ArtSlant - Recently added en-us 40 Sam Smith - The Royal Standard - August 23rd - September 26th <p>Encompassing video, film, sculpture, architectural elements and printed material Sam Smith&rsquo;s exhibition titled Frames of Reference is a viewpoint on the relationship of sculpture to film and video. The artist deploys a selection of current and historic moving image formats to inspect how objects (animate and inanimate) are framed within the cinematic lens. Central to the show is Form Variations (2014), a video installation where objects, figures and locations are configured into a series of composed vignettes. Shot in CinemaScope, which Fritz Lang described as only good for &ldquo;snakes and funerals&rdquo; in Le M&eacute;pris (Jean-Luc Godard, 1963), the work uses the 2.39:1 frame to present a cinematic view on three-dimensional form. Key to the video is a re-imagining of the opening shot from Michelangelo Antonioni's L'Eclisse (1962) where the character of Riccardo's arm transitions in appearance between body and sculpture. Expanding from the core installation are a number of works that offer broader thematic insights. Among them is Negatives (2013), a diptych of filmed forms reflecting historical attempts to capture sculptural form on film.<br /> <br /> Linked to The Royal Standard&rsquo;s current theme of research, Smith presents his recently published monograph also titled Frames of Reference. Included in the book are written contributions from Jan Verwoert and Post Brothers, in-depth artwork documentation, substantial analysis of past projects and new image work devised specifically for the publication.<br /> <br /> As an adjunct event, Smith will perform &lsquo;Notes on the Apparatus&rsquo; at Kitchen Street. The live video essay is performed as a stream of collaged audio-visual clips within the basic functionality of a computer operating system. Using prepared film, video and image material collected from online and offline sources, the artist draws together reference points on cinematic language key to his practice. More details of this event will follow shortly.&nbsp;<br /> <br /> Sam Smith works across sculptural construction and moving image, in an exploration of filmic language and its relationship to object. Intersecting the formal and conceptual frameworks that have previously separated these artistic disciplines he invests film and video with ideas relating to three-dimensional space while expanding object-based work into temporal territory, asking us to rethink sculpture as montage and cinematic editing as object construction.<br /> <br /> <em>Smith's recent solo exhibitions and performances include 'Notes on the Apparatus' selected by Vdrome for the Artists' Film Biennial, Institute of Contemporary Arts, London (2014); 'Form Variations', K&uuml;nstlerhaus Bethanien, Berlin (2014); 'Frameworks', 3+1 Arte Contempor&acirc;nea, Lisbon (2013); 'Cameraman' Art Gallery of New South Wales, Sydney (2011). He has participated in numerous group shows including 'Online/Offline. Encoding Everyday Life for Vorspeil Transmediale', Altes Finanzamt, Berlin (2014); 'Oblivion', Zweigstelle Berlin (2014); 'Conquest of Space', COFA Galleries, Sydney, Australia (2014) and 'Larger than life', Tempor&auml;ra Konsthallen, Stockholm (2013); 'Framed Perceptions', Sinne, Helsinki (2013).</em><em><br /> <br /> </em></p> Tue, 19 Aug 2014 08:53:06 +0000 Group Show - РОСФОТО (Rosphoto) - August 22nd - September 28th <p><strong>An artist talk&nbsp;with photographers</strong> <strong>Sergey Kozhemyakin, Vladimir Parfianok, Igor Savchenko&nbsp;will start after the exhibition opening at 7 p.m. in ROSPHOTO's conference hall.</strong><br /> <br /> The exhibition &ldquo;<em>Minsk School of Photography&rdquo;</em> presents a key phenomenon in the history of Belarusian photography of the second part of the XX century. The display comprises more then 150 pieces from the collection of the State Museum and Exhibition center ROSPHOTO.<br /> &nbsp;<br /> The works by the Belarusian photographers have come into ROSPHOTO&rsquo;s possession at different times and have been obtained from different sources. The first picture was acquired in 2002, the year when ROSPHOTO was founded. Eventually, due to the increase of the number of works, a collection of Belarusian photography was formed. The largest and the most comprehensive acquisition took place in 2013, when the museum became the owner of more than 700 artworks, representing the oeuvre of 14 Minsk-based photographers. Thus, ROSPHOTO&rsquo;s collection now features the works by the most notable representatives, the key figures of the Belarusian photography, which makes the collection an important and extremely comprehensive illustration of the Belarusian photography of the mid 20<sup>th</sup> &ndash; early 21<sup>st</sup> century.<br /> &nbsp;<br /> The period, which is spanned by the exhibition, is very important for understanding of both the history of the Belarusian photography and the Soviet era in the history of the Russian photography in general. Among the milestones of that age was the foundation and then the recognition of the regional and republic-based photographic schools. The artists who belonged to such schools existed in a certain unique cultural environment, which was not large and was often limited to the territory of a Soviet republic, region or city. The Belarusian photography was not an exception; moreover, the mentioned trend manifested itself more vividly in Belarus than in other Soviet republics. The current exhibition tries to explore the cultural phenomenon of the Belarusian photographic schools.<br /> &nbsp;<br /> After the World War II Minsk became the center of the Belarusian photography. In the 1950s it witnessed the dawn of the amateur photography movement. In 1960 it resulted in the foundation of &ldquo;Minsk&rdquo;, one the first photo clubs in the post-war Soviet Union, and the first one in Belarus. In the 1970s the achievements of many of the club&rsquo;s members made it possible to speak of a new art phenomenon, which was named &ldquo;the Belarusian creative photography.&rdquo; For a decade the &ldquo;Minsk&rdquo;-based photographers regularly held the photo festivals <em>Photographica</em>, one of the most important and influential photo events in the USSR. At the ROSPHOTO&rsquo;s exhibition that period is represented by the masterpieces of such renowned artists as Viktor Butra, Anatoly Dudkin, Yevgeny Kozyula and Mikhail Zhilinsky.<br /> &nbsp;<br /> In the 1980s a number of training studios were organized under the auspices of the photo club &ldquo;Minsk.