Wednesday, May 07, 2014

How to Explain Pictures to a Dead Hare


Curated by Raúl Zamudio
Monterrey, México. 

May 15-July 9, 2014
Artists:
Damali Abrams (GY/US) / Isaac Aden (US) / Stefano Cagol (IT) / Gianluca Capozzi (IT) / Gordon Cheung (UK) /
Ala Dehghan (IR)/ Patricia Dominguez (CL)/ Rainer Ganahl (AT) / Pablo Helguera (MX) / Lazaro Juan (PH) / Elan Jurado (USA)/Dominika Ksel (US) / JT Leroy (US) / Ferran Martin (ES) / Alex Nuñez (US) / Joe Politt (UK) / Vidisha Saini (IN) / Edgar Serrano (US) / Roi Vaara (FI)

How to Explain Pictures to a Dead Hare is a group exhibition whose title cites Joseph Beuys’ watershed 1965 performance by the same name. Like Beuys’ performance in which he “explained” artworks to a dead hare in the gallery where he enacted his piece, the exhibition presents works that question the art object’s ontology and the politics of spectatorship via diverse media including photography, video, painting, sculpture, work-on-paper, installation, performance, and sound and olfactory works.

Dominika Ksel’s interactive Untitled (2012), for example, manifests in the interiority of the spectator. Similar to Lygia Clark’s Sensorial Mask (1967), which was worn over the spectator's head and blocked external perception in order to trigger self-awareness and reflection, Ksel’s piece is a kind of rave of the mind; for its optical and audio ecstasy of light and sound within the cranium proceeds from the inside to the outside rather than the other way around. Through this radical reconfiguration of art and its consumption, of object and subject, Ksel's work shares an affinity with what Antonin Artaud stated about his Theatre of Cruelty: “it is through the skin that metaphysics must be made to re-enter our minds.”


Sunday, April 27, 2014

Maleventum




Gianluca Capozzi: Maleventum
April 19- July 19, 2014
Curated by Raul Zamudio
GiamArt Contemporanea
Vitulano, Italy

Maleventum is a solo exhibition of Gianluca Capozzi that will take place in Vitulano, Benevento, Italy. Consisting of painting, work-on-paper, video, and installation, the title is culled from two sources. One comes from Benevento’s ancient Roman description: Maleventum, which translates as “site of bad events.” Maleventum was considered so ominous that its name was changed in antiquity to something more benign: Beneventum, and finally from its Latin name to its current nomenclature as Benevento. The other allusion in the exhibition’s title is more contemporary, for it comes verbatim from the similarly named album by the Italian death metal band, Opera IX. 

Maleventum’s historical description was based on numerous factors concurrent with, and post ancient Rome. One entails the violent, bloody battles that took place in the expansion of the Roman Republic. Later in the sixth century AD, the Germanic Lombards seized Beneventum and although they eventually would adopt Catholicism, their burgeoning reign brought the worship of faunal pagan gods and rites that would rub up against Christendom. These perceived heresies initiated Benevento’s present-day myth and folklore as a place steeped in witchery and sorcery. The exhibition uses these sources as curatorial foil to investigate the uncanny dimension of the everyday, occult conspiracy theories, crypto-fascist politics, and the cult of personality.
       

Thursday, April 24, 2014

The Lady With The X-Ray Eyes

ИЗЛОЖБА
25.04 - 10.05







куратор раул замудио
[curator Raul Zamudio]
 
градска художествена галерия - каравелов 1
дамата с x-rey очи - куратор раул замудио (сащ ) - участват: ала дехган (иран), гордън чьонг (великобритания), деспо магони (гърция/сащ), ема маккаг (сащ), елън джурадо ( сащ), ко санг у ( южна корея/сащ), патрин хамилътн (белгия/чили), рубен верду (испания/венецуела), сари терваниевми (финландия ), торилд стрей (норвегия), феран мартин (испания), хоакин сегура (мексико) 


http://varnacityartgallery.com/

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.