ArtSlant - Recently added http://www.artslant.com/ew/Events/show en-us 40 Bill Viola, William Kentridge, Marco Brambilla, Mat Collishaw, Jacco Olivier, Ger Van Elk, Marina Alexeeva, Elisa Sighicelli, Marzia Migliora - Museu Nacional d'Art de Catalunya - May 28th - August 30th <p style="text-align: justify;">Even though painting and moving image art do not represent space and time in the same way, in a significant part of the video production process, that has occurred from the origins of this medium until the present, emerges the 'pictorial unconscious' that becomes the principal&nbsp;<em>leimotif</em><em>&nbsp;</em>of this exhibition.</p> <p style="text-align: justify;">Illumination, color, composition, iconography or staging inform us of a shared vocabulary between both mediums that are extremely interrelated in the works of current video artists in the&nbsp;<strong>Sorigu&eacute; Collection</strong>, such as&nbsp;<strong>Bill Viola, William Kentridge, Marco Brambilla, Mat Collishaw</strong>,&nbsp;<strong>Jacco Olivier</strong>,&nbsp;<strong>Ger Van Elk</strong>,<strong>Marina Alexeeva</strong>&nbsp;or&nbsp;<strong>Elisa Sighicelli &amp; Marzia Migliora,</strong>whose video creations establish a retroactive dialogue with some of the most esteemed works in the collections of the&nbsp;<strong>Museu Nacional d&rsquo;Art de Catalunya</strong>.</p> <p style="text-align: justify;">The film director Eric Rohmer put it very bluntly:<strong>&nbsp;</strong><strong>&ldquo;All organization of forms in the interior of a flat surface stems from prictorial art"</strong><strong>&nbsp;</strong>and Nam June Paik, one of the pioneers of video art, expressed it in a comparable way:&nbsp;<strong>&ldquo;In the same way that a collage has substituted oil painting, the cathode ray tube will replace the canvas".</strong></p> <p style="text-align: justify;">In&nbsp;<strong>The pictorial unconscious</strong>, the video creations establish a retroactive dialogue with some of the most esteemed works in the collection of the&nbsp;<strong>Museu Nacional d&rsquo;Art de Catalunya.</strong></p> <hr /> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">En el marco del Festival Loop 2015, se establece&nbsp;<strong>Un di&aacute;logo entre la colecci&oacute;n de videoarte de la Fundaci&oacute;n Sorigu&eacute; y la colecci&oacute;n del Museu Nacional d&rsquo;Art de Catalunya.</strong></p> <p style="text-align: justify;">Aunque la imagen en movimiento y la pintura no representan el espacio y el tiempo de la misma manera, en una parte significativa de la producci&oacute;n videogr&aacute;fica realizada desde los or&iacute;genes de este soporte hasta la actualidad aflora una suerte de&nbsp;<strong>&ldquo;inconsciente pict&oacute;rico&rdquo;</strong>&nbsp;que se convierte en principal<em>leitmotiv</em>&nbsp;de esta exposici&oacute;n.</p> <p style="text-align: justify;">Iluminaci&oacute;n, color, composici&oacute;n, iconograf&iacute;a o puesta en escena, nos informan de un vocabulario compartido entre la pintura y el videoarte, que alcanza grados de conexi&oacute;n sorprendentes en el trabajo de algunos vide-artistas presentes en la&nbsp;<strong>Colecci&oacute;n Sorigu&eacute;</strong>, como&nbsp;<strong>Bill Viola, William Kentridge, Marco Brambilla, Mat Collishaw</strong>,&nbsp;<strong>Jacco Olivier</strong>,&nbsp;<strong>Ger Van Elk</strong>,<strong>Marina Alexeeva</strong>&nbsp;o&nbsp;<strong>Elisa Sighicelli &amp; Marzia Migliora</strong>, cuyas videocreaciones establecen un di&aacute;logo retroactivo con algunas de las obras m&aacute;s destacadas de la colecci&oacute;n del&nbsp;<strong>Museu Nacional d&rsquo;Art de Catalunya</strong>.