ArtSlant - Closing soon en-us 40 Bettina Buck - Galleri Opdahl - Stavanger - May 12th, 2012 - June 20th, 2012 <p class="c">Bettina Buck - 'Interlude'<br /> by Colin Perry</p> <p class="c"><br /> A figure stumbles across a tufted cliff-top field. She is abandoned in her Sisyphean task of dragging a dense bluish foam monolith, half-bleached yellow by the sun and storeroom-neglect, across a grassy terrain. The video is looped, her task endless. Her travails might be read as allegorical, for they appear otherwise without purpose: the foam is being taken nowhere, and its ungainliness appears designed specifically to impede the protagonist (performed by Bettina Buck herself) from making headway. This is the lot of the artist: the physical labour; the perverse logic of forcing mute objects into relational forms; the unwieldiness of interpretation.<br /> I like to read the work as a backhanded tribute to plein-air art making: the artist as the post-Romantic wonderer. More obliquely, to my eyes the whole set-up recalls those television comedies from the 1970s and 80s, when recording outdoors was evidently a cheap trick to save on expensive artificial lighting. Growing up in television-age Britain, I watched endless capers set in fields and outdoor spaces. It was a sort of pastoral slapstick that’s sadly vanished from today’s small screen. Buck’s purpose is, of course, more serious. And while they may be futile, they are not without satisfaction. She sits on the foam to rest: the sculpture can be a prop, too.<br /> <br /> Like an homage to the wobbly inconsistency of home-movies, Interlude welcomes visual erratum. The horizon bounces up and down with the extreme zoom and lack of steady-cam technology; the air is electric with a tinnitus whistling that denotes audio-overload in the camera’s microphone. In fact, these elements are all quite deliberate. The sound levels have been post-processed to a steady cyclonic buzz, and that quivering zoom is carefully utilized to capture moments of gentle absurdity (in one scene, a kindly stranger carries her load, a dog running alongside them bucolically). Also, it recalls the edginess of her location on a cliff-edge and the imperative of gravity (the sky here plummets straight to the sea and her sculptural burden slumps towards horizontality).<br /> Gravity is a key ingredient in Buck’s post-sculptural practice. Of all sculpture’s innovations, the pedestal is the most consistent denial of gravity. Pedestals are the stepping-stones of art history’s gods, nymphs and heroes. For thousands of years they have kept the toes of those immortals above our torrid world. Buck’s Age of Bronze tips a nod to gravity’s manifold meanings: the tired slump and our mortal end. These makeshift looking plinths are based on those created especially for Auguste Rodin’s sculptures at the Victoria and Albert Museum in London. The Museum’s plinths are shallow affairs, giving the works some sort of ceremony, but allowing proximity and intimacy with the viewer. By contrast, Buck’s plinths are not entirely well behaved objects, being constructed awkwardly from sheets of cast bronze that have been welded together, or rendered in cardboard – that most unmonumental of materials.<br /> <br /> Buck’s works forever threaten to fall over in front of us, on us, or after we have left the gallery. The challenge is to feel relaxed about the mutability of such objects. After all, should the edifice collapse, we could simply learn to appreciate it anew – sit on its newly horizontal bulk or pick it up and trudge onwards, like the protagonist in Interlude. This contrariness is evident too in another, hidden aspect of Age of Bronze: Buck assigns as much effort and meaning to the residues of the casting process on its inner surface as to the welding marks on its outside. The object’s potentiality sticks in the mind like a vague threat, or a rumour of things yet to come.</p> Fri, 11 May 2012 02:16:04 +0000 - MICA - Maryland Institute College of Art - June 1st, 2012 - June 20th, 2012 <h4 style="font-size: 1em; display: inline ! important;"><strong><em>Fox Building: Decker and Meyerhoff Galleries</em></strong></h4> <p><strong><em><br /></em></strong></p> <p>For the first time in more than 10 years, MICA will present works by its talented staff. Organized by MICA's Staff Enrichment Council in partnership with the MICA Alumni Association and the Department of Exhibitions, the exhibition will be juried by Mount Royal School of Art alumnus and chairman of the MICA Alumni Council James Rieck '87 '03. </p> Thu, 19 Apr 2012 02:36:44 +0000 SIROUS NAMAZI - Galerie Nordenhake - May 11th, 2012 - June 21st, 2012 <p>Galerie Nordenhake presents Sirous Namazi’s third solo exhibition at the gallery in Stockholm. For this exhibition Namazi extrapolates on the themes he has been addressing throughout his practice: social structures and patterns, architecture, consumption and detritus. In two major new works he focuses on the urban landscape in the context of instability and failure.