How to Construct a Time Machine, MK Gallery, Milton Keynes – Departure of All

23 January – 22 March 2015

Preview 22 January 2015 / 6-10pm

MK Gallery, 900 Midsummer Boulevard, Central Milton Keynes, MK9 3QA.
Admission is free

www.mkgallery.org

January 2015 MK Gallery presents How to Construct a Time Machine (23 January – 22 March 2015), an exhibition of over twenty-five historical and contemporary works that explore how artists play with media in innovative ways to transform our experience of time.

What is time? How do we order the past, the present, and the future? Why are artists interested in time? How is art a machine, vehicle, or device for exploring time? How is art a means by which time ‘travels’, and how does art permit us to travel in time? Consideration of these and other questions has provided the exhibition rationale for guest curator, Dr Marquard Smith, Head of Doctoral Studies/Research Leader in the School of Humanities at the Royal College of Art, London.

The show’s title is taken from an 1899 text by the avant-garde French writer, Alfred Jarry, written in direct response to H. G. Wells’ science fiction novel The Time Machine (1895). Wells invented and popularised a distinctively modern, fictional concept of time travel, with the time machine as a vehicle that could be operated ‘selectively’.Jarry’s response crafted a pseudo-scientific fiction that presents the time machine and time travel as an instance of ‘the science of imaginary solutions’.

Taking this idea of the time machine, time travel, and perhaps even time itself as an instance of ‘the science of imaginary solutions’, the exhibition is divided thematically across the galleries and includes works by John Cage, Martin John Callanan, Jim Campbell, Edgar Cleijne and Ellen Gallagher, Matt Collishaw, Ruth Ewan, Tehching Hsieh, the Lumière Brothers, Chris Marker, Kris Martin, Manfred Mohr, Melvin Moti, Nam June Paik, Katie Paterson, Elizabeth Price, The Otolith Group, Raqs Media Collective, Meekyoung Shin, Sun Ra, Thompson & Craighead, Mark Wallinger and Catherine Yass, amongst others.

Film work ranges from George Méliès’ A Trip to the Moon (1902), an iconic silent movie which follows a group of astronomers as they explore the moon, to Thomson & Craighead’s The Time Machine in alphabetical order (2010), a complete rendition of the 1960s film version of the Wells’ novella re-edited into alphabetical order.

Sculptural work includes Mark Wallinger’s Time and Relative Dimensions in Space (2001), an aluminium version of Dr Who’s ‘Tardis’ police box that simultaneously disappears into the space-time continuum and reflects its own surroundings, and Ruth Ewan’s We Could Have Been Anything That We Wanted to Be (2012), a decimal clock which divides the day into ten (rather than twenty-four) periods, echoing a bold 18th century French Republican attempt to redefine and rationalise the day.

The exhibition will be accompanied by a catalogue, designed by Herman Lelie, featuring an extended Introduction by the exhibition’s curator and a translation of Jarry’s How to Construct a Time Machine, together with essays by Dutch cultural theorist and video artist Mieke Bal and radical philosopher Peter Osborne. The exhibition will be supported by a range of related events including tours by the curator and artists, seminars, academic conferences, and film screenings.

www.mkgallery.org

Visualization in the Age of Computerization (Routledge Studies in Science, Technology and Society)

Objectivity and Representative Practices chapter
Dr Chiara Ambrosio, UCL Department of Science and Technology Studies

Screen Shot 2014-09-05 at 21.32.37

Digitalization and computerization are now pervasive in science. This has deep consequences for our understanding of scientific knowledge and of the scientific process, and challenges longstanding assumptions and traditional frameworks of thinking of scientific knowledge. Digital media and computational processes challenge our conception of the way in which perception and cognition work in science, of the objectivity of science, and the nature of scientific objects. They bring about new relationships between science, art and other visual media, and new ways of practicing science and organizing scientific work, especially as new visual media are being adopted by science studies scholars in their own practice. This volume reflects on how scientists use images in the computerization age, and how digital technologies are affecting the study of science.

