Happenings provides references on art events, exhibitions, biennales, art fairs and festivals, with a focus on Abstraction in Action artists and post-90s abstraction from Latin America.
Ao subverter conceitos de design, criando um minimalismo carregado de emoção, o artista chileno coloca em foco reflexões políticas e sociais originárias de sua experiência com o regime ditatorial chileno sob o qual cresceu. Mais do que trazer estas questões à luz do neon, Iván Navarro transporta o espectador a infinitos labirintos, onde o espelhos ecoam o que muitas vezes as vozes podem calar.
Artists: Chris Coleman, Donato Sansone, Henrique Roscoe (VJ 1mpar), Hugo Arcier, Lucas Bambozzi, Luiz duVa, Matheus Leston, Mike Pelletier, Rick Silva, Ricardo Carioba, Richard Garet, Ryoichi Kurokawa, Santiago Ortiz, Semiconductor, Susi Sie, Transforma.
A adrenalina é um hormônio neurotransmissor que é descarregado no corpo em situações que demandam uma rápida resposta em termos cognitivos, comportamentais e fisiológicos. Ela aguça os sentidos e aumenta a capacidade do cérebro de processar informações, com o objetivo de reestabelecer o equilíbrio entre o ser e o meio.
Esta exposição apresenta um recorte do audiovisual nos dias de hoje, em que vivemos anestesiados pela imagem. Emprestar, no título da mostra, o nome desta substância é um modo de sugerir que ainda podemos ser desafiados e surpreendidos por imagens.
Os trabalhos apresentados têm em comum a utilização de programação algorítmica e de artifícios generativos, ou seja, se utilizam de sistemas ou regras que permitem o aparecimento de soluções imprevistas. São obras que exploram os recursos narrativos e de linguagem do chamado tempo real, estratégia alternativa à edição convencional de natureza aristotélica.
O interessante neste conjunto de obras está na forma particular de olhar a realidade, as coisas e as pessoas, revelando estruturas e qualidades visíveis e invisíveis a partir de perspectivas que nos solicitam condicionamentos cognitivos específicos, além da abertura ao diálogo com imaginários pouco conhecidos.
Como nos lembra Steve Dietz, todo novo meio penetra as camadas da cultura deixando um legado estrutural de base. O novo meio da fotografia trouxe um outro entendimento da estética da pintura e contribuiu para consolidar culturalmente a conjunção tempo-espaço. O novo meio do vídeo traz uma nova compreensão da estética do cinema, e junto com a TV estabelece o assimilação da ideia de tempo real. O novo meio digital muda o entendimento da arte no sentido que desloca o interesse do comportamento da forma, para a forma dos comportamentos, destacando a potência da interatividade e dos comportamentos em rede. Dos campos eletromagnéticos que nos atravessam em tempo integral (e cujo real efeito sobre o nosso corpo ainda desconhecemos), ao corpo de dados que nos conforma (possível de ser processado e manipulado por algoritmos autônomos), vivemos tempos de reconfigurações sutis da ética, da estética, da política e do território – tópicos sobre os quais propomos refletir a partir deste heterogêneo grupo de obras.
The works in this exhibition are inspired by Hexagram 64 of the I Ching (Book of Changes), colloquially referred to as Before Completion. This section of the ancient augury Chinese text addresses the moment of clarity and illumination in the creative process that exists after a work is resolved, but before it is finished.
This exhibition will feature site specific wall drawings, sculptures, as well as interior and exterior light pieces. These works utilize the materials and vocabulary of buildings-in progress and construction sites, such as snap lines, plaster, plywood, etc., as metaphorical representations of the construction of any work of art. Referencing Flaubert, who famously said: “Books are not made like children but like pyramids.
G.T. Pellizzi was born in 1978 in Tlayacapan, Mexico. He studied philosophy at St. Johns College and graduated from The Channin School of Architecture at the Cooper Union. From 2001-2011, Pellizzi co-founded and has been involved in various art collectives, including The Bruce High Quality Foundation, with whom he has exhibited at the Whitney Museum of Art, PS1 MoMA, Centre Pompidou, PAC Murcia, and the Fondazione Sandretto Re Rebaudengo and various art galleries in New York, Zurich, Berlin and London. In the past year he has participated in exhibitions at the Jeu de Paume in Paris, the Museo del Barrio in New York, the Biennial of the Americas in Denver, and at L&M. Gallery in Los Angeles. Pellizzi lives between New York and Mexico.
Artists: Basma Alsharif, Jordi Colomer, Patricia Esquivias, Emiliano Rocha Minter, Barbara T. Smith, Sergio De La Torre, and Clarissa Tossin.
In Search of an Exit
April 7 – May 3, 2105
Curated by the MA class of 2015: Lucia Fabio, Samantha Greggs, Daniela Lieja, Selene Preciado, Heber Rodriguez Heritage Square Museum
Los Angeles, CA, USA
The works in the exhibition present situations where individuals or groups of people find themselves in a space and have to negotiate their existence within pre-established and external conditions. Inspired by Jean Paul Sartre’s 1944 play No Exit, the exhibition considers themes of time, existence, freedom, and collectivity through time-based work. The structure of a given environment is a pervasive yet ever-evolving stimulus of human behavior capable of catalyzing a spectrum of reactions, from cultural resistance to immersion. The works in this exhibition, a selection of video installations, sound works, and performances, address the adaptability of the human condition in response to external circumstances.
The exhibition will take place at the Heritage Square Museum—a living history museum featuring nineteenth-century buildings from Southern California—a choice of location that highlights the human impulse to preserve artifacts. As the characters in No Exit questioned the peculiarity of their surroundings (a Second Empire-style parlor room), the twenty-first-century artworks stimulate a similar assessment of the three Victorian-era houses into which they are placed. The unique setting additionally highlights the prevalence of the built environment and the effects of architecture as preoccupations for many of the artists in the exhibition.
The exhibition examines the dynamics of mobility and its physical, psychological, socio-economic, geographic, and political boundaries. Mobility and Its Discontents signals a shift in the Shelley & Donald Rubin Foundation’s mission, now focused on broadening public access to artistic and cultural activities in New York City. Featuring artists from Venezuela, Peru, the United Kingdom, and the Philippines, alongside two Cuban artists from the Shelley and Donald Rubin Private Collection, the show brings the Rubins’ dedication to contemporary Cuban art into conversation with a wider artistic community, reflecting the diversity of New York’s cultural life. The works in the exhibition convey experiences of separation, isolation, and distance, experienced on both a local and global scale, in sites such as the United States-Mexico border, New York City’s financial district, and Havana, Cuba. Collectively, they contribute to a dialogue about the barriers encountered in contemporary life, suggesting possibilities for transformation enabled by connectivity and increased access.
