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The Good Life

Carlos Motta, The Good Life

The Good Life is a two-part video project composed of a video installation and an Internet archive (http://la-buena-vida.info) formed by 400 video interviews with pedestrians on the streets of twelve cities in Latin America shot between 2005 and 2008. The conversations and dialogues recorded in Bogotá, Buenos Aires, Caracas, Guatemala, La Paz, Managua, México City, Panamá, Santiago, San Salvador, São Paulo, and Tegucigalpa, cover topics such as individuals' perceptions of U.S. foreign policy, democracy, leadership, and governance. The result is a wide spectrum of responses and opinions, which vary according to local situations and specific forms of government in each country.) formed by 400 video interviews with pedestrians on the streets of twelve cities in Latin America shot between 2005 and 2008. The conversations and dialogues recorded in Bogotá, Buenos Aires, Caracas, Guatemala, La Paz, Managua, México City, Panamá, Santiago, San Salvador, São Paulo, and Tegucigalpa, cover topics such as individuals' perceptions of U.S. foreign policy, democracy, leadership, and governance. The result is a wide spectrum of responses and opinions, which vary according to local situations and specific forms of government in each country.

Smack Mellon

Media Design e New media Art

"Simposio di riflessioni, argomenti e temi sulle ricerche e pratiche del Media Design e delle New media Art
Mercoledi', 4 marzo 2009 - Forma, Centro Internazionale di Fotografia, Sala delle Capriate, Piazza Tito Lucrezio Caro 1. Milano, dalle ore 9.00 am alle 18.00 pm."

"New Media Art Education & Research 2009, along with the issue of the Workshop/Theory, wants to open a new reflection that starts with the Unidentified Narrative Objects, in other words what are students of the Media Design & Multimedia Art producing? Short films, video clips, art videos, short feature films, music clips, simple audiovisual artifacts, or a sort of junk? This reflection makes of the New Italian Epic narratological paradigm, conceived and proposed by Wu Ming, a benchmark for the critics."

Phd M-Node

Untitled

Michele Dantini
Untitled

12 marzo - 5 maggio 2009
inaugurazione 12 marzo ore 18,00


Untitled è un’esposizione sulla forma-esposizione. Come, e se, conferire racconto a un assieme di opere in assenza di “tema”, “titolo” e statement espliciti? L’interesse per modelli discorsivi caratterizza da anni l’attività dell’artista e si intreccia a una riflessione sulle relazioni tra immagine e parola. In Untitled immagini fotografiche, testi, lacche e disegni su carta, immagini vintage dell’archivio concettuale anni Settanta (dedicati al rapporto tra arte, collezionismo e natura; alla “costruzione” occidentale del miraggio di una natura “incontaminata” e “selvaggia”; ai temi della “prossimità” e della “distanza”) si distribuiscono nel contesto della galleria come elementi di una costellazione o di un arcipelago, indizi, margini sensibili di un’argomentazione “immateriale” di cui concorrono elusivamente a definire tracce potenziali, pulsazioni o percorsi di significato.

alessandrodemarch

WAS 2009 Conference & Expo

Il Web Analytics Strategies 2009 -

WAS è il primo evento italiano - Conference & Expo - dedicato alla Web Analytics e ai servizi ad essa connessi.

Il WAS rappresenta un'occasione unica e speciale per conoscere e per approfondire concretamente, in due giorni di conference, alcuni degli strumenti di Marketing digitale più potenti ed innovativi dei prossimi anni, tra cui il Mobile e il Social Marketing."

ByDesign 09

ByDesign 09

This annual program explores design and the moving image, and celebrates multidisciplinary artists who combine forms and transform our visual culture.

ByDesign 09 examines the art and craft of motion graphics with a number of special guests including MK12 (Quantum of Solace) and Digital Kitchen (True Blood). Digital artists Kamran Sadeghi and Scott K. James create syneshtesia through their inventive live audio-visual performances. Our Entropy program surveys a variety of new short films and music videos from around the globe. And we present the Northwest premieres of new documentaries about legendary graphic designer Milton Glaser and visionary architect Rem Koolhaas. Join us in exploring these observations, ideas and the world re-imagined through design.