Hardcover: 292 pages
Publisher: Routledge (22 Oct 2014)
ISBN-13: 978-0415814454

ממריאים גבוה

martin-john-CALLANAN_p-500x815

“Departure of All”, 2013, מסך LCD, מחשב ותוכנת מחשב,91.4×49.9×40 ס”מ

באדיבות האמן וגלריה James Cohan, ניו יורק/שנגחאי

האמן הבריטי הקונספטואליMartin John Callanan מושפע בעבודותיו ממערכות חברתיות ושלטוניות המעצבות את חיינו וחוקר את מקומו של הפרט בתוך המערכות האלה. לא אחת הוא מפנה בקשות מידע לשלטונות או לתאגידי ענק בינלאומיים, ואוסף הנתונים הרחב שהוא מפיק במחקריו משמש כבסיס לעבודותיו וכמראה המשקפת את העולם הרחב. בעבודה “Departure of All” (כל הטיסות היוצאות) נראה לוח טיסות המציג מידע חי על כל טיסה שממריאה מכל נמל תעופה בינלאומי בעולם בזמן תצוגתה של העבודה. המידע מתחלף על הלוח במהירות גבוהה, וההמתנה המוכרת מול לוח הטיסות בשדה התעופה מתחלפת בזרם מואץ ומסחרר של נתוני טיסות, המקבל תוקף מעצם הידיעה כי מדובר בטיסות אמיתיות הטסות ליעדים אמיתיים בזמן אמת. “בעבודה זו אני מתעניין במה שאינפורמציה זו מייצגת”, אומר האמן, “58 טיסות בכל דקה מייצגות כ־400,000 אנשים הממריאים לאוויר בחלקים שונים של העולם והוצאה של מאות מיליוני דולרים מדי רגע”. המידע, המופרד ממיקומו הטבעי על קיר שדה התעופה ומתחלף בקצב מסחרר, מייצר בעבודה סתירה פנימית, ומעורר שאלות על משמעותו. הצגת העבודה – שנראית כלוח טיסות לכל דבר – בתוך חלל של גלריה – שאף הוא בדומה לחלל שדה התעופה מתפקד כמרחב ניטרלי, זירה זמנית ומקום מעבר – עוטפת את העבודה בקשר הולם, טוענת אותה במשנה תוקף ומזמינה מחשבה על ההשפעה הפסיכולוגית של החוקיות והנהלים במקומות כאלה על המבקרים בהם.

http://atmag.co.il/

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

The Future of Objectivity
Dr Chiara Ambrosio, UCL Department of Science and Technology Studies

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

New Directions in the Philosophy of Science (The Philosophy of Science in a European Perspective)

This volume sheds light on still unexplored issues and raises new questions in the main areas addressed by the philosophy of science. Bringing together selected papers from three main events, the book presents the most advanced scientific results in the field and suggests innovative lines for further investigation. It explores how discussions on several notions of the philosophy of science can help different scientific disciplines in learning from each other. Finally, it focuses on the relationship between Cambridge and Vienna in twentieth century philosophy of science. The areas examined in the book are: formal methods, the philosophy of the natural and life sciences, the cultural and social sciences, the physical sciences and the history of the philosophy of science.

Hardcover: 788 pages
Publisher: Springer; 2014 edition (20 Jun 2014)
Language: English
ISBN-10: 3319043811
ISBN-13: 978-3319043814
Product Dimensions: 23.6 x 15.5 x 4.8 cm

Ecocinema Theory and Practice, Sean Cubitt

Ecocinema Theory and Practice

Ecocinema Theory and Practice

Ecocinema Theory and Practice

Ecocinema Theory and Practice

Ecocinema Theory and Practice is the first collection of its kind—an anthology that offers a comprehensive introduction to the rapidly growing field of eco-film criticism, a branch of critical scholarship that investigates cinema’s intersections with environmental understandings. It references seminal readings through cutting edge research and is designed as an introduction to the field as well as a sourcebook. It defines ecocinema studies, sketches its development over the past twenty years, provides theoretical frameworks for moving forward, and presents eloquent examples of the practice of eco-film criticism through essays written by the field’s leading and emerging scholars. From explicitly environmental films such as Werner Herzong’s Grizzly Man and Roland Emmerich’s The Day After Tomorrow to less obvious examples like Errol Morris’s Fast, Cheap & Out of Control and Christopher Nolan’s Inception, the pieces in this collection comprehensively interrogate the breadth of ecocinema. Ecocinema Theory and Practice also directs readers to further study through lists of recommended readings, professional organizations, and relevant periodicals.

