ed ALLIMITE. oo Portada: chuck Clase ens bd Coal eo roe ee ee Lee) Tn tieDECO 2012All You Love About artnet On the Go With the artnet iPhone App # artnet auctions 24/7 live auctions of modern and con- temporary fine art, prints and photographs. Browse, bid on the go, respond to your messages, contact your Seller {or Buyer) from your iPhone ‘© artnet price database Assess the value of a work of art before buying or selling © artnet Get the insider's guide to the market with daily news, reviews and features by renowned writers in the art world © artnet artists a-z Find works for sale and comprehen- ive information on artists of your choice. Designed for Phone and iPed touch Compatible with iPaeIGNACIO LOBO to flor do fos nitas . 201) . Mita sabre tala . 120 x 120 em Paisaje ex-tremo Solo exhibition ontecatini-« Pintura chilena contemporénea www.montecatini.cl galeriadearteemontecatini.c! a1 56-09 8954135 SANTIAGO - CHILEEditorial El arte que trasciende {Larva muove mulonee de deere alrededor del mundo todor Ina ata Rocientemento. pot eeaplo, “Desnudo,holas vardesy bust” (1062), ca mundo. Un coleccioniea aninienn pag USDIOG 5 milones por ext paca Cen une substan 2010, que fue prestada al Tete Moder en marzo pea Su primera oxhibicidnen cincventa ats. Ast bay varios mambses que te ala eta de paces gotioe ents ellen, Gusta Rint, Pesce Barn + Vinoent Yan ooh Cada ciacnina ene também asus evoriize ¥en ago dela foxografia, Carre Mae Weems, cuya hstonia contamos n estas Pious, v0 adios of preoo mas aka en wna aubacta do Chisio aes O10, vendiendo un tiptoe eau sere “Kien Table en USD 38 rl "muy par encima dal peeio que 20 habia estado (manos de USD!2 m 2han expand ws huells, unléndove a dlerentan proyecto inetancise ‘en aun oon a obsa ayaran a qulias actor do aus sociedad y dol Hat une sisitva que cangrog® a Anca de eopombro avarice arustan ‘Yeutiae en beetci dele dem fondoe dal eiemowo que 20% al Al galeries Dawa Zwtener ye poy ‘iganizaren sin evento/on que we remataron 27 taba de 26 deat (Cauck Gwe, quien conversé on oxcnivacon Arte Al Limite y mua ‘ot obra on particular 60 eetas paginas, oe una de los pias inoludas ‘en a inotanea: 99 vend por USD75 mi. Tambien pareipavon ou08 Setar quo han sido publioadas en a roviea, como Ed Ruscha y Zhang oan, aces docs exponentes como Jaspet Johns, Cindy Sean ba sua inanid exceed SD19.7 milonesy adem de cons ‘lgunoe roar Cornel doi gudatieana Maeno Dumas pot USD milonoe- “Artists for Hai" upon las expectativas y consis fonds Aaa Marte Secondo Crista Matte ‘Such Bach Sears oe ‘nce or Simona Monact Coste Spinto Menive Bos eres me rs Posie Cosos Parsee Soft Fojas ts a ) se parm entroguioe a entidados no gubernamentaie hastianas quo 20 tenfocan on la eduoaciény la wanidad. etn oa sé un sjemplo deta erundas en que el ate llega & otic Aéenbitos de vida. Las pintuas de Paal Morrison sienen la apaiencia la pubicaciia do an Libo para eatimulay vualmente la moa. A“Art for Baby’ co unio tambien Soot Albors, Damen Hat. Takashi Morakamt y Julian Opin, enzo oan Chile tampoce queda al margen de tae niiaivee. Carmen Aldunete, revante pinto nacional que habla de ‘0 rabo)o en ena ediciones pare de “Arte Ayuda” un proyecto que ‘conga amis da 50 artistas cada ao, quienes onan obras para lecaudas ondos pte la propraaassocilos dela Fundacion Pacéntosis 2a ootanimoro no oto quisimoeroseatar la roaaién do proyectos que lunen of aa aon i carded. eno tami aqueloeeveniae doar aca ‘arte Nos rferinos, por snpuesto,# as fete. En diciembre At Basel ua, que una ver mda tosis a Ata Al Limite y aus pution tone de contar ean mis do 250 de ine Park crn fstalacionny obras dete tanto de exer cme empergentos Tanbi, po plaza ve, 9s hat una ee video rts de grace dstasaionn, aetna de clea activin eta ‘iuced. Deore do loa mse de doe mi ertistar que peiioiparin de Act. $Bagol Miar!ostaran lot Uabajoa del artoamricano Nick Cava, dea foxigrala Cario Ma Weome y muy posblemeeto le de Sergey Bratkoy ‘Ate Aline no sso prticipact de esa iniciativa, también esta prowente dante ets meses on Pinta New York Scope Mom Bosch condo ol gentino Pablo Lehmann meatinea wus entrar do pat Linoat on Bélgioa y Gentorpomay tambon Tarqua. =a Pp il fee Bie HEThe art that transcends _ 7 1 P in Hai ml _ Belgiun : 8 Niner Exceceo Notes ote* rronusnecnne is Chile? a eees GRAN SUR ee eSSCPE | MIAMI 2011 ne ord MIAMI | NEW YORK | BASEL O NOV 29 - DEC 4, 2011 al RAM i hekeL eae LoL ali CELEBRATING i eae y aa lI # a DONE eran Conan) RENT ed ROVE sea eetal Eta or aaa aac Dara ema tan Pare aay io} Lei gia siccd ee Ange eaten ter as EXHIBITORS & SCOPE FOUNDATION Eee ee Ere enna ree ine Ser leaned ‘a S a aN Kooly|madrid/ Feria Internacional de Arte Contemporaneo 15/19 feb Pe! iAutomotores GILDEMEISTER.Sumario Summary AssosLAURENCE AEGERTERLIMITE CONTEMPORARY INTERNATIONAL ART MAGAZINE PINTA NEW YORK CONTEMPORARY LINeARr Next sumac omeate November 24-2) Balgtum Fairs RCO MADRID Span SUBSCRIPTIONS I Foreign countries: annual subscription for US$200 (includes shiping costs) | Six deluxe annual editions 1(56 . 2) 955 32 61 www.arteallimite.combE SONAR NetNUEVO BMW SERIE 7 M LUXURY ED EL DOBLE DE PLACER. BMW SERIE 7 M LUXURY EDITION ACUMULA 1.000.000 DE KMS. LANPASS CANJEABLES POR SEIS PASAJES A NEW YORK EN BUSINESS CLASS. BMW EfficientDynamics Menor consumo. Mayor potITION LE ENTREGAEtados Unidos | United Sats 20.2) pinta I Pating chuck Close DEMASIADO CERCA | TOO CLOSE Pocos imaginarian que esos retratos, en que cada cuadro es pintado individualmente y ‘con mucho detalle, son fruto del trabajo de un artista parapléjico_A punta de trabajo y siempre abierto al cambio, Chuck Close fija en su ‘memoria, y sin duda en la de sus espectadores, Jas “cabezas” de distintos personajes que han ‘pasado por su vida Not many wocld imagine that these pertosite, in which each square was painted individually, fsnd with cnach deta, are fut ofthe work ofa Doroplogc are. With mach eflrt and aways {pen to change, Chuck Clove fis in his memory, ta without doubt in that ochis spectators, the heeds" ofeifrent characters who have pasted. ‘through his life. Torah Sebektine cma def pe pale, hho Armory Show, mares de 2011 2¢i imo dis doin tenn de arto mas imporanta de Nuove York todo ol mundo ex at Ene ‘bes un homie de antec de mbaco oy coravientos amas Ccnuatura més bien graas. sombrero negro baba cots y uid que ‘2 daspla en una silade ras elécties. Su retool, Vasioe Io homas visto on revista que reproducen sus autoxrtvaios. os mas ‘fortneces on as pinto en vivo y or coots en muses y galeria Foca a poco o reconocemos. Un tap de un autoretate suyoen gran formato ba est vores ests ds calgendo de une das pede La gente no aa, El ipo serie able, “eM Cras?” rou, ', eeponde 8 Deletén pasar varios meses has lotr vies en ‘tal en al Soho, l burio que hizo suyp dasde he eetota, cuando fu parva fa geena cultural quo so reunion el Max's Kanes de Chelsea, Por ah deembulanan Iggy op, Andy Warhol, Lou Raed, Laurie Andkzson, Philip Olas. y varios de las wmigns que ha etratado con Pticula ert mo yinacroscepic,abstncta cesta ts Ve 120 Bond Street, slting. Lo primero quo imprieiona ws enconkaron (rn varios de fos etratas qua realizar enel liso tiempo ya polaroid gtan oma on queso basa. Alia del pasta ela kt ‘Bintan ln que ba trabojaco los ims meses. un cere de Late “Anderson, Es emocionante hismeat entre ka pinceles ecien usados, Lat Cenoeia tage do Goo “a inepiracion co par principe yo so voy he Armory Show, Maron 2021s he tayo un me important arf of Now York; ovorybody is there. Among than here imc th re rome ge avn yelled, et fan groom baud wo etculites in an sect wheelchair His face fo famia Somo of ue have econ hm in magoainos that publieh hic ‘sui-portaii the more orunats ones have seen his works sn museums Spc gaara Lite by ise wp alin whe i Ona of sel potas fs town hanging ken re ofthe walle for dye. Prope appoach Rin anc heemilas kindy. iow Close”. esc “or”, he arses, Sorel ‘monte wil ave ogo by Before can vt him in his season Soba the ‘elghberhoed tnt became his own during Oe svertion, when he wae. ‘arvofthe cual econo that gathered atthe Maw’s Karzas of Chole cea aries logy Pop, Ardy Wiha, Laure Areetson, Pip Class oop thst ne nas portrayed with his paruculs sie which sexe and ‘masiosopo,abstusct and eae atthe sana i. 20 Bond Street, Ding-dang! he vhing et are out Bsn soverlof is acct portraits aed the goa: frat polaroid that he woos topaincthem. Atte end ofthe ccrilor hangs te plntng thet he nes ‘boon werlang on during the last fow month: poaitaf Laure Ander son. Ife exciting to encop around tre rently weed ruses Coes wal Inown phzazsingpaaton is for amateur, [just gett work beoomes ‘uue nhs woresnap, Although kelng ooo of i ta important Ae‘a abner 9 hace concrete en au taller Pesea eer unode ls arias ‘ecavdounidensee viveo mae imporianios no deocanva a po feels ‘Trabajasicta diag ala semana. navidad festive. ¥ cuando complet luna seed unas went cube, como ham ei sus ees, eam. ‘Deo 1988, luge de quo un aneurama en colarnna io djara pprapléien, una boca ha permit conta eon gan espacio que Io pormito dooplazareo de un punio al ovo on su ala. Ast puro rar lays eto tonoe una visi de cern we va ew pate ‘undid, que colores con unas ctcunferencias que lama punts, tua vez quel aspoctacat los una y peda ver un setrato perlctamerte Ingrado con pore. arogaa y walle. Alacercare, a igura se pie y ‘0b ven manchas geoméiriows que exponen le von; ous obras ‘acquloron uns dobe mension. ‘JCada custo tempo me voy Hai ‘acde.a mira lapinura7”,pregunsa Guse auna de sus aiseantas “Cada ‘nso mince. responde all éxorneando rezanga que aque “o ese ‘De petueio oa dex yunta problemas para memoriax. Adem, ‘un problema percepuivo Lamado prasopgnasa a hace difclrecanooet roxtres Quits peso insist on crear sete eb persons qu an redeodo Todo lo hace por mismo, con sus propias manos, mncluso ‘oma ls polaroid giganto en un estudio eeranoY Gon uns mars ‘ogra Cuando 0 eo rotatado usa instruments que lo orien var Lencusdrey ding Obvismente neoeeta eyudo pars slgunee cosas. $3 ‘eistnen dale nace 12 ans ol clon Manu! Bustamant, enearea