Tuesday June 5, 2007
Marina Abramovic (Belgrade, 1946)
"I'm interested in art that disturbs and break the moment of danger, which is why the public should be looking here and now. Let the danger you focus, this is the idea that you focus on the now. "
Daughter guerrillas
Yugoslavian artist Marina Abramovic is a long journey that has become one of the most senior and powerful performers of contemporary art scene based on his own body and his own mind, as well as the relationship with the viewers that sometimes becomes necessary actors for the success of the performance.
His work has evolved over time, from some early work in which he sought primarily to rebel against an education that was like a millstone that prevented him develop as a person, immersed in the sad atmosphere cultural Tito's Yugoslavia, up to proposals that explore the spiritual aspect of sex as it does in the series Balkan Erotic Epic (Balkan Erotic Epic).
What has not lost along the way is always looking for the symbiosis between art and life, bringing their own life experiences with the world of creation, entering fully into the world of body art (body art or body) to reach the extreme limits, both from the standpoint of psychic and mental, extending even to put their lives at risk.
Despite what might seem at first glance, the work avoids the sensationalism Marina, is a work of a strong background philosophy where fear, isolation or loneliness, a seemingly (but only apparently) contradictory to the necessary presence of the public, it becomes an active part with which the artist talks and forces to face the same feelings Marina experienced in many of his works.
Some critics have defined Abramovic's performances as "a true ray of intense sensitivity and emotional search for a deep spirituality that would give the vital balance and a state of higher consciousness. "
inward dive in a nonjudgmental or complex, Marina Abramovic is the basic material which then merged with multicultural references result of his contacts with the Tibetan culture, with African tribes or their stay in the deserts of Sahara or Gobi.
Fundamental in the development of his work was both personal and artistic relationship with the German artist Ulay, which runs between 1975 and 1988, a relationship that will end with a performance titled Lovers (Lovers), which was the ending the relationship between them. To that end traveled 2,000 km along the Great Wall of China in 90 days to arrive, starting each from a different end to China's population of Er Lang Shan a June 27, 1988. To meet and immediately walked back to separate and forever. "The staging of a geometry of love made the painful separation from their individual biographies seem the inevitable result of the laws of life," writes Petra Löffler.
One of his most recent Balkan Erotic Epic is a series that includes different works recorded on video or photographic medium, which inquires about the relationship between sex and death. To this end investigated around the ancient pagan rituals, which still survive in the Christian Serbia, and are used to "promote the fertility of the land, for rain, for healing ... The sexual energy was transformed to the contact with the invisible energies. "As she explained in an interview in the newspaper El Pais.
His works have a lot of ritual, transcendence beyond the fear of physical pain, to achieve mental and physical state that allows you to enter a dimension in which these constraints and cast no shadow over his mind and on his life. Life.
Videos of his performances can be found on Youtube. No suitable for all audiences.
MARINA JIMENEZ JOSE Nunez Taken WORLD OF SECTION DEDICATED TO ARTISTS OF THE CENTURY
Who am I? The question, persistent, insidious, slipping as one of the questions more intense in the areas of uncertainty in our culture. Who am I? I wonder. We wonder, after the end of the age of certainty, in which the white European male sees himself as the pinnacle of civilization
intelligence and commitment, instead of superficiality and cynicism. Without attempting to resume the proposal of a global transformation of society through art, characteristic of classical art, Marina Núñez is situated in a line of "transformation of the symbolic" control "in the field of representation." That may, he says, "not a political transformation in itself, but clearly is involved in political change."
Since around 1992 began to enter the symbolic and imaginary land of exclusion, Marina Núñez
has generated a powerful language of a plastic, one of the most personal and characteristic in
our current art, which resonate doubt and irony, are we sure that exclude and why do we exclude? Dense images, unfolded, in its flow has been articulating in series: Madness, death, monsters, jellyfish or the last, science-fiction.
The female figure occupies a central place in the map of exclusion, a way to highlight the image that traditionally relegated to the place assigned in the history of our culture. But what matters is the unfolding. Returning from the crazy drama of hysteria floating double in a mirror without a frame or profile. Hanging objects on figures, skulls stacked in heads, incisions in the flesh, one body into another. The face stares at us from the bottom of cyborg brain. HERE CAN ENGAGE WITH THE ABOVE PARAGRAPH
Marina Núñez shows us what we do not normally see, but as yet we truly are configured. Because obviously, the projection of the other springs denied ourselves. The monster grows upon our minds, Frankenstein is our child. Something the Romantic movement was in one of its central themes: no me without his double.
The most interesting is the turn poetic, personal tone. Despite their disabilities, the figures excluded and excluded from Marina have always clarity, a purity of line, a haunting yet serene beauty perhaps, never troubled or torn. It is, in fact, to show how the exclusion is based mainly on ignorance. But the repressed desire.
Mona Hatoum Mona Hatoum was born in 1952 in Beirut to Palestinian parents, but grew up in London for these things to chance: while on holiday on the island, civil war broke out in the Hatoum Lebanon and was forced to stay there for long undetermined. Never returned home. The distance and the idea of \u200b\u200bbeing in the way his work changed forever. Then centrifuged Hatoum experience of displacement and exile for more than a feeling of vulnerability to the power structures to create a work that oscillates between desire and repulsion, fear and fascination.
