جوانا فاسكونسيلوس
琼娜巴斯孔塞洛斯
ג’ואנה אסקונסלוס
ジョアナ·ヴァスコンセロス
Джоана Васконселос

source: vasconcelos-versailles

Joana Vasconcelos nasceu em Paris, em 1971. Vive e trabalha em Lisboa.

A natureza do processo criativo de Joana Vasconcelos assenta na apropriação, descontextualização e subversão de objectos pré-existentes e realidades do quotidiano. Partindo de engenhosas operações de deslocação, reminiscência do ready-made e das gramáticas nouveau réaliste e pop, a artista oferece-nos uma visão cúmplice, mas simultaneamente crítica da sociedade contemporânea e dos vários aspectos que servem os enunciados de identidade colectiva, em especial aqueles que dizem respeito ao estatuto da mulher, diferenciação classista, ou identidade nacional. Resulta desta estratégia, um discurso atento às idiossincrasias contemporâneas, onde as dicotomias artesanal/industrial, privado/público, tradição/modernidade e cultura popular/cultura erudita surgem investidas de afinidades aptas a renovar os habituais fluxos de significação característicos da contemporaneidade.

Recebeu, em 2006, o prémio The Winner Takes It All, da Fundação Berardo, com a obra “Néctar”, actualmente instalada no Museu Colecção Berardo, Lisboa; em 2003, foi-lhe atribuído o prémio Fundo Tabaqueira Arte Pública para o seu projecto de intervenção no Largo da Academia das Belas Artes, em Lisboa; e, em 2000, venceu o Prémio EDP Novos Artistas.

As intervenções no domínio de arte pública assumem especial relevância no trabalho da artista, destacando-se os projectos: Portugal a Banhos, Doca de Santo Amaro, Lisboa (2010); La Théière, Le Royal Monceau, Paris (2010); Sr. Vinho, Mercado Municipal de Torres Vedras, Torres Vedras (2010); Jardim Bordallo Pinheiro, Jardim do Museu da Cidade, Lisboa (2009); Varina, Ponte D. Luís I, Porto (2008); A Jóia do Tejo, Torre de Belém, Lisboa (2008).

Expõe regularmente em Portugal e no estrangeiro desde 1994. Das suas exposições, destacam-se: Il Mondo Vi Appartiene, Palazzo Grassi, Veneza (2011); Magic Kingdom, Kunsthallen Brandts, Odense (2011); I Will Survive, Haunch of Venison, Londres (2010); Sem Rede, Museu Colecção Berardo, Lisboa (2010); Mi Vida. From Heaven to Hell – Life Experiences in Art from MUSAC Collection, Mücsarnok Kunsthalle, Budapeste (2009); Un Certain Etat du Monde? A Selection of Works From François Pinault Foundation, Garage Centre for Contemporary Culture, Moscovo (2009); Contaminação, Projecto Octógono de Arte Contemporânea, Pinacoteca do Estado, São Paulo (2008); Où le Noir Est Couleur, Galerie Nathalie Obadia, Paris (2008); L’Argent, Le Plateau, Paris (2008); Joana Vasconcelos, The New Art Gallery, Walsall (2007); Yellow Brick Road, Palazzo Nani Bernardo Lucheschi, Veneza (2007); Modern Mahrem, Santralistanbul, Istambul (2007); Espais Oberts, Caixa Fórum, Fundación La Caixa, Barcelona (2006); Venice – Istanbul, Istanbul Modern, Istambul (2006); Echigo-Tsumari Art Triennial, Tokamachi (2006); Always a Little Further – La Bienalle di Venezia, Arsenale, Venezia (2005); L’Idiotie – Expérience Pommery #2, Pommery, Reims (2005); Emergencias, MUSAC- Museo de Arte Contemporáneo de Castilla y León, León (2005); Joana Vasconcelos, Casa Triângulo, São Paulo (2004); Portugal – 30 Artists under 40, The Stenersen Museum, Oslo (2004); Todas las Direcciones, Centro Andaluz de Arte Contemporâneo, Sevilha (2003); Outras Alternativas – Novas Experiencias Visuais en Portugal, MARCO, Vigo (2003); F.A.T., Galeria 111, Lisboa (2002); Trans Sexual Express, Mücsarnok Kunsthalle, Budapeste (2002); Medley, Galeria Central Tejo/Museu da Electricidade, Lisboa (2001); Squatters/Ocupações, Palácio da Justiça, Porto (2001); Ponto de Encontro, Museu de Arte Contemporânea de Serralves, Porto (2000); Colección António Cachola, Arte Portugués de los Años 80 y 90, MEIAC, Badajoz (1999).
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source: vasconcelos-versailles

Joana Vasconcelos est née à Paris en 1971. Elle vit et travaille à Lisbonne.

