Showing posts with label Pinacotheca. Show all posts
Showing posts with label Pinacotheca. Show all posts
Sunday, 8 April 2012
Saturday, 31 March 2012
Lamelas
- Reading Of An Extract From Labyrinths By J.L. Borges (5:00, 1970, UK)
- Born in Argentina, Lamelas was originally a sculptor, but came to prominence when he represented his country at the Venice Biennale with a piece called Office of Information about the Vietnam war on Three Levels : The Visual Image, Text and Audio. It was here that he met Antwerp-based gallerists from Wide White Space and Marcel Broodthaers, and the contacts he made helped to precipitate his later move to Europe. After Venice he moved to London, where he studied on a sculpture scholarship at St Martins School of Art. It was during his time in England, whilst using photographs and text as material, that Lamelas began working in film. Through a desire to "produce sculptural forms without any physical volume", the core concerns of his work emerged: time, space and language.
- During the subsequent years Lamelas has lived and made work across Europe and in America, each location exerting its specific influence on his work. And it is this personal experience of relocation and his efforts to understand and assimilate new cultures, that gives his conceptualist concerns a warmth and humour. For Lamelas, location and place are primary: "space has a reality, it exists'". Yet about time he asserts, “Time doesn't exist, our consciousness constructs it. Time is a fiction.”
Sunday, 11 March 2012
Saturday, 10 March 2012
Thursday, 8 March 2012
Monday, 5 March 2012
Border | Granicą | Work as Action
Work as Action
Franz Erhard Walther
[...] Franz Erhard Walther counts among those artists who, in the 1960s, sought to undermine the authorial role of the artist in favour of a more democratic aesthetic dependent on the interaction of viewer and object. Others with similar ideas whose work has entered the curatorial limelight of late include Charlotte Posenenske, featured in the last Documenta and subject of a one-person show this summer at Artists Space here in New York. Unlike Posenenske ¬– who wished to divorce the hand from artmaking in favour of mechanised labour – Walther seems to take his cue from Leonardo’s Vitruvian Man: simple and individual acts such as folding and lying, leaning and stepping are either the source of his often minimal works or the means by which individual viewers may interact with them.
On view in this small-bore show are, for example, rolled tubes of kraft paper and painting-size sheets of creased paper hung picturelike on the wall. Their forms are determined by what they are: artmaking basics affected by basic human activities; they exist as artworks because they record these actions. [...]
On view in this small-bore show are, for example, rolled tubes of kraft paper and painting-size sheets of creased paper hung picturelike on the wall. Their forms are determined by what they are: artmaking basics affected by basic human activities; they exist as artworks because they record these actions. [...]
A short essay by the show’s curator, Yasmil Raymond, available at the entrance to the galleries, refers to the influence of Walther’s ‘provocative meditations on art as temporal, subjective, and self-guided’ on his students at the Hochschule für bildende Kunste Hamburg, among them Santiago Sierra, Martin Kippenberger and John Bock. No mention is made of the broader issues of viewer participation, use of quotidian materials and challenges to artistic authority which played out widely in Europe and Latin America during the late 1950s and 60s. Such a discussion would help to situate Walther’s work and counter its subsumption into the minimalist aesthetic which tends to flatten much at Dia.
What is clear, however, is the influence of Joseph Beuys – from the arrangement of small objects, including simple rectangular boxes without tops, in vitrines (a curatorial choice), to Walther’s interest in what appear to be accidental marks or the signs of ageing on canvas and paper. These reveal an interest in chance and in the role of natural forces as artistic agents. But Walther’s greatest overlap with Beuys seems to be an interest in the human and the social. None of his work makes sense unless understood through our sensations. Many pieces seem to imply an absent actor; most require participation, and several are designed to relate bodies to one another.
But where Beuys was busy developing vast mythologies, Walther stripped away mystery. His works are what they say they are: a plinth for stepping on; a vest; two muslin boxes (1963); three soft pink lacquer plates (1963). Such straightforward names place art in the everyday, stripping away the authority of the artist. But they also reflect a somewhat dull, ponderous vein in the work.
