ArtSlant - Recently added en-us 40 Adolf Frohner - ESSL MUSEUM - September 5th - January 11th, 2015 <p>The Essl Museum is pleased to present the first retrospective of Adolf Frohner&rsquo;s work in more than ten years at the occasion of his anniversary.<br />Frohner&rsquo;s career started out in the context of Vienna Actionism, which provided a seminal impulse for his further artistic development. Experiments with classical modernism and the search for a new definition of what constituted a work of art marked Frohner&rsquo;s creative output between 1961 and 1963. The use of poor, found materials such as scrap metal, trash or old mattresses and the uninhibited crossing of genre borders have remained typical elements of his oeuvre.<br /><br /><strong class="avtext">A critical view of humanity and the world</strong><br />Although Frohner increasingly devoted himself to painting, drawing and sculpture in the early 1960s, it can be said in retrospective that combining different media and expanding their boundaries was just as characteristic of his creative endeavours as the exploration of what constitutes human existence. This innovative spirit and critical view of humanity and the world ensures Adolf Frohner a place among Austria&rsquo;s most significant artists after 1945. With seminal works from all periods of his career, this solo exhibition offers deep insights into Frohner&rsquo;s five decades of artistic work, presenting series of graphic art, narrative monumental canvases and experimental objects.<br /><br /><strong class="avtext">A wide range</strong>&nbsp;<strong class="avtext">of works</strong><br />Starting at the very outset of his career, the show covers a wide range, including Actionist objects and abstract graphic art from the 1960s or Frohner&rsquo;s portraits of women from the 1970s on canvas, paper and in the form of collages, such as "Gib mir den Schuh Eva (Adam und Eva)". Central paintings from the 1980s and 90s and the triptych "Das Leben, der Tod, ich - oder Sokrates", as well as key examples of his sculptural work, such as "Denkmal f&uuml;r Alberto Giacometti", complete the retrospective look at his oeuvre.</p> Sat, 23 Aug 2014 00:17:45 +0000 Imhathai Suwatthanasilp - Numthong Gallery at Aree - September 13th - October 11th <p>Numthong Gallery proudly presents &ldquo;Rebirth&rdquo;, exhibition by Imhathai Suwatthanasilp, one of the famous female artist that is now being interested incessantly by not only people who are a part of the art circle but also people who are not in the circle. Imhathai is known as the artist who proposes her artwork by using her hairs to crochet into various forms, yet she also has a very interesting installation technique to present her artworks ingeniously. The artist connects the meaning of materials by using hairs and synthetic fibers to crochet around the objects allowing the artworks to communicate the relationships between family members, marriage, and procreation.</p> <p>The story of &ldquo;Rebirth&rdquo; is the name and also the concept of this exhibition. The artist expresses her idea in regards to the word&nbsp;&ldquo;ออกเรือน&rdquo;, which is the Thai title of this exhibition that means to move out of the house due to the necessity besides marriage, which is the meaning in Thai context. Where there is a loss, there is a beginning. This is again the reflection of her life story are brought to present in this important series of artwork.</p> Sat, 23 Aug 2014 00:03:46 +0000 Gwen Raverat - Kettle’s Yard - September 13th - November 23rd <p>In Helen Ede&rsquo;s bedroom, in the house at Kettle&rsquo;s Yard, a series of wood engravings by Gwen Raverat (1885-1957) are on display. Gwen Raverat is already represented in the house in the form of a portrait by Elisabeth Vellacott. Most famous as the author of &lsquo;Period Piece &ndash; a Cambridge Childhood&rsquo; Raverat also played a significant part in the wood engraving revival in Britain at the beginning of the 20th Century.</p> Fri, 22 Aug 2014 23:57:58 +0000 Karen Guthrie, Nina Pope - Kettle’s Yard - September 13th - November 23rd <p><strong>Screening times:&nbsp;</strong><strong><br /></strong><strong>Jaywick Escapes (48 mins, Cert. 15): 12pm,&nbsp;<br />Bata-ville: We Are Not Afraid of the Future (93 mins): 1pm,&nbsp;<br />Living with the Tudors (83 mins): 3pm</strong></p> <p>&nbsp;</p> <p>A rare opportunity to enjoy the collected films and projects by artist duo Karen Guthrie &amp; Nina Pope, in this their first gallery exhibition since they won the Northern Art Prize in 2008.</p> <p>Working collaboratively under the name Somewhere since the mid 90s, their participatory projects range from interactive online worlds to &ndash; in summer 2014 &ndash; a vast community-built &lsquo;model village&rsquo; made from cob (an ancient earth building technique), a commission for the University of Cambridge&rsquo;s North West Cambridge Development. Visitors to the exhibition will encounter a diversity of work from the analogue to the digital &ndash; from a cob-based installation to earlier examples of the artists&rsquo; ground-breaking digital and video works.