ymugve as obras Para gira las pnnurasa gran eemaro cuenta con ut ‘miequina eapecialque le pamite roxas con un aca qe reson con ‘lio, Hastudio eet acondicionado para que el pinoa amarnado di mano de Close pueda legar a cualquier punto de ero ‘Uno eto recuorda quo arta onfronta deciamorto una anfermadad al secs fsa micion esl bi, cuando tome owe rus con dca exo es un tipo que deste sus iniios decid penerseobsticules A ‘modindos do lo eezenta deb la brocha pore aecbyrafo “una herramienta ‘que toc nas capas ce pinturay permiten uence acabados-y cuando ‘Senta deme ofmado con un estilo lode “Cuando algo me muy faci probablemonto no este tan compromotido, Site hace metoco un problems. tenesque lucha. yeep hace quae despier to que haces ‘i a Arte al Limite. “Coanda te enters a alg cue no pues hier ‘iotutae eakonte ol xoseo0 ¥ oc to Lava a gar al quo ne habelse ‘gad da ova fora’, expica mientzas ao tema sa whiaky do as 4 do la trae, “Siempre me ra gusto cambiar mi expennca en et talor Rn lun moments perad on eaiat de tema, pore th cnt oa a ‘baa soguir pntando dela misma forma’. Bsun hombre de muy pocas pnzres hace es cuss lao. Una sere de vant o vec ‘Puede tomar uns doaga Purlomamono cumbia an segusso "C200 ‘que ccta sore est Hogan a ru dn poo sha ide modifieando, por ceo tango qi rs mia” ‘an artists alle, be doos nt restr repent formulas Me wos seven ‘aye a wook, Conigmasae and holaye, nd whan he complete « once of sound twonsy “ads, os he calls hie partis, he chenges ‘Since 1988, fer an aneuism inhi spine lt him paraplogi, 2 sponsor ship has alow hm to nance the great space Which alow him to ‘mow arcand on hice. This way ho can lak this paintings toma Alitapce and have a vision of how the Iti quare, that he colours with ‘some cts, wl ok once the apestator pass them together and i able to.scea pariocy achieved parzatt wath pores wrnidee and Soil nate ‘Wihen you gee elbeor tho qu e ost and one can only eee gmetad ots exaring the tacnique; is works acqite a double dimensicn, ‘How often do | yoback a lek tthe panting? Cao asks oof Mie woistans. "Every five minute she arawers, Ard joking, be grumbles, ha ot ‘Wan he was young he was dyslexic and had poblbms memeriing ‘@unge. Purthermers he had a perception problem called prosopagnosia, ‘which made it dfca for him te recognize faces, Maybe thet way he {nals n creating series of works of people that ave surtounded him. He dow everyonng by ims, with how hands, Fo oven tales tho giant policidehinsel ina neaiby studio with a special digital camera, When, fist being portsnyed boom rzumone sh ws hi to see the framing and give nstractons He cowiusiy needs help for cera things His asisart er 12 yeas, che Chilean Manoel Bustamante, ames ast ‘moves the warks. In err ta move the reat oemat parting he has a specie machine tht owe him to tat them with fect ped The Stuck Mes o tat the rush ued wo Cro hand dan rene any spot ofthe canvas. “The only timo ono i erin that tho artist face an aman ovary cay surnam he coughs mova wth diioaty Bit he isan indwidual who ftom sha very beginning has decided to make things dito: In tho mx seventies heleft tne brushes for the aeographer a tc hat spre thin layet of pict and gives good feushea- but when he fk tao coke swith sy te change i "When something o> easy you nee ‘Probably nos too invlved. get you in trouble yous havo to ight. ae that is what makes you awaken what you de", he anys ta Arial Limite. "When you are faced with srnathing that you carrot do, you realy enjoy ‘to proneas and that takes you toa ple tet you woukin'thave gottan te inany other way” ho explains whl sipping hi 4 look whisky. “7 have ataaye enjoy changing my expeninaat tho workshop. Ata ‘ime,] thought of chaning the eubjec, but then realized tht that war Two! continue pamang inthe seme way. He is x mam of ew pangs, ‘he pins theoa pictures a yar A sais OF ewer oF twenty M4028 | ‘ake him a decade: Poe ths very roxson he does not change ver olen. "T ‘ink tha this series is cing to an end. but ithas been changing. hat ‘sy Tv to go Back ook atiEn ol caso dol pinturade Lauro Anderson, va. on una etapa nal tun ado tae a fxonrafia excita en euadrados que el tadoco en incur siguiendo los cleresy formas, "cada uadtade ea ata se ‘ulus cua en apintsza Mucha gente ha sugesido que a2.cem el ‘Buntiliemo, pero yo ceoque no hago ie que dicen quehago: Can teica, en un ares determina predeminan os cootes gendricos de lo qua hay en ona part, Micha d oe punts eo pao sn wees, muchos dks pancos en ceo y el agua son aula vox oes ponte ‘lo molilean. Yo ustade hase algo dierent: pongo muchos cares ‘alee oe mira, vos parpura. gi. naanja oto pispura. Lae clea ‘que van ari ce von muy derantee cada vz", emia mientrarapunta ‘al cuntrasodel custo. {Combina distintos colores para la piel, por ejemplo? "Defi cuno cinco calores yes pongo juts. Gon ella ambit hago lcibuo, pare no ay dibujo an ellorzo me que el cundado, Llegae fl nlor ee al ame tempo acer sna smagen” {Cua es para usted la relaclén entre abstracci6n y realismo?, ies postble hacer las dos cosas ala vex? "Nunca mo gusaven ls térinas “Nuowo realism. Potorealinmo* ipertealeeno™ Me intresaba ol atificio na comaalgo que noes resin nine coma dirmbiesn da alee muna apr en 20 ‘gusta cuando la pnaura anata ent la lotta plana dele marcas en ‘lanza, aba en al space, se vuelve a bj. y ogo rors 8s ‘marcas sna supericie- Bsa tension entre el arficio yp ral. Poderos \ambide lars be nepeatas abetractos de a obra ls aspectos fomales, que no ener ve ver con la knapan ene cuatro. Sor un fogmalta on muchos gontidas Soque coy hamende una exgratl, £0 ‘que toy haciendo cabsana. Pua deede una eta plana yabetacta 3 Mnuitcarse «tarts de una experiencia de vida 4Qué relacién tiene Is prosopagnesia con im pintura? Para rooonocer is feet. tengo que eras wares veoes. Ain cuando las haya vit en una Basa la noch atariary sepa inde do les, al cto dla no tengo idea que ie vi. Ahora. gPor que hage Joque hago? Tania una ‘moja posibiidad de recamooer un rostro en una supe list WWor qué deciais sncorporar sus huellas digitales a sus cuadros? "Be dill aentir através do un pia oun pincol Bn cambioe tomas un pce ds pintura con tas Gados y presonas en enzo pases went ‘sno wmar uirtan do posto ens mzconk Na gusts una frage que dice que la pl hase piel Bs coma sl toearael rst de ellen mientras hago" "Como los primero ditos on lat cavemnas’ digo “Dehecko eran con arora" dice 6 Ya hn pasado las 40 pirumpola asst: haa do [evista deb onformera Debomes ona. Cam a alga on eu aia ata, peretse en el cceedor. Inthe cas of Laurie Arcenson's painting, tat eal tage. Once side he has the photograph divided in squares thace vaneles to pate Ing flowing the c:ouss and shapes: “each squat in the photo Decomas four in ths painting. Many peopla nave suggest tha it is ks point am, but thik that do no do whas they say do, With that wobeiaue ‘here i, space aa, a predominance ef the ganeric cabuts tat ate ‘inthat part Many ofthe dots inthe grass are green and many ofthe dats Inthe dey ana wate te blve and the other dot Just may them. Ly 12 o something diferent [put many colours by themselves arc if you lok ft them. you can so purple. gray. evango. another purpla. Tho colours ‘hat. go on vp oe very diferent each tne", heeapline whe pomiing ava square nth painting. Do you combine different colours for skin, for example? "define four er five cours ape put them together. also the dia ‘wth tiem, boca thee so drawing in Ya canvas apart om the ‘Square Achieving ta colour est tha same me crating image For you, what isthe relationship between abstraction and real> gm? fs it possible to do both atthe same time? nove ised he ene "Naw Realism’, "Photoealsn” "Hyperoaliemn’, a ramet in tiie no a someting that nok Ue eal ‘bot aa dstiotion of coat on a smncth rie {ke whe the paint changes ftom boing ft masky en tbe canvae,t works in epace, Decomes an abiect and din goss back in being marks cn the suriacs, [eis the unsion beswemn artim and realy, We oouH slo cal the abetoctaupestoof tho werk a tho lornol spooks, which ao nt slated tothe Imagen the quate. In many ways Yam aformalis. {know | am ‘making a photograph {know Lam masang hes egos ror Deg a betiact and Rat lose to bonomitn enti thcugh a expat In which way is prosopagnosia related te your painting? “n ararfor me to recognize faces, I must ook at them eovaral time. {ven fT have seen ther at party the right bane and knovr wowing bout thar, ho not {have ds Ut {mas thom. Now why do do what? Thad a beter chance reseaniing a aoe nae rac" ‘Why aia you decide to ada your fingerprints to your paintings? “a dificult foe through a pened or aah. Howavar, i yoa put lle Divot pain your Rrgers td press gains he cars yo Ca el owe ‘much pal you take ana how nara you press you have mate contol Tike tbe gontarice hats that kin mals akin eis io touched someone's face whist dong It" Like th et cao painting mya, thoy wera made wath a seromtaph’ he sap Tele pat 430 pm and theaasistanc comer {me forthe nuwe's vt. Wo nave to weap Lup, Gace weeks ff in his ‘trun disappearing dwn the condo.Tracey Moffatt IMAGENES ENTRE SUENOS Y REALIDAD | IMAGES BETWEEN DREAMS AND REALITY ‘Tracey Moffatt e¢ tuna contadora de historias. De la de ella misma y, ala vez, la de todos. A través de escenas construidas, 1a artista inmortaliza en fotografias, videos y otros medios, las contradicciones y conflictos del hombre eontemporanee,nein coin pi pln Be Ty Mitt (Guna, 1950), una delas $0 atta strains comocklas em ico X'7 30 gin ial on pero de av ety pig sb pel hues Els sass on cas he dain heui ax‘ table pantr’. That is why Tracy Mato (Runa, 190), cow athe 0 betnown Australian artists sogin Austban Art Galoctr Magainn eecego a ctograis como su Davita aepecal pia capa a ead. También acave ca nko ‘que me leper carta storia. Como una peda, eta atta Daca ‘ntendorloe acomtocimionto,coasieno del noc co qu otogratin ae ba convctido ena memoria oolctiva mundi, pero a avez es ala quien “tabeny eons enorian maternion on mgenca vos y tgs cuasionesqustocan a Fersnas do las mae Varies rinosone de mundo 2 nombre dees aries