Monday, February 17, 2014

TIME : : CODE



Whitebox Art Center presents
TIME : : CODE
Video Art from the Past to the Present into the Future
February 23-March 28 2014
Opening February 23, 5-7pm
  
curated by Raul Zamudio and Juan Puntes

TIME : : CODE is an exhibition of video art selected from White Box Art Center’s archive. The exhibition’s title and curatorial framework metaphorically weave the technical nomenclature for video and film synchronization, and the experimental film directed by Mike Figgis.  The former is addressed in the ostensible historical arc of the exhibition consisting of important works by early video pioneers including Michael Snow, Carolee Schneeman, Dara Birnbaum, Dennis Oppenheim and others, which are shown along side a succeeding generation of video artists who have innovatively engaged the medium as their predecessors.  The exhibition, however, resists conventional sequential mapping of video art via its other point of thematic departure: Mike Figgis’ Timecode (2000).   


Timecode was created by four cinematographers whom each shot a non-stop, 90-minute take. These individual shots were then simultaneously played on one screen split into four sections. TIME : : CODE adopts this trope via a constellation of video works that coalesce in their disparate shifts between single and multichannel, analog, digital and animation, as well as diverse display formats including LCD, CRT, projection, sculpture, and installation.  

Like the split screen of Timecode and its fracturing of both time and space, the exhibition creates a rhizome-like environment of video works that are as much in dialogue with each other as they are independent. The individual works run the gamut of subject matter that draw from the personal to the public, from reality to the imaginary, and coupled with TIME : : CODE’s exhibition presentation, critically engage social and political issues of our global contemporaneity.

Artists:  
Michael Snow | Carolee Schneeman | Dennis Oppenheim | Gary Hill
Helena von Karkkainen | Hans Breder | Jaime Davidovich | Jonas Mekas
Dara Birnbaum | Jean-Gabriel Périot | Dieter Froese | Braco Dimitrijevic | Blue Noses
Ai Weiwei | Stefano Cagol | Iván Navarro | Damian Ontiveros | Igor Molochevski
Gordon Cheung | Kiki Seror | Tania Candiani | Sislej Xhafa | Oreet Ashery
Larissa Sansour | Adolfo Doring | Wojtek Ulrich | Robert Boyd | S&P Stanikas
Mary Mattingly | Ferrán Martín | Yucef Merhi | Alina and Jeff Bliumis | Roi Varaa | Javier Tellez |Arlene Schloss


Whitebox Art Center
329 Broome Street
New York, NY 10002

http://whiteboxnyc.org/exhibit/timecode/

Friday, January 03, 2014

A Bomb, With Ribbon Around It



Curated by Raúl Zamudio
Partnership Gallery
Queens Museum of Art
Queens, NY
December 14-2013-January 18, 2014

Participating Artists: Jaishri Abichandanii, Nazneen Ayyub-Wood, Béèñå Äzêëm, Shelly Bahl, Marcy Chevali, Priyanka Dasgupta, Ala Dehghan, Mala Iqbal, Rajkamal Kahlon, Mona Saeed Kamal, Siri Devi Khandavilli, Swati Khurana, Gelare Khoshgozaran, Leila Lal, Shruti Parekh, Leila Pazooki, Mona Sharma, Vidisha Fadescha

The South Asian Women’s Creative Collective’s 2013 visual arts exhibition culls its title from André Breton’s famous remark upon encountering Frida Kahlo’s art: “a ribbon around a bomb.” Breton’s descriptive was based on Kahlo’s stylistic and thematic differentiation from her male artistic contemporaries. The difference between Kahlo and her peers was that almost half her oeuvre consisted of self-portraiture, where social and political questions were ciphered through her protean identity and personal history. So complicated was Kahlo’s sense of self as a multicultural bisexual woman that it manifested in her artistic self-fashioning, which included, among other characters, a male deer, a mother, a baby, an androgynous woman, Parvati the Hindu Goddess, an indigenous bride, a nun, and an invalid.

It was the imaginative yet cathartic beauty and unflinching honesty of Kahlo’s art that inspired Breton’s observation. These characteristics are underscored in the eighteen artists that constitute the exhibition, A Bomb, With Ribbon Around It. Consisting of painting, work-on-paper, sculpture, installation, photography, video, and performance, the exhibited artworks are the formal equivalent of a beautiful ribbon fastened around a bomb. Yet untying that ribbon triggers an explosion of themes that address globalization in a variety of contexts: immigration, gender equality, identity, politics, and religion, to name just a few. Although the artworks diverge in their articulation of distinct narratives, they coalesce around metaphorical depictions of the self in personal, social, or cultural guises. Indeed, the works presented are equilibrium of artistry and subject matter and are exemplary of the art produced by South Asian artists today.....



INSTALLATION VIEWS

Saturday, October 26, 2013

ATLAS

Gianluca Capozzi: Atlas is a solo exhibition that feigns group show. It consists of a collection of artworks in various media including painting, work-on-paper, video, and three-dimensional pieces that could be considered either as sculpture or  functional objects associated with design. Each of the artworks explores different subject matter with conceptual allusions to the painting thematic of nineteenth-century academicism such as landscape, history painting, portraiture, still life, and genre pictures or depictions of the everyday world.

