The underground of graffiti is sometimes a war field, specially for those artist who works with the police behind ...On julio 29, 2014 / By STAFF
With a voice to pay attention in the fashion industry, the stylish guys from Art Comes First present another ...On julio 28, 2014 / By STAFF
MOTINTERNATIONAL Brussels are pleased to annonce the first solo exhibition of Laure Prouvost in Belgium. Generous and prodigious, Laure Prouvost’s practice combines language and images to create stories that seduce [...]
MOTINTERNATIONAL Brussels are pleased to annonce the first solo exhibition of Laure Prouvost in Belgium. Generous and prodigious, Laure Prouvost’s practice combines language and images to create stories that seduce and disturb simultaneously. Exploring the boundaries between fiction and reality, her works are composed of videos, paintings, ready-made sculptures and sound installations. Through the narrative potential of objects and cinematic tropes, Prouvost leaves room to imagine new meanings within mistakes and mistranslations, questioning the norm. The artist’s films and installations form spaces erupting with materials, colours and textures. Prouvost creates confusion between what is true and what is false, reality and fantasy. With humor, she disrupts our perceptions through fragments of texts, sounds and images to trigger new sensations. The spectator is physically present as part of the work. “The Meeting” was especially created for MOTINTERNATIONAL Brussels. The exhibition takes as its starting point Prouvost’s 2014 film How to Make Money Religiously. Presented at the New Museum, New York, earlier this year, Prouvost confronted money and religion, memory and spirituality. Through a disjointed narrative, viewers encountered characters offering home-made masks and performing obscure rituals. For “The Meeting”, Prouvost has turned the space of the film into an installation, inviting her masked characters to convene inside the gallery. They seem suspended in what appears to be an important meeting, examining the trompe l’oeil collages, paintings and screens set in front of them. These threadlike sculptures want to engage us, talk to us about their lives and invite us to participate. In the second room, two videos perform a dialogue, leading us further into a world of complex and poetic vocabulary.
june 6 (friday) 1:00 pm - august 2 (saturday) 1:00 pm
72 New Bond St. 1st Fl. London W1S 1RR
In the interest of efficiency please regard these lines as a press release and also as an artwork in their own right. In the interest of inefficiency [...]
In the interest of efficiency please regard these lines as a press release and also as an artwork in their own right. In the interest of inefficiency I’ve printed the page quite large. I’ve done so because objects estranged from their utility, like fruit picked from a branch, will gradually ripen and rot and it is widely agreed upon that “aesthetic” is a term which describes the most pungent and squishiest stage of this deterioration.
This historical harvest of art from life might have rendered the former useless but the distinction created a useful opportunity for arbitrage. To effectively extract value from this scenario though there had to be an equivalent or exchange rate between the two categories. Sculpture tends to suggest that this mechanism is the human body which is at one time equal parts image and guts, symbol and viscera, haptic fact and optic phantasm. As this is primarily a sculpture show I’ve decided to tow the party line, and though scale is perhaps the laziest way to get this point across, I think it’s the most straightforward.
At my local Chase bank A.T.M.s with O.C.R. (Optical Character Recognition) software have aestheticized the once handy deposit slip. I don’t know if the slips are gone, invisible, “infra-thin” or what, but I certainly can’t see them anymore. The desks designed for the retrieval of the slips still mope around though and they release whiffs of symbolic significance as they decompose. If I were Parisian, such scents might engender remembrances or foment nostalgia. Luckily for us I’m a New Yorker – brevity prone – and even the most fetid pile of fish heads turns my mind to real estate.
-Sebastian Black, 2014
june 20 (friday) 1:00 pm - august 6 (wednesday) 1:00 pm
Retrospective, New York
727 Warren St. Hudson NY 12534
Best known for her exploration of Mexican anthropology and archaeology, Mariana Castillo Deball (Mexico 1975) graduated from UNAM’s Escuela Nacional de Artes Plásticas and earned a postgraduate degree [...]
Best known for her exploration of Mexican anthropology and archaeology, Mariana Castillo Deball (Mexico 1975) graduated from UNAM’s Escuela Nacional de Artes Plásticas and earned a postgraduate degree from the Jan Van Eyck Akademie in the Netherlands.
In 2014 she had a solo exhibit at CCA Glasgow and the previous year her work was on view during the Preis der Nationalgalerie für junge Kunst in Berlin. She participated in dOCUMENTA (13) in Kassel and is currently included in the 8th Berlin Biennale. Having exhibited at the Museo Experimental El Eco in 2011, Castillo Deball returns to Mexico with Vista de ojos, her first solo show at kurimanzutto.
Like her previous exhibitions, “Vista de ojos” is the result of a long research process. Drawing from ethnographic collections, libraries and historical archives, she seeks to initiate a dialogue with institutions and museums beyond contemporary art. Castillo Deball’s work establishes a close link with literature, philosophy, the history of science and archaeology from which she adopts different methodologies to incorporate them into her own practice. Her multidisciplinary approach allows her to study the different ways in which a historical object can be read today.