&rdquo; The wide range of activities held by them enabled to overcome the creative stagnation typical for the Soviet cultural life in general, and established a group of talented artists, who propelled the Belarusian photography to the highest international level by the beginning of 1990s. It was then when the western curators and critics introduced a new term to name the oeuvre of the Minsk-based photographers &ndash; &ldquo;the Minsk school of photography.&rdquo; One can notice that the internationally acclaimed photographic series by Sergey Kozhemyakin, Vladimir Parfianok, Igor Savchenko and others show aesthetical likeness and overlapping concerns and contemplations on the Belarusian and Soviet history as well as about the nature and potential of photography.<br /> &nbsp;<br /> The contemporary Minsk photography is represented at the exhibition by the works of young photographers &ndash; <em>The Creation</em> series by Daniil Parnuk, a portrait series <em>Two Minutes Later</em> by Andrey Kolesnikov, a series of gum prints by Andrey Voznesensky. These art series created in the early 2000s uphold the reputation of the Minsk school of photography on the background of globalization of photography and the rise of interest towards the international university-based photographic schools.<br /> &nbsp;</p> Tue, 19 Aug 2014 08:38:06 +0000 Yason Banal - The Drawing Room - Singapore - August 22nd - September 21st <p>The tension between the history of artifice and the life of materials lies at the dead center of Yason Banal&rsquo;s exploration of things. These are inflected things, informed by either finical facture or irresistible weathering. However they are formed, these things are subjected to various degrees of expenditure: the force they keep is expended in one way or another, slowly but surely, and irresistibly so. That said, such an expenditure elaborates on the substance of the things, or make them so elaborate, to the point that the latter are exceeded by this surplus, so thoroughly transformed that they disappear &ndash; worked on, layered, and inevitably replaced by the prostheses of the supplement. This process may well ensure a third moment, one that follows the sequence of finding the thing, morphing it, and then intuiting its changeling potential...</p> <p>&nbsp;</p> <div align="center"><hr align="center" size="2" width="100%" /></div> <p>In <em>on just land patterns of drift will nature make a man of me</em>, Banal pursues the elusive deep structure of the global image, the abstractions of its capital, and the stamina of the labor to keep up with its persistent algorithms and afterlives. In dispersing the density of appearances and the basis of their permutations and simultaneously compromising the condition of reproducibility by way of virtual design, this image loses much of its ground, as it were. Banal encroaches on the various methods of this hectic interfacing across wired borders and finally drifts into the nature of a hopefully still human world. The attempt to recover a level of land and pattern may, at last, require the incursion of the political, a horizon that can no longer be transcended.</p> Tue, 19 Aug 2014 08:21:37 +0000 - Southeast Museum of Photography - September 12th - December 14th Mon, 18 Aug 2014 18:15:41 +0000 Mitchell Lonas - CALLAN CONTEMPORARY - August 1st - September 21st <p>The precision and poeticism of natural forms are central to Mitchell Lonas&rsquo; new series of incised and painted aluminum panels. Many pieces in this body of work were inspired by the artist&rsquo;s fascination with the Fibonacci Sequence, a mathematical proportion that undergirds the visual balance and harmony seen in growth patterns within the animal and plant kingdoms. Lonas captures the beauty of these patterns in his lyrical interpretations of trees, root systems, shells, and waterfalls. He adapts his exacting technique to each of these subjects, utilizing an array of customized tools to incise metal panels with gracefully arcing lines of controlled depth and angle. Each line catches the light in different ways, sending luminous rays through the exhibition space. The light seems to change and move along with viewers as they look at the artworks from different vantage points.</p> <p><br />Lonas&rsquo; unique technique, which he created and developed over many years&rsquo; time, mirrors both the organicism and perfection of nature itself. Each line is intuitive and cannot be taken away once inscribed into the picture plane. In concert, the lines work together like musicians, contributing to an overall symphony of harmonic forms. But for all their spontaneity of gesture, the pieces are meticulously structured, from the pristine purity of their matte-finish backgrounds to the ingenious system of cleats that makes each piece appear to float serenely in front of the wall.</p> <p><br />Lonas studied art history at the University of Tennessee in Knoxville. His work features prominently in significant private, public, and corporate collections, and he has been commissioned to create large-scale works for a variety of clients, including well-known Fortune 500 companies. Viewers are consistently riveted by his expressive sense of line and dramatic use of scale. With his technical virtuosity, Lonas zooms in on the essence of a natural object giving viewers a magnified awareness and appreciation of details that might otherwise go unnoticed. &ldquo;When you really focus your attention,&rdquo; he observes, &ldquo;your eye starts noticing the existence of small worlds all around you... You&rsquo;re walking along a path, and suddenly you see something as simple as a feather on the ground. If you pick it up and look at it, you begin to see the design, the embedded code, the perfect balance in nature. Even in the smallest object there&rsquo;s so much to feast your eyes on and you can find the perspective to a whole new universe.&rdquo;</p> <p>&nbsp;</p> <p>By Richard Speer</p> Mon, 18 Aug 2014 09:48:58 +0000 Jordan Wolfson., Amy Huddleston, Michael Howard, Ann Gale, Hilary Brace, Kimberly Clark - PROGRAPHICA - May 3rd - May 31st Sun, 17 Aug 2014 23:25:48 +0000 Lan Zhenghui, Qin Yufen, Qiu Deshu, Wang Dongling, Wang Tiande, Zhang Wei - Pearl Lam Gallery Singapore - August 14th - September 18th <p><img src="" alt="" /></p> Sun, 17 Aug 2014 02:01:35 +0000 Cinthia Marcelle - Secession Vienna - September 11th - November 2nd <p>For her films and photographs, the Brazilian artist Cinthia Marcelle carefully creates situations and performative actions that reflect social or financial structures. The way in which she stages the mundane, eccentric, and local opens up perspectives on global issues. To ensure that her actions may be read as images and playful metaphors, she relies on a rigorous formal language, for instance by composing her filmic documentaries as unedited aerial shots.