Gianluca Capozzi deconstructs and recontextualizes these conventional academic categories into the present historical moment. Rather than an Arcadian, pastoral painting of a forest, the artist renders a ravaged environment; instead of a romanticized view of the past, Capozzi depicts topical themes culled from current global political situations; his frontal portrait of a transgendered woman with goatee is akin to the paintings made by a royal court artist. Not only is subject matter disparate, however, for the artworks are formally articulated in varied styles and incorporate myriad compositional tropes. Some of these include polychromatic paintings that are purely abstract and reminiscent of Abstract Expressionism, figurative works rendered from idiosyncratic points of view, and works in grisaille technique. 

The three-dimensional works, on the other hand, refer to the commodity object as fetish in that their acquisition promotes lifestyles through the status of design. Finally, the exhibition installation entails the hanging of paintings above and below and side by side into a grid as well as the selection and placement of objects as either works of art or for functional usage. Thus is a chair part of the exhibition to be viewed or is it there so the spectator can sit down and peruse the artworks? Through this oblique strategy the objects contained within the exhibition whether they are artworks or “not,” appear like an atlas created not by the hand of one person, but by a “team of specialists.”

at·las/ˈatləs/
-        a bound collection of maps often including illustrations, informative tables, or textual matter

Tuesday, August 27, 2013

The Name, The Nose



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In 1985, Italo Calvino died while writing a collection of five short stories to be titled The Five Senses (1986). Each story was to be structured around one of the senses, and upon his death he had only finished three out of the five: Under the Jaguar Sun, A King Listens, and The Name, the Nose, which respectively refer to taste, hearing and smell.

The exhibition, titled The Name, The Nose conceptually incorporates Calvino’s literary device in its presentation of international artists who work in painting, sculpture, photography, video, installation and performance. Each artwork will be accompanied by a caption that will state title, author, media, dimension and year of manufacture but also a short description by the artist. Unlike standard museum practice where this information is written on white paper or cardboard and affixed to the wall next to the artwork, the exhibition blurb will appear on a particular colored background referring to one of the five senses. The artists will not know ahead of time which sense their work will be identified with, thus creating a tension between their description and its curatorial categorization.

In contemplating the artwork, its description, and sensorial association the viewer can judge whether these elements synchronize or not, or why there was not a different sense attributed to the artwork rather than the one given. Apart from presenting a mixed-media exhibition of international artists of which many have not shown in Italy, The Name, The Nose attempts to reconfigure the exhibition format while proposing the viewer’s role to be an active one rather than that of passive spectator.

Thursday, March 28, 2013

The Passenger





ДЖАНЛУКА КАПОЦИ (ИТАЛИЯ) | GIANLUCA CAPOZZI (ITALY)
"THE PASSENGER"
работи върху хартия | works on paper
куратор | curator 
Раул Замудио Тейлър (САЩ) | Raul Zamudio Taylor(USA)
2 -16 | 04 | 2013

откриване | opening  02 |04| 2013  18:00  
варна.шипка 22 | varna. 22 shipka st


The Passenger is a solo exhibition of paintings and works on paper by the Italian artist Gianluca Capozzi. The exhibition’s title is culled from the similarly titled film by Michelangelo Antonioni; and the curatorial framework that ties Capozzi’s works with the film is manifold and not as disparate as it may seem: the film’s protagonist, which is played with aplomb by Jack Nicholson, is an American journalist who exchanges his identity with a deceased man he finds in a North African hotel room. The transnational undercurrent of the film manifests in the exhibition in a roundabout way: the works were made in the artist’s studio in Italy and shown abroad. It is not so much that the artworks take on a new identity with each itinerary, but a work can acquire other meanings altogether by its reception in myriad cultural contexts thus engendering narratives that were not originally intended.

Although Capozzi’s works for the current exhibition were inspired from diverse sources, experiences, and musings, their polysemy multiplies as analogues to Antonioni’s protagonist. Further highlighting this are works that range from the figurative to the purely abstract; even the latter pieces are not devoid of the referential in feigning non-representational forms found in nature as well as in culture. Some works appear like frenetic topographies or the automatism of someone under trance. Even Capozzi’s figurative works trigger the imagination not only in spite of their formal exuberance, but because their titles are oblique and rife with anthropomorphic ambiguity which results in a corpus of icons, archetypes, surrogates, doppelgangers, and so forth.

In one work titled Woman (2013), for instance, the frontal quality of the figure’s pose belies the allusion to portraiture. Yet because the title only refers to gender, it is potentially the representation of all women, or no women, or maybe it is the ideation of womanhood operating archetypally. In allowing the work a degree of narrative opacity, Capozzi’s figure becomes both like Nicholson who takes on the identity of the deceased as well as the deceased himself; for the identity of Woman remains free-floating as it negates singularity in not being any woman in particular. Other works in the exhibition also underscore the conceptual strategy of ambiguity to various degrees.