Curated by Peter Lucas
Series sponsored by Digital Kitchen

Northwest Film Forum :: Series

doppia personale di Claudio Gobbi e Marcello Mariana

Lo Studio Guenzani presenta nella sede di via Eustachi, la doppia personale di Claudio Gobbi e Marcello Mariana.

Inaugurazione 19 Febbraio 2009 dalle ore 18.

La mostra fotografica di Gobbi e Mariana, si sviluppa come la messa a confronto di due ipotesi di visione: due forme di relazione con lo spazio naturale da una parte, culturale e sociale dall’altra.
Panoramiche di grandi spazi e visioni d’interni. Sguardi sull’ampiezza smisurata della natura e frammenti di luoghi chiusi.
Negli scatti di Claudio Gobbi l’attenzione è rivolta a tracciare una mappa ideale dell’identità culturale che avvicina molti luoghi di città europee ed extra europee. Compiendo un viaggio da nord a sud, partendo da San Pietroburgo, poi Riga, Berlino, Praga, Sofia e Vanadzor il fotografo immortala dei luoghi di aggregazione quali cinema e vecchi teatri, che sottilmente evocano le tracce dei gesti e dei passaggi quotidiani lasciati dalle persone. La sua abilità fotografica si manifesta proprio nell’annullare questi segni per restituire degli ambienti scevri da ogni imperfezione. L’atmosfera che si percepisce, guardando le sue fotografie, è quella di un tempo sospeso e irreale, accresciuto dal calibrato gioco cromatico e dalla particolarità delle composizioni lineari e spaziali. La scelta dei tagli delle inquadrature e la predilezione per certi elementi quali una porta, delle file di poltroncine, i tendaggi rendono gli interni degli edifici, lontani territorialmente, dei luoghi densi di elementi stilistici comuni, quasi a formare un intarsio ideale formato dalle tante tessere che compongono l’identità culturale e visiva europea.
Marcello Mariana, invece, presenta una serie di immagini in cui, alla costante visione della natura, aggiunge sempre sé stesso dentro all’inquadratura. Il fotografo, ponendosi sia dietro che davanti l’obiettivo, si fa unità di misura dell’incommensurabile, testimone silenzioso della vastità dello spazio naturale. La finalità, in quelle che a prima vista sembrano armoniche e serene vedute panoramiche, non è l’insieme percepito, ma l’idea dei limiti che inducono a cercare un ordine, un’armonia, una consonanza tra l’uomo e la natura. La piccolezza fisica del suo corpo si pone in antinomia con la maestosità del paesaggio, con la sua immensità e trascendenza, ma anche con le sue contraddizioni. Compaiono infatti in diversi scatti degli elementi ‘di disturbo’: emergono i segni dell’irruenza umana, sia essa rappresentata da pale eoliche, palazzi, una diga o una strada. Ponendosi come osservatore distaccato, Mariana opta per una documentazione silenziosa e alienata della natura che, nonostante sia spesso violentata dall’intervento dell’uomo, conserva nelle sue immagini maestosità e mistero al tempo stesso.

Accomuna i due fotografi un obiettivo affine: far emergere dai luoghi la presenza dell’uomo contemporaneo attraverso i segni evidenti o i passaggi celati che esso lascia attorno a sè, sia in un contesto naturale, sia nel più complesso mondo della cultura materiale. Il metodo per entrambi è caratterizzato da un tipo di relazione silenziosa e discreta con la realtà, attraverso un tipo di fotografia che si fa lirica testimonianza e visione rivelativa.

Claudio Gobbi è nato ad Ancona nel 1971. Vive a Parigi.
Marcello Mariana è nato a Lecco nel 1977. Vive in Valtellina.

La mostra prosegue fino al 31 marzo 2009.

