Simon Christoph Krenn

Parasitic endeavours
El problema de manipular el cuerpo humano está en el asco. Si coges cabezas y torsos y los unes en una amalgama gelatinosa, obtienes un vídeo de Simon Christoph Krenn. Crea bodegones horripilantes, partes de cuerpos que se funden unas con otras, monstruos complejos a los que aplica nuevas fuerzas de la gravedad hasta que rebotan y toman el carácter de la viscosidad, parecen hechos de goma.

MANUEL ROSSNER

Hotfix
En medio de la pandemia, las personas experimentan todos los días que la tecnología como los teléfonos inteligentes e Internet hacen que la distancia social sea soportable. Con su escultura AR, Manuel Rossner muestra cómo la tecnología puede convertirse en una revisión, una solución rápida a un desafío inesperado. “Hotfix” con sus burbujas y líneas es una divertida introducción a la resolución de problemas a través de la gamificación.

NARINDA REEDERS

the shy picture
Narinda Reeders and David MacLeod
Here is a calm and intimate film in black and white, but which refuses to divulge the plot. The characters in the story are revealed to be in a painting. Although the subject is very classic since the portrayal of Dorian Gray by Oscar Wilde. Everything happens this time as if the problematic of creation ultimately had its own existence. This is often the case for the artist when faced with his production. Where in front of the finished work. Narinda Reeders and David MacLeod’s bring this little photo hanging on the gallery wall to life. It’s calm, discreet and mysterious. It is a duality that nevertheless works in both directions, that of the work vis-à-vis the artist, that of the art lover in front of a work. In both cases there is a personal touch that brings you to life. But the real does not come out unscathed.

CONLON NANCARROW

コンロン・ナンカロウ
Study for Player Piano No. 37
Nancarrow es uno de los compositores pioneros en este campo, junto con Henry Cowell y Karlheinz Stockhausen, entre otros, que plantearon problemas que hoy abordan los compositores actuales, estimulados por el uso de la computadora.

WANG ZHIYUAN

Ван Чжиюань
王智远
Thrown to the Wind

Feita pelo artista Wang Zhiyuan, essa torre de lixo de quase 11 metros de altura se chama Thrown to the Wind (jogado ao vento). O artista diz que queria retratar os montes de resíduos que se acumulam em sua cidade e chamar a atenção para o problema. “Eu quero que a minha arte seja algo maior do que eu. Se ela não estivesse envolvida em problemas da sociedade, eu me sentiria culpado”, afirma.

Maud de Le Pladec

DEMOCRACY
Compagnie LEDA

“I’ve wanted to work on the drum quartet “Dark Full Ride” by Julia Wolfe for a long time. There is something quite revolutionary in the energy of this piece. Julia Wolfe uses the instrumentation of processions, meetings and political demonstrations. I work on democracy, not democracy reduced its political framework definition […] but ‘insurgent’ democracy that strives for the dissolution of certainty and the claim to equality as civil resistance. Work is nourished by ideas like the test of determination or the idea of a problematizing community, which I call the ‘all-one.’ Also, how does an individual decision open the possibility to collective action? What do we strive for, or against? Who do we give our consent to? Must we disobey democracy? How do we build a controversialist community? Does resistance to power define the democratic experience? What is a savage democracy? … ” Maud Le Pladec

Kevin Beasley

Strange Fruit
Using both sculpture and musical performance in his practice, Kevin Beasley explores the physical materiality and cultural connotations of both objects and sound. His sculptures typically incorporate everyday items like clothing, housewares, or sporting goods, bound together using tar, foam, resin, or other materials. Often they also contain embedded audio equipment that warps and amplifies the ambient tones of their surroundings. For Storylines, Beasley has created two new works specifically for the Guggenheim’s Frank Lloyd Wright–designed building. Within this vast and open sonic environment, Strange Fruit (Pair 1) and Strange Fruit (Pair 2) (both 2015) offer an experience of intimacy, absorbing and reflecting the sound of the crowd at the scale of a personal conversation. Each work embodies this spirit of dialogue in its two-part structure—at its core are two athletic shoes, one merged with microphones, the other with speakers. Suspending these objects in space, Beasley compounds their technological interchange with additional layers of meaning, bringing to mind the urban phenomenon of shoes hanging from overhead wires or poles (itself an open-ended form of communication). At the same time the works’ titles refer to history of lynchings in the American South memorialized by Bronx schoolteacher Abel Meerepol in the 1937 protest song “Strange Fruit.” In these contexts, the hanging forms of Beasley’s sculptures resonate not only with his body, which molded them by hand, or with the bodies moving through the museum, but also with those inscribed in the problematic history of race and class in the United States.

SEBASTIAO SALGADO

سيباستياو سالغادو
塞巴斯蒂昂萨尔加多
סבסטיאו סלגאדו
セバスチャン·サルガド
세바스티앙 살가도
Себастьяно Сальгадо
genesis

É uma espécie de psicologia inversa. Em vez de mostrar geleiras derretendo, usinas soltando fumaça e animais banhados em petróleo, Sebastião Salgado desperta de um hiato de mais de dez anos sem exposições grandiosas para alertar sobre os mais graves problemas ambientais focando justamente naquilo que ainda há de belo e de intocado. O objetivo do fotojornalista é invocar a É uma espécie de psicologia inversa. Em vez de mostrar geleiras derretendo, usinas soltando fumaça e animais banhados em petróleo, Sebastião Salgado desperta de um hiato de mais de dez anos sem exposições grandiosas para alertar sobre os mais graves problemas ambientais focando justamente naquilo que ainda há de belo e de intocado. O objetivo do fotojornalista é invocar a percepção de que ainda há muito a ser salvo em um planeta que insiste em preservar paisagens e vidas exuberantes apesar de toda a degradação proporcionada pela ação humana. de que ainda há muito a ser salvo em um planeta que insiste em preservar paisagens e vidas exuberantes apesar de toda a degradação proporcionada pela ação humana.

STELARC

drawing with robot arm
“With gene mapping, gender reassignment, prosthetic limbs and neural implants, what a body is and how a body operates becomes problematic. We generate Fractal Flesh and Phantom Flesh, extended operational systems and virtual task environments. Meat and metal mesh into unexpected and alternate anatomical architectures that perform remotely beyond the boundaries of the skin and beyond the local space it inhabits. The monstrous is no longer the alien other. We inhabit an age of Circulating Flesh. Organs are extracted from one body and inserted into other bodies. Limbs that are amputated from a dead body can be reattached and reanimated on a living body. A face from a donor stitched to the skull of the recipient becomes a Third Face. A skin cell from an impotent male can be recoded into a sperm cell. And more interestingly a skin cell from a female body might be recoded into a sperm cell. Turbine hearts circulate blood without pulsing. In the near future you might rest you head on your loved one’s chest. They are warm to the touch, they are breathing, they are certainly alive. But they will have no heartbeat. A cadaver can be preserved forever through plastination whilst simultaneously a comatose body can be sustained indefinitely on a life-support system. Dead bodies need not decompose, near-dead bodies need not die. Most people will no longer die biological deaths. They will die when their life-support systems are switched off. The dead, the near-dead, the not-yet-born and the partially living exist simultaneously. And cryongenically preserved bodies await reanimation at some imagined future. We live in an age of the Cadaver, the Comatose and the Chimera. Liminal spaces proliferate. Engineering organs, stem-cell growing them or by bio-printing will result in an abundence of organs. An excess of organs. Of organs awaiting bodies. Of Organs Without Bodies.” STELARC