МАРТИНА КРИДА

Work No. 850

source: martincreed

Martin Creed was born in 1968 in Wakefield, England. From the age of three he lived in Glasgow, Scotland. Between 1986 and 1990 he studied at the Slade School of Fine Art, London. After art school he lived and worked in London until 2001, when he moved to Alicudi, Italy. In 2001 he was the winner of the Turner Prize.

He currently lives and works in London and Alicudi.
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source: tateorguk

Work No. 850 centres on a simple idea: that a person will run as fast as they can every thirty seconds through the gallery. Each run is followed by an equivalent pause, like a musical rest, during which the grand Neoclassical gallery is empty. This work celebrates physicality and the human spirit. Creed has instructed the runners to sprint as if their lives depended on it. Bringing together people from different backgrounds from all over London, Work No. 850 presents the beauty of human movement in its purest form, a recurring yet infinitely variable line drawn between two points.
In Palermo we went to see the catacombs of the Capuchin monks. We were very late and only had five minutes to see it all before closing time. To do it we had to run. I remember running at top speed with my friends through the catacombs looking desperately left and right at all of the dead people hanging on the walls in their best clothes, trying our best to see it all… it was a good way to see it. It was that kind of delirious running which makes you laugh uncontrollably when you’re doing it. I think it’s good to see museums at high speed. It leaves time for other things.
Martin Creed
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source: theguardian

Newspaper reviewing is obsessed with the first night, the opening, the new thing. Well, we are called newspapers after all, not oldspapers. But the pressure on critics to get – in the case of visual art – the first view of an exhibition can arguably be counter-productive. It means that reviewers have not had time to weigh second thoughts, and that readers have almost certainly not seen the exhibition before they read the review. The review therefore influences your own encounter. I’m not objecting to this but I do think it might be interesting sometimes to look at exhibitions later in their run, with the benefit of reflection, and in conversation with readers who have also seen it. So here’s my belated review of Martin Creed’s Work No. 850 that opened at Tate Britain about a month ago. (Incidentally, this this is a personal comment, not a judicial verdict.)

In case you haven’t seen it yet, Work No. 850 is a relay of sprinters in the long, neoclassical central hall of the Millbank museum. The runners start near the entrance of the building and run the length of the marble floor, fast.

They run past JMW Turner’s painting The Golden Bough, visible through an entrance into the 19th century galleries. After each runner vanishes there is a pause before the next appears. You watch them, their faces, their feet. You might read the text in which the artist explains that he was inspired to create it after a visit to see the mummified corpses of Palermo’s 19th century elite, when time was rushed and he had to run past the bodies. Well, maybe, but I can’t help wondering if he was also inspired by Jean-Luc Godard’s 1964 film Bande à Part in which the heroes run the length of the great gallery in the Louvre where French history paintings are displayed. I’ve just watched this again on YouTube. The Duveen Gallery at Tate Britain is very similar to the hall in the Louvre, in both cases the runners cover the length of the room, and while Creed’s runners pass a great British painting by Turner, Godard’s characters sprint past David’s Oath of the Horatii.

Anyway, carping references to Godard aside, what did I think of Work No. 850? Here’s the thing. I found it amusing and diverting at the time. I was impressed by the sheer audacity of Creed’s decision to fill such a massive hall with nothing but the human body, running past. And then I went away and had a few weeks to either forget, or remember it.

A couple of weeks later I found myself contemplating Barnett Newman’s painting Onement (I) (1948) in Manhattan’s Museum of Modern Art. This is the first ever painting in which Newman depicted the straight vertical line or “zip” that became his graphic signature. It is a great work of art, and the ultimate source of all minimalism. Newman had the audacity to just paint a thin red line on a canvas he’d saturated dark purplish-brown. The line becomes prophetic, authoritative, the essence of rhetoric. Only humans can make a straight line: there are no straight lines in nature.

I found myself thinking of Creed’s Work No. 850. I realised that, too, is essentially a drawing of a straight line: a line made by human bodies. Creed reveals something basic and essential about art, that it starts with a human body moving and a human mind imagining a line.