<br /><br />In her ongoing series&nbsp;<em>Unus Mundus</em>, Cinthia Marcelle presents isolated incidents in which the confusion of everyday life undergoes reorganization. In&nbsp;<em>Confronto</em>&nbsp;(2005), for example, she precipitates a collision between man and machine: eight artistes juggling burning torches perform in front of waiting cars at an intersection in central Belo Horizonte. Defying expectations, they keep at it as the traffic light turns green. That immediately triggers a cacophony of car horns, but as a group, the artistes have the power to stop traffic and confront the drivers instead of entertaining them.<br /><br />Another film,&nbsp;<em>O S&eacute;culo (The Century)</em>&nbsp;(2011), shot with Tiago Mata Machado, opens on an unidentified empty street; on its other side is a wall topped with barbed wire. More and more household garbage and industrial detritus like car tires, neon tubes, and indefinable lumps of dirt is hurled into the picture from the right, before the scene quiets down and is resolved; then the entire process repeats, only this time the garbage comes from the left. As the title suggests, the act of aggression refers not to a specific historic event. Rather, the conception of the video refers to Walter Benjamin&rsquo;s idea of history as a process of inevitable decay, &ldquo;history as ruin&rdquo; as an allegory that goes beyond the idea of beauty.&nbsp;<br /><br />Cinthia Marcelle was born in Belo Horizonte, Brazil, in 1974 and lives and works in Belo Horizonte.</p> Sun, 17 Aug 2014 01:47:29 +0000 Ayreen Anastas, Rene Gabri, Zanny Begg, Mariam Ghani, Miguel A. López, Pedro G. Romero/Archivo F.X., Christoph Schäfer, Bert Theis - Secession Vienna - September 11th - November 2nd <p>We understand "Utopia" as an always incomplete alternative, the invocation&nbsp;<em>within</em>&nbsp;the given world of something incompatible with, and hostile to, given conditions. It is a negation of the given and a recognition of "something missing," but also a necessarily imperfect assertion of that which is&nbsp;<em>not</em>&mdash;yet. The work will follow utopian projections that serve the purposes of secession from and resistance to our particular present. The "negative" or "critical" version of the utopian "impulse" is not just a matter of satire, or listing what's wrong with the world as though listing it could change it. Utopia, rather, is the assertion of the unrealized&nbsp;<em>in and against&nbsp;</em>the real.&nbsp;<br /><br /><em>Utopian Pulse &ndash; Flares in the Darkroom</em>&nbsp;as an exhibition will be divided into eight salons. It seems urgent precisely when the potential imperfectly expressed in the salon is seen as neither a proto-public sphere&mdash;that is, one stage in an orderly evolution towards universal convivial conversation&mdash;<em>nor</em>&nbsp;pure "courtly" proprietorship, but rather as a partial breach of the prevailing order of class and gender, a disruption that cannot become the public norm because it prefigures total upheaval of what constitutes the "public" and is instead a place for the monstrous birth of new alliances.&nbsp;<br /><br /><em>Utopian Pulse &ndash; Flares in the Darkroom</em>&nbsp;brings together international cultural producers who have substantial artistic and curatorial practices. Over an eight-week period, starting in September 2014, they will show and discuss works of other artists in the gallery of the Secession in Vienna every week. The contributions of the individual artist-curators will not be shown sequentially, but will productively interact with one another. The outcomes&mdash;whatever their form&mdash;will constitute a collective challenge to the constituent roles of social actors within the field of art in more complex ways than simply as "artists," "curators," and "viewers", in order to imagine new forms of exchange.&nbsp;<br /><br />An initial preparatory meeting in January 2014 was followed by a public presentation entitled "Salon Klimbim" and orchestrated by the artist-curator Fahim Amir on January 23.<br /><br />The research exhibition at the Secession will be linked with various formats, among them large-scale billboards on the fa&ccedil;ade of the Secession. Between February and September 2014, a series of 7 billboards will be presented on the fa&ccedil;ade of the Secession. They will relate to the uprisings, occupations, and social movements that have emerged in recent years.</p> Sun, 17 Aug 2014 01:43:10 +0000 Diana Al-Hadid - Secession Vienna - September 11th - November 2nd <p>The large-format sculptures and drawings of the sculptor Diana Al-Hadid, who was born in Syria and raised in the United States, present complex constellations involving architectonic structures, elements of landscapes, and figurative allusions suspended, as it were, between decay and construction. Built from common staples, her multimedia works look like alien places, bridging distances in time and space. Al-Hadid finds inspiration and figures of reference in gothic and classicist architecture, time machines and black holes, Renaissance and Mannerist painting, mythical narratives, and Islamic ornamentation, as well as mathematical and physical inventions like the water clock the Arab engineer and writer al-Jazarī built in 1206.<br /><br />In numerous more recent works such as<em>Trace of a Fictional Third</em>&nbsp;(2011) and&nbsp;<em>At the Vanishing Point</em>&nbsp;(2012), Al-Hadid transfers the illusionism of fifteenth- and sixteenth-century European painting into three-dimensional space. The characteristic feature of her sculptures is the balance between ascending stairs or landings and the cascade-like disintegration of platforms; everything seems to float and shift, surging and falling at the same time. The overwhelming visual impression the sculptures produce rests on the interlocking shapes, surfaces, and cavities as well as their subtle palette and the dense texture of constructive elements and materials that seem to drip or melt away.<br /><br />Diana Al-Hadid was born in Aleppo (Syria) in 1981, grew up in Canton, Ohio (U.S.) , and lives and works in New York City.</p> Sun, 17 Aug 2014 01:37:47 +0000 Georg Herold - Gerhardsen Gerner - August 21st - September 20th <p class="text">Gerhardsen Gerner Oslo is pleased to announce its second solo exhibition with German artist Georg Herold (b. 1947).</p> <p>It is said that it takes eight years for a sturgeon to mature, eight minutes to remove caviar from its belly and eight seconds to taste it.&nbsp;<br />Shrinking exponentially, those numbers tell a grotesque tale of economic and environmental decadence.</p> <p>Numbers &ndash; random, consecutive, wildly escalating &ndash; also run across Georg Herold&rsquo;s&nbsp;<em>caviar paintings</em>, yet his work refuses to conform&nbsp;to the reductive post-Marxist equations between art and the market. If caviar suggests conspicuous consumption, in Herold&rsquo;s work it is&nbsp;also the aggregate of a Pop image and the Beuysian aura of pure material. Or it is simply the beauty of water drops and pearls, referring to the painterly aspect in art history, evoking drops and traces of oil paint and resin on canvas.