ViewingRoom

发布日期:2020-04-07   作者:亚洲杯外围   已浏览: 72次

亚洲杯外围Beingbyourselvesisanopportunityforself-discoveryandopennesstowardsothers.Inourcurrentsituationatleastitisaccompaniedbyasenseofresponsibilityandlovetowardothersandtowardsourwidercommunity.Nomanexistsaloneandtheworksinthisviewingroomrepresenttheinterconnectionandunitythatweallsharethroughourcommonexperiencesandemotions,thesharedcontributionwemaketomakingoursocietyabeautifulandcreativeplaceandtheopportunitytoknowourselvesandothersbetter.

Carvedfromasingleblockofmarblethisworkrepresentstheprofusionofmanufacturingandconsumption,togetherwithunbalancedpoliciesandregulations,thathavecreatedthenowinfamoussmogacrossChina,withairqualitylevelsregularlyexceedingacceptablestandardsforhealthandsurvival.

亚洲杯外围AiWeiwei’sdispositiontoqueryandopposeunjustandunfairsystemsmeanshisworkiscapableofactingbetweenpoliticalactivismandartisticexpression.He’samulti-skilledartistwhoseworktakestheformofinstallations,videos,photography,sculptureandarchitecturethatareconstantlyreminiscentofancientstories,societiesandconceptsthroughtheirreferentialityorthroughtheartist’suseofmaterials.

Frequentlycontrastingcontemporaryelementsofsocietyandsocietalconstructswithancientandtraditionaltechniquesandconcepts,Aioftenrepurposesandupdatesobjectsandmaterialstoachieveatranscendenceinmeaningandtocriticizetheworldaroundhim.AitakesgreatcourageinproducinghisworkafterbeingpursuednumeroustimesbytheChinesegovernment,sufferinghousearrestsandeventhedemolitionofhisstudio,hehoweverremainssteadfastinhisresolvetoovercomefearandoppressionandtomakewayforfreedomandrespect.

ReinterpretingBuren’sclassical8.7cm-widestripesalternatingwhitewithanothercolour,thisworkalternates12transparentplexiglassstripeswith11woodenelementspaintedinwhite.Almostblendingintothewhitewallitismountedon,theworkistruetoBuren’scommitmenttochangingoursurroundingenvironmentthroughhispiecesandmakingusreflectonwhatsurroundsusandhowweinteractwithit.

DanielBurentransformspublicspaces,architectureandeverydayenvironmentsthroughinsituinstallationsofstripesandcolorthatareindicativeofhisreinventionoftheideaofthepainterandartistingeneral.Burensetaprecedentforcontemporaryartiststobecomeinfluentialintheviewer’sexperienceofthespaceinwhichtheirinstallationsfoundthemselves.

Hisstripes,oftenadhesive,arealwaysperformedinsituandaretransformativeoftheirsurroundings.Burenoftenworkswithcoloredglass,reflectionsandarchitecturalconstructionsthatinvitetheviewertoenterintoaconsistentrelationshipwiththestructuresandsurroundings,extrapolatingasignificancethatultimatelytheartisthasonlyasmallroleinimplicating,inturnprovidinganopportunitytoapproachaconsiderationonhowweperceivespaceandhowitistobeused.

ArcoirisisfromtheseriesLetargo,arecentseriesoftheartistthatshiftsfromphotographytocanvas.Itexploreswithabsolutenaturalness,thedifferentformatsusedandhowinhisearlierworks,hefocuseshisattentiononthecorrelationbetweenarchitectureandlandscape.Thistimehowever,thecompositionismadeupofmoreexile,moreconcern.ThearchitecturaltypologyinvolvedintheharmonyoftheseEuropeanurbanorrurallandscapes,isespeciallybrutal,irrational,itbreakstheconsensusbetweenwhatiscementedandwhatisnatural-asetofbunkersbuiltinthecontextofthesecondWorldWarandtheColdWarthatCampinsmappedout,searchedforanddiscoveredincountrieslikeHolland,Italy,Albany,Germany,France,SpainandSwitzerland.

AlejandroCampinsFleita(Manzanillo,Cuba1981)livesandworksbetweenHavanaandMadrid.Hestudiedat"ElAlba"ProfessionalAcademyofFineArtsinHolguin(2000)andtheHigherInstituteofArts(ISA)inHavana(2009).Campins'paintings,drawingsandphotographsexplorethegenreoflandscapeandplaceswithastrongemotionalchargethatchallengeourperceptionofspaceandtime.

Amonghissoloexhibitions:Miedoalamuerteesmiedoalaverdad,CentrodeArteContemporáneoWifredoLam,Havana,Cuba(2019);PublicDeclaration,GalleriaContinua,SanGimignano,Italy(2017);CityofQueenAnne´sLace(DuoShow),WassermanProjects,Detroit,Michigan(2017);Losojosdelapercepción,FototecadeCuba,Havana,Cuba(2016)andLapse,SeanKellyGallery,NewYork,NewYork(2016).