How inviting are the objects in 1. Werksatz, after all? Made from heavy canvas duck, they have the look of military gear or items for doing chores. They seem long on earnest ideas and short on fun, an impression reinforced by the sententious texts typed or written on the many drawings displayed in the same gallery as 1. Werksatz. One reads, in German, ‘Body is axis’; others, in English, ‘The space becomes ponderable’, ‘The action in space makes time visible’, ‘The patience of the actor is a condition for producing the work’. It’s a bit too heavy, like the objects, to bring the kind of sensory, social, and aesthetic experience the concepts behind the work seem to intend.
http://www.artreview.com/forum/topics/franz-erhard-walther-work-as
Wednesday, 29 February 2012
another great piece of art, tut tut.
done by Apollo Brailler Mark-II, bought from Japan few years ago.
Cory Arcangel vs ASCII art
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Monday, 27 February 2012
Line and Space: American drawings and sculpture since 1960
Donald Judd
Gordon Matta-Clark
Barry Le Va
Fred Sandback
Dan Flavin
Sol LeWitt
Sol LeWitt
Saturday, 25 February 2012
Wednesday, 22 February 2012
Saturday, 18 February 2012
Tuesday, 14 February 2012
Monday, 13 February 2012
Thursday, 2 February 2012
Daniel Buren: Engaging Specificities - Claire Doherty
It seems fitting that we revisit the work of Daniel Buren in anticipation of this summer's convergence of the Venice Biennale, Documenta and Sculpture Projects Münster. Celebrated for his contribution to all three exhibitions since Harold Szeemann's Documenta V in 1972, Buren acutely understands the apparatus by which invitations are extended, responses commissioned, identities constructed, distributed and consumed through such projects. From the standpoint of 2007, however, we might consider how the "unspeakable compromise of the portable work of art" of which Buren spoke in his 1971 essay "The function of the Studio", has given way to the unspeakable compromise of the commission, proposed by Buren ten years ago in his essay for the 1997 Sculpture Projects Münster catalogue.
Buren's exhortation "Can Art Get off Its Pedestal and Rise to Street Level?" predates the profusion of place-responsive commissioning which has come to dominate international large-scale exhibitions of contemporary art, urban regeneration programmes and off-side gallery programmes over the last decade. Drawing on his own negotiation of the museum's institutional frame, his 're-scripting' of public space and his ephemeral interventions in the urban environment, Buren sets out to challenge certain assumptions about the nature of art and its context. He implicates institutional politics and economies in the production and commissioning of every work of art both within and outside the museum; he asserts that the contribution an artist can make to the urban environment is to be valued but not prescribed; and that effective site-specificity necessitates a transformation of context rather than a polite "merging into the scenery".
Whilst Buren's works and writings have been widely discussed since the mid 1980s for their considerable contribution to, what is now rather perversely described as, the canon of Institutional Critique, such readings seem to miss the broader considerations of place and context clearly evident in his Münster essay.
To look anew at Buren's 1971 intervention into the Guggenheim's rotunda space (Peinture-Sculpture, 1971) through the lens of his recent return to the museum (Around the Corner, 2000 - 2005), for example, is to understand that the artist was not simply compelled to collapse the organising principle of the museum's International Exhibition, but rather intrigued by the multiple conditions under which the Guggenheim comes to exist as a physical, social and cultural space. The 2005 installation expanded the rupture of the 65 x 32 banner of Peinture-Sculpture to a series of mirrored panels and scaffolds which essentially placed Frank Lloyd Wright's spiral within an imagined cube, aligned with the grid of the city of Manhattan.
Buren's consistent return to the term "in situ" in the titles of his works and in the description of his works and in description of his working practice gives us an indication of his interest in the specificity of engagement. He clearly understands site as a cluster of transient meeting points of material culture and social conditions, just as geographer Doreen Massey has asserted that, "what gives a place its specificity is not some long internalised history but the fact that it is constructed out of a particular constellation of relations". So whilst Buren's rigorous interventions were developed, as Andrea Fraser has suggested, "as a means not only to reflect on...institutional conditions but also to resist the very forms of appropriation on which they reflect", they can also be seen to operate as complex interrogations of place and space.