ompeat a wer famoeo gracian a ropecka ‘Somithing Mero” (1988 una sate otgration cao ext aris hn ling tothe Austlian Art Colic: Magarin, choowes photography to undecstand the events. onscious oth fac that pactogtaphy has ‘xonlee"theoe storia, nd she mateilies into vibe and angle Image saves tht touch peopl in the mam vera comes ofthe weld r tari to be nov hank thaTTT TTramon pc am mp i on esventuras humanasretrataas tienen una fuerza visual nica, que hanla an vari dlomas y quo se crige a ips do price my vaiadas La arti suspends cunkquietuicio pasa dejar ue cada eepectarar snuepieta cus hiswriav aegn au culuxa ys exponen ta ova mitad de del corarén de moflatt el cine ‘Cada serie quo produce tone une motvacie dita, capac de poem fempujt cxda ver mas bt imives it macinfetooricn Esta ngewe teflojaen la tienica que vara ala medida de cada preyects Al ado do Inotoqrafa no tan experimeniaciones con gabeckes. abeeaciones ‘tains y soe do lene, su cto gran amot Un pemice asso do st ‘versio es a soe que la arab al fama, ‘Something More", cuyes oy Ni iat rac dee He e389 em ado porayed have a unique visual strength, which speaks difecent aves aside any judgement in order to allow the speciaios to inverpxat bar ‘the other half of Mofat’s heart: cinema ch ofthe serie that she produces as a diferent mexivtion, capable {aleing ber to pach tho bnundric of tography farther each me This iterstrelectd in th tochmiaue which vies acceding to each rowel Boxadoy holography, ties ate atnaye the exosnenatons with eaying. graphic ehboration and mest ofall enema. be ther ‘rest ove The fee glimpee of his vreneiy ie tn tho series that‘nigunes onan ol aspoct do un at cinamategiiico, debe ant al ao ‘eqicto decempatss. camp bla presenta de oerentes que comtionan Inctonticied dota realidad De a atora hay también numeresas cis en vides, convocandoa graces rnomkes dlepcma are cr ascliecuxes Pui y Ammonia Els snapirace, pox ejampl, ess “Up in the Sy" (197). Est expenmentacin ‘bara dl cin experineraay el sonido “como en Max Cabured Oks (19871 y en Right Ges: A Rural Taped 1969) sn var nein dak ‘mati, quele daruova via sus obs a uae do un mona co ¥ sparentamene sin setdo. Bs lo qushace en el vdeo Aes 2000), dance ‘tana defi trator ambigua de Holywera a tava dees veoes do lounctied her wo fame, “Soman More, wh image ck He Acinematogeapic sx, doe bh Ue eet ww of eta, nd oe rosonce of leant tat questcn tho authenticny of ts way, ‘See nae ago mods several video work, summoning grant may othe ‘evoath te tho Sim dvotorsPaolns and Antonons They napied Se Ike, or expo, “Up in to Sky" (1997) Thisexperimontation ‘vec eprint omnes sound thon Nise Clove Ge (1057) and in Nigh Cries A Rural Dag (199)-etfrganing tho exiting of ‘a material whien giv noite to hor wore treugh tho woe of 0g ‘which i toni and apparsraly without sone Tie 5 what eho dos inthe ‘ide Arce 2000), where she astempes wif the amigos environscritica Carrie Mae Weems LA SINGULARIDAD UNIVERSAL | UNIVERSAL SINGULARITY La obra de la fotégrafs americana se tora crucial y relevante al lograr capturar, en la subjotividad més intima, las probleméticas universales en tanto raze, género y cultura, a la vez que discute y destaca la fina linea entre denuncia y espectaculo. “The work of this Amorican photographer becomes crucial and relevant by succeeding to capture the most intimate subjectivity of universal tribulations like race, (gender and culture whulst discussing and highlighting the fine line between denunciation and epectacle, xr josef als enc en eas orocdat conten deta fc shan gallery vw york ‘land Barthes, probablamente una dels ments ~sino a ms - Drllanian de gn XX, 9 nine mae smpiee gransos preguntas ‘cbrela esenca dea fowgraia: Es pasibleestula la our, ‘tn eat tralmonta sneopeable do gu frente? Bsa fxn a cbj0o ase roproveata? {Cen auwwvarlaoto yo ol bc on ala? Ayala ‘decoricetacien on Barco nacta de a crtora do que afta os ol arto ‘et paxadigna FL gonio del anes rcv lprotema.al eeu la ong quo ‘tl exsian ohablan ext ‘paca. Una cospuesta tan honasta como ‘eo, permite comrender la ade Cate Mae Weems (Estos Unis, 1959), que ba maccato no stlola blsioc dela fotogrti, sine también ls ‘lent atoramercana en Sstados Unidos yas, de manera rotunda In mises del poncamiono exten dele eeustites deminsnisn, Dee aque! oj-eldel evesionamienta dela lea de paier™ Caria canetuido aio larga de teeta aoe un cuorpnexicnsode wah cue ‘lor. ders doe dinsiptina videoata la penta yl natalie, a oe eotnta, Wouens tmaba sur primotastogaae dowd erspectva de joven activist alga ain de mundo del are, peo con lun convieoin que permanco inmutan: quel tos yo viene ‘200 (0 deben aot complamantaros Bepacios como el Whitaey Museum y ‘Fist Contr tor to Visaal Aris Nast, que acumen powect Taiz Bats oat oe of ast 0th otitis fo 20th oontany, ould ask imac the simpler nd grant questions about pxagraphy Ist poste te sux the photog i {te aboautely ineperate om ia tfornt otha peta the object that repeconts? How it poasbi to abecrve the pot and not th re in 8? ‘Sc diarientation was brn rom she corte that phokography tho Barehes genus sve the problem srudying thao photegraphs that ‘existed ot hae “Toh An answer oxh bones and genus, has ‘exit! th work ef Carne Mae Wome Urited Stat. 1953 to ve femark not fst in the history of photography, but als inte Keni of ‘AltorAmerins net Sout, Use a esl ry. 0 he PSK Of catia tought ofthe dominating suructre Fiom that baso the queston othe iden of power Care has, for tty year ullan enensive boxy cf wotk, white she expres, bakies photography, ideo at alnng and ‘nsallacons uring the events, Woemne wae taking her Rist photogs om the perspective ofa young activist distanced fom the wold of art. but with ‘conviction weioh maine samatabe that Pesuty and rcoaem ate (or must te) complementary Paces lke The Whitooy Masoum and tho Fst Genie for the Vaua Are de Waste, which nowadays roseauna reogpectva de a ais, sn algunos delos emacs tienen _peoyoctee con la cba do Wome, ol anbole de valor una rina ‘be sigue vigonto gracias a una cunlidad ave David Bonet. de St. Lous Post-Dispatch ben dela “Weems bace preguntas inconvenient y logs con rerpuostasinpestunas” La cisino eas punt acco ‘nun metodo que parla propia intimidad, su propia mesa da cocina “ralmenta-, qs 49 p40 aaa ari "Th Kitchon Table Seri” (1000) ¥ "Family Plows and Stccios (1881-1982), donde Carne me retrata a cla ‘misma con familia. La otigra, en oe entncee, pneaba on 8 pO ‘coo xa teflaicoar acetea dal movialenta de tadae us faiae que 9 ‘musuton dese es nore deta Estados Unio an is praia iad stg ta a punts do parida ln embargo, ss tah no tata doa mise ‘sino que capt las nteraccione do un suet partcwin. pa capt tua eubprividadespecticn yas tanta problomdtas uniorsls, rorultando en una etegrafia con vox prop. Ea ol cao de “Tho Kishen “Table Sein’ por eral, la ol suo vl subjotivided ws dobemente univers en su caida de mur aficameccana, Lage se matzaen la relscn cn et hombxe, las, I triad Con ots mules i ‘su imagen: ‘Una das covas que estaba pend daranto os taba ‘ras posiblded de usr aujtos negres para representa preocupaciones tunivessin jo Weems on una erzevisa can Bel Hacks. ‘us forza de estaba ba dao. tras des fos, a notre ‘modittica qe hace pox eonvitié aun rpticn de em soo on a Jnsantdooa més caa del mundo, son un precio estado de USD 36 600. ‘Aquol dato o oeuta suport, en a modida que avai o slo a abso ‘do una asta sine quel objaciv final qzo ola mizma ha declarado vga "Mi peimera pron enol ane, como en apolitical posicicnamient _y ctu do poebiesfte-amencano en lo Estados Unidos” valabay fotogaa “Thana oe do catra convo a Cae Moo Woomson una atta inatacabl, em ensayo vata pea detnors an su ote acta do Conta arta una condenacen nul © eben Care ‘cana, neds de masa ys dn eal de Etro Union en ‘endo ab conga eyndas, texan, pops, superstore Ge dcr mists Todo parce colors imagen dun puso te molianoy isacinado robs ost a econo onc capo ‘nase dao de cet epuaet De via manera, Canisacaaize yeni srtrospective ofthe ats. ro some ofthe nurmeous museums that Cantnmplae pojocts with Weems awa, in tn aie to ge value toen ast continaes tobe current thanks ia quel thet Dard Bonet fiom St Louis Pas-Dispmch, wel defi y alfiming: “Whom ake: {oy inccnvenian questions aod coms with unwalcome anwra" The sticotvanes of those questene les is 3 othod tha has ef tumacy a8 ‘a artiag pia: ho: wm Kitchon ible erally, which gave way othe ‘eee “Tho Kitchen Tale Seda (2890) and "Famuly Picts and States" (3901-1622), wenere Cars photonraphe hea rite her fami: Back then ‘ears thought her own family in erdr to think al too people ‘ho moa fam the souts to the garth of he Unites State ung the St Ino the 20 Canty, ‘Sho eho staring point hor plea, however te nove about hr hr work captures te inerdesene ofa wbjootm particu to capture a ‘poate subecvity and thu insinut universal bustin; te elt ‘a photography wit te on vol, in the case of “Tho Kitchen Table ‘Sexe for example, do sujet ists and an Ato-Aeican wean. ‘subjocity becomes doubly univetsat thon ako on dlwent taney in ‘ekadon to mea, thepartpet autor other woman, er dag and the maga honsit “Ons othe tung that Twa bang abet ura wheence ‘tomght te prsile to ue Black subjects orepesen: universal once snd Weems to Bell Hook nan intarviw about thins ‘The song of this work has van hor mea expesute ower te yes, which ntang ago. sade a wiptychf that ses the moat exponsive sapshot inthe wo, with an extimated pei of USD 35000. That ipa” ionot mupertcia sino enctons nota the wotlk ofan tik Dbutalmher fra objective. as she hae decid “Let mazay that my ‘primary congo in at. ain pots, withthe statue and pingo of Ato ‘American in our oun word and photogepy [inp cover les Gin amraneierimpomie wo Sooners utecipias seems benny ctoutve her duly aor and ats to singular og Fon card Convent anes Atom tain, rst endo nin clin Uo Sits wot ingot ca, pope, osaciions secrestos an fat te ectined ts one tviragweta pega wich Tecasille serie en entero! otter We Tesialati pepprebecsee as fe poreumtd eoarge‘aque conocimiento iinerante dal prc, que esis es ya aver da