y describe todos los matices posibles entre la eficacia (tanto coactiva como represiva) del poder oficial y la capacidad de resiliencia de la cultura y de sus autores.</p> <p style="text-align: justify;">Invocando el esp&iacute;ritu cr&iacute;tico de <em>Campo cerrado</em> (Ciudad de M&eacute;xico, 1943), la novela de Max Aub centrada en los a&ntilde;os previos a la Guerra Civil, as&iacute; como las connotaciones de su t&iacute;tulo, esta exposici&oacute;n revisa la posguerra espa&ntilde;ola a partir de un trabajo de investigaci&oacute;n que combina panor&aacute;micas generales con casos de estudio, obras conocidas con otras rescatadas del olvido, e incluye piezas de naturalezas muy diversas, en ocasiones in&eacute;ditas para la historia del arte. El resultado cuestiona t&oacute;picos como la escasez e irrelevancia de la actividad cultural o art&iacute;stica durante la d&eacute;cada de los cuarenta y esboza una imagen de la &eacute;poca que se resiste a las esquematizaciones.</p> <p style="text-align: justify;">La muestra propone un mapa con varios caminos posibles, que tienen en cuenta las cronolog&iacute;as pero no se someten a la linealidad temporal. Al contrario, el relato se articula en bloques tem&aacute;ticos relacionados con aspectos clave de la &eacute;poca, que funcionan como cap&iacute;tulos aut&oacute;nomos, aunque entre ellos existan conexiones y encadenamientos. Estos ep&iacute;grafes son: Una nueva era; Retornos y academias; Campo y ciudad; La irrupci&oacute;n de lo irracional. El postismo; Intervalo teatral; Exilios; Arquitecturas; Primitivo, m&aacute;gico, oscuro y Apropiaci&oacute;n oficial de lo moderno.</p> </div> </div> </div> </div> </div> </div> Fri, 26 Aug 2016 18:44:48 +0000 Cassio Michalany - Mul.ti.plo Espaço Arte - August 3rd - September 15th <div id="moz-reader-content" style="display: block;"> <div id="readability-page-1" class="page"> <div class="sqs-block-content"> <p style="text-align: justify;">Em sua primeira individual no Rio, o artista pl&aacute;stico paulista Cassio Michalany mostra, a partir do dia 3 de agosto na Mul.ti.plo Espa&ccedil;o Arte, uma nova vertente de trabalho, na exposi&ccedil;&atilde;o O lugar do outro. S&atilde;o pinturas-objeto &ndash; como batizado pelo artista &ndash; que trazem, para dentro de caixas de madeira, uma evolu&ccedil;&atilde;o de suas pinturas, ampliando a percep&ccedil;&atilde;o de profundidade com a tridimensionalidade. S&atilde;o nove pinturas-objetos recentes e algumas in&eacute;ditas, em que ele reorganiza o espa&ccedil;o da obra de arte, com a distribui&ccedil;&atilde;o interna de finas pe&ccedil;as de madeira pintadas. &ldquo;O trabalho &eacute; todo pensado desta forma: h&aacute;, digamos, um &lsquo;gabarito inicial&rsquo; destes relevos internos, bastante estudado e extremamente construtivo. Entretanto, h&aacute; at&eacute; quatro possibilidades de visualiza&ccedil;&atilde;o do interior de uma mesma caixa, variando de acordo com a montagem da exposi&ccedil;&atilde;o, que possibilita &lsquo;rodar&rsquo; a obra, obtendo uma nova composi&ccedil;&atilde;o&rdquo;, explica Michalany. A mostra tamb&eacute;m ter&aacute; quatro pinturas em madeira de diversas fases de sua carreira &ndash; todas, assim como as pinturas-objetos, sem t&iacute;tulo.</p> <p style="text-align: justify;">Todas as caixas partem de uma organiza&ccedil;&atilde;o espacial bastante criteriosa e singular &ndash; a origem &eacute; sempre com uma pe&ccedil;a alinhada em um dos cantos. A partir da&iacute; toda a composi&ccedil;&atilde;o se desenvolve, seguindo coordenadas imagin&aacute;rias que se complementam. &ldquo;O enfrentamento direto com a mat&eacute;ria, madeira e tinta dispensa categorias gerais e conceitos anteriores que aprisionam o trabalho. O resultado s&atilde;o pinturas tridimensionais que constroem espa&ccedil;os indeterminados, mas que n&atilde;o possuem nada de aleat&oacute;rio, e que n&atilde;o cessam de se mover e se transformar&rdquo;, descreve o curador de arte Cau&ecirc; Alves em um texto sobre as pinturas-objeto de Cassio Michalany.