La nature du processus créatif de Joana Vasconcelos repose sur l’appropriation, la décontextualisation et la subversion d’objets préexistants et de réalités du quotidien. En partant d’ingénieuses opérations de déplacement, réminiscence du ready-made et des grammaires nouveau réaliste et pop, l’artiste nous offre une vision complice, mais en même temps critique, de la société contemporaine et des divers aspects qui servent les énoncés de l’identité collective, en particulier ceux qui renvoient au statut de la femme, aux différences de classe ou encore à l’identité nationale. De cette stratégie naît un discours attentif aux idiosyncrasies contemporaines, où les dichotomies habituelles artisanal/industriel, privé/public, tradition/modernité et culture populaire/culture érudite apparaissent investies d’affinités aptes à rénover les habituels flux de signification caractéristiques de la contemporanéité.

Elle a reçu, en 2006, le prix The Winner Takes It All, de la Fondation Berardo, destiné à la création de son oeuvre « Néctar », actuellement installée au Musée Collection Berardo, Lisbonne ; en 2003, le prix Fundo Tabaqueira Arte Pública lui a été attribué pour son projet d’intervention au Largo da Academia das Belas Artes, à Lisbonne ; et, en 2000, elle a remporté le prix Prémio EDP Novos Artistas.

Dans le travail de l’artiste, une importance particulière est accordée aux interventions site-specific dans le domaine de l’art public, dont se détachent les projets : Portugal a Banhos, Doca de Santo Amaro, Lisbonne (2010) ; La Théière, Le Royal Monceau, Paris (2010) ; Sr. Vinho, Mercado Municipal de Torres Vedras, Torres Vedras (2010) ; Jardim Bordallo Pinheiro, Jardim do Museu da Cidade, Lisbonne (2009) ; Varina, Pont D. Luís I, Porto (2008) ; Le Joyau du Tage, Tour de Belém, Lisbonne (2008).

Joana Vasconcelos expose régulièrement au Portugal et à l’étranger, depuis 1994. Parmi ses expositions, on signalera : Il Mondo Vi Appartiene, Palazzo Grassi, Venise (2011) ; Magic Kingdom, Kunsthallen Brandts, Odense (2011) ; I Will Survive, Haunch of Venison, Londres (2010) ; Sem Rede, Museu Colecção Berardo, Lisbonne (2010) ; Mi Vida. From Heaven to Hell – Life Experiences in Art from MUSAC Collection, Mücsarnok Kunsthalle, Budapest (2009) ; Un Certain Etat du Monde ? A Selection of Works from the François Pinault Foundation, The Garage, Center for Contemporary Culture, Moscou (2009) ; Contaminação, Pinacoteca do Estado, São Paulo (2008) ; Où le Noir Est Couleur, Galerie Nathalie Obadia, Paris (2008) ; L’Argent, Le Plateau, Paris (2008) ; Joana Vasconcelos, The New Art Gallery, Walsall (2007) ; Yellow Brick Road, Palazzo Nani Bernardo Lucheschi, Venise (2007) ; Modern-Mahrem, Santralistanbul, Istambul, (2007) ; Espais Oberts, CaixaForum, Fundación la Caixa, Barcelone (2006) ; Venice – Istanbul, Istanbul Modern, Istanbul (2006) ; Echigo-Tsumari Art Triennial, Tokamachi (2006) ; Always a Little Further – La Biennale di Venezia, Arsenale, Venise (2005) ; L’Idiotie – Expérience Pommery #2, Domaine Pommery, Reims (2005) ; Emergencias, MUSAC – Museo de Arte Contemporáneo de Castilla y León, León (2005) ; Joana Vasconcelos, Casa Triângulo, São Paulo (2004) ; Portugal – 30 Artists under 40, The Stenersen Museum, Oslo (2004) ; Todas las Direcciones, Centro Andaluz de Arte Contemporáneo, Séville (2003) ; Outras Alternativas – Novas Experiencias Visuais en Portugal, MARCO, Vigo (2003) ; F.A.T., Galeria 111, Lisbonne (2002) ; Trans Sexual Express, Mücsarnok Kunsthalle, Budapest (2002) ; Medley, Galeria Central Tejo/Museu da Electricidade, Lisbonne (2001) ; Squatters/Ocupações, Palácio da Justiça, Porto (2001) ; Ponto de Encontro, Museu de Arte Contemporânea de Serralves, Porto (2000), Colección António Cachola, Arte Portugués de los Años 80 y 90, MEIAC, Badajoz (1999).

Le Château de Versailles est le lieu de l’art par excellence, un lieu dans lequel les artistes se sont toujours sentis chez eux, l’investissant non comme un lieu d’exposition, mais bien comme un lieu habité par l’art. C’est un espace plein, complet, riche, où rien en apparence ne semble pouvoir être ajouté. C’est le décor idéal pour célébrer l’audace, l’expérimentation et la liberté; le génie créatif apprécié comme nulle part ailleurs.

