quinta-feira, 21 de janeiro de 2010

'Use & Mention', Jan 26th - Feb 26th, Stephen Lawrence Gallery, London

'Use & Mention'
curated by John Chilver

Jan 26th - Feb 26th 2010;
preview Tuesday January 26th, 6-8pm.

Stephen Lawrence Gallery, University of Greenwich, Queen Anne Court,
Old Royal Naval College, Park Row, Greenwich, London SE10 9LS.

An exhibition about collage, featuring works by:

Shahin Afrassiabi, Jesse Ash, Diann Bauer, Simon Bedwell,
Vanessa Billy, Juan Bolivar, Adam Burton, Tiago Carneiro da Cunha,
John Chilver, Kim Coleman & Jenny Hogarth, Stuart Cumberland,
Hans-Christian Dany, Annabel Frearson, Freee,
Babak Ghazi, Ghosts Eat Mirrors, Jeremy Glogan, Luke Gottelier,
Thomas Grünfeld, Gerard Hemsworth, Yuichi Higashionna,
Emma Holmes, Gareth Jones, Kerstin Kartscher, Pil & Galia Kollectiv,
Brighid Lowe, Goshka Macuga, Ellen Makh, Daniel Pettitt,
Gunter Reski, Martha Rosler, Michael Schultze, Heidi Sill, DJ Simpson,
Jack Strange, Michael Stubbs, John Timberlake,
Erika Verzutti, Yonatan Vinitsky, Carla Wright


'Use & Mention'
The appearance of collage in early twentieth-century art marked an immense
alteration in visual experience. In collage, space and time could be
sliced and spliced in ways previously unavailable to photography or
painting; collage could be additive (placement,
juxta-position,com-position) or subtractive (cut, removal).
Although mainstream visual technologies have today normalized methods that
originated in collage, and although the becoming-orthodox of appropriation
and post-production have homogenised the terrain it traverses, collage
nonetheless still empowers tactics that play at de-skilling while invoking
intimacy, interrupted passivity and subtractive force. A reliance on
dramatic juxtaposition was characteristic of classic modernist collage, as
in Hannah Höch’s virtuoso works of the 1920s and 30s. Whatever their
variety, contemporary applications of collage frequently forego
the method of declarative juxtaposition, often favouring instead an
intricate and implosive thinking. Catherine Malabou's writings propose a
concept of plasticity that is intimately linked to explosiveness and
emphatically separated from elasticity: an elastic form can return to its
earlier state after suffering deformations, whereas a plastic form cannot;
instead it retains the signs of alteration when stretched, gouged,
scarred, re-moulded or cut. Collage in this exhibition is understood as a
transferable and mutable apparatus of subtractive plasticity.
'Use & Mention' offers a broad selection of current collage-related
activity. It includes works on paper, text, sound and video works.



terça-feira, 29 de dezembro de 2009

terça-feira, 15 de dezembro de 2009

amanha no oi futuro

http://tempofestival.com.br/instantaneo/cronograma/coletivo-improviso/
o_outroTempo Festival

google image search: harvey kurtzman

http://www.bookpalace.com/acatalog/KurtzmanMad1.jpgundefinedhttp://www.animationarchive.org/pics/kurtzpete01-big.jpg
http://www.animationarchive.org/pics/kurtzpete01-big.jpg

o q eu fiz na filadelfia / what i did in philly

fui o 'artista convidado' na university of the arts da filadelfia de setembro a novembro deste ano, e la' fiz essa escultura de porcelana, usando os esmaltes desenvolvidos pelo proprio depto de ceramica da universidade. foi uma colaboracao entre os deptos de escultura e ceramica

i was the 'visiting artist' at the university of the arts, philadelphia, from sept to nov 2009, and did this porcelain sculpture using the glazes developed by uarts own ceramics dept. a collaboration between the sculpture and ceramics depts!




more pics @ / mais imagens:
http://www.tiagocarneirodacunha.net/2009/uarts-2009/10181145_ZtvRb#705279056_F3Fcb

nova do victor arruda / new arruda show

convite victor pronto ok.jpg

ESCÂNDALO DE BRASÌLIA - VICTOR ARRUDA CRIA TELAS-DENÚNCIA

O artista faz mostra relâmpago na Amarelonegro Arte Contemporânea.

Victor Arruda rides again, tomando carona nos escândalos de Brasília e na coincidência dos sobrenomes, abre no dia 17 às 19h, na Amarelonegro Arte Contemporânea.

A mostra relâmpago " A RESPEITO DA CORRUPÇÃO - Pinturas de Victor Arruda", expõe 20 telas de sua produção recente, algumas remetendo a trabalhos da década de 70, outras com frases e palavras que expressam a irritação e o saco cheio de todos nós: "Unam-se às vítimas"; "Crianças bem comportadas não cospem em políticos corruptos"; " Políticos corruptos cospem na cara das criancinhas ".

Provocador desde sempre, Victor Arruda transita por vários caminhos da arte: criou a cenografia de um balé de Deborah Colker; é autor de um painel de 20 metros para o Memorial da América Latina, de São Paulo, que pintou a convite de Niemeyer e fez várias individuais em galerias e museus brasileiros e europeus, nos últimos anos.

