Category: Other Arts

Sota Zero, by Efrén Razkin & Elara Elvira , Nau central Fàbrica Anònima, Manresa, 17-2-2018

LIGHT INSTALLATIONS / EPHEMERAL ART / PERFORMANCE / SOUND EXPERIMENTATION, as a part of the Ponts De Llum (Bridges of light) minifestival, organized by Primo Gabbiano & Visual Pal.Serigraphy on ice, illuminated from the rear by led cold light. The surface ice with the ink melts before, changing the image. After some time the ink lays on the surface, while the ice continues meling. Ephemeral art.  SOTA ZERO, means BELOW ZERO. The video made by Pepe Ruz accellerates the process.

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PERE PORTABELLA – Cinema, art i política a la Fundació Vila Casas, 12-2-2018

L’exposició “Pere Portabella. Cinema, art i política” incideix en la figura d’un dels cineastes i activistes polítics més destacats del país. Ideada i dirigida per Pere Portabella i Antoni Vila Casas, la mostra s’articula a través de cinc àmbits que analitzen la figura de Portabella des d’òptiques diferents.

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Judith Cunillera & Miquel Jordà, at Porta Roja al Poble Sec Barcelona, 10-12-2017

The masques of Judith Cunillera and the sounds of Miquel Jordà. The masques were done in Perú by Judith using refuse materials collected at the biggest dump of Perú. Miquel Jordà plays “La casa del fin del mundo” at the opening for the exhibition “Entre dos mundos ” by Judith Cunillera, at Porta Roja al Poble Sec, Barcelona, 10-12-2017.

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La pell escrita, a la sala Atrium, 12-11-2017

Deliciosa delicatessen. Recomanada! Direcció: Manel Dueso. Dramatúrgia: Manel Bonany. Intèrpret: Míriam Marcet. La defensa de la identitat transsexual és l’eix d’aquest monòleg del guionista i escriptor Manel Bonany en una trama on es donen la mà una tendra història d’amor i una altra de caire ‘gore’, doncs no en va la víctima reposa sobre la llitera d’una institució forense. Des de la mort, com en un somni, la dona rememora la passió del seu jove amant al temps que s’espanta per l’entrada a l’edifici dels amics d’aquell que només volen saber si era o no era una dona. A la fi, un assetjament postmortem que cal sumar a la incomprensió que la transsexualitat va deparar a la protagonista al llarg de la seva vida. No obstant, el text té un interessant punt positiu per la convicció que mostra el personatge, la seva solidesa mental i, sobretot, la seva capacitat per

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Cosmic Generator, by Mika Rottenberg (1976 Buenos Aires, lives in New York); artwork for Skulptur Projekte Münster 2017

Material: Asian shop, video (ca. 20 min.), plastic objects, street sign Mika Rottenberg’s (* 1976 Buenos Aires; lives in New York) film installations explore the seduction, magic, and desperation of our hyper-capitalistic, globally connected reality. Female workers produce goods in strange factories that follow elaborate manufacturing rationales. Rottenberg’s cinematic works, which have a surrealistic aesthetic and are rigidly structured in a spatial sense, emphasize the interrelation between labour, economics, and the production of value, and how our affective relationships are increasingly monetized. The artist weaves documentary elements with fiction to create complex allegories for the living conditions experienced within our global systems. See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/837/ROTTENBERG

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Benz Bonin Burr, by Cosima von Bonin + Tom Burr (1962 Mombasa & 1963 New Haven); artwork for Skulptur Projekte Münster 2017

Material: Low-loader, wooden crate, safety ropes Strategies of cooperation, appropriation, and compilation are characteristic of Cosima von Bonin’s (* 1962 Mombasa; lives in Cologne) mixed-media installations. She navigates the viewer through a sea of references with her subtle humour, bringing influences ashore without any apparent effort and involving artist friends and historical perspectives in her exhibitions. Energized by Conceptual Art and Pop Art, her work keeps touching on key figures like Martin Kippenberger or Mike Kelley and makes countless references to cinema, literature, music, fashion, design, and lifestyles. In this way, her artwork presents itself more as the result of traditional tendencies, networks, and recurrences than as an original, individual artistic gesture. The large-scale arrangements, often in the form of animal motifs, mirror the conventions and rules of the art world and address von Bonin’s artistic identity within a network of relationships, dependencies, and role models. See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/818/Von+Bonin_BURR  

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Passage through Moondog / Quiet Storm, by Emeka Ogboh (1977 Enugu, lives in Berlin and Lagos); artwork for Skulptur Projekte Münster 2017

Material: Sound installation (soundscapes, Couplets by Moondog, Trimba music, 16 speakers) As his contribution to Sculpture Projects, Ogboh has developed a sound concept for the Hamburger Tunnel, an underground passageway next to Münster’s main station. Based on the compositions and poems of the legendary American musician Moondog, he uses, among other things, material recorded on the Trimba by Moondog’s close friend Stefan Lakatos. The instrument was invented by Moondog—a blind street musician, who was born Louis Thomas Hardin (1916–1999)—and it is characteristic of the pieces he began composing in the late 1940s. According to the obituary written by his old New York flatmate Philip Glass, he was one of the most influential nonconformists of his time, an associate of Leonard Bernstein, and a source of inspiration for the composer Artur Rodziński. Thanks to his intense involvement with rhythm, melody, and language, Moondog wrote several hundred two-line poems (Couplets) in addition to