Stephen Rust (Editor), Salma Monani (Editor), Sean Cubitt (Editor)
Hardcover: 344 pages
Publisher: Routledge (27 Sep 2012)
Language: English
ISBN-10: 0415899427
ISBN-13: 978-0415899420
Product Dimensions: 16.5 x 24.1 cm

Image Politics of Climate Change: Visualizations, Imaginations, Documentations, Birgit Schneider, Thomas Nocke

Image Politics of Climate Change: Visualizations, Imaginations, Documentations [Paperback] Birgit Schneider (Editor), Thomas Nocke (Editor)

Image Politics of Climate Change: Visualizations, Imaginations, Documentations [Paperback] Birgit Schneider (Editor), Thomas Nocke (Editor)

Image Politics of Climate Change: Visualizations, Imaginations, Documentations [Paperback] Birgit Schneider (Editor), Thomas Nocke (Editor)

Scientific research on climate change has given rise to a variety of images picturing climate change. These range from colorful expert graphics, model visualizations, photographs of extreme weather events like floods, droughts or melting ice, symbols like polar bears, to animated and interactive visualizations. Climate change graphics have not only increased knowledge about the subject, they have begun to influence popular awareness of global weather events. The status of climate pictures today is particularly crucial, as global climate change as a long-term process cannot be seen. When images are widely distributed, they are able to shape how the world is thought about and seen. It is this implicit basic assumption of the power of images to influence reality that this book addresses: today’s images might become the blueprint for tomorrow’s realities. “Image Politics of Climate Change” combines a wide interdisciplinary range of perspectives and questions, treated here in sixteen interdisciplinary case studies. The author’s specializations include both visual practice and theory: in the fields of climate sciences, computer graphics, art, curating, art history and visual studies, communication and cultural science, environmental and science & technology studies. The close interlinking of these viewpoints promotes in-depth insights into issues of production and analysis of climate visualization.

Birgit Schneider (Editor), Thomas Nocke (Editor)
Paperback: 388 pages
Publisher: Transcript Verlag (15 Mar 2014)
Language: English
ISBN-10: 3837626105
ISBN-13: 978-3837626100
Product Dimensions: 22.6 x 14.8 x 2.8 cm

The New Yorker, The Fifth Season, James Cohan Gallery

The New Yorker

To sum up the latest report from the Intergovernmental Panel on Climate Change: we’re toast. The nearly two dozen participants in this terrific, if depressing, show propose an art for the Anthropocene, in which time has accelerated (Martin John Callanan’s airport departure board cycles eerily fast), the seasons are out of whack (Charles Burchfield’s “Summer” features a tree, December-bare), and no purchase of organic strawberries will outweigh the ten billion metric tons of carbon spewed forth each year. An eighteenth-century theatrical scene, featuring an artificial sun, leads all too inevitably to AlexisRockman’s trash-strewn seascape, featuring a drowning elephant and a capsizing container ship. The ever-sharp Pierre Huyghe and the young filmmaker Erin Shirreff also make strong contributions, but the most haunting work is an anonymous video from the destroyed power plant at Fukushima, in which a single man points his finger in silent accusation at the camera, at the polluters, at us. Through Aug. 8.

After The War & A Dream Turns Sour- BAC

Chris Hong writes:

There are more thoughtful pieces such as Wars During My Lifetime, which is a newspaper by Martin John Callanan listing all wars between 1982-2014 and read aloud by a town crier at various times throughout the day. It is a sobering and thoughtfully simple piece that highlights the number of conflicts and the lack of progress we have made in reducing them.

full review here.

Make the Living Look Dead

Book Works
Make the Living Look Dead
June 7 – July 26, 2014

bookworks_cannons

Opening reception Saturday June 7, 3-6pm

For Make the Living Look Dead, Book Works invited a selection of artists it has previously worked with over the last 30 years to make a new work on A4 paper as a contribution, intervention or fictionalization for its archive. Each work plays with notions of time and exposes the fragility of coherence inherent in the archive. Contributions range from original discarded material to found objects or fabricated letters, as well as new work masquerading as past proposals or future projections of sequels, panegyrics or unfinished work.