Buren has described the emancipation of the 8.7cm wide stripe from his early pre-printed canvases and posters to architectural and sculptural elements as the development of "a sign in motion". This visual tool or sign operates as a disjuncture, devoid of representative baggage but equally assured of its institutional value. So, for example, whilst the sign of the stripe is seen to repeat through the sculptural interventions of Les deux plateaux, completed in 1986 and 25 Porticoes: The Colour and its Reflections, produced some ten years later, these remain remarkably distinct articulations of site, despite their formal commonalities. Whilst the columns set across 3000m2 play with the formal certitudes of the 17th century Cour d'Honneur, setting off a series of dialogues with the architectural façade of the Palais Royal; the striped porticos of Tokyo Bay similarly set out a series of points of contact for the pedestrian, but here Buren seems more overtly concerned with the scripting of movement across a city, through public and private space, similarly reflected in his 1987 work, IV Tore, for Müster.
Buren's use of transparent coloured Plexiglas panels, or filters, and mirrors in more recent public works (such as. Sulle vigne: punti di vista, 2001, Toscane, Italy; Transparences Colorées, 1999, Munich, Germany) and museum exhibitions (such as Centre Pompidou, 2002, Toyota Museum, Japan, 2003, Guggenheim Museum, 2005 and Modern Art Oxford, 2006) suggests, as Pierre Huyghe notes in his conversation with Buren, that the artist is increasing interested in how the work might "open a space for distraction". If we understand distraction to be an action of disturbance which engenders feelings of displacement, we can identify the mechanism by which these shafts of coloured light, reflections and disruptions operate to draw us into Buren's environments and then resist commodification, reflect out gaze, direct our attention to the physical limits of the spaces in which we find ourselves and in doing so, astutely remake our sense of place through a dizzying process of disorientation. It is this unapologetic form of interruption which Buren exhorts in his Münster text and which, in light of the emergence of the commission as the dominant motivating force for the recent exhibition and promotion of contemporary art, becomes an urgent call to arms.
Buren's exhortation "Can Art Get off Its Pedestal and Rise to Street Level?" predates the profusion of place-responsive commissioning which has come to dominate international large-scale exhibitions of contemporary art, urban regeneration programmes and off-side gallery programmes over the last decade. Drawing on his own negotiation of the museum's institutional frame, his 're-scripting' of public space and his ephemeral interventions in the urban environment, Buren sets out to challenge certain assumptions about the nature of art and its context. He implicates institutional politics and economies in the production and commissioning of every work of art both within and outside the museum; he asserts that the contribution an artist can make to the urban environment is to be valued but not prescribed; and that effective site-specificity necessitates a transformation of context rather than a polite "merging into the scenery".
Whilst Buren's works and writings have been widely discussed since the mid 1980s for their considerable contribution to, what is now rather perversely described as, the canon of Institutional Critique, such readings seem to miss the broader considerations of place and context clearly evident in his Münster essay.
To look anew at Buren's 1971 intervention into the Guggenheim's rotunda space (Peinture-Sculpture, 1971) through the lens of his recent return to the museum (Around the Corner, 2000 - 2005), for example, is to understand that the artist was not simply compelled to collapse the organising principle of the museum's International Exhibition, but rather intrigued by the multiple conditions under which the Guggenheim comes to exist as a physical, social and cultural space. The 2005 installation expanded the rupture of the 65 x 32 banner of Peinture-Sculpture to a series of mirrored panels and scaffolds which essentially placed Frank Lloyd Wright's spiral within an imagined cube, aligned with the grid of the city of Manhattan.
Buren's consistent return to the term "in situ" in the titles of his works and in the description of his works and in description of his working practice gives us an indication of his interest in the specificity of engagement. He clearly understands site as a cluster of transient meeting points of material culture and social conditions, just as geographer Doreen Massey has asserted that, "what gives a place its specificity is not some long internalised history but the fact that it is constructed out of a particular constellation of relations". So whilst Buren's rigorous interventions were developed, as Andrea Fraser has suggested, "as a means not only to reflect on...institutional conditions but also to resist the very forms of appropriation on which they reflect", they can also be seen to operate as complex interrogations of place and space.
