Monday, 4 February 2013

Leon Ferrari

Ferrari continued on to have one man shows in Argentina and to raise criticism from the church and newspapers through his sarcastic religious and political works such as The Impregnating Tree (the first to openly criticize Christianity). In 2000 Ferarri’s exhibition of Infiernos e Idolatrias (Hells and Idolatries) at the Latin American Institute of Co-operation protested against human and divine tortures. This provoked Catholic groups into sending tear gas grenades into the building. In 2004, Ferrari had a retrospective at the Recoleta Cultural Centre, which was called blasphemous by Archbishop Bergoglio and was closed down and reopened by the authorities. 



Naama Arad


jean-pascale flavien

Cinonema, no drama cinema extends ideas Flavien reflected on in his 2011 performance project, PLAy which brought together debates around performance, film and the functionality of the “house” by producing its own cinema. This new project incorporates a series of micro-films that present an action-based gesture performed inside and outside the house, linking to explorations of the house and its surroundings, projected across the walls of SLG’s space and functional furniture. 

to live = to play

His houses exist as models, drawings and books before they are made real.

Jean-Pascal Flavien’s practice has as its pointof departure the design and construction of houses, which in turn become platforms for other works. Thought out and designed as functional habitations, each house sets up, by way of a pre-determined relationship between the space and its occupants, a singular living situation. Flavien lives in his houses, works in them, invites friends to stay in them..The houses are built to last for several years and are occupied intermittently. In each case, the very fact of living in the house (and by extension of experiencing that which the house produces for its occupants) in and of itself validates the artist’s claim that it is only by means of this lived experience that his work is activated and actualized. the space of the house being subdivided by two movable partitions segmenting the activities that takes place within it: living / sleeping / working. These sliding walls are perforated by openings, porous to passages. When moving they unsettle the viewer’s gaze, and modify the perspectival axes, allowing for objects, activities and people to move from one space to another, creating links,




Also he draws dinsaurs 




Sunday, 3 February 2013

Giuseppe Penone


What most intrigues me, a constant concern of my poetic vision, is the relationship between the real time of growth and the personal time of 'flaying'. The curiosity of discovering a new tree, and hence a new story, every time, and the stimulus in this sense that comes to me from the imaginative quality of every door, table, window, or board - all of which contain the image of a tree - explain the motivation and urgency of my recourse to this kind of operation, which is not repetition, but a new adventure every time.
(Quoted in Celant, p.55.)

George Eksts


'A Frame',  5m x 4m. Ribbon, nails, wooden bobbins.


Taking, as a starting point, unfinished 3d models posted online for others to complete, the artist transforms these abandoned and theoretical projects into linocuts, tangible objects of paper and ink. Cut and printed entirely by hand, the relationship with their digital origin is simultaneously flawed and inextricable.
30 x 40 cm, edition of 10.



Thursday, 31 January 2013