Phlegm: The Bestiary

The Bestiary é uma instalação imersiva e em larga escala em madeira, argila e gesso do artista de rua Phlegm na Howard Griffin Gallery em Shoreditch, nos leste de Londres, que vai até o dia 04 de março de 2014.

Para mais informações sobre a exposição, por favor visite o site da galeria e veja abaixo algumas fotos tiradas no meu telefone.

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The Bestiary is an immersive and large scale installation in wood, clay and plaster by street artist Phlegm at the Howard Griffin Gallery in Shoreditch, East London, on show until 04 March 2014.

For more information about the exhibition, please visit the gallery’s website and see below for some pictures taken on my phone.

The Source (Evolving)

Após estrear na Tate Liverpool ano passado The Source (evolving), uma série de conversas entre o artista Doug Aitken com pioneiros de diversas disciplinas debuta nos EUA em Park City, Utah, no New Frontier do Sundance Film Festival. O programa  apoia e mostra filmes que desafiam estruturas de narrativa na contagem de histórias, encourajando novas experiências visuais.

Durante o Sundance The Source (evolving), uma série de conversas com pioneiros de diversas disciplinas, será apresentado em uma esrutura circular criada em colaboração com um dos entrevistados, o arquiteto David Adjaye. Vídeos da exposição serão projetados nas paredes internas e externas do prédio. Aitken também criou um website para abrigar as entrevistas, realizadas com nomes que até agora incluem William Eggleston, Ryan Trecartin, Richard Phillips, Paolo Soleri, James Murphy, Jack White, Mike Kelley, Devendra Banhart, Beck, Tilda Swinton, Alice Waters, e James Turrell. A exposição vai até dia 24 de Janeiro, mas Aitken planeja continuar atualizando o website com novas entrevistas indefinidamente.

Tradução livre de artigo da revista Interview.

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After premiering at the Tate Liverpool last year The Source (evolving), an ongoing series of  conversations between artist Doug Aitken  and groundbreaking pioneers from different disciplines, makes its U.S. debut in Park City, Utah, in conjunction with Sundance Film Festival‘s New Frontier. The program supports and showcases films that challenge and expand traditional narrative structures in storytelling in favor of entirely new viewer experiences.

Throughout Sundance The Source (evolving), will physically live in a specially-designed, 2000-square-foot standalone circular structure, created in collaboration with one of Aitken’s subjects, the architect David Adjaye. Six-channel video projections of the installation are projected across the walls of the building’s interior; the videos will also be projected onto the outer walls of the structure and visible from its exterior. Aitken has also developed a website to serve as home for the interviews, whose 22 subjects thus far include William Eggleston, Ryan Trecartin, Richard Phillips, Paolo Soleri, James Murphy, Jack White, Mike Kelley, Devendra Banhart, Beck, Tilda Swinton, Alice Waters, and James Turrell. Though the physical exhibition ends next Saturday, Aitken plans to continue to update the website with new conversations indefinitely.

Read the full article at Interview magazine.

Antes de que nos Olviden

In its third year, the Antes de que nos Olviden Festival takes places in Mexico City from July 29 to August 3 at the Cinema Ciudadela. The abandoned porn cinema was renovated to host multimedia installations, workshops and concerts by twenty-five underground Mexican bands, to which you can listen below:

Mike Kelley, the “blue-collar anarchist”

Nascido no subúrbio de Detroit, filho de um construtor e de uma cozinheira da Ford Motor Company, no início dos anos 70 Mike Kelley tocou bateria na Destroy All Monsters, influente banda que fundou com o artista e músico Jim Shaw enquanto na Universidade do Michigan. Em 1978 ele se mudou para Los Angeles e no California ­Institute of the Arts tornou-se um artista brilhante.

Kelley, que se auto-descreveu “proletário anarquista”, rebelou-se contra seus predecessores, criando um fluxo de trabalhos que desafiaram os valores do mundo da arte. Instalações em Los Angeles incluíram desenhos, pinturas e esculturas em grande escala, além de vídeos, escritos e capas de álbuns icônicos como Dirty do Sonic Youth.

A retrospectiva “Mike Kelley,” aberta até Abril no Stedelijk Museum em Amsterdam, inclui “Pay For Your Pleasure”, uma instalação de imagens de escritores, poetas e filósofos com frases de cada um sobre criatividade e criminalidade, justaposta pela obra de um criminoso. A exibição segue para o Centre Pompidou em Paris, o MoMA PS1 de Nova York e o Museum of Contemporary Art de Los Angeles.

