#02 Maro/March 2011

#02 (Andrew Salgado)

DESIGN: Srgio Marques www.astigmatico.blogspot.com BLOG: Paulo Jesus www.pj-untitled.blogspot.com WEB: Bruno Mota www.bmota.net
Gostaramos de agradecer a todos os colaboradores que forneceram material para este nmero. Os artistas retm todos os direitos de autor sobre os trabalhos, a menos que surja nota especfica em contrrio. Estamos dispostos a corrigir qualquer erro ou omisso no prximo nmero. The publishers would like to thank everyone who has furnished information and materials for this issue. Unless otherwise noted, artists featured in PARK retain copyright to their work. The publishers will be pleased to correct any mistakes or omissions over the next issue. Park 2011

BEL. CAN. DEN. FRA.

Thomas Huyghe Andrew Salgado Claudia Ficca + Davide Luciano Morten Sorensen + Johan Carlsson Franois Rau Graphset [Mikka Doczekalski] Marie Cornut Anne Wlk Liana Psarologaki Annie Wan AnaMaria Kardos Maria Kjartans Gavin Campbell
Faa-se luz: Bem-vindo edio #02 da Park!

GER. GRE. H.K. HUN. ICE. IRE. ISR. NETH. N. ZEL. PHIL. PORT.

MaroMarch 2011
Let there be light: Welcome to Parks #02 issue!
A showcase for creatives sprung from various backgrounds. PARK features works in the fields of painting, photography, drawing, video, design... The name of March comes from ancient Rome, when March was the first month of the year and named Martius after Mars, the Roman god of war. In Rome, where the climate is Mediterranean, March was the first month of spring, a logical point for the beginning of the year as well as the start of the military campaign season.

Editorial

Dovrat Amsily-Barak Jarik Jongman Arran Poole Albert Sy Andr Alves Carlos Azeredo Mesquita Pedro Guimares zant Kamaci Alexander Awramenko Christina Thwaites Blane de St. Croix Margot Spindelman

Uma montra para criadores das mais diversas latitudes, apresenta trabalhos nas reas da pintura, fotografia, desenho, vdeo, ensaio, design... "O nome Maro originrio da Roma Antiga, na qual Maro era o primeiro ms do ano e chamavase Martius, de Marte, o deus romano da guerra. Em Roma, onde o clima mediterrnico, Maro era o primeiro ms da Primavera, um ponto lgico para o incio do ano, bem como para o incio da poca das campanhas militares.

TURK. U.K. U.S.A.

Como bons estrategas, na Park Maro tambm um ms para novidades: uma seleco alargada de +20 artistas oriundos dos quatro cantos do globo; diferentes prticas e metodologias fundem-se num desejo comum: CRIAR. Apresentmos a Park eventos, uma plataforma dedicada a artistas, galerias, curadores e promotores culturais. Estando a dar os primeiros passos, pretendemos que se torne num canal de divulgao cultural abrangente, para eventos daqui e alm-mar, de exposies a concursos, passando por residncias artsticas a festivais. Sem mais demoras, sintam-se em casa, boa leitura e at breve...
Tempus Fugit*
*O Tempo va

As good strategic planners wed like to consider ourselves to be, at Park March is also a month for novelties: A broad sellection of +20 artists from around the globe; different practises and methods merge into a common goal: to CREATE. Introducing Park events, a platform for artists, galleries, curators and cultural sponsors. Since its in its first stages, we intend to make it a comprehensive cultural channel for national and international events, from exhibits to competitions, from art residencies to festivals.

So, without further addue, fell yourselves right at home, enjoy the mag and see you soon... Tempus Fugit*
*Time flees

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Carlos Azeredo Mesquita

www.carlosazeredomesquita.com

The Radiant City

O projecto parte de uma pesquisa desenvolvida sobre o enquadramento arquitectnico do legado socialista, levado a cabo em Budapeste,na Hungria. Atravs de um exerccio de fotografia panormica que activa alguns dos princpios sugeridos pelo serialismo, questiona-se o prprio condicionamento sociopoltico imposto pelas matrizes urbanas desenvolvidas na era socialista, bem como as valncias de uma sociedade outrora annima e pautada por gradaes mimticas. Num apelo irnico e consciencioso ao re-questionamento de projectos utpicos como A Cidade Radiosa do arquitecto Le Corbusier, aqui posta em causa a sua deturpada cpia e implementao nos pases da Europa de Leste, naquele que um subtil exerccio de arqueologia sobre o urbanismo no Leste Europeu actualmente. Quando, no Vero de 2009, me mudei do Porto para Budapeste na qualidade de estudante em mobilidade fiz uma escala de 12 horas em Madrid (voos directos saiam mais caros) e durante essa espera revisitei as exposies dos grandes museus Reina Sofia includo, dado que ver a Guernica uma vez mais incontornvel - mas o que desta vez me ficou na memria no foi tanto a pintura mas um livro venda na loja do museu que no continha texto mas apenas uma reproduo escala 1:1 de toda a pintura, obviamente segmentada, e condensada em livro segundo o mesmo sistema utilizado pelos atlas geogrficos. Obviamente que ver uma pequena poro da Guernica o mesmo que ver uma pintura abstracta, mas o que me intrigou foi essa relao entre o fragmento e o todo e o modo como, teoricamente, se eu arrancasse todas as pginas e as colocasse lado a lado obteria uma verso escala 1:1 da Guernica; ou seja, todos aqueles fragmentos ordenados segundo um sistema continham em si algo com o tamanho que tem a Guernica. J tinha viajado por uma boa parte do ex-Bloco de Leste, Hungria includa, e com a curiosidade tpica de algum vindo do outro lado do Muro, e agora com a possibilidade de aqui viver, decidi por prova os mitos e os fantasmas que tinha acerca do que foram 40 anos de governo Comunista e o modo como eles realmente afectaram uma sociedade com tudo o que isso inclui. Entenda-se que em nenhum momento me interessa criticar de um modo simplista o que foi um regime ou o que agora uma sociedade (ainda que tal acontea implicitamente); prefiro posicionar este projecto no campo da observao/recoleco, um hbrido de fotografia com antropologia e sociologia. Das razes da filosofia Marxista adveio a ideia de que uma sociedade deve existir para beneficio das ordens sociais que historicamente desempenham um volume desproporcionadamente elevado do trabalho total, esquema este que se tornou uma realidade poltica com a Revoluo de 1917; acontece que at ao dia de hoje as sociedades socialistas parecem ter existido no tanto para seu prprio beneficio enquanto um todo, mas sim para a continuao do Estado Socialista enquanto conceito, em suma: O Partido; que assim foi a pea central de todo um sistema. Por exemplo, nas Belas-Artes o governo funcionava como o rbitro em questes de gosto e qualidade, impondo uma forma e um estilo e fabricando os seus artistas (Amerigo Tt no caso hngaro, por exemplo); mas foi na Arquitectura que o social-realismo encontrou a sua mxima expresso o bloco de apartamentos. Ao longo da Histria a arquitectura tem sido usada para demonstrar e reforar certas ideias e verdades fundamentais acerca das sociedades em que criada os Faras e as Pirmides, Versailles e o Absolutismo ou Nova York e o Capitalismo. Marx, Lenin, Stalin, Mao ou Ceausescu foram, entre outros, os fazedores dessas verdades e, num sistema em que governavam como deuses humanos, a arquitectura teria de ser o reflexo da sua - tambm moral autoridade; uma exclamao ao poder do Estado. Enquanto que o Ocidente se dedicava a construir catedrais ao comrcio, num sistema ideolgico dedicado aos operrios e aos camponeses as mais importantes estruturas filosficas no poderiam ser igrejas, arranha-cus ou centros comerciais, mas sim reas residenciais estilo colmeia atravs da arquitectura materializava-se assim o ideal do bem comum. Cidades Socialistas ideais foram construdas de raiz um pouco por toda a parte no espao sovitico: Nova Huta nos arredores de Cracvia, ou Dunaujvaros a sul de Budapeste so hoje enormes massas de blocos de cimento no muito longe das ideias de Le Corbusier acerca do que seria A Cidade Radiante (o titulo deste projecto; de notar que este radiante adquiriu com o tempo uma carga quase irnica), de resto uma utopia aplicvel em qualquer parte por no estar ligada a nenhuma ideologia poltica. O resultado so cerca de 170 milhes de pessoas no espao do Leste europeu a viveram naquilo que so as mquinas de habitar levadas ao extremo.(1)(2) Ser redundante dizer que o lado serial destas urbanizaes, o modo como em qualquer subrbio os mesmos elementos pr-fabricados so iguais variando apenas a altura e a disposio no espao dos blocos, sempre me despertou um misto de fascnio com incredulidade. Na verdade, estruturas de natureza semelhante so alvo de interesse por parte de fotgrafos que se dedicam a produzir coleces de imagens mais ou menos objectivas de um mesmo objecto idntico o exemplo mais bvio ser o casal Becher e a sua aproximao sistemtica arquitectura industrial funcionalista. Quando, por causa de uma outra srie de fotografias, visitava um dos subrbios de Budapeste deparei-me com a srie de roulottes que se veio a tornar na Serie no1 deste projecto. Essa rua continha em si muitos dos meus pensamentos acerca dos blocos de apartamentos mas adicionava algo que eu j tinha vista e de que no me tinha apercebido: estas roulottes no faziam parte da concepo original da urbanizao e eram seriais sem terem sido originalmente planeadas para assim o serem de algum modo elas representam o lado humano destes espaos e a interveno dos moradores no sitio onde vivem de um modo muito semelhante quele que as varandas pintadas de cores diferentes representam, tambm nos blocos de apartamentos, o princpio da propriedade privada a ideia de que habitao uniforme produziria um cidado socialista uniforme(3) desprovido de individualidade assim totalmente destruda e voltamos ao binmio individual versus serial e, de modo mais alargado, ao problema levantado meses antes pelo tal livro que mapeava a Guernica como se articulam a parte e o todo e a parte no todo. Quando numa segunda visita mesma rua comecei a fotografar, a nica soluo possvel seria aquela que mantivesse a individualidade de cada elemento mas o contextualizasse naquilo que era a viso mais alargada do espao - mostrar que todas as roulottes esto na mesma rua a curta distncia entre si era essencial dado que de outro modo esta no seria uma referncia fotografia panormica como entendida nos seus augrios (em que vrias imagens separadas mas espacialmente sequenciais so colocadas lado a lado) e poderia resultar na impresso de que as imagens das roulottes foram recolhidas em diferentes partes da cidade; comprovar que as roulottes esto na mesma rua um exerccio simples bastando seguir os edifcios no segundo plano e constatar que algumas janelas aparecem repetidas de umas imagens para as outras. As sries seguintes surgem de modo natural, assentes nessa premissa de que existem elementos idnticos anmalos que se repetem linearmente num espao (o dos blocos de apartamentos por ser o mais serial e aquele em que qualquer anomalia, mesmo que/sobretudo serial, maior impacto tem) e que encerram em si uma narrativa: cada imagem individual tem a sua prpria e pode funcionar autonomamente, mas reveste-se de um contedo bastante diferente quando vista conjuntamente com as outras da srie a que pertence o contexto explicado por escrito em cada srie, um elemento que me pareceu essencial por permitir uma aproximao ao estatuto de documento e de imparcialidade objectiva que a prpria escolha dos pontos de vista e da luz j apontam por si s. Reuniram-se assim tubagens de aquecimento, garagens improvisadas ou urbanizaes inacabadas, em que essa utopia da Cidade Radiante habitada por cidados uniformes sucumbiu s circunstncias ou se viu alterada pelas necessidades dos que l vivem. ______________________________________________________
(1) Desengane-se quem pensa que estas urbanizaes eram ou so universalmente detestadas. Para muitas famlias era um sonho ver uma destas casas modernas ser atribuda pelo Estado dado que seria a primeira vez que iriam desfrutar de, por exemplo, gua canalizada e aquecimento. (2) Sistematizare, um nome que sinistramente poderia ecoar Le Corbusier, foi o programa iniciado em 1974, por Ceausesco, e que consistia na demolio e reconstruo de vilas e cidades, no todo ou em parte, substituindo os edifcios antigos por modernos blocos de apartamentos, com o objectivo de tornar a Romnia numa sociedade socialista desenvolvida multilateralmente. (3) Ideia muito bem satirizada no filme Ironia do Destino, de Eldar Ryazanov, em que um habitante de Moscovo vai por engano para Leningrado, e ao dar a sua morada de casa ao taxista deixado na rua indicada, que acontece existir em Leningrado tambm, bem como um prdio e um apartamento iguais, chegando ao extremo de ser a chave que abre a porta a mesma.

[For the english version please visit the annex at the end of the mag.]

Uj Lak Utka | 2010 Digital print

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Havana Utka | 2010 Each photography 40 x 60 cm Digital print

Csilag Telep | 2010 Each photography 40 x 60 cm Digital print

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Caroline Boileau

Whitney Lynn

Amy Bassin

MargretSchopka

Ana Zubak

Urssa Severa

Moorland Productions

Marina Belobrovaja

Selena Marinello

Ujpest | 2010 Each photography 40 x 60 cm Digital print

Simon Steinhauser

Igor Toshevski

Ivan Dujmusic

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Marie Cornut
www.marie-johannacornut.com

An art made of performance

O meu trabalho assenta numa forte capacidade em transformar os espaos atravs de rupturas de planos, a colocao de obstculos, a surpresa. Parte muitas vezes de objectos feitos mo, utilitrios, subvertendo a sua forma e sentido. Observo antes de mais a potencialidade sensvel e potica, o seu potencial representativo. As minhas fontes de inspirao provem do universo domstico e do lazer. uma arte de actos, de tropeos que proponho em cada uma destas peas: As grinaldas faladoras, aparar o poliestireno, o candelabro surpresa, o quiosque sem abertura. Uma arte feita da performance, utilizando os recursos, sem se satisfazer no efmero. Ao contrrio, prova-o e analisa o rasto que deixa sobre as coisas ou os seres. Atravs das aces, interesso-me pelo evento, a sua apresentao, o passar da sua representao, presente e futuro. H a possibilidade de quebrar convenes habituais e de sacudir as regras durante um breve instante My work is based on a strong ability to transform spaces through disruption of surfaces, the placement of obstacles, surprise. Often comes from handmade objects, utilities, subverting its form and meaning. First i observe the sensitive and poetic potencial, its representative potencial. My sources of inspiration come from the domestic environment and leisure times. It is an art of acts, of stumbling, which I propose in each of these pieces: Wreaths speaking, polystyrene trim, chandelier surprise, the kiosk without opening. An art made of performance, using resources without becoming satisfied in the ephemeral. Rather, an art that tastes it and looks at the trail it leaves over things or beings. Through actions, i am interested by the "event", its presentation, the passing of its representation, present and future. There is the possibility of breaking customary conventions and of shaking the rules during a brief moment ...