What do I think of Work No. 850, on reflection, and setting aside the debt to Godard? I think it’s absolutely beautiful. But you’ve had time to think, too. What do you reckon?
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source: aftenposten

I de 86 meter lange Duveen Galleries er neoklassiske marmorskulpturer byttet ut med løpende “skulpturer” av kjøtt og blod. Det er installasjonskunstneren Martin Creed som stiller ut sitt siste arbeid, Work No 850, bestilt av det kjente museet for britisk kunst.Hvert 30. sekund sprinter en løper gjennom det nå ellers tomme galleriet, som er en del av Tate Britain. Hele dagen, hver dag, frem til 16. november.Løperne, som er rekruttert gjennom friidrettsmagasiner, jobber i skift, og har fått beskjed av Creed at de skal “løpe for livet”. Og det gjør de virkelig!- Han var svært rask, hvisker to voksne damer henført, da en ung, atletisk svart mann farer forbi i joggesko, shorts og stram topp. Deretter kommer en liten, sped kvinnelig løper. Hun prøver å sno seg rundt gallerigjester med ryggen til, som ikke er oppmerksomme på henne, samtidig som hun gjør alt hun kan for å holde tempoet oppe. Langt der fremme forsvinner hun inn bak noen søyler, før en ny løper kommer styrtende et halvt minutt etter.
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source: lesartistescontemporains

Martin Creed vit et travaille à Londres et à Alicudi en Italie.

L’oeuvre de l’artiste britannique est marquée par l’exploration de la vie quotidienne et de ses manifestations physiques comme les vomissements («Work No. 503» – 2006), la défécation («Work No. 600» – 2006) ou les relations sexuelles («Work No. 715» – 2007).

En 2008, Martin Creed a proposé une œuvre originale à la Tate Britain de Londres. Toutes les 30 secondes, une cinquantaine de coureurs semi-professionnels font faire un sprint à travers les 86 mètres d’une galerie au coeur du musée, le plus vite possible, «comme si leur vie en dépendait».

«Work No.850» de Martin Creed se veut l’expression «la plus pure de la vitalité humaine», selon la Tate Britain. Pour le musée, l’oeuvre «présente la beauté du geste humain dans sa forme la plus pure, une ligne entre deux points répétitive et pourtant variable à l’infini».

Entre chaque départ, une musique s’élève dans la galerie Duveen, et l’espace nécessaire est libéré pour laisser place au coureur suivant. «J’aime courir. Je vois les gens qui courent et moi-même je cours… Courir est le contraire de l’inactivité. Si vous considérez la mort comme l’inactivité complète, alors le mouvement le plus rapide possible est la plus importante manifestation de la vie», a expliqué Martin Creed dans un communiqué.

Cette création pour la Tate s’inscrit dans la lignée de «Work No. 227 Lumière s’allumant et s’éteignant» (2000), présenté dans l’exposition consacrée à l’artiste après sa victoire au Turner Prize en 2001.
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source: blognaver

세계미술계 주목하고 있는 개념,설치미술가 마틴 크리드(Martin Creed ,영국 / 1968). 마틴 크리는 자유로운 발상과 상상력을 발휘 위트가 넘치는 작품을 발표하면서 터너상을 수상하게 된다. [출처] 나는 달린다, 고로 존재한다?|작성자 밥이야기 작가의 설치작품은 일련의 번호(NO1부터…)가 매겨져 있는데, 최근 영국테이트모던갤러리에서 시작된 작품 850번(Work No. 850)은 갤러리 중심의 86미터의 거리를 30초간격으로 달리기를 하는 사람들을 담은 작품이다. 이 프로젝트는 2008년 7월 1일1부터 11월 16일까지 4개월간 이어지는 릴레이 작품이다. [출처] 나는 달린다, 고로 존재한다?|작성자 밥이야기.
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source: blojeans