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Born in a Detroit suburb to a maintenance worker and a Ford Motor Company cook, at the beggining of the 70’s Mike Kelley While played drums with the influential noise-rock group Destroy All Monsters, which he cofounded with the artist-musician Jim Shaw whilst an undergrad at the University of Michigan in 1973. He moved to Los Angels in 1978 and at the California ­Institute of the Arts became a brilliant performance artist.

Kelley, a self-described “blue-collar anarchist”, rebelled against his conceptualist forebears with a stream of works that challenged art world values. Installations in Los Angeles included large-scale drawings, paintings and sculptures, as well as videos and his own writing and iconic album covers such as Sonic Youth’s Dirty.

“Mike Kelley,” the four-years-in-the-making retrospective at Amsterdam’s Stedelijk Museum, includes “Pay For Your Pleasure”, an installation of featuring portraits of famous artists, writers and poets with quotes from each about creativity and criminal thinking, juxtaposed with the ultimate criminal’s so called artwork. The show runs through April 1, 2013, then travels to Paris’s Centre Pompidou, New York’s MoMA PS1, and the Museum of Contemporary Art in Los Angeles.

Pay For Your Pleasure (reprise), 1998
Dye transfer ink on polyester poplin with velcro

Pay For Your Pleasure (reprise), 1998
Dye transfer ink on polyester poplin with velcro

Andy Warhol’s “Early Drawings”

Pela primeira vez, 300 desenhos de Andy Warhol dos anos 50 estão sendo publicados em um livro editado pela Blau e exibidos no Louisiana Museum of Modern Art na Dinamarca, para depois seguirem para a Holanda e serem colocados à venda.

Mais conhecido pelas imagens de serigrafia de latas de sopa, batidas de carro e Marilyns que definiram a pop art, alguns dos trabalhos do artista precedentes ao movimento já mostravam traços de um interesse pelo culto a celebridades e uma obsessão pela repetição.

A exposição Andy Warhol’s “Early Drawings” acontece no Louisiana Museum of Modern Art na Dinamarca até 21 de fevereiro de 2013. Veja alguns dos desenhos de Andy Warhol abaixo:

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For the first time, 300 drawings by Andy Warhol from the 1950s are being published in a new book edited by Blau and exhibited at the Louisiana Museum of Modern Art Denmark and later in Holland, and will then be available to buy.
Mostly known for screen prints of soup cans, car crashes and Marilyns that defined pop art, some of the artist’s earlier works reflects traces of his interest in the lives of celebrities and his obsession with repetition.

Andy Warhol’s “Early Drawings” will show at the Louisiana Museum of Modern Art in Denmark until February 21, 2013. See some of Warhol drawings below:

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No Title (Pensive Girl Resting Head on her Hand), circa 1951
Photograph: The Andy Warhol Foundation for the Visual Arts, Inc

No Title (James Dean Look-Alike), circa 1957
Photograph: The Andy Warhol Foundation for the Visual Arts, Inc

Face repeated eight times, circa 1958
Photograph: The Andy Warhol Foundation for the Visual Arts, Inc

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Bob Dylan’s “Revisionism: Thirty New Works”

Bob Dylan abriu uma nova exposição na Gagosian Gallery semana passada, chamada “Revisionism: Thirty New Works”, sem abertura oficial e para poucos visitantes.

Os 30 trabalhos de arte são canvas em serigrafia e de larga escala que re-contextualizam capas de revista com a iconografia da cultura pop. Dylan faz colagens de celebridades e políticos em suas versões de revistas como Rolling Stone e TIME, adicionando chamadas sem sentido.

“Revisionism” chega como um rebote às acusações de plagiarismo à “The Asia Series”, a primeira exposição do artista na galeria nova-iorquina há quase um ano. As pinturas de Dylan, definidas como um “diário visual” de suas viagens pelo Japão, China e Vietnam apresentaram grande similaridade com fotografias de Cartier Bresson e outros.

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Bob Dylan opened a new exhibition at Gagosian Gallery last week, titled “Revisionism: Thirty New Works”, with no official opening reception and to small crowds.

The 30 artworks consist of large-scale, silkscreened canvases that re-contextualize magazine covers with pop culture iconography. Dylan plasters celebrities and politicians on his version of well-known publications like Rolling Stone and TIME magazines, adding nonsensical headlines.

“Revisionism” comes as a rebound to the accusations of plagiarism at “The Asia Series”, the artist’s first ever exhibition at the major New York gallery almost a year ago. Dylan’s paintings, defined as a “visual journal” of his travels through Japan, China and Vietnam hold striking similarities to existing photographs by Cartier Bresson and others.

