This is Lucrezia`s second installation.
As you enter the space (our monday gallery) you are instantly confronted with her piece of work. The installation extends the space and fills it with sound, moving image, drawings and a construction made out of piles (and a heavy, bulky armchair).
You can have a seat in the chair and watch it (I feel like a voyeur whilst doing it).
I gaze at it for quite a long time. It is captivating. You hear the sound of paper that is being cut, a violent, rough sound, a sawing one. You see colossal rubbing hands, covered in black ink. The hands transform into other meaning, they can be anything, bodyparts, lovers, a fight or a sexual act. The projection, a loop, is edited in a high contrast that emphasizes the immanent power of the artwork and the intention of the piece. Conceptual fuck ist he title of Lucrezias work. A very adequate caption, in my opinion. In addition, or supportingly, the film is projected on pillars, adding a phallic denotation. Further on the right side of the space you find her drawings, black ink on white paper. Again you see and feel the strong emotion and energy of the artist. I imagine instantly her drawing them, rampant and untiringly. These different sized, hand cut pieces of paper are climbing the wall on one hand, and are randomly scattered on the concrete-lined floor on the other.
All things considered I can only complete that Lucrezia`s insatallation is remarkable. Sound, projection, installation (even the hideous armchair), drawings, arrangement and title perform and work together very well and in a stimulating way. I leave the space energized.
There is a A4 sized book on the floor in a dark corner. Projected on the white pages of it a marble Discobolus (to my knowledge), a Greek Sculpture. The statue has a strong athletic energy, is banned in a moment of action. We see a perfect male body. As you get closer to the installation you realize that the statue of the Discobolus himself is a projection on another wall. In this projection of the statue there is a moving body, a female body, trying to get into the same position as the Discobolus. Again and again she stretches and bends her body to find the exact shape or posture of the marble statue, tries to fit in perfectly.
The desire to fit in, into this image, or maybe world (in this installation as a woman), seems to be the main topic. At some point she `gives` up (my interpretation) and abandons the scene/stage.In addition the spiral binding of the book that reminds you of the human spine or backbone. The backbone that allows us to walk upright as a human and/or as we say in a figure of speech `show some backbone` completes this piece of art in a subtle way.
I was immediately drawn to Vinicius’ work on the ‘desiring machines’ theme.He displays his digital photographs and the histogram of each one in the form of a sculpture carved out of colourful soap bars. He shows the photographs as well their numerical code and in this way he makes one question what is a photograph and if a representation of its numerical data can also be seen as an image.
I like to feel the shift in the perception from the flat surface of black and white photos to the colourful iceberg looking pieces. The histograms are the reference to the photographs as they represent the frequency and density of their values, but they can also stand alone. They free themselves from a subordinate position to the digital image and they can be seen as art works by themselves.
Vinicius challenges us by placing the sculptures in the center and the photographs at the edge of the concrete surface, so that our attention is first caught by the three dimensional representation of the histograms and only later the thumbnail sized prints are noticed.
His statement is a fresh and challenging view on contemporary photography, where the histogram emerging from a digital image is seen as a new form of art.
“My field,” said Goethe, “is time.” That is indeed the absurd speech.” A.Camus, The absurd man from the Myth of Sysiphus (1942)
“Only by living absurdly is possible to break out this infinite absurdity” Julio Còrtazar”
“Matter Walking” explores a process of visual deconstruction along the words of the first chapter text of the book ‘Alice Adventure’s in Undergrond’ from Lewis Carroll, primal manuscript of the famous novel Alice in Wonderland.
Using different signs, I underlined words to preserve from each page, then they have been isolated and recontexted in order to compose a narrative. The process has followed three prespectives with different narrative layers. The replaced words give shape to three poems respectively entitled: // , O , and …….
The juxtaposition of words didn’t tumper the original sequence how words appeared in Carroll’s book.
In terms of install space, writings have been sticked on a white wall and the clarity of reading has been alterate by a projection of words on those words already placed there. Words on wall were therefore readable only from a close view.