Participating artists are: An Endless Supply, Steve Beard and Victoria Halford, Pavel Büchler, Martin John Callanan, Brian Catling, Adam Chodzko, Jeremy Deller, Mark Dion, Giles Eldridge, Ruth Ewan, Luca Frei, Dora García, Beatrice Gibson and Will Holder, Liam Gillick, Susan Hiller, Karl Holmqvist, Stewart Home, Hanne Lippard, Jonathan Monk, Bridget Penney, Sarah Pierce, Elizabeth Price, Laure Prouvost, Clunie Reid, John Russell, Slavs and Tatars, NaoKo TakaHashi, Nick Thurston, Lynne Tillman, Mark Titchner, Alison Turnbull, Eva Weinmayr, and Neal White.

This project will be shown alongside recent publications commissioned by Book Works and a series of poster projects by: Fabienne Audéoud and John Russell, Stewart Home, Inventory, Jonathan Monk.

Live Events with HEAD Gallery, Jarett Kobek, Maxi Kim and others to be announced.

2nd Cannons project space
2245 E Washington Blvd. Los Angeles, CA 90021

Distribution as a Process for Online Technology

Pauline de Souza
GSTF Journal on Computing (JoC) Vol.3 No.4, April 2014

This article considers how distribution as a process interacts with technology and how users engage with distribution. It is not the first time that the relationship between distribution and technology has been discussed. It was discussed a curatorial practice for online technologies by CRUMB (Curatorial Resource for Upstart Media Bliss) on its 2012-2013 list. some of the discussions about distribution relate it to the visualisation of data within curatorial practice locating it within social and cultural debates. CRUMBS’s online group discussions looked at how the actions of curators, artists and gamers created social environments for people to interact with. Also Furtherfield art projects looked at the accessibility of online technology for people from low economic backgrounds. While mapping projects relate different data to other sources. However, this is not the only way to consider distribution. To comprehend distribution as a process this article discusses the different levels of distribution.

Departure of All cited as example.

Read full paper [PDF]

The Fifth Season, James Cohan Gallery

the fifth season, james cohan gallery

the fifth season, james cohan gallery

24 June – 8 August 2014
Opening Reception: Thursday, June 26, 6 – 8 PM

James Cohan Gallery is pleased to present The Fifth Season, opening on 24 June until 8 August 2014. An opening reception will be held on Thursday 26 June, 6 – 8 pm. This group exhibition explores the seasonal rhythms of natural systems, the human disruptions of these once-balanced cycles, and the increasing alarms of global climate change.

The theme of the “four seasons” has inspired countless works of art throughout history. As a subject, the seasons are metaphors for life cycles and transitions. The calendar propels our existence on a regular emotional and physiological schedule. The rhythm of life is inextricably connected to the quartered year.

Ecological and technological changes have created a less defined cycle of life, one that is sped up by the velocity of communication and slowed down by unpredictable environmental behavior, calling into question our long-held notions of how time behaves. One is confronted on a daily basis by unprecedented connectivity and growing awareness of irregular natural patterns, and we as a species are struggling to understand this new reality.

Whether addressing the conventional notion of the four seasons or reflecting on today’s intense technological hybridity and climate change, the exhibition presents an opportunity to situate ourselves in this fifth season—a highly nuanced, unfamiliar place.

Participating artists: Matthew Brandt, David Brooks, Charles Burchfield, Martin John Callanan, Claude Louis Châtelet, Jacques de Lajoüe, Mark Dion, Spencer Finch, Finger Pointing Worker, Futurefarmers, Carsten Höller, Pierre Huyghe, Natalie Jeremijenko, Beatriz Milhazes + BUF, Katie Paterson, Alexis Rockman, Erin Shirreff, Kota Takeuchi, Alison Elizabeth Taylor, Fred Tomaselli, and Erik Wysocan.

The exhibition will be accompanied by a free publication and guide containing complementary images and texts.