Playboy Magazine: Sharon Stone (2011-12)

“Study for the artwork Baby Talk Magazine: Strengthen Your Baby”

Surrealism and mannequins as Objets d’Art

Os artistas surrealistas tinham um interesse especial em manequins. Eles mantêm vivo Pigmaleão, o mito de Ovídio sobre um escultor que entalha a mulher perfeita, apaixona-se por ela e pede a Vênus que lhe dê vida.

O artista dadaista Raoul Hausmann já havia criado, em 1919, uma cabeça mecânica de papel machê decorada chamada “The Spirit of Our Age”. Dessa forma, o objeto comum perdeu sua função e transformou-se em um conceito artístico. Hausmann fez parte da primeira exposição internacional sobre o Dadaísmo – movimento precedente ao Surrealismo – que aconteceu em Berlim em 1920, além do escultor e fotógrafo Hans Bellmer, que trabalhou com manequins desde o início dos anos 30 e emigrou para Paris em 1938.

Nesse mesmo ano, o escritor André Breton (1896-1966) e o poeta Paul Éluard (1895-1952) organizaram a “Exposition Internationale du Surréalisme” na Galerie Beaux-Arts em Paris. Quinze artistas receberam manequins e foram instruídos a utilizá-los como telas para suas criações.

Em 2011, uma exposição chamada “Surreal Things” na Schirn Art Gallery em Frankfurt mostrou as fotografias desses manequins tiradas pelo pintor, escultor e fotógrafo francês Raoul Ubac, ao lado de esculturas e objetos de artistas como Miró, Dalí e Man Ray. De acordo com a galeria, os objetos confirmam a “paixão dos surrealistas pela iconografia do manequim e refletem o desejo de sexualizar o corpo através de métodos surrealistas como o ato de cobrir e expor”.

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The surrealist artists had a special interest in mannequins. With these mannequins the art myth of Ovid’s Pygmalion, a sculptor who carved the perfect woman, fell in love with her and then asked Venus to awaken her to life, is kept alive.

The dadaist artist Raoul Hausmann had already created, in 1919, a decorated mechanical head made of papier-mâché named “The Spirit of Our Age”. Thus, the everyday item lost its common function and experienced a transformation into an artistic concept. Hausmann was involved in the first international Dada exhibition – the movement preceded Surrealism – which took place in 1920 in Berlin. The sculptor and photographer Hans Bellmer, who emigrated to Paris in 1938, was also a participant of the exhibition. He had been experimenting with mannequins since the beginning of the 1930s.

In 1938, the writer André Breton (1896-1966) and poet Paul Éluard (1895-1952) organized the “Exposition Internationale du Surréalisme” at the Galerie Beaux-Arts in Paris. Each of fifteen artists were given a dressmaker’s mannequin as their canvas and encouraged to transform the figure in any way they desired.

In 2011 an exhibition called “Surreal Things” in the Schirn Art Gallery in Frankfurt showcased photographs of these mannequins, taken by the French painter, sculptor, engraver and photographer Raoul Ubac, along sculptures and objects from artists such as Miró, Dalí and Man Ray. According to the Schirn art gallery, the objects testify to “the passion of the Surrealists for the iconography of the mannequin and reflect the desire to sexualise the body by means of surrealistic methods, such as combinatorics, veiling and exposure”.

Mannequin by Maurice Henry

Mannequin by Man Ray

Mannequin by Marcel Duchamp

Mannequin by Miró

Mannequin by Salvador Dalí

Mannequin by Sonia Mosse

“On the Road: Jack Kerouac’s Manuscript Scroll” at the British Library

This manuscript is on loan from the collection of James S. Irsay © Estate of Anthony G. Sampatacacus and the Estate of Jan Kerouac. Photograph courtesy of Christie’s, New York

Escrito em um período de três semanas em abril de 1951, Jack Kerouac datilografou o manuscrito para seu livro mais famoso em rolos de papel vegetal, que inteiro iria alcançar 37 metros. O manuscrito estará exposto pela primeira vez, em Londres, ao lado de materiais impressos e de som pertencentes à coleção da livraria. Uma série de eventos paralelos, que levam o nome do título do livro, ‘On the Road’, incluem a leitura de poemas pelo poeta de jazz Amiri Baraka.

