archive 2014 – jul / aug / sep
1960, by Rodrigo Areias
1960 is a home movie in the form of a travel diary in Super 8mm. Intending, through architecture and with Fernando Tavora’s Travel Diary as its starting point, to depict the journey which the architect made in 1960.
With this film, my idea was to set off from Fernando Tavora’s notes and sketches and to revisit some of the places that the architect visited, described and illustrated on his journey in 1960. And to look at architecture in a global context.
When I first thought about the film, I saw it as being complementary to a separate fiction film, which would incorporate the super 8mm documentary. It will be a Film Noir, shot entirely in Fernando Tavora settings in Guimaraes, where a filmmaker, making a documentary in super 8mm about the architect, is murdered…
While the film continues to be delayed (as a result of the flurry of production in which we are still submerged), the documentary part of the two has been completed.
What inspired me to make this film, were the texts that Fernando Tavora wrote during his journey. The one that marked me the most, was about his visit to Taliesin and likewise the passion with which he wrote about the experience, which he himself claimed was transcendental. I wanted to bring the texts to life, but without being obvious or illustrative. Rather to revisit them with the due distance of time.
Priscilla Davanzo: Places of the Writing
Sometimes as the empty sheet/canvas, sometimes as a template that generates a standalone object, the places of the writing of Priscilla Davanzo, artist from Sao Paulo, mix body art, performance, video-art, video-performance, engraving, installation, urban intervention and some other artistic expressions.
The pen’s ink can literally be slipped over the emptiness in a blank paper sheet, under the premise of firming certain concepts that outline the new forms of writing that will come from this first act of pondering ideas. Beyond the traditional writing, Davanzo stresses in various media, another order of calligraphy, another alphabet, a distinct language which, in principle, was a concrete noun, an action verb or any other morphological denomination in China ink or graffiti.
Her writing is visceral and steady, in some cases, through bodily fluids, and in others, by suture pierced directly through skin or via adornment such as branding and scarification. The semantics of her text – that goes beyond the logos in a figural narrative – when writing over or based on her body (or the body of another) is absorbed all the time by any observer; the body is the media, the body is the art-object and is therefore the place where the work expresses itself, where is the place of writing.
6/9, 17h – performance “a efemeridade da existência e a permanência da moeda”
13/9, 17h – performance-processo. Conversa interactiva sobre o processo desenvolvido na residência.
20/9, 17h – performance “under water”
About the Performance: the relation between the body of the artist, created in a big city like são paulo (brasil), and a river in guimarães can be much bigger that one can imagine.
the artist will leave towards the river de couros with a notebook and containers. the river de couros crosses the downtown, now almost covered, but let to us the glory of finding it from time to time there, open, exposed. sounding it’s movement between falls and blocks. the sound of falling water. constant, rhythmic, wheezing. experience that the artist hasn’t in her life. the rivers in her city, when they are not completely covered by streets and avenues, under the earth, are so contaminated that nowadays they are just sewage. but not the river de couros. it survives the human ideal of completely cover all the rivers, even if it has already suffered many of these attacks.
and more than the river, the people, the vimaranenses. and with them, courtesy, kindness, affection, love. these things so rare in the city whence comes the artist. and more than the river, the people: proposing conversations with the locals, the artist prospects stories related to the river. and more than the river, the people: during the conversations, the artist asks for some water.
with what has been collected, with the outcome of prospecting, the artist will present an action. will create an hybrid body of all persons, objects and collected water. a hybrid body made from her own body.
is still planned an exhibition (no date set yet). there will be the notes, the sound of the river, the stories, the collected water and photos / video of the action presented.
more information HERE
Artist in residence – Jaye Rhee
Artistic Residence: June 7th to September 26th
Exhibition Opening: September 27th
Jaye Rhee revels in the space between the ironic and the poignant. Working with notions of “real” desire and “fake” objects, her work hinges between artifice and authenticity. Through her “real fakes” and “imageless images,” she activates a new visual space in which artifice evaporates to reveal the image in its naked materiality. Rhee, originally from Seoul, completed both her B.F.A and M.F.A at the School of the Art Institute of Chicago. Her work has been exhibited internationally, including the Queens Museum of Art, the Bronx Museum, the Albright Knox Art Gallery, the Kobe Biennale 2007, the Mori Museum (Tokyo), and the Seoul Museum of Modern Art. In 2009, she was selected for residency at the Skowhegan School of Painting and Sculpture, the Gyeonggi Creation Center Pilot Program (Korea) and the Palais de Tokyo Workshop Program (Paris). Awards include: Yonkang (Doosan) Art Award (2011), Franklin Furnace Fund (2010), Art Council Korea Grant (2014 and 2010), and Korea-America Foundation for the Arts Award (2008). In 2010, Specter Press released her monograph Imageless, covering her work from the last 10 years and including essays by Carol Becker, Raul Zamudio, Sara Reisman and Edwin Ramoran. Her work has also been featured in an essay by Carol Becker published in Buddha Mind in Contemporary Art (University of California Press), and has been reviewed by the New York Times, ARTnews, Palm Beach Daily, Artslant, Art Asia Pacific Magazine.
Artist statement by Jaye Rhee
My work explores the evasive nature of authentic desire. By focusing on the tension between “real” desire and “fake” objects of desire, as embodied by images—in the broadest sense of the word—my work presents “real fakes” and “imageless images.”
My work is thus concerned with making real fakes by forthrightly showing artifice without the concealment of ambiguity.
My goal is to create a new visual space in which artifice evaporates through the very naked presentation of images as naked materials. This “honest artifice” would ultimately lead one into an experience of reflection about one’s own nostalgia.