David Claerbout
http://www.palazzograssi.it/en/exhibition/world-belongs-to-you/room-map/david-claerbout
This Belgian artist, born in 1969, first trained as a painter; he later distanced himself from this technique to work instead with photography and film, with which he considered he could best analyze the viewer’s relationship to both moving and still images, whether these are used to capture a single moment or the passing of time. In The Algiers’ Sections of a Happy Moment, Claerbout meticulously orchestrates the representation of a quotidian scene: on the roof of a Casbah in Algeria, a dozen boys interrupt their soccer game while one of them feeds a seagull. Claerbout uses several cameras to capture the scene from different viewpoints, resulting in over 50,000 photographs taken over a few seconds. He then organizes these photographs in a certain sequence to create a single video projection that interferes with our linear perception of time, making the viewer believe that a narrative thread is woven into the film. This collage-like work almost succeeds in suspending the viewer’s disbelief: only with close attention does the viewer realize that Claerbout has laboriously prolonged a single instant, so that this seemingly real, idealized narrative is slowly revealed to be false. Gradually, the images reveal the stark, confined contours of the boys’ lives, as this happy moment fades away.
© Palazzo Grassi, all rights reserved
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The animal inside Marcus Coates
Extract from Tate website: For this film, we went bird-watching with the artist Marcus Coates. His new video, The Plover’s Wing 2008, is on show at Tate Britain during the Tate Triennial, so it seemed apt. Coates knows a lot about birds, he can mimic their calls, interpret their behaviour and, he says, even converse with them… in the spirit world. For his art, he films himself entering a trance like state that he calls ‘becoming animal’, and attempts to solve people’s problems by seeking answers from the animal spirits that he encounters. In this latest work, he visits the mayor of a town in Israel, and answers a question about the crisis there(http://www.tate.org.uk/context-comment/video/current-exhibition-marcus-coates).
Gabriel Orozco
Gabriel Orozco, who is a Mexican artist, specialises
in discovering something unique as a stranger in a new place. He is continuing
his work with new inspirations which he gets from new places and cultures. The
objects and places of Orozco’s work must be seen usual, ordinary and familiar in
local people’s eyes. However, Orozco goes closer to local people’s life and
then shows up their unique identity. For example, while he was in India, he observed that abandoned sandals, especially single, blue flip-flops,
were ubiquitous. When images of the sandals are grouped together as photographs,
they represent a mysterious narrative about what happened to the people who had
been wearing them. Chris Rojek (Universal Experience, p.222) says that myth and
fantasy play an unusually large role in the social construction of all travel
and tourist sights. The physical movement to new places and situations
obviously invokes the unfamiliar. This invites speculation and fantasy about
the nature of what one might find.
-extract some passages from Ellie Kyungran's essay titled 'Traveller’s creative eyes(the submitted essay at the 21st February 2012)'
-extract some passages from Ellie Kyungran's essay titled 'Traveller’s creative eyes(the submitted essay at the 21st February 2012)'
Director So Yong Kim_Treeless Mountain
Ben Rivers Slow Action
Steve McQueen at the Venice Biennale 2009
McQueen shot what he found – there is a 92-year-old woman who trundles her shopping trolley through the gardens to feed the cats each day, and a spectacular moment when the sun is blotted out by one of the giant cruise ships that dwarfs the city "like a giant whale", he said. We hear the sounds of the park – the chanting from the nearby football ground, for instance. "It was like a wonderful male choir," said McQueen, "monumental, wonderful. And then there were always the church bells, this operatic thing."
But the film also has a small cast of characters, a fictional layer built on the found material. Two men – actors cast by McQueen – meet in the gardens by night. Their motives are ambiguous. "Is it homoerotic, straight, about friendship? I don't know," said McQueen. But the most arresting characters are the dogs who appear like a leitmotif through the work. "They are racing greyhounds that would otherwise be shot but are looked after by a charity," said McQueen. The point is that they ought to be dead – and are thus a kind of ghostly presence, he added(Charlotte Higgins_The Guardian, 2009).