</p> <p>The gallery spills of caviar, affixed to canvases under varnish, meandered across the surfaces. Tight clusters of handwritten&nbsp;numbers provide shadowing for the eggs, rendering them pictorially illusionistic. Both languages multiply from a seed: the tiny egg,&nbsp;the single number.</p> <p>The caviar portraits also double as signs for already-existing value, mimicking Andy Warhol&rsquo;s benday dots. They are a&nbsp;reminder that Sigmar Polke &ndash; whose hand-painted dot screens also parodied Pop art &ndash; was Herold&rsquo;s teacher in the&nbsp;1970s. Adapting caviar to the portrait genre emphasizes that eggs, like pixels, contain information and instructions for life, though&nbsp;here their growth is arrested by the resin sealant.</p> <p>Herold&rsquo;s paintings may be straightforwardly spectacular, but they are also conceptually elusive. Resembling process painting of&nbsp;the late 1980s &ndash; such as Ian McKeever&rsquo;s huge diptychs in which combinations of oil and acrylic triggered sublime chemical&nbsp;reactions &ndash; they subvert that model, investing material with symbolism. If caviar connotes wealth, the numbers evoke the mumble&nbsp; of markets as the forms they create wind like the parabolas of economic graphs.</p> <p>(excerpt from: Mark Prince, "Georg Herold", Frieze Magazine, June 2011)</p> <p>Georg Herold are to be found in a number of private and public collections. His work has been shown in renowned institutions such&nbsp;as the Museum Brandhorst, Bayerische Staatsgem&auml;ldesammlungen, Munich (2012); Kunstnernes Hus, Oslo (2009); Kunstverein&nbsp;<br />Heilbronn (2010); Martin-Gropius-Bau, Berlin (2009,1997, 1991); Ludwig Museum, Cologne (2007); the South London Gallery&nbsp;(2007); Stedelijk Museum voor Actuele Kunst, Ghent (2007); Tate Liverpool (2004) and Schirn Kunsthalle, Frankfurt (2001)&nbsp;among others.&nbsp;<br /><br />Georg Herold artist holds a professorship in D&uuml;sseldorf and lives and works in Cologne.</p> Sun, 17 Aug 2014 01:31:48 +0000 Neil Maurer - REM Gallery - September 6th - October 24th <p><strong>Artist Statement: Still-Life and Illusion</strong></p> <p><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>Still-life and illusion are two subjects which have fascinated me for a number of years. &nbsp;The more I look at photographs of all kinds the more I seem to be drawn to those that while being straightforward and unmanipulated appear to contain impossible relationships. &nbsp;The photographic medium presents images remarkably faithful to reality. &nbsp;We are accustomed to seeing these, but when these very faithful photographs are able to present visual confusions and illusions, then they upset our tacit understanding of the way things are supposed to be.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Straight camera-made photographs reveal the world from one precise point in space and as with only one eye. &nbsp;Usually these two inherent conditions of photos are not overly important. &nbsp;However in some of these pictures I have exploited these two conditions. &nbsp;The three-dimensional illusions produced depend on the camera being in one exact location and without binocular (depth-producing) vision.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; My three-dimensional illusions are created by careful alignments of string. &nbsp;Looking at the image, our eyes inform us that the strings are vertical and stand away from the wall. &nbsp;But our intellect, seeing the strings taped against the wall, tells us they must be slanting back away from us. &nbsp;Two-point perspective used in drawing is superimposed on the inherent one-point perspective of the camera lens. &nbsp;The resulting photograph is a faithful camera-made document of two things which seemingly cannot coexist.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; While making these pictures, I lifted my eye away from the view finder and, looking over the camera at the still-life with one or two eyes, the illusion disappeared.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The illusions grew out of my still-life projects. &nbsp;Everyday items like balloons, sticks, wires to hold up plants, and shunks of acrylic all intrigue me. &nbsp;I fabricate constructions, and then I dismantle them.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The prints I make are from 400 speed black and white negatives. &nbsp;When printed nearly 16" by 20" the film grain shows. &nbsp;This produces an ambiguity concerning what is real and not real-which I like. &nbsp;I use a point-cource enlarger to make the grain appear even crisper.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I overheard two women who were looking at my pictures. &nbsp;One whispered to the other, "What are these? &nbsp;Drawings?" "I don't think so," her friend replied, "I am not sure but maybe they're photographs."</p> <h1><span style="font-size: small;">Artist Statement: Highways</span></h1> <p><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>The aesthetic reference comes from my experience in visiting the old Mosque in Cordoba, Spain. &nbsp;The mosque covers a city block and is a tall, one-story horizontal space supported by a grid work of columns. &nbsp;It is quiet, meditative and dark inside, with a calming horizontality. &nbsp;But in one corner a strong light illuminates the arches and invades the darkness.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; As I walked toward that light I found myself at an arched doorway of a Spanish cathedral that had been built into the mosque after Spain forced the Moors out of the country.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; You can look out at the mesmerizing horizontality of the Moorish architecture, and then up at the soaring verticality of a European cathedral. &nbsp;The visual experience is captivating. &nbsp;In the highway overpasses the supporting grid work of cement columns produces the dark areas, which echo those in the mosque. &nbsp;The soaring and curving ramps of the overpasses evoke the verticality of the cathedral.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I am treating this subject in a way that retains both horizontal and vertical reference, yet produces visual abstraction. &nbsp;I have reduced the sense of depth:clouds and other references to deep space are omitted. &nbsp;In part this comes naturally because the exposures must be long to produce detail in the shadows underneath, which overexposes the bright sky, producing white areas that move forward visually where they compete with columns and roadways. &nbsp;This flattening produces a representation of highway interchanges that you may not encounter looking directly at them. &nbsp;This possibility in photographing to capture a certain reality, yet transform it, fascinates me.