In Maison D’Artiste, Loidys Carnero and Yaima Carrazana establish a dialogue with the work of Piet Mondrian, Theo van Doesburg and the Dutch movement of De Stijl, founded in 1917. Making use of appropriation addresses issues related to integration and autonomy. Each work is part of an investigation in an intimate environment and lifestyle.
In the installation: “De Ligt chair, Heesterveld 28” the artists move to the third floor of the Carpenters ‘ studio in Havana, the kitchen of their studio apartment in Amsterdam, through a reproduction of real scale photography and a chair designed by Gerrit Rietveld. The chair was built by a local carpenter following a Dutch tutorial “do-it-yourself”. Through the gesture of placing a reproduction of the chair “de Ligt” a connection with the functional and the specific context is established.
A Carrazana´s new serie of paintings in oil on canvas show compositions of planes of colors red, yellow, blue, black and grey among which are inserted elements that are part of the domestic environment, like fruits and plants of interior.
From January 14th and for three weeks a selection of the most relevant international video artists will project their 3d videocreations on the facade of the EYE Filmmuseum as part of the Amsterdam Light Festival. The shape of the museum, with no straight surfaces, and the proximity of the water will create a unique set of technical and production challenges for artists. To make the projection possible, 11 beamers have been placed all over the building. The World masters of projection Mapping is a joint initiative of the Amsterdam Light Festival, the event organizer Integrated Systems events (ISE) and RAI Amsterdam. From January 14th to February 9th, the work of the participating artists will be exhibited every day from 7 to 9 a. M and from 5 to 11 pm in the EYE Filmmuseum. A perfect union of creativity and technology will illuminate Amsterdam.
From January 11th to April 29th, 2018 you will be able to visit this new project by Ignacio llamas curated by Carlos Delgado Butler. This exhibition, the result of a visit by the artist to the expository spaces of the Huesca Museum, is configured through installations of high poetic content and through which Ignacio llamas delves into concepts such as the interiority of the human being and its Linkages with transcendence. With this exhibition The HUESCA Museum aims to consolidate its wandering in the field of contemporary visual arts, betting on artists of relevance on the international scene, whose projects have a great vocation to link with the Territory Of the province that arise from the inspiration of the museum’s own exhibition halls, privileged heritage spaces to put into dialogue the past and the present of artistic expression.
With a program that this year revolves around the concept of fuzzy logic, the international film Festival Rhizome will project on November 23 in the Plato set of Cineteca/Matadero the Juan Carlos Bracho’s videoperformance “Imitation of life.”
The screen as a residual surface, and as a reference to our visual imaginary, has been a recurrent theme in the work of Bracho, as well as the landscape as a mirror of ourselves. Throughout his career, Bracho has reflected on the theme of the landscape from the abstraction, the fantasy, the dream or the gaze of the other, and for the first time the protagonist of this piece is a real landscape; The garden as an expression of a domesticated, codified and intellectualized environment. “Imitation of Life” is, in short, a proposal that delves deeper into the innermost sense of the idea of landscape-and on the mirror as a surface that reflects what does not belong to it. A reflection on what we perceive, on the screen and the images that these emit incessantly, increasingly ethereal, intangible and lacking meaning.
With the work work “theory of the broken Window” The artist Blanca Gracia Gallego has been awarded with the scholarship of pictorial Research Mario Antolín, awarded to one of the three young participants among the painters finalists of the BMW Painting Prize
In 1967, Brazil was already living through a military dictatorship, but Glauber Rocha’s Terra em Transe [Land in Anguish] would unnervingly predict the more punitive turn the regime would take a year later. Looking at populist politics and the inescapable corruption of power in the nation, Land in Anguish revolutionised the filmmaker’s practice. Fifty years after its release, the experience of the film retains the force of its radicality, with its tumultuous separation of sound and image, intense performances from its actors and high operatic drama of Verdi and Carlos Gomes.
This key work of Brazil’s Cinema Novo or ‘new cinema’ movement is screened in dialogue with the world premiere of Eder Santos and Bruce Yonemoto’s Barravento Novo. The short video makes clever correspondences between Antônio Pitanga – a Cinema Novo actor seen here delivering lines from Rocha’s first feature, Barravento 1962 – and his daughter, Camila Pitanga, a well-known actor and filmmaker working today.
Actors Antônio Pitanga and Camila Pitanga, artists Eder Santos and Bruce Yonemoto, and film scholars Lúcia Nagib, Robert Stam and Ismail Xavier join us for this opening night of the film series.
Where does the drawing go? Where’s the drawing? How far can we talk about drawing? He often wonders what it is to draw, when a drawing is a drawing, what is the object, how the drawing behaves in other media, where the person is, where the observer, the presence of the absence … Susanne S.D. Themlitz has developed within the Disegni program in Artissima a new project of drawings, paintings and sculpture with multiple landscapes and elements “microscopies” that enter into a fictitious dialogue with imagined voyages and dreams in literature of Antonio Tabucchi, Italian author who resided in Portugal.
With “Vocation 3D” (2016), Martín Corona seeks a State of equilibrium between the two-dimensional and the three-dimensional; on the grid, they burst polyhedra they transfigured the plane, and conceived a geometric chaos of edges that stick out and moving towards convex; It recasts the role of the project as intermediate phase; the process of creation as the work itself; you travel in a universe that explores the virtual from a plane of endless transformations, where opposites converge on the organicity of materials and abstract forms without leaving the drawing; While the laser lines plotted an order changing, uncertain, fragile, unstable coordinates that cross the surface morphology and end up stabilizing the composition. Is so, dismantle codes established structures, which are reversed to create new reflective levels; the gleam of the verse, where there seems impossible. + INFO
Inside the program “Mapa”, curated by Guillermo Espinosa, and with the title “Powerline”, Ignacio Bautista presents a new series of sculptures that can be understood as a set of comments distanced about the elements of the gesture and the artist’s brand. But what is really seen in these works and installations is the questioning of the old romantic idea of creative freedom, alluding to how many factors influence and direct this supposed independence of action and production.
This work introduces us to a world full of references to the most basic elements of pictorial language and to the predominance of productive and procedural strategies of the genre in the broadest sense of the term. In the detained gestures, full of doubt and sarcasm, coexist the cold and expressionless air of industrial appearance, as of freshly refurbished product in a large warehouse, with usual materials, the ñapa or the fat brush, generating situations and paradoxes where objects or assemblages, without hardly forcing them or resorting to grandiloquent rhetoric, create a conceptual perspective plagued with allusions, dialogues and winks to the spectator, who is invited to decipher the commentary that hides behind his immutable appearance, do not exempt all of it from remarkable doses of humor, irony and lyricism in most of the occasions.