Welcome to Cristina Guerra Newsletter August 2016.
Cristina Guerra Gallery, Lisbon, Portugal
SUMMER HOLIDAYS 1 - 15 August
Cristina Guerra Contemporary Gallery will be closed for summer holidays during the first two weeks of August. During the last two weeks of August, the gallery will be open on the usual schedule, except on Saturdays when we will open by appointment only.
Please note that even though we will be open between 16 and 30 August, we will be in 'modus operandi' Inventory. We apologize for any inconvenience.
The exhibition 'a forma do pensamanto' (the shape of thought) will be extended until 10 September.
EXHIBITIONS IN INSTITUTIONS Kunsthal Charlottenborg, Copenhagen, Denmark
LAWRENCE WEINER Take Me (I'm Yours)
Closing 7 August
Curator: Christian Boltanski and Hans Ulrich Obrist
This summer Kunsthal Charlottenborg will invite visitors to touch, use and bring home works from the exhibition 'Take Me (I'm Yours)', which features some of the world's most acclaimed contemporary artists. 'Take Me (I'm Yours)' is based on an interaction between visitors and artists, and as a result, the exhibition evolves over time. When it ends, the works ill have disappeared entirely from the exhibition, having found new homes among the visitors. In this way
'Take Me (I'm Yours)' challenges conventional economics - in society and on the art scene. The works present a new model based on sharing and exchanging, raising questions about value, barter economies and more.
The curators behind the exhibition, Christian Boltanski and Hans Ulrich Obrist, invented this radical exhibition concept, which has previously been presented at the Serpentine Gallery in London and at Monnaie de Paris where the curators were joined by Chiara Parisi. This exhibition is a new version created especially for Kunsthal Charlottenborg.
Some of the artists featured are Lawrence Weiner, Gilbert & George, Félix González-Torres, Douglas Gordon and Franz West. The exhibition is supported by the Danish Arts Foundation and arranged in co-operation with Monnaie de Paris.
The FLAG Art Foundation is pleased to present Summer School on its 9th-floor gallery from June 9 - August 12, 2016. This expansive group exhibition highlights artists who ignite our imagination through fantasy and play. Accompanying educational programming will include artist-led workshops, tours, and events, created with and driven by the interest of children and their families. The artworks in Summer School resonate across generational lines. "Creative Thinker", John Baldessari's dual-tone proclamation, and Alex Israel's dreamy, Disneyland-inspired self-portrait, set the tone for the exhibition in which everyday ideas are transformed into extraordinary objects of wonder.
Summer School asserts that art can serve as a platform for children to develop critical and creative thinking, and early exposure can lead to a lifelong interest in art. Leading up to the exhibition, FLAG invited fourth-grade students from Harlem Children's Zone, a pioneering nonprofit organization in Central Harlem, to explore their relationship to art and creativity through a participatory Q&A.
Humorous, incisive, and honest, their responses form an inclusive conversation around the themes of the exhibition: Are you an artist?; How is art a part of your life?; What is your favourite colour? This Q&A, which also includes a drawing component, will be made available to students and children throughout the course of the exhibition, with the aim to expose new ways of engaging and creating a dialogue with art.
Among the artists featured are John Baldessari, Dan Colen, Alex Israel, Mark Grotjahn and Marilyn Minter.
Curators: Fernando Cocchiarale and Fernando Lopes
In 2005, when the world's leading museums were paying particular attention to their photography departments, Museu de Arte Moderna do Rio de Janeiro (MAM-Rio) took an important step by incorporating the Joaquim Paiva Collection into its own collection on a loan basis. To celebrate the arrival of its almost two thousand photographs, MAM-Rio held an exhibition of a sample of the works the following year: "All Too Human, Joaquim Paiva Collection." Since then, it has put on a further 12 exhibitions either exclusively showcasing the Joaquim Paiva Collection or including some of its works in joint exhibitions. In total, some 116,000 people visited these 13 shows.