"I grew up surrounded by war and my identity was formed by fragments, I was collecting pebbles here and there," says Hatoum. One of these fragments is about the destruction of the idea of \u200b\u200bhome as a safe, peaceful and stable. The things a minute before we were familiar, in turn Hatoum threatening. Sous tension, a wooden kitchenware exhibits several connected by a tangled web of wires that light up. In turn, the facility is separated from spectators by an electric fence. In the solitude of the room can hear the hum of electricity flowing through the environment. It's a fairy tale image, spoons, pots and pans seem fireflies in a garden at night while, if we could touch them, we would give a fatal shock. It is a work that makes the home, a prison kitchen, the core of family happiness, a hell of neurosis. "And yet," says Hatoum, "art should not preach. I try to do objects ambiguous and open enough for today and tomorrow are it otherwise. "
Hatoum instability destroys everything we took for granted: a dripping like melted chocolate crutches, a map of Jerusalem appears perfectly drawn on the floor the room, but when you step on the parquet, design apart, decomposing into a thousand balls that run along the floor back to the territory, not only chaotic but also dangerously slippery, in a room, a light bulb sways from the ceiling slowly, causing shadows to paralyze us dizzy. As she explains: "A work of art first feels physically, associations, ideas and concepts come after the initial shock. "
But probably been the literary critic and advocate for the Palestinian cause, Edward Said, who best defined the work of the artist: Mona Hatoum sees the world as a foreign land. The exile knows that in a secular and contingent world, homes are always provisional. The boundaries and barriers that enclose us in the security of a territory that is familiar, may in the twinkling of an eye, become our worst nightmare. Hatoum lucidly in the idea of \u200b\u200bhome as a mythical paradise has been literally wiped off the map ".
Although Palestinian born in Beirut, to which their parents had to emigrate in 1948 leaving Haifa and that then she can not return when traveling in London, broke out in 1975 the Lebanese civil war. After the first few years in the Byam Shaw School of Art, goes to the Slade School of Art, also in London, where he studied with Stuart Brisley, one of his earliest influences, the early 80's when it starts to make performances and video .
After a first period of formal experimentation in establishing what would become a lasting relationship with Minimalism, its passage through the politicized Slade taking it to higher ground where the primary conceptual concern about the functioning of the structures power.
is in this context that performs most of his performances often charged a dense political content. In a second time, but also in this first stage in which their work is marked by temporary action takes place the development of videos, among which we find such significant works as Measures of Distance (1988), which deals as the representation of female stereotypes or mother-child relationships within, yes, a frame marked by a sense of loss and disorientation that exile brings communication and travel.
His work in the 90's has evolved into less narrative works that can, therefore, a higher level associations. Through the sculptures and installations, Hatoum has created works that seem to refer to Minimalism, though only from a purely formal and material usage. In them there is a continuous negotiation with the body of the viewer, both physically and emotionally involved in a space that, paradoxically, the human body is absent and that he / she in her presence is designed to replace. His installations take us back, often, a fantasy space in which, as in Corps étranger (1994), we face the metaphorical power of the body in general through concepts like public and private female body image.
In recent years, the symbolic ambivalence that gives everyday objects has been gaining more and more weight in their installations. Everything that was familiar in theory and welcoming us, metamorphoses into something remote and often shocking. The "home" in Hatoum's works can no longer provide that feeling of calm and refuge to associate it before. The changes made by the artist constantly break those expectations. Now we only have an unsettling space in which to think a new definition of "home."
CHRISTINE BORLAND
Christine Borland. Of this, originally from Glasgow, I appreciated the links that seeks to integrate art and medical science. Link being made from an ethical position, showing the impact of medical phenomena. This means entering in the way of understanding the human body as social protest or human representation. The work that surprised me is called a true story-After an Giant Fairy Tales (1997). In this, as seen in the figure shows the silhouette, made in dust, the skeleton of a giant. On this figure is projected to draw the shade light on the wall skeleton. The approach of the work is made more interesting by the fact that along with the silhouette of the giant shows the page in an anatomy book which tells the story of the giant who bears the skeleton elucidated. The presentation of history is not intended purely medical, which surprise us, it is highlighting what extrambótico medical case and the fact that the giant, nicknamed "The Irish Giant", was a spectacle of a traveling carnival.
