Showing posts with label visual readings. Show all posts
Showing posts with label visual readings. Show all posts

3.2.11

Dropping the Urn - criticism

http://adobeairstream.com/component/zine/article/476-review-ai-weiwei-dropping-the-urn.htmlArt Review: Ai Weiwei Dropping the Urn

October 17, 2010
Written by Garth Clark


Art Review: Ai Weiwei Dropping the Urn

October 17, 2010
Written by Garth Clark


The catalog of Ai Weiwei: Dropping the Urn, Ceramic Works, 5000 BCE - 2010 CE, begins ominously, with the declaration, "...ceramics is kind of crazy. I hate ceramics... I think if you hate something too much, you have to do it. You have to use that." His ambivalent passion has been captured in this jewel-box of an exhibition. Organized by Arcadia University Art Gallery, Glenside, Pennsylvania (February 24 - April 18, 2010) the show is currently at the Museum of Contemporary Craft (through October 30), in partnership with Pacific Northwest College of Art, Portland, Oregon.

23.12.10

Gabriel Orozco at Tate Modern: the curator’s blog | Tate Blog

Gabriel Orozco at Tate Modern: the curator’s blog | Tate Blog
Gabriel Orozco
19 January – 25 April 2011

Creative, playful and inventive, Gabriel Orozco creates art in the streets, his apartment or wherever he is inspired. Born in Mexico but working across the globe, Orozco is renowned for his endless experimentation with found objects, which he subtly and playfully alters.

His sculptures, often made of everyday things that have interested him, reveal new ways of looking at something familiar. A skull with a geometric pattern carefully drawn onto it, a classic Citroën DS car which the artist sliced into thirds, removing the central part to exaggerate its streamlined design, and a scroll filled with numbers cut out of a phone book are just some of his unique sculptures.

Orozco’s photos are also on display, capturing the beauty of fleeting moments: water collecting in a punctured football, tins of cat food arranged on top of watermelons in a supermarket, or condensed breath disappearing from the surface of a piano show Orozco’s eye for simple but surprising and powerful images.

His art also shows his fascination with game-playing, for example a billiard table with no pockets and a pendulum-like hanging ball, or Knights Running Endlessly, an extended chess board filled with an army of knights, both of which are well-known games to which he has added an element of futility. This kind of unexpected twist makes Orozco’s work interesting to both contemporary art lovers and also anyone who wants an unusual and captivating art experience.

Global exhibition sponsor: Fundación Televisa and the National Council for Culture and the Arts (CONACULTA), Mexico.

1.10.10

artistic method (avantgarde?)

"We soon moved to the idea of a collective and magazine. We needed a name and found it by utilising the precedent of Dada i.e. by opening a dictionary at random."There my finger alighted on icteric - meaning jaundiced and a cure for jaundice. Undoubtedly a happy accident; a kind of objective chance. We took on board much of the anti-art aesthetic - the jaundiced; but also the idea of the curative; thus we could indulge the luxury of continuing to make art.


See also earlier info on this link on our blog...
Uit  Roy Hunt, Icteric and Poetry must be made by all / Transform the World: A note on a lost and suppressed avant-garde and exhibition.

20.9.10

La Chinoise de Godard (nouvelle vague)

Bijschrift toevoegen
Telle est la maxime écrite sur un mur trop blanc de La Chinoise là encore, dès le début du film, maxime écrite en forme de dazibao et donc éminemment prescriptive de ce simple fait : « il faut confronter les idées vagues avec des images claires ». Reformulant une maxime dont l’esprit est explicitement brechtien, Godard énonce là une exigence matérialiste, paradoxale en ce que dans cette confrontation c’est une idée qui doit entrer en dialectique avec l’image ; mais où de plus, l’idée requise ne doit nullement présenter la netteté de la découpe qui traditionnellement confère à l’idée sa puissance d’intelligibilité. Idée vague, mais dont la dialectique avec l’image doit jeter le trouble sur cette dernière, sur ce qu’elle véhicule de cliché et de fausse évidence, trop claire comme on le dit d’un œuf qui ne pouvait être fécondé. Toute la force de cette dialectique ira donc à soutenir qu’il est possible de produire des effets d’une vérité jusque sur ce qui s’y refuse par nature. Tel est l’optimisme inentamable et véritable de la Nouvelle Vague telle qu’elle trouve son expression chez un certain Godard : de ne rien considérer comme susceptible de pouvoir l'arreter.(