A crampons tondus | Performance com Aranud Daffos, 2008 Materiais: gasolina Lawnmower, chuteiras de futebol, base de poliestireno O cheiro a gasolina, o barulho do cortador, o ranger contra os picos de poliestireno que se desdobra como o plen. The smell of petrol, the noise of the cutter grinding against the peak polystyrene that unfolds like pollen.

Lustre | 2010 Instalao: rastilho rpido, cola, 4 x 3 m. Installation: fast firecracker , glue, 4 x 3 m Este candelabro aceso depois de uma longa espera. O fio vermelho aceso por uma fita de fogo de artifcio que queima lentamente, desafiando a gravidade para chegar ao seu destino. This chandelier is lit after a long wait. The red wire is lit by a ribbon of fireworks that burns slowly, defying gravity to reach its destination.

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Dance in the air | 2010 Performance em colaborao com Rmi Groussin Performance in collaboration with Rmi Groussin Ghost Track, captura, espao de arte contempornea de Royan Ghost Track, Capture, Contemporary art space at Royan Uma srie de truques em que a indefinio e a falta de jeito constituem os truques do espectculo. A series of tricks where the vagueness and awkwardness are the tricks of the show.

WERKKAMP011

Summer 2011: Artist In Residence Festival

15
April

Les chtelains sont morts ici | 2010 Escultura, Instalao. Materiais: madeira e projectores 200 x 220 x 260 cm, produco Point de Fuite, 2010 Yohann Gozard Construo de um abrigo de caa na floresta ao redor da pista com o castelo original em reabilitao. Sculpture, Instalation. Materials: wood and projectors 200 x 220 x 260 cm , production Point de Fuite, 2010 Yohann Gozard Hunting shelter built in the woods around the castles track.

Scheld'apen is a cultural youth centre and artistic workplace. Scheld'apen offers young artists the space and support to establish their own cultural and artistic projects. We give priority to starting young groups, artists and dramatists. We are an open house for public, young people, musicians and artists, without barriers and with the possibility of interaction. We are an art centre with space for artistic experimentation and attention to socially disadvantaged young people. Next to supporting artists in their development we also program many concerts and parties. Because of last year'92s great success, we will be organizing '91Werkkamp011 (work camp011)'92 for the second time this summer. Werkkamp011 is an art festival that has its focus on processes, creation and the artistic development of young (18-26) visual artists, musicians and dramatists as well as writers and designers, product developers'85you name it. This will take place from the 1st until the 31st of July in fort8, an old fort build in the late 19th century. The arsenal, the lodging, the hallways and the gunpowder rooms will all be occupied by artists and collectives. This means we have room for over 30 people (!) to create new work, build installations, to be inspired and to expand their network. The courtyard will be used as an open air stage, a restaurant and as a meeting spot. For this festival we invite artists to build new work, to research, to present their work and to look at what others are doing. We are here to bring artists together and to challenge and inspire them whilst actively supporting and promoting them. We will give you a space to work, provide for catering, logistics and off course: public. Next to our silkscreen workshop, our recording studio and rehearsal rooms, we will also provide tools and writing workshops. There will be theatre, music and cinema, dancing and so on'85 For one month Scheld'92apen and Werkkamp011 will be functioning as a production house and open stage. Every weekend we will open the gates to welcome the public for concerts, expositions, try-outs and low budget dining and drinking, This year Antwerp will be Europe'92s new youth capital and we want werkkamp011 to be a big part of this and therefore we reach out to you, the foreign artist. For a taste of the atmosphere and our infrastructure, we invite you to take a look at our website (http://www.scheldapen.be/?action=media&albumid=1622) and look up Werkkamp010 on Youtube. A list of its former residents can be found here: http://www.scheldapen.be/?action=project folder&folderid=1509 / www.scheldapen.be

www.scheldapen.be
robin@scheldapen.be

Location

80% of the world diamond production is traded in Antwerp. It'92s a city with a rich cultural heritage and a thriving contemporary art scene. Besides historical buildings from the 13th to 19th century, the city also boast a large number of museums, a great zoo and large pedestrian-only shopping streets. The fashion school is internationally renowned and the region is one of Europe'92s biggest centers of art creation. This translates itself in countless art galleries and art centers. The fort is located in a 32 hectare green oasis at 8 kilometers (5 miles) from the centre of Antwerp. Address: Schansstraat, 2660 Hoboken Entrance through Hoofdfrontweg Criteria - You have to be between 18 and 26 of age to apply. - Your application must include a short biography, (digital) portfolio, a description of your project and a list of materials and equipment needed for your project. - We accept the following disciplines: Visual arts (painting, drawing, sculpture, conceptual art, video art, mixed media'85) performing arts (theatre, dance, performance art'85), music, literature, and applied arts (design, graphic design, illustrative arts, fashion'85) - Applications will be selected based on achievability

Fort 8 is located in Hoboken. This is a district of the city of Antwerp, the second largest city of Belgium. The city is probably best known for its harbor, one of the largest in the world, and for its diamonds. Almost

Zugspitze | 2009 Escultura. Materiais: lona, madeira, 5 x 5m (altura varivel). Sculpture. Materials: linoleum, wood, 5 x 5m (variable height) Zugspitze o pico mais alto da Alemanha, com 2.963 m. Por uma simples construo que eu tento trazer para fora o dimenso potica de uma paisagem montanhosa. Zugspitze is Germanys highest peak, with 2,963 m. By the means of a simple construction i try to bring out the poetic dimension of a mountain landscape.

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Thomas Huyghe
www.thomashuyghe.com

BOARD OF CONTROL

uma srie de pinturas "interminvel", iniciada em 2009. So todas pinturas de polticos, de boca aberta e sem dentes. Cada pintura emoldurada por uma moldura de mrmore laminado . A moldura funciona tambm como uma "caixa claustrofbica". Cada pintura tem 49,5 cm x 36,5 cm x 7,5 cm, leos sobre madeira.

It's an "endless" series of paintings, started in 2009. They are all paintings from politicians, with a teethless open mouth. The paintings are framed with a marble laminate frame. The frame also functions as a "claustrofobic box". Each painting is 49,5 cm x 36,5 cm x 7,5 cm, oilpaint on wood.

Madeleine Oil on wood 49,5 x 36,5 cm

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Robert Oil on wood 49,5x36,5 cm

Nicolas Oil on wood 49,5x36,5 cm

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Madeleine, BOARD OF CONTROL Nicolas, Condi, Fidel,Benjamin, Robert, Hillary, Madeleine

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The Garden | Oil on Canvas, 140 x 180 cm

Jarik Jongman
www.jarikjongman.nl

Trabalhando com tinta a leo e fotografia, o meu trabalho normalmente lida com arqutipos.

Working with oil paint and photography my work often deals with archetypical imagery.

A srie Phenomena inclui pinturas a leo, trabalho de tcnica mista sobre papel e livros de artista. Apresenta quartos de motel vazios onde nuvens, fogo e luzes brilhantes se parecem materializar do nada. Os quartos de motel aludem natureza transitria da vida, os fenmenos que no seu interior podem ser observados dizem tambm respeito ao efmero e so ambos grandiosos e misteriosos. Nestes trabalhos o mundo visvel revela-se atrvs de metforas que tm um impacto direto sobre os sentidos do espectador e so abertas interpretao. Parafraseando: O que observamos no a realidade em si, mas a realidade exposta ao nosso mtodo de questionamento. A srie Hello Goodbye contm figuras que olham fixamente o espectador desde uma outra realidade, deixando-o com seus prprios pensamentos sobre a mortalidade. As personagens que acenam podem nos estar a acolher, ou talvez o seu paraso j esteja perdido. Mulheres passageiras no convs de um navio, um grupo de homens numa tempestade furiosa: aparentemente alheios ao seu ambiente, como se j no pertencem mais a este mundo. Outra srie recente de trabalho, El olvido que seremos (o esquecimento que seremos), consiste numa srie de seis grandes fotografias parcialmente pintadas, de uma casa abandonada, que foram tiradas no sul da Espanha. As imagens so assombrosas mas de alguma forma a casa tornou-se viva, com brilhantes, luzes brilhantes e correntes de ouro escorrendo das janelas. A metfora da casa extenso, mas tambm adicionei um componente metafsico, sugerindo novamente o efmero da existncia e o mistrio da vida.

The Phenomena series includes oil paintings, mixed media work on paper and artist books. It shows empty motel rooms where clouds, bright lights and fire seem to materialize out of nowhere. The motel rooms allude to the transient nature of life, the phenomena that can be observed there relate also to the ephemeral and are both grandiose and uncanny. In these works the visible world reveals itself in metaphors that have a direct impact on the senses of the viewer and are open to interpretation. To paraphrase : What we observe is not reality itself but reality exposed to our method of questioning.

The Hello Goodbye series contains figures that gaze out at the spectator from another realm, leaving the viewer with their own thoughts on mortality. The waving characters could be welcoming us, or perhaps their paradise is already lost. Migrant women on the deck of a ship, a group of men in a raging blizzard: seemingly oblivious to their surroundings, as if they no longer belong to this world. Another recent series of work, El olvido que seremos (the oblivion we become), consists of a series of six large, partly overpainted photographs of an abandoned house, that were taken in southern Spain. The images are haunting but somehow the house has become alive with bright, shiny lights and streams of gold oozing from windows. The metaphor of the house is extensive but I have also added a metaphysical component, hinting again at the ephemerality of existence and the mystery of life.

Phenomena 3 | Oil on Canvas, 90 x 90 cm

Phenomena 5 | Oil on Canvas, 200 x 200 cm

Phenomena 6 | Oil on Canvas, 100 x 100 cm

The World Is Not My Home| Oil on Canvas, 140 x 180 cm

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El Olvido que Seremos 1+2 | Oil on Canvas, 100 x 60 cm

Hello Goodbye 2 | Oil on Canvas, 40 x 60 cm

El Olvido que Seremos 3 | Oil on Canvas, 100 x 60 cm

MADATAC

Video-art Awards 2011 September

Spain and International/ It is left open without restrictions a call to select, by means of a criteria in which will be valued particularly the quality, the experimentation, the innovation and the risk, the creations of all those audio-visual artists who wish that their works are promoted and broadcast through a weekly and independent program of television produced from Madrid, Spain. The content of the TV program Transfera is exclusively dedicated to divulge Video Art and Audio Visual Art in all its modalities (any processes of image-sound interaction, without exclusion of the experimental cinema), with the aim to disclose to the great public a view of the consolidated video artists and offer a platform for all those emergent video artists with a future projection who contribute with renewing proposals, avoid conventional visual language and does not find their place in other mass media spaces.

VIDEOART & EXPERIMENTAL AUDIO-VISUAL ART CALL FOR TRANSFERA TV AND MADATAC FESTIVAL
Due to the difficult challenge that supposes to mantaian a project of this spread, destined essentially to compensate the well-known mediatic absence, the relation with the artists will be based on a principle of promotion and visibility, a guideline directed to strengthen the sustainability of the program. However, all the received material will enter, unless the authors express the contrary, in the selection for the III Edition of MADATAC, the Contemporary Audio-Visual Arts Festival, that Transfera organize in Madrid, Spain, at the end of the year. This event will serve to prize the best videos among the selected and emitted in the program during the related period, as a compensation for their participation:

MADATAC AWARDS

Five awards of a cutting-edge sculpture by Silvia Rosende and 3D designer Javier de Andrs, with the internacional artistic and professional recognition implicit in receiving this already prestigious award.
www.transfera.es www.madatac.es
info@transfera.es

BEST VIDEO ART WORK MOST INNOVATIVE WORK MOST PROMISING VIDEO ARTIST BEST VISUAL-AURAL INTERACTION SPECIAL AUDIENCE AWARD (voted by the festival audiences)

METRPOLIS AWARDS

The well-known TV programme Metrpolis (shown on Channel 2 of Spanish public television) will select and award works from the Official Section, totalling 27 minutes. Winning artists will be paid 100 per minute for broadcasting rights and the winning videos will be shown in a special programme dedicated to MADATAC to be broadcast on TVE2 at the end of the festival.

TRANSFERA AWARDS

MADATAC and the auction house, Subastas Segre, will select three preselected pieces from the Official Sections, to be sold at public auction at 18, Calle Segre, Madrid. The works will be exhibited during some weeks until the auction day and the starting price will be around 800-1000 for editions of 3 copies on DVD. Artists will receive the final sale price less a percentage commission for administration and sale fees.

SAMSUNG-MADATAC AWARD

A single award for technological-artistic creative excellence to the artist who best fuses the worlds of technology and imagination in a single work of art. The prize is a state of the art product granted by Samsung. The participants must send their works, preferable not to exceed the 20'92 although we made exceptions if the video merits it, in a PAL DVD, or uncompressed mpeg or mov files (at least 720x576 resolution, 16:9, but 4:3 is also accepted), with quality for broadcasting, engish/spanish subtitles if needed, an jpg still of the video, a brief CV and a filled and signed form agreement for broadcast permission. The interested can also send a brief promotional video about themselves and their work (not more than 4 minutes long), that will be included on Transfera TV as an artist presentation. There are not restrictions for the age of all the participants around the world, nor for the amount of material desired to send. We only ask that the submitted works will not be shown or prized in any other festival celebrated at least 2 months before, or at the same time that MADATAC takes place, as to maintain the uniqueness of the work. Transfera cannot return the sent material. Participation in this project implies the acceptance of all its rules. This year deadline is September 5th, 2011. To receive more information on the call please write to:

info@transfera.es

All materials have to be sent to the following address: TRANSFERA. C/Galeno 41 28232 Las Rozas Madrid ESPAA (SPAIN) www.transfera.es www.madatac.es

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Margot Spindelman
www.margotspindelman.com

Estas so meditaes sobre o fim do imprio. Fragmentos de arquitectura (a partir de fotografias que tiro da infra-estrutura de Nova Iorque) so projectados e desenhados sobre papel, quer subsistindo ao longo do processo ou sendo eventualmente apagadas pelo uso da terebentina, criando camadas residuais. Enquanto a imagem vai sendo construda, a solidez destas estruturas vai sendo comprometida, por vezes deixando apenas sugestes da sua presena, impactom ou ausncia. Estas novas obras so muito pequenas, cada rectngulo que contm a imagem tem 1-15/16 "x 3-1/8". Este tamanho destina-se a ajudar a criar uma imagem de calamidade que ainda mais intensa porque to minuciosamente concentrada. Os materiais so econmicos, desenhos a esferogrfica em papel preparado e terebentina. Os restos do alongamento e corte do papel - a fita de papel pardo, linhas rectas, ampliam o sentido dos fragmentos de uma sociedade que desaparece. Estes novos trabalhos so a interaco mais recente do meu interesse nas possibilidades poticas que a paisagem e abstraco oferecem mas agora, o tamanho e o material trabalham para confinar a aco e criar uma distncia sugestiva de perda.