</p> <p><i>Leaning Horizontal</i> (2012) comprises a supermarket shelving system full of products. The sculpture is a Ready-made, though here it leans against the gallery wall at a 45-degree angle. Through this act he distorts our understanding of the work and renders it uncanny. The sculpture brings up issues around consumption, commerce, exploitation, existence and security. The sculpture leans against the wall like a painting – object becomes image.</p> <p><i>Untitled</i> (2012) is a sculpture in which two walls meet at their tip and slowly rub away at each other. The construction of the wall and the mechanism that moves it are visible in a display of order that contrasts with the relentless movement and destructive action of the walls. The slow, abrasive movement of the walls is more human than mechanical: walls, room, home, as body, near collapse.</p> <p><i>My interest has been mainly to create and maintain discussion, to test and to use art as a stage where impulses can meet and affect each other. My work is based upon a kind of staging of situations in which the objects can communicate in a variety of ways and on different levels. Issues around belonging, consumption, chaos and order interest me. The artistic process has as much to with demolishing and undermining as it does with creating and building. Many of my works use everyday objects. These Ready-mades originate in the urban landscape but become sculptures when presented in new contexts, namely galleries and institutions. I attempt to open up for new interpretations and discussions that affect contemporary issues.</i></p> <p>Sirous Namazi 2012</p> <p>Sirous Namazi was born in 1970 in Kerman, Iran. Namazi completed his MFA at the Malmö Art Academy, Sweden, in 1998. In 2007 Namazi represented Sweden (with Jakob Dahlgren) at the 52nd Venice Biennial in the Nordic Pavilion. Namazi is a recipient of the 2012 Edstrandska Award. He will participate in the inaugural exhibition, <i>Place</i>, at Artipelag, Värmdö. Recent solo exhibitions include Fundació Joan Miró (Espai 13), Barcelona, Spain (2010) and Lunds Konsthall (2009). He has received awards from the Ljunggrenska Konstnärspriset in 2003 and the Carnegie Art Award in 2006 (Best Emerging Young Artist). The Carnegie Art Award exhibition toured extensively internationally over three years. Namazi exhibited at Moderna Museet, Stockholm solo in 2003 and group in 2006.</p> <p></p> <p>Galerie Nordenhake presenterar Sirous Namazis tredje solo utställning på galleriet i Stockholm. Inför den här utställningen har Namazi vidareutvecklat de teman som han genomgående arbetat med, såsom sociala strukturer och mönster, arkitektur och konsumtions avfall. I det två centrala verken fokuserar han på det urbana samhället i ett sammanhang av instabilitet och misslyckande.<br />  <br /> <i>Leaning horizontal</i> (2012) består av ett hyllsystem fullt med varor som man vanligtvis ser i livsmedels butiker. Skulpturen är en readymade, fast här lutar hyllsystemet 45 grader mot väggen. På så vis förvrängs vår uppfattning av objekten på ett besynnerligt sätt<i>. </i>Verket belyser frågor kring konsumtion, kommers, exploatering, existens och trygghet. Skulpturen lutar mot väggen som en målning – objekt blir bild.<br />  <br /> <i>Untitled</i> (2012) är en skulptur som består av två väggar som möts i ena ändan och sakta rör sig och skaver mot varandra. Väggarnas konstruktion är öppet redovisade likaså motorerna och tekniken som får väggarna i rörelse. Denna ärliga öppenhet står i kontrast till väggarnas obevekliga skavande. Rörelsen blir levande - väggar, rummet, hemmet, som en kropp nära kollaps.<br />  <br /> <i>Mitt intresse har till stor del varit att skapa och upprätthålla en diskussion, att testa och att använda konsten som en plats där olika impulser tillåts krocka och påverka varandra. Mina arbeten bygger på ett slags iscensättningar av situationer där objekten kan kommunicera på olika sätt och på olika nivåer. Frågor kring tillhörighet, konsumtion, kaos och ordning intresserar mig. Den konstnärliga processen handlar lika mycket om att rasera och underminera som att konstruera och bygga upp. I många av mina verk har jag använt vardagliga föremål. Dessa föremål eller readymades har sitt ursprung i det urbana samhället, men när presenterade i ett nytt sammanhang, som gallerier och konsthallar, blir de skulpturer. Min intention har varit att öppna upp för nya tolkningar och diskussioner som berör samtida frågor.