Si mon travail se développe autour de l’idée que le monde est un opéra, Versailles incarne l’idéal opératique et esthétique qui m’anime. Les oeuvres que je propose existent pour ce lieu, je les vois liées à Versailles, de manière intemporelle. Quand je parcours les salons du Château et ses Jardins, je sens l’énergie d’un espace qui gravite entre la réalité et le rêve, le quotidien et la magie, le festif et le tragique. J’entends encore l’écho des pas de Marie-Antoinette, la musique et l’ambiance festive des salons. Comment serait la vie à Versailles si cet univers exubérant et grandiose était transféré à notre époque?

Interpréter la dense mythologie de Versailles, la transporter dans la contemporanéité, évoquer la présence d’importantes figures féminines qui l’ont habité, en s’appuyant sur mon identité et mon expérience de femme, portugaise, née en France, sera certainement le défi le plus fascinant de ma carrière.
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source: vasconcelos-versailles

The Palace of Versailles is the place of art par excellence, where artists have always felt at home, displaying their work in it not as an exhibition space but as a setting totally imbued with art. It is a full, complete and rich place where it seems that nothing can be added. It is the ideal setting for celebrating audacity, experimentation and freedom, where creative talent is appreciated like in no other place.

My work has developed around the idea that the world is an opera, and Versailles embodies the operatic and aesthetic ideal that inspires me. The works that I propose exist for this place. I see them as linked to Versailles in a timeless way. When I stroll through the rooms of the Palace and its Gardens, I feel the energy of a setting that gravitates between reality and dreams, the everyday and magic, the festive and the tragic. I can still hear the echo of the footsteps of Marie-Antoinette, and the music and festive ambiance of the stately rooms. How would the life of Versailles look if this exuberant and grandiose universe was transferred to our period?

Interpreting the dense mythology of Versailles, transporting it into the contemporary world, and evoking the presence of the important female figures that have lived here, while drawing on my identity and my experience as a Portuguese woman born in France, will certainly be the most fascinating challenge of my career.

Born in Paris in 1971. Lives and works in Lisbon.

The nature of Joana Vasconcelos’ creative process is based on the appropriation, decontextualisation and subversion of pre-existent objects and everyday realities. Starting out from ingenious operations of displacement, a reminiscence of the ready-made and the grammars of Nouveau Réalisme and pop, the artist offers us a complicit vision, but one which is at the same time critical of contemporary society and the several features which serve the enunciations of collective identity, especially those that concern the status of women, class distinction or national identity. From this process there derives a speech which is attentive to contemporary idiosyncrasies, where the dichotomies of hand-crafted/industrial, private/public, tradition/modernity and popular culture/erudite culture are imbued with affinities that are apt to renovate the usual fluxes of signification which are characteristic of contemporaneity.

In 2006, she won the award The Winner Takes It All from Berardo Foundation to create the work ‘Néctar’ for the Berardo Collection Museum, Lisbon. In 2003, the artist won the Fundo Tabaqueira Arte Pública (Tabaqueira Fund for Public Art) for an intervention project at Largo da Academia das Belas Artes, in Lisbon. In 2000, she won the Prémio EDP Novos Artistas (Young Artists EDP Prize).

The site-specific interventions in the public art domain assume special relevance in the artist’s work. Some of Joana Vasconcelos’ most important public art interventions are: Portugal a Banhos, Doca de Santo Amaro, Lisbon (2010); La Théière, Le Royal Monceau, Paris (2010); Sr. Vinho, Mercado Municipal de Torres Vedras, Torres Vedras (2010); Jardim Bordallo Pinheiro, Jardim do Museu da Cidade, Lisbon (2009); Varina, Ponte D. Luís I, Porto (2008); A Jóia do Tejo, Torre de Belém, Lisbon (2008).

