da série "Fragmentos" de Paulo S.Carvalho
Fragmentos
Da série "Fragmentos" de Paulo S. Carvalho
Ontem esta série não tinha nome. Hoje são"Fragmentos". De tempo. Alguns são fragmentos de mim, outros de outro qualquer. Faltam-me. Encontrarei alguns e construirei com esses, este ou outro nome.
Adenda
da série "The weeping song" de Paulo S. CarvalhoEsta série merece uma adenda. Até porque sem ela, não seria completa. Ontem foi o dia.
do Lat. misericordĭa
Voltei lá. Desta vez artilhado com 20 kg de Wista 8x10 e de umas chapas de Ektachrome. Segunda feira vai passear a Lisboa, imprimir "comme il faut"
do Lat. misericordĭa
I KNEW SOME OF YOU BETTER THAN OTHERS, BUT I MISS YOU ALL
KELLER & WITTWER
I Knew Some of You Better Than Others, but I Miss You All
February 6–April 18, 2009
Artists Dagmar Keller and Martin Wittwer continue to create a multifaceted oeuvre that includes objects, video installations, film, and photography. In their work they examine the relationship between reality and fiction. Questioning perceptual processes and an interest in social phenomena are central to their work.
ftc. is now showing a black-and-white photo series, I Knew Some of You Better Than Others, but I Miss You All, which was begun in 2007. Its starting point is contemporary visual advertising culture, and it is the first work by the two artists that displays a performative element. Here, the duo is especially interested in deconstructing aesthetic and social codes of perception.
In their photo series, I Knew Some of You Better Than Others, but I Miss You All, Keller and Wittwer confront their own bodies with images from the omnipresent photo campaigns produced by fashion and lifestyle companies, thus involving viewers in a game of changing identities.
Through their photographs, which are created in a performative situation in the studio, Keller and Wittwer appropriate these “advertising images”; they literally fall in love with them, giving them a new twist. What is seen oscillates between the artists’ apparently vulnerable bodies and the immaculately presented, fetishized bodies of the photo models. This vulnerability becomes a
disturbing aspect of the trompe l’oeil, revealing the perfectly staged, phallic body of advertising aesthetics. in http://www.ft-contemporary.com/pdf_en/502.pdf
February 6–April 18, 2009
Artists Dagmar Keller and Martin Wittwer continue to create a multifaceted oeuvre that includes objects, video installations, film, and photography. In their work they examine the relationship between reality and fiction. Questioning perceptual processes and an interest in social phenomena are central to their work.
ftc. is now showing a black-and-white photo series, I Knew Some of You Better Than Others, but I Miss You All, which was begun in 2007. Its starting point is contemporary visual advertising culture, and it is the first work by the two artists that displays a performative element. Here, the duo is especially interested in deconstructing aesthetic and social codes of perception.
In their photo series, I Knew Some of You Better Than Others, but I Miss You All, Keller and Wittwer confront their own bodies with images from the omnipresent photo campaigns produced by fashion and lifestyle companies, thus involving viewers in a game of changing identities.
Through their photographs, which are created in a performative situation in the studio, Keller and Wittwer appropriate these “advertising images”; they literally fall in love with them, giving them a new twist. What is seen oscillates between the artists’ apparently vulnerable bodies and the immaculately presented, fetishized bodies of the photo models. This vulnerability becomes a
disturbing aspect of the trompe l’oeil, revealing the perfectly staged, phallic body of advertising aesthetics. in http://www.ft-contemporary.com/pdf_en/502.pdf
You Winter, let's get divorced
Journey 2008 © Scarlett Hooft Graafland courtesy Micheal Hoppen ContemporaryThis February, we are delighted to announce our second solo exhibition of work by Dutch artist Scarlett Hooft Graafland.
In this new series, Hooft Graafland successfully combines straight photographic practise with performance and sculpture. The resulting work is delightful - visually engaging yet constantly referring to a more profound cultural discourse. Using a surrealist language of intriguing visual jokes, Hooft Graafland wittily alludes to her anthropological interests and environmental concerns. For You Winter, let's get divorced, she spent four months living in Igloolik in the northern reaches of Canada. The beauty of the harsh natural landscape with its infinite snow and ice forms Scarlett's canvas and playground - a pair of rubber gloves are joined in prayer before an iceberg- is their wearer imprisoned under the snow or perhaps attempting an appeal to save the huge yet vulnerable iceberg from its imminent demise.
Although her concerns are serious, Scarlett's childlike palette and informed wit are intrinsic to her work. Bold colour, incongruous objects and local folklore are combined to create an individualistic take on themes such as cultural integrity, domesticity, as well as the dire environmental issues facing the region.
Her diptych, from which the show takes it's title, 'You Winter, lets get divorced' was inspired by the words of an old Inuit poem, which describes how isolation and alienation caused by long term exposure to the bleak landscape and endless dark begin to affect the Inuit, and to experience warmth and light becomes necessity. Scarlett herself was not immune. 'I did not spend the full winter months up there...but even during the four months I spent in Igloolik I started to long for friendlier weather, to see some colour again, flowers, moss, birds.'
Born in 1973 in the Netherlands, Hooft Graafland is based in both Amsterdam and New York. Her work to date has included sculpture, installations, photography and performance. She has studied at the Royal Academy of Fine Arts, The Hague, Bezalel Academy, Jerusalem and Parsons School of Design, New York. She has had solo exhibitions all over Europe and has been part of group shows at the Metropolitan Museum, New York and Musée D'Orsay, Paris, amongst others.
You Winter, let's get divorced follows from Hooft Graafland's last show at Michael Hoppen Contemporary which was work made in Bolivia, entitled Soft Horizons.
Work from You Winter, let's get divorced will be also shown by Michael Hoppen Contemporary at Art Miami this December.
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