</i></p> <p>Sirous Namazi 2012<br /> <br /> Sirous Namazi är född 1970 i Kerman, Iran. Namazi tog sin examen vid  Malmö Konsthögskola 1998. På den 52:a Venedigbiennalen, 2007 representerade Namazi Sverige i den nordiska paviljongen (tillsammans med Jakob Dahlgren). Han är mottagaren av 2012 års Edstrandska Pris. Han deltar i invigningsuttställning, <i>Plats</i>, på Artipelag, Värmdö. Seperat utställningar inkluderar Fundació Joan Miró, (Espai 13). Barcelona, Spanien (2010) och Lunds Konsthall (2009). Namazi har mottagit ett flertal priser såsom det Ljunggrenska Konstnärspriset 2003 och Carnegie Art Award 2006 (för framträdande ung konstnär). Carnegie Art Awards vandringsutställning turnerade internationellt i tre år. Namazi har haft en separatutställning på Moderna Museet 2003 och deltagit i en grupputställning 2006.</p> Thu, 03 May 2012 22:20:50 +0000 Ryan Pierce - Elizabeth Leach Gallery - May 3rd, 2012 - June 23rd, 2012 <p>New World Atlas of Weeds and Rags, Ryan Pierce’s second solo exhibition with Elizabeth Leach Gallery, features paintings depicting the resilience of the natural world. The works are inspired by the role of weeds and the impact of humans on an Earth reeling from climate change, mass extinction, and environmental collapse. The images are a meditation on our perception of weeds as unwanted, harmful invaders that bring imbalance to an ecosystem, rather than a symptom of existing trauma.  Pierce’s celebration of weeds questions conventional nativist conceptions of landscape, wondering instead at the possible role of weeds as a restorative function of a wounded planet.<br /> <br /> For this series, the artist has borrowed the visual tropes of botanical illustration, recalling a time when painting and drawing were trusted modes of seeking, recording, and conveying new knowledge. The works are populated with moths, snakes, and locusts — symbols of the deplored but ecologically crucial components of nature. Alongside the paintings are slender pedestals holding bowls of “Roundup Ready” weed seed. Viewers are invited to take the seeds, which are from common and robust Pacific Northwest native plants that have been genetically selected to resist chemical pesticides: a provocation to destabilize and hasten the demise of industrial agriculture.<br /> <br /> Pierce received a MFA in Painting from California College of the Arts in 2007 and a BFA in Drawing from Oregon College of Art &amp; Craft in 2003. His work has been exhibited internationally, including the CUE Foundation (New York, NY), Hudson Valley Center for Contemporary Art (Peeskill, NY), Roberts and Tilton Gallery (Los Angeles, CA), Lisa Dent Gallery (San Francisco, CA), and most recently at Babel Gallery in Trondheim, Norway. He has received recognition from Art in America, Art Papers, Art Week, and the Oregonian and grants from The Joan Mitchell Foundation, San Francisco Foundation, and the Regional Arts and Culture Council. He is the recipient of a 2012 Individual Artist Fellowship from the Oregon Arts Commission. Pierce is the co-founder of Signal Fire, an organization that provides wilderness residencies and retreats to artists from all disciplines.<br /> </p> Fri, 13 Apr 2012 06:06:50 +0000 Deborah Horrell - Elizabeth Leach Gallery - May 3rd, 2012 - June 23rd, 2012 <p>For several decades, birds have appeared in the art of Deborah Horrell as a paradigm of beauty, flight and escape.  Through the investigation of avian forms and her chosen medium of glass, Horrell distills the human experience of life and death, elation and sorrow, fragility and strength: each duality a balance in the dance of life.<br /> <br /> In the three stunning installations presented in Celebrating Beauty, Horrell examines the delicacy of life, confronts its end, celebrates its strength and beauty, and honors its richness.  In the piece entitled Celebrating Beauty Horrell has created intricate enamel paintings on teardrop and feather shaped elements of glass.  The glass is fabricated through a pâte de verre process in which the particles used to make the forms are still evident and produce an elegant and lacy filigree along its edges.  