Press release [PDF]

Exhibition publication [PDF]

MON3Y AS AN 3RRROR, MON3Y.US

mon3y

Online exhibition from M0US310n.net featuring Digital & Net.Art on the subject of Money & Error, put together by an anonymous curator “Vasily Zaitsev”:

“M0N3Y AS AN 3RRROR | MON3Y.US” proposes to establish connections, dialogues, and new insights into the contemporary art scene around the general topic of MONEY. Around 70 international artists selected with various aesthetic and conceptual approaches who work in fields such as Digital Art, Net.Art , New Media, Interactive Art , Multimedia, JavaScript, Glitch, Video, Online Performance, Animated GIF, and Digital Image.

“M0N3Y AS AN 3RRROR | MON3Y.US” has a display format that promote aesthetic reception of the digital work, to understand it as a fundamental part of the work. In this display format is highlighted each of the works as an artistic piece.

ARTISTS:
Rafaël Rozzendal
Paolo Cirio
Anthony Antonellis
Aaron Koblin + Takashi Kawashima
Systaime
Nuria Güell
Martin John Callanan
Martin Kohout
Dafna Ganani
Thomas Cheneseau
Lorna Mills & Yoshi Sodeoka
Jan Robert Leegte
Jennifer Chan
Kim Asendorf & Ole Fach JUST DO IT
Nick Briz
Nicolas Sasoon
Maximilian Roganov
Mitch Posada
Dominik Podsiadly
Ellectra Radikal
Marco Cadioli
Miron Tee
Andrey Keske
Gusti Fink
Curt Cloninger
Jon Cates
Aoto Oouchi
Cesar Escudero
Nick Kegeyan
Alfredo Salazar Caro | TMVRTX
Robert B. Lisek
Dave Greber
Addie Wagenknecht
Émilie Brout & Maxime Marion
Kim Laughton
Ciro Múseres
Paul Hertz
Keigo Hara
José Irion Nieto
Mathieu St-Pierre
Marc Stumpel
Lars Hulst
León David Cobo
Adam Braffman
Jefta Hoekendijk
Vince McKelvie
Benjamin Berg
Guayaco Coco
George Jacotey
THEREisaMAJORPROBLEMinAUSTRALIA
Haydi Roket
V5MT & Sofía Reta
Fabien Zocco
Adam Ferriss
Yemima Fink
Emilio Vavarella
Azahara Cerezo
Tom Galle
Geraldine Juaréz
Filipe Matos
Gustavo Romano
Erica Lapdat-Janzen
Laturbo Avedon
Kamilia Kard
A Bill Miller
Agente Doble | UAFC
Rollin Leonard
Jasper Elings
Florian Kuhlmann
Milos Rajkovic
Frère Reinert
Rozita Fogelman
Eugenio Tisselli

Sound Art Show: Episode 19

BCB Radio, the Sound Art Show on BCB which aims to make sound art more accessible to mainstream audiences in the Bradford district.

Tracklist:
Late, Jim Scott
Pulse, Michelle Lewis-King
Ja Ja Ja Ne Ne Ne, Joseph Beuys
Wars During My Lifetime (1982 – 2013), Martin John Callanan

Born Digital on Paddle8

Paddle8

Paddle8

15 April – 30 April 2014
http://paddle8.com

Born Digital is a benefit auction and an online exhibition made to support the activities of the Link Art Center on the online auction platform Paddle8. The event – the first with this focus taking place in Europe on this scale – will open on April 15, 2014, and will include more than 50 works kindly provided by 33 artists. For two weeks long, you are invited to bid on the works to support the artists and help us reach our goals. The Link Art Center is the first Italian organization collaborating with Paddle8, a web platform organizing monthly themed and benefit auctions, experimenting with the auction format as a means of self-funding.

The complete list of participants includes: Alterazioni Video, Anthony Antonellis, Aram Bartholl, Erik Berglin, Enrico Boccioletti, Heath Bunting, Marco Cadioli, Martin John Callanan, Gregory Chatonsky, Adam Cruces, Caroline Delieutraz, Harm Van Den Dorpel, Constant Dullaart, Electroboutique, Herbert W. Franke, Elisa Giardina Papa, Matteo Giordano, Emilio Gomariz, IOCOSE, Joan Leandre, Jan Robert Leegte, Jonas Lund, Janez Jansa, Janez Jansa, Janez Jansa, JoDi, Eva and Franco Mattes, Rosa Menkman, Filippo Minelli, Vera Molnar, Jaakko Pallasvuo, Angelo Plessas, Evan Roth, Alexei Shulgin, Carlo Zanni.