</p> <p style="text-align: justify;">El director de cine Eric Rohmer lo planteaba de forma tajante:<strong>&ldquo;Toda organizaci&oacute;n de formas en el interior de una superficie plana, deriva del arte pict&oacute;rico&rdquo;</strong><strong>&nbsp;</strong>y Nam June Paik, uno de los pioneros del videoarte, lo expres&oacute; hace ya m&aacute;s de 40 a&ntilde;os &nbsp;de forma equivalente:&nbsp;<strong>&ldquo;De la misma manera que el collage ha sustituido a la pintura al &oacute;leo, el tubo de rayos cat&oacute;dicos sustituir&aacute; al lienzo.&rdquo;</strong></p> <p style="text-align: justify;">En un sentido an&aacute;logo, el cr&iacute;tico y cineasta Jacques Aumont insist&iacute;a a&ntilde;os despu&eacute;s en que&nbsp;<strong>&ldquo;la historia del cine, por lo menos desde que se convirti&oacute; en apto para ser pensado como arte (&hellip;) no tiene sentido si se separa de la historia de la pintura&rdquo;.</strong></p> <p style="text-align: justify;">En algunos trabajos de los artistas presentes en esta exposici&oacute;n el movimiento f&iacute;lmico est&aacute; retenido, o m&aacute;s bien &ldquo;suspendido&rdquo; por una suerte de &ldquo;temporalidad pict&oacute;rica&rdquo;, de manera que sus im&aacute;genes se construyen como si se tratara de cuadros aut&oacute;nomos, mediante largos planos fijos en los que los movimientos de las figuras se producen de un modo tan ralentizado, que a veces resulta casi imperceptible, por lo que podr&iacute;amos hablar de&nbsp;<em><strong>tableaux vivants</strong></em>&nbsp;en la misma medida en que otros citan composiciones, motivos iconogr&aacute;ficos y puestas en escena que derivan de la pintura mural medieval, renacentista o decimon&oacute;nica. Hablamos pues, de una historia de paradojas ya que los nuevos monitores LCD y las pantallas de plasma extraplanas est&aacute;n abriendo todo un nuevo abanico de posibilidades a quienes intentan "reinventar" la idea de "cuadro" como "pintura en movimiento", para unos, o como "video objeto", para otros, aunque con ello regresen nada menos que a los tiempos del "cuadro transportable", tal y como se entend&iacute;a a finales de la edad media.</p> <p style="text-align: justify;">Se plantea, de este modo, una reflexi&oacute;n sobre las relaciones entre los dispositivos electr&oacute;nicos de registro y edici&oacute;n de im&aacute;genes y los procesos de creaci&oacute;n en pintura, que revelan mecanismos tales como la diferencia entre &ldquo;tiempo de la historia&rdquo; y &ldquo;tiempo del relato&rdquo; que en estas piezas se equiparan, forzando al espectador al placer -<em>ya</em><em>&nbsp;</em>casi olvidado- de la contemplaci&oacute;n. &Eacute;sto no impide que en todas y cada una de estas obras tambi&eacute;n se deslicen contenidos cr&iacute;ticos de orden pol&iacute;tico, social o cultural, plenamente imbricados en la contemporaneidad.</p> <p style="text-align: justify;">Habr&iacute;a que dar la raz&oacute;n, en consecuencia, a quienes se&ntilde;alan que hoy las artes visuales se han convertido en el lugar com&uacute;n de una &ldquo;<strong>pictorialidad difusa&rdquo;</strong><strong>&nbsp;</strong>en la que ya nada es exactamente fotograf&iacute;a, ni exactamente pintura, ni exactamente v&iacute;deo, sino simplemente &ldquo;imagen&rdquo;, y es de hecho, ese valor polis&eacute;mico y deconstructivo de las im&aacute;genes el que ha servido en los &uacute;ltimos a&ntilde;os para la reformulaci&oacute;n de los g&eacute;neros pict&oacute;ricos tradicionales, as&iacute; como para sedimentar las distintas estrategias de hibridaci&oacute;n caracter&iacute;sticas de la producci&oacute;n art&iacute;stica actual. En este sentido, esta exposici&oacute;n no debe ser vista como un s&iacute;ntoma de retorno a las fuentes de la historia del arte, como a la era de la circulaci&oacute;n promiscua de la imagen, aquella que sabe que s&oacute;lo puede ser ya &ldquo;imagen de otra imagen&rdquo;.