nadie, yqve coneruye una vex propia e nmutable. {lojerssio do poner on tia dota Kenia do gonoro yea cos ions “por ojempio, de poteonajas do cultura pope como al Tio They ‘devctt una Fuborcinacin arragada ona identi yen a enguay oo ‘ecasoe dia. Al nteactuar con ages com “Te converse anu pt ‘eno, “Un debate antopogco" “Ua ipo regio” “Un sud ‘exogrico", nce otras, a agen combat to 0 vicoversa. As, ‘waa construye una narativa visual que aoampada yo contac. Bs) rétoo teponde an que él lama “unestues0 po oleae wana qu ‘esison simubéneanente ala vida’, como raza, so, Wentidad cull, ‘osneroy otis En a serie "Foe: here Leaw What Happened” (1605- 1806), por empl, se encuentra nquels denuncin queen el deseo de {oralecerse 3 sve tantode a imagen comade a palabra poetic. Yes ‘que todoe eat temas que In artista intent condenaaey quo eacuvnta “imultnamonte onl ida’ conviven on dsintos cbaigas la, ol smsantn de hacer ura danunciacloctva los prsigue meaclanda palabra, ‘imagen y movimiento Ls estan ononacion do tayo anos hats cap de ‘epta los dunt guosque ieccagibencay ol mide al cu uean "por enon prolcegar us formas. u carer has un inteno de ‘ouapar nels ransfomeciones parastarias moxando al expectation ‘cémola conkamacin de Wentidade, medanie dati mooanismae do ‘censtrucebin sas reuevan aun imo enétcn que so late learn ‘2 oapeary quola meciega y hs estos cultures san go, ‘Siguiendo esa ina, su kim décmin de ba ve compene domanera ‘emia gracias ura mics de ctigos. dood fteraia so cra con ‘lpacie por eco da iene y royecciones que iranian dl mane ‘facta con el espacio yoon experiencia dal wpectadar La contusion ‘de Catia Mao Weems seine un valor inex para mune dela ‘eengrts In enone el folcroe men spoon, Ten eto ams eric de vss aquale tesibnante quc hace unafoterala un obo ‘gmloy magnéere: ella repel arepetble ara fs en a menor em ‘equa que es -en este weno la nica ead pose, ‘tnerating awareness of pejuion that changes every day which belongs ‘wll and wo none, whet expressing ts own immutable vooe. ‘Tho exresio of oalng nto quostion Luo amos mythical dons of gendot and race ~fr example charactrs of poplar cutar ike Tne ‘Tom he une setind eabordination othe iat and ewe in ‘the everyday language. By interacting with phrase ke "You became scenic profi’ “An antopological debave, “A negro eyPw oF "A photagraphiosubjet’ among others, the image opposes the tox ot ‘vice vtsa "Those forms of werk taspond ia what se cal “an ten to num eae tut srmunecxiy bec pt of "eo ra, ex, cultural dontity. and others Inthe sees "From Hero Ia What “apponod” (1996-1998) we fd thac accusation ttn the desi 10 stcenathen;she uss both image and the postic werd. Adit is that {these subjects thatthe erties to condense al tht she fis “wmalncoualy in Mo" cooxist. obvious, ecilfent coos, whilst ao in sho asomps to make an effoctire accusation, purus ther by mixing ‘word, imageand movement, in a gestara which is oornly fr fem the bv ‘Troconsant oncom of or anthinpiogtea wate a ee ab to capes he dient tuna that oweguy and oa feet Ube tena le ‘orm ara prolong He! catet has been an ater w catch thow parasite ‘uanslomatiess showing the spectator how the confermatin cidantitioe ‘Haough the diforeat mechanisns facial construction new aa fae ‘hythe tasenly art can rasp and thst peychelogr and cata taies (On that sae ie, the decade of her work i composed infant _maner thanks to hit mite of codes whore potegracty mixes mh he ‘oihbiten space tough the uo of carvanne ad projects tat atest inan fective way with th pace ofthe assum ced with the spears experience, Care Mae Mere werk hasan undaputed valve 1 he ‘word of photagrapiy, anthropology feller nd polos. lth, thot verbs sight of that tension which makesa photoguaph sacred and ‘magnets object the unsepectabeisrepeatnd wx iin ho eran. ‘that mamory wich i tet cones ene onl pole rei.RUST STAN ELNNick Cave LA SINFONIA DEL CAMUFLAIE | THE SYMPHONY OF CAMOUFLAGE Reinventando materiales de uso cotidiano, el artista estadounidense forma trajos que conjugan una inspiracién de ceremonias tradicionales y un sentido provacative de la moda Cave crea magnifices y Coloridos maniquies, que a veces cobran vida y vibran con ol baile, Reinventing materials of every day use, this Ame artist creates cuits that combine an inspiration in traditional ceremonies with a provocative sense of fashion. Cave creates magnificent and colourful mannequins, which sometimes come to life and vibrate with dancing4 cmos decoy bli ne Sound 30100‘nego exc mensaje ent Care {Wn mensaje dacs? De ‘aqualas weons eloncindae prla eccisad o por nose ames, ecultn tormadas por objtcenugatog on oar -toseataton do tends do segunda mano a quo, simpler, han so ‘igados dela, rvs con tara ons medi teenager sen lor probeenitar de a oxparcions at mis actaies en Mary Becne Gallery y Jac Statnman Gabry. Batthicioner que, sogun Cave, van dasde I atbracén ea vida a una erin ela roca dad Eglo de los desechos exu vsul de Nick Gov nmi. entre ‘veuaroe dou afseancs chamanisios Yen oxtlas ‘edtlon-tbeanes ode ales del continent, px ceo". ‘deal on un ae do a eda clivado don wlewnins como Aldo: MeQiorn y ven ne Woeiwnd ious plreros pase ol Kansas Gy Ax inate, ce ‘arencida come ye fascind con los tele $e grad en 1022 pata amicoe dea noverts cones eae ivan ex oe ‘soundsuis, ego de wadtar un Master Degree en Canbicok ‘Acadomy e¢ Arty da haber camonzado su larch Schon of the Art Ios de Chicago hug donde hoy 8 ecto det Program de Moda. Pores epoca gina un luda estadounitense por ate do pi. no slo go un ui log ofa. ovuctas Y ua masiva Yuin publica do os derechos humane ambién fuvel puntapi mocienal del aba de Cave “Se volvo mas ‘vidento que yo era un artista don conssencia. Miia naco en Ina a que las ews afro en términas Ga Det, Aa penuaba a mi mlamnceena un hombee nego, raga, rmoncaprecedo Pensé encima protarres aenscién yen que ‘quia usbajar xn algo esos eat artista Conestas ‘Hoes dando welts Cae, vonado en un perque, net unas ‘amas ene uso. las foenaren su przmra axa wsculnca, "Mientie hoc comenct a prnmat ono actviomaven que mero tenes que habla mis fer. rary ela cin ‘Se movment” oven. Eat eaonnarnemecenl deri on a inet seund, dands enon all yas eoporaildaas ase toma como activists. donde wl daoacto es ol araron "Become oz dicho, a baeura do un hom pobre ol ceo ‘de oto hambee™ Auavés ests atari, Cave Dust rovean un cinmionaments de Mensa yuna een sabe ‘ain somes como individus y soci. _aéme nacié ol concepto de incorporar ol sonido al ‘ventuario y cil eo rol dat baile en generar ana rata’ says Cave, A masnge of what? OF tae vosout enced by aociaty ey os Soupures formed by objets whic ao uncaual in art found in thrfshops er tha hae simi bn ot abandoned intorvend uh song esouts using woe techniques, ae the ain ‘eater of tisentittons, the eit cantons athe Macy Boone Gary and Jack Sainman Gal. Accxting to Cave, ‘hase exhhinons go tem being a cesbratn elif toa rice bout menaiy ‘he ery ofthe wast ‘Wick Caves visual langage is inspite acnongst the things in shamanic and Afcan tual dothingand Asin rts Tbetan ft fram sat eat Asa. or exami eli develope with the ‘nao of oshian cutvated bythe Hes of Alawander MeQueon ‘and Vivienne Mestad Fo tok his fest pe inant at tho Kanes City Art Insti, “yoer he ent o sew ant became acento with texas ‘He gradused in 1002, bait we nthe en niteie tha hat inure i Sounds becaroe concrete, ater king a Masts Dogroo a tho Cranbxenk Academy c At and afar staring to work st the Shot of At neue of Chicago whore he le ‘umenty the sector ofthe Fashion Progam, using tht tne the eating toon Ametcin citzen by the Ls Angels polos. nat ony engi dgorent an he ont, iia an massive public hearing on Numan rh butt was ‘aio tho emotional Koko in Caves Wonk “Iebacate coare rin that Tear an art with a conscianon My ten irborn thes oof wish cag ums cen {hough of mys an black aan eojocad and daopied, thought abet on ‘hoe to reno that felng and Iwan to wesk wih cmedhing wh was isos” says the ast Wh ens oa ging around ins hood, Care iting st park, ncticed cae anche onthe foot They became his fr sculctua piece. “While was making ‘lap Isto a thine im etiam, that in orto be a ‘you have speak, hut and in notion of movement” ho declares This omeorel ago dred int his ret Sound, ‘wees he found the read the esos that be woul tah on asan acts wero wast sho Peace" hk at saying “Poo man’s ash, soma one els tease”, Threugh thas materials Cae woud ck > provko a quntiong 38 the Menty anda raison on whe We a6 ae aun eat nei, low was the concept of incorporating sound to the ‘wardrobe horn? Ang, what ie the 1ol9of the dance whenSound 201, ans de como abe, pc, anand mit‘experiencia para la andiencia? "Quando real os primers waa eb person en cm uta el cuerpo como pork. como mensaro en miso. Doado ai empoot a tzecnar sobre qué oo rate oda ‘generar sno, Ee posde et enisado a travis dient ‘madi, as qu comenes a owea hacia patfrance ye ‘don. Atota tse através do mie chacipnas on ra da ‘roar una experiencia. Ei bale. pero. fe entrog al pblico una ‘oqpericrcia durum: ca tansformadoe Trabap oon indwoey can compafas do danza, ls potsenas quo vision ext was taarbdn pa macvon hacia esto tana do anskxmacin 20 cern eno oon et 20ué slontoe al crear los traos? {Cus 08 tu rl en las ‘performances mismas? Has vestido los trajes? ‘Ay Dic Bawy taped om un nuovo wey melons muy emacicoado, vivo, ine, aque no ntiko ningun dota ecisoees que tomo. tow poste Conon mi implsoy Dxmito qos ésta as el que me qui. De alguns forma respond a Aone mata qe prow se “Ys, comtantomerte uke lejos Aunqvea woes tomo el rol de deta, de coetgaoy otras ma desig yt ela de "voy Bao me permite apwender de i aba y de sas petencolabrbe| {206 sensacién produce ol eatar dentro da esta ‘ransformacién dela que hablas, ser quien usa el traje? "Bpintnrsante gor quien eat dtr do een. No camino ‘ase oe macvaninmeitamente depute do peered, 20 ‘aoe se cuecen quiets 70 permtan a simisms moveess hacia Intanafamscin,porgusal taj domina competamants ts ‘ontidad. Debes estar dapueeo a tomer os proosdimientos ‘adocuads para moveta 8 ora oa cimenaién, ya ron: hi ‘pao0e