La imágenes de este post pertenecen a su “Trabajo Nº 850”: Corredores que, cada 30 segundos, inician una carrera a lo largo de 75 metros en el museo Tate Britain. Cualquiera que haya disfrutado de correr en algún momento de su vida puede simpatizar con esta acción. El piso liso, el silencio relativo, el aire quieto, los espacios amplios (pero sin horizonte), el entorno de obras incalculables (y poco movibles), convierten tal carrera en un juego muy disfrutable. Es curioso. En Bande apart, la película de Jean Luc Godard, los tres protagonistas corren a través de El Louvre, en París, para romper un record y lo viven de una manera gozosa. Décadas más tarde, en Los Soñadores, los tres protagonistas deciden imitar a los personajes de Bande apart, tratando de… romper el récord y repiten la carrera prohibida. Pasan unos años más y Creed convierte los galopes bípedos en una obra efímera, pero profesional.
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source: dadadarts

L’artiste britannique Martin Creed a présenté en 2008 son travail “Work n°850” en collaboration avec Puma à la Tate Gallery de Londres. Une oeuvre vivante : toutes les 30 secondes, une cinquantaine de coureurs ont fait un sprint à travers les 86 mètres d’une galerie au coeur du musée, le plus vite possible, “comme si leur vie en dépendait”.”Work No.850″ de Martin Creed se veut l’expression “la plus pure de la vitalité humaine”, selon la Tate Britain. Pour le musée, l’oeuvre “présente la beauté du geste humain dans sa forme la plus pure, une ligne entre deux points répétitive et pourtant variable à l’infini”.Entre chaque départ, une musique s’élève dans la galerie Duveen, et l’espace nécessaire est libéré pour laisser place au coureur suivant.

Déclaration de Creed à méditer : “J’aime courir. Je vois les gens qui courent et moi-même je cours… Courir est le contraire de l’inactivité. Si vous considérez la mort comme l’inactivité complète, alors le mouvement le plus rapide possible est la plus importante manifestation de la vie”.
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source: ferri500
Martin Creed was born in Wakefield and brought up in Glasgow. He studied art at the Slade School of Art at University College London from 1986 to 1990.
Since 1987, Creed has numbered each of his works, and most of his titles relate in a very direct way to the piece’s substance. Work No. 79, some Blu-tack kneaded, rolled into a ball and depressed against a wall (1993), for example, is just what it sounds like, as is Work No. 88, a sheet of A4 paper crumpled into a ball (1994). One of Creed’s best known works isWork No. 200, half the air in a given space (1998), which is a room with enough inflated balloons in it for them to contain half the air in it.
Creed is perhaps best known for his submission for the 2001 Turner Prize show at the Tate Gallery, Work No. 227, the lights going on and off, which won that year’s prize. The artwork presented was an empty room in which the lights periodically switched on and off. As so often with the Turner Prize, this created a great deal of press attention, most of it questioning whether something as minimalist as this could be considered art at all. Artist Jacqueline Crofton threw eggs at the walls of Creed’s empty room as a protest against the prize, declaring that Creed’s presentations were not real art and that “painting is in danger of becoming an extinct skill in this country”.[1] In 2006 Martin Creed presented an extensive exhibition with sculptures, videos and performances titled I Like Things with Nicola Trussardi Foundation in Milan.
Some of Creed’s works use neon signs. In these cases, the title of the work indicates what the sign says. These pieces include Work No. 220, Don’t Worry (2000) and Work No. 232, the whole world + the work = the whole world (2000), which was mounted on Tate Britain in London.
In an interview published in the book Art Now: Interviews with Modern Artists (2002), Creed explains that he used to ‘make paintings’ but never liked having to decide what to paint. He decided to stop making paintings and instead to think about what it meant, and why he wanted to make things. He says:
” The only thing I feel like I know is that I want to make things. Other than that, I feel like I don’t know. So the problem is in trying to make something without knowing what I want. […] I think it’s all to do with wanting to communicate. I mean, I think I want to make things because I want to communicate with people, because I want to be loved, because I want to express myself.”
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source: espaperblog
Martin Creed (Wakefield, Inglaterra, 1968) presentó el pasado mes de diciembre en Madrid Things/Cosas, en la que se recorren 20 años de su trabajo.
Creed es uno de los artistas internacionales de mayor prestigio. Su trabajo gira en torno a palabras, objetos y cosas de la vida diaria, que saca de su contexto y transforma en obras de arte, haciendo que cambie la percepción que tenemos de las cosas que nos rodean por muy absurdas que parezcan. Esto es motivo de polémica, y en las últimas semanas se ha creado un cierto debate en torno a su obra, ya que algunas se componen de elementos tan simples y absurdos como un trozo de blue tac, un folio hecho pedazos, una acuarela pintada con los ojos cerrados o la más conocida, una bola de papel arrugado.
Estamos acostumbrados a enfrentarnos a obras en las que buscamos un entendimiento, o valorar las obras por su complejidad creativa. En el caso de las obras de Creed, para pasar un buen rato creo que es necesario deshacerse de esa idea e intentar valorar la ausencia de todo eso, y aplaudir el hecho de lograr encontrar en aquello más simple lo que lo hace importante. A mi me ha gustado ver una exposición de estas características en Madrid, ya que no son muy comunes, pero cada uno que lo valore.
Te animo a que la veas y formes tu propia opinión, y sobre todo porque conozcan la obra de uno de los nombres importantes del panorama internacional, ganador del prestigioso premio Turner en 2001.
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source: zeronaldo