</p> <p><strong>Biography</strong></p> <p><strong>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </strong>Neil was born in 1941 in New York City, graduated from high school in Springfield, Massachusetts, and received a B.A. in Sociology from Brown University in 1962. &nbsp;He served as a Peace Corps&nbsp;Volunteer&nbsp;in Peru where he developed a lasting fascination with Latin America. &nbsp;Later, he&nbsp;worked as a newspaper reporter for the New Haven Register and was Assistant Director of Public Relations for The American Institute of Architects, Washington, D.C., where he also studied photography at the Corcoran School of Art.</p> <p>&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; After living in Ecuador a year with a grant from the Inter-American Press Association, he earned a MFA degree from the Rhode Island School of Design, having studied with Aaron Siskind and Harry Callahan. &nbsp;He was&nbsp;awarded&nbsp;a Fulbright-Hays grant to photograph in Peru in 1975, and then took a teaching position in&nbsp;the Division of Art and Design at the University of Texas, San Antonio. &nbsp;He retired as Professor of Art in 2008. &nbsp;His work is represented in many collections in the United States and abroad, he has exhibited widely and reviewed extensively. &nbsp;He is married to Karen Stothert and has two children, Ian Maurer-Stothert and Molly Stothert-Maurer, and one granddaughter, Violet Penelope Paek.</p> Sun, 17 Aug 2014 01:16:40 +0000 Agi Chen - Fukuoka Asian Art Museum (FAAM) - August 6th - August 31st <p>Want to make your favorite cartoon character into an artwork!? Join in "<a href="" rel="nofollow">United Islands</a>," an online art project by <a href="!workss/c6rl" rel="nofollow">Agi Chen</a> from Taiwan and get a free digital art work.</p> <p>While colors are the only thing left in the cartoon characters, the colors recall our memories!</p> <p>Agi Chen&rsquo;s new work &ldquo;<a href="" rel="nofollow">United Islands</a>&rdquo; is coming up in <a href="" rel="nofollow">5th Fukuoka Triennale</a>. With the intention to build up a collective memory database of participants, Agi will make the concentric circles of fabricated colors with the cartoon characters you book on the website of &ldquo;United Islands&rdquo;, and send you back the digital concentric circle image by email. Furthermore, on the site of FT5, Agi will use the rotating painting machines to make rotatory portraits of Top 50 popular characters selected from participant&rsquo;s booking list during 2014/08/06-2014/08/31.</p> <p>You are welcome to join &ldquo;United Islands&rdquo; by booking the free artwork of your favorite cartoon character!&nbsp;</p> <p><a href="" rel="nofollow"></a></p> <p><span style="color: #5e8aa1;"><strong>Artist&nbsp;Statement</strong></span></p> <p><span style="color: #708090;">&ldquo;United Islands&rdquo; is a collective visual memory database. Every citizen of the island are tuck away deep down within our memory, characters with fabricated colors.</span><br /><br /><span style="color: #708090;">&ldquo;United Islands&rdquo; in 5th Fukuoka Asia Art Triennale is based on my series works &ldquo;Function Color&rdquo; which I started to develop since 2004. During the process of working on &ldquo;Function Colors&rdquo;, In order to explore the collective memory built by mass media through color spectrum of cartoon characters, I transform the characters into centric circles and replace the circles back in to the original setting of the cartoon scenes.&nbsp;</span><br /><br /><span style="color: #708090;">By collecting participants&rsquo; selected cartoon Characters as data, &ldquo;United Islands&rdquo; expands the concept of &ldquo;Function Color&rdquo; into a collective visual memory database online. In this way, I am looking to explore group psychological movements during the delivery of information, because it reveals the method and path which information are delivered in the era of Internet media, and also means Internet provided a cooperative and open platform for collaborative work.&nbsp;</span><br /><br /><span style="color: #708090;">Based on this method of field research that is carried out through Internet and social networking groups, I would make rotatory portraits of cartoon characters collected from participants by a painting machine, which makes images of cartoon characters appear to be concentric layers of colors. On one end, the painting process creates a type of rotatory portrait across the surface of speed. On another end, its motions reveal a process of abstraction that makes colors to reveal a message conveyed across history.</span></p> Sat, 16 Aug 2014 23:06:29 +0000 Marina Abramovic - Centro de Arte Contemporáneo de Málaga - May 23rd - August 31st <p><strong>El Centro de Arte Contempor&aacute;neo de M&aacute;laga presenta la primera exposici&oacute;n en un museo espa&ntilde;ol de Marina Abramovi</strong><strong>ć en la &uacute;ltima d&eacute;cada,&nbsp;</strong><strong>una de las artistas contempor&aacute;neas m&aacute;s importantes de la actualidad.&nbsp;<em>Marina Abramovi</em></strong><strong><em>ć:&nbsp;</em></strong><strong><em>Holding Emptiness</em></strong><strong>es una exposici&oacute;n<em>&nbsp;</em>comisariada por Fernando Franc&eacute;s y en la que la artista balc&aacute;nica invita a los espectadores a que interact&uacute;en con su obra a trav&eacute;s de las sensaciones que experimenten con algunos de los objetos expuestos. Adem&aacute;s, la exposici&oacute;n est&aacute; compuesta por fotograf&iacute;as y v&iacute;deos de las diferentes etapas creativas de la artista, y un grupo de dibujos in&eacute;ditos. Marina Abramovi</strong><strong>ć&nbsp;</strong><strong>es precursora del&nbsp;<em>Performance Art</em>&nbsp;y a lo largo de su trayectoria ha llevado hasta el extremo su inquietud art&iacute;stica, experimentando con m&eacute;todos, t&eacute;cnicas e instrumentos para conseguir transmitir su obra al espectador. Recientemente, ha sido incluida en el ranking de las 100 personas m&aacute;s influyentes del mundo por la revista&nbsp;<em>TIME</em>.&nbsp;&nbsp;En la exposici&oacute;n han colaborado el<em>Festival M&aacute;laga. Cine Espa&ntilde;ol&nbsp;</em>y&nbsp;<em>Bang &amp; Olufsen Hilera, M&aacute;laga.</em></strong></p> <p>&ldquo;Estoy interesada en un arte que perturbe y rompa el momento de peligro; por eso el p&uacute;blico tiene que estar mirando en ese momento y dejar que el peligro se concentre. Esta es la idea, concentrarnos en el&nbsp;<em>aqu&iacute;</em>&nbsp;y el&nbsp;<em>ahora</em>&rdquo;, con esta declaraci&oacute;n, Marina Abramović (Belgrado, 1946) resume la intenci&oacute;n que persigue con su trabajo. El CAC M&aacute;laga invita al p&uacute;blico a que dialogue con la obra de la artista balc&aacute;nica, precursora del&nbsp;<em>Performance Art&nbsp;</em>y referente del arte contempor&aacute;neo en todo el mundo.