VITOR REIS _ brevemente no IN.TRANSIT
quarta-feira, 16 de maio de 2007
CARLA FILIPE no IN.TRANSIT _ texto crítico na ARTE CAPITAL
Na publicação on-line sobre arte contemporânea ARTE CAPITAL foi publicado um texto - Da emergência do desenho no Porto - da autoria de AIDA CASTRO sobre a importância do desenho na criação plástica contemporânea na cidade do Porto, onde entre outras exposições destaca a de CARLA FILIPE em exibição no Projecto IN.TRANSIT.
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No conjunto dos aproximadamente 100 desenhos a artista reconstrói uma memória, necessariamente narrativa, dessas passagens através de reconhecimentos locais, experiências pessoais, assim como, recuerdos visuais de jornais, flyers de todo o tipo, cartazes, revistas, excluindo o acto de fotografar como auxiliar de memória subjectiva. A apreciação, e a transformação dos conteúdos no desenho reside na experiência pessoal real e na experiência visual local que trouxe consigo, e não na experiência visual subjectiva retida na memória fotográfica. Aqui a subjectividade e a memória são apenas da responsabilidade do desenho, sem ser uma exposição de um “caderno de bordo” mas antes uma reorganização pós-viagem. E por isso aqueles desenhos tanto se assemelham a páginas web, uma das plataformas favoritas actuais para a reorganização, a difusão e selecção autoral de informação. Não se sabe, ou não interessa saber, se de facto as viagens foram reais ou fictícias, existem alguns elementos que vão conferindo ora a veracidade, ora a falsidade dos factos. Sabe-se de uma necessidade de desertar, de eleger um lugar possível em contrapartida ao presente.
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Aida Castro in Arte Capital
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No conjunto dos aproximadamente 100 desenhos a artista reconstrói uma memória, necessariamente narrativa, dessas passagens através de reconhecimentos locais, experiências pessoais, assim como, recuerdos visuais de jornais, flyers de todo o tipo, cartazes, revistas, excluindo o acto de fotografar como auxiliar de memória subjectiva. A apreciação, e a transformação dos conteúdos no desenho reside na experiência pessoal real e na experiência visual local que trouxe consigo, e não na experiência visual subjectiva retida na memória fotográfica. Aqui a subjectividade e a memória são apenas da responsabilidade do desenho, sem ser uma exposição de um “caderno de bordo” mas antes uma reorganização pós-viagem. E por isso aqueles desenhos tanto se assemelham a páginas web, uma das plataformas favoritas actuais para a reorganização, a difusão e selecção autoral de informação. Não se sabe, ou não interessa saber, se de facto as viagens foram reais ou fictícias, existem alguns elementos que vão conferindo ora a veracidade, ora a falsidade dos factos. Sabe-se de uma necessidade de desertar, de eleger um lugar possível em contrapartida ao presente.
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Aida Castro in Arte Capital
HOMEM SELVAGEM _ expo de ilustração na FBAUP
Partindo de um texto acerca "Do Mito do Homem Selvagem" e das suas diversas representações na História de Arte, de Maria José Goulão, foi proposta a um conjunto de ilustradores nacionais e estrangeiros a realização de uma ilustração.
Esta exposição será o ponto de partida para uma série de eventos futuros dedicados à Ilustração e os seus processos de actuação. Pretende-se que este evento inicie uma série de plataformas que possibilitem a exposição, reflexão e divulgação do trabalho dos ilustradores, tornando visível uma área em desenvolvimento, não só no seio da instituição, mas também no contexto nacional e internacional.
Esta exposição será o ponto de partida para uma série de eventos futuros dedicados à Ilustração e os seus processos de actuação. Pretende-se que este evento inicie uma série de plataformas que possibilitem a exposição, reflexão e divulgação do trabalho dos ilustradores, tornando visível uma área em desenvolvimento, não só no seio da instituição, mas também no contexto nacional e internacional.
