gordon matta clark
“Of the many shows at the fabled 112 Greene Street gallery—an artistic epicenter of New York’s downtown scene in the 1970s—the Anarchitecture group show of March 1974 has been the subject of the most enduring discussion, despite a complete lack of documentation about it. Anarchitecture has become a foundational myth, but one that remains to be properly understood. Stemming from a series of meetings organized by Gordon Matta-Clark and reflecting his long-standing interest in architecture, the Anarchitecture exhibition was conceived as an anonymous group statement in photographs about the intersection of art and building. But did it actually happen? It exists only through oblique archival traces and the memories of the participants. Cutting Matta-Clark investigates the Anarchitecture group as a kind of collective research seminar, through extensive interviews with the protagonists and a dossier of all the available evidence. The dossier includes a collection of Matta-Clark’s aphoristic “art cards,” the 96 photographs that were produced by the various participants for possible inclusion in the exhibition, and images from a recently unearthed video of Matta-Clark’s now famous bus trip to see Splitting in Englewood, New Jersey.” Mark Wigley
Underground Circuit is a collage of hundreds of video clips shot in the subway stations in New York. Station to station, the movement of the commuters in the outer rings suggests the repetitive cycle of life and urban theatricality and texture. The inner-most ring includes people sitting on the bench waiting; the central drummers act as the controller of the movement, inspired by the concept of the Four-faced Buddha in Chinese folk religion, the god who can fulfill and grant all wishes of its devotees. For the installation, the video is projected onto the gallery floor and mapped onto a cube with relief in the middle of the projection area. The installation invites audiences to sit on the central cube as Voyeur-gods, to observe the anonymous characters in the projected urban labyrinth.
…Robert Wilson does not portray only famous personalities, such as Isabella Rossellini, Brad Pitt, or Caroline von Monaco, but also unknown people and animals who have until now escaped artistic representation, such as a street dancer or a frog. In precisely these stagings, Wilson’s complex visual and sound languages reach their climax, namely, a celebration of empathy: anonymous people become divas, neutral beings achieve cult status. Wilson’s video portraits thus have a cognitive function. Within the history of portrait painting and photographic portraits, especially staged photography, his staged portraits present not only a pinnacle of accomplishment, but also, first and foremost, a climax that is groundbreaking.
Enter the world of Journey, the third game from acclaimed developers thatgamecompany and presented by SCEA Santa Monica Studio. Journey is an interactive parable, an anonymous online adventure to experience a person’s life passage and their intersections with other’s. You wake alone and surrounded by miles of burning, sprawling desert, and soon discover the looming mountaintop which is your goal. Faced with rolling sand dunes, age-old ruins, caves and howling winds, your passage will not be an easy one. The goal is to get to the mountaintop, but the experience is discovering who you are, what this place is, and what is your purpose.
Darkness Into Light
“Despite critics tagging Tavener as a “holy minimalist,” Anonymous 4 member Susan Hellauer says “that his music is very difficult to perform — but very beautiful as well. It actually floats. It appears out of nowhere, and then it floats back into nowhere” Anastasia Tsioulcas
In the latest narratives, “Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhelming her. Her home has become a site of tragedy. The scenes of her heartbreaking end are loosely inspired by several sources including the game of clue, where murder occurs in one of five rooms of the house: Dining Room, Kitchen, Hall, Conservatory, and Library.
Anonymous Women: Draped
“Photographers observe, comment, criticize, and make fun of the worlds we live in by interacting with reality, and visibly displaying those perceptions in images. My training was as a straight, documentary photographer, but I stray back into the studio to make up fictional worlds.”
Parker Fitzgerald and Riley Messina
Inspired by a pursuit of beauty, Riley combines classically thoughtful botanical designs with Parker’s carefully considered film images in an expression of the multifaceted relationship between humankind and nature. The two artists contrast anonymous portraiture with sweeping landscapes in an attempt to capture both the malleable and untamed aspects of the natural world.
NINA MARIE BARBUTO
Intimate friction show at the mattress factory in pittsburgh ‘glory holes’, an installation by american artist nina marie barbuto, delves into the histories of the spaces around us. the term, similarly used in hetero and homosexual copulation acts, serve as a portal for an anonymous yet intimate connection between the two bodies. as we move through the architectural space, we lose track of the larger figure, bones, and mass that surounds us.
In her ‘Xteriors’ series (2001 – the present), Desiree Dolron reveals her devotion to art history by giving her anonymous models a hint of a resemblance to the works of the Flemish Primitives and Johannes Vermeer. In images which, thanks to her control of light and subtle digital manipulations, hardly look like photographs at all, she produces a masterly approximation of the serenity and sense of mystery with which these painters imbued their work.more…
Julie Cockburn is a London based collage artist who manipulates and redefines anonymous found portraits. Employing collage techniques, painting and embroidery, she challenges the audience’s idea of identity and personality.