</p> <p style="text-align: justify;">Ex&iacute;mio colorista, Michalany sempre trabalha com tons mais s&oacute;brios. Azuis, vermelhos e verdes sempre bem escuros, cores terrosas, ocres. &ldquo;Mas nunca &eacute; uma cor simples, f&aacute;cil. Principalmente porque quero sempre promover a permuta&ccedil;&atilde;o entre elas, uma cor deve interagir com a outra&rdquo;, diz. No caso das pinturas-objeto, os tons fechados t&ecirc;m ainda outra din&acirc;mica. &ldquo;N&atilde;o s&atilde;o cores que saltam aos olhos, s&atilde;o mais profundas. Isso faz com que o observador tenha outro tipo de aten&ccedil;&atilde;o, os tons mais baixos precisam dessa profundidade&rdquo;, diz.&nbsp;</p> <p style="text-align: justify;">A permuta&ccedil;&atilde;o na obra de Cassio Michalany serviu de met&aacute;fora para que o historiador da arte Rodrigo Naves comparasse essa intera&ccedil;&atilde;o ao meio social: &ldquo;Sua pintura procura encontrar cores e rela&ccedil;&otilde;es de cores que correspondam &agrave; sociabilidade contempor&acirc;nea. H&aacute; em suas telas a tentativa de reverter a serializa&ccedil;&atilde;o que comanda o dia-a-dia, um mundo impessoal e delimitado&rdquo;, diz. Para Naves, pode-se considerar sua obra &ldquo;em &acirc;mbito mais amplo, que sup&otilde;e o reconhecimento do lugar do outro e a considera&ccedil;&atilde;o de que a posi&ccedil;&atilde;o que ocupamos no mundo s&oacute; pode ser compreendida se s&atilde;o supostas tamb&eacute;m as outras posi&ccedil;&otilde;es&rdquo;. Como suas pinturas-objeto, com seus quatro poss&iacute;veis pontos de vista e in&uacute;meras interpreta&ccedil;&otilde;es.</p> </div> </div> </div> Fri, 26 Aug 2016 18:38:41 +0000 - Mul.ti.plo Espaço Arte - July 10th - September 11th <div id="moz-reader-content" style="display: block;"> <div id="readability-page-1" class="page"> <div class="sqs-block-content"> <p style="text-align: justify;">A parceria entre a Mul.ti.plo Espa&ccedil;o Arte e a A2, galeria localizada no Vale das Videiras, em Petr&oacute;polis, continua rendendo bons frutos. A galeria carioca de Maria Cristina Magalh&atilde;es Pinto e Stella Silva Ramos inaugura, dia 9 de julho, sua terceira exposi&ccedil;&atilde;o na Serra, com importantes obras de seu acervo. A iniciativa de montar exposi&ccedil;&otilde;es com artistas brasileiros e estrangeiros na Galeria A2 segue o conceito das s&oacute;cias de n&atilde;o se restringirem &agrave;s paredes de sua pr&oacute;pria galeria. E de levar pe&ccedil;as de qualidade a um p&uacute;blico amante da arte sem que ele precise vir ao Rio.</p> <p style="text-align: justify;">Desta vez, a coletiva ter&aacute; obras de dois dos mais importantes artistas contempor&acirc;neos europeus, os portugueses Pedro Cabrita Reis e Jos&eacute; Pedro Croft. De Cabrita Reis, a instala&ccedil;&atilde;o Daylight sobre verde &eacute; uma paisagem, feita de luz sobre fundo verde, medindo 3,5m x 2m. J&aacute; de Croft ser&atilde;o tr&ecirc;s gravuras em metal.</p> <p style="text-align: justify;">A exposi&ccedil;&atilde;o tamb&eacute;m ter&aacute; oito gravuras recent&iacute;ssimas de Waltercio Caldas, realizadas in loco nas oficinas da renomada editora catal&atilde; Pol&iacute;grafa, no ano passado; gravuras de C&eacute;lia Euvaldo; e fotografias de Isidora Gajic. &ldquo;&Eacute; uma mostra com v&aacute;rios suportes, bem din&acirc;mica. Ser&aacute; um interessante apanhado da atual arte contempor&acirc;nea&rdquo;, diz Maneco Muller, consultor da Mul.ti.plo.</p> <p style="text-align: justify;">A galeria A2 foi aberta h&aacute; pouco mais de um ano pelo fot&oacute;grafo Alexandre Salgado e o advogado Andr&eacute; Faoro, com o foco voltado para a arte contempor&acirc;nea. E tem muito em comum com a Mul.ti.plo. &ldquo;As duas galerias t&ecirc;m a coragem e a ousadia de buscar alternativas novas e compartilham da ideia de mostrar boa arte a pre&ccedil;os acess&iacute;veis, sempre com extrema qualidade&rdquo;, finaliza Maneco.</p> </div> </div> </div> Fri, 26 Aug 2016 18:37:34 +0000