These are meditations on the end of empire. Fragments of architecture (from photographs I take of New York Citys infrastructure) are projected then drawn onto the paper, either remaining throughout as I continue working or eventually erased by turpentine, creating residual layers. As the image is built up the solidity of these structures is undermined, sometimes leaving only suggestions of impact, presence or absence. These new pieces are very small each rectangle that contains the image is 1-15/16" x 3-1/8". This size is intended to help render an image of calamity that is all the more intense because it is so minutely concentrated. The materials are spare ballpoint pen drawings on gessoed paper, and turpentine washes. The remnants of stretching and cutting the paper brown tape, ruled lines, amplify the sense of the shards of a fading society. These pieces are the newest iteration of my interest in the poetic possibilities that landscape and abstraction offer, but now, size and material work to confine the action and create a distance evocative of loss.

Unnamed Calamity 49 | mixed media on paper (variable dimensons)

30

32

zant Kamaci
www.ozant.com

Pause I

Pause II, III, IV ,V (clockwise_sentido p. relgio)

Em Pausa, as obras retratam a justaposio de mquinas potentes, smbolos de progresso e tecnologia contra a natureza que amplamente aceite como preciosa e intocvel. O uso da fotografia oferece uma dicotomia visual entre realidade e iluso atravs da esttica do avio e das rvores e respectiva relao espacial. Avies atrs de rvores como objectos individuais so comuns e familiares, mas quando combinados e interligados, o espectador move-se para um novo espao para contemplar o inesperado.

In Pause, the work depicts the juxtaposition of powerful machines which are symbols of advancement and technology against nature which is widely accepted as precious and untouched. The medium of photography provides a visual dichotomy of reality and illusion through the aesthetics of plane and tree and their spatial relationship. Planes behind trees as individual objects are familiar and common, but when combined and interrelated, the viewer moves to a new space to behold the unexpected.

34

Morten Sorensen + Johan Carlsson

www.mortenworks.blogspot.com www.jacstudios.blogspot.com

ickan i* "Fl nstert F

* The Girl in the Window

O trabalho que escolhi uma escultura insuflvel que fiz como em colaborao com o arquitecto sueco Johan Carlsson para uma exposio colectiva durante o World Outgames de Copenhaga em 2009. A mostr chamava-se LUST (luxria) e o ttulo da pea "Flickan Fnstert i", que sueco e significa "A Rapariga na Janela". Johan e eu temos vindo a fazer esculturas insuflveis desde 2006, enquando viajvamos atravs dos EUA com um ferro e pequenas bomba de ar e fazamos insuflveis sight-specific a partir de sacos de plstico. The work I have selected is an inflatable sculpture that I did as a collaberation with swedish architect Johan Carlsson for a group exhibition during the World Outgames in Copenhagen 2009. The show was called LUST and the titel of the piece is "Flickan i Fnstert" which is swedish and means "The Girl in the Window". Johan and I have been making Inflatable sculptures since 2006 when we travelled through the US with an iron and a small airpump and made sight-specific inflatables out of plasticbags.

The Girl in the Window | 2009 Iron and plastic bags, site-specific sculpture, multiple views

36

Anne Wlk
www.annewoelk.de

Untitled | 2010 Mixed-media on paper, 29,6 x 42 cm

Untitled | 2010 Mixed-media on paper, 29,8 x 41,7 cm

38

Untitled | 2010 Mixed-media on paper, 29,5 x 35 cm

Untitled | 2010 Mixed-media on paper, 29,8 x 40,5 cm

Untitled | 2010 Mixed-media on paper, 29,8 x 41,7 cm

Untitled | 2010 Mixed-media on paper, 29,8 x 40,5 cm

40
Last Exit, 2009

Alexander Awramenko
www.alexanderawramenko.com

42
Dark Days, 2009

Lost Leader, 2009

The Dying Of The Light um corpo de trabalho fotogrfico que explora a dialtica da stasis e mobilidade em no-lugares. Atravs de locais seleccionados e de intervenes temporrias sob a forma de iluminao artificial, o trabalho reporta a questes poltico-sociais pertinentes, podendo ao mesmo tempo sugerir outras leituras, alegricas ou mais abstractas. A principal funo da iluminao anti-droga de cor azul aqui usada actuar como uma forma de controlo social e est destinada a agir como um inibidor de qualquer forma de actividade anti-social. Tudo isto simultaneamente articulado e subvertido no trabalho. Serve igualmente de contraponto visual, do eufrico ao melanclico, desafiando assim noes de totalidade e compreenso. As intervenes so simultaneamente instrutivas e ilusrias, usadas para articular preocupaes de ndole conceptual e narrativa como a ausncia, a perda, impermanncia, ansiedade, o ignorado e negligenciado, mas tambm para confundir, ocultar e proibir leituras taxativas ou simplistas. Isto usado deliberadamente e vital no trabalho, esbatendo as fronteiras entre o que definido e o indefinido. Pelo/atravs do uso de iluminao direccionada, os locais selecionados so temporariamente alterados no aqui/agora e permanentemente alterados no registo fotogrfico, mantendo-se a nvel perceptual num estado de mutao, fluxo. A estrutura temporal, tanto a inerente como a auto-imposta, assim como a incluso do objecto colocado e da luz pr-existente (natural ou artificial), faz com que o momento exacto da sua captao no seja facilmente discernvel. As imagens apresentam um paradoxo, a permanente manifestao fsica de um objecto fotografado no passageiro fenmeno da luz. Um fenmeno que pode diferenciar, dividir e carregar psicologicamente um espao, criando no trabalho exposto um momento de permanncia visual. The Dying Of The Light is a body of photographic work that explores the dialectic of stasis and mobility in non-places. Through the chosen locations and temporary interventions in the form of placed lighting, the work addresses culturally resonant sociopolitical issues, whilst also suggesting more abstract allegorical readings. The primary function of the blue anti-drug lighting used is that of a mode of social control and is designed to act as an inhibitor to perceived anti-social activity. This is both articulated and subverted in the work. It also serves as a visual counterpoint, the euphoric to the melancholic, further challenging notions of totality and comprehension. The interventions are both instructional and deflecting devices, used to both articulate conceptual and narrative concerns such as absence, loss, transience, anxiety, the overlooked and the neglected, yet also to confuse, misdirect and prohibit simplistic or prescriptive readings. This is both deliberate and vital in the work, blurring the boundaries between the defined and the undefined. By/through the use of placed lighting the chosen locations are temporarily altered in actuality and permanently in the act of recording, yet conversely or perceptually remaining in a state of flux. The temporal structure, both inherent and self-imposed, plus the inclusion of placed and pre-existing (ambient or artificial) light, means the precise moment of its recording cannot be pinpointed. The images present a paradox, that of a permanent physical manifestation in the photographic object of the impermanent phenomena of light. A phenomena that can differentiate, divide and psychologically charge space, creating in the exhibited work a moment of aesthetic visual arrest.
Tipping Point, 2009

44

And The Moral Revolution Begins | 2010

Oil on canvas(14 x 14)

Albert Sy

www.happysmashing.blogspot.com Eu uso a minha arte para inflamar o poder do subconsciente ao lidar com os horrores do mundo contemporneo. Embora os meus trabalhos denotem um lado cmico, o objectivo principal no o humor e si mesmo. Estes horrores so frequentemente tratados com uma dose de stira enquanto retm uma seriedade perspicaz. Sou um apaixonado pelo bizarro, o estranho, o kitsch, e a natureza aberrante do Homem. Com o que para a maioria pode por vezes ser considerado obsceno, chocante, tabu e at absurdo, sintome capaz de criar uma orgia a partir da imaginao. um carnaval do grotesco e um motim visual colorido. Usando criaturas sinistras, imagens perturbadoras, escrita e humor negro, pretendo insinuar desconforto assim como divertimento no espectador, dando-lhe algo sobre que reflectir.

I use my art to ignite the power of subconscious minds to deal with the horrors of the modern world. Although my works are usually meant to be funny, its purpose is not primarily humor in itself. These horrors are often treated with a dose of satire while retaining its seriousness using the weapon of wit.I am enamored with the bizarre, the strange, kitsch, and the freakish nature of men. With what maybe obscene, shocking, taboo and sometimes absurd to most, I am able to make an orgy of my imagination. Its a carnival of the grotesque and a visual riot of colors. With the use of ghastly creatures, disturbing imagery, texts, and black humor, my aim is to imply discomfort as well as amusement to the audience and leave them something to think about.

Like Mike| 2010

46

Sit, Fetch, Play Dead | 2010

Oil on canvas(48 x 60)

Cheat | 2010

Pure Myth | 2010

Oil on canvas(48 x 24)

Diptych (43x 20 each) Oil on paper Collaboration with Alvin Capistrano

48

Andrew Salgado
www.andrewsalgado.com

S exuality, I dentity, P olitics

As minhas pinturas, desenhos e vdeos apresentam uma perspectiva do corpo brutalizado em elevados estados melodramticos. Interessame representar temas que se auto-questionam, nos quais a representao se refira sua prpria legitimidade e destabilizao do seu significado. Esta aproximao ao meu trabalho deriva em grande parte a um acidente catrtico ocorrido em 2008, no qual fui vtima de um a agresso; no rescaldo deste perodo fiquei fascinado por ideias que gravitam os conceitos de masculinidade e a representao da figura masculina; grande parte do meu trabalho tem-se comprometiso desde ento num dilogo entre sexualidade, identidade e poltica, assim como a compreenso do eu/outro. As minhas pinturas mais recentes exploram estas ideias sob uma perspectiva auto-consciente numa tentativa de desconstruir as classificaes e expectativas que se encontram na representao figurativa. Interessa-me o modo atravs do qual o meu trabalho pode crescer e evoluir de forma a continuar a transcender as fronteiras da figurao ao criar obras experimentais que funcionem simultaneamente como abstractas e figurativas. As minhas obras levam o espectador a considerar as suas questes tcnicas mas tambm a relao das mesmas com uma narrativa maior na qual os sujeitos so parte de uma histria de convalescena e identidade que evolui. Como resultado, o meu trabalho serve-se muitas vezes de narrativas pessoais como forma de aproximao a temas universais,e de uma poltica que considero profundamente pessoal, sendo no entanto marcadamente humana. Os meus trabalhos recentes reconhecem a distncia existente entre figurao e abstraco, sendo meu objectivo abordar esta questo com um distanciamento autoconsciente, afastando a minha prctica de uma base literalmente figurativa para se ocupar com uma explorao da cor, reduo de formas e o triunfo da matria sedutora, aberta e divertida um processo que vejo como uma viagem. Ao desafiar estas ideias, ao destabilizar a minha prctica e ao explorar novas direces tcnicotericas, pretende criar trabalhos que se relacionam com uma linguagem de pintura representativa em constante mutao. O meu objectivo a reaproximao a um mtodo multi-dimensional e experimental, no qual subverto a Histria da Arte , emparelhando arqutipos tradicionais com ideias contemporneas ldicas de ambivalncia. Ao focar a ateno para conceitos perifricos de mdia, metforas e tcnica, tento afastar o espectador das suturas do sujeito representado: questionar e desafiar a recepo de ideias que gravitam em torno da representao da identidade. Abordo cada uma das minhas obra mais como um processo do que propriamente um resultado. My paintings, drawings, and videos present a perspective of the brutalized body in heightened, melodramatic states. I am interested in depicting subjects as self-questioning, in which representations refer to their own legitimacy and destabilization of meaning. The approach toward my work stems largely in part from a cathartic incident in 2008, in which I was a victim of a hatecrime assault; in the aftermath of this period I became fascinated by ideas surronding masculinity and the representation of the male figure; most of my work since has engaged a dialogue of sexuality, identity, politics, and the understanding of self/other. My recent paintings explore these ideas with a self-aware regard in an attempt to deconstruct the classifications and expectancies found in figurative representation. I am interested in how my work might grow and evolve to continue transcend the conventions of figuration to create experimental work that functions as simultaneously abstract and figurative. My work asks the viewer to consider its technical aspects but also the relationship of the works to a greater narrative, in which subjects become part of an evolving history of convalescence and identity. As a result, my work often uses personal history to approach universal themes, and a politics that I view as deeply personal, yet resoundingly human. My recent work acknowledges the schism between figuration and abstraction, and my goal is to approach this with a self-aware distance, pushing my practice away from a literal figurative foundation to engage with an exploration of color, reduction of forms, and triumph of substance as seductive, overt, and playful a process I view as a journey. By challenging my ideas, destabilizing my practice, and exploring technical and theoretical avenues, I seek to create work that engages with an evolving language of painting and representation. My goal is to re-approach a multi-dimensional and experimental practice, in which I subvert arthistorical tropes, pairing traditional archetypes with contemporar y ideas of ambivalence and playfulness. By drawing attention to peripheral concepts of media, metaphor, and technique, I attempt to pull the viewer away from the sutures of the represented subject: to question and challenge the reception of ideas surrounding the depiction of identity. I approach each work in my practise more as a process than a result.

Beams | 2010 [The manneirist] Oil on canvas 132 x 132 cm (52x52)

Untitled Dioxazine Project | 2010 Oil on canvas, 223 x 139cm(88 x 55)

50

All Those Tired Old Sacrilegious Euphemisms | 2010 Oil on canvas, 254 x 220 cm (100 x 86)

e are everlastingly in search of an object outside ourselves, but this object answers the very innerness of desire.
Georges Bataille

It Is The Fear That Keeps Us Awake | 2011 Oil on canvas, 152 x 122cm (60 x 48)

The Tide | 2010 Oil on canvas, 269 x 193cm (106 x 76)

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The Archivist | 2010 Oil on canvas, 223 x 140cm (88 x 55)

I Can't Quite Remember But I Never Forget | 2011 Oil and acrylic on canvas, 183 x 152cm (72 x 60)

Andrew Salgado (b.1982, Regina Canada) Andrews practice is an exploration of the identity, sexuality, and human nature. His paintings have been collected and exhibited internationally, including Nort America, Great Britain, Europe, and the Middle East. Recent achievements include the 2011 Merida Venezuela Biennale for Contemporary Art, the inaugural exhibition at Gift, London, the GLAAD Art Awards in New York, and solo exhibitions in Vancouver, Canada and Oslo, Norway. In 2010 Andrew was awarded placement in the prestigious East Wing Hang at Londons Somerset House alongside artists Tracey Emin and Gary Hume. Solo exhibitions in 2011 have been scheduled at Elliott Louis Gallery, in Vancouver, Canada; and Gift, in London, England. Andrew has been invited to curate an exhibition of emerging artists, entitled I Am Solitary, for Gift Gallery, London, in March 2011. Recent fully funded residency placements include an intensive studio retreat in Berlin, Germany (2010), Compeung Village in Chiang Mai, Thailand (2010), as well as Valparaiso in Almeria, Spain (2011) and Fiskars Village in Onoma, Finland (2011). Paint Your Black Heart Red, an edition of his work and theory, was published in 2009, and his theoretical writings will be published in A Visual Reader, an anthology by The Art Institute of Chicago Press in 2011.Andrew has an undergraduate degree in painting and art theory from the University of British Columbia (2005), and completed a Master Degree from the renowned Chelsea College of Art in London, England (2009). Andrew currently lives and works in London, England.