In contrast, Celebrating Beauty: the other side features sensual cast glass forms of birds’ heads. Joan’s Cloak is a poignant momento mori to a dear friend who is no longer physically present: larger than life wings formed of pâte de verre feathers rendered in brilliant colors.<br /> <br /> Deborah Horrell received her MFA from the University of Washington. After working as a ceramist<br /> for many years, Horrell participated in the Pilchuck Glass School's visiting artist program in 1994. A<br /> residency at the Bullseye Factory followed in 1996, permanently changing the trajectory of her career. The artist has shown her work, both ceramic and glass, in museums and galleries throughout the country, including the Toledo Museum of Art (Toledo, OH), the Kentucky Museum of Art and Craft (Louisville, KY), Racine Art Museum (Racine, WI), Museum of American Glass (Wheaton Village, NJ), and the Portland Art Museum (Portland, OR).  Her work is in included in many prominent public and private collections including the Portland Art Museum (Portland, OR), the Microsoft Art Collection (Seattle, WA), the Jordan Schnitzer Collection (Portland, OR), the Wexner Center for the Arts (Columbus, OH), and the Tucson Art Museum (Tuscon, AZ).</p> Sat, 14 Apr 2012 21:59:46 +0000 Wolfgang Müller - Holger * Priess Galerie - May 11th, 2012 - June 23rd, 2012 <p>Objekte, Zeichnungen, Klänge, Daumenkinos und ähnliches</p> Thu, 03 May 2012 01:05:15 +0000 Michaël Matthys - Les Brasseurs Art Contemporain - May 12th, 2012 - June 23rd, 2012 <p>Ce jeune artiste a fait ses premiers pas dans l’univers de la B.D avant d’être happé par les arts plastiques, mais  ces distinctions sont-elles vraiment importantes ?<br />Car, dans l’œuvre de Michael Matthys , tout renvoie au dessin et au récit.<br />Par le fusain, la mine de plomb, le sang animal  recueilli dans les abattoirs, en rouge et en noir, naissent mille histoires qui s’enracinent le long de la route du fer et du charbon, là-bas, près de Charleroi où il naquit en 1972.<br />Ses peintures, violentes et sauvages, parlent du combat des hommes de l’acier et du feu, de leurs espoirs et des désillusions qui suivirent. Ses livres ont pour héros les centaines d’anonymes, oubliés, niés et sacrifiés sur l’autel du profit.<br />« Moloch » en 2003, « La ville rouge » et « Je suis un ange » en 2009 ont la force d’un manifeste pictural dédié à la mémoire collective d’une région qu’on a voulu briser et que Michael Matthys s’emploie lui à rêver donc à relever.</p> Thu, 09 Feb 2012 03:43:36 +0000 Bo Joseph - McClain Gallery - May 12th, 2012 - June 23rd, 2012 <p>In his first solo show at McClain Gallery, New York-based artist <strong>Bo Joseph</strong> presents a group of recent work ranging from large scale tonal drawings to bold high-contrast paintings.  Out of the dense organic linearity of Joseph's drawings rise ambitious abstractions and a sophisticated body of work that deftly straddles the line between the evocative and cryptic.  Joseph will be in town for an artist reception, open to the public, on May 12, 2 - 4 PM.  The exhibition will be on view May 12 - June 23, 2012.</p> <p>Joseph works from a myriad of printed sources ranging from auction catalogues to books - seeking out objects, such as masks or ceremonial items from various cultures. Creating stencils out of these found elemental forms and abstractions, Joseph's translations retain their dynamism and relevance outside their original contexts.  The symbols of people, places and ideas that no longer exist, and in which societies invest meaning - whether carved ancestor figures in an extinct African culture, or paving stones set in streets across Berlin where the Wall once stood - provide the strongest visual references for Joseph.  By transcribing and relocating the silhouettes of such reproductions outside of their found context, and placing them within a richly layered field of his own gestural mark-making, Joseph creates abstract compositions that are inherent manifestations of archetypes and cultural appropriation, forming a patchwork of commonalities among disparate cultures.   </p> <p>Beyond their symbolic leanings, each work has a story to tell about how they were made. Whether working on a fragmentary, used drop cloth or on joined sheets of paper, Joseph exploits the painting support like yet another intrinsically charged, found object.  Made with a combination of acrylic pens and paint, tempera and oil pastel and using deconstructive techniques like sanding, masking and rinsing, his work challenges the very nature and transience of both material and subject: testing each to see what content and substance will resonate.  