Roni Horn
Installation size is variable (10 7/16 x 8 7/16 inches / 26.5 x 21.4 cm each photograph)
"...in 'You Are the Weather', that was fascinating because that was out of the context of this Iceland series. I did have a very specific idea that I wanted to see if I could elicit a place from her face — almost like a landscape. It was very much a wordless interaction, the two months we spent together. When you do a portrait, it’s about mutual trust...that the person you’re working with trusts you so that the image is fluent with whom she or he is..."
(Roni Horn, PBS Interview for Art:21 series)
Bruce McLean
McLean used his own body as the source of his sculpture.
His awkward gestures that are reinterpreted Henry Moore's sculpture are throwing me in many questions what the contemporary sculpture is.
Gideon Obarzaneks
Sam Taylor-Wood
Sam Taylor-Wood represents physical spaces and elements through highly energetic poses and situations. I am interested in her works that investigate self by removing objects and her body figures. They are a fantastically matched.
Yeondoo Jung
Michel Gondry_chemical brothers
Helen Chadwick
artist: born Croydon 18 May 1953; died London 15 March 1996
The below is the part of Louisa Buck's article.
From her early edible body casts made in the Seventies as part of the Flux movement, to the hermaphrodite blooms of her bronze Piss Flowers, made from casting the patterns of male and female urine in snow, Helen Chadwick made her art splice the sensuous with the cerebral in a quest to bend, stretch and dissolve age-old certainties of who and what we are. Whether she was casting lambs' tongues in bronze, photographing flowers clustered on the surface of domestic fluids, working with digital technology or commissioning specially woven carpet, she revelled in fusing a mass of unconventional materials and drawing on sources that range across myth, science and anatomy - in order to express and celebrate a world of flux, fluidity and possibility.
Helen Chadwick's work may have dealt with ambiguity but it was never of itself ambiguous. Probably her most notorious recent piece was Cacao, the suggestive fountain of molten chocolate that formed the centrepiece of her one-woman show "Effluvia" at the Serpentine Gallery in July 1994 (and which put British art on the front pages of Brazil's newspapers when the piece was installed at the Sao Paulo Biennal that autumn). But this unforgettable work, which showed Chadwick using all her destabilising powers of seduction and revulsion, and defied any single response or reading, was just part of a long and complex investigation into how art can capture sensation and reflect states of being, but still be vitally accessible.
Long before the current artistic obsession with the human body as a means for exploring identity, Chadwick had declared that "my apparatus is a body x [multiplied by] sensory systems with which to correlate experience", and from the mid- Seventies she tapped into her own physical form to extend and dissolve accepted limits of physical and mental existence. In "Of Mutability" (exhibited at the ICA in 1984-86) collaged photocopies presented her naked figure floating amongst a cornucopia of animal and vegetable matter, while her "Viral Landscapes" (1988-89) employed computer technology to superimpose microscopic images of Chadwick's own body cells across epic photographs of the Pembrokeshire coast. Here was proof that the computer could be used in a way that replaced the technological with the subjective.
More recently however, she had employed other vehicles for exploring the personal and the physical. Last year the Tate Gallery purchased Enfleshings 1 (1989), one of her series of "Meat Abstracts" and "Meat Lamps" which present raw meat and offal in exquisite illuminated photopieces that represent the stuff that makes up us all. In April 1995 she had her first solo show at the Museum of Modern Art in New York with her "Wreaths to Pleasure" (1992-94), a series of 13 large circular photopieces which show arrangements of vividly coloured flowers floating on the surface of domestic fluids. These "Bad Blooms" - as she also called them - where black-red roses float on a creamy bath of ice-blue household paint, or an orchid comes to rest in a puddle of window cleaner, mix and merge apparent distinctions beween organic and toxic, fluid and static, clean and dirty, in a characteristically exquisite Chadwickian celebration of unholy alliances.