56

Liana Psarologaki
www.lianapsarologaki.com

A minha prtica constitui uma srie contnua de desafios em resposta s imediaes do territrio, em relao ao contexto arquitectnico, no apenas como elementos estruturais, mas tambm como um comentrio social. Oscilando entre superfcie e forma, as obras pretendem negociar ao invs de afirmar, convidando os espectadores a uma viagem de reposicionamento perceptivo e simultaneamente elevar a conscincia da sua existncia espacial. Ao explorar a minha prtica como arquitecta e a minha razo de ser como artista, contextualizo a pesquisa ao lidar com a potica e geometria do espao juntamente com questes de conscincia espacial e cognio.

Installation view: spatial intervention Foam model proposal

Surrounded | 2010

My practise forms an ongoing series of challenges in response to the spatial surrondings, in relation to the architectural context, not merely as structural elements but also as a social frame. Oscillating between surface and form, the works seeks to negociate rather than constitute, inviting the viewers into a perceptual journey of repositioning themselves simultaneously raising consciousness of their spatial awareness. Exploiting my attributes of a practising architect and my rationale of an artist, i contextualize my research dealing basically with the poetics and geometry of space along with issues of spatial consciousness and cognition.

Dead-end | 2010

Installation view: spatial intervention Herbert Read Gallery

Installation view: ribbon and mdf_Herbert Read Gallery

Untited | 2010

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Arran Poole
www.arranpoole.com

Audio Cannibalism
An Essay for Park [art magazine]. by Arran Poole | December 8, 2010

A word about cannibalism ... Some people say that cannibalism is due to a hunger for food It is not so. - Maretu (1983: 33)

Tangiia Eats Tutapu.

That cannibalism occurred on and around the islands of the South Pacific is beyond dispute. It has been said that the great English explorer Captain James Cook was killed and eaten in a skirmish in Hawai'i (Hopkins, 2004: 108). Fiji was once referred to as the 'Cannibal Isles'. And on New Zealand (Aotearoa), cannibalism was a well documented and regular practice during Ma-ori tribal wars. A particularly interesting account of cannibalism in the South Pacific, though, is recalled in a book entitled Cannibals and Converts: Radical Change in the Cook Islands (1983) by Maretu. A resident on the Cook Islands' Rarotonga, Maretu's account is notable for being the only detailed description of cannibalism written by an islander who had actually taken part in cannibalistic proceedings. As a young boy, Maretu was fed human flesh from his father's oven and is said to have offended his elders by hiding away the head of a victim as a secret morsel (Gill, 1885: 234-5). Maretu suggests in his book that Rarotongan cannibalism first arose following a dispute between two cousins, Tangiia, and Tutapu. Born and raised on the islands of Tahiti, both were said to be of high rank, ambitious and proud. A series of transgressions by Tangiia, though, led to a rift between the pair, and after a long and bitter battle on Tahiti, Tangiia decided to migrate to another island. However, Tutapu who became known as the relentless pursuer (Crocombe, 1983: 27) chased, attacked, and vilified Tangiia from one island to the next until they met together in final combat on the island of Rarotonga. Having defeated Tutapu for a final time, Tangiia is said to have gouged out and swallowed his eyes, before cooking and eating his body. Whether legendary or factual, the case of Tangiia and Tutapu's depute is interesting as it contrasts with what is perhaps the more widely held belief that cannibalistic tendencies arose solely due to a shortage of food. In Tangiia's case, the act of cannibalising Tutapu's corpse instead represents an act of revenge. As commentator Majorie Crocombe has remarked, Tangiia's act is seen by Polynesian societies as the ultimate conquest and humiliation of one warrior over another (ibid). One particularly recurrent argument is that the process of sampling pays homage to an artist or to a group of artists. A prime example here is DJ Dangermouse's 2004 recording, The Grey Album. The Grey Album is a mashup album constructed from the instrumental backing tracks of The Beatles' White Album and the a cappella vocal tracks of Jay Z's The Black Album. It has gained some notoriety in recent years as the cause of a mass online protest, dubbed 'Grey Tuesday', in which more than 170 websites and blogs illegally offered the album for download (Werde, 2004). This dispute arose following record label EMI's attempts to stop online distribution of the album, claiming the work breached copyright regulations. However, The Grey Album was not born out a desire to highlight the inadequacies of copyright legislation - these political dimensions came about later. In its own right, the album has been critically praised for its innovative use of sampling technique and particularly, for paying tribute to the music of The Beatles, whilst simultaneously paving the way to new and unknown musical terrain. Jay Z himself noted in an interview with America's NPR channel that he felt honoured to feature on the same tracks as The Beatles (Jay Z, 2010). Likewise, music critic for the Boston Times, Renee Graham, summarised the album saying: Danger Mouse has brought The Beatles into the hip-hop generation while giving props to the timeless innovation of the band (Graham, 2004). The innovation of The Grey Album, we might say, is born from cross-fertilisation; it's not revolutionary, but evolutionary. And it adopts a cannibalistic attitude so as to absorb the musical qualities and excellence of those whose work has been consumed. It represents a means to incorporate their benevolent spirits, to absorb their strength and their wisdom. Yet, this is not quite the case in all instances of audio cannibalism. Take for example the work of UK duo Cassetteboy. Cassetteboy create cut-up works which are painstakingly constructed from thousands of audio snippets taken from TV, radio, film, and popular music. Often politically motivated, their work pokes fun at figures in the public spotlight, such as politicians, celebrities, and TV personalities. Put simply, they rearrange and/or modify the recorded words of celebrities to make them say rude, crude, or vulgar things. A prime example of Cassetteboy's cut-up style is their 2008 work, Nigella's XXXmas. About a minute and a half in length, Nigella's XXXmas solely features reconstructed passages of text sampled from Nigella Lawson's TV cooking show, Nigella Kitchen. Whilst Nigella Lawson is famed for her use of sly sexual innuendo in her shows, Cassetteboy's work pushes her sexually suggestive language to breaking point. In Nigella's XXXmas, Nigella's words are rearranged to make her talk quite explicitly about the act of oral sex, saying: there's something I love doing this time of year and that's giving head. I suck my friend's sausages ... My lips are puckered and ready for this dick going into my gob Delicious. A bit of a grown-up taste. And later, the act of sexual intercourse: I'm gonna' pop this sweet, thick, black, shiny sausage inside. In it goes ... Now in go the nuts, and I'm letting them come their salty ointment look at it oozing out. Unlike The Grey Album, it's perhaps difficult to consider Nigella's XXXmas in any way a mark of respect, or an attempt on Cassetteboy's part to absorb the benevolent spirit of Nigella Lawson. Rather, the work is demeaning, insulting, and deeply humiliating. And it's difficult to consider the piece anything less than a complete character assassination; a scathing attack, the function of which must surely be at least a little similar in nature to Tangiia's act of cannibalising Tutapu's corpse. Recall how Tangiia's act of gouging out and swallowing the eyes of Tutapu in Polynesian society is said to represent an insult and a disgrace to both the victim and to the victim's family. In a similarly disgracing way, the victims of Cassetteboy's audio cannibalism are made to look like incompetent, egotistical, sexual deviant[s] (Walker, 2010). Their work represents audio cannibalism for the purpose of abuse; an insult to, and a bastardisation of, their victim's words and their very demeanour. But, humiliating and disgracing as it may be, Cassetteboy's motivations differ from those of Tangiia. Where Tangiia's act was driven by a sense of vengeance and of retribution, Cassetteboy's are somewhat less menacing. More, their works are tongue in cheek, flippant actions driven by humour, and assembled solely for comedic value. When asked the question in a recent interview, what do you hope to achieve by your work?, Cassetteboy's Michael Bollen replied saying, Our aim has always been just to make people laugh. The British public always like a bit of smut and innuendo (Bollen, in Walker, 2010).

The Impending Age of the Cannibal.

Yet, whilst Cassetteboy's work must ultimately be defined as darkly twisted humour, it does highlight the possibility of a new and more sadistic form of audio cannibalism in the mould of Tangiia and Tutapu's story. A form motivated entirely by vengeance and by retribution; a form not made for fun or to laugh at, but to purely bestow shame and disgrace upon one's victims. Ironically, perhaps this is precisely one of the reasons why Cassetteboy's works are perceived as humorous. Because they flirt with the idea that, if desired, one could take revenge upon shallow reality TV stars or upon the ever pervasive celebrity whose face is ubiquitously plastered in the media. Because they flirt with the idea that, if desired, one could bastardise and deconstruct a hated public figure's words, and re-stitch them back together to make them seem like ham-fisted incompetents. Audio cannibalism of this kind ultimately instills a sense of power in its audience through the carving out of a methodology for vengeance. It shows its audience a way to humiliate and to disgrace those who they dislike. And it represents both a gratifying and deliberately cruel endeavour; an endeavour whose potential is practically endless. Any public figure, any politician, any TV personality, and any celebrity whose words have been digitally recorded and distributed is a potential target. Perhaps the techniques of audio cannibalism that Cassetteboy promote will become widespread. Perhaps we are entering a barbaric age of audio cannibalism. It's hard to tell. But for those in the public spotlight, work of this kind surely must provoke an unsettling dilemma: Who will succumb to the same fate as Nigella Lawson? Who will next fall victim to the audio cannibal? Which one of us will be eaten next?

Bibliography
Crocombe, M. (1983) 'Cannibalism on Rarotonga'. In Maretu (1983) Cannibals and Converts: Radical Change in the Cook Islands. Trans. by M. Crocombe. Institute of Pacific Studies: University of the South Pacific. Gill, W-W. (1885) Jottings from the Pacific. Religious Tract Society: London. Graham, R. (2004) Jay Z, The Beatles meet in 'grey' area. [Online] Available at: http://www.boston.com/news/globe/living/articles /2004/02/10/jay_z_the_beatles_meet_in_grey_area/ Hopkins, J. (2004) Extreme Cuisine: The Weird and Wonderful Foods That People Eat. Periplus. Jay Z (2010) The Fresh Air Interview: Jay Z 'Decoded'. [Online] Available at: http://www.npr.org/player/v2/mediaPlayer.html Maretu (1983) Cannibals and Converts: Radical Change in the Cook Islands. Trans. by M. Crocombe. Institute of Pacific Studies: University of the South Pacific. Walker, J. (2010) James Walker put some questions to Michael Bollen of Cassetteboy fame. [Online] Available at: http://www.leftlion.co.uk/articles.cfm/id/2836 Werde, B. (2004) Defiant Downloads Rise from the Underground. [Online] Available at: http://www.nytimes.com/2004/02/25/arts/defiant-downloads-rise-fromunderground.html [Para a verso em Portugus por favor visite o anexo no fim da magazine]

Mouse Eats Beatle/Cassetteboy Eats Nigella Lawson.

Whilst Tutapu and Tangiia's story may provide a fascinating introduction to the driving force behind cannibalism in Polynesia, I believe its central themes may tentatively shed some light on a number of completely unrelated contemporary practices. Particularly, the motivations behind the culture of sampling in the musical arts. In using the word sampling here, I am referring to the artistic process of reusing extracts of an existing musical work to form part of a new composition; a term most commonly applied to the digital sampling of recorded material. As a technique, sampling has been critical in the development of a number of significant musical and artistic movements in the past thirty or so years. From John Oswald's plunderphonics; to the early hip-hop of Grandmaster Flash or the Sugar Hill Gang; to Mashup music, or Bastard Pop, as it's known in the UK. Sampling in all instances leads to the creation of a kind of aggregate music; a composition or a composite presenting a juxtaposition or a collage of many different sources. Sampling has also inspired a wide variety of writings which discuss the phenomenon's relevance and importance to the musical arts or alternatively, which condemn the technique as plagiarist. Perhaps no writing more appropriately embodies the concerns of sampling here, though, than journalist David Quantick's idea that Pop Will Eat Itself. Quantick first used the phrase in a 1980's article to describe popular music's ever more repetitive instinct for the recycling of itself; a trend which can be identified in abundance in the popular music of today and so needs no introduction here. Quantick's suggestion is particularly noteworthy here as, chillingly, it bestows upon the process of sampling a cannibalistic dimension. A suggestion of music as consuming its own fat; as devouring the meat of its own; as tearing into the flesh of its forefathers. Sampling in this view represents a simulacrum of cannibalism. Or, to give it another name, a kind of audio cannibalism. We have considered already the motivations of the polynesian cannibal Tangiia. So how does this new form of cannibalism this audio cannibalism compare? What drives one person to devour the flesh of another's work? What motivates an artist to hack to shreds the work of his or her peers, and to sample and consumer their meat?

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Graphset
www.graphset.net

Graphset [Mikka Doczekalski] um designer grfico sediado em Paris. responsvel pela imagem grfica do Festival Alpha-ville (Londres). Tem uma paixo por impresso assim como por motion design, especialmente quando o usa como vj. No um estranho a festivais europeus tais como o Mapping Festival (Suia), Nuits Sonores (Frana), Alpha-ville (R. Unido) ... As 2 imagens aqui apresentadas foram retiradas do seu material de Video-jockey.

Graphset, [Mikka Doczekalski], is a graphic designer based in Paris. He is responsible for Alpha-ville Festival's (London) image and graphics. He has a real passion for print and also motion design, especially for vjing. He is a not stranger to European festivals such as Mapping Festival (CH), Nuits Sonores (FR), Alpha-ville (UK) ... The 2 images presented here are taken from his V-jing material.