This interest is reflected in the centerpiece of the exhibit, “Vista de ojos” (2014), a wooden pavement engraved with the drawing of the Uppsala map (1550) that represents Mexico City and its surroundings. The original drawing was created by an indigenous cartographer or Tlacuilo, and is considered to be the oldest with such a detailed and reliable representation of the capital some thirty years after the conquest.
The center of the image shows the layout of the city with the buildings lined up along straight streets. The houses belonging to the conquerors and the first settler’s, shaped as European buildings, compose a series of uniform city blocks. On the outskirts one can see the indigenous settlements and their inhabitants engaging in everyday activities. One can still read the dedication to Emperor Charles V at the bottom right of the map. Parts of the name “Santa Cruz” are also legible, which is why it was believed for a long time that the author was Alfonso de Santa Cruz (1505-1567), Seville’s Royal Cartographer. However, subsequent research assures that a Tenochtitlan/Mexico inhabitant, an Aztec with European education, painted the map. It is known that Alfonso de Santa Cruz visited the south of the American continent but that he never visited Mexico, and both the construction and the content of the map reveal that whoever created it was a connoisseur of the places and inhabitants of the country.
The original map was painted in green, blue and grey on two sheets of parchment roughly the same size joined vertically, giving it a size of 114 x 75 cm. The multiple symbols on the map (heads, animals, stars, rings, etc.) represent the names of places in Nahuatl. The document gives detailed information about the capital’s social life and everyday activities, as well as the geography, flora, and fauna of Mexico City during this period.
Close to a tautology, the expression “Vista de Ojos” was commonly used within the cartography slang of the sixteenth century, when the layout of the city transformed radically from a lacustrine to a European outline. Even though the city that is represented in the drawing holds few similarities with todays Mexico City, some areas are still recognizable, such as Chapultepec, Tacubaya, Tlatelolco, Xochimilco and the historic- downtown. Texcoco’s Lake has a prominent role in the map, which is why all trades related with this area such as fishing and the hunting of birds and other species have been depicted.
Presently, the original map is located in Sweden, although the exact circumstances of its acquisition remain unknown. The only existing theory is that it was bought by Swedish linguist and traveller, Johan Gabriel Sparwenfeld, in the late seventeenth century during his stay in Spain and was later donated to the library of the Uppsala University.
The wooden pavement also serves as a printing matrix. The complete surface of the map was printed on paper and bound as an atlas, each page corresponding to a fragment of the Uppsala map. Although this volume does not allow for a complete understanding of the drawing, it invites us to reflect upon the public space of the city and the way information is stored.
Mediating between science, history, archaeology and the visual arts, Castillo Deball preserves a sense of humour that allows her to draw inspiration from all kinds of sources. This is evident in the second piece of the exhibition titled UMRISS (2014). This series of large-format photographs is based on a Mexican advertisement of the 80’s promoting Stelazine, an antipsychotic medicine. The flyer used the following slogan:
Schizophrenic patients sometimes hide behind a mask of psychotic withdrawal, which can make them inaccessible to therapy.
Remove the mask of the psychotic patient.
This pamphlet was illustrated with images of Mexican masks with extravagant and texturized color backgrounds, which was in turn a translation of the American advertisement for the same brand. The original version used the African and Canadian equivalents of these masks.
Mimicking the style of the promotional folder, UMRISS (2014) uses examples from the Mesoamerican collection of the Ethnographic Museum in Berlin; acquired at the beginning of the twentieth century and originating primarily from the south of Mexico and Guatemala. The photographs in the exhibition depart from the original ones in that they only show the backside of the masks.
The installations, performances, sculptures and editorial projects of Castillo Deball explore the way in which different disciplines describe the world, and how each of them present a version of reality that informs and blends with others, resulting in a polyphonic panorama, a space for reflection.
july 1 (tuesday) 1:00 pm - september 6 (saturday) 9:00 pm
gob. rafael rebollar 94, col. san miguel chapultepec 11850, méxico d.f.
The Whitney’s collection is the largest repository of Alexander Calder’s work in the world. Collecting Calder, one of two permanent collection displays on the Museum’s fifth-floor mezzanine, presents a [...]
The Whitney’s collection is the largest repository of Alexander Calder’s work in the world. Collecting Calder, one of two permanent collection displays on the Museum’s fifth-floor mezzanine, presents a selection of Alexander Calder sculptures and drawings, giving equal focus to the two major aspects of the artist’s oeuvre: Calder’s Circus and his later work in abstraction. For the former, Calder employed ordinary materials—wire, string, cork, wood, paper, bits of metal, and cloth—to create a miniature circus, whose acts he staged for friends and patrons as narrator and puppeteer between 1926 and 1931. His later mobiles, inspired in part by his visit to Piet Mondrian’s studio in 1930, use an ingenious system of weights and counterbalances that allowed each piece’s suspended parts to move in response to air currents, retaining the movement of the circus performances. A selection of these works are also on view along with a group of the artist’s stabiles, or static sculptures.
Collecting Calder is organized by Barbara Haskell, Curator.
july 17 (thursday) 1:00 pm - october 19 (sunday) 10:00 pm
Whitney Museum of American Art
945 Madison Avenue at 75th Street New York, NY 10021
Whitney Museum of American Art
july 30 (wednesday) 1:00 pm - september 12 (friday) 9:00 pm
Galerie Antoine Levi