In the melancholy of the chroma Blue of Prussia, we see immersed the after death of King Louis II of Bavaria, in “Tomber Dans Le Lac”. To fall into the lake, an expression that in French means to fall into a world of illusions, is the diving board of Lázaro Matos to perform a tragicomic acrobatics on the perils of dazzle. Ironically, it was on the Lake Starnberger that the defunct body of Louis II of Bavaria was found, three days after being deposed.
I tried to show you the best parts of me, the most edgy, composed, winking and generous of futile details, and I turned my silhouette into its own artifact orthogonal essence. Three plans, three quarters, simultaneously. Fractionated segments, carefully selected to make sure you will look at me.
The exhibition finds its most literal correspondence in both the daily life and imagination of Pierre Clement. We visualise the artist in his studio, behind his computer, searching within survivalist sites, surfing on conspiracy theorists, among which: Above Top Secret «The oldest pessimists website. It talks about everything without any hierarchy, goes from biology through ufology, down to Donald Trump. Above top secret could possibly be the title of a film by Terry Gilliam, evoking a nightmare of a future nuanced by a hymn to love. An antiphony within which, Pierre Clement would unveil, to the apocalyptic sound of «The war of the worlds”, scenes of disasters and other lines of an anticipation novel.
Looking at technology and its evolution/development is one way of perceiving the simultaneity of things: What exists at the same time in various places, can be obsolete in one and necessary in another. Everything connects, but the evolving steps in technology are only slowly getting globalized. Since we finally had the epiphany, that history is not a singular narrative, but a multitude of storylines, perspectives and shifts, how would it be possible to capture a fraction of our time in an adequate way? When the concept of progress fails where does our need for a narrative driven plot lead us to and can it branch out into the periphery? This question is similar to the idea to describe where our present begins, or ends. Technology evolves so quickly – currently, and over the past 160 years – that it always pushes the present into a state of flux and future, affordable for the one, problematic for the other, but always only in one direction: ahead. Improvements, innovations and recycling of ideas pushes the lifespan of our lives, as well as the boundaries of our bodies in a new a continuous quest of understanding our place in time, space and society. This never ending loop of the not natural, accelerated and technology invested life is also our way to look for a better future, to overcome limitations and boundaries, but is also inevitable.
Doubles have always greatly interested philosophers; especially those focused on aesthetics studies. The search for something that is concealed behind an image has been dismantled even before the dawn of the phenomenology through which a new meaning of doubles was introduced, or, better, a new feeling. This feeling isn't new, but rather a primordial feeling, probably the most ancient, pure, naïf and harmonic, or, in other words, one dating back to Ancient Greece.
Richie’s work draws on many personal references, from his working-class roots in the North of England, to metropolitan living, as well as his own experience of the darker side of urban life, making humorous references to popular culture, contemporary politics and social commentary. The exploratory and improvisational approach to painting we find in Richie Culver, can be seen as an outcome of the tensions between binary cultural and social opposites – provincial vs. cosmopolitan; on Benefits vs. affluent; art museum highs vs. street-cultural lows; North Vs South. In what seems an examination of one’s experience and inner self.
For the exhibition at MONITOR this artist duo developed a new body of work specifically for the gallery space. In the first room there are five paintings that present proto characters drawn with gouache over acrylic plaster and pigment, in fragmented compositions, that suggest proximity to a potencial language evoked through bones and inner shapes.
You are on an ocean reef. look down at your body. You have become a coral. An important part of this underwater ecosystem. look around at your new home. This is a healthy reef populated with a variety of different plants and animals and several different species of coral, including you. To survive coral need to build and maintain their skeleton. The first step is to collect the basic building blocks: calcium and carbonate ions. Use your polyp arm to grab one of each types of ions around you. These ions are combined to form calcium carbonate, the main component of your coral skeleton. You will need to continue collecting ions to maintain your skeleton and stay healthy.
Harold Ancart’s horizon line is limitless. It extends through numerous paintings, photographs, sculptures, and drawings in an inexhaustible exploration of painterly space and color. Though Harold Ancart’s new paintings are fgurative, they may also be among his most abstract. In his work, subject matter serves as an alibi for the paint to be pushed into the canvas, says the artist.