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Annie Wan

www.slimboyfatboyslim.org www.washington.edu/dxarts/profile_home.php?who=wan

Wheres the chicken?

www.wheresthechicken.org
Os mdia de localizao tm sido frequentemente comparadas com arte na internet ou consideradas como as suas sucessoras. compreensvel, j que ambas as prticas partilham um certo grau de mobilidade, mas a sua principal diferena ser a localizao. Os locais das mdias locativas podem ser transitrios, reconstrudos no espao fsico; relacionase mais com o site-specific como prtica artstica, embora as definies de espao e local no esto mais restritas a um nico e distinto espao fsico. Locative media has been often compared with internet art or regarded as its successor. It is understandable as both practices share a certain degree of mobility, but their main difference is the sites. The sites of locative media could be transient, rebuilt in physical space; it is closer to the site-specific art practice, though the definition of space and site are no longer restricted to a single, distinct physical space.

Robot Chicken at Hong Kong DisneyLand

18 cultural specific locations:

1. Lockhart Road, Wanchai, Wanchai District; a famous red light district in Hong Kong. 2. Victoria Park, Eastern District; a performance artist has been arrested here in 1996. 3. KFC, Aberdeen Center, Southern District; one of fast food restaurants. 4. South Lane, Shek Tong Tsui, Central Western District; a red light district in early 20th century 5. Kowloon Walled City Park, Kowloon City District; a 'city' where no one ruled during 1948-2001. 6. North Kowloon Magistracy, Sham Shui Po District; the site of a private american art and design institute. 7. Yuen Po Street Birds Market, Yau Tsim Mong District; the only birds market in Hong Kong. 8. Wong Tai Sin Temple, Wong Tai Sin District; a famous temple. 9. Che Kung Temple, Shatin District; another famou temple. 10. Hong Kong Disneyland, Tsuen Wan District; a theme park with a lot of cute icons. 11. Tseung Kwan O Center, Sai Kung District; formerly known as Junk Bay a reclamation , land. 12. Kwai Tsing Theater, Kwai Tsing District; the place where the artist first saw a public artwork in her life. 13. Yuen Wo Market, Northern District; an abandon market. 14.Hong Kong International Airport, Islands District; a place where people are not allowed to bring animals. 15. Castle Peak Hospital, Tuen Mun District; a renowned psychiatric hospital in Hong Kong. 16. Kadoorie Farm & Botanic Garden, Tai Po District; a place offers healthy and special breed chickens. 17. Mai Po Natural Reserve, Yuen Long District; a restricted area under the Wild Animals Protection Ordinance. 18. Ngau Chi Wan Market, Kwun Tong District, one of the ver y old villages in Hong Kong.

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Conceptual Overview
Hong Kong Chicken Map

Wheres the Chicken? interpreta a arte pblica locativa como um aumento da prtica da arte site-specific e tenta situar a mesma pea de arte em diferentes locais, coloca em primeiro plano as diferenas culturais e sugere uma estrutura mais atraente para a arte digital contempornea em relao s tecnologias de localizao. A galinha robot autnoma apareceu em diferentes locais culturais especficos em torno de Hong Kong; o pblico participou neste projecto ao enviar mensagens de texto (SMS) e trouxeram a obra para o exterior, logo interagiram e actuaram com ele. Nenhuma narrativa contada como uma entidade e que omitido ou excludo cria dinamismo. A potica construda sobre a interaco com o pblico, a participao ou performances em diferentes contextos culturais locais especficos criou a topologia da narrativa e o mapa colaborativo. A interaco no se interpreta literalmente no presente projecto, no se aplica apenas em interaces fsicas, por exemplo, no tocar ou olhar. Mas isto tambm se aplica em impacto vivencial, psicolgico ou emocional sobre o pblico. As galinhas tm tido sempre conotaes negativas, associadas a homossexuais, doenas, medo e covardeia (chicken), prostituta (em Cantons) ou perdedor. um smbolo de negatividade/fraqueza, enquanto Hong Kong sempre se retratou como uma cidade asitica cosmopolita, com um ambiente prspero e dinmico. E se essa galinha aparecer no meio de Nathan Road, vo os habitantes de Hong Kong sentir-se preocupados com ela? Como vo eles reagir? Ser que se vo preocupar com a imagem da sua cidade?

Wheres the Chicken? interprets locative public art as an augmentation of site-specific art practice and it attempts to situate the same piece of art at different sites, foregrounds the cultural differences and suggests a more compelling structure for todays digital arts in relation to locative technologies. The autonomous chicken robot appeared at different cultural specific locations around Hong Kong, public participated in this project by sending short message services (SMSs) and brought it for outing, hence they interacted and performed with it. No narrative is told as an entity and what has been omitted or left out creates dynamism. The poetics built upon the public interaction or par ticipation or per formances in different cultural specific locations and created the topology of narrative and the collaborative map. The interaction does not interpret literally in this project, it does not apply only on physical interactions, e.g touching it or looking at it. But it also applies on experiential, psychological or emotional impacts on the public. Chickens have been always associated with bad things, such as homosexuals, diseases, with beeing a coward, chicken-hearted, ?prostitute? in Cantonese or loser. It is a symbol of bad/ weak. While Hong Kong always portrays herself as a Asia Worlds City, a prosperous and dynamic environment. What if this bad guy appears in the middle of Nathan Road, will Hong Kong people feel anxious about the chicken? How they will react to it? Will they worry about their city image?

Performance at Yuen Po Street Birds Market

The automatic reply message after the audience sent a message to the project mobile phone

Custom-made printed circuit board for chicken robots

Audience in Aberdeen Center

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Chicken Robots and Locative Performances

Quatro galinhas-robot extragrandes, surreais, feitas sob medida,foram construdas para este projecto. Com elas, a artista criou performances em diferentes locais de contexto cultural; locais especficos ao redor da cidade durante o perodo expositivo de Julho de2009. A artista criou 18 performances em18 distritos de Hong Kong, juntamente com a galinha robot. As localizaes culturais especficas de cada bairro foram escolhidas devido sua associao com o cone "galinha"ou o conceito de eventos pblicos, ao vivo. Four extra-large, custom-made, surreal robot chickens had been constructed for this project. The artist created locative performances with it in different cultural specific locations around the city during the exhibition period in July, 2009. The artist created 18 performances at 18 districts in Hong Kong together with the chicken robot. The cultural specific location in each district has been chosen due to its association with the icon chicken or the concept of live, public events.

As localizaes da galinha-robot, actualizadas pela artista ao longo do tempo e uma representao grfica, "Mapa-Galinha de Hong Kong" foram executadas. O pblico participou neste projecto ao enviar SMS para um nmero especfico de telefone mvel, mensagens na forma dos nomes dos locais ou outras. As mensagens foram processadasem forma de algoritmos por um servidor com software escrito especificamente para o projecto. Estas mensagens, em conjunto com a artista, formaram o "Mapa-Galinha de Hong Kong". Um script Python corria no telemvel da artista, um Nokia E71 com sistema operacional Symbian, este seguia a localizao do sinal e enviava atravs do Sistema de Posicionamento Global (GPS) as coordenadas para o telefone mvel do projecto na forma de mensagens de texto. O script foi modificado e baseou-se num cdigo de amostra retirado do Frum Nokia para developers. Entretanto, do lado do servidor, instalou-se num Apple Macbook o Ubuntu Linux 7.04 (tambm conhecido por Feisty ). Um software feito por encomenda, escrito em Python, que redireccionou todos os SMS recebidas pelo telefone mvel do projecto para o Mac porttil, por consequncia gerando o "Mapa-Galinha de Hong Kong" sob forma de uma representao grfica. O software verificava se a mensagem de texto era composta por nmeros (o que implicaria que eram coordenadas GPS) ou caracteres. Se a mensagem fosse composta por coordenadas GPS, seguir-se-ia o processo de reverse geocoding (codificao geogrica invertida). Este um mtodo usado para verificar os nomes dos locais a partir de coordenadas GPS. Se a mensagem for composta por dados no-numricos, o software ir procurar os nomes dos locais e marca-os no mapa. The locations of the chicken robot, updated by the artist from time to time and a graphical representation, Chicken Map of Hong Kong had been constructed. The public participated in this project by sending short message service (SMS) to a designated mobile phone number, either in form of locations names or other messages. Their messages had been algorithmic processed by server-side custom-made software. Their messages composed the Chicken Map of Hong Kong, together with the artist. A Python script ran on the artists phone; a Symbian OS based Nokia E71, tracked the artists location and sent the Global Positioning System (GPS) coordinates to the project mobile phone in form of text messages. The script had been modified and based on the sample code from Nokia Developer Forum. Meanwhile, on the server side, Ubuntu Linux 7.04 (a.k.a Feisty) had been installed in a Apple MacBook (the laptop). A custom-made software, written in Python, redirected all short message services (SMSs) received by the project mobile phone to the laptop, hence it generated the Chicken Map of Hong Kong in form of a graphical representation. The software checked whether the text message composed of numbers (which implies it is GPS coordinates) or characters. If the text message has been composed of GPS coordinates, it will then follow by the process of reverse-geocoding. Reversegeocoding is a method for checking the names of locations from GPS coordinates. If the text message consists of non-numeric data, the software will look for names of location and mark the location on the map.

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Christina Thwaites
www.thwaiteschristina.webs.com

Meet the Family

Nascida em Sheffield no Reino Unido (1980), mestrado em Histria da Arte e Literatura Francesa (Universidade de Edimburgo). Frequentou La Porta Blu, estdio em Roma sob a orientao do artista Alberto Parres, cidade na qual reside e trabalha. Aqui esto os "Meus Verbos" - Espero que ajudem a explicar o que fao e porqu: 1. Escolher - entre tudo a que stou exposta no fcil - o mundo grande, bonito, feio e excitante; os meus olhos esto bem abertos e por vezes tudo quase demasiadamente avassalador para que me concentre apenas numa coisa ou na verdade em nenhuma. Pinto sobretudo pessoas mas no porque no queira pintar outras coisas ..... as pessoas tm caras logo tm identidades e personalidades que me desafiam. 2. Observar - abrando os meus sentidos para que me possa concentrar. como ler todas as letras em vez de percorrer as linhas. 3. Jogar - pintar, desenhar, adicionar, encobrir, alterar, modificar e editar a imagem de modo que esta dite o seu prprio fim. um jogo fsico, rpido e directo que no posso jogar com uma cmara ou computador. Gosto de trabalhar com tinta porque o acaso emocionante e o acrlico um meio adequado para mim porque me permite trabalhar rapidamente.O trabalho encontra-se terminado quando est, de certa forma, vivo e harmonioso, mas no romntico.

Born in Sheffield UK (1980), MA in History of Art and French literature (University of Edinburgh). Attended La Porta Blu studio in Rome under the instruction of artist Alberto Parres. Currently based in Rome. Here are 'My Verbs' - I hope they help explain more about what I do and why: 1. To choose - from all that is exposed to me is not easy - the world is big and beautiful and ugly and exciting and my eyes are wide open and sometimes it is almost too overwhelming to concentrate on only one thing or in fact anything at all. I predominantly paint people but it's not because I don't want to paint other things.....people have faces though and so they have identities and characters that challenge me. 2. To observe - to slow my senses down so that I can concentrate on my subject. It's like reading every letter instead of scanning the lines. 3. To play- paint, draw, add, cover up, change, modify and edit the image so that it can dictate its own end. It's a physical, direct and fast game that I can't play with a camera or a computer. I like working in ink because chance happenings are so exciting and acrylic is a good medium for me as I work very quickly. A piece is finished when it is somehow 'alive' and harmonious, but not romantic.

Untitled #11 | 2010 Ink on canvas, 200 x 150 cm

Untitled #1 | 2010 Ink and acrylic on canvas, 70 x 50 cm Untitled #7 | 2010 Acrylic on paper, 60 x 70 cm

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Franois Rau
www.francoisreau.com

Uma busca permanente entre o fundo e a forma, o espao tratado em si mesmo, a questo

essencial da colocao na imagem de uma sensao, eis os eixos onde o meu trabalho se enquadra.

Uma fronteira como espao de transio. O que uma fronteira? Uma fronteira uma linha, abstracta desde que invisvel. A fronteira como o ponto de transio, o corredor onde alternam universos, culturas, pontos de vista O fundo no mais que um simples contedo, mas pode ser tambm um espao de transio entre o que existe e aquilo que o faz existir. Procuro tambm que as minhas telas sejam um lugar de questionamento e meditao Onde o sentido que lhe auferimos se faz e desfaz, que possam provocar uma fora de atrao sobre o espectador e que arrasta a sua interioridade numa emoo pensante. Fico agarrado importncia da luz, ela forma-se atravs de diferentes rostos ou espectros. Algumas vezes fria, opalescente, quente ou mbar, pode viver de varias maneiras. Quanto obscuridade, materializa-se por uma fronteira ou uma forma que faz nascer sobre o suporte uma zona de demarcao e de partilha. Os elementos e materiais misturamse aos fenmenos da luz e ao mesmo tempo que esta fronteira d um aspecto equilibrado ao conjunto, partilha da obra. Uma parte da superfcie pintada impe-se pela presena da luz que continua a fundirse, fluir e a dirigir o olhar do espectador para os tons carregados no mais profundo.

An everlasting quest between the substance and form, the space treated in itself, the essencial question of puttinga feel into the image, these are the axes where my work fits. I question this "thing" we all have in common, which isnt the same, but shared by all ... How to recover it as it escapes without ceasing, because we think what we see and resent? Border as a transition space. What is a border? A boundary is a line, abstract if invisible. The boundary as the transition point, the corridor where universes, cultures and points of view change... The background is nothing more than a simple content, but it can also become an area of "transition" between what exists and what makes it exist. I also try tto make my paintings become a place of meditation and questioning "Where the meaninfg we give to it is created and broken, which may in its turn cause an attractive force over the spectator who "drags his inner self onto a cognitive emotion." I grasp the importance of light, it is formed through different faces or spectra. Sometimes cold, cloudy, warm or amber, it can live in various ways. As for the dark, its materialized by a border or some shape wich gives birth to a demarcation and sharing zone over the canvas. The elements and materials mingle with the phenomena of light and while this "border" gives a balanced look to the set, it also breeds from sharing the work. A portion of the painted surface is dictated by the presence of light that continues to fuse, flow and direct the viewer's gaze to the deepest loaded tones.