</p> <p>Their acclaimed documentary films shine a light on often marginalised or unknown communities ranging from historical re-enactors (Living with the Tudors, 2007, based at Kentwell Hall near Cambridge) to seaside fugitives (Jaywick Escapes, 2012). Of their first film Bata-ville: We Are Not Afraid of the Future (2005) critic Andrew O&rsquo;Hehir said &ldquo;It&rsquo;s drily funny, sad, deeply weird and British to the very core of its being.&rdquo;</p> <p>This exhibition follows the artists from their early video installations and websites to later large-scale sculptural work and feature-length films, screened daily in a gallery cinema.</p> Fri, 22 Aug 2014 23:54:50 +0000 Vicken Parsons - Kettle’s Yard - March 3rd - August 31st <p>Following her recent Kettle's Yard exhibition in St. Peter's Church, we have invited Vicken Parsons to display a number of her paintings and sculptures among the permanent collection in the house. Look out for them from March onwards. Born in 1957, Parsons studied at the Slade School of Fine Art. Her most recent exhibitions were held at the Alan Christea Gallery in London and at Christine Koenig in Vienna. The artist lives and works in London.</p> Fri, 22 Aug 2014 23:50:55 +0000 Heather Phillipson - Dundee Contemporary Arts - September 6th - November 9th <p class="item-shareable">To coincide with Discovery Film Festival, DCA will show a new exhibition by Heather Phillipson,&nbsp;sub-fusc love-feast, in autumn 2014. Phillipson (born London, 1978) works across video, sculpture, music, text and live events. Her work has been presented at major venues including&nbsp;Tate Britain,&nbsp;BALTIC Centre for Contemporary Art, Serpentine Gallery, Whitechapel Gallery, Palais de Tokyo and Biennial of Moving Images, Geneva.</p> <p>Phillipson is also an award-winning poet and was a LUX Associate Artist in 2012.</p> Fri, 22 Aug 2014 23:39:22 +0000 Group Show - McNay Art Museum - September 3rd - January 4th, 2015 <p>Organized by the National Gallery of Art, and drawn especially from the collection of Ailsa Mellon Bruce and her brother, Paul Mellon, this exhibition showcases the similar aesthetic goals shared by nineteenth-century French avant-garde painters in approximately 70 Impressionist and Post-impressionist portraits, landscapes, interiors and still lifes. The plein-air practices of Impressionist precursors Eugene Boudin and Johan Barthold Jongkind, inspired brightly colored, luminous works by featured artists Claude Monet, Pierre-Auguste Renoir, Camille Pissarro, and Alfred Sisley. Intimate Impressions also features paintings that are personal in subject matter, including fascinating self-portraits by Edgar Degas, Henri Fantin-Latour, Paul Gauguin, and Edouard Vuillard, as well as works depicting family members or friends and views of the artist&rsquo;s favorite spaces. A catalogue accompanies this exhibition.</p> <p>&nbsp;</p> Fri, 22 Aug 2014 23:30:08 +0000 Helen Kocis Edwards, Andrej Kocis, Rebecca Young - No Vacancy Fed Square: Project Space - August 31st 2:30 PM - 3:00 PM <p style="text-align: justify;">What happens when the first and last sentences of favourite books are placed together and explored through drawing, printmaking, painting and animation?&nbsp;Does the last line meet the path from which the story began or are new meanings and ways of seeing discovered? Helen Kocis Edwards, Andrej Kocis and Rebecca Young invite the public via Facebook and artist run sessions at No Vacancy Gallery during MWF 2014 to contribute a title, author and the first and last line to create another chapter in the journey of their much loved book.</p> <p style="text-align: justify;">Helen Kocis Edwards&nbsp;responds to the selection with text and ink and water colour. Andrej Kocis responds by through the production of a stop motion film, while Rebecca Young creates an&nbsp;animation that audience members can interact with using an AUUG motion synth controller (<a href="" rel="nofollow nofollow" target="_blank"></a>).</p> <p style="text-align: justify;">This community-authored project, including participants of all ages and demographics, creates the possibility for a broad array of books to be represented. By following a path of ideas, the imagery and concepts held within the lines and the physicality of the pages and text can interact and evolve into a changed existence creating another chapter in the journey of the book.</p> <h3>Artist run sessions</h3> <p>Fridays to Sundays Aug 21 &ndash; 31 &nbsp;|&nbsp;12 noon &ndash; 2pm</p> <p>Come along to an Artist Run Session with the first and last lines of a favourite book. Add these to the installation by writing them on specially prepared book pages.</p> Fri, 22 Aug 2014 17:54:49 +0000 Helen Kocis Edwards, Rebecca Young, Andrej Kocis - No Vacancy Fed Square: Project Space - August 20th - September 7th <p style="text-align: justify;">What happens when the first and last sentences of favourite books are placed together and explored through drawing, printmaking, painting and animation?