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B O D I E S D E S I R E S / K L A U S H U Curatorial 2006

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"Bodies Desires"
curatorial project by Klaus Hu 2006

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B O D I E S D E S I R E S / K L A U S H U Curatorial 2006

  1. 1. Klaus HU multimediaartist, writer, curator. living and working in Berlin studio Wildenbruch 77 12045 Berlin / Germany tel (49).30.68081524 em: klaushu@yahoo.de http://www.artnews.info/klaushu http://www.afonline.artistsspace.org/view_artist.php?aid=586 Bank: Swift.BIC: BELADEBE IBAN: DE 75 1005 0000 1410 4203 17 CURATORIAL PROJECT BODIES DESIRES 9 installations focusing on the theme Bodies Desires - Bodies as currency in times of sanctions and failing transactions. Artists list. Nine artists of the NY area, of the Westcoast and Berlin. confirmed artists already: Dustin Klare, Maria Raponi, Ana Black, Josefina Posch, Eve Luckring, David Kareyan, Robbyn Leonard, Paul Gabel, Klaus Hu BODIES DESIRES © KLAUS HU How is the bodies current flow and mental destabilization envolved in current practices of trade and economic war? How can the mental mapping of trade be destabilized by strategies of desire, spatial animation within different timezones? By letting the conceptual approach of Robert Smithsons ship´n trees be used as a countermodel for transition and geographical transformation across already limited political borders (Tijuana/INSITE), I imagine a space, wherein layers of destabilization and the bodies current desires open up transmission and gentrification of thebody as currency as well as delocalization. Within this view on mapping of the bodies desires, Guy De Bord´s spectacle may shape an instable form, without creating a form of frames and borders. Is then "timing" only a model of complexity? Associated with Leibnitz "a complexity of ensembles whose individual snd collective order exists "at the same time"...."the existence of the monad as an already existent ensemble means that the monad is an original ensemble, i.e. an ensemble in which differential plurality is not a consequence of an event (or spectacle), on the contrary it is constitutive of the event - the relational ensemble - itself." (Andrew Benjamin " The plural event, Descartes; Hegel, Heidegger, London, Routledge, 1993, 125). Motion and time as "vague essences". (Luce Irigaray: The sex which is not one, Ithaca, Cornell University Press, 1985, 106 - 118) also: (Gregg Lynn: Folds, Bodies and Blobs: Collected Essays, Brussels, La lettre volée, 1998) and Gilles Deleuze on Foucault on the diagram as a map, a cartography, that is coextensive with the whole social field. It is an abstract machine. (Deleuze: Foucault, Minneapolis, University of Minnesota, 1988, 34). Is the body the ultimate abstract machine, creating destabilization? Is it the ultimate diagram in space, creating inendless events? Is the collective a monad? The relational ensemble itself? Or is it the single body? I have chosen artists working in different formats and techniques, painting and video/film/installation, who might question the current restrictions of movement and surveillance by providing an intimate or traumatic response unto cultural and political sanctions, that have been set up by current political economic circumstances of globalization. These artists project or install their traumatic and intimate desires into a kind of fluid space as inendless questioning. technic list: BODIES DESIRES - CURATORSHIP - project 2 - © Klaus Hu & © the artists partizipating artists & technic list: 1 Eve Luckring - LCD screen - DVD player 2 Robbyn Leonard - 2 x 16 mm projector 3 Dustin Klare - plexi Paint - projector, 1 painting 4 Paul Gabel - DVD player - projector 5 Josefina Posch - 1 sculpture - lightsources - loudspeaker - 1 object 6 David Kareyan - 2 paintings (transport!) 7 Ana Black - DVD player - projector 8 Klaus Hu - LCD - screen - DVD player 9 Maria Raponi - 2 models - 2 lightspots• / 2006
  2. 2. artists statements KLAUS HU, artist, curator, Berlin My work circles around constellations of contemporary allegories as painted canvases for balan-cingthe contradiction between intimate personal and external public expectations. These frozen cut outs of larger units are fragments of a syntax to be deciphered by unexpected interrelated facts and similarities. My videoworks are deconstructions of (filmic) genres, exploring the territory of language. The 2003 completed DVD "STILL RUN REMIX & NY PILOT" combines fotographic research at the NY eastside with digital inserted, in Berlin recorded live animations, to bridge the gap between the literal beat generation as sound and the digital now. "STILL RUN REMIX & NEW YORK PILOT"- 1998/2003 , DVD, installation - 90 min - edition of 3 + 1 AP DAVID KAREYAN, New York, NY In his canvases, he is looking for "Nature´s Alternative" (title of the series). He explores the interdependence and influence between the so called "new technologies" and recycled natural elements like oil, tar and wax. Claiming the autonomy and spontaneity of the images created as synthetical compositions, by using new technologies, he rates them as nature itself. In his technical optimism he quotes Adorno, that life asserts itself through civilization.