Les Toiles du Berger pt. 3 | 2010

Acrylic, sand, color pencil and ink on canvas 160 x 100 cm (63,4 x 39,40)

Acrylic, sand, color pencil and ink on canvas 7 parts polyptych, 240 x 160 cm (94,56 x 63,04) Gesso, pastel and color pencil on paper Tryptych, 30 x 40 cm (11,82 x 15,76)

La Tempte | 2010

Rves pt. 3 | 2010

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Quando a cor nos escapa... A cor no verteu mais que a linha ou a forma mas ela escapa-nos mais, visto que a subestimamos. Pensamos apoderarmo-nos dos objectos cercando-os, desenhando-os, subestimando-os, mas a cor no se deixa prender, ela que nos prende visto que a recebemos. Pela utilizao de materiais diversos, por certos movimentos eternos como a areia, crio mini-relevos, entalhes, sulcos na matria pictrica que se desdobram em certos casos, o traado das formas realizadas com lpis ou com tinta. A meta procurada evocando jogos de luz e de cores que subentendem o movimento perptuo do universo mas tambm por fazer referencia a superfcies antigas, usadas, carregadas de histria. O gestual, por vezes violento ou automtico, confere ao espao pictrico a sensao de um movimento incessante. Como uma construo de pulso, fluxo permanente ou uma vibrao. Paralelamente permite-me desenvolver um estilo palimpsesto fundado sobre o trao deixado visvel da gnese do trabalho (repintar, raspar, borrar, recobrimentos), e que se constri por destruies e reconstrues sucessivas. Embora o meu trabalho no seja uma imagem fiel daquilo que nos rodeia, tento escrever uma outra realidade e atingir aquilo que no poderamos ver de outra forma. Como a (re)presentao de um momento ou de uma sensao em que o significado mascarado se materializa sobre a superfcie pintada.

"The color did not shed more than a line or shape but it escapes us more, since weve underestimated it. We think possession of objectscan be achieved by surrounding them, drawing or underestimating them, but color doesnt get caught, its what binds us as we receive it. " By using various materials, by certain timeless motions as sand, i create mini-reliefs, carvings, grooves in the pictorial matter that unfold in some cases, the delineation of forms made in pencil or ink. The goal is sought evoking lighting and colors that imply the perpetual motion of the universe but also making reference to old surfaces, used, loaded with history. The sometimes violent or "automatic" gesture gives the pictorial space a feeling of constant movement. Like built from pulse, a constant flow or vibration. At the same time it allows me to develop a "palimpsest style" based on the visible trace left at the begginings of the work (repainting, scrape, blot, coatings ...) and which is built by successive destructions and reconstructions. Although my work is not an accurate picture of what surrounds us, i try to write another reality and achieve what we could not see otherwise. As the (re)presentation of a moment or a feeling that the masked meaning materializes on the painted surface.

Narcisse | 2009

Acrylic, airbrush paint, color pencil and ink on canvas Dyptyque, 160 x 80 cm (63,04 x 31,52)

Installation views, variable dimensions Charcoal, nylon, popcorn, laurel leafs, wood Works co-produced with the Cultural Center of La Laverie

Traverses | 2010

...make my paintings become a place of meditation and questioning

When color escapes us ...

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Gavin Campbell
Gavin Campbell um artista sediado em Derry, na Irlanda. Nos seus trabalhos, utiliza vrios meios de comunicao visual para construir instalaes vdeo/audio, performances e esculturas que exploram temas como identidade, sensaes de posicionamento fsico e mental e deslocamento, indiferena, desejo, alienao e apropriao em espaos e lugares cuja disputa causa de conflito. O meio que o envolve a principal influncia no trabalho de Gavin, sendo ele de Derry aborda questes poltico-sociais experimentadas ao viver numa fronteira conflituosa. Borders (fronteiras) uma instalao de dois vdeos, Borders e Flag (bandeira). A primeira uma performance gravada em vdeo na qual Gavin escava um metro quadrado de territrio pertencente Irlanda do Norte e o transporta/contrabandeia em direco fronteira da Repblica da Irlanda, na qual volta a cavar um metro quadrado de terreno e o substitui um com o outro. Viver na fronteira entre a Irlanda do Norte e a Repblica da Irlanda tem-se revelado uma influncia constante na vida e trabalho do artista. Borders levanta questes como apropriao, libertao, aprisionamento, identidade, sacrifcio, uma sensao de enraizamento, derrapagem, familiaridade e alienao, direitos adquiridos e distnciamento. Gavin faz o trabalho de pessoas e seu meio ambiente local determinado lugar e espao onde contestada e conflituosa. A mudana fsica e mental dos espaos evidente no trabalho do artista. Enquanto Borders aborda a mudana fsica do espao e o medo de estar isolado, j Flag aborda a dis/posio mental do espao, em particular a que se refere ao patriotismo. Em Flag Gavin tenta expressar estas mesmas dificuldades. O medo que advm da sensao de viver fora do alcance, numa desesperada tentativa de se tornar, sentir ou provar o seu "irlandismo, Gavin tenta engolir a bandeira tricolor irlandesa. Para torn-la parte de si. Depois da sensao inicial de estranheza e contemplando se isto um ataque ou uma tentativa desesperada, percebe-se que o artista destaca muito mais do que seus prprios desejos. Mostra-nos a linha tnue entre perder a prpria dignidade na procura do patriotismo ou na saudade que motivada pelo medo. O cenrio do vdeo deriva de um clube de comdia; o artista encontra-se sozinho numa sala escura apenas com um foco de luz que ilumina a sua desordenada actuao. Com o artista a engasgar-se e a sufocar pela bandeira, o sentimento em relao ao trabalho de imediato se torna numa incmoda e constrangedora experincia. Nesta pea o artista d o promeiro passo para ser ridicularizado. Existe uma sensao de vulnerabilidade. As reaces variam do riso identificao do prprio espectador com o acto, engasgando-se juntamente com o artista. As questes expressos na obra do artista destacam o impacto sutil de viver entre fronteiras contenciosas e espaos de conflito na sociedade. Aos 25 anos de idade Gavin parte da gerao que cresceu numa Irlanda, onde as linhas de fronteira se encontravam algo desfocados e na qual mtodos mais sinistros foram adoptados para diferenciar uma pessoa ou lugar de outro. Gavin sente que faz o trabalho da sua gerao da Irlanda e no das do passado.

Gavin Campbell is an artist based in Derry, Ireland. In his practice he employs varying visual media to construct video/audio, performance and sculpture installations that explore themes of identity, senses of mental and physical position and displacement, estrangement, longing, alienation and ownership in contested spaces and places with in conflict. What Influences Gavins work is that of his surroundings, being from Derry he address issues political and social that are experienced from living on a contentious border. Borders is a video installation of two videos Borders and Flag. Borders is a recorded performance piece were artist Gavin Campbell digs up a square foot of Northern Ireland and transports/smuggles it across the Irish border were he digs up a square foot of the Republic of Ireland and replaces one with the other. Living on the border between Northern Ireland and the Republic of Ireland has been a constant influence on the artists practise and life. Borders raises the issues of ownership , liberation , imprisonment , identity, sacrifice , a sense of rooted-ness, slippage, estrangement, familiarity and alienation, entitlement and distance. Gavin makes work of people and place particular his environment where place and space is contested and conflicted. The physical and mental shifting of spaces is evident within the artists work. While Borders addresses the physical shifting of space and fear of being isolated, the video piece Flag addresses the mental dis/position of space particularly that of patriotism . In the video piece Flag Gavin is trying to express the difficulties of this. The feeling of fear of living out of reach , in a desperate attempt to become , feel or prove his Irishness Gavin attempts to consume the Irish tri-colour. To make it apart of him. After the initial feeling of oddity and contemplating if this is an attack or a desperate attempt you being to realise the artist is highlighting a lot more than his own desires. He is showing the fine line of losing ones dignity with in the pursuit of patriotism or longing thats motivated by fear. The video is set and reminiscent of a comedy club, the artist stands alone in a dark room with a spotlight shining on this deranged act. With the artist gagging and choking on the flag the feeling towards the work soon becomes an awkward and embarrassing one. In this piece the artist puts himself forward to be ridiculed. There is a sense of vulnerability .Resulting in reactions from laughter to putting the viewer in the place of emphasising with this act and choking along with the artist. Video-still from Flag The issues that are expressed in the artists work highlights the subtle impact of living between contentious borders and conflicted spaces in society. Being twenty five years old Gavin grew up in the generation of Ireland where lines of boundaries were somewhat blurred and more sinister methods were adopted to identify one person or place from another. Gavin feels he makes work of his generation of Ireland and not those of the past.

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www.vimeo.com/15206522

www.vimeo.com/15156507

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Dovrat Amsily-Barak
www.cgrimaldisgallery.com

The Kingdom
Esta srie descreve irms nos seus mosteiros e comunidades e uma srie precursora de obras adoptadas da identidade crist, deja-vu. A srie entitula-se The Kingdom (O Reino), o ttulo de filme criado pelo grupo dinamarqus Dogma 95. No reino da irm a realidade parece irreal e alucinatria, enquanto descoberta como um iluso voyeuristica de um mundo secreto, expressivamente granulada e obscura. Os olhos acostumam-se escurido, enquanto as personagens e objectos so vagueiam por uma espcie de pintura impressionista. As personagens, irms e leigos, actuam em "sesses longas" de actos contnuos, como nas pinturas da idade de ouro ou nos clssicos dos velhos mestres: Leonardo Da Vinci, Franois Bonvin, Johanness Vermeer. os sujeitos so expostos em santidade e laicidade ao mesmo tempo. As irms tm nomes dos santos e pessoas que sacrificaram a suas vidas pela Humanidade. Mas, experimentaro uma vida sem sofrimento? The meal (A refeio) tinha sido criada no h muito tempo quando uma irm ficou doente e duas outras morriam impiedosamente em agonia. A cena ecoa "A ltima Ceia" de Leonardo Da Vinci, mas apresenta uma verso para o que na realidade vai acontecendo por detrs do pano. A figura em The Easter Candles (As velas de Pscoa) est envolta numa aura de claro-escuro. a luz que empresta cena a sua santidade, os feitos da irm ou Deus? Enquanto esta irm est a perder a memria devido a uma terrvel doena cerebral, qual o significado de ser uma irm? O que isso, esperando dentro da escurido? O que isso, que espera por todos ns? O lado contrrio que permanece na escurido, que no est exposto pela cmara, d o tom ao desconhecido. Como no teatro, a personagem capturada pelo espao. Mas e os objetos que so iluminados? Tm as velas a sua prpria santidade? O que que existe naquela cera que a torna pura? The ironer curva-se sob o peso da sua velha corcunda dorida. A sua agonia parece cheia de compaixo, enquanto a naturezamorta com frutos iluminada pelo sol. Podemos sentir empatia pela dor da irm ou somos atrados pelo Esprito Santo? Neste mundo de clausura de O Reino, o corpo no tem as suas prprias regras. O corpo desaparece como ns, todos. This series describes sisters in their own monasteries and communities, and is a precusory series of adopted Christian identity works, Deja-vu. This series is named after "The Kingdom", a film, created by the "DOGME 95" Danish group. Reality in the sister's kingdom seems unreal and hallucinatory, while discovered as a voyeur's illusion of a secret world, expressively grainy and obscure. The eyes are getting used to the darkness, while figures and objects are loitering in a kind of impressionist painting. The figures, sisters and lay people, act in long shots of continuous acts, like in golden age paintings and classics of the old masters: Leonardo Da Vinci, Franois Bonvin, Johanness Vermeer. The figures are exposed in sanctity and secularity at the same time. Sisters are named after saints and people who sacrifice their lives for Humanity. But- do they experience life without suffering? The scene The meal had been created not long before one sister became mentally ill and two others were mercilessly dying in agonies. The scene echoes strongly of Leonardo Da Vinci's "Last supper" but presents a version for what really has been happening "behind the scene". The figure in The Easter Candles is shrouded in an Aura of a beautiful chiaroscuro. Is it the light that gives the scene it's sanctity, the sister's doings or the Mighty God? While this figure is losing her memory due to a terrible brain disease, what is the meaning of being a sister ? What is it, waiting within the darkness? What is it, which is waiting for us, all? The counter side which remains in the dark, which is not exposed by the camera, is the tone of the unknown. Similar to theater, the figure is captured by the spot. But what about the objects which are illuminated? Do the candles have their own holiness? What is it, in that wax, to make it pure? "The Ironer" is bending down, while her old hump is sore. Her agony seems full of compassion, as the fruits still-life is lightened by the sun. Can we feel empathy for the sister's pain or are we captured by the Holy Spirit? In this close world of The Kingdom, the body does not have his own rules. The body fades like us, all.

POIS S P E AO P VOLTARS FOR YOU ARE DUST, AND TO DUST YOU WILL RETURN
The Ironer | 2010

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The Meal | 2010

The Sisters Kingdom | 2010

The Meal (behind the scene) | 2010

The Easter Candles | 2010

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AnaMaria Kardos
www.akardos.net

Interventions in the institutionalised everyday

Destinado a localidades que habitamos colectivamente, o meu trabalho revela, negocia e activa a conscincia em relao ao nosso ambiente mais prximo. Reflecte sobre os mecanismos que subjazem institucionalizao do quotidiano - a autoridade, a disciplina e as hierarquias esto incorporados por toda parte. Ao alterar interiores pblicos uniformes fao referncia aos comportamentos e rotinas habituais constantemente influenciados e moldados pelas instituies. Ao quebrar as regras da sua colocao afastando-os da sua funo quotidiana, dou vida ao mobilirio e objectos do dia-a-dia. Mesas e cadeiras alteradas retratam o indivduo e as relaes interpessoais, a necessidade de funcionar e se conformar. O facto de ter vivido tanto num sistema socialista como de ter trabalhado em ambientes corporativos fez-me particularmente atenta e receptiva a estes padres. Envolvo-me de forma crtica com questes enraizadas no contexto institucional desafiando o pblico a reavaliar a sua posio. Ao deixar os interiores assemelharem-se a qualidades humanas, encontrar os meus trabalhos temporariamente quebra com a realidade; contestando a posio do pblico. No entanto, como cito questes colectivas debaixo de uma camada ldica, incentivo o improviso entre o que nos rodeia quotidianamente.

Overtime | Sculpture, 2010

Aimed at localities we collectively inhabit, my work reveals, negotiates and activates awareness for our immediate terrain. It reflects on mechanisms that underlie the institutionalised ever yday authority, discipline and hierarchies are embedded throughout. By altering uniform public interior I reference behaviour and habitual routines steadily influenced and shaped by institutions. Breaking rules of their placement and shifting away from their everyday function, I animate furniture and everyday objects. Altered chairs and tables depict the individual and the interpersonal, the need to function and conform. Both, having lived in a socialist system and worked in corporate environments makes me particularly aware and responsive to those patterns. I critically engage with issues rooted in the institutional context challenging the audience to re-evaluate their position. By letting interior resemble human qualities encountering my work temporarily disrupts; challenging the audiences position. However, as I address collective issues with a playful layer it encourages improvising within what surrounds us every day.