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Marginal Frieze, by Sany (Samuel Nyholm) (1973 Lund); artwork for Skulptur Projekte Münster 2017

Fallande ting, Pyrographic series in the Münster / Marl urban space Sany’s work Marginal Frieze for the Skulptur Projekte links two different areas. On the one hand, a multi-part mural is being exhibited in the urban space, while, on the other, his cartoons are part of the exhibition’s accompanying advertising campaign: his work is being circulated as film trailers, on banners, bags, flyers, and stickers—as a patchwork of subliminal media fragments with a wide range of influence in the public space. For his Fallande ting Sany is installing large-sized pyrographies on the walls of several buildings in Münster and Marl, showing individual falling figures. For this project he turns to familiar characters from his cosmos of images: with Estrid, the Valkyrie, and Yggdrasil, the World Tree, he re-interprets two figures from Nordic mythology, who are joined by the monkey Apis and the Greek artist Stavros. See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/832/SANY

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4 de 9 amb folre by Castellers de Barcelona, 8-10-2017

While thousands of spanish unionists were rallying against Catalonia right to decide on its future, catalans were happily enjoying their traditions. This is a beautiful example of human castles or towers building (Castellers) performed by the oldest group of Castellers of Barcelona, the Castellers of Barcelona. In the pictures you can follow step by step  the building of a tower called “4 de 9 amb folre”.  It means that the tower main body is formed by a group of 4 people in all levels (except the three highest ones), and the total tower height is 9 levels of people, and with folre means that the second level is helped by additional people that help to support the structure. The pictures were taken in Sarrià, an old town now integrated in Barcelona as a quarter. A really charming place. In the following pictures you can see the step by step process

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Sculpture, by Peles Empire; artwork for Skulptur Projekte Münster 2017

Material: Dibond, ceramic tiles, galvanized steel, Jesmonite Peles Empire are: Katharina Stöver * 1982 Gießen, lives in Berlin Barbara Wolff * 1980 Fogarasch, lives in Berlin For Skulptur Projekte, Peles Empire has erected a gable, nearly eight metres high, in the immediate vicinity of the city’s historic centre. The gable’s tiled façade shows an image of the castle’s crumbling terrace as well as the supports that keep it from collapsing. The façade is braced by poles and propped against a stepped volume, whose surface is covered with black-and-white streaks, mimicking a stone surface. This surface visually anticipates the Jesmonite bar inside. Both are black and white and thus create the effect of a photocopy. The object, which is located in a carpark, is not just for viewing from the outside—it can also be entered. The first impression suggests some intrinsic value, but this is misleading: what looks magnificent and solid

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Les masques célèstes [Celestial Masks], by Hervé Youmbi (1973 Bangui); artwork for Skulptur Projekte Münster 2017

Material: Wood, glass beads, wood glue, cotton thread, silicone Youmbi’s installation is located in the disused Überwasser cemetery, near General Ludwig Roth von Schreckenstein’s grave. Suspended among the trees, four massive masks appear to hover some ten metres from the ground. Another four, smaller masks are mounted directly on the trees. Les Masques célèstes incorporates iconography from popular Western capitalist culture: immediately apparent is the Ghostface mask—from the American horror film Scream (1996)—which was in turn inspired by Edvard Munch’s 1893 painting. This icon of fear is juxtaposed with animistic tokens from many traditional African cultures. According to Youmbi, these animate the spirits of the dead by inviting them to enter and possess the masks during celebratory ceremonies. Youmbi commissioned the masks from workshops in Cameroon. His intervention at a Christian burial site, a location for the commemoration of the dead, raises questions about religion, spirituality, and superstition. Youmbi’s work highlights the objects and

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Beliebte Stellen / Privileged Points, by Nairy Baghramian (1971 Isfahan); artwork for Skulptur Projekte Münster 2017

Material: Lacquered bronze, metal, lashing chain, tensioning devices, rubber Baghramian chose one of the top locations in Münster for her work Beliebte Stellen / Privileged Points: the Erbdrostenhof (a baroque palace built by Johann Conrad Schlaun in 1757). In the palace forecourt she has placed an elegantly curved bronze landmark, consisting of three slender but heavy, interconnecting elements. They are held together by visible clamps and propped up in a few spots on the courtyard’s cobblestones. The open circle, measuring a diameter of approximately five metres, is explicitly interrupted by the dimensions of the objects, whose bronze casting makes for an optimal result. In the palace’s rear courtyard (which can be accessed from the St Servatii church square), six similar sculpture elements are piled up and can be used to assemble two more Beliebte Stellen / Privileged Points. See more here: https://www.skulptur-projekte.de/#/En/Projects/2017/816/BAGHRAMIAN

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