Studio Guenzani - Gobbi Mariana

Track Changes

Wilkinson: "Track Changes
Istvan Laszlo / Ciprian Muresan / Cristi Pogacean
28 February - 9 April 2009

Wilkinson is pleased to announce a project space exhibition by Romanian artist-run space 'Plan B'. The exhibition brings together recent works by the three members of the group SUPERNOVA, active in Cluj between 2001-2004. SUPERNOVA's presence on the Romanian art scene contributed to a significant shift in tone and artistic attitude, away from the melancholy look of the post-Wall generation, repeatedly defining the East as non-West, as absence or lack, and the West as surplus, and puzzling over this in-built incompatibility. Alongside other new voices, Ciprian Muresan, Cristi Pogacean, and Istvan Laszlo engage the recent past of Eastern Europe as an occasion to extricate the very notion of history from ideological falsification, to bind it up with personal experience, conceptual accident and the history of art. In their collective and individual projects, history appears as a network of conflicting timelines, while the ways in which globalization and post-communism endlessly complicate each other are observed from a perspective immune to the utopias of revolution or liberalism."

Sam Taylor-Wood

First ever solo exhibition to be held in Eastern Europe by a British artist Sam Taylor-Wood showcases her new video and photographic works, critically acclaimed ones as well as exciting world premier video art work "3 Minute Round" with the Klitschko brother participating.

A survey exhibition presents important new video and photographic works including a video installation "Sigh" based on an orchestra performance; photographic self-portraits from the "Bram Stoker's Chair III" and "Self Portrait Suspended", and also from the new "Escape Artist" series.
In a unique grouping of additional video art works - shown at the Ukrainian Pavilion at the 2007 Venice Biennale - the PinchukArtCentre will also highlight: "That White Rush," "The Last Century," and "The Servant", all visually engaging and internationally critically acclaimed. The exciting world premier video art work, "3 Minute Round" brings together the Klitschko brothers in a rare artistic film.

Peter Doroshenko, Artistic Director of the PinchukArtCentre, curator of the exhibition: "Testing our physical and emotional limits, Sam Taylor-Wood examines the vulnerability and fragility of the human body, addressing the major themes of life and death, and reflecting on our own mortality. Whilst contemporary in feel and presentation, her work references the symbolism of Dutch still life and Renaissance paintings. This exhibition consolidates Taylor-Wood as an artist whose work is magical and constantly surprising".

PinchukArtCentre

Chris O'Shea


Chris O'Shea - Out of Bounds, Design Museum

Frozen Evolutions

Chau Lam + Alan Wong
Frozen Evolutions: Images from Galapagos

Feb 13 - March 13, 2009

CAAC

«Ecstasy techniques»

«Ecstasy techniques»
21 февраля — March 15, 2009
The exhibition «Ecstasy Techniques» at the Moscow Museum of Modern Art launches a multi-stage long-term project SUPREMUS — a title that was coined in 1991."

Can the familiar feeling of pleasure derived from many products of contemporary civilization — stable, even, and wide-spread — compare to an all-consuming, demanding stamina and spiritual energy, and therefore rare and quite intimate ecstatic pleasure? Which state can transform our worldview, make it infinitely genuine and complete, eliviate problems and almost make us happy?

The exhibition «Ecstasy Techniques» at the Moscow Museum of Modern Art launches a multi-stage long-term project SUPREMUS — a title that was coined in 1991. The participants of this show, Alexander Shumov, Serge Golovach, and Victor Ribas, advocates of «fractal abstraction» technique, raise the question of going back to the source, to the point of merging, which is seldom visited by present-day people, even though the cyclic return to this point has been laid down by many ancient cultures and religious practices.

Московский музей современного искусства

9na Velada de Santa Lucía

9na. Velada de Santa Lucía
Encuentro Internacional de Arte organizado por Clemencia Labin en la Calle del Arte, Avenida 2D del Boulevard de Santa Lucía , Maracaibo, Venezuela

Una camiseta por Santa Lucía
Artistas Merideños
Curaduría Eliseo Solís Mora

Propuesta

"Una camiseta es un objeto de uso cotidiano"
Esta propuesta tiene como intención mostrar a través de camisetas intervenidas, la plástica de artistas merideños y la vinculación de ésta con la Velada. Una camiseta es también un objeto urbano presente y de alcance masivo.
La intención es compartir con el público asistente una impresión usable de Santa Lucía, casi una alegoría de arte, moda y cotidianidad. La idea de viaje, de recuerdo que se lleva de un lugar, una camiseta es la presencia real de una idea de lugar.
Por otro lado, presentaremos esta propuesta distribuida por la casa que nos toque, apropiándonos del espacio cotidiano de ese hogar. La presencia de algo que usas y dejas en cualquier lado de tu hogar; es también, aquello que puede venir de alguna visita, en este caso, todos los artistas merideños que participarán, dándole sentido de pertenencia a su visión de la Velada desde la individualidad, desde una camiseta, un objeto personal.