Buren has described the emancipation of the 8.7cm wide stripe from his early pre-printed canvases and posters to architectural and sculptural elements as the development of "a sign in motion". This visual tool or sign operates as a disjuncture, devoid of representative baggage but equally assured of its institutional value. So, for example, whilst the sign of the stripe is seen to repeat through the sculptural interventions of Les deux plateaux, completed in 1986 and 25 Porticoes: The Colour and its Reflections, produced some ten years later, these remain remarkably distinct articulations of site, despite their formal commonalities. Whilst the columns set across 3000m2 play with the formal certitudes of the 17th century Cour d'Honneur, setting off a series of dialogues with the architectural façade of the Palais Royal; the striped porticos of Tokyo Bay similarly set out a series of points of contact for the pedestrian, but here Buren seems more overtly concerned with the scripting of movement across a city, through public and private space, similarly reflected in his 1987 work, IV Tore, for Müster.
Buren's use of transparent coloured Plexiglas panels, or filters, and mirrors in more recent public works (such as. Sulle vigne: punti di vista, 2001, Toscane, Italy; Transparences Colorées, 1999, Munich, Germany) and museum exhibitions (such as Centre Pompidou, 2002, Toyota Museum, Japan, 2003, Guggenheim Museum, 2005 and Modern Art Oxford, 2006) suggests, as Pierre Huyghe notes in his conversation with Buren, that the artist is increasing interested in how the work might "open a space for distraction". If we understand distraction to be an action of disturbance which engenders feelings of displacement, we can identify the mechanism by which these shafts of coloured light, reflections and disruptions operate to draw us into Buren's environments and then resist commodification, reflect out gaze, direct our attention to the physical limits of the spaces in which we find ourselves and in doing so, astutely remake our sense of place through a dizzying process of disorientation. It is this unapologetic form of interruption which Buren exhorts in his Münster text and which, in light of the emergence of the commission as the dominant motivating force for the recent exhibition and promotion of contemporary art, becomes an urgent call to arms.
Wednesday, 1 February 2012
Sunday, 22 January 2012
Favourite
Hans-Jacob Schmidt - Performance on the 29th of November 2011, Goldsmiths College, London.
1. Chorus
2. First Reading
3. Second Reading
Courtesy Hans-Jacob Schimidt
Wednesday, 18 January 2012
Haroon Mirza Again
The national apavilion of then and now (2011), installation view. Photo: Omar Mirza. Image courtesy the artist and Lisson Gallery.
Haroon Mirza has established a distinct body of work that fuses sound and image into a complex sensory experience. In this, his first large scale solo exhibition, he presents a group of individual works, each an assemblage of separate components that synthesise light, sound and movement. These are orchestrated to form an aesthetic whole, building and looping across the gallery space to create an immersive experience that refutes the galleries’ privileging of the visual.
Constituent parts such as audio visual equipment, electrical components, fragments of other artist’s works and short pieces of film footage are pieced together in a lo-fi, homespun manner. This DIY aesthetic suggests an underlying ethos of collectivity and independence, further elaborated by references to subcultures such as experimental music.
/|/|/|/|/|/|/|/|/|/|/|/|/|/|/|/| is organised in collaboration with Camden Arts Centre, mima and Bonniers Konsthall.
Haroon Mirza (1977) completed an MA at Chelsea College of Art & Design in 2007 and lives and works in London and Sheffield. He received the Silver Lion Award at the 2011 Venice Biennale for most promising young artist. Recent solo exhibitions include Haroon Mirza at Lisson Gallery, London (2011), I saw square triangle sine at Camden Arts Centre, London (2011) and The Last Tape at Chisenhale Gallery, London (2010. Group exhibitions include British Art Show 7, Days of the Comet, Nottingham, London and Plymouth (2011), Life: A User’s Manual at Art Sheffield (2010) and For the Birds at Smart Project Space, Amsterdam (2010). His work has previously been shown at Spike Island in the 2007 group exhibition Working Things Out.
Tuesday, 3 January 2012
Hanna Mattes{[即係荷索同Eva Mattes(亦即係Petra von Kant個女Gabriele von Kant)個女][亦亦即係Gerrit Rietveld的校友]}
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