percebi hoje que os trabalhos que coloquei no Send Art (minha gift application no Facebook) estão combinando de par em par. fui adicionando na ordem que vinham a cabeça. acho que uma coisa puxou outra.
episódio 5, meu preferido. as falas são uma beleza. vejo loucas semelhanças com o texto do Marinho.
série completa: http://fiztv.uol.com.br/blog/?idAreaAtual=22
alexandre e elton fazendo a "Public Sculpture" em Caucaia do Alto, junho 2008
tem um post também no blog da alexia.
alexandre da cunha na Galeria Luisa Strina até 2 de agosto. Rua Oscar Freire, 502 - São Paulo
chemical brothers hey boy hey girl 1999, maurizio cattelan Felix 2001 e cattelan de 2007.
Current Shows 
Vilma Gold, London, UK
I was in the US recently and couldn’t help but notice the country’s penchant for displaying the stars and stripes. Granted, it is election year, and much has been made of the Presidential candidates’ allegiance to the flag, but Old Glory receives a reverence far beyond any election campaign. It is, quite literally, everywhere: on top of schools; hanging from front porches; suspended from office blocks; engraved into building facades; and waving from the back of cars. Up until 1989, it was a federal offense to desecrate – even stand on! – the flag, punishable by up to a year in prison. This collection of shapes on rudimentary fabric is the embodiment of the nation’s collective values and identity. But why is such lofty meaning projected onto a collection of shapes that has no material value? Under the banner of a national flag, patriotism and identity are considered black and white issues; as President Bush put it in 2001, ‘You’re either with us or against us.’ That leaves very little room for ambiguity, but provides comfort for many.
Brazilian-born, London-based Alexandre da Cunha, an artist long interested in the stereotypes propagated under the guise of national identity, had plenty of flag-like forms at his recent solo exhibition at London’s Vilma Gold. In the first space was a photographic series, ‘Seascape (Flags)’ (2008), of tourist-industry images of perfect Brazilian beaches fragmented by blank geometric shapes, resulting in collages that were reminiscent of standard national flags. These geometric forms connect ‘Seascape (Flags)’ to an abstract Modernist aesthetic: the series bears a resemblance to the peculiar ‘Tableau’ (1925-26) series that Mondrian produced following his break from De Stijl. (Da Cunha has, in the past, also made Op Art-referencing stripe pieces from old deck chair canvases).
But this homage to Modernism is a surface layer beneath which there is always a gambiarra twist – a Brazilian tradition of making do with what you have – that distinguishes the artist from the painterly abstraction. This penchant for readymades is clearly evident in the flag series; the tourist images are as stock-standard and mass-produced, like any other deck chair or home appliance. They look like tourist board adverts, and, like national flags, consider the different perspectives of a nation. The confidence with which such images are typically presented as the ‘real thing’ obscures the fact we must first buy into the concept. By interweaving similar, but inverted, beach imagery with the flag form, da Cunha attempts to expose the ambiguity of both of these sell-ins. He has a knack for reconfiguring familiar materials to encourage us to review our preconceptions, and, in this instance, perhaps accept the possibility that neither the national flag nor the tourist image are worthy of our reverence.
Whilst the first space was dominated by the trinkets of the tourist market – Bob Marley’s face printed on tie-died fabric and so on – the next displayed meditative, formal sculptures in neutral tones laid out like classical busts. Hung in the far corner was Mask (2007): constructed out of a chopping board, wooden cup and primed canvas, it was a salute to the type of ‘Primitivist’ masks that would have been found in the studios of Picasso or Braque. Dominating the room was a wide plinth supporting five phallic works constructed from mop heads, the hair of which was elongated, clustered over itself with yards of hand-dyed wool and confined at the base by large concrete blocks. The five pieces (Bust (I-V), 2008) referenced the tradition of elevating classical busts to encourage adoration, yet their overtly phallic shapes appeared to be busting out of themselves as the materials grapple with each other. It seems that raw wool and concrete are not the most amicable materials to bind to each other.
