Hey! looks who's back from last month limbo! It's the ARCO post. A very concise one to share an artist or artwork i discovered at the Madrid Contemporary Art Fair. This one is Case Study Homes, a series of photographies by Peter Bialobrzeski whose work Neontigers i had briefly alluded to a couple of years ago. The project, that started in Manila then spread over Asia, attests men's desire to built themselves a place they can call home, even if that entails rummaging through garbage.
Also worth the trip: Jörg Colberg's interview with the photographer.
I think i'll have to put a stop soon-ish to this avalanche of posts about ARCO, the contemporary art fair that closed 10 days ago in Madrid. But there's still a couple of stories i owe you. On top of the list is a report on Expanded Box, ARCO's section that specializes in new media art and video art. I'll focus on the former. Obviously.
Art critic and curator Domenico Quaranta curated the programme with an eye on selecting artworks that feature both a marketable appeal and a critical approach of the cultural impacts of media and technologies. I think Quaranta was the ideal man for the job. He's digustingly young and as such doesn't come with the preconception and 'burden' of the old new media art crowd. He's nevertheless extremely well informed, respected by the nma family and has proved his caliber on several occasions, in particular last year when he curated Holy Fire, art of the digital age together with Yves Bernard at iMAL in Brussels. Everthing could only run smoothly....
The press release quotes Quaranta who explains that the programme "showcases a type of art that looks outside the parameters of contemporary art to art developed on the Net, the art produced in research centres and labs and that has all the potential to change our present-day notion of art. A change of perspective that should not scare collectors or art lovers, because these works are representative of the information society and of the globalised world we all live in."
Before i give more details about the artworks exhibited, allow me to write a few words about the experts' forum i participated to. Between Fields, New Media Art Between Isolation and Integration, Inter-disciplinarity and Media Specificity, chaired by Domenico Quaranta.
Because i had been suffering from a particularly vicious flu that week, i had to miss the first presentations.
Fortunately, Geert Lovink dedicated a blog entry titled Discussing the Crisis in New Media Art @ ARCO Madrid to the talks of Joline Blais and Jon Ippolito , the charming and witty authors of the book At the Edge of Art, and to the one of Roberta Bosco, a journalist who has been covering media art for the mainstream and more specialized Spanish and Italian press with a remarkable knowledge and passion for the genre.
I regrettably missed Geert Lovink's talk. But i did catch the following speakers:
HMKV has a talent for showing new media art works in a 'transversal' and very approachable way. The exhibitions of the Dortmund center focus on phenomenon that go way beyond the new media art sphere and take technology and media as a starting point to demonstrate their wide-ranging imprint on culture and life in general. Inke Arns illustrated that point with one example taken from the show Art in the Age of Intellectual Property: a copy of the U.S. Patent and Trademark Office certificate. Kembrew McLeod, a professor of Communication Studies at the University of Iowa but also a prankster, trademarked in 1998 the phrase "Freedom of Expression®" as a comment on how the intellectual property law is being used to fence off culture and restrict the way in which people can express their ideas.
After Inke it was my turn. I'll spare you that part and offer you a video of dazzling Demis.
Media artist and curator Zhang Ga gave a wonderfully well-researched presentation on the many links that tie closely new media art with other art forms, demonstrating how much media art refers to and owes to many of the most important contemporary art movements. Zhang Ga also gave an overview of Synthetic Times - Media Art China at the National Art Museum of China in Beijing (part 1 and part 2 of my review of the show). Finally he mentioned the art fair dedicated to new media art galleries that he is curating in Shanghai.
Now a quick selection of the pieces shown in the Expanded Box exhibition:
Grow / Finish Unit (Eva, Oklahoma) 2008, is a representation of an unmanned pig production site near to Boise City, Oklahoma. The scene represented unfolds in real time over the course of one year, its light conditions through dawn and dusk match that of the local site.
At this start of the industrialised food production chain, pigs are raised on corn which is grown using nitrogen derived from oil and gas, thus rendering the occupants of these sheds in essence, oil derived pigs.
At no point are the many thousands of occupants of the eight sheds visible, as this is the case in reality. An autonomous virtual wind animates the surface dust, creating the principal movements in the piece. However, a single transport truck pulls to each building every 6-8 months and waits for 1 hour.