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Organização do projecto _ Julio Dolbeth
"Homem Selvagem" na Galeria Cozinha da Faculdade de Belas Artes da Universidade do Porto entre os dias 7 e 31 de Maio 07
segunda-feira, 14 de maio de 2007
sábado, 12 de maio de 2007
APICHATPONG WEERASETHAKUL foi censurado na Tailândia e apresenta primeira exposição individual nos Estados Unidos
WEERASETHAKUL FILM CENSORED IN THAILAND
Apichatpong Weerasethakul's latest film has been censored in the director's native Thailand. As the Frankfurter Allgemeine Zeitung's Michael Althen reports, Sang Satawat (Syndromes and a Century)—which premiered at last fall's Venice Film Festival—did not please Thai censors, who requested four cuts to the film before its commercial release in the country. Instead of complying, Weerasethakul decided to cancel the release and raise questions about Thai film policies via an online petition. The censor board offered its own form of resistance by refusing to return its viewing copy to the director.
In an open letter to the National Legislative Assembly and the Thai government, Weerasethakul writes, "I, a filmmaker, treat my works as my own sons or my daughters. When I conceived them, they have their own lives to live. I don't mind if people are fond of them, or despise them, as long as I created them with my best intentions and efforts. If these offspring of mine cannot live in their own country for whatever reasons, let them be free. Since there are other places that warmly welcome them as who they are, there is no reason to mutilate them from the fear of the system, or from greed. Otherwise there is no reason for one to continue making art." (Jennifer Allen in Artforum)
Apichatpong Weerasethakul's latest film has been censored in the director's native Thailand. As the Frankfurter Allgemeine Zeitung's Michael Althen reports, Sang Satawat (Syndromes and a Century)—which premiered at last fall's Venice Film Festival—did not please Thai censors, who requested four cuts to the film before its commercial release in the country. Instead of complying, Weerasethakul decided to cancel the release and raise questions about Thai film policies via an online petition. The censor board offered its own form of resistance by refusing to return its viewing copy to the director.
In an open letter to the National Legislative Assembly and the Thai government, Weerasethakul writes, "I, a filmmaker, treat my works as my own sons or my daughters. When I conceived them, they have their own lives to live. I don't mind if people are fond of them, or despise them, as long as I created them with my best intentions and efforts. If these offspring of mine cannot live in their own country for whatever reasons, let them be free. Since there are other places that warmly welcome them as who they are, there is no reason to mutilate them from the fear of the system, or from greed. Otherwise there is no reason for one to continue making art." (Jennifer Allen in Artforum)
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Unknown Forces: Apichatpong Weerasethakul
Internationally recognized for his work in experimental and narrative cinema such as Mysterious Object at Noon (2000), Blissfully Yours (2002), Tropical Malady (2004) and Syndromes and A Century (2006), Apichatpong Weerasethakul presents his first solo exhibition in the United States. Weerasethakul’s films explore perception, impermanence and the imaginary, cultivating fanciful potential within the mundane. His abstract interchanges interrogate conventions of cinematic narrative while exploring desire, reality and a kind of melancholy perhaps peculiar to our times.
Weerasethakul’s exhibition at REDCAT features a newly commissioned video installation that expands upon characters developed in his previous feature films, shorts and video installations through comedy. Born in Bangkok in 1970, Weerasethakul holds a degree in architecture from Khon Kaen University and an MFA in filmmaking from The School of the Art Institute of Chicago. He has worked outside the Thai studio system for a decade and, since 1999, has actively promoted and distributed experimental and independent films through his company Kick the Machine.