&nbsp;Does the last line meet the path from which the story began or are new meanings and ways of seeing discovered? Helen Kocis Edwards, Andrej Kocis and Rebecca Young invite the public via Facebook and artist run sessions at No Vacancy Gallery during MWF 2014 to contribute a title, author and the first and last line to create another chapter in the journey of their much loved book.</p> <p style="text-align: justify;">Helen Kocis Edwards&nbsp;responds to the selection with text and ink and water colour. Andrej Kocis responds by through the production of a stop motion film, while Rebecca Young creates an&nbsp;animation that audience members can interact with using an AUUG motion synth controller (<a href="" rel="nofollow nofollow" target="_blank"></a>).</p> <p style="text-align: justify;">This community-authored project, including participants of all ages and demographics, creates the possibility for a broad array of books to be represented. By following a path of ideas, the imagery and concepts held within the lines and the physicality of the pages and text can interact and evolve into a changed existence creating another chapter in the journey of the book.</p> <h3>Artist run sessions</h3> <p>Fridays to Sundays Aug 21 &ndash; 31 &nbsp;|&nbsp;12 noon &ndash; 2pm</p> <p>Come along to an Artist Run Session with the first and last lines of a favourite book. Add these to the installation by writing them on specially prepared book pages.</p> Fri, 22 Aug 2014 17:53:42 +0000 John Clymer, Norman Rockwell, Steven Dohanos, John Falter, George Hughes, J.F. Kernan, J.C. Leyendecker, Norman Price - National Museum of American Illustration - May 22nd - August 31st <p><em>&lsquo;Norman Rockwell and his Contemporaries&rsquo;</em>&nbsp;is a thematic exploration of artworks by Rockwell and his peers: those influenced by Rockwell and those who influenced the Master himself. The most noted artist-illustrators of his time were colleagues, classmates, and friends who lived and worked in nearby artist communities: New Rochelle, Greenwich Village, and Westport. Their common purpose was to portray our nation visually and meet its ever-rising demands for more images as publishing was in a transformative phase, with 4 color printing, and new distribution systems expanding capabilities and reaching wider audiences. The illustrators reflected and molded American society by depicting prototypical themes and mores still held dear today.&nbsp;Featured alongside Rockwell are: John Clymer, Steven Dohanos, John Falter, George Hughes, J.F. Kernan, J.C. Leyendecker, &nbsp;Norman Price, and more.</p> Fri, 22 Aug 2014 08:42:58 +0000 Francis Alÿs - Musée Jenisch Vevey - September 13th - October 5th <p>Du haut d&rsquo;une colline de Kaboul, deux enfants se suivent dans une course effr&eacute;n&eacute;e &agrave; travers la ville. Ils jouent au cerceau avec une bobine de film (bobine se dit reel en anglais), que l&rsquo;un d&eacute;roule et que l&rsquo;autre enroule. Rythm&eacute;e par un m&eacute;lange de bruits m&eacute;talliques et urbains, une ligne se d&eacute;ploie et laisse derri&egrave;re elle la trace invisible du jeu. Mise &agrave; l&rsquo;&eacute;preuve, la pellicule s&rsquo;impr&egrave;gne au fil de sa course de la poussi&egrave;re, de l&rsquo;eau et du feu de la rue.&nbsp;<br /><br />Ce film reprend toutes les th&eacute;matiques de recherche propres &agrave; Francis Al&yuml;s, qui signe ici une oeuvre-cl&eacute; de son parcours. En choisissant un lieu de conflit, l&rsquo;artiste donne &agrave; voir une sc&egrave;ne du quotidien qui, sans d&eacute;but ni fin, nous conduit du r&eacute;el &agrave; la fable. Par la r&eacute;p&eacute;tition d&rsquo;un acte (une roue qui tourne), une ligne est trac&eacute;e - visible et invisible, fronti&egrave;re et dessin -, elle laisse entrevoir un autre Kaboul.&nbsp;<br /><br />Montr&eacute; pour la premi&egrave;re fois en Suisse,&nbsp;<em>REEL-UNREEL</em>&nbsp;a &eacute;t&eacute; r&eacute;alis&eacute; depuis l&rsquo;Afghanistan, en r&eacute;ponse &agrave; une invitation &agrave; participer &agrave; la Documenta (13). La premi&egrave;re projection eut lieu en 2011, dans les ruines du Cinema Behzad de Kaboul, ancien lieu culturel aujourd&rsquo;hui d&eacute;truit par les bombardements. Depuis 2010, Francis Al&yuml;s poursuit ses voyages dans la capitale afghane.<br /><br /><br /><em>Francis Al&yuml;s (Anvers *1959) vit et travaille depuis 1986 &agrave; Mexico City, o&ugrave; il r&eacute;alise sa premi&egrave;re performance en 1989. Architecte de formation, il d&eacute;veloppe son travail &agrave; partir de ses d&eacute;ambulations dans l&rsquo;espace urbain. Ses fl&acirc;neries donnent lieu &agrave; des performances film&eacute;es, mais aussi &agrave; des esquisses, des dessins sur papier calque superpos&eacute;s, des peintures, des collections d&rsquo;objets trouv&eacute;s. Son travail a &eacute;t&eacute; montr&eacute; &agrave; plusieurs reprises au MADRE (Naples 2014), Schaulager (B&acirc;le 2011, 2006), MOMA (New York 2011), &agrave; la Tate Modern, (Londres 2010), au Wiels (Bruxelles 2010) ou au Museo Reina Sofia (Madrid 2002). Francis Al&yuml;s a aussi &eacute;t&eacute; invit&eacute; &agrave; participer &agrave; la Documenta (13) (Kassel 2011) et aux Biennales Sao Paulo (2010, 1998) et de Venise (2007, 2001,1999).