Since 1994, Vasconcelos has been exhibiting in Portugal and abroad. Of special note among her exhibitions: Il Mondo Vi Appartiene, Palazzo Grassi, Venice (2011); Magic Kingdom, Kunsthallen Brandts, Odense (2011); I Will Survive, Haunch of Venison, London (2010); Sem Rede, Museu Colecção Berardo, Lisbon (2010); Mi Vida. From Heaven to Hell – Life Experiences in Art from MUSAC Collection, Mücsarnok Kunsthalle, Budapest (2009); Un Certain Etat du Monde? – A Selection of Works From François Pinault Foundation, Garage Centre for Contemporary Culture, Moscow (2009); Contaminação, Pinacoteca do Estado, São Paulo (2008); Où le Noir Est Couleur, Galerie Nathalie Obadia, Paris (2008); L’Argent, Le Plateau, Paris (2008); Joana Vasconcelos, The New Art Gallery, Walsall (2007); Yellow Brick Road, Palazzo Nani Bernardo Lucheschi, Venice (2007); Modern Mahrem, Santralistanbul, Istanbul (2007); Espais Oberts, Caixa Fórum, Fundación La Caixa, Barcelona (2006); Venice – Istanbul, Istanbul Modern, Istanbul (2006); Echigo-Tsumari Art Triennial, Tokamachi (2006); Always a Little Further – La Bienalle di Venezia, Arsenale, Venice (2005); L’Idiotie – Expérience Pommery #2, Domaine Pommery, Reims (2005); Emergencias, MUSAC – Museo de Arte Contemporáneo de Castilla y León, León (2005); Joana Vasconcelos, Casa Triângulo, São Paulo (2004); Portugal – 30 Artists under 40, The Stenersen Museum, Oslo (2004); Todas las Direcciones, Centro Andaluz de Arte Contemporáneo, Seville (2003); Outras Alternativas – Novas Experiencias Visuais en Portugal, MARCO, Vigo (2003); F.A.T., Galeria 111, Lisbon (2002); Trans Sexual Express, Kunsthalle Mücsarnok, Budapest (2002); Medley, Galeria Central Tejo/Museu da Electricidade, Lisbon (2001); Squatters/Ocupações, Palácio da Justiça, Porto (2001); Ponto de Encontro, Museu de Arte Contemporânea de Serralves, Porto (2000); Colección António Cachola, Arte Portugués de los Años 80 y 90, MEIAC, Badajoz (1999).
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source: 74fdcwordpress

When people think of crochet they probably imagine old doilie ornamental mats. Ornamental table coverings which have little relevance in current culture. Consequently there has been little demand in crochet products, the young have been unwilling to learn this craft and the old have been unable to pass their knowledge on. Although the craft of crochet still exists it has suffered a steep decline.

Its worth remembering that Crochet is a craft, a medium and not a design. Crochet can be applied to almost any design, or art, and crochet can create any graphic whether a traditional, deconstructive or futuristic. The only limit to crochet is our imagination to make it fascinating and relevant.

Joana Vasconcelos is like a talented painter, but who paints with cotton to make incredible art with crochet. Maybe her work can also help inspire people to learn and keep this art form from being forgotten.

Her work is a true feast for everyone’s eyes. Thank you Joana.
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source: financeqq

幽默诙谐和女性特有的细腻风格，当代女艺术家琼娜的作品此前获得的评价褒贬不一，她本人则被认为是让人难以归类的怪才。“我热爱重新思考有关传统的一切，它赋予我很多当代的价值，让我从少数人的角度进行思考和创作，包括对于色彩的应用。比如说，女人通过家务和针织活来体现她们的创新意识。”琼娜在谈到创作的时候说道。
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source: dominterierru

Дизайн-скульптуры расположены в разных залах Версальского дворца, знаменитого предместья Парижа, и в садах Версаля. Они поражают своими гигантскими размерами и смелостью использования материалов, совершенно неординарных, таких как нержавеющие кастрюли, кружева, перья, мягкие игрушки и др.

В своих арт-объектах Джоана Васконселус отразила множество противоречивых аспектов современной культуры: тотальное распространение технологий и блестящее ручное мастерство, публичность и приватность, тягу к старине и футуристические устремления, традиции и инновации, аутентичность и космополитизм, народное и элитарное, арт и дизайн.

«Мир мне представляется оперой, и мои работы возникли вокруг этой идеи, которая постоянно вдохновляет меня. Эти арт-объекты созданы специально для Версаля, они с ним связаны во вневременном пространстве. Ведь когда я прохожу по залам дворца, я чувствую энергию театрального пространства, которая витает между реальностью и мечтами, обыденным и магическим, комическим и трагическим. Я слышу эхо шагов королевы Марии-Антуанетты, музыку праздников в торжественных залах. И я задаюсь вопросом какой бы была жизнь Версаля, если бы эта грандиозная вселенная была перенесена в наше время?» – рассуждает Джоана Васконселус (Joana Vasconcelos).

Дизайнер и художница проинтерпретировала разные идеи в своих работах, она постаралась отразить мифологию Версаля и передать присутствие великих женщин Франции, которые там жили. «Мне также хотелось отразить мою индивидуальность португальской женщины, рожденной во Франции, микс культур и восприятий», – объясняет Джоана.

В знаменитом Зеркальном зале, в южной части дворца, где проходили самые торжественные исторические события Франции, установлен арт-объект Marylin. Это гигантские босоножки на высоких каблуках. Они сделаны из нержавеющих кастрюль и их крышек, и создают эффект присутствия Гулливера. Скульптура символизирует достижения великих женщин в общественных и частных сферах.