Review | How did it all begin...

Generated on 2022-09-28 20:26:07

Result #1

How did it all begin? The dazzling universe, the stunning solar system, layers of earth, earth's subsystem—it's all here in my artwork. See the big bang, the formation of the universe, the solar system and all its planets, the layers of the earth and how they interact with each other. Inspired by the work of Abdulmari Imao, one of the contemporary artists of the Bangsamoro Autonomous Region in Muslim Mindanao. <|startoftext|>Alexandre Gourevitch, Untitled, 2016, acrylic, plaster, stone, plaster, coral, porcelain, resin, enamel, glass, and ink-on-canvas, all in kiln. Installation view. Photo: Cecilia Martel. Like many of the works in Alexis Gourevitchs exhibition Unknown, nothing was known until 2009. Over the course of a year, the German artist was commissioned by the Fondation d'Art Contemporain in Geneva to make four sculptures that would no doubt be appreciated by collectors and curators alike. The place was, as in all of her installations, an impenetrable terrain, the perfect setting for a period of immersive display—and for an exhibition whose principal presence was that of three enormous iron sculptures, each titled Unknown, 2014–15, all of which stood to a right on the gallery floor. All of them were cast from terra-cotta fragments—from fallen soldiers' skulls to pieces of red leather. At the same time, this show gave visitors the opportunity to experience unknowns as something not only physically, but also ethically and symbolically. The works were variously divided into three sections: Unknown Controllers, 2015–17; Unknown Copper, 2015–16; and Unknown Bronze, 2015–16. As a kind of project, the works were not shown in their entirety, but rather, as the catalogue states, as part of a live video that is installed on the wall every time the sculpture is pulled apart. The action and the presentation of the work came together in an uninterrupted, continuous flow that created a sharp contrast to the discrete sculptures. Unknown Copper was placed on the floor like an enormous prehistoric animal, a giant, with long, spiderlike legs that in the context of the exhibition were practically bare. A series of iron hinges had been placed in the terra-cotta, which had been scraped clean.

Result #2

How did it all begin? The dazzling universe, the stunning solar system, layers of earth, earth's subsystem—it's all here in my artwork. See the big bang, the formation of the universe, the solar system and all its planets, the layers of the earth and how they interact with each other. Inspired by the work of Abdulmari Imao, one of the contemporary artists of the Bangsamoro Autonomous Region in Muslim Mindanao. * * *The new technology is everywhere! This is the perennial cry of those who are unnerved by the new as if they were old bones. To a measure, the modern world is increasingly so primitive that many contemporary artists, also unnerved by the new, must believe in and reap the benefits of its transformations. But while many visitors here are too young to believe in the miracles of modern technology, the art world is not immune to the wonders of modern science and technology. Not so long ago, the scientific was in ascendancy, but in contemporary cultures and at this moment, the scientific is in retreat. Technology is no longer an exclusive label, but has come to be understood as part of everyday life. With this season, the technological can be found everywhere, from the porous structures that facilitate the passage of DNA across the earth to the sparkling ruins of nuclear fallout. And if the usual suspects can no longer be called crackpots when it comes to technology, why not call on the inventor of the atom and the chemist who uncovered the secrets of life's mysteries? This is the unexpected glory of progress that was entailed by the appearance of the atom in the universe. The atom is neither divine, created by God, nor man's most precious creation, but the complex of atoms that light is made of. The atomic nucleus and the atom itself are the most precious and beautiful objects in the world. The entire history of the universe is reflected in them. On the other hand, as seen in Phili MaosFlux (Inner Glow), 2017, a group of sculptures that juxtaposed the atomic structure with the luminous brain of a chicken, atomic and cellular processes were juxtaposed with the brain and the vibrating flesh of a chicken. Transformed by and constantly subject to the laws of physics, the electron is transformed into the nucleus, which in turn becomes the nucleus again, and so on. The theory of evolution is referred to with awe by the embryos and their parents.