</em></p> Fri, 22 Aug 2014 08:17:19 +0000 Markus Raetz - Musée Jenisch Vevey - June 26th - October 5th <p>To celebrate the arrival of summer, Vevey is pleased to welcome Markus Raetz (b. 1941), one of the most fascinating Swiss artists of his generation. Comprising more than 150 works from every period of the Bernese artist&rsquo;s career, the exhibition<em>&nbsp;SEE-SAW</em>&nbsp;invites audiences to explore an exuberant world in which chance is mixed with surprise, as well as a generous measure of poetry.&nbsp;<br /><br />For this first retrospective in the canton of Vaud the Mus&eacute;e Jenisch Vevey, which is home to the cantonal prints collection, is focusing on Markus Raetz&rsquo;s passion for engraving and his insatiable curiosity about the various techniques of printmaking. Dating from his childhood, his earliest prints bear witness to an appetite for multiplying and reversing motifs that is as strong now as it ever was. What appears to be a single image turns out to conceal others; it is transformed and revealed afresh as it is viewed in different ways.<br />Playing on the resonances between printing, sculpture and drawing, the exhibition emphasises the transitions from one medium to the other, demonstrating how the shifts from sketchbook to print and sculpture enhance&nbsp;the work&rsquo;s semantic richness.&nbsp;</p> Fri, 22 Aug 2014 08:12:22 +0000 Hildebrando de Castro - Paulo Darze Galeria de Arte - August 22nd - September 20th <p>Nada mais aflitivo para um artista, que uma folha de papel, ou uma tela, em branco: porque da&iacute; adv&eacute;m sua condi&ccedil;&atilde;o solit&aacute;ria encoberta pelas sombras de uma multid&atilde;o.</p> <p>O exerc&iacute;cio da arte &eacute; uma aventura pela qual o artista vislumbra suas a&ccedil;&otilde;es num campo cheio de escaramu&ccedil;as, onde as in&uacute;meras idea&ccedil;&otilde;es incidem sobre seus atos. O artista &eacute; algu&eacute;m que se oferta &agrave; fragilidade pela sua necessidade de absor&ccedil;&atilde;o, pela sua prem&ecirc;ncia em emitir um sil&ecirc;ncio significante, a partir de como administra os ru&iacute;dos das imagens; agrega para si, essa inst&acirc;ncia paradoxal: sacerdote e sacrif&iacute;cio. Mas &eacute; no v&eacute;rtice destas contradi&ccedil;&otilde;es onde se abre o gozo, a pot&ecirc;ncia deflagrada como soma de suas administra&ccedil;&otilde;es que lhe insta legitimidade perante as sombras que lhe oprimiam, agora nominada pela imagem de seus rostos que configuram o corpo reconhec&iacute;vel da sociedade que lhe aceita.</p> <p>Uma vez institu&iacute;do, o artista opera como um malabarista, sempre no fio da navalha, burlando sua invalidez; porque o meio de arte &eacute; eminentemente excludente, porta um gene perverso que lhe &eacute; constitutivo: admite com resist&ecirc;ncia novas verdades que podem se tornar refer&ecirc;ncias est&aacute;veis, mas o fantasma da suspens&atilde;o estar&aacute; sempre rondando &agrave; medida de seu humor cortes&atilde;o.</p> <p>Pela minha condi&ccedil;&atilde;o de artista, me fa&ccedil;o presente aqui, por uma fun&ccedil;&atilde;o meramente mediadora, ou ao menos para emitir um ponto de vista que se abst&eacute;m da formaliza&ccedil;&atilde;o cr&iacute;tica, ou atividade anal&iacute;tica, tendo como objeto a obra de outro artista, j&aacute; diversamente explorada por pensadores experientes sobre as ideias que est&atilde;o contidas na espacialidade complexa da obra de Hildebrando de Castro.</p> <p>A inten&ccedil;&atilde;o aqui &eacute; tentar extrair um ponto de vista que possa vislumbrar algum filtro diferente, pela paridade experiencial nessa viv&ecirc;ncia que o ato de criar implica, e, sobretudo, por uma identifica&ccedil;&atilde;o mais ou menos aproximada na forma como sempre administrou os riscos pelos quais deliberadamente escolheu, e o tornou um artista consagrado, mesmo trilhando caminhos que suscitaram provoca&ccedil;&otilde;es administradas de forma surpreendente, decidida e corajosa.</p> <p>Hildebrando de Castro &eacute; um artista que em toda sua trajet&oacute;ria deflagra desafios no contrap&eacute; das expectativas. Sua obra porta de imediato uma condi&ccedil;&atilde;o pela qual levanta certa tens&atilde;o, no modo como enreda suas qualidades de irrefut&aacute;vel preciosismo em sua fatura.</p> <p>Artista eminentemente figurativo, grifado por qualidades t&eacute;cnicas obsessivas, abrindo pela<em>&nbsp;mimese</em>&nbsp;toda sua instrumenta&ccedil;&atilde;o argumentativa, para al&eacute;m da inevit&aacute;vel evoca&ccedil;&atilde;o hiper-realista, porque distante do seu acriticismo. Desenhista de observa&ccedil;&atilde;o pelos c&acirc;nones tradicionais, usando modelos para a constru&ccedil;&atilde;o de suas narrativas, para em seguida assumir a fotografia como um aporte de agiliza&ccedil;&atilde;o processual, al&eacute;m do sintoma que tais usos refletem simbolicamente como ato incurso em seu tempo.