Isomorfismos : Mattew Barney y la memoria de Beuys.

Junio 5th, 2010 Junio 5th, 2010
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barney

Delfim Sardo ///

Cuando, en 2003, visité la exposición de Matthew Barney en el Whitney Museum, fui asaltado por la sensación de que no estaba viendo solamente una exposición, sino que la propuesta era mucho más ambiciosa de lo habitual en términos expositivos museológicos, ya fuera por su gigantismo, o por el carácter sistemático/simbólico. Además de intensa y relevante, la exposición de Matthew Barney poseía un fantasma. La sensación se condensaría más tarde, en el año siguiente, cuando, durante la Bienal de São Paulo vi el proyecto que Barney había realizado para el Carnaval de Bahía, presentado en la Pinacoteca. De hecho, lo más inquietante de la sensación residía en un primer sentimiento difuso de que aquel trabajo no era (sólo) lo que era visible, ni lo que de él fácilmente se podría interpretar en relación a sus referencias al sincretismo de las creencias y rituales afro-brasileños, pero que se refería a otra cosa, más antigua y simultáneamente interna al propio universo de las artes. En ese día, en la figura que, debajo de un camión usado como coche alegórico, acaricia un pequeño simio muerto, no conseguí dejar de encontrar una clara (casi evidentemente clara) alusión a una performance de Joseph Beuys, presentada en Dusseldorf en 1965, titulada Cómo explicar pinturas a una liebre muerta.

Tomado de:

http://www.dardomagazine.com/castellano/dardo1/dardo1_delfimsardo.html

Exposed: entre el voyeurismo y la vigilancia

Mayo 27th, 2010 Mayo 27th, 2010
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La Tate Modern muestra una sugerente selección de fotografías realizadas a escondidas desde el s XIX hasta la actualidad

Londres, 27/05/2010

La Tate Modern londinense inaugura mañana “Exposed: Voyeurism, Surveillance & Camera”, muestra que ofrece una refrescante mirada sobre instantáneas realizadas sin previo aviso y sin el permiso explícito de los retratados. Se trata de imágenes tomadas desde los orígenes de la fotografía en el siglo XIX hasta la actualidad que nos presentan impactantes miradas hacia temas icónicos o tabúes.

Entre las cerca de 250 obras seleccionadas, encontraremos trabajos de George Brassäi (retratista del lado erótico del París de la década de los treinta), Weegee (y su icónica imagen de Marilyn Monroe), Nick Ut (autor de las tristemente conocidas imágenes de niños vietnamitas escapando de los ataques de napalm) o piezas de Cartier-Bresson, Guy Bourdin, Lorca diCorcia, Walker Evans, Robert Frank, Lee Miller, Nan Goldin, Man Ray o Helmut Newton. No faltarán imágenes furtivas ligadas al universo celebrity, representado por instantáneas de Liz Taylor junto a Richard Burton, de Paris Hilton ingresando en la cárcel o del asesinato de Kennedy.

El Reino Unido es quizá uno de los países del mundo que más vigila, a través de cámaras, la seguridad de sus calles, aspecto que ha generado intensos debates en los medios de comunicación en torno a la obsesión por el voyeurismo, el límite de las leyes de privacidad o la transmisión de imágenes privadas a través de teléfonos móviles, de la televisión o de YouTube; de ahí la oportunidad de esta exposición, pues gran parte de las obras mostradas han sido cedidas por aficionados o por fotógrafos de prensa.

Fotografía: Georges Dudognon. Greta Garbo in the Club St Germain, hacia 1950. san Francisco Museum of Modern Art, Members of Foto Forum, 2005.200. Estate of Georges Dudognon.

tomado de:

http://www.masdearte.com/index.php?view=article&catid=37&id=11025&option=com_content&Itemid=26

Money for nothing

Mayo 27th, 2010 Mayo 27th, 2010
Posted in Exposiciones
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NSFS logo

Tuesday May 18, 2010 | 15:47 by Ossian Ward in London

For its tenth birthday weekend just gone, Tate Modern staged No Soul For Sale, a non-profit ‘Festival of Independents’, bringing 70 artists’ collectives, publishers and non-commercial spaces from all over the world to fill its Turbine Hall. Well, perhaps ‘inviting’ would be a more accurate word to use, rather than ‘bringing’, as each participant had to pay their own way, with resourceful galleries doing last minute fundraising events and even garage sales to afford their flights to London from as far and wide as Beijing, Rio and Melbourne. A necessarily scrappy and messy affair ensued, with many No Soul For Salers showing only what they’d been able to squeeze through hand luggage or the symbolically empty packages they’d sent ahead of themselves.