Vale a pena correr porque a exposição só vai durar apenas dois dias: inaugura na quinta-feira, dia 17, às 19h e fica aberta na sexta feira, dia 18, das 11 às 19h e no sábado das 11 às 16h.

A Amarelonegro Arte Contemporânea fica na Rua Visconde de Pirajá 111 - loja 06 e o telefone é 21 2247 3086.

artigo na dardo / article in dardo mag

Marilyn A. Zeitlin /// Centaur. Tiago Carneiro da Cunha

Tiago Carneiro

A figure enters a space that holds three pedestals. Its species identity is unambiguous: this is a man. He is wearing clothes – black tee-shirt, black pants. But he assumes the aspect of an ape to an uncanny degree: in his facial mannerisms, with an overshot jaw and peering eyes; the sounds he makes, grunts to roars; his gait, adjusted to the long-armed proportions of an ape by short crutches. The duality of animal and human is unsettling, and that is just the start. He ponders the ceiling. He runs in circles. He explores the pedestals then attacks them, scattering them violently. He runs at the camera. He howls. For 40 minutes, the viewer alternates from being inside to outside, from seeing the man-ape for its otherness to identifying with it. It is never comfortable to watch. (...)

dardomagazine

artigo completo so' comprando a revista / for the full article u must buy the mag :(

quinta-feira, 3 de setembro de 2009

parabens erika! eh hoje! / congratulations erika! it's tonight


Swallow Street


Current Exhibition




Philip, 2009

Philip, 2009


ink and acrylic on cardboard, 27 × 28 cm / 10.6 × 11 in

4 September – 3 October 2009

Erika Verzutti



Opening reception Thursday 3 September, 6 – 8pm



For her second solo exhibition in London, Erika Verzutti has created
several sculptures and a painting that combine more traditional art
materials like clay with paint brushes, rulers and pencils. The works
sit between figuration and abstraction with a playful, casual and
unfinished aesthetic. The juxtaposition of dissimilar styles with
accidental gestures combine to create works that are a humorous and
invigorating contribution to contemporary sculptural practice.


Erika Verzutti was born in Sao Paolo, Brazil
(1971) where she currently lives and works. Following studies at
Goldsmiths she had a solo exhibition with Blow de la Barra Gallery,
London, as well as partaking in numerous international solo and group
shows.



Swallow Street


3–5 Swallow Street


London W1B 4DE


Location Map



+44 (0)7930 399203


info@swallowstreet.com



Gallery hours:

Tues – Sat, 10 am – 6 pm


Programme curated by Sarah McCrory


quarta-feira, 2 de setembro de 2009

jarbas e laura na luisa strina hoje / tonight












PADEDÉU

JARBAS LOPES , LAURA LIMA
2 SETEMBRO - 6 OUTUBRO
PADEDÉU
http://www.galerialuisastrina.com.br/exhibitions/currently-showing.aspx?lang=pt


Rua Oscar Freire 502, Cerqueira César
01426-000 São Paulo/SP, Brasil

T 55 11 3088 2471
F 55 11 3064 6391

info@galerialuisastrina.com.br

De segunda a sexta, das 10h às 19h.
Sábados das 10h às 17h.


quarta-feira, 5 de agosto de 2009

fotos montagem e abertura / installation & opening pics

to tentando puxar do facebook, espero q funcione / trying to pull them off facebook, hope it works

na folha de hj / on today's folha de são paulo




.

antes tarde... / better late...

convite pra minha expo na fortes vilaça q inaugurou semana passada, desculpem o atraso...
invitation to my show @ fortes vilaça which opened last week... a bit late, sorry...


(clique p alta resolucao / click 4 hi res)





(scroll down for english)


Tiago Carneiro da Cunha

A Galeria Fortes Vilaça tem o prazer de apresentar a nova exposição de Tiago Carneiro da Cunha. O artista apresenta uma série de esculturas inéditas feitas em faiança policromada, técnica com a qual vem trabalhando desde 2007.

Nesta nova série o artista explora uma linguagem gestual que, apesar de continuar pesquisas formais e conceituais já características de seu trabalho, é quase uma perversão satírica da geometria polida da sua série anterior em resina. Aqui os seus desorientados personagens – poetas, pedintes, bandidos, filósofos, tiranos e outros estereótipos sarcasticamente sorridentes - emergem de (ou submergem em) um pântano multicolorido composto, assim como eles próprios, pelo movimento dos dedos do artista sobre a massa, em gestos ao mesmo tempo cuidadosos e expressivos.

As peças foram modeladas em faiança (uma cerâmica fina de baixa temperatura) e pintadas em “baixo vidrado”. Ambas são técnicas tradicionais que, além de permitirem poucos erros, também obrigam o artista a lidar com incertezas e surpresas no processo. As cores, por exemplo, são completamente diferentes ao serem pintadas do que após a queima final, e, uma vez jogada a tinta, não há como apagá-la. Esta imprevisibilidade é aproveitada pelo artista, que não define totalmente os campos de cores, mas os incorpora de maneira fluida ao movimento da matéria, numa mistura de controle e acaso.

