девочка пошла в лес и заблудилась в болоте

Result #1

девочка пошла в лес и заблудилась в болоте сшли (The Wound of Women: A Clogger from Casablanca), 2016, oil on canvas, 78 1/2 × 99 3/4". In a poem titled the she-her-het-her-o, written in 1978 by the Cuban artist Humberto Limón, an indictment of an obscure nineteenth-century European jurist who published his essays in collusion with the Castro regime, the poet and theorist José Antonio Vargas explains that the subject, unlike the object, is under the control of the law of law, whether we like it or not. In a world of shifting alliances and shifting cultural boundaries, Peruvian artist Eduardo Pérez-Peña—invented in the 1950s and now living in London—suggests that the question of law in art arises not from a concern with law but rather from an examination of how law affects the formation of a society.Heralding for a third world, Pérez-Peña focuses on issues of justice, punishment, and justice, in all its ambiguities, in all its violence and in all its ambiguities. A further dark, episodic overlay lies in the graphic style that he has developed in the past three years. He applies his color to paint and presses it against the canvas in the manner of Lucio Fontana, as if in a sense the surface had become a plane. In the process, he takes on an identity as the freedom to a kind of anarchic anthropomorphism: An allusion to the artist, the artist as full of anger, is transformed into a formalized, personal language—a style that already incorporates a certain accession to power and sovereignty. The works that were on display in the gallery, moreover, were the artists own drawings and documents, which, in their profusion, constitute a picture of a social condition, a glimpse of its complex development.

Result #2

ссован в ссоване, 2006–2008.Kaleidoscopia, with its vulgar title and English translation, is certainly a technique of art production, as well as of every word. And the likes of Alexander the Great and Catherine of Assisi, with their glory-laden bodies and superhuman acts, are surely included in the so-called early waves of her art. Is there anything normal, sweet, or even sexually appealing about this work? The question is key to understanding the works erotic significance. Is it a post-Modern attempt to simultaneously eroticize male-centered history and eroticize the relations between women and men? A way of life to be celebrated today? The eventfulness of so much action?On a second level, the artist has also shown how shes an avid observer of gender norms. This is perhaps best demonstrated by an installation of sculptures and wall-hangings of drawings and films on display. Each year, the artists family holds a local exhibition in the village. Among the works on display are photographs of a fat man playing the piano, a fashion shoot, and a grandmother wearing a pink dress. Here, the artist and her two-headed grandmother do something theyve never done together. They look like half of a couple. The granddaughters drawings of her grandfather and father show a shocking and provocative side of gender relations: They show how men behave toward women and how it affects a childs development, as well as how their parents justify their actions.Analysing the traces of her parents actions to an artistic purpose, the artist reveals the human and political aspects of gender relations in our contemporary milieu. One is tempted to ask about her grandmothers past life and past artworks, to ask how she relates to her image in the mirror. But theres nothing to ask, and the works integrity rests in the artists awareness of what shes seen.

Result #3

девочка пошла в лес и заблудилась в болоте узаприков сереб (Gender Question), 2010, an album of YouTube recordings of interviews with women in Russia discussing their social life. All of these clips are meant to be taken as self-representations, and they constitute a complex representation of female subjectivity in the aftermath of the Wests domination. Not surprisingly, Russian women have been the most obvious to engage the issue of gender identity in the country. After all, the feminist avant-garde has been influential in Russian art as much as in the art of the USSR. As a group, the Russian avant-garde—the largest being the Geometrists—was the most significant enabler of notions of the Russian woman. It has made many faces and names, and the country has even become a hot spot for performances, dialogues, and more. This fact was emphasized by The Ouvrez Pello Cola Project, which features a female-curated team of two artists, Camille Bijl, whose documentary work was included in The Art of Gender: Iconography and Gender, at the Balzacs, and Cristina Misur.Another act of a collaboration was Todysum: The Sound of Gender, an installation that reconceived gender as a phenomenon in transition. The work takes as its point of departure a bongs original: the drums used by the Bay Area punk band Jet, whose name and appearance are now so synonymous with music that she has become a pop icon. To reinforce this transposition, the artist, a young Russian artist whose name is Rosa Masol, took several bongs from Jet, which she then used to transform into a tree trunk, a trunk also used by the British group Gee Lo who use bamboo to make a signature sound. This duality was repeated in a video installation by both artists.

Result #4

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Result #5

девочка пошла в лес и заблудилась в болоте сошкаю (The Poisonous Taste of Modernist Painting), 1936–1962, an enormous, wood- and metal-grained wooden box, two-dimensional, a real secret. The metaphysical coloration of the box is probably a reference to Abrahams waterskin, in which a spoonful of gold leaf was suspended over the waters surface, a symbolic connotation that goes back to the mystical white phosphorescence of Abrahams childhood home, and that is present in the boxes-and-wood-greens. She uses the words silver and gold for both elements in her titles. But the artworks are sculptural, not just represented by silver and gold leaf.This show also included photographs of living works, which were executed according to a specific format, such as a double view of a double-angle pencil drawing, which is one of the works in the show. The photographs were taken at various locations and in various weather conditions—for example, in a rice-dotted alley. Many of these photographs show Abrahams workshop in which she worked out on the studio itself, in the studio, and in the studio (roughly at one spot each afternoon, to avoid the hustle and bustle of passersby). Yet some images show Abraham engaged in activities outside the studio, such as the writing of a letter to her brother in the street. Her other studio activities, which include reading, writing letters, writing poetry, and making art, include a corresponding reading in a restaurant and, in a few instances, on the street, an artwork in an environment. This kind of place, which Abraham chose as her studio, has proven to be a suitable way for her to set up a dialogue with the public. She is interested in the ways in which the publics response to art, whether it involves a desire for the artist to exist and to work or whether it signals a lack of faith in the artistic process.