“The Thai filmmaker and installation artist Apichatpong Weerasethakul uses indeterminacy and incoherence as his aces in the hole. He frequently consults a fortune-teller for suggestions for key elements of his movies; he conceived a whole feature (Mysterious Object at Noon [2000]) around the Surrealists’ Exquisite Corpse game of chain writing; and even his more deliberately authored works are organized around puzzling narratives that offer few clues to their decryption. In a movie theater, Weerasethakul’s passing of the work of interpretation on to the audience can be maddening or paralyzing, but in an installation context it can have the giddy feel of a free-for-all. His leviathan UNKNOWN FORCES, 2007, boxes the viewer between four giant video screens that open out onto urban Thai landscapes shimmering with pleasure and freedom. On one side of the room, a young man and an elegant, sixty-ish woman—she looks like a Thai Charlotte Rampling—sit on the back of a pickup truck, the wind tousling their hair as they recount anecdotes we can’t remotely hear (but which seem, from the look of the speakers, sweetly nostalgic). On another, a shaggy-haired guy does a pop-'n'-lock number on the back of the same truck, mostly keeping his face from view. On a third, a giant, mysterious object is swaddled in fabric and lit with cheesy carnival lights while cheesier Thai techno pop, evocative of a small-town carnival ca. 1986, blasts this cryptic but oddly good-natured site. In interviews, Weerasethakul claims UNKNOWN FORCES is an allegory of the situation after last year’s political upheaval in Thailand. To Los Angeles viewers deprived of the author’s private Da Vinci Code, it feels like something even better: A quintessentially Weerasethakul space of obscene bliss.” (Matthew Wilder in Arforum)
In anticipation of the Los Angeles Film Festival premiere of Syndromes and a Century, REDCAT will present a selection of Weerasethakul’s films. Screenings include Mysterious Object at Noon, Blissfully Yours, Tropical Malady, and Worldly Desires and other shorts selected by the artist.
Weerasethakul has exhibited and screened his films widely and has been presented numerous awards for his art projects and feature films including the Prix Un Certain Regard, Cannes Film Festival, 2002; the Prix du Jury, Cannes Film Festival, 2004; Age d’or Prize, Cine de’couvertes, 2004; and Grand Prize, Tokyo Filmex, 2004. In 2005, he received the Silpatorn Award from Thailand Ministry of Culture’s Office of Contemporary Arts.
Weerasethakul’s exhibition at REDCAT features a newly commissioned video installation that expands upon characters developed in his previous feature films, shorts and video installations through comedy. Born in Bangkok in 1970, Weerasethakul holds a degree in architecture from Khon Kaen University and an MFA in filmmaking from The School of the Art Institute of Chicago. He has worked outside the Thai studio system for a decade and, since 1999, has actively promoted and distributed experimental and independent films through his company Kick the Machine.
“The Thai filmmaker and installation artist Apichatpong Weerasethakul uses indeterminacy and incoherence as his aces in the hole. He frequently consults a fortune-teller for suggestions for key elements of his movies; he conceived a whole feature (Mysterious Object at Noon [2000]) around the Surrealists’ Exquisite Corpse game of chain writing; and even his more deliberately authored works are organized around puzzling narratives that offer few clues to their decryption. In a movie theater, Weerasethakul’s passing of the work of interpretation on to the audience can be maddening or paralyzing, but in an installation context it can have the giddy feel of a free-for-all. His leviathan UNKNOWN FORCES, 2007, boxes the viewer between four giant video screens that open out onto urban Thai landscapes shimmering with pleasure and freedom. On one side of the room, a young man and an elegant, sixty-ish woman—she looks like a Thai Charlotte Rampling—sit on the back of a pickup truck, the wind tousling their hair as they recount anecdotes we can’t remotely hear (but which seem, from the look of the speakers, sweetly nostalgic). On another, a shaggy-haired guy does a pop-'n'-lock number on the back of the same truck, mostly keeping his face from view. On a third, a giant, mysterious object is swaddled in fabric and lit with cheesy carnival lights while cheesier Thai techno pop, evocative of a small-town carnival ca. 1986, blasts this cryptic but oddly good-natured site. In interviews, Weerasethakul claims UNKNOWN FORCES is an allegory of the situation after last year’s political upheaval in Thailand. To Los Angeles viewers deprived of the author’s private Da Vinci Code, it feels like something even better: A quintessentially Weerasethakul space of obscene bliss.” (Matthew Wilder in Arforum)
In anticipation of the Los Angeles Film Festival premiere of Syndromes and a Century, REDCAT will present a selection of Weerasethakul’s films. Screenings include Mysterious Object at Noon, Blissfully Yours, Tropical Malady, and Worldly Desires and other shorts selected by the artist.