  3. 3. JOSEFINA POSCH, Sausalito, CA Working with various media, her work questions existential nature and present society. It is about flesh, the primal urges and the contrasting intellect, about attraction and repulsion. She sees our human inability to communicate today, when obsessions with fame, blind faith in media are pretending real human interactions. At first sight, her installations seem to be taken out of an advanced laboratory for organic experiments, but coming closer, the viewer understands the deeper quest of these animated all white sculptures as hunger for life. "THE FALSE PROMISE OF CONVENIENCE PARADISE" 2004 inflatable latex sculpture with movement, that imitates breathing 6´x 4´x 4´ inches "THE OPERATING OF HIGH SELF ESTEEM II" 2004 soundsculpture with ambient sound from Miami Int. airport depart. lounge 4´x 8´x 4´ inches EVE LUCKRING, Los Angeles, CA• "My work is a contemplation of gesture. Inspired by haiku and renga, I investigate the commonplace and non-heroic, the overlooked or unnoticed." Eve Luckring is interested in a look, that does not take, but receives. She has shown her work in traditional international exhibition venues, as well as in public sites like porn video arcades and nightclubs. Her installations interfere, interact or irritate the common expectation of place. "OCEAN" 2004 - videoloop - 2.45 min
  4. 4. ANA BLACK, Canada & NY In her foto- and videowork the signifier of everyday ritualized scenes and the shift and hidden anxieties as the hidden significance are deconstructed to make their betrayal of the sublime visible. Between memory and observation, she allows herself into the transitional world between child-hood fantasy and rites of passage, to question, how we recall and record our own histories, a place where the division between reality and illusion is interwined. "PETTING" - 2003 - DV - 3 min - loop, "EXCHANGE" - 2002/5 - C-print - 27" x 40"• ROBBYN LEONARD, San Francisco, CA works mainly with 16 mm film material, which he treats with manual processes via emulsions, digital pixels and painting. He produces singular artefacts, that can be projected in time. Reminding to early avantgarde filmexperiments, the material itself is the leader to be manipulated. He compares his technique to mental processes of forgetting (bleaching, scratching out) or remembering (re-coating, painting).The object(s) of desire is (are) remodelled in a continous mental loop. His explorations of intimacy and identity are shared within these conscious and unconscious scores in a public, yet intimate space. "PINK ORGASM"- 2004 - 16 mm film "JELLY FISH" - 2004 - 16 mm film
  5. 5. DUSTIN KLARE, Brooklyn, NY sees himself as an "information architect", who takes information, data and symbols from the external and congeals them into a personal language as blueprints, plans and models of space. Although differing by size and material, his mental landscapes alter its presence either by projecting light onto a plane of plexiglass and the wall behind it, or in its Duchampian quest for the fluidity of bodily processes, the painted, almost psychedelic canvas of "The Hangers", which melts organic forms in an endless mimikry and transformation. "LUCID FLUID" -2005 - oil marker on plexiglass with videoprojection - 15" x 66" "THE HANGERS" - 2005 - oil on canvas - 27" x 37"• MARIA RAPONI, Brooklyn, NY is inspired by filmmakers like Wim Wenders, Chris Marker and J.L. Godard. In "La Jétée" by Chris Marker, a man, marked from the future, thrown into the past is searching for answers for a way to live in a myth of society. Maria Raponi reflects about stereoscopes, the cinérama and stereoscopic cinema to unfold the process of seeing two identical photographs simultaneously. She replaced the photographs by two almost identical miniature sculptures, to produce, what she calls a "ghost image" on one side of the miniature sculptures by removing certain objects from one model. She remodeled the dioramas after original filmsets, but the process of acting is excluded. The models remain silent, to start the viewers imagination and sense of psychological presence of place. "CINEMA PARADISO" - 2005 - balsawood, glue, latex paint, lights, styrofoam and wood - 50" x 12" x 6"
  6. 6. PAUL GABEL, New York, NY A fragmented corpse is veiled and unveiled by a lightspot in a darkened space. The viewers expectation of seeing the whole body is disappointed. The viewer gets only a glimpse of the subject, some details of the corpse. This may be analogue to truth, essence, death and desaster, and critical ideas stated in Maurice Blanchot, Emmanuel Levinas and Jacques Derrida. Paul Gabel quotes: "you only get a glimpse of those eternal ideas". "THE IMPOSSIBILITY OF REMAINING", 2003 ed. Paul Gabel Digital Video, 8 segments Version 1: 18 minutes each, Version 2: 5 minutes each1:33:1 aspect ratio