As esculturas, de tamanhos variados, estão dispostas em uma grande bancada no centro do espaço expositivo, numa atmosfera que referencia tanto ao museu como a uma loja de cerâmicas, adicionando outra camada de humor critico à exposição. Temas como violência, poder, sexo e identidade nacional perpassam várias peças e formam uma espécie de sátira da sátira social, referenciando e explorando os limites - com toques metalingüísticos” – de uma tradição que inclui satiristas e ceramistas como o português Bordallo Pinheiro (1846 – 1905) e o francês Honoré Daumier (1808 – 1879). Como observa Gilberto Mariotti, que assina um ensaio feito especialmente para a exposição, Carneiro da Cunha “vê a própria crítica social como uma dentre outras matérias que convivem nas peças. Este só pode olhar para o mundo desde dentro, com a cumplicidade que um certo cinismo, do tipo sincero e até meio ingênuo, pode oferecer.”

No começo de 2009, Tiago Carneiro da Cunha expôs, junto com Erika Verzutti, na Galeria Misako and Rosen, Tóquio; em 2008, teve uma mostra individual na Galeria VPF em Lisboa. Participa regularmente de exposições coletivas em museus e instituições nacionais e internacionais. De setembro a novembro deste ano, será artista residente e professor convidado na University of the Arts da Filadélfia, EUA.

Para mais informações, acesse o site: www.tiagocarneirodacunha.net.

30.07.09 [abertura 19 - 22h] 31.07.09 a 29.08.09 | Galeria Fortes Vilaça [terça a sexta 10h às 19h sábado 10h às 17h] Rua Fradique Coutinho 1500 | São Paulo Brasil 05416-001| T 55 11 3032 7066 F 55 11 30970384 |Informações: Marcia de Moraes curatorial@fortesvilaca.com.br www.fortesvilaca.com.br

Exposição atual no Galpão: 25.07.09 a 29.08.09 José Damasceno

Próximas exposições: 03.09.09 a 03.10.09 Leda Catunda [Galeria]


Tiago Carneiro da Cunha

Galeria Fortes Vilaça is pleased to present a new exhibition by Tiago Carneiro da Cunha. The artist presents a series of sculptures made in polychrome faience, a technique he has been working with since 2007.In this new series the artist explores a gestural language which, even while it continues to develop formal and conceptual concerns already characteristic of his work, is almost a satirical perversion of the polished geometry of his previous work in resin. Here his disoriented characterspoets, beggars, bandits, philosophers, tyrants and other sarcastically smiling stereotypesemerge from (or sink into) a multicolored swamp composed, as they themselves are, by the movement of the artists fingers on the clay, in gestures which are simultaneously careful and expressive.

The pieces were modeled in faience (a fine, low-temperature ceramic) and painted with underglazing, two traditional techniques which, besides allowing little room for mistakes, force the artist to cope with uncertainties and surprises during the production process. The colors, for example, are completely different when painted than after the final firing, and once applied there is no way to erase them. This unpredictability is appropriated by the artist, who does not completely define the color fields but rather incorporates them fluidly within the materials movement, in a blend of control and chance.

The various-sized sculptures are arranged on a single large plinth in the center of the exhibition room, in an atmosphere that references both the museum and the ceramics shop, adding another layer of critical humor to the show. Themes such as violence, power, sex and national identity pervade several pieces, creating a sort of satire of social satire that joins - and with metalinguistic touches explores the limits of - a tradition that includes satirists and artists such as Portuguese master ceramist and cartoonist Bordallo Pinheiro (1846–1905) and French printmaker, caricaturist, painter and sculptor Honoré Daumier (1808–1879). As noted by Gilberto Mariotti, who has written an essay especially for this exhibition, Carneiro da Cunha sees social criticism itself as one of the various materials that coexist in the pieces. This can only look at the world from within, with the complicity provided by a certain cynicism, of a sincere and somewhat ingenuous sort.

In early 2009, Tiago Carneiro showed his work at Misako and Rosen Gallery, Tokyo, together with Erika Verzutti; in 2008, he had a solo show at Galeria VPF in Lisbon. He participates on a regular basis in group shows at museums and institutions in Brazil and abroad. From September to November this year he will participate as a resident artist and guest tutor at the University of the Arts, Philadelphia, USA.

For more information, see: www.tiagocarneirodacunha.net

Opens 30 July 2009 [7 p.m. to 10 p.m.], runs from 31 July to 29 August| Galeria Fortes Vilaça [Tuesday through Friday from 10 a.m. to 7 p.m., Saturdays from 10 a.m. to 5 p.m.] Rua Fradique Coutinho 1500 | São Paulo, Brazil 05416-001| T (55 11) 3032 7066 F (55 11) 3097 0384 | Information: Marcia de Moraes curatorial@fortesvilaca.com.br www.fortesvilaca.com.br


mais / more @:
http://www.fortesvilaca.com.br/exposicoes/atuais/1/foto-0.html