cata culo yl taboo camanss. movimiento ‘aman eambia con cata usu ‘Tus trajes funclonan como “mascaras de euerpo". {Como podemes realizar un anallats sobre genero desde ellos? “Croo que esin basds deuce una peepoctva sn gna. Creo ‘axe al geno so vuelve lovantadependiondodel usuari Soy tu hembro pexo palo maven ce uae de al forma de oo pawuca se una foam emenina. Yast tarsi sao%de ee, ‘contra El género no as muy lovants, ert escondi Por qué eliges excondorio? "No 8 li esconderia Lo quo hago es na mascacada un came deena. Bus cer fantastico y oat ‘al beonador a nogocine Cm loomos las sas uno ‘onticames? (Ove tan espaci nos demas a neat mismes decor abierae aalgocstinto” \Gonerating an experience for tha audience? "Woon lmao tho fst suite using branches 1 was eying think on bow Loould woe tne bey asa arin, a massage ial, ‘noo ther [tart fob about what ceo mater Could \gomratn sound. Thi oan be devs throat difcant means, [sarod ta it ards poricmance and video, resly non Two ung molepie épepinesfsabext eats txpedionce. Te danco pore, dover diferent expexiznce to ‘the publ standing, woo wh ndividualzand with dance corapanies, and te people weaning heey auRs aie move tune the ate of tansrmtcn and nacrmea coat the bee ‘What do you fool whon creating the suits? What is your role in the performances? Have you worn the ruts? ‘and ee, Boras Io not sapere any ef the cisions ra, ‘ery is posite {usta my impulse are alow io gue ‘me. Ina cota way, {espend wo though the mate at prov the ea. And yas Tons woar the sults Although Feomotimas tothe ef teduectoe choreoneapbor and ‘ets scaly diassocinte mel tom them and take up te relat voyeur. This lowes ret lar fom my work and am ‘ta pomnan ‘What fooling does it ganorato being inside this transformations, boing the one sing the suit? This wry mist boing the end nes thom Ido mot recemmend mowing ght sae pting thon, a ether ‘ying calm and abwing yoursel 0 move towns the ‘Hataeration, boca te sui oompley deinen your ‘onity You must bo wiliag to foe the appropeaia procedures ‘maxtor 1 move w tn otar dimension. And won you at cy togoup thot ie where carortycxmoe ino pla andthe wok ‘bagns The movernsnt als changes aoconding teach were ‘Your suits work as “body masks" how can we mak an analysis about their gender? think tha they have been conor witht a gender think at the gander becomes evant ceric the ast Ta aman, bat Lean mre in away tat mali it sem ik a ale ‘gue, nd de same happens the cher way round. Gender i. ry oat tt idan ‘Wnny do you choose to hide ie? mack eure fIchooe hiding it What Ido is amacqustce, ‘eunoullage of entity Isearch cris the fartastcand rae ‘he onmarver to ognize How ean we rnd ha tinge tha ws do not ently? How mach space do weal uel tobe pen to aomecning aan?”Nebite arte-sur.org Sitiowob rary art para art npordineo 171.2011 - Save the date! Launching of arte-curorg Thursday 17thef novernber at 10am ‘atthe Centre Pompidou, Paris Contact contact@arte-surorgUNA NUEVA OBRA DE ARTEENEXHIBICION = Reserva el tuyo ahora « lLaForesta Fl eossacr FZPablo Lehmann LA PALABRA COMO POETICA MATERIAL | WORD AS A MATERIAL POETRY Con inftuencias como Louise Bourgeois y Rembrandt, el artista argentino reflexiona sobre la palabra a través de complejos entramados de papel. “La palabra 88 esencialmente problemética para mi y por ello estoy constantamente buseandola, redefiniéndola, escribiéndola", explica,apes, proalcalarosécrs oonwinen i obiaen un vlumen. ve queles ‘muti pasa vor para Go ou configaucio 0 incuyon ono leopaco ‘que hay dette Lou intone a nivel merligzo er una tensa ent os ‘Gerentos pees ys aus. ent espacio canes y Vite, ‘ee a playa y nents Ea dite a. en doin. [aint ‘a inaugural a aust de tas a ue abe espa dela lectra. “Oiimamonte ho abordado ova cuosion deat éngulomacto mia ranifecto Tino de tanaigurar con mie inte ol ep let pare ‘ail una dimers mis vohuneric,bussando un higar donde en une ‘apareee como una forms coneta. ma 4Gémo trabajas i dea de fragilidad con el tratoexcultico de tus ‘volimenes? “Lata ce tage eonnstata pore pope, pare adem pre uta que le coy al cal paras de Barts cai extenda a sutancia alt ‘gota y cn le hans vere asin Me imoeesa dal peotageniom ae fra, a ao vai, per ean emo qualeavolimanes aecrioas‘ecupen ‘6 egpci, quero que apinoeriban on qua gereren tax eon eon capaci. "Por uo lado, esta dea rena desde ura cimersin quo quiet fomentae ain mas la acura ineeprecrn dun to, Estarenn operands flee y evenescetas, pro ale vex consitutas shay texto ex pave ‘uolen entero ‘Lo pobtico do Ia palabra y su todo on tus obras, parecen tener un, ‘carictor may profundo, Hablanos de tw relacién con la palabra. *Mlobma or una constane pregunta sobre qué a palabra, emo er, ‘a8 fncios tiene en nosotros. Me pegunto en qué media ela confgura ‘unsaid imo enka y bere vinculos intrsbjetvas, es aon Sis ‘osblldssasy sus imiseiones. qu unter ane yon qué bern nos “Lapalaixa nace compos on pare ni, dl qu mele lo yon parts {de aquéla quien yore dip. ¥ 20s se ata dela palabra como ead rosenca ya que pola ausonte cals. aa. sence tacos — tiene gual ods siiiacn quala ena, La palabra a nenciiene bier rasa ly par efoestoy constaniemerte buscind, redefine. ena ‘Técnicomente, cémo.es trabajar con un matertal tan leve como el papel y sobre todo on formatos tan grandes? "B papel oe un mates ob, os lv y maoable. Cuando eon do buena coda yde buen gram. be pusten encontzasneweulabes mtr tapos “Hag re abrasion un table cused con do crane frat oy oats pels de tanto madi, pr pares. yal il hago unin. Berard ‘Siuy impor cuando rove una ch de Genes pogctconms ‘empie tango ce entalaa postdade ya fms del asco Leo poplae ‘eben poser uns austin ue parma su insalacin ana ebro, y ‘ste pasa ser una pars ms dela cba, Yaque siuctra ales clans et ‘ssf tat ‘Cuando trabejas con calados sobre fotografi, shay elgtin “doeplazamiente diotinto quo con la palabra om la imagen? ita paper kuz when ta cotking they mevishly convert te work nto3 ‘ume, wos the aresoas Recamo par f ha! contigumn ands the ‘wot thoy ince the apace behind them What pt do at morphic love cieate a tension betwnen te present ae tase ean, ono cena ae vital spac, been wo aed frat Tbe disque i abut tb tance that naagutater cue Book the ‘suse of wots (of mes what wate the soe for taxing “Laity ve apprcached ths eat fora much mere even! angle Ly to tuansfiguo wth mach axe intansty tho space ctxt 0 give Lo mc | ‘mote velameti dimension, esrohing fora place whore language an apse na much me conway”. How do you work around the idea of faglity with the eeulpearal treatment of your volumes? “The pam mith eo agit, also buco he watt {wore with the cut-ouue In ho wor of Barbe, cutout ext che smubrtance without weakening and tras he emptinas visio. Tat {hat ragihty tobe te prctagonit 50 Lavon have tho septa 8 unui” apang [want thom iecrned in (On the ater Rand, tod fag says comes back tom. dirstision ha Lam nist ncagie moe tbo eclng id toeeiLn fx text The ter ne se and evanescent aperarcnsbut reat the sere ne (omy chee ei este seemoone res ote ‘The poctic of word and its weft (text) in your works, soem to have a very profound character. Tell us about your relationship with eho word. "My werk a constant quaston abst what tho words, how does alos. ts [weno xe mi Sows te wot onsite el, Pow Se fn thera intr sajortive bm whieh ae rants an tons ‘what universes dos tcpen aed what labyrinci it coves os “The wot is brn shared a part sine. par ebecogs dhe pts ‘ho gavotte me. pti longs to the parse Ifo, not jut alpot the word as an ety in pregone, noo th absent word -unsal, ‘aoad, lence clmitsc- ae te mime meaning than ha on delved "The wed a Basel problema ft mo and hat hy Fam olay sarching fr redefining ‘Technically, how ist to work witha material aa ght a8 paper and cespecally In such large formats? Paper ance metals ight and maleate, When sa good quay no and haa good weight. one ean Gnd counts wy ewok ith otk an a ica an when they are get format sos] ext ut medium scones, by pra, ae then wen sy pu them tgp Something that i vay impocaat isthe miag: hon Tan a goat oat at poco, ‘Awayedoitconstexng the possible ane the frame Tat the papas ‘mus posses a suru whieh alow nstalmen i a be-fame are tat trams bones antec pt af the ed sic i rare thee cn infor ‘When you werk with cutouts on photographs, do you percsive a different transition than the one with the word on an image?Abe bane, 2040 eto cal 130» 40 emLineart Area Pema 2 6 Dec 2011 MS ue ale Oe eR eae) A selection of contemporary and modern works of art from the last hundred years is on show at Lineart. Now in its 30th edition, this art fair has the richost tradition in the Benelux. Pe ene es ee eer eee aad gallery owners and visitors from all over the world can come easily into contact ‘At Lineart 2011, you can discover and purchase modern and contemporary art, design, digital art, photography and ethnic art Lineart is held at Flanders Expo, Ghent - in the flourishing heart Soren in Ltr nt aL Come along: www.lineart.be eat emeier cere PeretSergey Bratkov Pee ae eR R em Dn ee coed Pere en ete et eg eae ee En los bizarros rostros de aquellos “martires contemporéneos” el artista construye una estética repleta de humor negro y sentido critico De ee ee ee epee tee creme eet! Semen ee eee ey oe as renee cere setter Ce ee eee eed ee a ee err reentry Poertrrerrertertre Emn erin nr ieresrtn 1a photography, the artat through the use of different Perera eee ee reer tne Pane penne otereet eee TyPa eee ee eee Reyne er eee een ersten ttn mp 5 sserier near rT cain Ce ee eed Son an ee eet ery pane eee ee ere eres el espectador, dl pais donde la expones, de Ia galeria misma? Se ne ee eee err Psa eer creer eetemr nee Teen discourses, taboos, fears and illusions: which do you believe, isthe peseenererent teasers Coeinag sot ert Sereo See Lt eet! spectater, the country where you exhibit and the gallory taal?are ern ee erry een ae eee eens eee ea aera) Pe centr problematica. Por elomplo, para mostrar la Ucrania ea proceso de ee ee et eet eee en tr rece eeniary ‘que da cuenta de la fotografia come habitante de wn espacio Pee eee wrny