Artistas Participantes

Manuela Armand
Lhya Salcedo
Fabián Rodríguez
Richard Ramírez
Arnaldo Delgado
Gracia Chacón
Arturo Marquina
Iván Santiago
Gabriel Díaz
Tamara Yevara
Pao Saraswathi
Virginia Rodríguez
Douglas Erazo
Jesús Sanchez
Susana Suniaga
Franco Contreras
Eylin Varela
Rosanna Rios
Maryel Villafañe
Eliseo Solís Mora

Cada uno de los artistas participará con una camiseta intevervenida.. Nos vemos en Santa Lucía...

Programación
Primera Fiesta de Inauguración
Viernes 6 de marzo de 2009 de 6pm a 12 pm

Segunda Fiesta de Inauguración
Sábado 7 de marzo de 2009 de 6pm a 12 pm

Arepa final
Domingo 8 de marzo de 2009 de 12m a 3pm

Montaje de lunes 2 de marzo al viernes 6 de 2009
Desmontaje Domingo 8 de marzo de 2009 de 3pm a 8 pm

links relacionados con el evento
http://www.clemencialabin.com/
http://www.velada.clemencialabin.com/
http://travel.guillen.com.ve/news.php?news=716
http://salonesdearte.blogspot.com/2008/03/sincretismo-en-las-calles-de-santa-luca.html
http://veladasantalucia.multiply.com/
http://salonesdearte.blogspot.com/2007/11/velada-santa-luca-2008-maracaibo.html
http://es-la.facebook.com/people/Velada-De-Santa-Lucia/1507303852
http://espanaenvenezuela.wordpress.com/2009/02/05/la-mas-bella-en-la-velada-de-santa-lucia-2009/
http://www.contraindicaciones.net/2008/03/videotopiasla-hostia-fine-arts.html
http://www.panopttic.net/blog/
http://salonesdearte.blogspot.com/
http://74.125.47.132/search?q=cache:6SsmzwgciQ8J:www.fad.luz.edu.ve/portafolio/pdf/13/no_arbitrada/vol13_02_03_art.pdf+graciela+cucchiara&hl=es&ct=clnk&cd=1&gl=ve
http://www.art-magazin.de/kunst/4757/velada_santa_lucía_venezuela
http://rorr411946.spaces.live.com

Facebook | 9na Velada de Santa Lucía. Una camiseta por Santa Lucía.

Ritratti di geometrie e giochi d'aria

Ritratti di geometrie e giochi d'aria

Le possibilita' espansive dei materiali sintetici sono il campo d'azione in cui Mazzucchelli cerca -fin dagli anni Sessanta- una relazione dinamica tra opera e luogo sociale, tra progettazione dello spazio e partecipazione dello spettatore. La finalita' e' di realizzare sculture come eventi plastici da abbandonare nei luoghi stessi della loro collocazione, aree dismesse, parcheggi, fabbriche, zone periferiche oppure siti storici e monumentali. Il dinamismo delle volumetrie plastiche rimanda ai comportamenti delle avanguardie storiche: lo spaesamento e la messa in crisi dei valori stabili, la dilatazione dei perimetri e l'energia esplodente dei materiali, la sospensione dei corpi e il superamento delle misure circoscritte. Mazzucchelli intende infatti teorizzare una strategia che privilegia la logica dell'oggetto-quadro, dell'oggetto come puro godimento estetico, destinato ai circuiti di mercificazione dell'arte, naturale destino di ogni prodotto culturale. Oggi Mazzucchelli lavora su singole unita' che sembrano estrapolate da quel contesto, si serve di una grammatica basata sul succedersi di punti in rilievo e in rientranza, valori di attivazione sensoriale dello spazio riportati nella misura del quadro-oggetto. E' dunque libero di sperimentare una tecnologia di cui conosce ogni minimo segreto, talmente padrone di ogni aspetto esecutivo che il gioco decorativo diventa un sistema organizzato di forme e colori, di perimetri e rigonfiamenti, di volumi e linee di saldatura, in sostanza un codice aperto a infinite combinazioni.
Catalogo in galleria curato da Claudio Cerritelli.