</p> <p>O uso da imagem como recurso para a representa&ccedil;&atilde;o de sua imag&eacute;tica lhe retira das ideias naturalistas do passado, mas se reporta a esse passado instaurando ironicamente novas extens&otilde;es que se sobrep&otilde;em aos valores est&eacute;ticos institu&iacute;dos historicamente. O universo onde se apoia as narrativas de Hildebrando de Castro s&atilde;o providos pelo territ&oacute;rio da arte, do pensamento do homem sobre o homem, suas idiossincrasias e as coisas que cria e se cerca.</p> <p>Sua arte, portanto, transp&otilde;e a ideia da janela que representa, para o espa&ccedil;o do simulacro. Lida com um tr&acirc;nsito entre signos reconhec&iacute;veis, situa&ccedil;&otilde;es, comportamentos, erotismo e religiosidade, conceitos institu&iacute;dos - a seus aditivos provocantes, ir&ocirc;nicos, onde est&aacute; a servi&ccedil;o de deslocamentos que subvertem o usual, que estendem a natureza de suas constru&ccedil;&otilde;es subversivas no encontro de novas subjetividades em busca de elucida&ccedil;&otilde;es.</p> <p>A produ&ccedil;&atilde;o de imagens no mundo contempor&acirc;neo &eacute; excessiva. O olhar &eacute; for&ccedil;ado a uma aliena&ccedil;&atilde;o. H&aacute; um limite para a decodifica&ccedil;&atilde;o de suas (in) discrimina&ccedil;&otilde;es. Considerando apenas as imagens da arte pela sua hist&oacute;ria, testemunhamos o que foi filtrado como imagens exemplares: aquelas que trazem em si valores imanentes, em suas metodologias de feitura, que os liga a seu tempo, trazendo para a superf&iacute;cie o esfor&ccedil;o que lhes tornaram importantes, como legado do vis&iacute;vel, para interesse do olhar saturado, que se conforta ou reage ao que h&aacute; de reflexo do mundo, do homem, a partir do que rege as &eacute;ticas, as est&eacute;ticas, que s&atilde;o enquadramentos pol&iacute;ticos da visualidade.</p> <p>As narrativas de Hildebrando de Castro abrem de imediato, questionamentos dessa politiza&ccedil;&atilde;o das imagens. No plano da arte figurativa &ndash; usando aqui uma express&atilde;o gen&eacute;rica &ndash; &eacute; onde parece residir o desafio maior. O artista, por possuir esse aparato t&eacute;cnico irretoc&aacute;vel, essa qualidade &ldquo;imitativa&rdquo;, resvala na necessidade premente em negociar o que pode portar uma condi&ccedil;&atilde;o narcisista de desenhar e pintar com preciosismo. Tornar a esterilidade narc&iacute;sica - ou meramente diluidora do preciosismo - numa qualidade funcional no l&eacute;xico do seu tempo, e em sua pertin&ecirc;ncia de extens&atilde;o, como linguagem que ativa o que revela de novo, pelas surpresas a que somos hipnoticamente atra&iacute;dos em seu trabalho.</p> <p>Assim, o que converte suas imagens em afirma&ccedil;&otilde;es visuais t&atilde;o contundentes &eacute; essa mistura de precis&atilde;o t&eacute;cnica irrepreens&iacute;vel &agrave;s escolhas de variados repert&oacute;rios que lhe servem como diferencial que chega a ser insolente. Escolhas que em sua soma perfaz sua trajet&oacute;ria que recorre a variadas estrat&eacute;gias, desde a montagem de um cen&aacute;rio que busca a ambi&ecirc;ncia precisa para o que quer expressar, ao uso e afinidade com modelos vivos recorrentes, que atendem &agrave;s solicita&ccedil;&otilde;es de sua imagina&ccedil;&atilde;o para seus coment&aacute;rios, e arrematam uma esp&eacute;cie de choque t&eacute;rmico quando manipula diferentes aportes contidos na cultura, pelo que apreende de suas iconografias, objetos, situa&ccedil;&otilde;es ins&oacute;litas, valores ecol&oacute;gicos encontrados entre o sublime e o deboche; na destrui&ccedil;&atilde;o da natureza, ou nas naturezas das destrui&ccedil;&otilde;es, pelos relativismos promovidos na&nbsp; interface da cultura e suas din&acirc;micas transformativas</p> <p>Como artista autodidata, admite que provavelmente a origem de seus encaminhamentos independentes dos antolhos acad&ecirc;micos lhe tenham conferido suas liberdades de escolhas, pautadas inicialmente em sua mem&oacute;ria pessoal de adolescente, j&aacute; interessado no bin&ocirc;mio sagrado\profano, ou, para ser mais preciso, religi&atilde;o e erotismo, onde articulou muitas de suas idea&ccedil;&otilde;es iconogr&aacute;ficas.</p> <p>Imagens potentes, em geral, sem coment&aacute;rios circundantes que possam diluir sua iman&ecirc;ncia. A Hidelbrando, importa grifar uma ideia central circundada, via de regra, por fundos brancos ou negros, a dramatizar seu pendor pela estranheza, sexismos, dramaticidade, ironia beirando o humor negro, tang&ecirc;ncia ao escatol&oacute;gico, pervers&atilde;o, retratos, ludicidade de labor e humor.