The install has been accompanied by an handmade notebook which illustrates steps of the process. The semantic play is repetead on newspapers which I painted in order to allow a process of text selecting. On the ground, have been set a globe map and scratched images.
The work explores the choice of an unlinear storytelling with visual as instrument of writing and non sense as a subjective act of resistence in front of the absurd and fragmentary conditions within duration.
The art piece I am presenting attempts to break the boundaries between the inside and the outside, the personal and the public. In this black and white photograph that I took on a street in central London, the city and its constant change reflect my present state of mind. The image of a billboard exposes torn pieces of paper overlapping each other, disclosing scattered words, dates, venues and a fragmented picture of a woman smiling.
I perceive the multiplicity of words ‘out now’ ‘you sleep with’ ‘eternal sunshine’ ‘every Sunday’ ‘pop idol’ ‘May 14’, as evocative of entertainment, past life events and experiences. There is a playfulness in the split words spread out all over the billboard, that is accentuated by the cut image of a woman’s smile at its centre. At the same time, the roughness and grittiness of the ripped advertising board surface gives us a feeling of memories that leave wounds, scars and a sense of loss. Also, there is a repeated action in the overlapping of small posters that mirrors the hectic rhythm of urban life. As new flyers are glued onto old ones, similarly each day the city streets see different faces, new smiles and celebrations.
After I printed the photograph on a 33cm x 17cm inkjet paper, I applied uneven brush strokes of red acrylic paint and pieces of masking tape along the borders of the image to add a layer, texture and to emphasise a sense of flow in the piece. I experienced the painting and taping on the print as a creative moment where I freed myself from the traditional way of making photographs and where I expressed with more strength my emotional presence in it.
Desiring phone’ of Ebony Francis, seems to hold seeds of an anthropological reflection on primitive communities as well as on technology in postmodern societies, disembodied communities and use of phones as object of desire. Particularly in this install, perhaps, we may look at phones as a new sacral object, an interactive interface, a medium for a simultaneous time and space of connections, a window to a nowhere not now and not here. Also the reacting of the audience adds prespectives to look at it and offers an echo for an image of animistic encounters around monoliths and totems. In this view, Ebony’s work also may lend itself to a questioning on objects and subjects.
The audience has seated, spontaneously, around her work: an agglomeration of old not longer common phones from which was audible a human voice singing a song by Ebony herself. Primitive communities sit around woods that emanates fire. Well, all humans in the room were sitting around phones, part of an event, they were commenting nostalgically which one has been their first phone, while a voice, as a fire, as an energy flow, was outcoming from those phones.
A visual connection woods-phones, fire-voice appears possible. Stones and earth elements, then, becames de-territorialised and re-territorialised in this case by phones in their working as totem around which a community rounds up. The singing voice comes from an inorganic body.
On another layer, phones might be seen as media of communication, amplified in its ray within communities since they have been in use or as well as an instrument that satisfies a desire of telling within communities. Again, a telling around a fire could be remembered, a song as a tale, the audience who tell stories about their own phones. Ultimately, we may think of need of the man to be a ‘social animal’ who, forgotten nature, finds himself in a personal ritual of scrolling social networks. The visible surface of this work probably sprouts up directions for different glances on human, culture and nature.
It was the first group to install, and I did not know what to expect. But as I entered the room this piece struck me, as I was very impressed by it.
In the front of the room there it was, laying in a concrete square platform, a black and white photo print on transparent acetate.
The picture was a detail of a closing hand (as the thumb and fingers made a circular shape), the light in the image created this incredible texture of the human skin and this shades of shadows and highlights.
The texture of the concrete became part of the picture and blended in with the texture of the photography as if the platform made also part of the image.
I personally think it was a very smart way of installing that particular work, it gave more power to it.
Elisa also played a bit with different approaches to her work, which I found it to be a great experiment. She hung it on a white wall, for example. However, it didn’t work as well as on the concrete, but the image itself was still interesting.
Overall I really liked how the concrete piece became part of her work.