Weerasethakul has exhibited and screened his films widely and has been presented numerous awards for his art projects and feature films including the Prix Un Certain Regard, Cannes Film Festival, 2002; the Prix du Jury, Cannes Film Festival, 2004; Age d’or Prize, Cine de’couvertes, 2004; and Grand Prize, Tokyo Filmex, 2004. In 2005, he received the Silpatorn Award from Thailand Ministry of Culture’s Office of Contemporary Arts.
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CalArts Theater / REDCAT GALLERY
CalArts Theater / REDCAT GALLERY
April 18 _ June 17, 2007 Los Angeles US
ANDRÉ LEMOS novo mural _ parte 2
André Lemos continua atrabalhar no seu novo mural na cidade do Porto.
Mais informações e imagens brevemente.
Condolezza Rice meets Iranian Artists
Unease As Rice Meets Iranian Artists
Secretary of State Condoleezza Rice was all smiles Thursday (10 may) as she met Iranian artists at an event intended to promote cultural links with Iran. Still, there were currents of unease.
Ten of the 14 Iranians who received special visas for the exhibition refused to be photographed with Rice, and two would not even accompany her through the gallery because they were ``uncomfortable,'' two organizers said.
``Art moves above politics and I didn't want to be a part of politics,'' said Behnam Kamrani, a 39-year-old digital artist from Tehran.
Bahar Behbahni, a 33-year-old mixed media artist from Tehran, added, ``It doesn't mean that the artists aren't political or don't (care) about politics. Artists don't want to make political gestures. Our language is our art, we express ourselves through art.''
What was billed as a unique and open expression of culture bridging vast political differences between the U.S. and Iran became an exercise in crowd control as the State Department scrambled to prevent reporters from even glimpsing Rice's tour.
All journalists, including those without cameras, were kept in the final room of the exhibit behind two immense wooden doors that opened only when Rice finished and appeared with four of the Iranian artists to say how much she enjoyed the show.
``This is really a great day,'' she said in brief remarks. ``I have so enjoyed seeing the work of these great artists.
``They are representing so well the great culture that Iran has, the great culture that goes back for so many centuries but that is being brought here today so that the American people can see another side of Iran.''
Rice's visit was announced Wednesday by State Department spokesman Sean McCormack. He said its importance was ``the symbolism of the American secretary of state reaching out and demonstrating for the Iranian people an appreciation for products of Iranian culture.''
The United States broke diplomatic ties with Iran after the 1979 Islamic Revolution and hostage crisis at the U.S. Embassy in Tehran.
Relations have remained frozen amid mutual recriminations and animosity, notably over Iran's nuclear program, which Washington claims is a cover for atomic weapons development, and alleged Iranian support for insurgents in Iraq and anti-Israel groups.
The cases of three Iranian-American dual citizens detained in Iran and that of a retired FBI agent who has been missing in Iran since early March have further strained the situation.
Still, the State Department has placed great emphasis on cultural, educational and sports exchanges with Iran. The ``Wishes and Dreams'' exhibition that was to open to the public Friday is just the latest in a series that has already involved doctors, wrestlers and teachers.
Many of the artists whose work is on display at Washington's Meridian International Center said they hoped its presence in the United States would have a positive impact among people in the U.S.
``I am just an artist, I am not an Iranian terrorist and if I can do anything for the peace of the world, that is something I would be proud of,'' said Mitra Kavian, 43. She was less certain when asked if she thought the exhibit was a step toward better U.S.-Iran ties.
``I don't know,'' she said. ``Maybe, I hope. I don't like war, I like peace everywhere.''
Secretary of State Condoleezza Rice was all smiles Thursday (10 may) as she met Iranian artists at an event intended to promote cultural links with Iran. Still, there were currents of unease.