</p> <p>Mas em sua trajet&oacute;ria de aproximadamente 25 anos, h&aacute; a lida solit&aacute;ria, a cozinha oculta em que se d&atilde;o todos os processamentos de um artista em que, do ponto de vista de sua obra, n&atilde;o h&aacute; espa&ccedil;os para a sociabilidade: conquista pela retina ou cora&ccedil;&otilde;es expostos, ou melhor, pela cogni&ccedil;&atilde;o entre ambos. Neste sentido, falar de modo &ndash; ao menos esquem&aacute;tico &ndash; de sua genealogia, ou evolu&ccedil;&atilde;o, a sublinhar seus procedimentos t&eacute;cnicos em fun&ccedil;&atilde;o do que contribuiu em suas transforma&ccedil;&otilde;es ao longo destes anos de trabalho incessante, onde reside por lei de causa e efeito a sucess&atilde;o imbricada de que um resultado sucede a outros.</p> <p>Assim, o que caracteriza singularmente este artista, &eacute; seu modo &iacute;mpar de fazer suceder interesses sempre cuidadosamente escolhidos a servi&ccedil;o de uma precis&atilde;o gritante, mesmo referindo &agrave;s subjetividades que ele nos traz &agrave; tona. De modo resumido, ou apenas nominando os encadeamentos tem&aacute;ticos de Hildebrando, a partir da forma po&eacute;tica que Denise Mattar, curadora de ILUS&Otilde;ES DO REAL - mostra que apresentou sem intuito retrospectivo, mas que fornece toda a linhagem pela qual &eacute; poss&iacute;vel compreender a trajet&oacute;ria do artista<strong>: Historias Ins&oacute;litas</strong>,&nbsp;<strong>Entes Humanos</strong>,<strong>Inquieto Cora&ccedil;&atilde;o</strong>,&nbsp;<strong>Corpos Fragmentados</strong>,&nbsp;<strong>Inf&acirc;ncia Perversa</strong>* e&nbsp;<strong>Arquitetura da Luz,</strong>&nbsp;que &eacute; objeto da mostra aqui presente.</p> <p>Estas imagens que ora vemos na Paulo Darz&eacute; Galeria de Arte dizem respeito &agrave;s atualiza&ccedil;&otilde;es deste artista emblem&aacute;tico, que possui trajet&oacute;ria rica e transformadora pelo que &eacute; grifado em sua import&acirc;ncia no panorama da arte brasileira. Aqui presenciamos a beleza inteligente de imagens que n&atilde;o guardam nenhuma inoc&ecirc;ncia. S&atilde;o articuladas cuidadosamente no que nos oferece de sua beleza em sua camada mais aparente, al&eacute;m dos muitos substratos que suas abordagens referendam a servi&ccedil;o de um olhar preciso em suas estrat&eacute;gias cir&uacute;rgicas.</p> <p>O que nesta mostra testemunhamos &eacute; mais um de seus surpreendentes posicionamentos como artista que escolhe para suas afirma&ccedil;&otilde;es visuais verdadeiros desafios de algu&eacute;m acostumado a reinventar, ou reintroduzir, no campo das imagens, suas possibilidades infinitas. Neste recorte de sua produtividade Hildebrando de Castro abre mais uma vez seu surpreendente repert&oacute;rio, a mapear entre frestas, o que a hist&oacute;ria torna passado, e ele torna presente. Com estes brise-soleils, se debru&ccedil;a nos estaleiros onde se originaram as constru&ccedil;&otilde;es reflexivas, a arte, e, tamb&eacute;m, a arquitetura brasileiras em seu limiar hegem&ocirc;nico, onde evoca a acep&ccedil;&atilde;o moderna instaurada por uma metaboliza&ccedil;&atilde;o local.</p> <p>Estas imagens dos brise-soleils introduz certa contra&ccedil;&atilde;o em rela&ccedil;&atilde;o ao que conhecemos de Hildebrando. Recolhido de seu car&aacute;ter mais dram&aacute;tico, mas conservando seu princ&iacute;pio de resolu&ccedil;&otilde;es pict&oacute;ricos formais impec&aacute;veis, mantendo sua ironia de forma mais velada, pela pr&oacute;pria natureza do tema que aborda.</p> <p>Nesta mostra Hildebrando trata da converg&ecirc;ncia de duas<em>&nbsp;escrituras</em>&nbsp;que permeiam pela sua pintura as disposi&ccedil;&otilde;es de um recorte arquitet&ocirc;nico que enceta as janelas com seu aporte simb&oacute;lico na hist&oacute;ria da visualidade, o que remete ao problema autorreferente da arte.</p> <p>A partir da apar&ecirc;ncia, e da pr&oacute;pria metodologia da arte Concreta, seus campos de cor e forma executados em seu estado geom&eacute;trico e cromaticamente ass&eacute;ptico, respectivamente, o artista entroniza de imediato uma quest&atilde;o&nbsp;<em>vocabular&nbsp;</em>do ide&aacute;rio concretista.</p> <p>A reversibilidade, express&atilde;o contingencial do impasse concretista - que assinalava o problema de figura/fundo - &eacute; escolha deliberada de Hildebrando que n&atilde;o deixa de revolver seus genes constitutivos de temas anteriores, onde o enquadramento de pervers&atilde;o se reveste aqui, de uma sofistica&ccedil;&atilde;o enredada numa perspectiva puramente retiniana a brincar com sensos de conten&ccedil;&otilde;es como aporte de seus objetos temas, em estado de suspens&atilde;o.</p> <p>Mas nestes brise-soleils h&aacute; tamb&eacute;m a posi&ccedil;&atilde;o do artista que aparece mais uma vez na reg&ecirc;ncia de sua politiza&ccedil;&atilde;o, no que tange &agrave;s imagens que, &agrave; guisa de suas escolhas, perscruta cr&iacute;tica que sublinha as utopias modernas, nestas abordagens que apontam dire&ccedil;&otilde;es da arte e da arquitetura, nos oferece tamb&eacute;m um sentido de territorializa&ccedil;&atilde;o desta incurs&atilde;o como problemas localizados, isto &eacute;, a incurs&atilde;o de um cap&iacute;tulo da hist&oacute;ria recente da arte e da cultura brasileira imersa nas extens&otilde;es do modernismo, onde se origina o come&ccedil;o da hegemonia da arte brasileira.