Ten years after the first exhibition of the Joaquim Paiva Collection, MAM-Rio is casting a new gaze over these works, presenting a diverse selection of some of its highlights. The over 100 photographers and artists from different generations and countries represented here include Rosângela Rennó, Diane Arbus, Grete Stern, among others. Seen together, they reveal a broad panorama of the history of photography from its more documental branches to the present era of digital images and the consolidation of the photograph as a medium for artistic expression.
Walking around the exhibition, other nuances of the collection become apparent, underlining its importance and the need to keep it on permanent display, while also confirming the commitment of MAM-Rio not just to preserving its collection but also to making them available to the public. Together, these works rethink, reinvent, and push back the boundaries of photography as both a technique and a poetic language. And they also prompt us to consider what the act of collecting is, or at least what it should be.
Curator: João Silvério
"(...) Let us consider the piece after the exhibition was named. In it, we identify the blueprint of a house that has been partially erased, or obnubilated, to use a previously employed term. Then, there are the connected arms, fragments from absent bodies, the actions of which range from the union of these same bodies to the violent penetration of the wrist's fold. Nothing is missing from the depiction of these figures, and we are in no way asked to reconstruct them visually, not even by one last appeal to our memory. (...) Perhaps the most appropriate term is replication, considering how shapes, movements, words, actions, and images are in transit between works and media, reconnecting historic moments, imaginary times or stories from literature and film that, though repeated across various phases in his work, present us with new issues, as they dialogue across the internal structure of his vast body of work, confronting us whenever we contemplate it.
One piece, part of the collection of the Museum of Contemporary Art, in Zagreb, exemplarily illustrates how Sarmento operates on memory via the succession of actions that make up his work. The piece's title is itself a clue: "Stigmate" (1979), a word that conveys to us a transformative action, a dysfunctionality of the coercion of a group or an individual. The work consists of two photography/text sets, composed of four black-and-white photographs: two urban views alongside two photos of someone's back with marks made by hand, and drawings on the wall. (...) Here we have a work that was already shown in other exhibitions and returns here as a recontextualization rather than a simple repetition. In this geography, all images are unique, and their verisimilitude in a context of apparent repetition acknowledges our perpetual need to negate change, sometimes contradictorily so, because the same image is already a memory of itself by the time we look at it again."
Curator: Thomas Demand
"L'image Volée" (The stolen image) is a group show curated by artist Thomas Demand. The show occupies both levels of the Nord gallery at Fondazione Prada in Milan.
"L'image Volée", includes more than 90 works produced by over 60 artists from 1820 through the present day. Demand's idea for the exhibition is to explore the way we all rely on pre-existing models, and how artists have always referred to existing imagery to make their own. Questioning the boundaries between originality, conceptual inventiveness and the culture of the copy, the project focuses on theft, authorship, annexation and the creative potential focuses on such pursuits.
The exhibition presents three possible investigations; the physical appropriation of the object or its absence; theft as related to the image per se rather than the concrete object itself; and the act of stealing through the making of an image. The exhibition has been conceived as an eccentric, unconventional exploration of such topics through empirical inquiry. Rather than an encyclopedic analysis, it offers visitors an unorthodox insight into a voyage of artistic discovery and research.
The first section of the exhibition displays photographs, paintings, and films in which the stolen or missing object becomes the scene or evidence of a crime. Other works evoke the absence resulting from an act of theft. Other pieces are based on the alteration of preexisting artworks. All these works explore the notion of authors' control over their own creations.
The second part of the exhibition analyses the logic behind appropriation within the creative process. This section begins with the concept of counterfeiting and falsification. The exhibition moves to explore practices that are close to Appropriation Art. Other artists drive the logic of counterfeiting to its limit, including taking possession of another artist's identity. Other artworks are 'improvements' or modifications of preexisting images. This section continues with a group of works in which the artists borrow elements from another medium or language, or decontextualize the images themselves.
The third part of this show is installed in the lower level of the Nord gallery, marking the first time this area has been used as an exhibition space. This final, subversive part of "L'Image Volée" deals with the production of images which, by their very nature, reveal hidden aspects on a private or public level. John Baldessari, in his installation Blue Line (Holbein) (1988), inserts a hidden camera that produces stolen images of visitors inside an adjoining space, calling into question the role of the spectator. Another cluster of works develops considerations on public or openly political issues.
