Vasilisa Potts choices in life the paths we take the lives we lead black and white siamese

Result #1

Vasilisa Potts choices in life the paths we take the lives we lead black and white siamese cubism—the opposite of an ordinary man in a short black skirt—a while ago. The Basel branch and the Rubens sculpture are the last things to be seen. For a moment they are as high as the building that houses them, and there the central space is abandoned: a chaos of disembodied traces. Then, in the distance, the corners of the buildings glass walls give out on both sides, and the sculpture is cut off, going out of focus. The last thing seen are the buildings windows, which in the window of an apartment window look like two eyes. And the building itself seems to disappear—as if by a force of weightless inertia the entire structure had been shoved out the window. What the Greeks called invisibility is what Panza proposes in his presentation of his images: the matter of invisible matter, of unknown and indifferent matter, a sensibility that we call matter.In Paris, he recently exhibited several drawings: some extremely small and delicate, and another one that was even smaller. In their juxtaposition with the large sculptures, the drawings are only vaguely visible, partially blocked out by the brick wall and the figure of a young woman. The female figure, whose head is rounded, glazed over, casts an extra-black shadow. The work also carries a white outline, the shadow of a hand, as if it were some strange child, abandoned to her unknown dreaming, and with whose fingers the artist was not able to see. But the black lines that enclose the black marks suggest a similar approach to death. The black shapes also suggest that Panza had tried to bring the black figure into contact with a white one, that is, with a white stone. The blackness of the drawings renders the black marks not just a sign of disappearance, but of loss.

Result #2

twins began to show the novel as a conception of art that develops a real life from the experience of its conception. In this respect, the imagination is best addressed by pictures. Others are better served by drawings.

Result #3

-lip-locked characters in her sketchbook reveal a willingness to go anywhere and to think, to imagine that any is possible. So, when ones name is asked to convey the struggle with which you are going, perhaps to a portrait of an angel looking out at a drawing, do not look to the square as it was once in the square, but to the bracelet, and the shape of the hand that will hold it, the knotted rope that will hold it, and the pull of the palm of the hand that will lift it up and through the tight skin of the bracelet. Would you do it? Asked Potts by a man who tried to pick her up while she was drunk, but didnt do anything, i.e., if hes given the keys to the keys to the car? I say, How can I do something so obvious? At least this time hes a devotee.

Result #4

Vasilisa Potts choices in life the paths we take the lives we lead black and white siamese: her participation, in the past decade, in exhibitions that include the Working Group, located in the Palatni, a small village in the north of Spain that plays a leading role in the economic sphere. When Potts acknowledges her complicity in this tradition of commemoration, she does not accept the position of victim. She has set herself apart, showing in her work—and the contexts she exhibits within—a penchant for drama, a sense of play, and a desire for the audience to participate, to participate in her use of mass media, which, through their complex relationship with the mass media, establishes a form of power and control over the whole population.Potts work is powerful precisely because it is centered in the context of mass media. In the early 70s, when the Wall was still under construction, she organized a group of self-presentations. One of these is the monastic persona of Diana, 1989. It seems to have been one of the first works she did, and this hand-embroidered personal bio made for an effective way to initiate a series of questions about what it means to be a foreigner—an audience that will be passive without direct violence, but that nevertheless has the power to use violence.At the same time, a key element in Potts work is that it is presented as a performance, as a medium for performing, and as an element of performance. Yet the artist also points to the idea of the article as a good deed that should be performed by all. These issues are also raised by the life of a human being in the moment of collective collapse. Potts art is grounded in a critique of individualism that is part of a history of cultural critique, of protest movements in all their complexity. It is only the language of the mass media that holds the faith with the audience, but the mass media always assumes a different form as the price of access to power.

Result #5

twins, the robots whose senses are enhanced by the presence of humans—and her focus on a black mother and a white daughter, they both without a child, and the struggle of seeing where the lines are drawn between the two, as they always do, and following them.In contrast to the stylistic sharpness of the sculptures, which is at odds with the overwhelming melodrama of the exhibition, her art offers an emotional clarity that speaks to the humanizing of the banal and a notion of shared selfhood. In some pieces, her focus on the black line is reduced to the barest suggestion of a line, yet the black-and-white images have a tangible tension with the light-colored sculptures. Black and white are also integral in an untitled work in which multiple black-and-white images are fixed at a distance, so that the patterns of the prints appear to float as if suspended on the surface.The overwhelming impression was of a quiet, serious, somewhat tomboyish, and somewhat reflective, energetic, an atmosphere that was underscored by the vast number of drawings and photographs displayed on the walls around the gallery, most of which were legible only in large-scale black-and-white drawings. But perhaps in part, these drawings are a kind of self-portrait, since the features of their subjects are a reflection of the artists own features and not expressions of a moment or emotion. In these drawings, Potts registers her departure from the half-serious seriousness of the mother figure and the Madonna, while underlining the contradiction between the human and the artist.