Ten of the 14 Iranians who received special visas for the exhibition refused to be photographed with Rice, and two would not even accompany her through the gallery because they were ``uncomfortable,'' two organizers said.
``Art moves above politics and I didn't want to be a part of politics,'' said Behnam Kamrani, a 39-year-old digital artist from Tehran.
Bahar Behbahni, a 33-year-old mixed media artist from Tehran, added, ``It doesn't mean that the artists aren't political or don't (care) about politics. Artists don't want to make political gestures. Our language is our art, we express ourselves through art.''
What was billed as a unique and open expression of culture bridging vast political differences between the U.S. and Iran became an exercise in crowd control as the State Department scrambled to prevent reporters from even glimpsing Rice's tour.
All journalists, including those without cameras, were kept in the final room of the exhibit behind two immense wooden doors that opened only when Rice finished and appeared with four of the Iranian artists to say how much she enjoyed the show.
``This is really a great day,'' she said in brief remarks. ``I have so enjoyed seeing the work of these great artists.
``They are representing so well the great culture that Iran has, the great culture that goes back for so many centuries but that is being brought here today so that the American people can see another side of Iran.''
Rice's visit was announced Wednesday by State Department spokesman Sean McCormack. He said its importance was ``the symbolism of the American secretary of state reaching out and demonstrating for the Iranian people an appreciation for products of Iranian culture.''
The United States broke diplomatic ties with Iran after the 1979 Islamic Revolution and hostage crisis at the U.S. Embassy in Tehran.
Relations have remained frozen amid mutual recriminations and animosity, notably over Iran's nuclear program, which Washington claims is a cover for atomic weapons development, and alleged Iranian support for insurgents in Iraq and anti-Israel groups.
The cases of three Iranian-American dual citizens detained in Iran and that of a retired FBI agent who has been missing in Iran since early March have further strained the situation.
Still, the State Department has placed great emphasis on cultural, educational and sports exchanges with Iran. The ``Wishes and Dreams'' exhibition that was to open to the public Friday is just the latest in a series that has already involved doctors, wrestlers and teachers.
Many of the artists whose work is on display at Washington's Meridian International Center said they hoped its presence in the United States would have a positive impact among people in the U.S.
``I am just an artist, I am not an Iranian terrorist and if I can do anything for the peace of the world, that is something I would be proud of,'' said Mitra Kavian, 43. She was less certain when asked if she thought the exhibit was a step toward better U.S.-Iran ties.
``I don't know,'' she said. ``Maybe, I hope. I don't like war, I like peace everywhere.''
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By MATTHEW LEE Associated Press in GUARDIAN
quinta-feira, 10 de maio de 2007
o que significa ser artista em portugal ?
(...) a propósito de alguns comentários que aconteceram durante a conferência de lançamento em Serralves do livro Propostas da Arte Portuguesa. Posição: 2007 editado por Miguel von Hafe Pérez está a acontecer uma discussão em lume brando na blogosfera artística portuense, partindo da pergunta colocada pelo autor do livro como mote para a conversa na noite do lançamento - O que significa ser artista hoje em Portugal?
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Para já deixo uma sugestão para a banda sonora que deveria acompanhar o trabalho de reflexão de boa parte dos participantes da discussão.
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Para já deixo uma sugestão para a banda sonora que deveria acompanhar o trabalho de reflexão de boa parte dos participantes da discussão.
quarta-feira, 9 de maio de 2007
ANDRÉ LEMOS novo mural na cidade do Porto
ANDRÉ LEMOS encontra-se actualmente no Porto a desenhar e a pintar um novo mural de grandes dimensões, do qual apresentamos aqui uma imagem parcial do inicio dos trabalhos, a execução deste trabalho surge no contexto de um projecto cultural e comercial que irá abrir no final de Maio.
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Brevemente mais desenvolvimentos sobre este mural e este projecto.
RENATO FERRÃO expo no APÊNDICE
Projecto Apêndice apresenta
17. 38' 51''
instalação de Renato Ferrão
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inaugura dia 10 de Maio (quinta-feira) pelas 18.00h até 16 de Abril.
