Archive for the ‘Arte’ Category

Francis Picabia

22 diciembre, 2013

Francis Picabia as a ballerina in Entr’acte, 1924, a film by René ClairEntr’acte (René Clair, 1924)

Francis Picabia as a ballerina in 'Entr’acte', 1924, René Clair

Cezary Bodzianowski – Rainbow, Bathroom, Lodz (1995)

16 febrero, 2013

Cezary-Bodzianowski-Rainbow-Bathroom-Lodz-1995

Gilbert and George (shitty world)

26 diciembre, 2012

The Naked Shit Pictures (1994–5), The Fundamental Pictures  (1996) and The Rudimentary Pictures (1999) engage with the norms of masculinity while visually accommodating the uncanny presence of the abject with the artists’ bodies. They can also be considered further, even symptomatized, as a post-AIDS response to the contemporary trouble with sex, sexuality, body, death and risk. Por Cüneyt Çakirlar, en Masculinity, Scatology, Mooning and the Queer/able Art of Gilbert & George: On the Visual Discourse of Male Ejaculation and Anal Penetration,  (Paragraph, 2011).

Gilbert and George - Shitted 1983Shitted, 1983

Gilbert and George - Bum holes 1994Bum holes, 1994

The visual co-existence of any combination of the anal (shit), the penile (piss, spunk) and the oral (spit) challenges further the masculine rigidity of ‘I’, which provokes what Calvin Thomas calls ‘male anxiety’ and catalyses the queer affinities of the imagery. (Cüneyt Çakirlar, íd)

Gilbert and George - World from Shitty Naked Human World 1994World, 1994

Gilbert & George - Shitty world 1994 Museo madreShitty world, 1994

Gilbert and George - Flying Shit 1994Flying Shit, 1994

Gilbert & George 1994_SHITTY_from Shitty Naked Human WorldShitty, 1994

Gilbert & George - Naked from SNHW 1994Naked, 1994

Gilbert and George - Blood on shit 1996Blood on shit, 1996

Gilbert and George - Spunk-blood-piss-shit-spit 1996Spunk, blood, piss, shit, spit, 1996

Gilbert and George - Our spunk 1997Our spunk, 1997

Tricia Lawless Murray

12 octubre, 2012

(Imágenes retiradas por petición de la autora)

La fotógrafa californiana Tricia Lawless Murray presenta una obra que -con el cuerpo femenino como objeto- muestra con descarnada sinceridad los estragos físicos provocados por el placer, el deseo y el dolor.

Lawless confronta al espectador con los resultados de prácticas cercanas al masoquismo, como el spanking, ofreciendo un muestrario físico, trasero, colateral y fragmentario del dolor como corolario del placer. Sus fotografías documentan los estragos corporales con la neutralidad de un investigador o la asepsia de un informe forense, conformando una colección de anónimos culos tumefactos, de caprichosas formas violetas que se dibujan caprichosas sobre la piel doliente.

En tiempos de corrección política, el flirteo o la autoexploración con las formas del deseo y en concreto con las marcas de la violencia sexual resultan controvertidamente refrescante.

(All images removed at author’ s request)

The majority of the work is based on real life experiences that occurred in times of play, where the purpose was to explore desires and fantasies, but when you have baggage these releases become as much about pain as they do with pleasure. I don’t feel that expressing and experiencing pain is a bad thing, in fact, I think it is really healthy. When I delve into these past memories in these moments of play, the feelings that are released can be processed in a different way where reparations can be made. I’m not intentionally going out to reconstruct past memories. These experiences are drawn from me pursuing personal fantasy and my sense of what I desire, and sometimes that is rooted in memories from the past. I don’t know that any of us can escape our past and how it conditions and control us. Entrevista con Tricia Lawless en One Giant Arm.