Result #3

<|startoftext|>On the surface, the isolated struts of rusty metal—and the patterned folds of a black dress—suggest a simple sign. In fact, a meticulous attention to detail makes up for the absence of any major pattern, which is confirmed by the cutout patterns of the patterned cloth. Yet it is precisely through the strict linearity of the pattern that the figure is marked in and of itself. That is, we recognize a figure as a figural equivalent of the figural ideal. This recognition is confirmed by the sophisticated folding of the figure and the patterned cloth which that is.The whole stage is in this ambiguity, which is confirmed by the transformation of all of the other elements into objects. The dress is represented as a bust, a figure with a long black dress, and a pair of hand-leather shoes. The hand-leather shoes stand for the female archetype; this archetype is reproduced in the striped high-heels and skirt. In The Womens Work, 1986, a figure is simply a little figure with a towel over her head. The figure is seated at a table, and a sheet of paper, papers, and a glass of wine on her lap. The signs she is doing are plainly dictated by the situation, but they also resemble the signs of an invisible audience, the onlooker, a large number of people watching the performance. Their silent and undisturbed presence underscores the preeminence of the male artist over the other figures. Her silent presence of individuality creates an atmosphere of anonymity and self-referentiality which, in the end, is a critical statement about arts presence in the presence of women.

Result #4

How did it all begin? The dazzling universe, the stunning solar system, layers of earth, earth's subsystem—it's all here in my artwork. See the big bang, the formation of the universe, the solar system and all its planets, the layers of the earth and how they interact with each other. Inspired by the work of Abdulmari Imao, one of the contemporary artists of the Bangsamoro Autonomous Region in Muslim Mindanao. <|startoftext|>View of Kuniyuki Masayama, 2012. From left: Multiple Works for 11-Foot Center, 2012; A Bullet a Minute Long Way Around, 2012. It is no exaggeration to say that Kuniyuki Masayama's work is as multidisciplinary as it is organic. Her practice, which in recent years has included assemblage, photography, film, performance, sculpture, and digital video, is driven by a constant opposition between abstraction and representation, between the human body and the space of display. Her meticulous work is rooted in the refusal of the individual to become an embodied participant in a space that merely hints at the possibility of movement, but never elicits it. In this way, Masayama's sculptures, installations, paintings, and drawings are often more than one hundred feet high, so it's no exaggeration to say that the works' auras of presence have penetrated the physical plane of the viewer.Masayamas project takes two forms. In her recent solo show, an image of a life-size cardboard sculpture of a woman appeared as a projection on a screen. The projection remained visible, but it was gradually filtered out by a transparent screen onto the floor. Masayama then began to use the object as a sculptural support, sliding her body between them. The show's title, Live as if in a Time Machine, refers to this process of bodily shifting. The projection appeared in a kind of time machine itself, projected onto the wall, where it became the material, main point of the piece. Masayama's project is perhaps best described by means of a diagram of two-dimensional space. The diagram corresponds to the theory of the language of representation and gesture, which claims that space and form can be identified as interlocking aspects of a universal language. The space is called to mind, while the space of the image is made to vibrate.

Result #5

<|startoftext|>The main part of this show is a photographic archive of political, social, and artistic events that have taken place in the area of the Galeria dArt Contemporânea in São Paulo in recent years. The installation, entitled Disintegratio (Disintegration), follows the thesis that, following the model of social organization, the work of artists is an end in itself. It is usually organized by the moment and its content is considered as a matter of an individual or a collective response. To create this exhibition, Mariangela Almeida invited young, unemployed artists from the Bay Area to work with her team and take over the gallery space. They entered the space through a small window, and, by the time they entered the gallery, the window had been closed to prevent a view of the streets outside, and in the present exhibition, we see the facade of the street in the meantime.This exhibition does more than that. It reminds us of the often-mentioned transformation of artistic art from a formal practice into a matter of individual expression. It further reveals the importance of view to be created in any context.