</p> <p>N&atilde;o haveria nestas imagens dos brise-soleils, um tipo de urdidura que guarda os mesmos sentidos de pervers&atilde;o que orientaram muitos dos trabalhos de Hildebrando em suas diversas fases anteriores? N&atilde;o &eacute; essa diretiva que ele nos obriga a tomar com a retina em riste a sondar a imaterialidade de algo que evoca o concreto, em sua inst&acirc;ncia tem&aacute;tica, a da arquitetura em seus detalhes funcionais, que apontam para um dispositivo que em certa medida &eacute; um impedimento parcial da fun&ccedil;&atilde;o transparente que deve possuir as janelas, e que nos provoca a olhar ao que ele mesmo assinala nada haver por sua inexist&ecirc;ncia suspensa, congelada pelos seus simulacros num detalhe funcional arquitet&ocirc;nico cuja fun&ccedil;&atilde;o &eacute; reter a luz de forma modular? N&atilde;o &eacute; tamb&eacute;m, a condi&ccedil;&atilde;o alusiva ao Concretismo, a nega&ccedil;&atilde;o do pr&oacute;prio tema, quando articula seus campos crom&aacute;ticos a servi&ccedil;o de algo que parece contradito ao que remete?</p> <p>Assim, me parece que o artista ao construir um jogo de impactante sofistica&ccedil;&atilde;o e beleza, que parece envolver a ele pr&oacute;prio, o espectador e o que problematiza com o objeto pict&oacute;rico, as funcionalidades dos objetos enquadrados em seus historicismos, e a maneira que os envolve com suas articula&ccedil;&otilde;es conceituais, cobertas por uma inteligente abordagem onde nos endere&ccedil;a a aten&ccedil;&atilde;o para a afirma&ccedil;&atilde;o de Michel Foucault<em>: A rela&ccedil;&atilde;o da linguagem com a pintura &eacute; uma rela&ccedil;&atilde;o infinita</em>*. A este respeito n&atilde;o me furto em estender nestes jogos visuais de Hildebrando de Castro trazendo de imediato, mais uma vez, Foucault, em sua an&aacute;lise de &lsquo;Las Ni&ntilde;as&rsquo; de Vel&aacute;squez, aqui simplificando a paridade suspensiva do que Hildebrando de Castro ativa como princ&iacute;pio de reversibilidades em suas constru&ccedil;&otilde;es visuais eivadas a um inteligente conceitualismo que me parece conduzir suas operacionalidades atrav&eacute;s da pintura.</p> <p>Vauluizo Bezerra Julho 2014</p> Thu, 21 Aug 2014 06:22:34 +0000 Ji Sim Hyun, Vladimir Kupriyanov, Daria Marchik, Armando Rearte - Natasha Akhmerova’s Barbarian Art Gallery - August 23rd - November 2nd Thu, 21 Aug 2014 06:07:23 +0000 Peter Hujar - Mai 36 Galerie - Showroom - August 29th - October 25th <p>Das Werk von Peter Hujar (geboren 1934 in Trenton, New Jersey; gestorben 1987) hat seit den <br />Achtziger Jahren immer wieder bedeutende Ausstellungen erfahren. So erstmals in der Schweiz 1982 in der Kunsthalle Basel, 1994 im Fotomuseum Winterthur und im selben Jahr im Stedelijk Museum Amsterdam und 2007 im ICA London. Mai 36 Galerie zeigte zuletzt 2011 in der Ausstellung Paul Thek &ndash; cityscapes and other ideas Hujars Fotos Thek&rsquo;s Studio 1967.<br />Es freut uns Ihnen die Vertretung des Peter Hujar Estates durch die Mai 36 Galerie bekannt zu geben!<br />Aus der Modefotografie kommend, wie seine New Yorker Kollegen Irving Penn, Richard Avedon und <br />Robert Mapplethorpe, unterscheidet sich Peter Hujar jedoch stark von diesen. Zeitlebens f&auml;llt ihm das Imposante und die Vordergr&uuml;ndigkeit der Modefotografie als Aufgabe schwer, interessiert sich Hujar doch f&uuml;r das Darstellen von eigentlichem Leben mehr und er zeigt dies pur: in seiner K&ouml;rperlichkeit, in drastischen Szenerien, oder im Falle der Tierportraits humorvoll die Unschuld der Kreaturen hervorhebend.<br />Seine Vorbilder sind etwa Wegee oder Diane Arbus. Der eine verfolgt die katastrophischen und <br />hysterischen Momente des Stadtlebens, die andere offenbart die psychologischen Randsituationen der Gesellschaft aus analysierender Distanz. Hujar selbst ist Teil dieses Lebens, das er darstellt. Er &uuml;ber&auml;sthetisiert nicht, sondern zeigt in seinen Aufnahmen eine fast intime Beziehung zum Abgebildeten oder den Portraitierten. Seine Bildkomposition ist fein aber nicht aufdringlich, wirkt eher beil&auml;ufig. Er liegt mit seinen Aufnahmen immer etwas neben dem Erwarteten, was ihm bei seiner&nbsp;Modefotografie Schwierigkeiten einbrachte, jedoch in seiner freien Fotografie den besonderen Reiz ausmacht.<br />Sein Eintauchen in die Welt seiner Freunde und die Darstellung New Yorks von den Sechziger Jahren bis in die Achtziger Jahre zeigt eine Stadt, die es so nicht mehr gibt. Da wo Subkultur bl&uuml;hte, die heute unser kulturelles Ged&auml;chtnis der Stadt ausmacht und die er pur und direkt portraitierte, hat sich Gentrifizierung durchgesetzt und profitiert noch von eben dieser Vergangenheit. Dem Leben ganz nah und Oberfl&auml;chlichem fern, zeigt sein Werk das unverbl&uuml;mte Antlitz dieser vergangenen Zeit.<br />Dass im Portraitieren des Lebens gleichzeitig ein Portraitieren des Todes liegt &ndash; so meint Susan <br />Sontag, von der er drei ber&uuml;hmte Aufnahmen machte &ndash; ist das Verdienst Hujars und seiner Fotokunst.