Employing a working method that has been called "uncollage" he often uses oil pastel as a resist and washes the paper with water-based acrylic to create layers of negative space. </p> <p>Using stencils made from his found imagery, he creates the negative white space on his larger paintings via layer upon layer of white paint.  In smaller works on paper, brightly colored birds unfold like origami to play against a chalky canvas; in large scale drawings that measure up to 5 x 7 feet, hints of an Empire bubble to the surface: from a tribal mask and primitive tools, to spoils of war and lost civilizations, Joseph weaves relics of history and incongruent traditions together with aplomb.    </p> <p> </p> <p><strong>About Bo Joseph:</strong></p> <p>Born in California in 1969, Joseph lives and works in New York City.  He studied at the Rhode Island School of Design and has been showing his work since the early 1990s.  Joseph has received awards and honors such as the Basil H. Alkazzi Award, and fellowships in painting from Provincetown Fine Arts Work Center and the Rhode Island State Council on the Arts.  He has been a visiting artist/lecturer at the University of Massachusetts in Dartmouth, MA and the Rhode Island School of Design where he also taught drawing.</p> <p>His work can be found in museums nationally and abroad including Museum of Fine Arts, Houston; the Kemper Museum of Contemporary Art, Kansas City, MO; and Guilin Art Museum, China.</p> Sat, 28 Apr 2012 23:54:11 +0000 William Betts - McClain Gallery - May 12th, 2012 - June 23rd, 2012 <p>McClain Gallery presents a solo exhibition of new work by Houston-based artist <strong>William Betts</strong> in the back two bays. In <em>Recognition</em>, Betts continues to explore the "elasticity" of the digital image through his <em>Surveillance</em> series using frozen screenshots from video surveillance recordings as source materials for paintings.  Here, he focuses on anonymous groups of people at a mall or on the street, and also zeroes in on individuals - entering the intimate realm of portraiture with a unique detachment.</p> <p>Using a software-controlled process, the artist fastidiously oversees the application of thousands of acrylic dots to a single canvas and in this distinctive application process alludes to the very nature of photography, printmaking and painting at once.  The play with the concept of pixelation also yields a grainy impression much like that of a surveillance TV screen. </p> <p>What emerges from viewing these densely complex works is an uneasy voyeurism; though the scenes suggest no obvious danger, they still evoke a decidedly paranoid tone. As a viewer, there is an eerie sense of being the watcher and also the distinct potential of being watched: a strange, but relevant part of contemporary technological life. The result is a body of work that challenges as well as invites. </p> <p><em>Instead of condensing concrete information into retina-challenging abstract compositions, he reproduced imagery captured on surveillance cameras and traffic cams using dots that mimic the pixilated nature of his source images. Although less mysterious than the artist's abstract compositions, they have one thing in common with the other series: an interest in what is ordinarily unseen, elements that Betts draws out for public consumption, be it the colorful reality and composition of a pixel or, in this case, a kind of surveillance imagery that is not commonly available. Betts avoids overt sensationalism-we don't witness crimes or accidents. But the very mundanity of the scenes serves as a reminder that the promise of security offered by surveillance technology also comes at the price of privacy.</em> </p> <p><em>excerpt from: WILLIAM BETTS by Claudia Schmukli, catalog for 2008 Houston Area Show, Blaffer Gallery, University of Houston</em></p> <p> </p> <p><strong>About William Betts:</strong></p> <p>Houston artist William Betts received his B.A. in studio art from Arizona State University.  He has been a finalist for the Hunting Prize three times, and has recently been awarded the 2012 annual prize from <em>New American Paintings</em>.  In 2010, Betts received an individual artist grant from Houston Arts Alliance.  His work has been shown nationwide, as well as internationally in London and in Canada and will be on view in the upcoming exhibition <em>Rasterfahndung</em> (Tracing the Grid) at the Kunstmuseum Stuttgart from May 5, 2012 through October 7, 2012.