The works put together begins to tell the story of dejected relations wrought upon the bodies of those pictured in the images. The nature of sexuality is that its boundaries are often very messy and undefined and that titillation is derived from transgressing these murky private spaces, both physical and mental. Pictured here are some representations of lonely or aggressive moments that form a broken narrative that speaks to elements of how I desire and how I want to be desired.

Julien D’Abrigeon – Dit&Geste (2000)

1 mayo, 2012

Hemos capturado algunas pantallas del ciberpoema “Dit&Geste” y recomendamos la experiencia de este juego de palabras e intestinos yuxtapuestos.

Larry Sultan (The Valley, 1999-2002)

8 abril, 2012

El fotógrafo Larry Sultan (1946-2009) agrupa en la serie The Valley un conjunto de fotografías realizadas en torno al Valle de San Fernando, en Los Ángeles. Además de ser un típico suburbio angelino, el Valle es conocido por dar cobijo a la industria californiana del porno. Pero las productoras pornográficas no se limitan a instalar sus sedes y oficinas en San Fernando, sino que también usa y alquila las casas del suburbio como plató para sus películas y rodajes.

West Valley Studio #3, 1998

Compuesto de cincuenta y tres fotografías a color de gran formato tomadas desde 1999, The Valley compendia muchos de los temas presentes en los anteriores proyectos de Larry Sultan, como Pictures from home, que ya era una investigación fotográfica sobre el significado de la casa, el hogar y la familia. Junto a ello The Valley analiza porqué el ideal de domesticidad de las clases medias se presta a ser tomado como set de rodaje para películas pornográficas. La serie también incide sobre uno de los motivos de investigación más populares para los artistas contemporáneos: la noción de ‘verdad fotográfica’. Resource Library Magazine.

Tasha’s third film, 1998

Although they are nominally about adult films, Sultan’s pictures are also interrogations of the photographic medium itself. He shows how photography can create the illusion of fantasy, and then he uses his pictures to dismantle those same fictions. Lush backyards are exposed as mere painted backdrops; even the beautiful, sexually uninhibited porn stars seem less exotic and more familiar when seen between takes, waiting for makeup or instructions from the director-especially when Sultan catches the actors in moments of contemplation, boredom, and fatigue.

By showing us the places where illusion falls apart, Sultan also calls our attention to the act of looking. A reflection on a sliding glass door, a sofa standing between us and the actors, or a strategically placed vase are all reminders of our status as onlookers, or interlopers. In some cases these obstacles almost completely obscure the scene. Unlike pornography, which is designed to be immediate and uncomplicated, Sultan’s images are complex. Sometimes humorous, sometimes erotic, they reward close examination.Corey Keller, Assistant Curator of Photography, San Francisco MoMA.

Boxers, Mission Hills, 1999

Sultan’s pictures present a documentary portrait of the industry, in which he steps back from the “action” to include the lights, cables and crews that frame it. Many pictures chronicle the bored hours spent by cast and crew members, just off set, waiting for their cue.  Some capture porn stars in their curlers, or simply in sweats without make-up. Clark Buckner en Stretcher.

Topanga Skyline Drive #1, 1999

Woman in garden, Mission Hills, 1999

Cabana, 2000

Backyard, Reseda, 2001

Den, Santa Clarita, 2002

Pool, Calabasas, 2002

Backyard, Woodland Hills, 2002

The Valley series

The Valley series

The Valley series

Mike Kelly – Nostalgic Depiction of the Innocence of Childhood (1990)

10 marzo, 2012

Rudolf Schwarzkogler (1940-1969) – 2. Aktion Sommer 1965

4 enero, 2012

I modi – Agostino Carracci

30 abril, 2011

Uno de los modos o excusas que con más frecuencia se han empleado con el fin de representar la desnudez o el acto sexual y simultáneamente eludir la estricta censura, primero eclesiástica y luego social, que siempre han perseguido y reprimido con celo digno de mejor causa todo intento dirigido en este sentido, ha sido recurrir al amplio espectro temático e iconográfico que ofrece la mitología clásica.