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17. 38' 51''
instalação de Renato Ferrão
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inaugura dia 10 de Maio (quinta-feira) pelas 18.00h até 16 de Abril.
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Projecto Apêndice _ gerido por Carla Filipe e Isabel Ribeiro.
Centro Comercial de Cedofeita _ Loja nº 100
Rua de Cedofeita _ Porto
Centro Comercial de Cedofeita _ Loja nº 100
Rua de Cedofeita _ Porto
terça-feira, 8 de maio de 2007
CARLA FILIPE expo no IN.TRANSIT
IN.TRANSIT # 29.
apresenta uma exposição de
CARLA FILIPE >
CARLA FILIPE >
PESQUISA NO CAMPO_ DESERTAR_ ANTES QUE GANHE UM CANCRO
edifício artes em partes na rua miguel bombarda 457 no Porto.
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Instalação site-specific para a sala IN.TRANSIT. Apresentação se uma série de aproximadamente 100 desenhos que relatam viagens realizadas pela artista entre 2002 - 2005. Esta é a primeira apresentação pública deste conjuntode trabalhos.
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fichas técnicas.
ROTERDÃO 04 2004 – 200749 desenhos a tinta da china, esferográfica, com colagens e decalques sobre papel + materiais diversos como postais, fotografias, disco de vinil e recortes de imprensa.
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LONDRES 05 2005 – 200745 desenhos a tinta da china, esferográfica, com colagens e decalques sobre papel + materiais diversos.
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PORTO – PARIS - BERLIM – KASSEL – FRANKFURT 03 2003 – 200712 desenhos a tinta da china, esferográfica e colagens sobre papel.
domingo, 6 de maio de 2007
SARKO FRANCE > Soigne ta droite
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hoje Sarkozy, o candidato da direita, foi eleito o novo presidente da França.
Sarkozy 52% _ Ségolène Royal (47%)
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FIN (?)
sábado, 5 de maio de 2007
IN GIRUM IMUS NOCTE ET CONSUMIMUR IGNI
In Girum Imus Nocte Et Consumimur Igni /Cerith Wyn Evans (1997)
CRUMB expo in Yerba Buena Center for the Arts _ US
R. Crumb’s Underground é a exposição que este importante criador ligado aos movimentos da contra-cultura americana dos anos 60 apresenta em San Francisco no Yerba Buena Center for the Arts (YBCA).
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YBCA salutes local treasure R. Crumb with an eclectic exhibit of early work, collaborations old and new, and the world premiere of his “spool” drawings. Universally acknowledged as the founder of the underground comic scene, Crumb gained cult popularity for his pioneering Zap Comix and stardom with the Terry Zwigoff documentary Crumb. Extending far beyond comics, the YBCA exhibit shows how his work has grown in philosophical complexity, and highlights his collaborative work, including intimate confessions produced with wife Aline Kominsky-Crumb.
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Yerba Buena Center for the Arts (YBCA) _ San Francisco _ US
Mar 17–Jul 8 _ 2007
prémio de arquitectura MIES VAN DER ROHE 2007 para MUSAC
O prémio para arquitectura contemporânea Mies van der Rohe 2007 foi atribuido ao MUSAC - Museo de arte contemporáneo de Castilla y León em Espanha com arquitectura de Luis M. Mansilla e Emilio Tuñón.
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In contrast to other types of museums that focus on the exhibition of frozen historic collections, MUSAC is a living space that opens its doors to the wide-ranging manifestations of contemporary art. This is an art centre that constructs a set of chessboards on which the action is the protagonist of the space; a structure that develops from an open system, formed by a fabric of squares and rhombi, and permitting the construction of a secret geography of memory.MUSAC is a new space for culture, regarded as something that visualises the connections between man and nature.
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In its size, as a single-storey building with white concrete walls and large coloured glazing seen from the outside, MUSAC strives to be a space where art is at ease and helps to erase the boundaries between private and public; between work and leisure; and between art and life.