</p> <p style="text-align: justify;">&nbsp;</p> Tue, 30 Jun 2015 16:11:59 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Reinhold Engberding - Conduit Gallery - June 27th - August 1st <p>Hamburg based sculptor Reinhold Engberding&rsquo;s work addresses the topics of identity, intimacy, privacy, longing and desire. During a recent Artist Residency at CentralTrak with the University of Texas Dallas, Engberding covered the large exhibition space with images of young men, questioning whether they could possibly be his sons. In the installation,&nbsp;<em>Is That My Son</em>, Engberding used images gathered from an online archive of police mug shots.</p> <div id="exhib_info" class="container_24"> <div class="grid_8"> <p>For his Conduit exhibition, Engberding channeled memories of his own experience as an altar boy after having been given Dallas high school band uniforms. The uniforms reminded the artist of liturgical garments which led to a process of de-constructing and flatly re-constructing several uniforms into constellations of pattern and ambiguous form. Along with exposed stitching, the garments are embroidered with words from a poem composed by poet and frequent collaborator, Holger B. Nidden-Grien, a fictional character created by the artist in 1996.</p> <p>Reinhold Engberding studied landscape architecture and Fine Arts in Kassel, Kiel and The Hague. He has lived in Hamburg, Germany since 1982.</p> <div>&nbsp;</div> </div> </div> Mon, 29 Jun 2015 03:31:05 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Wally Cardona - Kelowna Art Gallery - July 4th - September 20th Mon, 29 Jun 2015 03:26:36 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Peter Saul, KAWS, Erik Parker - Centro de Arte Contemporáneo de Málaga - June 26th - September 27th <p style="text-align: center;"><strong>THE CAC M&Aacute;LAGA PRESENTS THE EXHIBITION&nbsp;<em>RESPECT</em></strong></p> <p style="text-align: justify;">&nbsp;<strong>The CAC M&aacute;laga is presenting the exhibition&nbsp;<em>Respect</em>, a selection of four works by three artists of two different generations which aims to create a connecting link between the exhibitions on Shepard Fairey and D*Face also on display. This exhibition, curated by Fernando Franc&eacute;s, consists of two paintings by Peter Saul, considered one of the founding figures of American Pop Art, and one painting each by KAWS and Erik Parker, representing street artists of the generation born around the 1970s. This exhibition has benefitted from the collaboration of the Automotor Premium.</strong>&nbsp;</p> <p style="text-align: justify;">The exhibition&nbsp;<em>Respect</em>&nbsp;brings together three artists: Peter Saul, Erik Parker and KAWS, with a selection of four paintings that will together create a connecting link between the exhibitions on the street artists D*Face, whose career now spans fifteen years, and Fairey, with twenty-five years of creative activity. The exhibition presents four paintings on canvas, two by Peter Saul, one by Erik Parker and one by KAWS.<em>Respect</em>&nbsp;aims to pay tribute to artists who have been reference points and have influenced the work of young and older artists within the context of street art.</p> <p style="text-align: justify;">Peter Saul&rsquo;s early use of comics in reference to Pop culture in his paintings of the late 1950s means that he is now considered one of the founding figures of Pop Art. Saul&rsquo;s work connects this trend with Surrealism and Expressionism. Over the course of his career he has produced more than 800 works which fall into clearly defined phases, such as his distinctive and personal interpretations of the Vietnam War and his subsequent move towards a glamorous representation of poor people, influenced by 19<sup>th</sup>-century painting. Peter Saul is represented in the present exhibition with two canvases entitled&nbsp;<em>Duet</em>&nbsp;(2014) and<em>Future Woman</em>&nbsp;(2013).