The incluisión of this story in the work of art gives us to understand two things. First, the conceptual artist is: what in his work stands out is the idea and the story beyond the actual performance of the work. The work is tenuous: a silhouette in dust and shadow, but is loaded with meaning. This being the second element to understand, in my opinion. The play is set as a reflection that links medical causistica the show. The grotesque size of the individual, Charles Byrne, because of a disease, gigantism, becomes a playful representation for the viewer. Borland's work does the same but showing the face of history. The shadow cast by the silhouette of dust is the same that once project the figure is also an entertainment giant, but this time, comments from his own personal history, something that once would not find the audience. The history of the individual is charged drama, highlighted his alcoholism, which shows the personal side, beyond the mere figure of 2 meters 49 centimeters. The velocity of
Dreps (2004). This is also a photograph. It contrasts the red color of a watermelon burst with greenish brown soil. The contrast is strong, giving power to the picture. Is this the intention of the author which is appreciated even more if we look at their explanation. Watermelon is used in forensics because openen the same resistance to the fall that the human skull. So we turn to simple watermelon scene perhaps a murder, suicide or accident. The work is even more tense since its meaning. Christine Borland's art embraces scientific thought and research to explore the fragile yet resilient nature of human life .. The methods and materials Christine Borland choose for your art (such as spider dragline filaments, bone china, bronze and glass) in contrast to the seriousness of the issues addressed: genetics, individual identity, medical ethics and mortality . Christine Borland immersion in the field of science allows us to see the controversial issues and significant developments in the singular and unexpectedly at the core of Borland's practice is a strong curiosity about the underlying assumptions that guide research remain unexplored scientific .. During the last decade has worked with osteologists to analyze the bones, facial reconstruction experts to reconstruct faces on skulls, geneticists to study the biochemical prenatal testing and to explore the cellular structure.
"The heart of what I'm trying to discuss is very dark, very strong and passionate, and if it can get rather than through a rational process, I think that becomes more powerful, and, above all, more staff the viewer. "
Naiza H KHAN
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Naiza H. Khan, Pakistani artist within a month had his first solo exhibition in Europe, The Skin She Wears. Project that began a decade ago as a strategy for exploration of the emotional content of the female anatomy through their attire: some anachronisms, such as chastity belts, others, such as the corset, not so much, always a cliché, lingerie, appropriations gender, medieval armor of Joan of Arc; designs asexual straitjackets ...
the past two years many of his drawings the skirts have metallic-weave, body and clothes at the same time. Symbols for Naiza, seduction and oppression. Garments occupy an ambiguous space between love and war. According to the artist, this work is an armed response, but discreet, the aggressiveness with which many compatriots defending clothing associated with religious beliefs. Does the habit of a nun? No, the hijad. In fact, his recent installation in ArtDubai 2008, The Crossing, caused a stir. With this work (a wooden boat, galvanized armor, textiles and leather), Naiza implied like in your country, somehow, still lives in the Middle Ages. Now what makes this exhibition, a small army of 15 steel (steel sculptures, drawings and acrylics). The pieces, available in editions of three, ranging between 1,000 and 10,000 pounds (let me know what the change), but you will always have the catalog. The expo is in London at the Rossi & Rossi.
Thursday June 21, 2007
Born in 1982, from San Francisco and graduated with distinction from the University of Art in the same city, Sylvia Ji's artistic ability seems to belong another time. Her work encapsulates an alluring beauty that competes with their technique.
Some of her paintings are symbolic reflections of themselves same, portraits of people who know or anonymous faces, no name, set in landscapes of ephemeral beauty, sexual provocation where it is mixed with dismay.
Taken from the following website
http://paraisohibrido.wordpress.com/2007/11/06/silvia-ji/
Beautiful and provocative, so are the works of Sylvia Ji.
Asian Girl, born in San Francisco ... decadent helping of your media environment as inspiration, saying everything he sees through a brush and paint ... and the reality shaping molds to your imagnacion.
A mixture of cultures, taking into account the Mexicana, with social issues eroticism fused with a provocative.
QUEEN STREET (INFO Taken OF ONE OF OUR WEB)
is disclosed in streetQueen'sy deviantArt as firm as uu. She is a photographer from Turkey and I was fascinated by his work. His images are a curious mix of photography surreal style home. Blur and overlap, and a whole host of effects leaves us feeling watching old family album pictures of some forgotten in an old trunk.
However, they have a potential tremendous and very original that grabs you at first glance. It's the kind of photography I like to do, that exudes feelings, that is effective without cause, and causes a myriad of sensations in both form and content. She works mostly in black and white, which starts real flashes of brilliance, but also in color us pleasantly surprised, away from topics of free effects. It has an almost baroque structure with a certain air of decadence, but there is great humanity in these images. Photography is the homespun, everyday life an art. A great example of what can give of an eye behind a camera. Also found in Flickr as umayumay phostream
SILVIA JI
Born in 1982, from San Francisco and graduated with distinction from the University of Art in the same city, Sylvia Ji's artistic ability seems to belong to another time. Her work encapsulates an alluring beauty that competes with their technique.
Some of her paintings are symbolic reflections of herself, portraits of people known or anonymous faces, no name, set in landscapes of ephemeral beauty, sexual provocation where it is mixed with dismay .
Quickpost this image to Myspace, Digg, Facebook, and Others! Taken from the following website
http://paraisohibrido.wordpress.com/2007/11/06/silvia-ji/
Bello and provocative, so are the works of Sylvia Ji.
what he sees through a brush and paint ... and the reality shaping molds to your imagination.
A mixture of cultures, taking into account the Mexicana, with social themes fused with provocative eroticism.
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