All the featured artists are either based or born in Europe. The selection includes different generations of artists working with the digital medium and within the digital environment, from early pioneers such as Vera Molnar and Herbert W. Franke, to net.art classics such as JoDi and Alexei Shulgin, to younger artists still in their twenties. The selected works display a wide range of formats, and respond in different ways – sometimes traditionally, sometimes more radically – to the issue of collecting the digital: prints, installations, drawings and videos are joined by animated gifs, websites, printable 3D files and 3D printed sculptures. Some of them display generative images, some others deal with desktop aesthetics; some refer to online habits, cultures and places, others are strictly related to the living and working conditions introduced by the digital shift. They all inhabit networked spaces; they are Born Digital.

Starting prices vary from the very affordable (around 100 € for a video-in-print by Carlo Zanni or a Certificate of Existence by Martin John Callanan) to the higher prices reached by outstanding installations like Jan Robert Leegte’s Scrollbar Composition 2005/2011. If an artwork is sold, 20% of the final price will be used to support the upcoming activities of the Link Art Center.

The LINK Center for the Arts of the Information Age (Link Art Center) is a multi-functional center promoting artistic research with new technologies and critical reflections on the core issues of the information age. Founded in Brescia, Italy, in 2011, the Link Art Center is active locally, internationally and online: it organizes exhibitions, produces artistic and curatorial projects, publishes books. To check out past activities, visit our website: www.linkartcenter.eu. The funds raised will be used to support our ongoing activities: Link Editions, our publishing initiative; Link Point, our project space; and Link Cabinet, our upcoming online gallery.

Paddle8 is an online auction house, connecting buyers and sellers of fine art and collectibles across the world. They offer two types of auctions: monthly themed auctions, and benefit auctions in collaboration with non-profits. More info: http://paddle8.com

The Link Art Center would like to thank all the artists, XPO Gallery (Paris) and DAM Gallery (Berlin) for their amazing support in this initiative.

http://paddle8.com/auctions/linkart

Download the PDF catalogue

Ole Miarte

Cuando, a mediados del siglo XVII, el filósofo y escritor Gilles Ménage criticó las traducciones del humanista Perrot Nicolas d’Ablancourt afirmando: “Elles me rappelent une femme que j’ai beacoup aimé à Tours, et qui était belle mais infidèle” (“me recuerdan a una mujer que amé muchísimo en Tours, y que era bella pero infiel”), dio lugar a una expresión que define un problema aún sin resolver: la fidelidad de toda traducción literaria. A principios del siglo XX, José Ortega y Gasset afronta esta cuestión señalando que la dificultad de la traducción radica en que intenta hallar equivalencias entre dos “cuadros mentales diferentes, de sistemas intelectuales dispares –en última instancia–, de filosofías divergentes”. El lingüista Georges Mounin indica que es en la persona del traductor donde se produce este encuentro entre dos (o más) lenguas, y por tanto el problema se halla en la forma en que cada individuo decide emplear estas dos estructuras de pensamiento y procura mantenerlas intactas. Para el poeta Octavio Paz, la constatación de que cada lengua constituye una visión del mundo y que el lenguaje es, en sí, una traducción, nos conduce a concluir que toda traducción no es sino una creación literaria independiente: “Cada traducción es, hasta cierto punto, una invención y así constituye un texto único”.