This perceived lack of financial support drew fire from an anonymous British group of artists and arts professionals, calling themselves Making A Living. In an open letter to Tate, widely emailed and posted online, they took umbrage with No Soul For Sale’s ‘romantic connotations of the soulful artist, who makes art from inner necessity without thought of recompense’ as well as the concomitant expectation that ‘we should expect to work for free and that it is acceptable to forego the right to be paid for our labour.’

In an interview I conducted beforehand with the curators of No Soul For Sale – Maurizio Cattelan, Massimiliano Gioni and Cecilia Alemani, with Vicente Todolí on behalf of Tate – here, they defend the event (once previously staged as part of X-Initiative in New York) variously as ‘a tribute to the people, the artists and the art lovers who work beyond the traditional market system’ (Cattelan), or an act of ‘hospitality and generosity’ (Alemani). While Gioni adds that, ‘Nobody really ever pays respect to the people who work in situations in which there is very little money involved and yet a lot of energy and enthusiasm’, Todolí qualifies this by saying: ‘Obviously we are not the only ones being hospitable here. All the participants are … as generous as Tate, if not more. But that’s when things get interesting: when people are willing to share, going beyond any immediate quantifiable gain.’

No Soul For Sale?

Not everyone was in sharing mood, however. The greatest visual equivalent of this underclass attitude among the half-empty and shambolic spaces of No Soul For Sale was the padlocked façade of a foreclosed home presented by the Brooklyn-based Not An Alternative. In the installation’s accompanying essay, filmmaker Astra Taylor posits a critical stance towards such participatory celebrations, in which: ‘Every action is subsumed by a new framework, including our very sociability – our likes and desires, our heartfelt comments and curiosities – which are mined, analyzed, and monetized by the new powerbrokers.’ Rather than looking towards the wider economic crisis or social media’s digital encroachment onto privacy, maybe they should have looked closer to home.

Tomado de:

http://www.artworldsalon.com/blog/

El falsificador de Vermeer

Mayo 25th, 2010 Mayo 25th, 2010
Posted in General, Textos
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ROTTERDAM.- Museum Boijmans Van Beuningen presents ‘Van Meegeren’s Fake Vermeers’, an exhibition of the famous forgeries of Han van Meegeren. Van Meegeren craftily exploited art historians’ desire to discover early works by Johannes Vermeer. During a famous court case in which Van Meegeren was accused of Nazi collaboration, he admitted that he had forged old master paintings, including several Vermeers. Museum Boijmans Van Beuningen had acquired one of the fake Vermeer from Van Meegeren. The exhibition explores Van Meegeren’s technique, his masterpieces and his downfall. The exhibition ‘Van Meegeren’s Fake Vermeers’ includes approximately ten forgeries by Han van Meegeren (1889-1947). Most are in the style of Johannes Vermeer, but the works also include forgeries of Frans Hals, Pieter de Hooch and Gerard ter Borch. Van Meegeren’s life as a forger is further illuminated through a documentary film and objects from his studio.

A masterpiece

In 1937 the director of Museum Boymans, Dirk Hannema, purchased ‘The Supper at Emmaus’ for 540,000 guilders. There was great interest in the painting, which most experts believed to be an early masterpiece by Vermeer. The Rijksmuseum in Amsterdam even offered Vermeer’s ‘The Love Letter’ in exchange for the painting, but Hannema rejected the offer. Museum Boymans exhibited the work as one of the highlights of its collection and art experts praised the work’s high quality.

Exposure
At the end of the Second World War a painting from the Netherlands was found in the collection of the Nazi minister, Hermann Göring. The painting was traced back to Han van Meegeren, who was immediately arrested on suspicion of collaboration. Van Meegeren admitted to having sold the work, but also claimed to have made the painting himself. He had sold Göring a forgery. Van Meegeren’s confession became worldwide news and he was hailed as a hero as ‘the man who swindled Göring’. Meanwhile the art world was thrown into disarray. Van Meegeren demonstrated his forgery techniques to an expert panel and during his trial his forgeries were hung in the courtroom, as can be seen in the documentary film included in the exhibition.

leer el articulo completo tomado de:

http://www.artdaily.org/index.asp?int_sec=2&int_new=38022