Martin Creed nasceu na Inglaterra em 1968, cresceu na Escócia, voltou para estudar artes em Londres e logo foi descoberto pelos galeristas em 1987. De lá para cá correu o mundo com exposições coletivas e individuais e com suas instalações que possuem um grande rigor estético e conceitual.

Em 2001, o Martin Creed recebeu um dos mais importantes prêmio de arte do mundo, o Turner Prize, o que o consolidou com um dos mais destacados artistas ingleses da sua geração. Sua exposição na Tate Gallery nesse ano foi um marco para o minimalismo. Ano passado uma grande exibição no Museu de Arte de Lima marcou sua primeira exposição individual na América do Sul. Nos jogos Olímpicos de Londres ano passado, Martin Creed fez o Work No: 1197. Todos os sinos da Inglaterra tocaram juntos por três minutos, o mais rápido e mais forte que puderam.
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source: kunsthalle-bernch

Martin Creed ist 1968 in Wakefield, England geboren. 1986-1990 absolvierte er die Slade School of Fine Arts, wo er begann, seine Werke auf nicht durchgehende Weise zu nummerieren, um ihnen eine präzise, aber anonyme Identität zu verleihen. 2001 gewann er mit dem Work No. 232 (The lights going on and off) den Turner Prize.
Creed ist ein Minimalist. Er versucht, mit beinahe nichts so wenig wie möglich zu machen. So knüllt er ein weisses Blatt zusammen und legt es wie eine Skulptur auf einen Sockel, dessen Basis das Format des Blattes besitzt: Work No.301 (A sheet of paper crumpled into a ball). Oder er schafft mit schwarzem und weissem Papier sowie Abdeckband kleine quadratische Zeichnungen (Work No. 175). Was ist das Natürlichste, was Leute vor der Fotokamera tun? Lächeln. Also realisiert er eine kleinformatige Fotoserie mit lächelnden Personen (Work No 295). Mit der Konzeptkunst verbindet ihn das Prinzip, dass ein Werk nicht unbedingt ausgeführt werden muss (von gewissen Werken stellt es bloss das Zertifikat aus), mit der Minimal Art die kühle formale Präzision der meisten Arbeiten. Der Einsatz alltäglicher Materialien wie Ballone, Bodenplatten, Klebband, Heftpflaster etc. und damit die Ablehnung der Merkmale von „Kunst“, aber auch die Verbindung zwischen Musik(performance) und bildender Kunst (der Musiker Creed spielte in der Band Owada. Beispiel: ein 31 Sekunden langes Stück des Trios heisst 30 seconds with the lights off) zieht ihn wiederum in Richtung Fluxus.
Die Objekte Martin Creeds existieren in einer Art Zwischenwelt, sind weder dies noch das, weder nichts noch wirklich etwas, weder „Kunst“ noch Alltagsobjekt, weder preziös noch banal, weder seriös noch ironisch, weder Negation noch Affirmation. Die Tür ist weder offen noch zu, das Licht ist weder an noch aus. Die grosse Neonschrift an der Fassade der Tate Britain “THE WHOLE WORLD + THE WORK = THE WHOLE WORLD” (Werk Nr. 232) ist bezeichnend für diese Philosophie. Bedeutet diese Gleichung, dass Kunst überflüssig ist? Warum muss dies dann mit einem solchen materiellen/energetischen Aufwand verkündet werden? Oder dass das Kunstwerk in der Welt aufgehen soll? Warum hängt es dann ausgerechnet über dem Eingang eines Museums? Mit den einfachsten Mitteln hinterfragt Martin Creed die Welt der Kunst und unsere Alltagswelt. Er stiftet mit Evidenz Verwirrung, mit Bescheidenheit Verunsicherung.
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source: mmomaru