El proceso de traducción literaria pasa así de ser una mera operación de equivalencias, idealmente invisible, a un acto creativo de una persona que establece contactos entre dos realidades más o menos dispares. Notablemente, esta última afirmación se produce con más contundencia a finales del siglo XX, cuando las transformaciones políticas, sociales y culturales han dejado patente que el mundo no puede limitarse a una visión única, a una verdad última, sino que se disuelve en una multiplicidad de interpretaciones. Los artistas, por su parte, han dejado de ser meros traductores de la realidad sensible, valorados por su capacidad para reproducir fielmente lo que se ve. Introducen claramente los términos de su visión del mundo, la total subjetividad con la que la obra se erige en reflejo de la realidad contemporánea. No son, por tanto, como ese traductor apocado que describe Ortega, traduttore traditore, que atrapa la rebeldía del texto original en una forma regular y fácilmente comprensible para el lector. En la creación contemporánea, incluso cuando un artista emplea objetos, imágenes o referencias de la realidad que conocemos, incluso cuando la obra resulta indiscernible del objeto cotidiano, nos hallamos ante traducciones “bellas, pero infieles” de aquello a lo que hacen referencia. Esto no supone una apreciación negativa del arte contemporáneo, sino que, al contrario, lo pone en valor en cuanto las obras no son simples documentos del mundo en que vivimos, sino dispositivos que nos inducen a una reflexión.

Vasco Araújo Who Where, 2011

Vasco Araújo Who Where, 2011

Vasco Araújo (Lisboa, 1975) afirma en una conversación con Eloise Aquino que el objetivo principal de su obra es hacer que el espectador piense. Para ello, emplea recursos que llevan al observador a cuestionar lo que ve, a partir de un reconocimiento de los objetos que no conduce necesariamente a una comprensión inmediata. Araújo construye narrativas empleando otras narrativas: films, textos, imágenes que se acumulan y dialogan entre ellas, dejando espacio para múltiples lecturas y una constante construcción de significados. Una serie de fotografías se muestran junto a una narración en primera persona que nos habla de un destierro, una pérdida de la identidad y cultura propias, que inducen una lectura particular de las imágenes, ineludiblemente sujetas a la interpretación que les confiere la vecindad del texto. Ese destierro halla también una metáfora elocuente en los paisajes ingrávidos, arrancados de raíz, que crea Jorge Mayet (La Habana, 1962). El artista cubano expresa en estas reproducciones a escala de imaginarios trozos de tierra una experiencia personal de pérdida y esperanza, un recuerdo fragmentario y deshilachado de un espacio, tal vez añorado, que nunca existió. No hay aquí una reivindicación política ni surrealismo alguno, sino una realidad traducida a los términos que mejor comunican las emociones vividas. El paisaje deja de ser espacio de contemplación ociosa o escenario de ensoñaciones románticas y se convierte en lo que Mayet describe como “símbolo paisajístico”, una clave para leer su discurso. El paisaje es también un elemento recurrente en la obra de Montserrat Soto (Barcelona, 1961) quien emplea una imagen modificada, en el margen de lo posible, para ofrecer al espectador un lugar (o no-lugar) con el que establecer un vínculo. Si bien parece, de entrada, una simple instantánea de un espacio anodino, el fotomontaje y la inclusión de diversos elementos narrativos abren la puerta a un amplio terreno de interpretaciones, en los que se integra el interés de la artista por explorar el hábitat del ser humano.

 

