Tag Archives: installation

Liverpool Biennial 2021

Liverpool Biennial 2021

The Stomach and the Port

20 March – 6 June

 

 

Biennial is the UK’s largest festival of contemporary visual art. Taking over unexpected and public spaces, historic sites and art galleries, the Biennial has been transforming the city through art for over two decades. The 11th edition, The Stomach and the Port, explores notions of the body and ways of connecting with the world. 50 international artists and two collectives are taking part in this year’s Biennial. A dynamic programme of free exhibitions, performances, screenings and fringe events unfolds over the 12 weeks, shining a light on the city’s vibrant cultural scene. Liverpool Biennial: The Stomach and the Port is curated by Manuela Moscoso.

 

Teresa Solar presents a newly commissioned outdoor installation, titled Osteoclast (I do not know how I came to be on board this ship, this navel of my ark), at Exchange Flags. Composed of five kayaks, each sculptural piece reflects on the shape of a bone in the human anatomy. The sculptures anchor on the history of Liverpool as one of the most active ports in facilitating transatlantic trade in Europe. Solar’s work draws a parallel between bones – as hollowed structures, full of cavities, carriers of tissues, veins and cell communities – and vessels, vehicles of migration, transmitters of bodies and knowledge. In contrast to the enormous ships that were, and still are, built and docked in Merseyside, Solar’s kayaks, turned into a disarticulated skeleton, set the human body at sea level and evoke the sometimes-forgotten fragility of the human body over the sea. At the same time, they also celebrate our capacity for transition and transformation.   

 

Commissioned by Liverpool Biennial and Liverpool BID Company with support from Acción Cultural Española (AC/E) and the Henry Moore Foundation.

 

+ information about Teresa Solar’s project

sesin melodim, seslerin yankım benim (tu voz es mi sonido es tu ruido es mi eco)

 

MIND the GAP, Hamburgo

21.10 – 13.12.2020

 

Instalación sonora de Annika Kahrs en colaboración con el músico Derya Yildirim.

 

 

 

La base de la instalación de sonido de 7 canales son las entrevistas que Kahrs y Yıldırım realizaron con los miembros de la familia de Yıldırım, sus padres, hermanos y primos, en Hamburgo. En las respectivas conversaciones se intercambiaron historias personales, específicamente preguntado sobre recuerdos sonoros y personalidad acústica. Estos se tradujeron luego en una compleja instalación de sonido en el estudio de sonido. La música se entiende aquí como una puesta en escena portadora de la memoria y un vínculo intergeneracional: qué canciones juegan un papel importante dentro de la familia, se transmiten a las siguientes generaciones y se reinterpretan, qué sonidos recuerdan los padres de su infancia en Sivas (Turquía), o los hermanos en Hamburgo.

 

sesin melodim, seslerin yankım benim (tu voz es mi sonido es tu ruido es mi eco) invita a los visitantes a acercarse a estos pensamientos y a escuchar el retrato de la familia de una manera temporalmente lineal y espacialmente vertical: cada piso representa a un miembro de la familia.

 

 

+ info

Paintings #26, 2016

Lisbon, 1956

Lives and works in Lisbon

 

Cabrita’s complex work can be characterized by an idiosyncratic philosophical and poetical discourse embracing a great variety of means: painting, photography, drawing, and sculptures composed of industrial materials and found objects.

 

His work has steadily received international acknowledgement, thus becoming crucial and decisive for the understanding of sculpture from the mid-1980’s onwards. By using simple materials that are submitted to constructive processes, Cabrita recycles almost anonymous reminiscences of primordial gestures and actions repeated in everyday life. Centered in questions relative to space and memory, his works gain a suggestive power of association which reach a metaphorical dimension by going beyond the visual.

 

The complex theoretical and formal diversity of the work of Cabrita proceeds from an anthropological reflection, which is contrary to the reductionism of sociological discourse. In fact, it is on silences and indagations that the work of Cabrita is based and built on.

Objects on the New Landscape Demanding of the Eye (part 3)

We are pleased to present Julião Sarmento’s fourth exhibition at Galeria Joan Prats, titled Objects on the New Landscape Demanding of the Eye (part 3), in which we will show his recent work, with installation, sculpture and painting.

 

The title of the exhibition recalls that of the first exhibition held at Ferus Gallery in Los Angeles in 1957, which included paintings by various artists and in which the installation and assemblage pioneer, Edward Kienholz, participated.

 

In the exhibition, the installation Crash Dummy, 2016, and the sculpture Broken Alice, 2014, coexist with a series of paintings that show triangular shapes, delicately drawn, based on the fundamental principles of fractal geometry, and other works inspired by the Little Dancer Aged Fourteen of Degas. This diversity of supports and techniques present in the exhibition is characteristic of the artistic practice of Julião Sarmento and, on this occasion, stands out for the combination of materials that could be defined as poor with materials subject to advanced technological processes.

 

Julião Sarmento produces a work that adopts multiple forms with drawings, paintings, sculptures, performances and videos that speak of the artifices of seduction and the mechanisms of desire. From its beginnings, in the middle of the seventies, the work of Julião Sarmento has been characterized by its archival character. Thus, in his works, they can appear feminine silhouettes, architectural plans, literary fragments and objects.

 

Often, these coded iconographies explicitly present us with the signs needed to identify to the source of his imagery and its meanings. This constant oscillation between appearance and reality, fiction and documentation, invention and fact with which Sarmento confronts us is not at all a gratuitous game. The assemblages fashioned by the artist play on this dialectic of superficial interpretation, where many elements are perfectly identifiable, even banal or anodyne, and deeper interpretation that drives us to seek correspondences, links and relations without realizing that the very fact of carrying out this search is itself the meaning we are supposed to discover.