Мартин Крид, Работа № 470, «Если Вам одиноко», 2005

Английский художник Мартин Крид (Martin Creed), лауреат премии Тёрнера, престижнейшей награды Великобритании в области современного искусства, давно провоцирует зрителя необычными, нестандартными приёмами творческого высказывания. Его искусство, лаконичное и не лишённое иронии, неизменно озадачивает и вынуждает размышлять — что же именно представил вниманию автор? «Мне кажется, что люди могут истолковывать мою работу так, как им нравится. Не думаю, что я должен им что-то специально объяснять», — говорит художник.

Работы Мартина Крида поражают своей прямотой и убедительностью — с помощью самых простых материалов, он добивается потрясающих результатов, полностью трансформируя пространство или наше восприятие его. Мартин Крид по-новому позиционируют знакомые предметы: его произведения представляют «ситуации объектов» (object situations) в «системе объектов» (system of objects). В арсенале художественных средств — деревянные балки, куски мятой бумаги, стулья и столы, гвозди, свет и звук, а также музыка, балерины и профессиональные бегуны. Отсюда и жанровое разнообразие его творчества — это скульптуры и инсталляции, графика, музыкальный перформанс, балет…

Каждая работа получает не название, а номер. Сквозная нумерация — это одновременно знак равенства между разноплановыми работами (все работы именуются по одному и тому же принципу) и движение вперед. Движение в творчестве Крида иногда приобретает буквальное значение — в знаменитой работе № 850 профессиональные атлеты каждые 30 секунд пробегали по залам галереи Тейт. Но чаще это приём нарастания, градации, когда художник играет с пропорциями сложенных в некую синтагму объектов: пирамида из стульев, линейка из кактусов, строй метрономов, отбивающих каждый свой ритм.

Числа и простейшие математические операции по сложению и вычитанию лежат в основе творчества Крида. Используя самые разные материалы, художник складывает их в комбинации — что-то добавляет, что-то убирает — и добивается удивительно сложных решений. Так, работа № 227 The Lights Going On and Off (Включение и выключение света, 2001), за которую он и получил премию Тёрнера, представляет собой пустое белое пространство, в котором неожиданно зажигается и гаснет свет. Оппозиция «свет / темнота» является примером «бинарного кода» произведений Мартина Крида — противопоставление пустоты и наполненности, отсутствия и наличия, тишины и звука, света и темноты. При этом акцент неизменно делается на процессуальности: у зрителя должно складываться впечатление, что работа возникает у него на глазах. Именно поэтому так логично обращение Крида к музыке, которая, по его мнению, лучше всего позволяет показать процесс рождения произведения в режиме реального времени.

Мартин Крид стоит в одном ряду с такими суперзвёздами международной арт-сцены, как Дэмиен Хёрст, Рейчел Уайтред и Вольфганг Тиллманс. На его первой в России выставке в Московском музее современного искусства будут представлены избранные работы за весь период творческой карьеры художника. Адаптированные под новое пространство, произведения будут расположены по залам в соответствии с внутренней структурной логикой творчества Крида в нарастающем порядке и обозначат наиболее значимые этапы. А прямо на фасаде музея разместится новая работа — неоновые буквы, сложенные в оптимистическую фразу «Всё будет хорошо», парафраз знаменитой работы № 200 Everything Is Going to Be Alright 1998 года.