Was this a middle finger to the patriarchal dominance of art history? There was little in the show to illustrate a malicious challenge to the history of art. Instead, da Cunha’s elegant sculptural forms revealed a simple beauty rarely attributed to lowly, mass-produced materials. Like a cuckoo collecting from the weighty archive at random and dropping bits along the way, da Cunha’s art historical lineage skips from classical sculpture to baroque patterning, Primitivism, Modernism, readymades, Arte Povera, and onto Brazilian Modernism, with the artist finding a comfortable place somewhere near the end. Da Cunha’s mode of highlighting the wonders of ambiguity is engaging, almost to the point that, should he raise his own flag to the roof, I might just sign up. But I suppose that would be just too obvious; it would be more likely he’d raise a barbeque cover, or something equally garish, and the joke would thankfully be on me. It saves me from one less cause I suppose.
Nicola Harvey
http://www.frieze.com/shows/review/alexandre_da_cunha/
hiroshi sugito "thunder volt" 2008, vale muito a pena ver a exposição dele na fortes vilaça até 07 de junho.
my screen shots of Errol Morris' Gates of Heaven 1978 more-then-this doc on the foundation of pet cemetery "Bubbling Well Pet Memorial Park"
jake and dinos chapman, óleo de 2001
http://www.tate.org.uk/liverpool/exhibitions/jakeanddinoschapman/guide/room1.shtm
Man Ray (Two mannequins, one with wooden spikes around her neck) [Leaf 21]: from Resurrection des Mannequins 1938-66 Photograph, gelatin silver photograph
18.4 h x 13.6 w and (Mannequin with fishing net over her body) [Leaf 18]: from Resurrection des Mannequins 1938-66 Photograph, gelatin silver photograph
fonte: national gallery of australia
still do filme que não vi: "Trailer", que título ótimo, que imagem ótima, tipo as fotos daquele japonês (qual japonês mesmo?) só que quentinha. essa foto é link do artnews
stills do filme que vi e gostei: "Deadline", outro título ótimo.
…So here I am in a vacuum-sealed air-conditioned airport. In front of a smiling stranger that yet looks so familiar. Do I see rightly under his arm a book, with on the cover a photograph of father’s bush-taxi? And the title; Deadline, by Lamin the first Bojang. Underneath in smaller italic letters a quote I think. “Do we all have journeys mapped out in our central nervous systems like migrating birds? It seems the only way to account for our insane restlessness. “And in even smaller letters, “The remarkable story of an epic voyage undertaken by a man in his desire to travel away from the everyday squalor of his region, that sees him drive a bush taxi from his native Gambia to an airport in Nigeria in a failed attempt to catch a plane to Greece. He spends sixteen months on the road working his way through eight West African countries. “Your journey to an airport will never seem that long again…
pedaço do press release do site da maureen paley, onde está a exposição.
o nome dela é divertido de pronunciar: saskia olde wolbers. confesso que pouco sei sobre essa mulher, quem puder por favor me contextualize. ela é legal?
6 October - 11 November 2007
MAUREEN PALEY
21 Herald Street
London E2 6JT
t. +44 (0)207 729 4112
f. +44 (0)207 729 4113
e. info@maureenpaley.com
fotografei esse urso como um ready made de presente para o efrain almeida.
tem efrain no panorama sábado e exposição individual dele na galeria no dia 27
minha página favorita do catálogo do tiago carneiro da cunha.
no blog dele tem mais páginas.
incrível foto de abertura do site da gisela domschke.
acho que é um still do filme Guarujá, dela e do marcelo.
mais uma coisa legal do marcelo krasilcic: esculturas de almofadas.
eu adoro o trabalho dele desde um milhão de anos atrás, quando vi uma exposição de fotos na casa triângulo. tinha uma foto de uma samambaia que eu nunca esqueci. acho que o trabalho dele é meio planta. e tenho mania de achar que planta é a coisa mais legal que um trabalho pode ser.
www.marcelokrasilcic.blogspot.com
sleeper | o dorminhoco, woody allen, 1973 - a bola prateada é a maconha deles, no ano 2173. nunca tinha ouvido falar desse filme.