<br />Seine Aufnahmen sind Fenster in beide Reiche gleichzeitig. Das Reich des Lebens mit der <br />verg&auml;nglichen Kreatur, ob Mensch oder Tier, das Reich des Todes dargestellt insbesondere anhand der Fotografien aus den Katakomben Palermos: bekleidete Leichnahme, die, recht mitgenommen, wie auf eine andere Zukunft warten.<br />Unsere Ausstellung im Showroom umfasst Werke aus fast allen Bereichen seines Schaffens: Akte <br />und Portraits, Stadtansichten, Interieurs, Nachtaufnahmen sowie auch Tieraufnahmen und <br />Aufnahmen aus den Katakomben Palermos, die 1963 entstanden. (Text: Axel Jablonski)</p> Thu, 21 Aug 2014 05:49:18 +0000 Philippe Vandenberg - Hauser & Wirth Zürich - August 30th - November 8th <p>Hauser &amp; Wirth is pleased to present the work of the Belgian artist Philippe Vandenberg for the first time in Switzerland. Curated by Harald Falckenberg, &lsquo;Philippe Vandenberg. Dog Day&rsquo; comprises oil paintings that were predominantly created in the decade before Vandenberg&rsquo;s death in 2009. His works testify to his quarrels with himself and the world, as well as an obsession that expresses itself through an enormous creative drive. Above all, these qualities are the result of his endless search for form.</p> <p>In Vandenberg&rsquo;s second exhibition at Hauser &amp; Wirth, Falckenberg will show the artist as a driven creator who is unable to find peace of mind, and never allows his audience peace of mind either. His work seems to be the product of an artistic impetus, a visionary and vehement creativity. Painting as an elixir of life is simultaneously his salvation and his torment:</p> <p>&lsquo;There is pain in painting: the anguish, the doubt, the panic, the pangs, the obsessive fear of being unable to meet the demands of the canvas&hellip; Thus I paint from failure to failure, from hope to hope.&rsquo;</p> <p>His paintings stand between the poles of destruction and creation, to the extent that these forces depend on each other. He tirelessly paints over one layer in favour of another. Like a slogan, the command &lsquo;Kill them all&rsquo; is displayed across a canvas. This is a reference to the aspect of destruction within the creative process, to which Vandenberg attributes great importance: destruction as a prerequisite for creating something new.</p> <p>The endless search for form became the main subject matter for his late works in particular, in which letters and lines, both solid and broken, play an important role. While letters form words in some of the paintings in the exhibition, in others they are obscured by smudges of oil paint to the point beyond recognition. Geometric patterns are combined in a seemingly endless repetition. Whether fine strokes or narrow letters, drawn on a multi-layered ground in oil and chalk, his letters become a motif. Word for word, usually somewhat chaotically arranged, they result in fragments of sentences. It is as if language gets in the way of painting, as if it disrupted the paintbrush from working and forced it to write; partial sentences seem to obsessively buzz around his head. Vandenberg&rsquo;s works open up the depths of human existence to the viewer and expose intense feelings far from pure emotionality. He writes:</p> <p>&lsquo;I am an artist of emotion and reflections. I don&rsquo;t mean sentimentalism, the emotional, but the shock of the emotion that triggers, as it were, the reflection. Only reflection creates space.&rsquo;</p> <p>It is most likely this reflection that drives him to his limits, that makes him carve the words into the still-wet oil paint, down to the linen, as if he had to banish them out of his head and onto the canvas &ndash; sentences of unfathomable despair that cry out for life and death. In these powerful late works, one can never shake the impression that Vandenberg used painting to rid himself of his inner demons.</p> <p><strong>About the Artist</strong></p> <p>The Belgian artist Philippe Vandenberg (1952 &ndash; 2009) began his studies in literature and art history before turning to painting and graduating from the Royal Academy of Fine Arts in Ghent, Belgium in 1976.</p> <p>After several solo and group exhibitions in Europe, Vandenberg exhibited for the first time in New York in 1986, whereupon the Guggenheim Museum acquired one of his paintings for its collection. At the time, Vandenberg was considered one of the most successful Belgian contemporary artists. Several important solo exhibitions followed, including one in 1995 at the Museum van Hedendaagse Kunst in Ghent (now the S.M.A.K.), in 1999 at the MuHKA &ndash; Museum voor Hedendaagse Kunst in Antwerp, and in 2006 with &lsquo;L&rsquo;important c&rsquo;est le Kamikaze: Oeuvre 2000 &ndash; 2006&rsquo; at the Mus&eacute;e Rimbaud in Charleville-M&eacute;zi&egrave;res. The De Pont Museum in Tilburg (2012) and the Maison Rouge in Paris (2014) recently showed works by the artist in dialogue with the Belgian artist Berlinde De Bruyckere.</p> <p>Solo exhibitions at the Langen Foundation in Neuss and the S.M.A.K. in Ghent are currently being planned.</p> Thu, 21 Aug 2014 05:27:12 +0000