Monthly archive

octubre 2015

Nuria Mora: Artista plástica sin statement

in ACC Network/Español

Durante su visita a la Ciudad de México, All City Canvas se llevó a la artista española Nuria Mora a dar un rol por el Parque México para que nos contara de sus inicios como artista, sus experiencias en las calles con el arte urbano, su punto de vista sobre la mujer en el arte y su proyecto en el Zócalo que formó parte de su exposición individual en Celaya Brothers Gallery.

Siéntate con ella y comparte su historia.

D*Face in Mexico City for All City Canvas Global Series 2015

in ACC Network/English/Español

? ? ACABÓ LA ESPERA ? ? ¡D*Face es el artista invitado para esta edición de ‪#‎ACCGS‬ en la Ciudad de México! ?? Intervendrá una pared icónica en algún lugar de la ciudad 〰〰 muy pronto les diremos dónde ?

Este evento se lleva a cabo en colaboración con el British Council Mexico dentro del marco del Año Dual ‪#‎UKMX2015‬. Aquí les dejamos más sobre el artista… ¿Están listos para tener a D*Face en el D.F.? ?

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? ? THE WAIT IS OVER ? ? D*Face is the artist invited to this edition of All City Canvas Global Series in Mexico City! ?? He will intervene an iconic wall somewhere in the city 〰〰 we’ll tell you where, very soon ?

#ACCGS is made in collaboration with the British Council Mexico in the framework of the Dual Year #UKMX2015. Here’s a bit more scoop on the artist… Are you ready for D*Face to take over Mexico City? ?

[Música: MareaBoba – Momentus]

Arte Descarado

in ACC Network/Español

Dense una vuelta por la exposición “Eterotopia” en Roma con obra de los artistas Borondo, Canemorto, Sbagliato, Edoardo Tresoldi y Jacopo Mandich. Un espacio de convivencia entre el conflicto y la contemplación.

En la sección de “Art with a Twist” Enriqueta nos presenta:

La última exposición del artista australiano Meggs en Thinkspace Gallery en Los Ángeles es todo un análisis de la falta de conexión del ser humano con su entorno.

La ciudad polaca de Lodz ha transformado el panorama visual gracias a la increíble variedad de murales que la tapizan, como uno de los más recientes del artista boricua Alexis Diaz con una historia profunda de superación y libertad.

Saner transformó Magic Gardens Gallery con su arte en diferentes medios.

El editor y fotógrafo de All City Canvas, Francisco Betanzos, viajó a Bogotá y habló con el artista Ceroker sobre su arte y la situación del arte urbano en Colombia. ¡Chécalo!

Y como ya sabes, D*Face viene por primera vez a México y te puedes ganar un poster firmado por el artista inglés. ¡Sigue nuestras redes para entrar en la dinámica y ganar!

DEPERSONALIZATION AND DEHUMANIZATION IN THE ROTTEN WORLD OF ADVERTISEMENT

in Blog/English
By Nicole Chaput
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Advertisements pitch an ideal of singularity that trick the consumer into thinking such ideal is viable. However, the apparatuses employed by the industry depersonalize to create a rigid net of sameness that allow producers to satisfy every shade of that uniformity and thus ensure profit. Artist Vermibus intervenes existing advertisements to comment on prevalence of depersonalization in the fashion industry. Vermibus violently distorts the preexisting manicured images to show that dehumanization is the only hope for singularity in this mechanically reproduced world.

We think about fashion even when we attempt to neglect it: the world becomes a catwalk where participation is no longer optional.

The fashion industry has penetrated our ideas of how we present our respective individual and how our everyday audience absorbs it. Rejecting trends and fashions involves a conscious awareness of it and a deliberate method of presentation that will advocate the repulsion this industry triggers.

Presentation or the embodiment of personality through consumerism seem to have the potential to capture and exhibit our interests. We expect this embodiment to happen because we have been taught by mass culture what qualities will personalize and single us out; but because this singularity is mechanically reproduced, it fails to manifest itself and becomes everything but.

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Calculated devices are exercised by mass culture and advertising that homogenize and standardize individuals to abolish the possibility of singularity at all costs. This allows to broaden the consumer demographic and thus make sure everybody is buying: there is a product for everyone out there because consumers absorb and embody all the ideas pitched by advertisements. Singularity translates to someone whose wants and needs are not satisfied with the consumer goods offered by the market. Standardization is in the market’s best interest because it will systematically ensure consumption and profit.

These devices create the illusion of a world of possibilities and options, where there exists a top and bottom for the sophisticated punk girl with blue hair and one for the hippie stoner who is low key into fashion-among many others personas that are all created by the Culture Industry (movies, pop culture, etc.). The sophisticated punk girl with blue hair wants to be the sophisticated punk girl with blue hair that is advertised no matter how unknown this desire might be. This notion has to do with the manifestation of happiness in each advertisement and how the products that are sold are vehicles to pursue it. This is all a clever game of puppetry.

It would be reductive to appoint all personality traits to those advocated by advertisements but the extent of their influence is undeniable and alarming. The substance in a every person is constituted by numerous factors, but at least the way in which people present and embody their substance adjusts to this scheme and influence to a significant extent. Advertisements are mechanically reproduced and can be found literally everywhere: in historical monuments, inside our screens and in between train stops.

An important apparatus for this system is the standardization of beauty, where a person needs to have x, y, and z characteristics to advocate the ideal of beauty advertisements want to deliver. X, y and z are variables that change with time and depending on what the culture industry manifests as beautiful. Models are vehicles for this standardization of beauty and all drown in sameness. They all look the same with exceptions of eye, skin and hair color, they are all fabricated by the same mold. The people inside the world of advertisement seem to promote singularity, but are actually encapsulated by a two dimensional, mechanically reproduced and prefabricated persona, built to satisfy board members and their agendas. The singularity that is advertised is promised through consumption, even though it is false.