"L'Image Volée" is accompanied by an illustrated book published by Fondazione Prada with newly commissioned short stories by Ian McEwan and Ali Smith, essays by Russell Ferguson, Christy Lange and Jonathan Griffin, and contributions by Rainer Erlinger and Daniel McClean.
Curator: Cauê Alves
MAM Celebrates Three Decades of 'Clube de Colecionadores de Gravura' with a Retrospective Exhibition.
The commemorative exhibition displays all works produced by different artists and in different styles since the Club's founding in 1986.
Museu de Arte Moderna de São Paulo's exhibition Clube de Gravura: 30 Anos (Print Club: 30 Years) features 173 works produced over the course of three decades by artists belonging to different profiles and generations. Since 1986, MAM's Clube de Coleccionadores de Gravura (Print Collector's Club of MAM) has been fulfilling the goal of promoting Brazilian collections by allowing a large number of people to join and purchase works of art, encouraging artistic production in the process. In all these years, the Clube has enabled the execution of special projects developed by guest artists and, simultaneously, has expanded the Museum's collection. The Clube's manager since 2006, Cauê Alves, is the curator of the show, which will be on display in MAM's Grande Sala (Great Room) until 21 August.
In the exhibition, visitors will be able to enjoy different curatorial guidelines adopted by the club throughout the past 30 years. "An exhibition was held in 2006 to celebrate the 20th anniversary of the Club, therefore, this time, there is a special emphasis on works produced in the last decade because they have never been displayed", says the curator. The show is divided into panels and organized as if it were a library or a large archive, reminiscent of a collector's home in which some walls are almost full, with works busily arranged side by side, while others have empty spaces, leading to a sense of calm that enables better observation of the works.
Under Cauê Alves's management of the Clube for the past ten years, actions have been undertaken to publicize and reflect upon MAM's print collection. The curator's idea was to continue with renowned names along with promising names, in addition to giving space to renowned and recognized artists in the art scene, but who do not necessarily have a connection with printmaking. "The guiding principle is always the quality of the guest artists' works. Therefore, the collectors take the risks and the dividends of having works of art from the collection of the museum in their hands", says Cauê. Rare and lasting initiatives such as Clube de Gravura indicate that, besides being well-structured, they have cultural relevance whether by contributing to the formation of art collections or by debating printmaking and art in general", says the curator.
Image: Untilted (holocaust) from the series: Universal Archive, 1998; donation of the artist through the Print Collectors Club MAM - SP.
Curator: Mark Gisbourne
The title of the exhibition refers to Elective Affinities (Die Wahlverwandtschaften, 1809) by the famous German writer Johann Wolfgang von Goethe. The novel title deals with the affinities of human relations, and appears ideal as an approach to an exhibition that includes differing viewpoints of artistic production, In this sense, the exhibition highlights connections, correspondences, and derivations, which are created through the interaction of the artworks. These almost chemical reactions, which - in Goethe's novel - form through characters and human characteristics, are echoed in the concept of this show.
The installation of the exhibition is divided into four categories. Since they are non-deterministic, but rather the result of careful architectural design layout, these zones flow naturally into one another. They do so in a manner that also allows for further mental expansion and cross-visual fertilization. The idea of a generic umbrella for the differing types of artworks creates opportunities for generational comparison and engagement that is far more textured for the viewing audience.
The sections are discreetly labeled as 1. Expression, Imagination, and Subjectivity; 2. History and Narrative; 3. Abstraction and Conception; 4. Presentation and Critique. In certain instances, artists appear in two different areas suggesting the breadth of their practice. They may at times be figurative and/or abstract, historical and/or critical, conceptual and/or historical, critical and/or expressive. The idea is an exhibition with an intense presence and enervating visual and intellectual content.