Montserrat Soto Invasion-Sucesion 23. 2011

Montserrat Soto Invasion-Sucesion 23. 2011

Representar el mundo por medio de una serie de imágenes implica una síntesis que necesariamente genera ficciones y nuevas formas de paisaje. Martin John Callanan (Birmingham, 1982) busca su lugar como individuo en un mundo dominado por sistemas (económicos, sociales, informáticos, naturales) a través de obras que, irónicamente, buscan alcanzar una totalidad imposible. Un programa recoge cada día las portadas de más de 600 periódicos de todo el mundo y las dispone en una página web. Las noticias, que son en sí interpretaciones de la realidad actual, se presentan en un formato que impide su lectura y alcanza un total saturación de información. El artista, notablemente, no necesita realizar esta traducción diariamente puesto que se produce de forma automática, a través de un intercambio de datos entre máquinas. Lo cotidiano y lo global se expresan de una forma muy distinta en la obra de Joana Vasconcelos (París, 1971), quien emplea objetos cotidianos y elementos de la cultura popular, particularmente vinculados a las artes decorativas en Portugal, para cuestionar tanto su adscripción a una tradición concreta como su significado en un contexto internacional. Ya sea en las piezas de cerámica de Rafael Bordalo Pinheiro, que cubre con una segunda piel de crochet, o en las exuberantes Valquirias, las obras de Vasconcelos juegan con las interpretaciones asociadas a los elementos que las componen. La artista se apropia de estos significados, a partir de los cuales genera una ambigüedad que necesariamente conduce a una reflexión acerca de los estereotipos sobre las artes populares, el ámbito doméstico y la feminidad. De manera similar, Susy Gómez (Palma, 1964) crea una obra que, a la vez que se nutre de elementos de la cotidianidad, se resiste a una interpretación superficial. Cuestionamientos acerca de la identidad y la espiritualidad penetran en piezas que emplean clichés vinculados a lo femenino: vestidos convertidos en corazas o contenedores vacíos, imágenes apropiadas del mundo de la moda, neutralizadas y monumentalizadas, articulan un trabajo compuesto por capas de traducciones, tanto a nivel simbólico como de los materiales empleados. Pese a su serena elegancia, subyace en estas obras una violencia latente, que también encontramos en la obra de Alejandro Vidal(Palma, 1972). El artista manipula con habilidad los mensajes de la cultura mediática para ofrecer una reflexión acerca de los conflictos y la relaciones de poder, en la manera en que estos se presentan al público. Dejando espacio para la incertidumbre, nos ofrece la imagen de la luna delantera de un coche, totalmente destrozada, invocando las asociaciones que ésta genera con la violencia, los conflictos y la inseguridad gracias al adiestramiento a que nos someten los medios de comunicación. En el trabajo deAlícia Framis (Barcelona, 1967), el conflicto está a menudo latente en acciones e instalaciones cuya sobriedad contrasta con la sólida crítica de sus contenidos. Pero también se trata de una posibilidad de relación e intercambio, que enlaza con el concepto de estética relacional, al que la artista adscribe su obra. El trabajo en el espacio público y el contacto directo con los transeúntes, no mediatizado por el contexto del mundo del arte, es una constante en la obra de Framis, como también lo es en las acciones de Aníbal López (Guatemala, 1964). Conocido por su número de identidad (A-153167), López plantea una mirada crítica hacia la realidad socio-política de Guatemala por medio de intervenciones urbanas y otras acciones con las que propone recuperar el arte como herramienta para el cambio social. Una obra sobre papel presenta una composición que recuerda a una obra de expresionismo abstracto, pero ha sido realizada con sangre: el artista sugiere así una traducción del significado de un tipo de expresión artística alejado de toda connotación externa, en el que introduce una posible lectura política.

Joana Vasconcelos Concha, 2013

Joana Vasconcelos Concha, 2013

La pintura es un elemento presente en la obra de Carles Congost (Olot, 1970), pero no en cuanto a técnica, sino como una manera de parodiar la diferenciación entre alta y baja cultura. Inspirado por innumerables referencias de la cultura popular, el cine de terror y el mundo adolescente, el artista elabora una ácida crítica al mundo del arte por medio de una joven pintora (heredera, tal vez, de Basil Hallward y el maestro Frenhofer) y una pintura que cobra vida gracias a un recurso de Synchro-Vox. Congost elabora una obra que incorpora su propia crítica, como en cierta manera lo hace Girbent(Sòller, 1969) con dos obras en las que la pintura se expande más allá del marco gracias a su relación con una serie de textos críticos que ofrecen lecturas alternativas a la imagen presentada. Pese a su dominio de la representación, el artista no se pliega a una traducción servil sino que introduce, sutilmente, una concepción de la obra como texto a la vez que como imagen. La obra escapa así a la condición de objeto para ser contemplado, mientras que el texto adquiere una nueva dimensión, al situarse al mismo nivel de la pintura. La obra de Girbent ejemplifica así el juego de significados que se puede establecer en la obra entendida como traducción: una traducción que no se acaba en la obra en sí sino que prosigue en la lectura que hace de la misma cada espectador, cada crítico, o este mismo texto que ahora concluye.

Carles Congost Easy Katz/ Bad Painting Series, 2013

Carles Congost Easy Katz/ Bad Painting Series, 2013

Exposición: Hasta el 1 de junio de 2014

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