Firstly I realized that I am not immobile at the center of the universe. Then that I am not distinguished and different from any other sentient and non-sentient being. That I am far from being entirely transparent to myself. Now, digital light tells me that I’m not a separate agent, but an informatic organism sharing with others a global environment fundamentally made up of information: the luminous Infosphere.
Praz-Delavallade is pleased to present Heather Cook’s first solo exhibition with the gallery entitled, 1D 5L 2D 6L 3D 7L 4D 8L 5D 1L 6D 2L 7D 3L 8D 4L. The show consists of two interrelated series of woven works, each following Cook’s continued investigation of the process of the construction of an image. In the first two rooms there is a series of works known as Shadow Weaves, and in the last room, Weaving Drafts, works that depict the graphic representations of the weaving programs for the Shadow Weaves themselves.
Since the mid-20th century, there has been an ongoing search for signs of extraterrestrial life. This encompasses a search for current and historic extraterrestrial life, and a narrower search for extraterrestrial intelligent life. When looking for the first time at the new works of Rashid Uri our mindset is directly triggered into futuristic minimal filmset props or a glimpse of components of a bigger installation. The minimalistic 'loop' sculptures contain construction material and soundboard foam. The first thing that came up with me the first time confronted with the sculptures was a direct link to a setting in ' 2001: A Space Oddyssey' by Stanly Kubrick. In the movie there are different rotating hallway shots where for example the tube hallway structure is a steady in the filmshot as a first layer and at the back the room rotates continuously.
The skin shapes our bodies, creates our image and gives us an identity. The skin is what constitutes ourselves as individuals. When we think of a body, we explicitly imagine its epidermal surface. As the monk William of Baskerville exclaims in the novel The Name of the Rose by Umberto Eco: Mankind would shudder at the sight of a body if they could see what is beneath the skin. Skin has the power to shape our physique and identity, yet it furthermore encapsulates physical sensations that are often beyond our control: pain, irritation, shudders, heat sensitivity and erotic pleasure. The epidermal surface withholds the most archaic and animal-like sensations to humankind. Hapticality has the ability to amalgamate human and non-human agents.
The two adjectives used in the title of the exhibition to describe “the plane” – “tangible and infinite” – seem to express a certain contrast, a slight contradiction. If tangible is something that can be touched, physically perceived but also conceptually understood, infinite is rather elusive, always transcends rigid definitions, and cannot be reached nor grasped in its extent. These two dimensions coexist in Sara Chang Yan’s drawings, in which the plane is not just the background on which lines, shapes, colours and signs settle, but it acts as a magnetic field that responds and actively participates in the composition.
Leave the gallery and you will arrive at a rhetorical junction, or is Rua Nelson de Barros intersecting Rua Madre Deus? Head down the street, walk past the museum, turn right, cross the high speed lanes and take the 728 bus towards Avenida dos Descobrimentos. You’ll be driven along the river Tejo, going upstream, gazing at a body of water I once thought to be the Atlantic Ocean. Alas, no New York, no Los Angeles, no Rio de Janeiro, only more of the same continent. You will enter it slightly sideways, grabbing my legs and spreading them apart.
And as things fell apart, nobody paid much attention, departs from MONITOR team’s research on the history of our current Lisbon space and its relationship with local commerce, as well as a comprehensive observation of our broad experience as part of an art system and the gallery’s appreciation and goals to observe, research, collaborate and participate with the local art ecosystem.
In “Facing Enemies, Melting Opposites” the experience of fiction, understood as a representation operated by imagination and fantasy, seems to have much in common with the philosophical current to which it gives its name, namely that of fictionalism. In it, this concept assumes the practical-utilitarian value of wanting to believe that before certain abstract ideas or principles there is a correspondence with reality. This is why it is argued that fiction is not something totally different from reality but rather an echo, one of the forms through which the real shows itself. The term “fiction”, from lat. fictio-onis, in common language is used as a synonym of falsehood, lie, deceit, subterfuge, but in positive terms of a more creative mold it also refers to the activity of building, forming, structuring, processing and, moreover, thinking, imagining, supposing, inventing, inventing.