</p> Sat, 28 Apr 2012 23:58:05 +0000 RM De Leon, Felix Bacolor, Mariano Ching & Trek Valdizno - Silverlens Manila - May 24th, 2012 - June 23rd, 2012 <p>“Pretty on the Inside” at Silverlens, featuring works by Felix Bacolor, Mariano Ching, RM De Leon, and Trek Valdizno is an exhibit that plays with the material components of readymade objects and found signs to translate their immanent potential into new visions of beauty and significance.  The work of RM De Leon presents a playful abstraction using elements culled from popculture to produce collaged compositions full of wit and visual pleasure.  De Leon's mastery is allowing things to mutate without forcing the picture to dictate predictability, in order to produce hybrids that blur fantasy and reality.  Mariano Ching offers his viewers a taste of the grotesque in his work, which is made more peculiar by a deft hand towards impeccable detail, and a storytelling whose quirky imagination allows the viewer the suspension of disbelief as he finds unfathomable discoveries from things normal to the eye.  His works begins with the world of the familiar, initially undetectable of future things to come, then subsequently connecting these fibers of worldly minutiae into fantastic images of tomorrow.  Trek Valdizno has a curiosity with materials, which he breaks down into abstract components for his paintings.  He uses the material adeptly like familiar language, easy for him to deconstruct and reform into something new.  From such process older meanings are rendered null and void, only producing newer symbols to work with following an enigmatic language by design.  Felix Bacolor shares an equal inventiveness with medium details.  With his found objects he allows their innate structure and symbolism to free associate towards new beginnings.  His joy over the creative process brings out the sculptor in him to put things into imaginative blends and folds, making new hybrids of aesthetic recognition.</p> Fri, 11 May 2012 02:44:33 +0000 Dina Gadia - Silverlens Manila - May 24th, 2012 - June 23rd, 2012 <p>Fast and cheap and out of control: there’s a catch-all that nails the quintessential ethos of pulp. You could nail the quintessence of Dina Gadia’s new work with it, too. The thing it slightly misses, on both occasions, is the vibrancy. <br /><br />Pulp is the base matter of Primal Salvo In Vibracolor, Dina Gadia’s new show of collages and paintings and installations, and its fundamental process is the mashup, that willfully mismatched juxtaposition of art and copy, specifically the taking of dated, banal images from old encyclopedias and lifestyle magazines, which are in and of themselves, signifiers of both obsolescence and also of nostalgia, and using garish and bombastic pulp titles, some taken verbatim and some mashed up, as commentary, as counterpoint, as annotation, as re-contextualization, as punch line. <br /><br />The tawdriness is as much an aesthetic directive as it is a function of osmosis, as Gadia seems fueled by her desire to revel in the relative rawness and ugliness of her chosen subjects, aiming as she is for that boiling point in pulp where “bad” bubbles over into “good”. In many ways, she’s trying to replicate her own pleasures with it and in many ways, she has. Primal Salvo In Vibracolor is, like prime pulp, fast and cheap and out of control: its resonances may be deep-seated but its delights are immediate and for what it’s worth, it’s funny as all hell.</p> Fri, 11 May 2012 02:47:28 +0000 Johann Espiritu - Silverlens Manila - May 24th, 2012 - June 23rd, 2012 <p>If the eyes are the windows to the soul, then what does the rest of our body say about us? <br /><br />In his latest photo exhibition titled Busted, Johann Espiritu affirms that there is certainly more to revealing a person’s identity than through the eyes alone and explores what happens when anonymity is thrust upon someone—the same way popular media obscures a person’s identity by covering the eyes with a black bar. When these windows to the soul are shut, how much of the person do we really see and how much of it is real? <br /><br />Busted examines the hidden dimensions of anonymity and the imagined identity that arises in its place in the absence of truth. The show reveals how personal biases, prejudices, and predispositions can shape our perception, particularly on people, and how much of the stories we choose tell ourselves about others are mere inferences born within the limited sphere of our own individual experiences.