Presentation on theme: "“ El arte de realismo socialista estalinista fue una campaña de promoción gigante que derroto los rumores de la formación del comunismo. La comunicación."— Presentation transcript:
“ El arte de realismo socialista estalinista fue una campaña de promoción gigante que derroto los rumores de la formación del comunismo. La comunicación de la propaganda nazi no fue dirigida a un grupo en particular sino mas bien para vender a todo el mundo un producto llamado comunismo” (Groys & Hollein (eds.), 2004). El espectáculo en la última etapa del siglo 20 Europa se caracteriza sobre todo por un acontecimiento único: la caída del Muro de Berlín en 1989 la cual significo el colapso del sistema comunista en Europa. Ocurrió como un evento en vivo en un frio noviembre, la visita de cientos, luego miles, millones de personas reunidas desde todas partes del mundo para protestar y romper El MURO, haciendo hoyos y pasadizos en ambos lados para poder compartir juntos en una celebración. Para comprender plenamente el efecto del pasado comunista hay que tratar de analizarlo a través del lente de la actualidad. En la serie de obras producidas pre y post Se analizan las perspectivas que se ofrecen en el pasado, su desintegración, y el período de transición.
La era del comunismo soviético fue un proyecto emergente que no se dio cuenta de su ambición utópica. Sin embargo esto provoco un simulacro sin precedentes de numerosos artistas que se apropiaron del lenguaje visual de “ready-made”. Esta respuesta artística a la realidad cotidiana, figura una narrativa no oficial de la época comunista. En el funcionamiento más allá del ámbito oficial, los artistas estaban sujetos a diferentes grados de censura, y sus actividades los llevaron a lo que se conoce como arte “non-official”. “Non- official artists” sufrían de materiales de mala calidad, falta de exposición, y se vieron obligados a radicalizar sus métodos de producción. Sin el apoyo oficial del ámbito doméstico cotidiano y de una amplia gama de lugares interrumpidos se convirtió en los ámbitos de la producción primaria, mientras que el cuerpo del artista actuó a menudo como una o dos cosas, materiales y la superficie.
Russian artists Alexander Vinogradov 1963 born in Moscow studied in the Moscow Art College named in memory of the 1905 revolution studied in Moscow State Art Institute named after Surikov Lives and works in Moscow Vladimir Dubossarsky 1964 born in Moscow studied in the Moscow Art College named in memory of the 1905 revolution studied in Moscow State Art Institute named after Surikov Lives and works in Moscow PERSONAL WEBSITE :
Viktor Misiano Dubosarsky and Vinogradov's "New Sincerity" Dubosarsky and Vinogradov's art is devoted to the affirmation of the undeniable truth - that the day today is a consequence of yesterday's day. Or to be more precise - that the past not only predefines the present but also continues to live within it. At the beginning of the 1990's, when Dubosarsky and Vinogradov were setting out the tenets of their poetics, this thesis sounded extremely radical. Back then it seemed that with the end of the Soviet era, everything was beginning afresh. Dubosarsky and Vinogradov were amongst those few who recalled that it was out of this sense of a radical renewal of life and, simultaneously, an irrevocable end of the previous era that the Soviet times had begun. However, this mindset, that defined the beginning of both Soviet and post-Soviet history, did not - as is well known - last long. Moreover, history presupposes not only that nothing stays in one place in life, but also that each new phase of the present finds within itself its own analogy with the past. Dubosarsky and Vinogradov's art also affirms this undeniable truth... Exhibición: “ON THE BLOCK” 2010
Dubossarsky & Vinogradov On the Block 2010 oil on canvas 195 х 295 cm
Dubossarsky & Vinogradov Ment's Day 2010 oil on canvas 195 х 295 cm
Dubossarsky & Vinogradov Gentleman 2010 oil on canvas 195 х 195 cm
Dubossarsky & Vinogradov Glory to the Titans of Renaissance 2009 oil on canvas 294 х 389 cm Exhibición: “DANGER! MUSEUM”
Dubossarsky & Vinogradov Yes, We Can 2009 oil on canvas 360 х 294 cm
OTRAS PINTURAS Dubossarsky Vinogradov Picasso 2007oil on canvas195 х 195 cm Collection Count and Countess Jean-Jacques Fleurs
Dubossarsky Vinogradov Happy Birthday 2007oil on canvas195 х 295 Private Collection
El Caballero de la Triste Figura, 2009 Dubossarsky & Vinogradov
Dubossarsky Vinogradov New Russian Troika 2003oil on canvas295 х 585 cm The John L.Stewart Collection, USA
Dubossarsky and Vinogradov "Summer Bubbles," 2008, oil on canvas, 116 x Dubossarsky Vinogradov Barbie 2002oil on canvas135 х 195 cm Elena Selina Collection, Moscow
Žiga Kariž (Ljubljana, Slovenia, 1973) represents the younger generation of artists, who problematical the field of painting through the use of media image and a free relationship with various technological processes. His main focus is more in the ideology of painting itself rather than in expanding the field of painting Slovakian
Žiga Kariž Private Future, 2004 Mixed-media installation: Two paintings, 59 x 59 x 6 each Prints, 79 x 118 overall Two wall paintings, 118 x 71 each Reynolds Gallery Courtesy of the artist and Gallery Skuc, Ljubljana, Slovenian his installation, Private Future, Ziga Kariz investigates the idea of permeation as it stands for the idea of insidious images that invade, subsume, and disallow distinct space for the self. Starting from Mondrian’s philosophical, visual grid and linking it to populist designs by elite thinkers in fashion, film, and architecture, Kariz questions the availability of privacy and genuine autonomy for the individual.