(excertos do texto de apresentação do prémio)
Entre os finalista estava o projecto português do Centro de Artes de Sines de Francisco Aires Mateus e Manuel Aires Mateus e também um projecto de Zaha Hadid o Phaeno Science Centre em Wolfsburg na Alemanha, na imagem.
SERPENTINE GALLERY pavilhão 2007 de OLAFUR ELIASSON e KJECTIL THORSEN
The Serpentine Gallery has invited the world-famous artist Olafur Eliasson and the distinguished Norwegian architect Kjetil Thorsen, of the architectural practice Snøhetta, to collaborate on the 2007 Pavilion.
The Serpentine Gallery architectural commission is taking a step into the future by expanding the design team to include a visual artist. This will bring an extra dimension to the project that already holds a unique place in the innovation of architectural practice.
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Danish-Icelandic artist Olafur Eliasson’s work explores the relationship between individual people and their surroundings, as experienced in his awe-inspiring large-scale installation The weather project, 2003, at Tate Modern. Eliasson is currently involved in numerous architectural projects internationally, including the Icelandic National Concert and Conference Centre in Reykjavik (design of the building envelope).
Kjetil Thorsen is co-founder of Snøhetta, one of Scandinavia’s leading architectural practices. Thorsen is responsible for the design of award-winning public buildings globally and has collaborated with Eliasson several times, including on the New National Opera House, Oslo, currently under construction. He is a founder of Galleri Rom, Oslo, and is also Professor at the Institute for Experimental Studies in Architecture at the University of Innsbruck, Austria. As in previous years Cecil Balmond, Deputy Chairman, Arup, and the Advanced Geometry Unit, led by Daniel Bosia, will lend invaluable assistance to the structural engineering and design of the Pavilion.
GORDON MATTA-CLARK expo Whitney Museum N.Y.
Exposição de Gordon Matta-Clark: ‘You Are the Measure’ no Whitney Museum of American Art em New York até 3 de Junho 07.
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Gordon Matta-Clark (1943–1978) has attracted increasing interest over the past ten years. Thanks to monographic studies by Pamela M. Lee and Corinne Diserens, published in 2000 and 2003, respectively, and several recent exhibitions in San Diego and New York, Matta-Clark’s ten years of frenetic productivity are becoming known to a larger public. The show currently on view at the Whitney Museum of American Art in New York is, however, the first retrospective of Matta-Clark’s work since that held at the Museum of Contemporary Art, Chicago, in 1985. The many objects on display include fragments from his celebrated cuttings and splittings of condemned buildings; photographs and photomontages of the results of these cuttings; drawings and sketches; notebook pages; index cards; and, of course, films of the more important actions.
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A number of significant revelations emerge from such a comprehensive collection of material, particularly after so many partial glimpses of Matta-Clark’s work in previous shows. Among the most noteworthy of the items on display, especially given the difficulty of reconstructing the spatial nature of the buildings before and after cutting, are several large photomontages, which provide an almost filmic vision of Matta-Clark’s process. Particularly striking are the photomontages of the “Core” and “Datum” cuts of A W-Hole House, 1973, itself a beautiful exemplar of the complex geometrical nature of Matta-Clark’s actions, as he sliced horizontally and vertically through the square studio with its pyramidal roof. In an incisive catalogue essay exploring Matta-Clark’s relation to his father (the quasi-Surrealist artist Roberto Matta), as well as to architectural history and the “origins” of architecture in particular, Princeton professor of architecture Spyros Papapetros posits a parallel between a consideration of the conceptual nature of the Egyptian pyramids in the second volume of Sigfried Giedion’s Eternal Present (1964) and Matta-Clark’s use of the pyramid as “a median plane to invert his previous architectural education.” Papapetros’s argument is especially persuasive because the influence of Giedion’s earlier book, Space, Time and Architecture: The Growth of a New Tradition (1941)—the central “set book” of the 1960s that saw the Baroque as the progenitor of the Modern Movement, the dramatic spatial geometries of the former transformed by the collapsing of space-time in the latter—can be felt in the cuttings Conical Intersect, 1975, and Office Baroque, 1977. The large color Cibachrome photocollages documenting the creation of Office Baroque might well be playful elaborations of Giedion’s premise, taking it literally but reversing the historical movement by returning the modern to its Baroque roots.
