Monthly archive

julio 2015

Hot Art Summer!

in ACC Network/English

The heat is on and so are artists and projects around the world!

We begin in Atlanta with the latest edition of All City Canvas Global Series in conjunction with Herman Miller Cares where Italian artist Agostino Iacurci wrapped up an amazing week, imparting a 3 day workshop for kids at the Ben Hill Recreation Center and whipped up a massive mural for the community that people have greatly appreciated.

PangeaSeed’s Seawalls festival wrapped up in the beautiful island of Cozumel in Mexico with brutal murals by a group of the most renowned urban artists that continued spreading awareness of our impact on our planet’s biodiversity and ecosystems.

WALL\THERAPY in Rochester (NY) also came to an end, and this year, it was co-curated by Yasha Young of Urban Nation, the community intervention project gave way to amazing murals by artists like Brittany Williams, Vexta and Nevercrew and more. We selected our 5 favorite pieces, although it was a tough choice!

In Mexico City, Mamutt is undergoing a very interesting project with the Foundation of the Historic City Center, entitled Anti-recipe for an Atrium. The ingredients: local street artists Sanez and Cawamo, architect Lorenzo Álvarez and history lover, Carlos Villanueva. Check it out!

Another Italian artist who is also creating amazingness is Gola Hundun. His latest piece entitled “Triskele” is a beautiful tribute to megalithic art and a shelter for wild creatures in a magical place on the Mediterranean coast of Italy. We love how he represented the three stages of life!

We took a (visual and spiritual) trip to artist Carlito Dalceggio’s studio to find out what he is up to, and can only say that what he’s working on is going to be insanely great! Stay tuned for his upcoming installation in Mexico City.

Check out our gallery section to enjoy a weekend of art sighting whererever you are in the world!

By the way, I am Orozco’s son

in Blog/English
By Nicole Chaput

 

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Whenever I come back to Mexico City, I go visit my friends on the third floor of Palacio Nacional de Bellas Artes. I sit with each one, making eye contact with all of them while listening to what these very tall friends have to say, even if it is more of a monologue. Although I go see them whenever I get the chance, they never fail to welcome me with fresh areas of astonishment. I visit the murals that reside in the corridors of Bellas Artes not only because a day spent with these masters compensates for the longest periods of solitude, but because their voices say much more than anyone worth calling a friend.

On this particular occasion I went to see the murals with a fellow artist. We always go to museums and galleries together and it is not unusual to have heated conversations about the piece in front of us, agreeing to disagree if we are lucky. While commenting on one of the pieces by Siqueiros, we noticed an old man with a loud voice and bold adjectives was complaining about the title of the mural by José Clemente Orozco. We stared at the man and his theatricality but quickly carried on with our snobby discourse about stylistic choices and material handling in Siqueiros’ work. The man and his wife approached us and quizzed us about Orozco’s mural, Catharsis. My companion and I exchanged looks that echoed our skepticism. But after listening to the symphonies of rants by this man, we learned he is Orozco’s oldest son.

Clemente Orozco, the artist’s oldest son, controls a great deal of his father’s work and its rights. Yet, he kept complaining about the mistaken title of Catharsis (1933-35). I will abstain from describing this masterpiece because no words could do justice to its dynamism. But for the mere purpose of this note: Catharsis depicts universal chaos to comment on society’s decay and the mechanical nature of violence in the name of progress-to say the very least. Clemente Orozco claims that the title of this mural should be “Universal Prostitution” given that selling oneself is what triggers the deterioration of society. In Catharsis, three prostitutes are laughing grotesquely at the bottom of the mural. They all look like puppets and mock the viewer with their seductive bodies and overdone faces. Clemente insisted that prostitution is the sharpest metaphor for a society that is fed off of corruption in all existing fields. José Clemente Orozco captures the temptation of exchanging dignity for power and wealth and that might as well be the parasite of society in the extensity of its timeline.

José Clemente Orozco was more ambitious than his contemporaries given that his objective was to illustrate a universal truth instead of addressing microcosmic symptoms of the general disease. His son continued his rant by saying the characters in Siqueiros’ works seemed to be made out of cardboard. He then turned to look at the mural by Siqueiros, Nueva Democracia, and said the body of the woman looked stiff, whereas in Orozco’s Catharsis the body of the largest prostitute was credible enough to make the viewer want to touch it. After criticizing Siqueiros’ lack of technique and referring to his work as craft rather than art, he began trashing Rivera. He said he grew up seeing these artists and that is why he can say the work by Rivera is idealist and decorative and that is why he is the most popular. Clemente Orozco has an evident bias, but when he refers to his father as a genius there is truth. I disagree with Clemente, Siqueiros and Rivera were undoubtedly masters; but Clemente is right too, they lack the creative genius of his father.