Dentro de los escasos, y en muchas ocasiones desconocidos, ejemplos de este tipo de arte erótico que han logrado sobrevivir a los celos censores de todo tipo, se encuentran los grabados de Agostino Carracci, I modi, que aquí presentamos.

La serie contiene imágenes que hoy no sorpreden por su osadía pero que, dada su explicitud, entonces sí que debieron serlo, no obstante, también es posible encontrar algunas láminas más arriesgadas en las que se muestran escenas de voyeurismo y bestialismo.

Kopfstücke (1770-83) Franz X. Messerschmidt

31 marzo, 2011

Franz Xaver Messerschmidt, an XVIII century German sculptor active in Austria, is best known for his series of dramatic “character heads.” The metal and stone busts are often disturbing in their extreme expressions. They have long prompted critics and scholars to speculate that the artist made them in reaction to an undiagnosed mental illness.

À l’automne 1769 : il commence à enseigner à l’académie royale de Vienne, il est suppléant de son ancien professeur, Jakob Landstrasse. Au court de l’année 1771, se produit une rupture dans la vie de Messerschmidt, à laquelle son entourage ne réagit pas favorablement : le sculpteur ne reçoit plus de commande et se retrouve isolé. C’est alors qu’il commence à sculpter ses célèbres têtes expressives. Le 19 mai 1774 meurt Jakob Landstrasse, le professeur de sculpture de l’académie. Messerschmidt doit normalement reprendre son poste mais des troubles psychiques affectent son comportement et vont amener le collège professoral à ne pas confirmer son accession à ce poste. Son ami Friedrich Nicolai, écrivain et philosophe, a ainsi écrit que l’artiste se disait persécuté par des esprits qui le faisaient souffrir moralement et physiquement, notamment dans le bas-ventre et les cuisses. Il se regardait dans un miroir, se pinçait le corps en faisant diverses grimaces. Avec celles-ci, il entendait changer les expressions de son visage de manière à devenir maître de l’esprit des proportions qui le tourmentait. Après des délibérations, la porte de l’Académie est fermé à l’artiste. Profondément blessé, Messerschmidt essaie malgré tout de continuer à vivre à Vienne. Il se résigne à quitter la cité le 8 mai 1775 et retourne à Wiesensteig, sa ville natale, avec ses cinq premières têtes. Il n’y a cependant plus de place pour lui ; dans la maison parentale, il s’achète donc une cabane dans les environs, dans laquelle il continue sa série. A la fin de l’année, il part pour Munich, où on lui promet des commandes et une situation. (Wikipedia Fr)

Messerschmidt anticipated the strong emotional subjectivity of Expressionist art.

The Messerschmidt heads, in their strange detachment from an emotional reality, however, are very close to mere learned demonstrations of the forms of the facial musculature in action. The heads proffer a kind of boastful and marvelously sustained series of anatomy lessons. Yet their analytical realism is also marked with an artful stylization, an elegant if unreal linear pattern, prized for its own sake. “Their…expressions…are inscribed…with remarkably abstract lines,” as Sauerländer puts it. These anatomical heads echo Houdon’s very recent, flayed human figure, of 1766, L’Écorché, and reflect that taste. They also recall Leonardo’s well-known drawings of the faces of two screaming soldiers, made as preparation for his Battle of Anghiari fresco. The two soldiers provide richly expressive instances of facial anatomy serving emotion, and well represent what Leonardo termed “the outward sign of the condition of the soul.” Whether the soul makes its appearance in Messerschmidt’s sixty-odd Kopfstücke—with their studied anatomies and their cursive arabesques so proudly on display—perhaps best remains an open question. Glenn Benge, The New York Review of books.

Franz Xaver Messerschmidt is one of those elusive eighteenth-century figures who confront us with the nocturnal side of the Enlightenment, Willibald Sauerländer, The New York Review of books.