Galleria Morone - Milano

"Winterlong"

Silke Otto-Knapp
"Winterlong"
February 15th – March 21st, 2009

Opening reception: Sunday, February 15th, 5-7pm
Overduin and Kite is pleased to present "Winterlong," an exhibition of new paintings by London-based artist Silke Otto-Knapp. This is the artist's first solo exhibition in Los Angeles.

OVERDUIN AND KITE

Fly to Mars

"Jennifer Steinkamp: Fly to Mars
March 07, 2009 - August 09, 2009"

Jennifer Steinkamp is among today’s best-known contemporary artists working in the field of new media art. Fly to Mars is a computer-animated projection of a tree that comes to life with movement as it cycles through the four seasons of the year. From colorful flowering buds in spring to leafless branches in winter, viewers experience the natural cycle of a tree’s foliage. Simultaneously, the tree bows up and down, as though attempting to break free from the earth’s gravity and take flight into the cosmos.

This exhibition is presented as part of the Art + Environment series, an initiative of the Nevada Museum of Art that brings together community, artists and scholars to explore the interaction between people and their environments.

NMA Exhibitions - Jennifer Steinkamp Fly to Mars

Meredyth Sparks

Catherine Bastide is pleased to present Meredyth Sparks’ debut at the gallery, There’s One in Every Crowd, which includes new collage works, record sleeve stacks and wall-based installations.

In the multi-layered works, Sparks mines images of (sub) cultural music and political icons from record covers, books, and the Internet. Building up the surface of her found imagery by formally breaking down compositional elements, Sparks reworks images in Photoshop—scanning, cropping and layering—before manually applying aluminum foil, glitter, and vinyl to the printed surface. This process creates a stuttering or skipping effect, distilling the images from their cultural circulation, while articulating a system of use and reuse, recognition and difference that imbues her practice with its unique commentary on current art practices.

For this exhibition, Sparks is introducing several works called extractions, made by extracting elements from documentary photographs of her previous collaged pieces. Rearranged, these pieces are concerned more with abstraction, while still referencing their original source material.

In her record sleeve art, Sparks attempts to recuperate a sense of political agency from the appropriative act, referencing the physical movement of a vinyl record in relation to the seemingly endless distribution of icons and images. Sparks modifies the now common take away into an object that has both a formal and use value. For this installation, Sparks’ dust jackets feature two photographs of graffiti found on a storefront window in the long-gentrified Dumbo section of Brooklyn. Taken several months apart, these photographs document two ostensibly contradictory statements: “You can’t erase history” and “You can erase history.” These anonymous statements were meant as a challenge to the building’s owners, who were in the midst of renovating (and evicting) artists from their studios and non-profit arts organizations to transform the building into luxury condominiums. The photographs are again reproduced in the back gallery, this time taking the form of posters hung in between vinyl and acetate stencils made through the repetition of Kasimir Malevich’s Suprematist paintings.

These slogans exist in dialogue with Sparks’ title for this show, which she borrows from her on-going series that centers on the German political group, Baader-Meinhoff. There’s One in Every Crowd refers to an Eric Clapton album that Andreas Baader had on his turntable the morning German authorities found him dead in his cell. Sparks references the album, both as an historical trace intended to engage her interest in political and musical countercultural figures, but also as a challenge to the viewer. This provocation is most dramatically realized in Iggy Pop, a large collage on view in the main space depicting a stage scene from a live concert. In Sparks’s modification of the photograph, the viewer becomes witness to Iggy Pop’s performance and to its appropriation into art history, a meta-commentary invoked in the original photograph’s figuration, which suggests an ancient hero or king in repose. In relation to this piece, Sparks positions an abstract photograph, Through Glass, that reexamines the Iggy Pop piece as reflected through the windows of her studio, windows that look out on the industrial blocks of Northern Brooklyn and a string of lights that make-up the Brooklyn Queens Expressway


catherinebastide.com