reno Tee pre vereny ny rer ener very SP EeYeTeT YA en en cone eeyrreprennerereretnce re cnen rng entre) eer ne ete reer Pattee tence rene ie ee rd eres ne eee tt ee ee eee a ct ‘problematic one for example, in order to show Ukraine in a nearer er nest foment ere ta ty that your photographs reveal, of maybe it remains fragmented bit Peet en er eee as et tee eee ee 7 cyn. rede, critica Tania Bedrifiana sketch Room | sketch Room [La artista peruana que radica en Berlin desde: hhace una década hallé una instancia visual donde convergen la pintura-ola técnica mixta— Y¥ elrecinto de exhibicion concebido como su soporte y prolongecién. ‘This Peruvian artist, been based in Berlin for over a decade, found a visual style where ‘Painting ~mixed media- and the exhibition site considered as her aupport and extension, meet. 110 sev mane mai cen ce te esd Frou cats a ] geese ersenmntn toe matty ms iain pia laren ckimos cocoama aos cans tambien ac expo involutus ntensamerte quo deta doce un pac gue albetaaba “bxar dea” pasvarate, divin dbo te capes Jo rexxnicraqusto qu met abay qo, poco doops, arminarin cee ‘er recwan Histo vcuncepiual mex ale a gesacin do gan pute ‘se hedenommasos “nuees media’ La tans, a reo-matlon, a ‘eheveccii ellos ola peso algae de myles Beton gue ‘spon ea prcroucn ent atta Visual y "cto Bane" esto sus nicios Tania Baaana (Pod, 197) vansho por una gurain, ausora quo, siviondee da aule-aqproniaesoncs vod. paroola habla avercad a porplgiad ol Gace quo mpc asain de una concencia men Laccberencia de ptcomso Dect at rmoonmeearas mapa natisn a isnt na sey esata *desnatcaras det plano del len ool papel al onstaiae en lives tics que targa elie fg hein sien 1s, pce la auprioie do las parc donde sola ieponeoonatitya, mda que un ‘cpanel susancia want dela cra misma, Bo ex pepo hci a natalia, la pinto noord recurs pepins ‘cogs yl ensambi, radice compotios con ae reaeacngs on he noslersted tanstnmation of the medi and asic languages proviuced over the las: iy years has also reached that si, so dowply involving it hut, fran bsg a space pastively boasng “Werke ited Hs ath he capacity of Ging ter mann wat ‘was showing ed that woud, ait lator ond wp boconing apo red ‘oncopeual rescue, thus lucncing in tho gestation ofa geet pat {hese-ciled ‘new medias” instalation videemalltson intenventin cen ste specie at ae sine of thovs hyde that develpod orn the ‘ocean Between the Yul aad the “White eo ‘rom hor cay stages, Tana Bodihana (Po 197) purmoyod hough an aus fguraton. which by using wood sa raprscntations, she ssorod io talcabout the porponiy or easy which implies aseumting femnue conscience The coherence of er rooes lons usw recognize hho mark svon in the ndefnabie pisces that she presents today “unmarked ‘nthe laauriooe~of the canvas ox paper-when becoming pictorial relies ‘hat do net ene! fs ba esoap 4 otal how Snasonaly i sincw tho aulace of the walle whore they ae et ups, mee than a euppot, ho tuagsitarysustance oft wosk isle In ber long journey towards inaallation. the paar incompereted resoureoe ‘ar bang to calago anc assembly. moda thats cxmpaubio wh Norbn. eared papel pao y cera ead cr pte ronPlgmento sts pope, raters dominanie om a seas eh oT 8 lag sorbose praiuonn- convieren ln insaloién on una examiiccién cava naeativa-subyacenta en od artioulaen de elementos Rgurativoe~ @ementa tiene un vor autdnamo que se empliea ~oomo un voeato~ea [a inenaiderpkquon qs llamas en aus Mts dbus opi puters desnudias canada en jarjoro onomnis iinabs- #0 ve ‘ni poten pra atoulain dees rogmento pntedoe tcc miodlodas qu, Snaimenta howe ydsioaaoe a ser asada "iregon, sien detncate nso sono mac ncaa o fata alata fsa aa fi aan aupertce do aus pedo Gregor! papel marl par nigra moconaca ana iad ¥ record. Esta agesin.paticamenta, humanizay seca ol espacio, como pitien pert. ¥ on. oeiod lime, paraiSioamerte también, a condensa la fun de oe de ciademna de bootce idimensienaly scbredimensionad donde taleodasa ou ime yao. Bl Lina, 2007 tsa de pp pa y cova, pe he characters. wth scale sila ath f fragt. the song the work oa ented ove image and yearing. booka. hie | che 75 ntia I Paning carmen Aldunate PALABRA DE MUJER | WOMAN'S OATH ‘Con més de 40 aftos de trayectoria, la obra de Carmen Aldunate no sélo ha apartado su calidad técnica y su ceracteristica impronta estética sino que también se hha convertido en un registro de la mujer nuestra era, ‘ous roles y problematices. With a trajectory of over 40 years, Carmen Aldunate's ‘work has not just made a contribution of auality technique and its characteristic aesthetic mark, but it has also become a tecotd of the contemporary woman, of her roles and of her issues, Forecast ano utnaceds lei tl doer ariulo debra doc ‘Are de moje Parque (Capon Aldana Chl, 640) no os esxira sno abut intr, rabadora y arate castors Paro ascede qs pr me do 3506 (Soros ea tit Ya io sree ase om a manos Lo ‘va a essa cea mur china, ace la meen ees ‘Nunca hertz nad. fia mer, queso todas mis mae ‘micpoca, asexpenenciay formas que ros dopa el esi dara ‘Carmen Aldonsta En au obra ae intencdn ha eet tne dosss siempre Hans ya 29 aos por empl. ef dasacado pint chlo Nemes “Anainer comes cana tus al desi nu programa de TV "Vor ‘ante el to Ueda para cord, uaa ch cen un euarote come ethane the tect ths ate shout be “Woman's at Because Carman Aitunaus (Cio, 140) nota yor But a stout, panty, ‘harver and, tines, eoulptor Bui happens wo be, that foe ewer forty oars this artist has writen saris cbour women with tex hands, Her Su, er daughter's, the story of Chtsan women. and cf women in gnetal, “Thave never made portals anybody in pana, ony of women, who ‘xo al my ow women, my ara the sxpancnco® and ways hat ao Breage 1 doskres Carmen Aldunata fn ber work ths intention hae aya boon (oar 20 yeas ago, fo example tho renowned Chir pater, Noma. ‘nunca greed wc te af whe doseribng ih PTV pots "Vor Ans the painting "Us dia para recor, painting whowe subject isa‘protagonist, se ‘Son cntro ormanas 0 euato mementas de uns saa © ‘Sen, ver cunt vettaas dela piatra ‘Carman Aldunato nose into obmenda con 6 concep de fini, eto sus latex pictricos, do una forma eu, revelan la eubyugacin “cada vee menor~que han ~a here vidos de suger el tener 38 _anoponat os debores con que cutwralmantas9asccia ala mop a aro8 imerose o novoeidadas, Row ferseninoe implies y serene. tu 2 ‘sus mira ocultan dessin y sledad, son quienes han caracierizado ‘1 uabuode a pintora, Ps una actu observable tuto en a uaa ara le ‘tea (1979), como en La caridad (19041995) yobraa més ecient camo “Acerca det coneal 200 "JO ha pad eon la mujer durante ext aos? No progunt Yella respond con un gutocuestonane: “Hen cambado? Obviaente. Cima? Son ahora prfosials, tabazn, coupan grandes puss. ileus son reidentas!Ertonoes, cha cambiado au forme de ax? No. Peo, ime? Sigaen sierlo rates, ea hace apo carnal orden di as eidadea sor al pa tag de los age. Pot, gran gana oss? ‘Pecaupoeeto, Ahora por fn ve rocceoce la igus y copacidad con su ates masculnos ¢Enusnoes? Enwonces, lo uric que enon aha e doe taba. (¥en pinta? Por cero que ban crmbuadoy skjuen‘qualas™ ‘Entonces hay aspects picticoos que siamo han estado presenti ‘bra de Caimen Aldunata La axprodien do au protagonist ca, quia. uNo do ello, Por al abajo daa arta ot tara rope do dels roazee ttagmimtas o morn as orators momen grap ‘ces solaris, gua asta o wpadas con vestidos que muchos han ‘oatalogad de “medioval' an algunos doles vaques que edn sabor al iar de Altunae.Tnento refine tod, con pecuntes sees Ge a primera vis nosean muy obrns", die i aria. {cs esenarios dence emplana a us personajes tambien apart ‘signicato. “Nis escunarog, © mas simpomente, nds, etejan esa ‘stuaconas en asque alguna vee nos eras enconstaco Mausimcolae, funerals, comtonan secrets pecatos, alias eo: Al toparnas con ‘os vivancice ya exparimantadaa, ol escenario os importante pus el ‘Sepoctado conviatt eno ptzcnaj’,comanta. Lo mismo aucede ‘con es acossoriog-mavoneas animes cadena tras 0 ca¥o9- qe ‘oompatian a sus personas. “Es importante pata runs poqueda ‘asada eno opaioo un hi gueamare oCuskgue, un avo a pst He hc cas en fin peu oes qo rend werd ene as tule y ere La mule est clvas en toda aus aoepelonesy aspen ‘Dene que diiszarve y potegere oon copas capa, no eto ox digi, ‘sino corn proteccn. Hsin muchas veces stados.a sus mutes, yao8 m0 bichos de exten o tin pera qa no escapan’, expt a pinto qoamat in tho folimang way. “Dey ato four eto, fou ‘sme mernan. Or mae sey ae four portals te aris ‘Carmen Aldunatatenot confortable withthe ccna of feminiam, bul Ket ‘loti! ala revel a sudo way the subigation -which is ovxyay lees thet those of her gender us have lived: bavrg to put the bes tat woman ie cute aenciated with, before other inctsts x nse Undaurtod and peacofl femalo fas, hide in tho oyes sla are ejection, they ae hase who have characterized the werk of Carmen ‘Aldunace, We ean obworve this nL una eral ots (187), 2 well ax {in “Za cai” (1964-1868 are in more recon works ike “Acerca de conte (2008), “What has hoppened to women et the youn?” Lace: She acawers ‘tn asettuesinnnale “Have they changed? Otway How? Tay hey sr profesional, thy work and they have hich postions. Thay are even ‘raion! So bas their may ef bing change? No Bus, how deni? Thay ‘ontnue be motes, the oro pitti is mpossite fo change and that show iw be terover Buthavo thoy guind seat? OF course. Nov? ‘owe terecogmition of equalty and capacity with their mite counterparts 30730. ths cely thing that thy have gainer isbaving Gout the werk.. And 'm yourpainang? They have changed fo sute and eran the sam ‘Thefts thew ae picon aspects thst havealnays been present (Carmen Aldunate's work The oxpreeion of her charactors yb, ‘290 of thom. Bu is her work thee ia alo ploy of deta: occa that are fMopmented orhidden bein wots sa pata groups of ween, women on het on, nude Agures and igues covered by dessastat any have Cl ‘rmedlewal" shoo re just sora the touch that Bayou Aldurate's ining "My inencon so welt everthing et ite dealt hopefuly. aro not very cbvioub at first gb “The setngs nbore she places hee