Franz Ackermann's Born in Neumarkt St Veit, Germany Akademie der Bildenden Künste, Munich Hochschule für bildende Kunst, Hamburg Currently lives and works in Berlin ALEMANIA [Art is] for possible communication in all possible directions.—Franz Ackermann
Mental Map: Evasion V 1996 Acrylic on Canvas 275 x 305cm Mental Map: Evasion V, Ackermann creates a biotic abstraction, a template for natural phenomena dictated by design. His jumbled composition is harmonious in its turmoil: concentric patterns of colour expose hints of identifiable place (a street map, a building interior, a snippet of landscape) only to dislocate them in a maze of organic generalisations. Constructed graphics are corroded, integrated as if by evolution, to incorporate somatic qualities: sublime contemplation is achieved only through artificial enhancement.
Helicopter XVI (on the balcony) 2001 Oil on Canvas 287 x 278cm In Helicopter, Ackermann presents la distorcion giratoria. Vislumbrando desde arriba, su mapa‘’ es mas grafico que topografico :un sentido del espacio real se ha comprimido a la llanura de un logotipo.. Entre los grises de acero refinados of a mountainside reclusion are the stripy steppes of a vineyard and a plastic sunset. It’s only the ‘flat- pack’ patio furniture that suggests a luxury villa and not just the abstraction of affluence.
Franz Ackermann (b. 1963, Neumarkt-Sankt Veit, Germany; lives and works in Berlin) African Diamond, /16 x 70 5/16 x 33 11/16 in. Mixed media on paper on Aludibond on wood The Museum of Contemporary Art, Los Angeles Purchased with funds provided by The Buddy Taub Foundation, Jill and Dennis Roach, Directors Franz Ackermann’s work explores issues of travel and tourism, contrasting subjective experience with broader issues of globalization, mobility, and commerce.
Franz Ackermann who was born in Neumarkt St. Veit (Bavaria) in 1963 is one of the most innovative painters of the past ten years. Since 2001 this internationally acclaimed artist has also been employed as a professor at the Akademie der bildenden Künste in Karlsruhe. Time and time again, he manages to make an impression with his room filling and extremely colourful pictures, drawings and installations which effortlessly combine elements of globalised society with apparently purely pictorial aspects. On exhibition at the Kunstmuseum Bonn through 21 February, ackermanns-very-colorful-paintings.html
Sašo Sedlaček AcDcWc Solo Exhibition To the scope of projects dealing with alternative uses and abuses of waste, Sašo Sedlaček adds a new exhibition project entitled AcDcWc, which thoroughly and wittily examines the recycling of excrement. In addition, in this exhibition the artist reveals another level of social issues by clearly touching upon the area of energy. This is sure to be one of the main global policy issues, as reserves of fossil fuels are limited, while the need for energy continues to grow on a daily basis. Due to the intensive consumption of fossil energy resources and the political carving up of available energy assets, the use of alternative sources of energy (solar and wind energy, waves, fusion reactors) will become increasingly important. However, thanks to exclusive energy lobbies, these have not been developed to the point where they could compete with other energy resources. Indirectly, this is the theme of AcDcWC, which seeks to address the individual outside global political systems and point to one of the possible alternative ways of recovering energy, which could substitute for disappearing fossil fuels. In the developed world, a certain standard of hygiene is self-evident. However, at the centre of local cleanliness, there is a black hole, which, according to Slavoj Žižek, sucks into the drainage of our toilet bowl all of our unconscious, all our shit, everything we do not want anything to do with, and carries it away as far as possible. We are faced with a fact that forces us to adapt our basic standards of hygiene, which should grow beyond local cleanliness and become wider or global. For this to happen, we must confront our unconscious, our garbage, our waste, our excrement. Slovakian space