</p> <p>Para Fernando Franc&eacute;s, director del CAC M&aacute;laga: &ldquo;(&hellip;) Marina Abramović es una figura incuestionable como la aut&eacute;ntica pionera capaz de haber explorado todos los &aacute;mbitos de la problem&aacute;tica entre el&nbsp;<em>yo</em>interior y el&nbsp;<em>yo</em>&nbsp;social. Ella es sin duda una artista que supo entender que la&nbsp;<em>performance</em>&nbsp;no era la suerte de moda de un momento cumbre del arte internacional, ni siquiera lo concibi&oacute; como un veh&iacute;culo, como un g&eacute;nero, capaz de expresar mejor sus ideas y preocupaciones, sino que pronto entendi&oacute; que era una forma de vida, una manera nueva de evidenciar su compromiso vital con su compromiso art&iacute;stico, aunque quiz&aacute; las dos cosas sean lo mismo&rdquo;.</p> <p><em>Marina Abramovi</em><em>ć</em>:&nbsp;<em>Holding Emptiness&nbsp;</em>invita al espectador a que participe, incit&aacute;ndole a que experimente con las sensaciones que transmite su trabajo. Parte de su obra es la interacci&oacute;n y el flujo de energ&iacute;as que se produce en la sala expositiva.</p> <p>La exposici&oacute;n presenta el trabajo de la artista a lo largo de su trayectoria: sus inicios en la d&eacute;cada de los setenta con fotograf&iacute;as de sus&nbsp;<em>performances,</em>&nbsp;en blanco y negro, como&nbsp;<em>Art must be beautiful, Artist must be beautiful</em>&nbsp;(1975/2010), en la que aparece cepill&aacute;ndose el pelo de forma violenta, hasta hacerse da&ntilde;o, repitiendo la frase del t&iacute;tulo, o&nbsp;<em>Rhythm 10</em>&nbsp;(1973/2010), que consiste en darse cuchilladas entre los dedos de la mano y cada vez que se cortaba, cambiaba de cuchillo. El juego se repite varias veces con ayuda de una grabadora que registraba los golpes.</p> <p>Tambi&eacute;n quedan reflejadas las&nbsp;<em>performances</em>&nbsp;realizadas con Ulay, que tambi&eacute;n fue su pareja sentimental. Con trabajos como&nbsp;<em>Relation in Time</em>&nbsp;(1977/2010), en la que ambos permanecieron 17 horas de espaldas entrelazados por su pelo, o&nbsp;<em>Anima Mundi:</em>&nbsp;<em>Piet&agrave;</em>&nbsp;(1983/2002), en este caso es una fotograf&iacute;a a color, en la que representa uno de los temas de la iconograf&iacute;a cristiana: La Pasi&oacute;n. En la imagen, la artista sostiene en brazos a Ulay. Entre 1975 y 1988 es el periodo en el que trabaja con el artista alem&aacute;n. Su complicidad dio lugar a una serie de trabajos en los que se aborda las relaciones de parejas y t&eacute;rminos antag&oacute;nicos, como son la soledad/compa&ntilde;&iacute;a; masculino/femenino y deseos/prohibiciones.</p> <p>Una vez rota su relaci&oacute;n con Ulay, se replantea su trabajo, esta vez en solitario. Despu&eacute;s de realizar sus viajes a China, India y Brasil a finales de los ochenta y principio de los noventa crea los&nbsp;<em>objetos transitorios</em>, que, seg&uacute;n define la artista, son un grupo de obras &ldquo;dise&ntilde;adas para provocar experiencias f&iacute;sicas o mentales en el p&uacute;blico a trav&eacute;s de la interacci&oacute;n directa. Cuando se logra la experiencia, los objetos pueden dejar de utilizarse&rdquo;.&nbsp;<em>Chair for Human Use with Chair for Spirit Use (I),</em>(2012) son prototipos de estos objetos.</p> <p>Su trabajo en solitario est&aacute; centrado en el cuerpo y en la energ&iacute;a con trabajos como el tr&iacute;ptico&nbsp;<em>The Artist is Present&nbsp;</em>(2010/2013), realizada a partir de la&nbsp;<em>performance</em>&nbsp;en el MoMA en la que invit&oacute; a los espectadores a que se enfrentaran a su mirada en una de las salas de museo.</p> <p>Tambi&eacute;n se podr&aacute; ver una serie de 30 dibujos que se expondr&aacute;n por primera vez y que provienen de tres cuadernos realizados durante sus viajes a Brasil en la d&eacute;cada de los noventa. La exposici&oacute;n se completa con los v&iacute;deos que graba para este medio de sus&nbsp;<em>performances</em>&nbsp;sin p&uacute;blico.</p> <p>Marina Abramović pertenece a una generaci&oacute;n integrada por Bruce Nauman, Vito Acconci o Chris Burden, que empezaron a darle a la&nbsp;<em>perfomance</em>&nbsp;la misma importancia que a otras disciplinas art&iacute;sticas. Ha llegado a afirmar sobre su obra: &ldquo;La vida est&aacute; dentro de la&nbsp;<em>performanc</em>e y la<em>performance</em>&nbsp;est&aacute; dentro de la vida&rdquo;.</p> <p>Marina Abramović es hija de militares que lucharon en la guerra de los Balcanes y se educ&oacute; en un ambiente estricto y de censura por parte del gobierno. Estudi&oacute; en la Academia de Bellas Artes de la capital yugoslava. En este centro imparti&oacute; clases, adem&aacute;s de iniciar a principios de los 70 su prol&iacute;fica carrera art&iacute;stica. A finales de esta d&eacute;cada se muda a &Aacute;msterdam y all&iacute; conoce al artista alem&aacute;n Ulay (Frank Uwe Laysiepen), que ser&iacute;a su compa&ntilde;ero durante m&aacute;s de una d&eacute;cada. Ha expuesto en solitario en las principales instituciones europeas y estadounidenses, como el&nbsp;<em>Stedelijk Van Abbemuseum</em>&nbsp;de Eindhoven (Pa&iacute;ses Bajos, 1985); el&nbsp;<em>Mus&eacute;e National d&rsquo;Art Moderne-Centre George Pompidou</em>&nbsp;de Par&iacute;s (1990); la&nbsp;<em>Neue Nationalgalerie</em>&nbsp;de Berl&iacute;n (1983) o el&nbsp;<em>Museum of Modern Art</em>&nbsp;de Oxford (Reino Unido, 1995). Su obra ha participado en las muestras internacionales m&aacute;s importantes, como la Bienal de Venecia (1976 y 1997) y Documenta VI, VII Y IX en Kassel (Alemania, 1997, 1982 y 1992). Sus exposiciones han viajado por todo el mundo, como&nbsp;<em>Objects Performance Video Sound</em>&nbsp;(1995) que se expuso en el&nbsp;<em>Museum of Modern Art de Oxford</em>&nbsp;y al&nbsp;<em>Irish Museum of Modern Art of Dublin</em>. En 2000, la&nbsp;<em>Kunstverein de Hannover</em>&nbsp;present&oacute; una individual y dos a&ntilde;os m&aacute;s tarde, la artista particip&oacute; en la exposici&oacute;n&nbsp;<em>Berl&iacute;n-Moscow</em>, que se inaugur&oacute; en la&nbsp;<em>Martin Gropius-Bau</em>&nbsp;de Berl&iacute;n y finaliz&oacute; en 2004 en el Museo Estatal de Historia de Mosc&uacute;.