characters eso contribu oe moaning. "Mi sctinge or my eaexgrounds. eect statins ip which We hve oocaionaly found cuadvas i. Weidinger oat weet, Sins, joys, 2 Kncountecng those fs experiences which ate famila us ‘makoo te aptingimpertat because the apocttat becomes the characte ‘Ge ast comments. Th sume huppana with he acouacties Pures, anumals, chains seissars or nats- at accompany bet charac. ILS lp ore wo have dita ie sal ain Wo aig a pen ‘read hanging oc td, anal about fal ox hus, wa td things hat xy tobide amonge:cocing tiles ae! sow Women ate nae nl or ‘apcts and meanings Thy hae tongs on pote thar wh layers rel ayer, no jas fot dg, butal es protction, Many ine {boy ae et othe walls whether toy eka insects on extiston ot rather so thot ty cannot escape Catan eaeFuera de los esquemas “Serpe alemenzat unde. un dibup, una excukra loags en ‘manpoaae anelestmage’, esta Carman Aldunateaoerca de au pno2e0 de crea, Bl eared da lar paar la ast attri wactontrde ‘on una tania y eeur eauisias sere 10 cen et dibujo eam folimiaror do ae siuots. ‘Sin dibujo no we sstena nada. Bet pin ‘vertebral que maniene yn punde cbviase" opin Carmen. Liege esas fous aque vila ene plan. generaimente, gracias al cole Aub os ot 201 del color on au teabeio? color eambiaraicaimente erin donde via le eacin de ato, un dia ruta, un morento tris Tumba mo io cambiaelsianeo ta angusia olswxchisciin Ya veces isk port estoy on cea gums, pe lvl ‘aos despues, sb an te doy esona de que enn misazones Se identifica wu trabajo con la NecBiguracién, termina que ie ‘acufiado a principice do los sesenta para denominar a artistas con ‘una obra quo vaolve ala figuracion a través dol expresionismoe ‘que esta a modio camino entre la Sguracion y la abstraccion, por ‘ejemplo Fernando Botero o Benjamin Canas, {Qué tan identifcada se slonte con esta caracterlzacion? Ro apronbo it apd gun amomcna «grr pntoes emcee rmisicos pues xo tata de dfn go ndfnb, lhacelo ms peas ta prosancioen como deci aaa so pude hacer ago totalmente orginal al ‘entrar o gals do cwsiquerVerdencia. Todo ya eat hecho y dato. Slo we soar nna cou eo uns yen ues dap ga Bo ‘También hay una asociactén do su chra con influoncias de la pintura medieval, enacentista 0 del manierismo italiano éel siglo XVI, poro usted ha declarado no que se sionto identifica con ‘esas corrientes, 2Podria explicarnos qué la lleva aafrmar esto? “ane quo vr con mi epucsia amar Iasi, on lag va no ho vist obi egitina” di, sn pcre conceo $i mi pitas naoe dt Fenaolmiens ea paque de algun Keaa he vido ye ako pads una fama que en forma ea yemcional mo dovon al mama” ‘As, eohorente con sa castor rebelde -fevincadar dele subyunadaa ‘ethene ea eoredad, Ei pinuxa se desmarca de sunlguor casiceoion ‘on su laquads einvostigacin eeitioa Pov ota explxacsn anno la hh Hevadoa crear n queala ama fi gram obra. Ca vez que o-mierza un vo taba se ice asi mia “Ao si” Teese entasasr quo ‘Rolie por primera vex hove me do cuenta aoe "Y rape l Gnas, sdeegrciademente me digo, in 99 puedo! Sia omboigo, eto 0 haido mots para no seus tabojanda. En ob sshncio y sledad des wale ue ceva ao ala ms, Casmen Adunase ‘io pra. “Carpe Dien dco, ¥conunua: "Pino, yo ¥escalgo adianoy po muchas hora. Sn oe oxigen mo sua posible seul Veen ‘Outside the box “Every time sar of pminting: a deaing sade Tae tens inmy seomaeh", save Carmen Aldanate abou hor create proves, ‘Tho bacelropef the are plocos in als supported by an erie ‘@recutin and echniquo,sqpecaly indo awing as damit of a Sihouetion Without droning, nthing is saint Ieastho spinal ot that yppocs and that cannot be let ou” aye Carmen. Later thowe fers acre if isthe fa surlaoe, general thanks ts the calur ‘What is tho role of colour in your work? ‘i chance deatonly aooording to where Ive, wo he seazon crf ie sd moment also changes Wid slonn, angst of enismeet Som To not even know why Tn 9 certain range of lou, but when [lok att es et, onl an elie tha ad my esc 1 ‘Your work is identified with Neo figuration, a term used in the oarly sixties to denominate artists wosa work returns to ‘Aguration trough the use of expressionism or that is half way ‘botwoon figuration and abstraction ~ like, for example, Fernando Botoro and Benjemin Cana. How mach do you fool identified with ‘this clarification? “Teer ie the nicknanes Ut re end to plo group of rit that, tet define something which i indefinabe and cong a ko me srogant apie tat ono oan do something comp ety oral when following cx hovieg any tweed. Everything har steady been eid or done. ‘One nam i an ea, a cen lace and have dierent intuences which infuenoe when recreating n'a deren way in yout own manner ‘Your worlchas alo heen associated with influensos of paintings of ‘the Middle Ages, Renaissance or Italian mannerism from the 16th ‘century, but you have said Uhat you do not identify yourself with ‘those schools. What rates you to make that affirmation? Than do wih my provinasanawse In lc my long fe nave never seen an"ileghimata” work ol art, hat, that coe't havea know, (ache Tey palais ie xn fom ennisasnen, is because wan prt Tar that in rary andl erckona way has rsd re th “Thus. In ookerence with he tebel character vndleator the subhigted sctesme fem. in hee ah for anaes te as sans hess tom any sessiieten. But hin boatc baa sl no taken hit to catcher grat mastespioce When sh suse now piece she says to hessi"Thi ume wil” Such Uwe entasonn that moxie et to at fe tho fet time oar ety yout agp “Aad wwory Une Hi, anfrtunatly ay, Teil haven achieved “This ne’ neon motivo enough toto hoc woking tn he sn an salute ofber wottsbop, Gaimen Aidaneta doesn top. “Carpe Die, ae Says, Ant hen spe ads "Tsoube paint and craw every day ee fr many outa Without that oxy, coud mot continue ving” BDGASTON UGALDE SALAR GALERIA DE ARTE WWW.SALART.ORG INFO@SALART.ORG MIA ART PALM BEACH PINTA LONDRES | PINTA NYART BO BUENOS AIRES PHOTO | HOUSTONtrbados | sarbados 2.2 rsta mulddscplinro | wuliscipSnary wrk Ashley Bickerton FANTASIA ESTRIDENTE | STRIDENT FANTASY Bi trabajo desbarataco de Ashley Bickerton lleva el colorido y el surzealismo tropical al extremo, con Ibridos de pintura, fotografia y escultura, y con ‘hombres de piel azul como protagonistas. La ironia sale a la luz répidamente y no pasa desapercibida. ‘The irreverent work of Ashley Bickerton takes colour and tropical surrealism to the extreme, with hybrids of painting, photography and sculpture; and blue skinned men as main characters. His irony 4s rapidly evident and leaves no one indifferent. wamtnatane d ESSER UTE «cena nquitantce,covandaaneygrandiocuontce, Lavebeas do Ashioy Bichon tole, menawsimsios Poo la pecans minal nue ‘magenes, colon y surat topical de sos aba evelan que ack en na ala ads, 196 pas emigrara crx Bab (donee), ude donde ha irl pa de 17 ance Sabe lo aaecsvewten ‘exon do eae reads pr mar per también canooo ia veri do ‘ua metpll coma Nw Yok ugar donde prfundid us exten y Bo samo a Jf Kong, Poor Hayy Moye Absa. Son n1vea as vvonems on higates an passa iag qa han hooks ce czmnico de su cha 2 conrad: mci lo uxtenal como expla, soccegino con el consumisre: macau fn y al abe, el cbetue sé cura. Bicketon ha sonstaido un engooo views suténom yo somonralla propia. acta aun proceso nada de pec otra comers seks cus ogo pina le da volume aus enmarenoe en read de Akcubng seandaioasan graioguent, The wate Astioy Bese re overehng, xcept simpin Despite ti ghia fia images, ve calour and the woptcal sareai hs wots revel Ut Ne was brn onan en (Bae, 18620 mga 6 anor ce Bak iene), ‘ete hshas ben ving for owe 7 yeas. Mo nave what sho ein ‘aston ands sounded by soa Put ne also knows tho vero cy ho Now York, te place wher ho brexdonod his usin art and bosoms own during the sagt as com the “Faastic Fou totes wis eh Koons, Petar Halley and Meyer Abana, Mayo the exgeniences in such oppo places are wha have made he cantons hi werk convoy bo mane the etl eth eit fclogy mah commueriam in thond. he ows the ach ef cle ‘Bicerton hae balk an autonomous vital angaago wth an conegrophy ct "son. thanks wo a passer wich was engting but skple he pao Dado, thon pints an te a give ham volume, to fame thee in cantedCRISTINA FRESCA Ped Der Te Fotografia Ce esEstados unidos | United sates 92.8 Video eT video A Gary Hill EXPLORADOR AUDIOVISUAL | AUDIOVISUAL EXPLORER. Hace casi cuarenta aiios cambié ol cincel por 1a flmadora, ol martillo por un computador y 1a reacién on volumen por pantallas y parlantos. ‘La monte ona de ideas de Gary Hill donde el oncepto de lenguaje os ol tema favorito, fue ‘una de las pioneras on encontrar su via de escape en la imagen y el sonido. Almost forty years ago he changed the chisel for a camera, the hammer for a computer and creation in volume for screens and speakers Gary Hil’s head, full of ideas and questions where the concept of language and its reach are one of his favorite subjects-, was pioneer in finding its way out through images and sounds, ‘rol cas tr ater ply del oan ley |] ese sesrss ses posts ato ts amass ‘yexedvres cl LSD, fla nepacién do uno do ess ukimos wabojou “Talcemo Marcel Duckars enantio su Fuente (1917) yla cana on tuna important otra de ano, Gry Hi (Estas Unido, 2851) roctara haber encontrado perSrmanoe max nfayont dala histria oon The ‘Peychadalic Oodankenexperiment (2011), una plem que eivindia a bhrmaaura oi expriansia on LSD, e camaval entolégios queso dost on ik mento ovande b> connie. ‘Asis Gay Hil Daas cara obea hay un razonamnta, Pores noe ‘extafo que cite «Duchamp. Hil bogs sa plo tame dl von, ‘vdeo yin performance, lb que le ha volo el tle de ste do video. Pero en fale b sue es mds ooveano al arta concept. Alen at Jo siento 4. Bn un principe abo wus inguotaieineecvlee deed la cacata, poo cuando deacabré el vido en 1573, cn a Woodstock ‘Community Veo. a taenologa ao cant an ou mex. Cull fue ta influencia de Woodstock Community Video (WCV) en Ja forma que eva a cabo su trabajo? WV en Mach! edo aooseo a una Pertapak (oSmana pot do Sey) Bs fuel primeca vex que us wit. Fu una experiencia tn evens ‘qa0 on unas poe na pod una segunda Bawa yun moni pars Seoul gions etractando conmigp mimo Ba una ar, ‘pum de vsta acerca e las psibixiodes dal ame se uonsfors. Sagat ] ‘SD, the sume subetanco of psychadtaic ofoets that has inspiaat ‘musicians ed wnter, was the inspiration fer ane of hs Yecant Wark ‘The same way Marco! Duchamp ound his "Pountaln’ (157) and wutned found the mom infisentilperlomance in istry wh “The Payohedlic CGedathenexperinent (201%), a wot thet vindeabe the boxaty of expanancing ESD. and tw anthologsal camival developed in to mind ‘oe ti conaunes “Tne Cay Hm Every wok hos important roaning. Fo is reason {tis not surprising that Uo aise mentioned Ducharp. Hil roachew his fnucheia venga, video afl peieranen which chy Drone Souagoiea him as avno arse But his crentona ate cas to once pt act. That show th rts felsabout it Hs fa approach to his intellectual ‘Sanerns was through sculpsure but when be discovered veo in 1573.10 ‘o Wisdane Commumiy Ves esannslogy hemes his vee In whieh way aid me Woodstock Community Video influence your wore? TWCY fen Marsh) oxrome acess ton Potapak which was my Pst experince with video. 