With 77 artworks by 53 artists, this exhibition is the first retrospective of German contemporary art in Riga, from the 60s until today. The aim of the exhibition is to showcase the central and effective points, as well as the most important aspects of German art of the last 50 years. Among the participating artist are Sabine Hornig, Sigmar Polke, Rosemarie Trockel, Thomas Struth, Gert & Uwe Tobias and others.
The exhibition includes painting, drawings, sculpture, photography and examples of video art, with a few singular examples of Conceptual Art. The greater aspect of the exhibition focuses on visual and perceptual contents rather than theorization. As the covered time period began with both West and East Germany, it is necessary to show some examples from the DDR. However, while using singular examples, and particularly works from artists such as Richter, Polke and Baselitz, who existed in the East prior to the Berlin wall, the status of the former East Germany is thus largely represented by artists from the post-unification period.
Curator: Erwin Wurm
Erwin Wurm (*1954) was invited to join the DAAD Artists-in-Berlin Programme in 1987. His residence in the city coincided with a period of redefinition in his work. Since the late 1980s, he has been exploring the boundaries between sculpture, object, and performance.
The show at the Berlinische Galerie presents key aspects of his output, some of it only recent. Centre stage are the human body with its sculptural potential and Wurm's participatory approach to letting the viewer become part of his artwork.
The title of the exhibition is a nod to the Narrow House, a faithful reconstruction of his parents' home in every detail, except that the artist has compressed it into a depth of just over a metre. By walking around the house, visitors literally experience the constrictions of provincial life. This work is accompanied by several One Minute Sculptures: instructions invite visitors to adopt unusual poses with the help of everyday objects, turning themselves briefly into a living sculpture. The third section of this exhibition, a comprehensive display of drawings by Erwin Wurm, is in itself a première.
Curated: Christine Nippe
Just like the passenger in Iggy Pop's song, artists are constantly in motion and therefore it is not uncommon that they are involved in transnational productions. Networks, movement, and everyday practices have all given rise to a new transnational space that needs to be explored. The manner in which the numerous stations of their biographies coincide signposts the changing locations of globalized artistic work. Their mobility links previously remote outposts, they form cross-boundary networks and create their works in a space that lies beyond national borders. They are attracted to different towns and cities and often have different ideas of what constitutes home and what lies between. The aim of this group exhibition is to help promote a new understanding of the concept of mobility.
Questions that become increasingly relevant in this context are: How do perception - and therefore also artistic practice - change as a result of mobility and migration? Can artists act as cultural translators? To what extent do they experience everyday living as a transnational life and thereby create a third artistic space beyond the confines of national state categorisations?
'The World in Gay Pride Flags' by Jonathan Monk part of a large series of world maps that the artist started about 5 years ago. When asked about the manner in which his work work developed, he said: "I think the first one was 'The World in jeans and T-Shirts' which is exactly what it says it is - the first map using a flag or flags was 'The World in Stars and Stripes' - the gay pride flag seemed like a nice follow up - even though I'm not gay the actual flag had become very important as a promoter of gay issues - gay marriages in certain states of America and the even more problematic issues found in Russia and beyond. I guess more can be read into this... there are probably going to be more maps made in the near future, who knows?"
O Museu Oscar Niemeyer (MON) and Itaú Cultural underline their collaboration in another exhibition: Modern Forever - Modern Brazilian Photography in Itáu's Cultural Collection.
The exhibition brings for the first time to the Paraná state a group of 132 artworks from 31 artists that belonged to the Brazilian Journalists Photo Club, launched at the end of the 30's. All these works are from the period between 40's and 70's, during the premier of the European and American modernism, when Brazilian photographers started a discussion about the limits of photographic art. Masters like Rosângela Rennó, José Oiticica Jr., Paulo Pires, are included the exhibition.
'Moderna para Sempre' was already exhibited in 12 cities throughout Brazil. In Curitiba, the exhibition will present almost all the artworks from the institute's collection, that has 138 photographs. For the director-president of MON, Juliana Vosnika, the exhibition is relevant for the quality of its images and its content on presenting the Brazilian Modernist Photo Club, an important period of the development of artistic photography. "'Moderna para Sempre' underlines our collaboration with the Itáu Cultural and offers to the public an history lesson on Brazil's photography", says the director.