</p> <p style="text-align: justify;">Erik Parker is characterised by a use of his own inventive architecture and a style distinguished by a preference for neon combined with daring graphic compositions. Parker&rsquo;s paintings are nourished by a range of influences including American psychedelic culture, underground comics, the Chicago Imagists, hip-hop and heavy, as well as artists such as Picasso, Francis Bacon and Roy Lichtenstein. The mixed media on canvas&nbsp;<em>Underground Spiritual</em>&nbsp;(2004), in which the title appears in the work itself, will be on display at the CAC M&aacute;laga until 27 September.</p> <p style="text-align: justify;">The work by KAWS in this exhibition, which was previously exhibited at the CAC M&aacute;laga between March and June 2014, is entitled&nbsp;<em>THIS IS THE WAY (GARFIELD 1)</em>. It offers an example of how this artist transforms icons of popular culture, adding elements characteristic of his work such as the use of the letter &ldquo;x&rdquo; for the eyes. KAWS&rsquo;s images represent creatures with bodies derived from characters in comics, on this occasion the famous cat Garfield from the now classic comic strip.</p> <hr /> <p style="text-align: center;"><strong>EL CAC M&Aacute;LAGA PRESENTA LA EXPOSICI&Oacute;N&nbsp;<em>RESPECT</em></strong></p> <p style="text-align: justify;"><strong>El CAC M&aacute;laga acoge la exposici&oacute;n&nbsp;<em>Respect</em>, una selecci&oacute;n de cuatro obras de tres artistas de dos generaciones diferentes que sirve de puente entre las muestras de Shepard Fairey y D*Face. La exposici&oacute;n comisariada por Fernando Franc&eacute;s est&aacute; constituida por dos pinturas de Peter Saul, considerado como uno de los padres del Pop Art americano, junto a dos pinturas de KAWS y Erik Parker en representaci&oacute;n de artistas urbanos nacidos en torno a los a&ntilde;os 70. En esta exposici&oacute;n colabora Automotor Premium.</strong></p> <p style="text-align: justify;"><strong>&nbsp;</strong></p> <p style="text-align: justify;">La exposici&oacute;n&nbsp;<em>Respect</em>&nbsp;re&uacute;ne a tres artistas como Peter Saul, Erik Parker y KAWS para la exposici&oacute;n<em>Respect</em>. Se trata de una selecci&oacute;n de cuatro cuadros que sirven como puente entre las muestras de dos artistas urbanos como D*Face, con 15 a&ntilde;os de carrera, y Obey, con 25. En&nbsp;<em>Respect</em>&nbsp;se podr&aacute;n contemplar cuatro obras pinturas realizadas sobre lienzos, dos de ellas de Peter Saul, una de Erik Parker y otra de KAWS.&nbsp;<em>Respect&nbsp;</em>es un manera de rendir homenaje a aquellos artistas que han servido de referencia y han influenciado dentro del arte urbano en general a j&oacute;venes y no tan j&oacute;venes.</p> <p style="text-align: justify;">El temprano uso de referencias de dibujos animados en la cultura pop en sus pinturas por parte de Peter Saul a finales de los a&ntilde;os 50 motiv&oacute; que se convirtiese en uno de los padres del&nbsp;<em>Pop Art</em>. Su trabajo conecta esta corriente con el Surrealismo y el Expresionismo. Durante su carrera, ha realizado m&aacute;s de 800 obras en distintas etapas muy definidas, como sus interpretaciones personales de la Guerra de Vietnam y el posterior cambio hacia un tratamiento glamuroso de personajes pobres influenciado por la pintura del siglo XIX. Para esta exposici&oacute;n, Peter Saul aporta dos acr&iacute;licos sobre lienzos tituladas&nbsp;<em>Duet&nbsp;</em>(2014) y&nbsp;<em>Future Woman</em>&nbsp;(2013).</p> <p style="text-align: justify;">Por su parte, Erik Parker se caracteriza por el empleo de su propia arquitectura inventiva y un estilo diferenciado por el gusto por el ne&oacute;n con composiciones gr&aacute;ficas arriesgadas. Sus pinturas se inspiran en diversos elementos como la subcultura psicod&eacute;lica americana, los c&oacute;mics&nbsp;<em>underground</em>s<em>,&nbsp;</em>la Chicago Imagist, el hip hop y el heavy, as&iacute; como artistas como Picasso, Francis Bacon y Ray Lichtenstein.