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Artist Vermibus toys with this homogenized advertising world in his practice to actively comment on its concerning nature. Vermibus utilizes existing advertisements and then uses solvent and brushes to distort the image. Once the image has been intervened, the fashion advertisement is later reintroduced to its original context in its corresponding public setting. The technique employed by Vermibus can be read as an inverse gestural painting that mutates a plethora of sameness. The artist asserts that advertisements mask a person to substitute his or her identity for the one of the brand. When intervened, the advertisements of sanitized bodies adopt an aura of decay and resemble ghostly creatures. The artist insists that this mummy-esque aesthetic has more presence and that it enhances the potential of singularity. This statement is very powerful because it demonstrates that perfection is so standardized and mechanically reproduced that it has lost all its weight and significance. The promise of its existence everywhere allows for it to be taken as a light given where the only successful way of standing out is by alluding to death and shadows. Decay has become the antidote for singularity in the arena of flat spaces and brand names because it is the only possibility for differentia.

Verimus takes a reflexive and critical stance on this rotten world of uniformity and comments on its manipulative and dehumanizing agenda. He claims that models, the main vehicles for fashion advertisements, are depersonalized so that the one of the brand replaces their identity. This statement is ironic because many of these brands use the same models for their campaigns and are thus encouraging an even more limited and unvaried set of identities. The vehicles and apparatuses for advertisements are so unvaried and that is evidence for the lack of actual choices and possibilities that consumers actually have.

Vermibus rescues the depersonalized people inside advertisements by attacking them through a process of dehumanization. His images are no longer the banal and ephemeral background, but rather active criticisms of the images that exist everywhere over and over again. The artist invites the viewer to develop a critical perspective about this matter by challenging the expected horizon of billboards and commercials.

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Photography Sources
http://41.media.tumblr.com/0a11384bd2aa5e03a9581dd22eb3756c/tumblr_nmqyrn4UoO1r5t6p7o2_r1_500.png
http://www.vermibus.com/wp-content/uploads/2013/09/Interventions_vita_propria_2.jpg
http://25.media.tumblr.com/tumblr_lxesbhwpcs1r5t6p7o4_1280.jpg
http://c.fastcompany.net/multisite_files/fastcompany/poster/2014/04/3029268-poster-p-1-vermibus-dissolving-europe.jpg

The Simulation of Time

in Blog/English
By Nicole Chaput

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Youtube: home of everything ranging from cat videos to makeup tutorials to how to factor a hyperbola. In this infinite library of time, there is a video for almost anything, artworks included.

Animations allow to not only look at something, but to see it breathe and exist by seeing how it floats in time. Animation is a medium that has been part of most TV watchers from a very early age. TV allowed for a catalogue of aesthetics, themes and tones. But as a child watching a cartoon, one never stopped to question how these shows and movies were crafted and could not even anticipate the amount of work and time that need to be invested to make a fluid animation.

The standard fluid animation has 24 frames per second, where each frame requires a resolved sense of space and time that will inform what is being manifested. Watching a short film or animation is like looking at millions of temporary paintings that were created to exist for less than a second. For each new frame, the placement of the previous frame needs to be considered so that when played, each frame is melted into the other in a fashion that will imitate movement. The notion of movement is handcrafted for its simulation where each individual second is constructed by the artist.

Simulated movement happens in a given time and space: each animation is a tangent space for a time we are yet to uncover; even though they all exist somewhere. These are a few alternatives that exist in our paralyzed clocks. These simulated worlds are unlike ours; they never seek to go counterclockwise.

An animation engages the viewer not only by thematic and aesthetic components, but by having the artwork interact with their real time, where the time of the viewer can suddenly be measured in terms of frames in a simulated world.

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1. Meat Love by Jan Svankmajer (1989)

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The truth about the dangers of attraction, impulse and vanity, all grilled in a blunt stop motion. Love kills slowly.

Watch ☞ https://www.youtube.com/watch?v=DSDpssHE0R4

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2. Bobby Yeah by Robert Morgan (2011)

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Aside from this being the weirdest thing ever, watching this BAFTA nominated short film will make you terrified of red buttons. I never thought a bunny or a carrot would make me so anxious. Enjoy the STD aesthetic.

Watch: https://www.youtube.com/watch?v=thxuug3Fyhs

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3. Mound by Allison Schulnik (2011)

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The artist spent about eight months completing this ultra detailed stop motion where about 100 clay figures were altered for each frame. When wind blows, each individual hair on the clay puppet’s head moves as well. Every single element in this animation dresses up in intricate fashion to simulate movement in its most sharp and focused form.

Watch: https://www.youtube.com/watch?v=dtdWM6ISCFs

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Oh and, cat videos are not artworks.

Twisting Art

in ACC Network/English

In this edition of our vlog, check out:

☛ FriendWithYou’s largest inflatable to date for Nuit Blanche Toronto
☛ The beautiful art, music and unity that sprung from the one-year anniversary march of the disappearance of the 43 students from Ayotzinapa in Mexico City
☛ DID YOU KNOW? You can help build a virtual map of street art in Madrid thanks to the new app #TrazosUrbanos?
☛ The newly added section of “Art With A Twist” where our special reporter Enriqueta Arias gives us a walk through 1XRUN’s Murals in the Market, Kaaboo Artwork and PangeaSeed and Cohort Collective’s “Reclaim The Future” art benefit.

Enjoy, Share and Subscribe!

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