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Off Duty | Site-specific sculpture, 2010

The Result | Site-specific, 2010

In Between | Sculpture, 2009

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Pedro Guimares
www.pedroguimaraes.net

location #2 | Lewisham High Street

Bluetown

Finding Bluetown: Queen Elizabeths face superimposed on Londons map.

Bluetown , segundo Guimares, "um sonho de Londres sobre si mesmo, uma celebraco da beleza da sua prpria alienao e solido. Para encontrar Bluetown, Guimares, sobreps um contorno do rosto da rainha Elizabeth ao mapa de Londres, no qual colocou pontos uniformemente espaados, uma grelha de coordenadas geogrficas. Seguindo o percurso definido por este smbolo de inglesismo, visitou e fotografou cada local. As fotografias que se seguem so uma seleco entre a centena de imagens que formam a totalidade do projecto. Como uma extenso a este projeto, "Bluetown encontra-se tambm disponvel sob a forma de um catlogo de edio limitada, em formato de jornal impresso, assinado, numerado e auto-publicado pelo artista. Bluetown is, according to Guimares, a dream of London about itself, a celebration of the beauty of its own alienation and loneliness. To find Bluetown, Guimares superimposed an outline of Queen Elizabeths face on the map of London on which he plotted evenly spaced points, a grid of geographic coordinates. Following the route set by this symbol of Englishness, he then visited and photographed each location. The following photographs are a selection from the one hundred images that constitute the entire project. As an extension to this project, Bluetown is also available as a limited edition catalogue in the form of a newspaper, numbered, signed and self-published by the artist.

location #6 | Cafe, Kimberley Av, Southwark

location #57 | Detective Agency, Brighton Rd, Surbiton

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0a 44 28

9 36 35a

location #0a | Swedenborg Gardens

75 97 0

location #9 | Hanbury Street, Poplar location #75 | Aveley Bypass, South Ockendon location #44 | Priory Rd, Richmond location #36 | Queensbury Station, Barnet location #97 | Northwalk, Croydon location #28 | Buckettsland Lane location #35a | Queensbury Station, Barnet location #0 | Whitechapel Rd

29

35 84 1

location #29 |Gateshead Rd, Borehamwood

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location #35 | Abbots Rd, Edgware location #82 | Heathrise, Bromley location #34 | Wise Lane location #84 | Crystal Parade location #23 | Waltham Abbey location #50 | Hyde Park location #1 | Alscot Rd location #31 | London Road, Stanmore

34 50

23 31

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location #3 | Bromley Rd location #99 | Bethnal Green Road

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Maria Kjartans
www.mariak.co.uk

Clearly Remote
Interesso-me pelo conjunto de momentos cruciais na vida: a puberdade, o amor, vida, morte e a ideia de eternidade. Por outro lado, adoro viajar e vivenciar em primeira mo pequenos grupos de pessoas e paisagem, como sendo a minha prpria famlia, na Islndia, ou o magnfico ambiente de Kulusuk, na Gronelndia. Recolho material, fotografo entre estes grupos sociais ou sociedades isoladas e depois misturo todas estas diferentes pessoas e lugares na minha prpria narrativa.

I am interested in the set of crucial moments in life: puberty, love, life, death and the thought of eternity. On the other hand I love to travel around and experience first hand small groups of people and landscape, whether it is my own family in Iceland, or the magnificent surroundings of Kulusuk, Greenland. I collect material, photographs amongst these isolated societies or social groups and afterwards mix these different places and people into my
Particularly Tidy

own narrative.

puberty, love, life, death...

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Quite Cold Kitchen

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Claudia Ficca & Davide Luciano

www.mypotholes.com

POTHOLES
Depois de uma coliso repentina com um buraco do tamanho de uma cratera a factura de reparao ascendeu a uns colossais 600 dlares. Sem recorrer e sem ningum para quem gritar, conformmonos e aceitamos este inevitvel sofrimento urbano. Decidimos ento canalizar a nossa frustrao para um projecto positivo, no qual o intil buraco de estrada seria uma fonte de humor e criatividade. Tentamos visualizar e incorporar buracos como adereos do dia-a-dia em vez da monstruosidade devoradora de suspenses automvel que na realidade eram. As nossa imaginativas e variadas aplicaes para os buracos levou-nos a uma busca incessante em busca do buraco perfeito. Depois de esboar uma cena no papel, vasculhamos a cidade localizando o buraco apropriado para cada sesso. Assim que que o buraco ideal determinado, reunimos todos os adereos necessrios e informmos os nossos modelos sobre a data pr-determinada para a sesso. Os adereos so montados in situ para construir o cenrio que desejamos. A sesso fotogrfica leva cerca de 5 a 10 minutos a ser concluda. As nossas sesses fotogrficas so igualmente divididas, com cada um de ns alternando por detrs da cmara. ngulos de cmara, o posicionamento e orientao do modelo so discutidos e por vezes improvisados no set. Naturalmente, a tarefa crucial de ter cuidado com o trfego automvel compartilhada por todos. Dado que a srie POTHOLES inteiramente fotografada nos locais durante trfego ininterrupto, a vigilncia fundamental. Para facilitar a nossa tarefa nestas condies, optamos por usar uma cmara digital Nikon D80 com flash sempre que necessrio. Consistncia e integridade artstica so muito importantes para ns. Criamos restries a ns proprios neste projeto de forma a manter alguma coerncia dentro da srie. O foco principal da srie o buraco, a aco da cena no pode ter lugar sem ele. Ns nunca fechamos as ruas ou fotografamos em vielas. Tambm no usamos photoshop para criar a imagem ou adicionar acessrios, usmo-lo apenas para correo de cor. After a sudden collision with a canyon sized crater of a pothole the repair bill amounted to a whopping 600 dollars. With no recourse and no one to scream at we resigned ourselves and accepted this inevitable urban plight. We decided to channel our frustration into a positive project where the useless pothole would be a source of humour and creativity. We attempted to visualize and incorporate potholes as everyday props instead of the car suspension eating monsters they really were. Our imaginative and diverse application for potholes led us on a relentless quest in search of the perfect pothole. After creating a scene on paper, we scour the city and locate the appropriate pothole for each shot. Once the right pothole location is determined, we assemble all the required props and inform our models of the pre determined shoot date. On site we set up our props as required to build the set we desire. The entire shoot takes approximately 5 to 10 minutes to complete. Our shooting sessions are evenly divided with each of us taking a turn behind the camera. Camera angles and model placement and direction are discussed and at times improvised on the set. Of course, the menial yet crucial task of watching for traffic is shared by all. Since the POTHOLES series is shoot entirely on location during uninterrupted traffic, vigilance is key. To facilitate our task under these conditions we chose to use a digital Nikon D80 with flash whenever necessary. Consistency and artistic integrity are very important to us. We created restrictions for ourselves in this project to keep some consistency within the series. The main focus of the series is the pothole, the action of the scene cannot take place without it. We never close off the street, and we never shoot in alleys. Also we dont use photoshop to create the image or add props, we only use it for color correction.

Laundry on St-Urbain, New York City

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Estvamos nervosos ao fotografar nas ruas de Manhattan por causa do trfego intenso, mas descansvamos no facto de s precisarmos de uma adereo, o coelho branco. Revezmo-nos a trs da cmara, redireccionando o trnsito enquanto a nossa Alice virava cabeas ao correr atrs do coelho branco.

We were nervous to shoot in the streets of Manhattan because of the overwhelming traffic but took comfort in the fact that we only had one prop in the scene; the white rabbit. We took turns shooting and redirecting traffic while our Alice made heads turn as she ran after the white rabbit.
Alice in Wonderland on 30th Street, NYC

Para a sesso Baywatch, encontramos o buraco perfeito no crescente Amalfi, em Santa Mnica, Los Angeles. Gostamos de imediato do local porque o buraco profundo localizado no meio da estrada era o ideal para a imagem que tnhamos em mente. Na manh seguinte preparamos tudo enquanto Ania, a nossa modelo, vestia o clssico fato-de-banho vermelho. Ciclistas, transeuntes e motoristas abrandavam e riam ao ver uma salva-vidas a correr em direo vtima de afogamento.

Los Angeles
For the Baywatch scene, we found the perfect potholes on Amalfi crescent in Santa Monica, Los Angeles. We loved this location because the deep pothole located in the middle of the road was ideal for the look we had in mind. The next morning we set up while our model Ania slipped into the classic red one piece. Cyclists, passerby's and drivers slowed down and laughed at the sight of a lifeguard running toward the drowning victim.

Walk of Fame on New Hampshire St

Baywatch on Amalfi Cr, Los Angeles

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Montreal

Scuba Diver on Ave Beaconfield, Montreal

Diver on Ave Musset, Montreal

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Andr Alves

www.theandrealves.com www.theandrealves.blogspot.com

La educacion sentimental d'une vierge

Andr Alves pensa o Por to como doca de origem. Vive actualmente em Cincinnati, EUA. A natureza do seu trabalho explora noes de ausncia, falta, nostalgia e descoberta. As suas instalaes, fortemente centradas no desenho e no vdeo, procuram criar situaes que fomentam o valor do absurdo e do medo em relao ao incgnito.

Andr Alves regards Oporto as a departure point. Hes currently based in Cincinnati, USA. The nature of his work is to explore key-concepts such as absence, loss, nostalgia and discovery. His installations, strongly rooted in drawing and video practices, aim to create scenarios which focus on the role of the absurd and fear when related to the unknown.

Precisprecis 001

Nettoyant 001

Desenhos: grafite, guache s/ papel aguarela

Cul-du-Sac

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srie Os mesmos problemas | 2010 desenhos, grafite s/ papel drawings, pencil on paper

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Blane de St. Croix

www.blanedestcroix.blogspot.com

Para o Black and White Project Space, De St. Croix construiu um novo trabalho site-specific macio, Mountain Strip. Uma paisagem miniaturizada de uma monumental seco de uma mina de carvo na Virgnia Ocidental, uma mina de montanha, simulando uma fatia devastadora do meio ambiente. Enquanto a nao e o mundo lidam com as implicaes ecolgicas, sociais e polticas de tais actividades, essas minas ganharam um significado mais icnico e controlo no intencionais. De St Croix, d literalmente forma a uma montanha de cabea para baixo referindo-se ao processo de minerao a cu aberto que remove o cume da montanha e preenche os vales de detritos, nivelando definitivamente o terreno e retirando-lhe todos os recursos e sustentabilidade. A instalao apresenta-se ao longo de doze metros de comprimento e elevando-se acima das paredes exteriores, uma vez que sobe ao longo de 22 metros de altura, cortando dinamicamente atravs do espao expositivo exterior, funcionando como uma barreira para o espectador. A crista da montanha no s apresentada de forma invertida, mas o espao arquitectnico igualmente usado para fixar a montanha entre as paredes expositivas e a suspender precariamente a centmetros do cho. A instalao existe como uma imagem tridimensional para que a observemos como uma imagem subliminar. Fazendo referncia ao gnero histrico da paisagem, Mountain Strip uma dolorosa interpretao da topografia da montanha e do seu desaparecimento. Alm disso, vrios desenhos a tinta de apoio pesquisa e projecto estaro expostos.

For the Black and White Project Space, De St. Croix builds a massive new site-specific work, Mountain Strip. A monumental miniaturized landscape section of a West Virginia coal mine, a mountain strip mine, simulating a devastating slice of the environment. As the nation and the world grapple with the ecological, social and political implications of such activities, these mines have taken on more iconic meaning and unintended scrutiny. De St Croix, quite literally builds a mountain upside down referring to the strip mining process of mountain top removal and filling of the valleys, definitively flatting the land and stripping it of all its resources and sustainability. The installation runs over forty feet in length and towers above the exterior walls as it climbs up twenty-two feet high and dynamically cuts through the exterior exhibition space spilling into the interior gallery functioning as a barrier for the viewer. The mountain ridge is not only presented upside down, but also architecturally the space is used to wedge the mountain between the projects exhibition walls and precariously suspends it inches from the floor. The installation exists as a three-dimensional still there for us to observe as a subliminal image. Referencing the historical genre of the landscape, Mountain Strip is a painstaking interpretive rendering of the mountains topography and its demise. In addition, numerous detailed ink drawings in support of the project and its research will be on view.
Broken Landscape | 2009, Installation views

Marsh Swamp Landscape | 2008

O meu trabalho recente explora a paisagem geopoltica atravs do desenho e instalao escultrica. Conduzo uma extensa pesquisa para cada projeto, atravs de visitas ao local, documentao fotogrfica, entrevistas e imagens de satlite. Utilizando uma combinao de materiais naturais e industriais, estou interessado em articular o desejo da humanidade para assumir o controle sobre a Terra, revelando conflitos distintos com a ecologia, poltica e com ns prprios em instalaes de grande escala que utilizam o espao arquitectnico de uma maneira distinta, forte e imponente.

My recent body of work explores the geopolitical landscape through drawing and sculptural installation. I conduct extensive research on each project, through site visits, photographic documentation, interviews, and satellite imagery. Employing a combination of natural and industrial materials, I am interested in articulating humankind's desire to take command over the Earth, revealing distinct conflicts with ecology, politics and ourselves in large-scale installations that utilize architectural space in a distinct, powerful and imposing manner.

Photos by Ettiene Frossard

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Mountain Strip
Mountain Strip baseia-se em recentes viagens a minas superfcie e s suas comunidades no estado da Virgnia. A pesquisa para o projeto envolvia viajar at minas abandonadas e activas, entrevistar activistas anti-minerao, organizaes ecolgicas a nvel regional, o departamento de apoio criana na rea, os prprios mineiros assim como os residentes locais. Documentao extensiva foi feita atravs das actividades no solo bem como uma vista area geral sobre a rea. A viagem de pesquisa convergiu no topo da montanha Kayford, uma rea de extensa explorao mineira, onde De St. Croix entrevistou Larry Gibson durante vrios dias. O ltimo reduto de Larry contra as empresas mineiras f-lo ganhar recentemente o prmio hero atribudo pela CNN. O cume desta montanha posse da sua famlia h mais de 200 anos e est a ser progressivamente arrasado, deixando uma pequena mancha verde no topo da montanha numa paisagem estril e nivelada. Ele tem lutado contra esse tipo de devastao da terra nos ltimos 20 anos. O projecto Mountain Strip reconstri uma seo especficamente seleccionada do cume da Montanha Kayford, na Virgnia Ocidental tanto como um monumento como um memorial ao local.