&nbsp;<em>Underground Spiritual&nbsp;</em>(2004)<em>,&nbsp;</em>t&iacute;tulo que puede leerse sobre la propia pintura que se expondr&aacute; en el CAC hasta el 27 de septiembre, est&aacute; realizada por medio de t&eacute;cnica mixta sobre lienzo.</p> <p style="text-align: justify;">En la obra que aporta KAWS, que ya expuso en el CAC M&aacute;laga entre marzo y junio del 2014, a&nbsp;<em>Respect</em>,<em>THIS IS THE WAY (GARFIELD 1)&nbsp;</em>(2013), puede contemplarse c&oacute;mo el artista transforma iconos de la cultura popular, a&ntilde;adiendo elementos caracter&iacute;sticos de su obra, como son las equis en lugar de ojos. Sus im&aacute;genes representan a seres con cuerpo de personajes de dibujos animados. En esta ocasi&oacute;n, se trata del famoso gato protagonista de las ya cl&aacute;sicas tiras c&oacute;micas.</p> <p>&nbsp;</p> Fri, 26 Jun 2015 19:19:15 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list Fiona Tan - BALTIC Centre For Contemporary Art - July 10th - November 1st <h3 style="text-align: justify;"><span style="font-size: small;">This summer BALTIC presents a survey exhibition and a major new commission by the Dutch artist and filmmaker Fiona Tan. Born in 1966 in Pekan Baru, Indonesia, Tan works within the contested territory of representation: how we represent ourselves and the mechanisms that determine how we interpret the representation of others.</span></h3> <p style="text-align: justify;"><span style="font-size: small;">Photography and film &ndash; made by herself, by others, or a combination of both &ndash; are her media; research, classification and the archive, her strategies. Her skilfully crafted and intensely human film and video installations explore history, time and our place within them.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The spectacular new commission&nbsp;<em>DEPOT</em>, made especially for our Level 4 gallery, re-imagines &lsquo;Jonah the Giant Whale&rsquo;, a preserved whale exhibited inside a lorry which toured across Europe from the 1950s to the mid-1970s. Tan will rebuild the 71-foot-long vehicle; however, it will now contain a cabinet of curiosities, inviting the viewer to climb aboard. Drawing on Newcastle&rsquo;s forgotten history as a major whaling port, Depot is an exhibition within an exhibition, an immersive presentation that will also include a new film installation incorporating footage from the depots of natural history museums internationally.</span></p> <p style="text-align: justify;"><span style="font-size: small;">The exhibition continues on Level 3 with two further significant film installations from Tan&rsquo;s career.<em>Disorient</em>&nbsp;2009 juxtaposes fantasy and the reality of the trade route between Venice and Asia, with a voiceover comprised solely of evocative quotes from Marco Polo&rsquo;s 700-year-old book The Travels.<em>Inventory</em>&nbsp;2012 was filmed at Sir John Soane&rsquo;s Museum in London and presents intimate details of the celebrated architect&rsquo;s personal collection, which is housed in one of the most extraordinary public museums in the world. A contemplative visual essay,&nbsp;<em>Inventor</em>y explores Tan&rsquo;s preoccupation with time, memory and place, and is as much a meditation on the human impulse to collect as a reflection on Tan&rsquo;s artistic practice to date.</span></p> <p style="text-align: justify;"><span style="font-size: small;"><em>DEPOT</em>&nbsp;is support by Sfumato Foundation with assistance from the Art Fund, the Mondriaan Fund and the Embassy of the Netherlands.</span></p> Fri, 26 Jun 2015 19:09:26 +0000 http://www.artslant.com/ew/Events/list http://www.artslant.com/ew/Events/list