</p> <p>Ha sido galardonada con el Le&oacute;n de Oro a la Mejor Artista en la Bienal de Venecia en 1997 y en 2003 recibi&oacute; el premio&nbsp;<em>Bessie</em>&nbsp;por la performance&nbsp;<em>The House with The Ocean View</em>, que se realiz&oacute; durante doce d&iacute;as en una galer&iacute;a de Nueva York. En 2008 recibi&oacute; la Cruz de Comendador de Austria por su contribuci&oacute;n a la historia del arte. En 2009 fue nombrada Doctora Honoris Causa en Arte por la Universidad de Plymouth (Reino Unido) y en 2010 tuvo lugar una gran retrospectiva de su obra en el MoMA, que inclu&iacute;a una&nbsp;<em>performance</em>&nbsp;de m&aacute;s de 700 horas (<em>The Artist is Present</em>). En 2011 estren&oacute;&nbsp;<em>The Life and Death of Marina Abramovi</em><em>ć</em><em>,&nbsp;</em>un trabajo dirigido por Robert Wilson y en la que compart&iacute;a escenario con el actor William Dafoe. Desde 2012 empez&oacute; a trabajar en el&nbsp;<em>Marina Abramovi</em><em>ć</em><em>&nbsp;Institute</em>(MAI), con sede en Hudson, Nueva York y que es una instituci&oacute;n que promueve y difunde la<em>performance</em>&nbsp;por todo el mundo.</p> <p><a href="">&nbsp;</a></p> Sat, 16 Aug 2014 03:49:25 +0000 Pablo Fernández-Pujol, Miguel Ceballos - Centro de Arte Contemporáneo de Málaga - June 17th - September 21st <p><strong>El CAC M&aacute;laga presenta&nbsp;<em>Ciberp&aacute;jaro (parte I),</em>&nbsp;(2012) de Pablo Fern&aacute;ndez-Pujol (C&aacute;diz, 1977) y Miguel Ceballos (C&aacute;diz, 1968). Se trata del primer trabajo en el que participan los dos artistas. La obra se expondr&aacute; en el Espacio 5 y a trav&eacute;s de video-animaci&oacute;n recrea la transformaci&oacute;n de un cuerpo humano en un ser h&iacute;brido con cabeza de ave y cuerpo de robot. El ciberp&aacute;jaro registra con una c&aacute;mara todo lo que ve durante su vuelo. En las im&aacute;genes se aprecia el proceso de cambio y paisajes fascinantes que recopila un ser inquieto en un viaje improvisado.</strong></p> <p>Un sue&ntilde;o recurrente en el ser humano ha sido y es volar. La conquista del espacio a&eacute;reo es un anhelo repetitivo en la historia. A partir de este deseo, son muchos los artistas que han planteado su obra alrededor de esta posibilidad y qu&eacute; es lo que descubre en ese viaje. Este es el hilo conductor en el que se basan los artistas andaluces Pablo Fern&aacute;ndez-Pujol y Miguel Ceballos, que por primera vez exponen juntos en el videoarte<em>&nbsp;Ciberp&aacute;jaro (parte I),</em>&nbsp;(2012). Este trabajo es una video-animaci&oacute;n en el que el personaje central sufre una metamorfosis, convirti&eacute;ndose en un ser h&iacute;brido: mitad robot y mitad ave.</p> <p>Este nuevo ser sobrevuela un espacio y registra con una c&aacute;mara todo lo que est&aacute; viendo en su viaje. Se muestra como un ser inquieto, desprovisto de todo rasgo humano y en la que a trav&eacute;s de su mirada el espectador se plantea si comprende todo aquello que est&aacute; viendo con su nuevo aspecto.</p> <p>Adem&aacute;s de la inquietante historia que se desprende de este improvisado vuelo, existen otros elementos que no pasan desapercibidos en la video-animaci&oacute;n: el empleo de unos medios t&eacute;cnicos muy pr&oacute;ximos a la biotecnolog&iacute;a, ya que se aprecian la utilizaci&oacute;n de mecanismos que imitan movimientos propios de los seres vivos. La relaci&oacute;n entre ciencia, arte y humanismo queda patente en varias escenas de este trabajo.</p> <p>La figura cin&eacute;tica imita a la perfecci&oacute;n el vuelo de un ave y la c&aacute;mara registra un paisaje peculiar como son las dunas de Valdevaqueros en Tarifa. Los artistas emplean una gran variedad de medios para que el resultado de lo que ve el espectador tenga el m&aacute;ximo de perspectivas posibles.</p> <p>Los artistas recogen en un boceto, que m&aacute;s tarde se convierte en escultura&nbsp; y que posteriormente pasa a convertirse en una animaci&oacute;n, una obra de arte en movimiento. Junto al personaje central aparecen otros seres animados que completan las escenas previas al vuelo.</p> <p>En definitiva, el viaje de este ave-robot es una met&aacute;fora sobre la capacidad de adaptaci&oacute;n de los seres vivos a los entornos en continuo cambio de una sociedad cada d&iacute;a m&aacute;s exigente.</p> <p>Miguel Ceballos / Pablo Fern&aacute;ndez-Pujol</p> <p><em>&nbsp;</em></p> Sat, 16 Aug 2014 03:44:41 +0000 Philippe Parreno - Centro de Arte Contemporáneo de Málaga - June 27th - September 28th <p><strong>El Centro de Arte Contempor&aacute;neo de M&aacute;laga presenta la primera exposici&oacute;n individual en un museo espa&ntilde;ol de Philippe Parreno, uno de los artistas franceses m&aacute;s importantes del momento.&nbsp;<em>Philippe Parreno. TV Channel</em>&nbsp;es una exposici&oacute;n comisariada por Fernando Franc&eacute;s y consiste en una instalaci&oacute;n compuesta por una pantalla LED de 482 x 382 cent&iacute;metros, en la que se proyectar&aacute;n siete pel&iacute;culas cortas que repasan desde sus primeros trabajos hasta la obra m&aacute;s reciente realizada en la &uacute;ltima d&eacute;cada. Una de las principales caracter&iacute;sticas de su trabajo es que el artista gu&iacute;a la experiencia del espectador. El sonido, el entorno, el soporte de la instalaci&oacute;n son elementos que influyen en el visitante. La variedad de medios que emplea queda patente lo largo de su trayectoria:&nbsp;</strong><strong>adem&aacute;s de en el cine, ha trabajado en la escultura,&nbsp;<em>performance</em>, pintura y texto. En la actualidad reside y trabaja en Par&iacute;s.</strong></p> <p><em>TV Channel</em>&nbsp;se presenta en un enorme panel LED que se usaba principalmente a finales de la d&eacute;cada de 1990.<em>&nbsp;</em>La pantalla es a la vez s&oacute;lida y transl&uacute;cida, con la resoluci&oacute;n y el sonido en estados transitorios que se transforman y se desintegran en funci&oacute;n del punto desde el que mira el observador. Los espectadores y las im&aacute;genes que estos contemplan son, alternativamente, fantasmag&oacute;ricos y reales.<em>&nbsp;</em>El t&iacute;tulo de la obra tambi&eacute;n cambia.<em>&nbsp;Channel</em>&nbsp;(&lsquo;Canal&rsquo;) se puede entender a la vez como una emisora de televisi&oacute;n y como una arteria, un canal de navegaci&oacute;n o intercambio, un lugar que se atraviesa o por el que se pasa.<em>&nbsp;TV Channel</em>&nbsp;lleva hacia una resoluci&oacute;n, por incierta que sea su naturaleza.</p> <p>Para Fernando Franc&eacute;s, director del CAC M&aacute;laga: &ldquo;Parreno ha creado una suerte de esp&iacute;ritu renacentista entre los creadores de finales de siglo pasado y en principios del siglo XXI. Este grupo integrado por, entre otros, Liam Gillick, Rirkrit Tiravanija -que ya han expuesto individualmente en el CAC M&aacute;laga- o Dominique Gonzalez-Foerster y Pierre Huyghe se unieron en algunos trabajos, pero tambi&eacute;n contaron con arquitectos, m&uacute;sicos, dise&ntilde;adores o cineastas para que fueran part&iacute;cipes en sus proyectos. Romper con la idea de que un artista tiene que crear algo e ir m&aacute;s all&aacute; en la b&uacute;squeda de sensaciones, antes que centrarse en la dimensi&oacute;n f&iacute;sica del objeto art&iacute;stico forma parte del ideario que compart&iacute;an. Otros artistas como John Armleder,&nbsp; el compositor John Cage o el bailar&iacute;n Merce Cunningham fueron sus precursores en la d&eacute;cada de los sesenta y setenta, aunando diferentes disciplinas y proponiendo un giro a los planteamientos est&eacute;ticos de la obra art&iacute;stica&rdquo;.