Joan Leandre had a spectacularly suggesting video at Project Gentili. The piece puts viewers inside an unmanned flying vehicle that slowly glide over locations that are part of everybody's culture (from Disneyland to Chernobyl) yet, acquire an uncanny pattern when seem from above.
Thomson & Craighead' homage to John Cage's Prepared Piano (a piano with its sound altered by placing various objects in the strings) was minding its own business at the booth of the ARC Projects gallery from Sofia. Unprepared Piano is connected to a database of music MIDI files compiled from the web, no matter whether they have been intended for piano only or for a variety of instruments. The electronic scores are then "performed" automatically according to a simple set of rules.
UBERMORGEN.COM's EKMRZ Trilogy engages in a shrewd and critical with the cultural consequences of media and technologies. The booth of Fabio Paris Art Gallery which hosted their installation was certainly the most creatively designed of the section . One of the pieces exhibited was awareded the ARCO Beep new media award this year.
Domenico Quaranta images
Carmen Calvo was represented by a couple of galleries at the ARCO art fair in Madrid. Judging by the number of coloured dots accompanying her art works, they've been selling like hot cakes.
Great Unifield Wal-Mart/Visa Army, Unmanned Combat Module
Back in July 2007, Russia's parliament voted to allow the country's biggest energy monopolies, Gazprom and the state oil pipeline company Transneft, to employ and arm private security units in order to 'protect themselves from terrorist attack.' Russia's interior ministry said they would supply Gazprom with guns from its own armoury. Some feared that the law would turn out to be 'a Pandora box' that paves the way for the creation of corporate armies.
A mock Hollywood-style Corporate Armies trailer describes a world ruled by corporations: marketing and totalitarianism unite in a dystopian scenario that reflects how the world would be if capitalism were unconstrained and liberated from any limit that democratic institutions impose upon it. «Corporate Armies also features sculptures made using 3D digital technology. They bring an ironic twist on merchandising, that cash-milking element the entertainment industry is increasingly relying on.
On the walls, next to the 3D animation, a series of black and white 'historical drawings' push further the reference to mass culture and the fascination for the 'beauty of war'. The drawings combine super-heroes in the Marvel tradition with a more Manga action, they portray Wal-Mart and Visa joining forces to fight and defeat Nike.
For this project, PSJM (aka Pablo San José and Cynthia Viera), have collaborated with Naone (Fernando Feito) for the 3D animation, Emiliano González for the scenario and Esteban Ruíz who composed the music of the trailer.
Seen at the booth of Espacio Liquido.
Here's another artist i discovered at the ARCO Contemporary Art Fair in Madrid last week. Her name is Rosalia Banet. Her narratives are wicked and tender like Nathalie Djurberg's, she colours (almost) like Murakami, and she seems to use any media with the same nonchalance.
Meet two of her main protagonists, Siamese sisters Sara Li and Ana Ka. Recently, they celebrated their birthday party. They invited Eli Love -the girl who goes around with a stone on her head; The Crying Girl, their old friend Penis Boy and The Chocolate Man whom they end up devouring. On the table, cake topped with eye balls, baby brain and other offal delicacies.
Banet also creates sculptures, photos, drawings and videos of meals made with the bodies of human beings, bodies of others, bodies of the cooks themselves.
Cake de visceras (offal cake):
Rosalia Banet is represented by Galeria Espacio Minimo in Madrid.
Still going through the hundreds of pictures i took at ARCO, still trying to find the spirit to open the 2 kilos catalog of the art fair. In the meantime, here's a Peruvian artist i discovered at the booth of the gallery Lucia de la Puente.
Fernando Gutierrez, aka Huanchaco, develops the story of Superchaco, a decadent Peruvian superhero trying to get to grips with the Chaotic City, Lima. Influenced by comics and pop culture, Huanchaco embodies the worst aspects of the Chaotic City. Devoid of any qualm, he is lazy, obnoxious and vulgar. Superchaco doesn't have any particular talent nor superpower. Yet, authorities call him, children look up to him and women fall for him.
The artist recycles and subverts symbols of consumer culture, rendering them "Peruvian' in all their contradiction.
The images that illustrate this post do not reflect what was at ARCO but the images i took at the fair were not exactly great: here, have a look.