With rather demure and literal titles including Man, Man at the Sea, Three Men (all 2013), Capozzi presents an iconography of images where the figures become exceedingly reduced to an almost absent presence.  Outlines of humanoid forms become shadows and shells of their former selves. Capozzi’s “portrait” gallery or phantasmagoric salon leaves the viewer with a self that is concomitantly other; it is a dialectical ontology of being/nonbeing.  But this self is, however, an existential one; for it is symbolically the deceased man in the North African hotel room, just as Gianluca Capozzi is metaphorically Antonioni’s protagonist.  But whereas Nicholson’s journalist documents the ubiquitous and the mundane, Capozzi’s artistic reportage is of a philosophical bent that reminds us that were all passengers too, in one degree or another, on our own journey filled with self-empowerment, self-doubt and occasionally feeling as if living a life of mistaken identity.  



Raul Zamudio
New York City

Emma McCagg: Ordinary People

 



Emma McCagg: Ordinary People
Curated by Raúl Zamudio Taylor
March 22- May 22, 2013
Pristine Galerie
Monterrey, Mexico

Pristine Galerie is pleased to present the solo exhibition of New York City-based artist Emma McCagg titled Emma McCagg: Ordinary People. The exhibition’s title is culled from the multiple Oscar awarded film by the same name and consists of painting, video, work-on-paper and a photographic installation. 

The paintings consist of childhood images of actors and Pop singers who died from drug or alcohol overdoses: the innocence and pathos of the portraits belying the tragedy of their future. Lush and gestural, the portraits are formatted to look like a Kodak snapshot of the ‘50s and ‘60s replete with a stenciled date that coincides with the age of the sitter in the year the photograph was taken. The titles refer to the cause of death and attendant sensationalistic descriptions announced in tabloid media. One painting is of Amy Winehouse at age 6, titled Death by Misadventure; another is Michael Jackson at age 10, titled Death by Propofol: and yet another is of a smiling Heath Ledger at age 2, titled The Joker Laughs No More. The photographic installation consists of well-known individuals of the New York literary world including poets and novelists that sat for the artist as models.  The exhibition will also include the single-channel video projection titled Ordinary People (2012). This consists of a taped performance by actors whose identities have been occluded; yet the video’s soundtrack is revealing of its conceptual undercurrent as it plays the ‘80s New-Wave song by Animotion titled Obsession.



Tuesday, March 26, 2013

YOUR BODY IS A BATTLEGROUND



YOUR BODY IS A BATTLEGROUND
 Curated by Raúl Zamudio Taylor
March 22- May 22
Pristine Galerie, Monterrey, Mexico

Pristine Galerie is pleased to announce the international group exhibition, YOUR BODY IS A BATTLEGROUND.  The exhibition dovetails on the original source of its title, which is the iconic work by the artist Barbara Kruger. Her silkscreened, photographic vinyl print consists of a black and white frontal image of a woman whose left half of her face is in negative format. Superimposed on the surface from top to bottom is the text YOUR BODY IS A BATTLEGROUND. While rich with metaphor and open-ended in meaning, the juxtaposition of image and the pronoun your alludes to the undermining of women’s rights since Kruger’s piece was designed for the 1989 Women’s March on Washington, D.C.  

The exhibition focuses on questions of the body but from a more expansive purview as well as the audience that Kruger’s image addresses. For the body that constitutes the image as well as whom it is directed are not only gendered but also inscribed with class, race, nationality, and sexual orientation. The exhibition comes at a time when “non-normative” forms of agency are expanding the identity rubric to accommodate a protean subjectivity that is mutable and fluid, while the erosion of women’s rights by the political right and myriad denominational religious orthodoxies continues unabated. Although the individual works are thematically independent and diverse in narrative, YOUR BODY IS A BATTLEGROUND is a topical exhibition consisting of painting, sculpture, work-on-paper, graphic art, photography, video, and site-specific installation.

Artists:
Jaishri Abichandani/India
Oreet Ashery/UK
Claudia Baez/USA/Mexico
Ariela Kader Berliavsky/Costa Rica
Ama Birch/USA
Brenda Charles/Mexico
Simone de Beauvoir/France
Jeanette Doyle/Ireland 
Paula Elion/Israel
Dalia Elsayed/USA
Andrea Frank/Germany
Guerrilla Girls/USA
Helena von Kärkkäinen/Finland
Siri Devi Khandavilli/India
Yolanda Leal/Mexico
Jessica “La Negra” Lopez/Mexico
Despo Magoni/Greece
Celia Elsamieh Shomal/Iran
Hannah Wilke/USA

Friday, March 15, 2013

East of Eden, Palazzo Ducale, Genova, Italy, March 15-31, 2013 










East of Eden

Curated by Raul Zamudio

“And Cain went out from the face of the Lord, and dwelt as a fugitive on the earth, at the east side of Eden”— Genesis 4:16