Anauditoriumstylestairlikestructureisoccupiedbyasinglelineoftheatre-styleseats.Agroupofpeoplefurtherintothebackground,seemasifthey’releavingthescene,plasticbagsinhand,shelteringtheirhead,stickingtogether.WherearetheygoingTheseatswaittobefilled.Aprolificsenseofwaitinghangsoverthisworkaswellasthepresenceofabandonment.

OneofthemostprominentItalianartistsontheinternationalstagehehasexhibitedhisworksthroughouttheworldwithsoloexhibitionsinprestigiousmuseumssuchasPalaisdeTokyoinParis,Muséed’ArtModernedeSaint-ÉtienneMétropoleinSaint-Priest-en-Jarez,MoMAPS1inNewYork,ShanghaiDuolunMoMAofShanghai,MuseoCasalSollericinPalmadeMallorca,CentroGalegodeArteContemporáneainSantiagodeCompostela,KunstvereinofHeidelberg,CentroperlʼArteContemporaneaLuigiPecciinPratoandFondazioneArnaldoPomodoroinMilan.

LorisCecchinihasparticipatedinnumerousinternationalexhibitions,includingthe56th,51stand49thVeniceBiennale,the6thandthe9thShanghaiBiennale,the15thand13thRomeQuadrennial,theTaiwanBiennaleinTaipei,theValenciaBiennaleinSpainandtheBiennaleofUrbanism/Architecture(UABB)inShenzhen,China.

Paintedwallandtexts.42papermaps–7ofthemprintedwithfineartinkjetinCansonMat180grandtheother35originaloffset1980sprintsprovidedbytheBrazilianarmy.

AllmapswerepaintedwithacrylicsilkscreenpaintbyKayapóMenkragnotiwomenfromAldeiaPukanyusingtheirtraditionalpatterns.ThemapstogethercomprisetheMenkragnotiIndigenousLand,SouthofParáState,intheBrazilian

Amazon.19photographsprintedonCansonMat180gcottonpaperpicturingthehandsofthewomenwhopaintedthemapsandtheirnames.43paintingsrelatingtotheancestralpatternsappliedtothemapsmadebythesesamewomenon

PhotographsbyCleberOliveira.ThisprojectwasmadewiththevaluablecollaborationfromthewomenartistsfromAldeiaPukany,InstitutoKabuandMarceloRosenbaum

Paintedwallandtexts.42papermaps–7ofthemprintedwithfineartinkjetinCansonMat180grandtheother35originaloffset1980sprintsprovidedbytheBrazilianarmy.

AllmapswerepaintedwithacrylicsilkscreenpaintbyKayapóMenkragnotiwomenfromAldeiaPukanyusingtheirtraditionalpatterns.ThemapstogethercomprisetheMenkragnotiIndigenousLand,SouthofParáState,intheBrazilian

Amazon.19photographsprintedonCansonMat180gcottonpaperpicturingthehandsofthewomenwhopaintedthemapsandtheirnames.43paintingsrelatingtotheancestralpatternsappliedtothemapsmadebythesesamewomenon

PhotographsbyCleberOliveira.ThisprojectwasmadewiththevaluablecollaborationfromthewomenartistsfromAldeiaPukany,InstitutoKabuandMarceloRosenbaum

IntheseminalbookTheGeographyofHunger(1946),geographer,nutritionist,andhungeractivistJosuédeCastropublishesacriticalresearchofthenutritionalandpoliticalfactorsthatperpetuatehungerinBrazil.IntheseriesInfindávelMapadaFome,orHungerofResistance,JonathasdeAndradeuseshistoricalandobsoletemapsfromtheBrazilianArmyandtheSudene(SuperintendênciadeDesenvolvimentodoNordeste)[SuperintendencyfortheDevelopmentoftheNortheast]toexpandondeCastro’sworkandchartotherformsofhunger.FomedeResistência–FundamentoKayapóMenkragnotishowsthelegallimitsoftheindigenousMenkragnotiKayapóterritoryintheBrazilianAmazoninred.ThetraditionalgraphicsmadebythehandsofKayapówomenignoreandexceedtheseboundaries,makingvisiblethecontestednatureofthisterritory,whereagrowingnumberofattackssparkedbyrecentgovernmentpoliciesunderminethesafetyandexistenceoftheseancestrallands.

JonathasDeAndradewasborninMaceió,Brazilin1982.Hecurrentlylivesandworksinnorth-eastBrazilinRecife,acoastalcityrichincontrastsbetweenacolonialpast,amodernmetropolisandatropicalenvironmentwithadiverseecology.Anthropology,pedagogy,politicsandmoralsarethemainlinesofinterestforDeAndradeinhisworkinordertorecounttheparadoxesofmodernistculture.DeAndradegatherstogetherandcataloguesimages,texts,lifestoriesandmaterialinhiswork,divingintoafieldofrecollection,reworkingimagesandapproachingandrespondingtowhatcanattimesbeprovocative.