La Panacée - Centre d'Art Contemporain , Montpellier, France
JONATHAN MONK Terminal P
Closing 28 August
Curator: Franck Bauchard
Emblematic architectures of modernity in the XX century, offices of the aerial world, prestigious entries to cities, airports are presented nowadays to the travellers as transit infrastructures articulated by fluxes with imperceptible logics due to their resemblances. Nowadays, the airports not as open structures as they used to be. Airports remain in a zone between earth and sky, with their routine decoration of micro-dramas in departures and arrivals, and specifically with an high-tech security environment, controlled by an endless circulation logic, magnified due to the globalisation phenomenon in our societies and economies.
The exhibition 'Terminal P' questions first and foremost the airports as a cultural construction, as an ordinary infrastructure where juxtapositions happen in a field regulated by a group of technologies for tourism and surveillance, migration and commerce, terrorism and art.
The abstract categories of globalisation meet and become concrete in airports architecture, spaces, screens, fluxes. Airports are a vortex where a group of functions, representations and tensions of society, converge. Centre of globalisation; tarmac of the global village, the airport is our destination. In this exhibition 'Terminal P', the airport becomes the hypothesis and the rule of the game!
'Waiting for Famous People (Marcel Duchamp), 1997, is Jonathan Monk's piece presented in the exhibition.
Monk's practice is not characterised by an established style, nor by a particular medium. Installation, photography, film, or performance, each new idea is translated into a piece with a different format. In 1995, Jonathan Monk realised WAITING FOR FAMOUS PEOPLE, a series of photographies in which he appears at airport halls, brandishing signs with the name of celebrities written on them (Elvis Presley, Andy Warhol, Marcel Duchamp...). Placed on the airport's exit, with a sign in his hands, waiting for the improbable arrival of a missing celebrity, Jonathan Monk questions with irony the notions of context, filiation and artistic intention.
"The group of pieces I present in this project are part of a creative moment I've been delaying and, finally it will take shape in this exhibition. I face it as a parenthesis, not an isolating or informative one but, one of those that opens and unfolds a reality.
These works have a revelation method that refers almost to the beginning of photography, in the sense that, in a thin contact sheet a negative surface is printed. The process is simple: to reveal and accumulate the dust underneath the protection plastics of the studio's floor. This series refers to a real scale and not to an exterior and distant point of view of what was drawn.
These works are essentially made from contacts. The contact in this exhibition is present in the negative. The hidden surface is revealed, showing not what we are used to seeing on a sheet but, what touches the surface, usually hidden by touch and time.
I had to take a step back and assemble waste material from works I have developed in the past. To these waste, I added waste of more recent works. Scratches in the studio waiting to be erased or activated... I insisted on keeping these scratched and (un)significant surfaces since it was printed in them the peripatetic gesture of the production of the pieces. The majority of these works that define a temporality and a spatiality since it's the waste of passing actions - spaces of absent pieces. "Live the present", some would say. The present is only tangible in appearance; in reality, is what is more unreal. The purity of the present lives in its impurities. If we would like reality to exist, we have to recreate it, constantly. Drawing is not about being limited to a "medium", to a framing; to draw is the infinitive of drawing. It is when once in the studio I can work the limits and borders of what was already projected". _ Diogo Pimentão, 2016
Diogo Pimentão was born and studied in Lisbon. He lived almost a decade in Paris and moved to London 4 years ago. London is where he lives and works. Pimentão is an artist particularly interested in drawing, a medium that he activates, enriching its status, enhancing our sensorial experience. The artist practice is shaped by his artistic experiments, working from simple materials of drawing, such as paper and graphite dust. In his apparently monochromatic pieces, the paper or wall surface is transformed into textures, extremely delicate and simultaneously strong and metallic. The artist allows the drawing technique to overcome its own contours opening up to multiple shapes and processes. Its production processes, truly fundamental actions of Diogo's practice, abolish the border between drawing, sculpture, and performance.