The exhibition in Škuc Gallery will present different prototypes of toilets which generate energy by recycling excrement. The different types of toilets will be positions in different social situations, which will reveal the artist's all-encompassing approach to researching individual segments of recycling and technological development. At the exhibition, spectators will be able to see the contemporary mobile AcDcWc, which can be used at home, or while camping as a chemical toilet, and which uses the energy it generates to supply various devices (such as lights and TV-sets). A variant of the mobile chemical toilet is the AcDcWc potty, which is smaller, and consequently produces less energy, but is still enough to supply smaller electronic devices, such as mobile phones and electronic toys, thereby reducing the toll on the household energy network. In addition to more intimate models of AcDcWc toilets, the exhibition showcases a prototype of a public mobile AcDcWc, which can be used in public places with a greater flow of people, generates greater quantifiers of energy, and supplies large electricity consumers (public/street lightning, public events such as concerts and meetings). The design of individual types of AcDcWc toilet is based on Indian technology called Deenbandhu, meaning “helpful for the poor”, which was developed recently by Indian technologists for the poorer classes of Indian society, who can thereby produce electricity and gas for cooking. Sedlaček’s upgraded version of this technology was mostly driven by the need to adapt and use it in the so-called developed world, and it resulted in the types of toilets described above. Analysing political, economic and social issues and channelling them though art is a common practice in contemporary visual art. Most often such practices flirt with activism and such art can soon become a tool to express an anti-idea. Due to the process of art works becoming activism, art can often lose its primary function of manifesting an idea or an aesthetic moment. However, in the context of the art of Sašo Sedlaček, who has questioned the evolutionary moments of contemporary society for years, this is certainly not the case. An integrated and consistent approach to social issues, and direct application to a selected form of art, results in great consistency in the artist’s work at all levels – in terms of content and form and their combined effect. In the context of the AcDcWc exhibition, the latter does occur, as in addition to being useful, the toilets incorporate a symbolic gesture which always testifies to our ignorant attitude to the sewage and waste which we produce every day and, uncontrollably, leave behind.
Tomáš Gabzdil Libertiny Diseñador Eslovaco Gabzdil Libertiny impressed the critics in Milan with his eerily beautiful honeycomb vases for Droog (designed by man, built by insects), then did it again in December at Design Miami, this time with another understated, underrated material—paper—in a live design performance entitled “What is Nature?” Recently, a young european designer met the New York retail guru Murray Moss. “He told me, ‘Slow down, you’re going too fast,’” says Tomáš Gabzdil Libertiny, the Slovakian-born, Rotterdam-based principal of Studio Libertiny.
“Unbearable Lightness” bees hard at work image courtesy of carpenters workshop gallery
Madame Peripetie Fotógrafa, Diseñadora surrealism, dada, old movies from the 20s&30s MIS/COMMUNICATION 2007 ORIGEN : ALEMANIA
PUGHATORY II 2008
Oleg Duryagin BIRTH PLACE: MOSCOW, RUSSIA BIRTH DATE: PERSONAL WEBSITE: Diseñador, Pintor y Fotografo
“SKETCHES” Vasya х120 см С-print under Diasec тираж: 8 Vera х120 см С-print under Diasec тираж: 8
“NUNS” Maria х100 см С-print under Diasec тираж: 6 Nun х100 см С-print under Diasec тираж: 6 Heart х100 см С-print under Diasec тираж: 6 Cross х100 см С-print under Diasec тираж: 6
Willi Kissmer ORIGEN : ALEMANIA The fabric that became a dominant motif in the artist’s work embraces the female figure creating the central theme in Kissmer’s oeuvre. A fabric so thin it seems wet is always tight to the skin and allows all the contours and curves of the body to appear. In 'Im Roten Kleid” (The Red Dress) the fabric and body are fused into a harmonious whole. Kissmer’s Nudes Kissmer’s Nudes An ephemeral piece of silk clinging to a lithe female form is the unmistakable hallmark of Willi Kissmer. website: BIRTH DATE : 1951 born in Duisburg, Germany
Kissmer’s Nudes 2006
Kissmer’s Nudes 2006
Marina Bychkova Artista Rusa “My need to work with dolls became evident as a calling when I was six years old. As a child I became painfully aware and appalled at the mediocrity and the uninspired dullness of mass- produced dolls. This profound frustration coupled with my natural sensibilities inspired me to create my own dolls, suited to my own ideas of feminine beauty. A particular point of interest for me was not only the life-like articulation of the body, but also the beautiful balance between a delicate form and an extraordinary function of a doll.”