On the Road: Jack Kerouac’s Manuscript Scroll pode ser visitada até 27 de dezembro na British Library.
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Written over a period of three weeks in April 1951, Jack Kerouac typed the manuscript for his most famous book on rolls of tracing paper, which he taped together into a scroll that would eventually reach 120 feet. For the first time ever, this goes on display in London, where it will be shown in a display in a specially constructed case, along with sound and printed materials from the Library’s collection. A series of accompanying ‘On the Road’ events includes legendary jazz poet Amiri Baraka performing poems and readings.

On the Road: Jack Kerouac’s Manuscript Scroll runs until Thu, Dec 27 at the Folio Society Gallery, British Library, 96 Euston Rd, London, NW1 2DB.

“LOAD” at the Royal Albert Hall

“LOAD” é uma exposição de street art realizada em 2009 no armazém do Royal Albert Hall, com grafites de Ben Slow, Eyesaw, Dan Kitchener, Snik, Blam, Grafter, Babel, Finbarr Dac and DBO pintados nas paredes do local.

Contando a história dos 138 anos da famosa casa de espetáculos, a exposição traz murais de figuras icônicas que passaram pelo seu palco, incluindo Jimi Hendrix, The Beatles, Eric Clapton and The Killers.

Aberta ao público por apenas um dia, desde sua inauguração esses trabalhos de arte são reservados a artistas e empregados que trabalham vendo imagens de Mick Jagger e Paul Weller, ao lado de Albert Einstein, Winston Churchill and Muhammad Ali.

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“LOAD” is an exhibition of graffiti artwork, dating from 2009, on the vast loading bay at the Royal Albert Hall by street artists Ben Slow, Eyesaw, Dan Kitchener, Snik, Blam, Grafter, Babel, Finbarr Dac and DBO.

Depicting the Royal Albert Hall’s 138 year history, LOAD displays murals of the most iconic figures to have graced the Hall’s stage, including Jimi Hendrix, The Beatles, Eric Clapton and The Killers.

Open to the public for one day only, these works of art are since then the preserve of artists, performers and behind the scenes staff at the famous venue who work gazing at images from Mick Jagger and Paul Weller, alongside Albert Einstein, Winston Churchill and Muhammad Ali.

“David Bowie is” at the V&A

O Victoria and Albert abrirá em março a primeira retrospectiva internacional de David Bowie. “David Bowie is” irá explorar os primeiros anos da carreira de David Robert Jones, antes do artista adotar, em 1965, o nome pelo qual se tornou famoso.

Bandas como The Kon-rads, o primeiro sucesso com Space Oddity – que coincide com a chegada do homem à lua em 1969 e introduziu o personagem ficcional Major Tom – cenas inéditas de turnês, cenografia e storyboards do tour de Diamond Dogs de 1974 estarão à mostra. Além de objetos pessoais como set lists escritos à mão, partituras, colagens de palavras e registros de diário.

Bowie inovou ao encarnar personas em seus álbuns e turnês, e 1972 marcou o nascimento de sua criação mais famosa, Ziggy Stardust – a manifestação humana de um alien.
A aparência andrógina e extra-terrestre de Ziggy teve forte influência na cultura pop e assinalou um desafio às tradições sociais.

Tradução livre de matéria da BBC news online.

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The Victoria and Albert Museum will open in March David Bowie’s first international retrospective. “David Bowie is” will offer insight into the artist’s early years, tracing the first musical steps of David Robert Jones before he officially adopted the stage name David Bowie in 1965.

The exhibition will chart Bowie’s first musical steps in bands such as The Kon-rads
It will feature Bowie’s first major hit Space Oddity, which coincided with the first moon landing in 1969 and introduced fictional character Major Tom. Previously unseen tour footage, set designs and storyboards from the lavishly produced 1974 Diamond Dogs tour will also be on display. Alongside these will be more personal items such as handwritten set lists, musical scores, word collages and diary entries.

Bowie’s innovative approach to creating albums and touring shows centred around fictionalised stage personas, with 1972 marking the birth of his most famous creation Ziggy Stardust – a human manifestation of an alien being. Ziggy’s androgynous and otherworldly appearance had a powerful influence on pop culture and signalled a challenge of social traditions.

More than 60 stage costumes will be on display, including original Ziggy Stardust bodysuits from 1972 and outfits designed for his Aladdin Sane and Thin White Duke characters

Works by such photographers as Herb Ritts, Helmut Lang, Brian Duffy and Terry O’Neill will also feature

Recently uncovered footage of the artist performing Jean Genie on Top of the Pops in 1973 will also form part of the exhibition, to run from 23 March to 28 July