Photographsofanurbanlandscapeareenlargedonpuzzlepiecesthatdisintegrateandcanbemanipulatedwithintheframe,offeringasenseoffragilityandchangeabilitytothephysicalworldaroundus.Thepuzzlepiecesremainingintheframeoftheimageevokeurbanrubbleandinthisparticularpiecetheyhavefallen,orbeenremoved,torevealaflatbackground,diversifiedbytheshadowsoftheleftoverpuzzlepieces,andtheinner,multi-tonallayersoftheinsideofthebuilding.

CarlosGaraicoawasbornin1967inHavana;hestudiedthermodynamicsandlaterpaintingattheInstitutoSuperiordeArte,Havana(1989-1994);hecurrentlylivesandworksbetweenHavanaandMadrid.

Garaicoahasdevelopedadialoguebetweenartandurbanspacethroughwhichinvestigatesthesocialstructureofourcitiesintermsoftheirarchitecture.

Heemploysamulti-disciplinaryapproachtoaddressissuesofcultureandpolitics,particularlyCuban,throughthestudyofarchitecture,urbanismandhistory.

Byplayingwithsculptures,drawings,videosandphotographscentredaroundironyandhopelessness,Garaicoahasfoundinhisinstallations,forwhichheoftenusesawidevarietyofmaterials,awaytocriticisemodernistUtopianarchitectureandthecollapseofthe20thcenturyideologies,bygoingdeeperintotheconceptofthecityasasymbolicspace.

PartoftheCASTBLOCKWORKSseries,inwhichtheanatomyofthehumanbodywasreplacedwitharchitectonicvolumesthroughstacking,cantileverandequilibrium,achievingastablestructurethatstillhasacertaindynamism.

Theblocksarerobustandtheyoftenextendbeyondwhatwouldbetheouterlayerofskinandthereforesuggestinnerfeelingsandapprehensionsthatarecommoninthehumancondition,oneofwhichcouldbelonelinessandisolation.

AntonyGormleyiswidelyacclaimedforhissculptures,installationsandpublicartworksthatinvestigatetherelationshipofthehumanbodytospace.Hisworkhasdevelopedthepotentialopenedupbysculpturesincethe1960sthroughacriticalengagementwithbothhisownbodyandthoseofothersinawaythatconfrontsfundamentalquestionsofwherehumanbeingsstandinrelationtonatureandthecosmos.Gormleycontinuallytriestoidentifythespaceofartasaplaceofbecominginwhichnewbehaviors,thoughtsandfeelingscanarise.

Sassolino’ssculpturesandinstallationsexploremechanicalbehaviours,materials,andphysicalpropertiesofforce.Byapplyingthesepropertiestothenaturalworldandbehaviours,theartistexaminesthefrictionbetweenindustrialprogressandenvironmentalconcerns.

Sassolino’sworksarecarefullyplannedandresearched,resultinginconstructionsofahighdegreeofphysicalityandforcesappliedbyoronanobject,ashepushesmaterialspasttheirphysicallimitations.Thetension,theexpectation,andtheawarenessofrisk—alongwiththepowerfulaestheticsoftheworks—playkeyrolesintheexperienceofthespectators.

Invitingusintothecanvas,SenzaMemoria,encouragesacertaintypeofintrospectionfromtheviewer,introspectionwhichoccurssimultaneouslywithwondering,wonderingoftheotherandoftheouterworld.

Herworksdisguiselevelsofdepthandunderstandingthatslowlycomeoutthroughtheworkitself.Theytalkaboutdistantplaces,uncertaintimesandspaces,butalsopictorialcurrentsthatbelongtotheartisticstoriography,theyalludetoartisticresearchinterestedinclearingthediscussionandwearecuriousaboutthetechniqueusedbytheartistwhoachievesanalmostphysicallypalpablebeauty.Herworkscanseembeautifullysimplebutwesoonrealizethattheworksdeservemoretimeforreflection.

Hermostrecentsoloshowsinclude:PassarealBosco,VillacacciaUdineItaly(2017),Heimlich,Spazio5,Trieste(2015),SergioScabar–ManuelaSedmach,DoppiapersonalconSergioScabar,GalleriaPlurima,UdineItaly(2012),StillImage,GalleriaContinua,BeijingChina(2010),DestinazioneProvvisoria,GalleriaContinua/LeMoulin,Boissy-le-ChâtelFrance(2009).Mostrecentgroupshowsinclude:CorrispondenzeD’Arte,Museod’artecontemporaneaRevoltella,TriesteItaly(2016),FolliaContinua,GalleriaContinuaLeCentequatre,ParisFrance(2015),ArteinComune,TriesteItaly(2014),Schneeweis,EdwardCutlerGalleryandMarcdePuechredon,BaselSwitzerland(2013)

PleasesignuptoourNewslettertoreceivenewsaboutourupcomingexhibitionsandartcontemporaryeventsaroundtheworld

上一篇: LaraSchnitger