</p> <p>A medida que el observador se acerca a la pantalla, esta comienza a desintegrarse<em>.&nbsp;</em>Los diodos zumban con diversas intensidades y se mezclan con las interferencias electr&oacute;nicas y las vibraciones s&oacute;nicas cambiantes en las que se han convertido ahora los sonidos y las im&aacute;genes de la pel&iacute;cula<em>.</em>Cuando el observador rodea la pantalla y mira hacia atr&aacute;s, los nuevos espectadores de la obra aparecen iluminados por las im&aacute;genes que est&aacute;n estudiando.</p> <p><em>TV Channel&nbsp;</em>no se puede reducir a sus componentes materiales y ha evolucionado a lo largo de los a&ntilde;os. La primera versi&oacute;n, creada en 1998, era una proyecci&oacute;n de v&iacute;deo en una pantalla junto a la que una rotulaci&oacute;n realizada con cinta adhesiva mostraba las palabras: &ldquo;<em>We Sit in Front of Stories Like a Player Without a Joystick&rdquo;</em>&nbsp;(&ldquo;Permanecemos sentados ante las historias como un jugador sin<em>joystick</em>&rdquo;.<em>&nbsp;</em>En el CAC M&aacute;laga se podr&aacute; ver su tercera versi&oacute;n.</p> <p>Algunas de las pel&iacute;culas de la obra se muestran en su totalidad, como&nbsp;<em>The Writer</em>&nbsp;(2007),&nbsp;<em>El sue&ntilde;o de una cosa&nbsp;</em>(2001) o&nbsp;<em>Anywhere Out of the World</em>&nbsp;(2000), pero nada se proyecta durante m&aacute;s de cuatro minutos. Dentro de esta secuencia desordenada hay elementos de formatos narrativos televisivos: un macizo de flores aparece en medio de la nada sobre un fondo musical: es&nbsp;<em>El sue&ntilde;o de una cosa</em>(2001); un aut&oacute;mata escribe en&nbsp;<em>The Writer</em>&nbsp;(2007); unas vistas submarinas de cefal&oacute;podos componen&nbsp;<em>Alien Seasons&nbsp;</em>(2002); un primer plano del rostro de una reci&eacute;n nacida:&nbsp;<em>Anna&nbsp;</em>(1993); un ramo de flores:&nbsp;<em>Fleurs&nbsp;</em>(1987), una manifestaci&oacute;n infantil:&nbsp;<em>No More Reality, la manifestation (1991</em>); una figura de manga habla al p&uacute;blico:&nbsp;<em>Anywhere Out of the World</em>&nbsp;(2000). La &uacute;nica voz que se oye en este programa falsamente aleatorio es la de Annlee, el personaje de animaci&oacute;n de&nbsp;<em>Anywhere Out of the World&nbsp;</em>que proclama su propia inexistencia.</p> <p>La primera de las obras,&nbsp;<em>Fleurs</em>&nbsp;(1987), es una pel&iacute;cula muda sobre un ramo de flores en la que el foco cambia constantemente entre el fondo y el primer plano, lo que genera una claridad fluctuante producida al forzar la funci&oacute;n de autofoco<em>.</em></p> <p><em>No More Reality, la manifestation</em>&nbsp;(1991) documenta un suceso<em>.&nbsp;</em>Parreno reuni&oacute; a un grupo de escolares de entre siete y ocho a&ntilde;os y les explic&oacute; el concepto de manifestaci&oacute;n para invitarles a continuaci&oacute;n a que idearan una ellos mismos<em>.&nbsp;</em>Para acompa&ntilde;ar su campa&ntilde;a, crearon el eslogan que presidir&iacute;a la marcha:<em>&nbsp;&ldquo;No more reality!&rdquo;&nbsp;</em>(&ldquo;&iexcl;No m&aacute;s realidad!&rdquo;).</p> <p><em>Anna</em>&nbsp;(1993) capta los primeros momentos de la vida de una ni&ntilde;a reci&eacute;n nacida<em>.&nbsp;</em>La c&aacute;mara se acerca al rostro incomprensible del beb&eacute; que, incapaz de ver o de comunicarse, frunce el ce&ntilde;o y llora ocupando toda la pantalla, que parece vibrar con la intensa pigmentaci&oacute;n de su piel<em>.</em></p> <p>En 1999, Parreno, junto con Pierre Huyghe, compr&oacute; un personaje de anime al que dieron el nombre de Annlee y al que asignaron derechos de<em>&nbsp;copyleft.&nbsp;</em>Annlee, que de no ser por ellos habr&iacute;a estado abocada a una muerte inminente, fue as&iacute; rescatada y ofrecida a otros artistas para que colaboraran y le dieran una identidad<em>.</em></p> <p><em>El sue&ntilde;o de una cosa</em>&nbsp;(2001)<em>&nbsp;</em>es una filmaci&oacute;n de sesenta segundos que se mostr&oacute; por primera vez en las secuencias publicitarias previas a las pel&iacute;culas en varios cines de Suecia. Un anuncio sin producto.</p> <p><em>Alien Seasons</em>&nbsp;(2002) sigue a un banco de cefal&oacute;podos y capta sus t&eacute;cnicas de camuflaje en respuesta a su entorno, gracias al uso de su piel cromat&oacute;fora.</p> <p>En&nbsp;<em>The Writer</em>&nbsp;(2007), Parreno se centra en la frase &ldquo;<em>What do you believe, your eyes or my words?</em>&rdquo; (&ldquo;&iquest;Crees a tus ojos o a mis palabras?&rdquo;) que escrib&iacute;a un mu&ntilde;eco mec&aacute;nico creado por Pierre Jacquet-Droz en el siglo XVIII. La frase queda inacabada, como si la realidad no se pudiera formular por completo con palabras, como si estuviese llena de silencios, aplazamientos e incluso fracasos.</p> <p>Philippe Parreno es un artista y cineasta franc&eacute;s que vive y trabaja en Par&iacute;s (Francia). Estudi&oacute; en laEscuela de Bellas Artes&nbsp;de Grenoble entre 1983 y 1988 y en el Instituto de Estudios Avanzados en Artes Pl&aacute;sticas del&nbsp;Palais de Tokyo&nbsp;de Par&iacute;s de 1988 a 1989. Se dio a conocer en la d&eacute;cada de 1990 y conquist&oacute; a la cr&iacute;tica con una obra que emplea diversos medios, como el cine, la escultura, las<em>performances</em>, el dibujo y los textos. Parreno, al considerar la exposici&oacute;n como un medio, ha redefinido radicalmente la experiencia expositiva explorando sus posibilidades como &laquo;objeto&raquo; coherente y no como un conjunto de obras individuales. Con este fin, concibe sus muestras como un espacio preparado de antemano en el que se desarrolla una serie de sucesos. El visitante es guiado a trav&eacute;s de las galer&iacute;as por la orquestaci&oacute;n del sonido y la imagen, lo que intensifica su experiencia sensorial. Se trata de crear, en un volumen dado, tanto espacio y tanto tiempo como sea posible plegando y desplegando el espacio sobre s&iacute; mismo.</p> <p>Recientemente ha sido objeto de exposiciones individuales en el Palais de Tokyo (Par&iacute;s, 2013-14), el Garage Center for Contemporary Culture (Mosc&uacute;, 2013), la Barbican Art Gallery (Londres, 2013), la Fondation Beyeler (Riehen/Basilea, 2012), el Philadelphia Museum of Art (2012), la Serpentine Gallery (Londres, 2010-2011), el Mus&eacute;e d&rsquo;Art Moderne de la Ville de Paris, el Centre for Curatorial Studies del Bard College (Nueva York, 2009-2010), el&nbsp;Irish Museum of Modern Art&nbsp;(Dubl&iacute;n, 2009), la Kunsthalle Z&uuml;rich (2009) y el Centre Pompidou (Par&iacute;s, 2009).</p> Sat, 16 Aug 2014 03:38:56 +0000