<br /><br />The collection brilliantly plays on the Gestalt effect—how the human brain is able to perceive images as whole despite seeing an incomplete picture, as long as enough elements are present for the eye to complete the figure on its own. Each piece cleverly demonstrates how we readily make assumptions on people based on visual cues, oftentimes even without seeing their entirety.<br /><br />Inspired by people watching, Espiritu delicately presents anonymity in this show as a passive relationship between the observer and the observed, where no profound interaction is made and yet emotional connection is somehow achieved. <br /><br />“I think everyone loves to watch people. The secret to good people watching is to never make eye contact,” Espiritu explains. “And in these fleeting moments, our mind always finds the need to complete the picture and make up elaborate stories based on the little that we encounter,” he adds.  <br /><br />Most people featured in the collection are complete strangers to Espiritu. He approached each one of the and asked their permission to take their photo, and, interestingly, only one refused out of all of them. Busted features each and every subject that Espiritu had asked to photograph—all 99 of them—leaving no one on the cutting room floor. “They are all part of the show, no one was edited out. It’s part of the whole randomness of the people I watched,” Espiritu reveals.  <br /><br />Johann Espiritu is a Manila-based photographer and legal professional. He is also a professor of law at the Ateneo de Manila and a regular lecturer on photography at the Silverlens Gallery.</p> Fri, 11 May 2012 02:50:10 +0000 Group Show - Centro Andaluz de Arte Contemporáneo - April 19th, 2012 - June 24th, 2012 <p>Taking its title from the book by Walter D. Mignolo, <i>The Idea of Latin America</i>is an exhibition which sets out to inquire into a geographical and mental concept based on Europe's colonial expansion, in accordance with the ideas rehearsed in that essay. The main reason for organizing this show has to do with the place from which we conceived the exhibition project, from both the Monastery of the Cartuja-where Christopher Columbus was buried and where he prepared his second voyage to America-and from Seville, a city fundamental to the beginnings of European colonialism in the early modern period and which established strong links of commercial and cultural domination with that "New World".</p> <p class="texto01sempq" align="left">The voyage as a form of union and knowledge, the precolonial past revisited and reinterpreted, reactions to more recent colonialisms from the North, and the conception of the whole continent and its partition in two as the result of different European imperial legacies are some of the motivations that the artists included in this project have come up with.</p> <p>If Mignolo attempts "to rewrite history from another kind of logic, another language, another intellectual framework," this exhibition tries to chart the progress of some of the artists from different countries and generations who from the 1970s until now have had preoccupations akin to those of the essayist. And so the map as the representation of a territory both mental and political, economic and emotional, is the starting point of a show that, seen from the other side, also means "understanding how the Western world was born and how the modern world order was founded," since the colonial wound indicates the absences with which history has been narrated.</p> Sun, 29 Apr 2012 00:47:38 +0000 Fiona Tan - Centro Andaluz de Arte Contemporáneo - March 22nd, 2012 - June 24th, 2012 <p>Fiona Tan's work explores memory, time and history. She initially became known for a body of work that relied on the use of archival films, questioning the observer and the observed and challenging the assumptions of the colonial past. Recent works concentrate on how memory is connected to images in our mind and on how inaccurate and yet creative memory can be.</p> <p class="texto01sempq" align="left">Throughout her work Tan shows a continuing interest in the motivations of the traveller or explorer. The question how we represent ourselves and what mechanisms determine how we interpret the representation of others, are repeatedly being investigated, revealing what is behind and also beyond the confines of the image. Both poetic and subversive, Tan's work is characterized by great attention to detail, accomplished editing of sound, word and image and the careful use of the sculptural space and architecture in which a piece is presented.