1k wasstch a revealing experience, chat within for Bours Twas aking fora cond Portapak ana screen, 01 ood koa. reeoting and interacting with myst So, in one afternoan my View on ‘eo posubas of waa Wansormod, Tenn bed wodkng ding wsiousiE MODERN & Pag LATIN ee ART SHOW NEW YORK 2011, NOV.10-13 ‘7 WEST 34th STREET | NEW YORK CITY To en ae Ce ee Cn CR eC he ec CR eo LL oe Dn er oe ee Dn Ce ec ee ee ‘Nara Rowsier, Sac Paulo | GC Estudio de Arte, Buenas Ares | Ginacchio Gallery, Mexico, OF | Habana, Habans | Hardcore Art Contemporary Ce ee ace ee ce eC nn eee cee oon ce ea Uno, Carecas | Pan American At Projects, Mise | Praxis International At, Now Yor | Proget Fic de Janeiro |Prmeteo Galler, Milan CU ae OC OS eR Cee ens Tea ee UR nd Coe eee ee ee eee ee nd Ce eee Ce eee Le Sarmer Gator. Michit | cite Penta VPning Hernan Gana EL ARTE DE LA CIUDAD | CITY ART ‘Hernan Gana og un artista de eecenatios, de la ciudad y de sus edificios. Su nuevo trabajo, en que define su rol como el de un arquitecto que usa las fachedas como ‘excusa para hacer un ejercicio de pintura", nace de una evolucién del concepto de aisaje, donde la arquitectura se cruza con ‘elementos autobiograficos. ‘Heman Gana is an artist of scenarios, of the city and ite buildings, With his ‘works, in which he defines his role as “the architect that uses facades as an excuse to do painting exercises”, he tells us how the concept of landscape has gradually evolved in his work in an artistic investigation where architecture and autobiographical elements are constantly crossing paths. {er dere stot pdan roca cies ase pines expec a pntata a mis on sage ato do “axquitoctura. Una ve ue els, Hem Gans (Chie 1980) ya haba hecho tessexpesicones incientuabs abla ew etn ho parka pincoes mas que pa laa eg. Pomp vii a Nuova Yok cere degoabd alate com proondoaocil6.o. “Ca los cu09 08 ‘Pocaona y School of Viual Ars invastgué de déndo 2 goetaba cl arto ‘stra clad, Mlostandad en of arte buscabe sustentor pa Juric ‘lorigen domi bra, pare mi conch imma fan que a origen «8 ‘caret yal, enta de edentio io" Dass nate memeni, a ol ae ‘desarll un ruevo conceimiento tecnico =e rabero los mstcas ‘do wanserencia ~ aprondié a popecta ol onguaje que doearola on ‘su obtahasia hoy “al amar pool capaci urbano pao natural, Tiga done el nme deservia su hata have de exe ‘Una constante de tu trabajo os el paiaaje, en principle con una ‘mirada contemplativa donde cada detalle suena a revelacién, ‘divina- hasta la explaraeién de ens olementos arguitectonicos. {4Cémo ha avolacionado ts enfoque Macia este toma? "El palaai tanto satu como uhhano punde tn generalmente tu mirada contemplate, peco tami puede tomar un caster ‘deeuncinto, Ba 206 hice una oa en que we contsaponia el paiajo Prensa ttn we wai anc yo nctitctire ate, Ono a rated, Hann Gana (Ch, 1969) a oad had eo individual hows anh know hi dwt “a ‘mote orlenaied to brushes than o rues” He taveed to New York and Coveted rt a nscnogial roseen “Tho Sane oan ta School of Viewl An wero ay oC investigating where di arin thot Cy develop, eit ody ore nar and Tred apport wo july the ceign omy work but my ron bart coneloon wae that te cgi of my work woe ortct and tong, oame fom within me, he explsine Since uiat moment In which he developed o new technical mowiedge engtaving and image tants mothe, he discover! Row to po} dopshis bia or ras away om Landacape isa constant fosture of your work. In an early phase it was exprossed through a contemplative leok, where ‘each detail sounds like an epiphany, even the exploration of {ts arohttoctural elements, How has your approach to thie uubject evolved? Bot the natal and th urban landseape aan take ona denouncing heat In 2008 aid a work that compared asturallandbeupe int had‘natural quo conto un edigo de bartas, dono pleae whan w obra ‘que hombre nabis @pculad> en ose mismo espacic: una especie a lantas y después. Braun acto de seguimientoavoutive de a cicad camo cots dearer y destuctr de via, Ml obra hoy se efoca ena ‘Stara circulatorio dest enn, que 9 as autopistas Croat imagenes viswalos combinando la pintura eon abjetes ‘otidianos. ,Cul os] mensaje que quieres tranamitir a través ‘de orta doscontextualizncién’ ‘una dpoce quise homens of obto encontrado, cas ema Duchamp desatold sus eady made, pero yo fu mds vale ingen ‘a waves de pintaraconsula un Contexts de ese abet una hitana \aual yun entorno consptual En realidad era una coneowtualizacion ‘cccondida casi intents como on una obra an que apareooun olin roto road de us partir en qu ls tas musi 400 aleacholas, todo eto abe un fondo ro Su Ute ‘Dee concierto” ‘Se ha definido tu trabajo como un arte conceptual y simbéllco ‘que busea expresaridaae y analogias cobre el hombro, tomas roligiosos, autobiografias, homonajos a personas y situaclonor vividas. ;Cémo conjuges la mutobiogratia con la fnvestigacion atintlen? "MU camino moa levaco a cambiar patcalmante mi input da !nfortncion coo rmétoco ara generar arta. Cuando empect a pntar hack casi an un 100% do adonto hacia fuee, Rea mas Yomantion, mis ‘erence, simiracionoeysealimicrtoeextanan parade do algun Touma en la un. slempxe con Migs, oro presents Con eemp> ‘ml insprasée y tomas han yen de fuera hacia adentro. Mi obra ao ‘ors alimontanda.un poco mas del context coidiano el ntiser, da andlisis doa sociedad vel ectorro en que vvimos. da ciudad ¥ modo fmbiente como soporte cas una tala ea Blapea, dal desarood Sete numanc! {Ho leido que adoras Santiago. {Cual es el mood cultural de Chile ‘en ents momento? ‘Colle ha estado establey orectendoblen en oe mos werapo. ‘banana economica ha ajar al cesartoto det mercado del ate, (ales y cieutoraltemats, pero senin que fata macho Han ‘apace muchos eifcos de gan altura, muchon aa con cine 9D, ‘muchos Porsche, Peel y Moroedes pero fala hambre de caltra en os ‘igs donde asl cline. Epa qua aa does da Uap ‘Ademés, has declarado que devestas no saber qué plntar. :Te sucede muy a menudo? {Cémo sales de esta condicién, que ‘imaging frustrante para wn artista? No lari. Son tiempos que aparecen cuando quibro la temstica CGonorciments mis cxpceicionas son muy distin unas de cas soe temps pornta” pueden se frastranta pare) dasrolo del nue¥ lengua, ya que ln scluclones demoran en aparece. Una ver esuve sls ‘ses sa poder pita ago que me agadara, lo que hacia fo bora. ue después ea muerte ms padre, y oreo que no ude sanaizar de ‘bar ote, with “urban landscape” or man mace weck costed inthe ‘sme space with a sor of ‘before and aff was an evolution ow lipo the ety asa dovelopr and destructor fie onthy My wer today 4s focused co the ctculatory syetem of Ut tity, which are the igheeays| ‘Your investigation is based inthe ereation of vieual images combining painting with everyday objects. What message do {you want to transmit with this change of context? Over a catain a Lime, [wad Lo give Roma ts Une abet tc, almost ite the way Duchamp developod his ready made, but | was much ‘mote lerl and nave: through painting {vated a conta of that objet visual istry ane a conceptual anviermant Actually ae idee ‘onuextalistion,elmos next ke in & work wheat there i & ‘oken vin suncunded by music scores that are artichokes. all his on ‘te background. fs te "Dis concert ‘Your work has been defined as an expression of conceptual sand eymbolic art seeking to express dese and analogies about ‘man, religious subjects, autobiographies, homages to people and situations experienced. How do you combine the autebiographic imonsion with artistic invostigation? ‘My path han taken te to paral change my infertion inp oa a met for generating at. Won {Bs kate wo pale. {worked Simo 100% fom nse cut. Twas rather romantic my expences, ‘imitations and fesings were Ina cecain way expceseed onthe canvas, always in ce. but they wore present With tina, my inspirations and sutzocts have comafrem outside im My won ss nourish from tha fvoryday conto, the nave, the anal ofthe somoty and aering mn ‘ich We iva, he city and tho envionment aa a suppor mow: ke an feapty canvas of he avelopmant of he hasan ct” {read that you love Santiago. What isthe cultural mood of Chile fat the moment? “Chie nas bean stable ana developing weil nracent mes. The ceccnomic proepeni hosholped i Uno development of tho atk of fr. goede a atermatve iret, tt I eel sae there i stil mach to be done, Many new high-less have sxcung up, much more 3D cinemas, ‘many Poche, Perasi and Morcedes, but theo i alack of Bungee cult inthe paces where the money is hope tha ks ust & ‘matter of une. Santiago isa ay with several pablems but Tt love i there ane fun things Rappening, te no longer culturally data a8 fund tobe ‘You havo also declared that you hato not knowing what to paint: does this happen to yeu very often? What is your rocord fer lack fof inspization? How did you get out of that condition, whieh L ‘every frustrating for an artiet? ‘Not zo long. Theee are moments thst come up when Take a subject teak Generally my exibiions are very differen from each other Tras ule” une can be tasting for te dovalopmant ela no languago