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The works on view have frequently been adduced as evidence of his strong reaction against the architectural training he received at Cornell University, where he graduated with a professional degree in 1968. After all, cutting houses open with a Sawzall, shooting through windows with a BB gun (as he did at the Institute of Architecture and Urban Studies in New York for Window Blow-Out, 1976), and hammering conical holes through the party walls of Parisian apartment buildings have never been part of the orthodox practice of architecture. Nor were such actions in tune with the prevailing neo-avant-garde works of the time, whether the populist imagery of Robert Venturi and Denise Scott Brown, or the rationalist and post-Surrealist work of the New York Five, who represented the dominant tendency at Cornell in the ’60s.
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Behind each of Matta-Clark’s architectural interventions lies a similar impulse: to seek the most fundamental transformation of architecture, one that would respond to the conditions of life rather than art, and certainly not one that followed the already static conventions of the neo-avant-garde. The action of bringing light into the house (in Splitting) might itself be the best metaphor for Matta-Clark’s “anarchitecture”: In the end, like his beloved alchemists, systems theorists, and psychologists, and together with the theorists, if not the practitioners, of modern architecture, Matta-Clark was an apostle of light—an “enlightener” in practice and in theory.
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Anthony Vidler in ARTFORUM
quarta-feira, 2 de maio de 2007
JOÃO TABARRA conferência no IPF
ENCONTROS DO OLHAR_Fotografia e Arte
A obra de João Tabarra por João Tabarra
A obra de João Tabarra por João Tabarra
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As imagens / trabalhos que João Tabarra produz, planeando-as até ao mais ínfimo detalhe, estão repletas de ícones, símbolos e outros elementos que, apesar de nos serem familiares, têm o seu potencial de significação minado pela forma como são alterados, reformulados, organizados e relacionados. A ambiguidade que daí resulta, para além do humor ou do burlesco que são evidentes num primeiro olhar, se enfatiza a impossibilidade da condição humana, também sublinha a essencialidade da sua vontade.
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03 Maio _ 21h30
Instituto Português de Fotografia _ Porto
Rua da Vitória, nº 129
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03 Maio _ 21h30
Instituto Português de Fotografia _ Porto
Rua da Vitória, nº 129
PETER SLOTERDIJK em SERRALVES
Peter Sloterdijk conferência "A técnica na sua relação com o humano".
Professor na Universidade de Karlsruhe, Alemanha, e um dos mais importantes pensadores da Razão política, social e cultural contemporânea, indispensável na análise das questões da técnica, na sua relação com o humano. Sloterdijk é o filósofo alemão mais conhecido depois de Habermas. Heterodoxo e provocador, o livro que o tornou famoso fora da Alemanha foi "Crítica da Razão Cínica", um tratado sobre a razão política, cultural e social contemporâneos. A questão da coexistência dos indivíduos nas sociedades modernas e o modo como operam a cultura e a civilização na construção social e na "domesticação do ser humano" ocuparam Sloterdijk na sua obra em vários volumes intitulada "Esferas". Um pequeno livro intitulado "Regras para o Parque Humano" valeu-lhe uma violenta polémica com Habermas que depois se alargou. O que causou escândalo nesse livro foi a utilização de um vocabulário que trazia pelo menos a memória da genética nazi. De qualquer modo (e é preciso ressalvar que Sloterdijk jamais se identificou com a ideologia nazi) esse livro é um dos contributos mais importantes do nosso tempo para discutir as questões da técnica, na sua relação com o humano.
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CRÍTICA DO CONTEMPORÂNEO, CONFERÊNCIAS INTERNACIONAIS
Fundação de Serralves
dia 3 Maio _ 21:30 _ Auditório de Serralves
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