</p> <p class="texto01sempq" align="left"><i> Point of Departure</i> is built around three major video installations:<i> A Lapse of Memory</i>, <i>News from the Near Future</i> and <i>Thin Cities</i>. The recurring theme is the idea of making a journey-as a traveler or as an immigrant-in time or in space. The exhibition looks forward as well as back, where, within a context like that of Seville's La Cartuja, the weight of history gives this project a special meaning. It was from here that Christopher Columbus prepared his second voyage to America, and subsequently the imperialist culture of Europe asserted itself on a grand scale. Moreover, like any port, Seville has been a constant point of departure throughout its history.</p> <p class="texto01sempq" align="left">Fiona Tan lives and works in Amsterdam. She has participated in many international exhibitions including documenta XI in Kassel and the Biennales of São Paulo, Istanbul, Sydney and Yokohama. In 2009 Tan represented The Netherlands at the Venice Biennale.</p> Sun, 29 Apr 2012 00:50:46 +0000 ALBERTO CARNEIRO - Centro de Arte Contemporânea Graça Morais - April 14th, 2012 - June 24th, 2012 <p style="margin: 0cm 0cm 10pt; text-align: justify;">A escultura nasce nesse momento em que o ser e o estar da obra se unificam na matéria: ser de tempo, estar de espaço nas prefigurações da matéria que o gesto transforma. Um corpo habita outro corpo e tudo acontece. Mas, a criação poética não se pode explicar: ela é um enigma, sempre uma vertigem. Sei apenas que o meu corpo é o corpo árvore, o corpo rocha, o corpo rio, o corpo terra transfigurado em obra. Transporto significados e dou-lhes múltiplos sentidos no suceder das metamorfoses. Aquilo que me parece nunca é: toco nas coisas e elas escapam-me no preciso momento em que as nomeio. Sei apenas que estas esculturas têm a ver com o meu corpo, com tudo o que ele sabe do universo, física, mental e subtilmente. (…)</p> <p style="margin: 0cm 0cm 10pt; text-align: justify;">Pegar na montanha, na árvore, moldá-las em matéria arte e inscrever nela os gestos da memória do corpo sobre a terra – todos os caminhos, todas as viagens, todas as mudanças, todos os saberes, todas as inquietações… Se imagino sobre as revelações das matérias da terra, logo me habitam miríades de sensações: as que me antecederam no nascimento, as que vivi desde o primeiro gesto, as que refleti sobre os sentidos da vida e da existência e que tomaram formas de escultura… Evoco memórias de mutações de sucessivas vivências com a matéria, tempos de anamneses transformados agora em tempos de criação, como consciência de identidade da forma/ação do corpo. Um fruto, por exemplo, com o seu cheiro/sabor, com a sua macieza, a sua cor, a sua forma particular, plenitude de sensações e de pensamento sobre elas. Entendê-lo assim e, para além das articulações lógicas, encontrar a árvore já morta dos frutos naturais e transformá-la outra vez nos frutos da sua consubstanciação, como totalidade de sensações temporais do corpo olfativo, gustativo, táctil, visual, auditivo, em todos os movimentos e elevações do corpo subtil.</p> <p style="margin: 0cm 0cm 10pt; text-align: right;" align="right">Alberto Carneiro</p> Mon, 09 Apr 2012 01:28:41 +0000 Bruce Conner, Rodney Graham, Miranda July, Martin Kersels - MCA DENVER - March 30th, 2012 - June 24th, 2012 <p>Co-curated by Steven Wolf and Adam Lerner, this two-part exhibition will debut a portfolio of punk rock photos from 1977 by legendary artist Bruce Conner alongside a group exhibition that explores punk rock’s historical and ongoing relationship to visual art.<br /><br />The exhibition will feature a selection of Bruce Conner works from different stages of his career. It will also include videos of punk rock and related performance art, an installation of flyers from the Goteblud archive, documentation of primal scream therapy and art works by Rodney Graham, Martin Kersels and Miranda July and others.<br /><br />The exhibition coincides with a panel at the annual meeting of the College Art Association in Los Angeles in February 2012.  The panel will bring together scholars and artists to explore the themes addressed in the exhibition.<br /><br />Steven Wolf is an independent curator, writer and gallerist based in San Francisco. Adam Lerner is the Director and Chief Animator of the Museum of Contemporary Art Denver.<br /><br />The exhibition at MCA Denver is sponsored in part by MCA Denver’s Director’s Vision Society members and the Andy Warhol Foundation for the Visual Arts. We would like to further thank the citizens of the Scientific and Cultural Facilities District.</p> Sat, 11 Feb 2012 01:16:18 +0000