Clemente says that to be a genius one must meet three conditions.

1. One must have the temperament to master a technique and then create a voice. Absolute expression is problematic and frustrating, only the people who have the character to overcome that frustration will be able to solve the problem of expression.

2. One must develop intriguing and relevant themes that are worthy of a masterpiece. The content is the backbone for any masterpiece and it will give life to form.

3. And most importantly, he says, one must have imagination.

But these three conditions simplify José Clemente Orozco’s genius and fail to justify it entirely. Of the three most important Mexican muralists, Orozco is the least popular and that is expected. No one likes to see oneself reflected in a mirror of explicit sincerity. Orozco painted people who were so dehumanized that they were barely recognizable as individuals. His depictions are mostly grotesque, but it is an intentional ugliness meant to ridicule what lies beneath any system. But what nurtured this aesthetic was his critical standpoint independent from any doctrine or popular belief; Orozco was one of the few who had ideas of his own. In his autobiography he says, “When someone says Yes, one must say No, because if we would all agree civilization itself would be in danger” to demonstrate what he considered to be the most hygienic, intellectually speaking. Every piece by this genius reflects his meditations about what it to be a man and demonstrates an anxiety that questioned this not only artistically, but ethically and metaphysically as well.

Clemente’s wife was pressuring him to leave because they had to go somewhere. He left, gave us his card and said we could only contact him if we included a proper definition of Muralism. We did not write.

Christiaan Conradie – “The Saint Maker”

in ACC Network/English

We sneaked into South African artist Christiaan Conradie’s studio in Mexico City for an intimate interview to hear about the new pieces featured in his solo show in San Francisco, the story behind its title “The Saint Maker,” and the influences that Mexico has had on his body of work.

Come in and discover Conradie’s world, his multilayered characters, their stories, and mind blowing artwork.

Chained

in Blog

By Nicole Chaput

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Photos by: MariaSole Doria


Chained is a group show that comments on humanity’s sense of entitlement to exploit nature and its acclaimed right to possess it in the name of progress. Due to technological advancements, mankind perceives itself as the king of the food chain, failing to consider that nature does not exist exclusively to fulfill our satisfaction. Aware that we have forgotten, progress is achieved when every part of an ecosystem is balanced; the artists remind us that we, too, depend on this ecosystem. Chained features artists 2501, Atomo, Borondo, BR1, C215, Max Rippon, Sam3, Sten Lex and Edoardo Tresoldi and every piece was done exclusively for the show and following this theme of the food chain. The project also explores the randomness existing in nature and integrates this fundamental concept into the artistic process; which claims to be spontaneous, organic and independent from any predetermined framework. This motif is manifested in a variety of mediums to fully expose nature and its exhaustion from every angle. Every artist tackles the subject with a different voice and energy; their intriguing aesthetics unveil the many interpretations of this relevant and fascinating concept.

 

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Wunderkammern Gallery

Via Amari 18 | Milano

June 30 – July 31, 2015

TRIFECTA

in Blog/English

By Nicole Chaput

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It is 2015 and hopefully, we are all now familiar with Feminism. In the group exhibition Trifecta, three female artists team up to teach the world about female identity and how it is mutilated by platitudes and an oppressive society. Trifecta features the works by artists Handiedan, Mimi Scholz and Sandra Chevrier and curated by Yasha Young. Each one of these artists has an authentic voice and different ways of approaching the motif of female identity. Thus the exploration of this topic by three artists from distinct backgrounds will be as interesting as the aesthetic product itself. The works are executed in a variety of mediums including digital illustration and collage mixed with traditional painting. Trifecta is a fresh show that juxtaposes conceptual and aesthetic inventiveness to comment on the conception of the female gender under the gaze of female artists themselves. Young shares her vision of the show “This exhibition addresses the fact that art created by women has been historically dismissed as craft as opposed to fine art, affecting the development of women in art throughout history. I would like to open doors for women artists and encourage them to step out and up.” And out and up we shall go.

 

 

Jonathan LeVine Gallery

529 W 20th St | NYC

June 27-July 25, 2015

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