Mountain Strip is based on recent travels to strip mines and its communities in West Virginia. The research forthe project involved travel to abandoned and active strip mines, interviews with anti strip mining activists, regional green organizations, the child services department in the area, working miners as well as local residents. Extensive documentation was done through both on the ground activities and an aerial fly over of the strip mines. The research trip converged on the top of Kayford Mountain, an extremely heavily mined area, where De St. Croix interviewed Larry Gibson over several days. Larrys last stand against the strip mining companies has won him a recent CNN hero's award. His mountaintop has been in his family for over 200 years and is being stripped away leaving a small green patch topping the mountain in an otherwise barren and leveled landscape. He has fought this type of land devastation for 20 years. The Mountain Strip project specifically reconstructs a selected section of the Kayford Mountain Ridge top in West Virginia as both a monument and memorial to the land.

Mountain Stripe | 2009

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Anexos/Annex_
Carlos Azeredo Mesquita
The Radiant City
The project begins from a research developed under the framework of the architectural socialist legacy, carried out in Budapest, Hungary. Through an exercise of panoramic photography which activates some of the principles suggested by serialism, one wonders if the own sociopolitical conditioning imposed by the socialist era urban matrix, as well as the instances of a once anonymous society, one limited and guided by mimetic grades. In an ironic and conscientious appeal to the re-questioning of utopian projects such as "The Radiant Ciity" by the architect Le Corbusier, it is here called into question its distorted copy and implementation in Eastern Europe countries, in what is a subtle exercise in archeology about urban planning in Eastern Europe today. When, in summer 2009, I moved from Oporto to Budapest as an exchange student, i made a 12 hour scale in Madrid (direct flights were more expensive) and during this waiting i revisited the exhibitions of the great museums "Reina Sofia" included since seeing Guernica once again is compelling but this time what was retained in memory was not so much the painting but a book for sale at the museum store which contained no text but only a 1:1 scale reproduction of the whole painting, obviously segmented and condensed into a book by the same system used by geographical atlases. Obviously that seeing a small portion of Guernica is the same as seeing an abstract painting, but what intrigued me was the relationship between fragment and whole, and how, theoretically, if I pluck all the pages and placed them side by side would get a 1:1 scale version of Guernica, that is, those fragments ordered according to a system, contained in itself something with the same size as Guernica. I had already traveled a good part of the former Eastern Bloc, Hungary included, and having the curiosity typical of someone coming across the Wall, and now facing the possibility of living here, I decided to put to the test the ghosts and myths about what had happened during 40 years of communist government and how they really affected society - with all that it entails. It is understood that at no time did I intend to "critique" in a simplistic way what was a regime or what is now a society (even if this happens implicitly); i prefer to place this project in the field of observation / gathering, a hybrid of photography with anthropology and sociology. From the roots of Marxist philosophy sprang the idea that a society must exist for the benefit of social orders that have historically played a disproportionately large volume of the overall work, a scheme that has become a political reality with the 1917 Revolution ; what happens to this day is that socialist societies seem to have existed not so much for their own benefit as a whole, as much as for theperpetuation of the Socialist State as a concept, in short: "The Party", in a way that it becomes the centerpiece of an entire system. An example, in Fine Arts the government acted as the arbiter in matters of taste and quality by imposing a form and style and making its artists (Amerigo Tot in the Hungarian case, for example), but was in Architecture that the social-realism found its ultimate expression - block apartments. Throughout History architecture has been used to demonstrate and reinforce certain ideas and "fundamental truths" about societies in wich its created - the Pharaohs and the Pyramids, Versailles and Absolutism or New York and Capitalism. Marx, Lenin, Stalin, Mao or Ceausescu were, among others, the makers of these truths and in a system in which they ruled as "human gods", the architecture would be a reflection of their - also moral - authority, an exclamation to state power. While the West was engaged in building cathedrals to commerce, in an ideological system dedicated to the workers and peasants the most important "philosophical" structures could not be churches, skyscrapers or shopping centers, but residential areas beehive-style - through architecture thus materialized the ideal of common good. Ideal Socialist Cities were built from scratch all around the Soviet space: Nova Huta in the outskirts of Krakow, or Dunaujvaros south of Budapest are today huge masses of concrete blocks not far from Le Corbusiers ideas about what a "Radiant City" is (the title of this project: noted that this "radiant" acquired over time an almost ironic conotation), moreover an utopia applicable anywhere by not being tied to any political ideology. The result is about 170 million people in the area of Eastern Europe living in what can be considered as "machinery habitats" taken to the extreme. (1) (2) Its redundant to say that the serial side of these developments, the way as in any suburb the prefabricated elements are equal, varying only in height and available space in the blocks, always created in my regard a mixture of fascination with incredulity. Indeed, structures of similar nature are subjects of interest by photographers who dedicate themselves to producing image collections, more or less objective about the same identical object - the most obvious example would be the Becher couple and their systematical approach to funcionalist industrial architecture. When, due to another series of photographs i was visiting one of the suburbs of Budapest, I faced the series of mobile homes that would subsequently become n 1 Series in this project. The street itself contained many of my thoughts about the building blocks but added something I had allready seen and had not noticed: these caravans werent part of the urbanization original conception and were serial without having been originally planned to be so - somehow they represent the human side to these spaces and the intervention to the location where residents live in a very similar way to that of what balconies painted in different colors also represent, also in building blocks, the "principle of private property" - the idea that standard housing would produce a standard socialist citizen (3) devoid of individuality is so totally destroyed, and we return to the relationship between individual versus serial and, more broadly, to he problem raised months before by the book that charted Guernica - how do the part and the whole articulate and how does the part articulates itself in the whole. When visiting the same street by the second time i started shooting, the only possible solution would be the one that maintains the individuality of each element but would contextualize it in what was the vision of an enlarged space - to show that all caravans are on the same street at a short distance between themselves was essential because otherwise it wouldnt be a reference to panoramic photography as understood in its omens (in which several separate images but spatially sequential are placed side by side) and could result in the impression that the caravans images were collected in different parts of the city; to demonstrate that the mobile homes are on the same street is a simple exercise, one just needs to follow the buildings in the background and see that some windows are repeated from one image to another. The following series arise naturally, based on that premise that there are "anomalous" identical elements that repeat themselves linearly in space (the building blocks beeing the most serial and the one in which any "anomaly", even / especially serial has greater impact) and that both contain a narrative: each image individual has its own and can operate autonomously, but gains a quite different content when viewed in conjunction with the others from the series to which it belongs - the context is explained in writing in each set, one element that seemed essential to allow an approach to document status and objective impartiality that the very choice of views and light already pointed out by itself. Gathered thus heating pipes, makeshift garages or unfinished housing developments, where this utopia of the "Radiant City" inhabited by standard inhabitants succumbed to circumstances or saw itself amended by the needs of those who live there. ______________________________________________________
(1) Dont get mistaken those who think these housing developments were or are universally detested. For many families it was a dream to see one of these "modern homes" to be assigned by the State as it would be the first time that they would enjoy, for example, piped water and heating. (2) "Sistematizare", a name that could eerily echoe Le Corbusier, was the program started in 1974 by Ceausesco, which consisted of demolition and reconstruction of towns and cities, in whole or in part, by replacing the old buildings by "modern" block apartments, in view to making Romania a "multilaterally developed socialist society (3) An idea very well satirized in the film "Irony of Fate" by Eldar Ryazanov, in which a resident of Moscow goes to Leningrad by mistake, and when giving his home address to the taxi driver is left on the indicated street, which happens to also exist in Leningrad, as well as an identical apartment building, reaching to the extreme of the key beeing the same that opens its door.

(pg. 04)

artemagazine

Copyright
O autor concede PARK [art magazine] o direito de reproduzir os trabalhos submetidos em qualquer um dos seus nmeros, em todas as edies, revises e repeties da publicao, em material de divulgao (tanto impresso como digital) e em todos os meios que tornem a PARK disponvel em formato digital para leitura e/ou como agente contribuidor para outras obras publicadas. O autor confirma que todas as informaes envidas so igualmente verdadeiras e que o nico proprietrio de todos os direitos da obra de arte (e para todas e quaisquer fotografias, amostras ou desenhos) ou tenha sido autorizado pelo proprietrio a ceder os direitos. Concorda igualmente em no receber qualquer tipo de remunerao pela sua contribuio. A PARK no responsvel por qualquer tipo de violao de direitos de autor cometido pelos respectivos contribuidores The submitting artist grants to PARK [art magazine] the right to reproduce the respective work in any of their numbers, in all editions, revisions and repetitions of the publication, in promotional material (whether printed or digital) and all media which makes PARK available in visual form for reading and as a contribution to other collected works in media. The submitter confirms that the information attached to the works is correct and that that he/she is the sole owner of all rights of the artwork (and to any and all photographs, samples or designs) or has been authorized by the owner to grant the rights granted and that the publication of the work does not infringe the rights of others. The artist hereby agrees to not receive any direct financial compensation from PARK for his/her contribution. PARK is not responsible for any copyright infringement committed by the respective submitters.

114

Arran Poole
Um ensaio para a Park [art magazine]. por Arran Poole | 8 de Dezembro, 2010

(pg. 58)

Canibalismo udio
Uma palavra sobre o canibalismo ... Algumas pessoas dizem que o canibalismo se deve fome ... No bem assim. - Maretu (1983: 33)

Tangiia come Tutapu.

O facto de que o canibalismo ocorreu em e ao redor das ilhas do Pacfico Sul indiscutvel. Tem sido dito que o grande explorador ingls James Cook foi morto e comido numa batalha no Havai (Hopkins, 2004: 108). As Fiji foram referidas outrora como as "Ilhas Canibais e na Nova Zelndia (Aotearoa), o canibalismo era uma prtica regular e bem documentada durante as guerras tribais Maori. Um relato muito interessante de canibalismo no Pacfico Sul no entanto relembrado num livro entitulado Cannibals and Converts: Radical Change in the Cook islands (Canibais e Convertidos: Mudana Radical nas Ilhas Cook), (1983) por Maretu. Um residente em Rarotonga nas Ilhas Cook, o que Maretu conta notvel por ser a nica descrio detalhada de canibalismo escrita por um ilhu que tinha de facto tomado parte em prcticas canibais. Enquanto jovem, Maretu foi alimentado com carne humana do forno de seu pai - e dito ter ofendido os mais velhos por "ter escondido a cabea da vtima como uma parte secreta" (Gill, 1885: 234-5). Maretu sugere no seu livro que o canibalismo Rarotongan surgiu na sequncia de uma disputa entre dois primos, Tangiia e Tutapu. Nascidos e criados nas ilhas do Taiti, eram ambos provenientes de castas nobres, ambiciosos e orgulhosos. Porm, uma srie de transgresses de Tangiia, levaram a uma rixa entre os dois, e aps uma batalha longa e amarga no Taiti, Tangiia decidiu migrar para outra ilha. No entanto, Tutapu - que ficou conhecido como "o perseguidor implacvel" (Crocombe, 1983: 27) - perseguiu, agrediu e vilipendiou Tangiia de uma ilha para a seguinte, at que se reuniram no combate final na ilha de Rarotonga. Aps ter derrotado Tutapu uma ltima vez, diz-se que Tangiia arrancou e engoliu os olhos do oponente, antes de cozinhar e comer o seu corpo. Se lenda ou no, a disputa de Tangiia e Tutapu interessante j que contrasta com o que talvez seja a crena mais difundida de que as tendncias canibais surgiram apenas devido escassez de alimentos. No caso de Tangiia, o acto de comer a carne do cadver Tutapu representa antes um acto de vingana. Como observou a escritora Majorie Crocombe,o acto de Tangiia visto pelas sociedades polinsias como "a conquista e humilhao definitivas de um guerreiro sobre outro" (ibidem). que esta nova forma de canibalismo - este canibalismo udio - se lhe compara? O que leva uma pessoa a devorar a carne do trabalho de outra? O que motiva um artista a arrasar o trabalho dos seus pares em pedaos e a fazer sampling e consumir a sua carne? Um argumento particularmente recorrente que o processo de sampling presta homenagem a um artista ou grupo de artistas. Um bom exemplo o lbum de 2004 do DJ Dangermouse, The Grey Album. um lbum de misturas construdo a partir de faixas de apoio instrumentais do White Album dos Beatles e das faixas vocais Cappella do lbum de Jay-Z, The Black Album. Este ltimo ganhou alguma notoriedade nos ltimos anos como a causa de um protesto online em massa, apelidado de "tera-feira negra", no qual mais de 170 sites e blogs ofereceram o lbum para download ilegal (Werde, 2004). Este diferendo surgiu aps tentativas da editora EMI para parar a distribuio online do lbum, alegando que o trabalho violava leis de direitos autorais. No entanto, The Grey Album no nasceu do desejo de pr a n as insuficincias da legislao de direitos autorais - estas dimenses polticas vieram depois. Por direito prprio, o lbum tem sido elogiado pela crtica pelo uso inovador da tcnica de sampling - e mais especificamente por prestar homenagem msica dos Beatles, abrindo ao mesmo tempo caminho para terreno musical novo e desconhecido. O prprio Jay-Z afirmou numa entrevista ao canal norte-americano NPR que se sentiu honrado por constar das mesmas faixas dos Beatles (Jay Z, 2010). Da mesma forma, o crtico de msica do Boston Times, Renee Graham, resumiu o lbum dizendo: "Danger Mouse trouxe os Beatles gerao hip-hop, enquanto honra a inovao intemporal da banda" (Graham, 2004). A inovao de The Grey Album, poderamos dizer, nasce da "fertilizao cruzada"; no revolucionria, mas evolutiva. E adopta uma atitude antropofgica de modo a absorver a qualidade musical e excelncia daqueles cujo trabalho foi consumido. Ela representa um meio de incorporar os seus espritos benevolentes, para absorver a sua fora e sabedoria. No entanto, isto no se passa em todos os casos de canibalismo udio. Tomemos por exemplo o trabalho do duo britnico CasseteBoy. Estes criam cut-ups de obras que so meticulosamente construdas a partir de milhares de fragmentos udio retirados da rdio, TV, cinema e msica popular. Muitas vezes, por motivos polticos, a sua obra troa de personalidades pblicas que se encontram no centro das atenes, como polticos, celebridades e personalidades da TV. Simplificando, eles reorganizam e/ou modificam as palavras registadas de celebridades para faz-las dizer coisas rudes, brutas ou at vulgares. Um bom exemplo do estilo "cut-up" de CasseteBoy o seu trabalho de 2008, Nigellas XXXmas . Com cerca de minuto e meio de durao, Nigellas XXXmas apresenta apenas passagens de texto reconstrudas a partir de amostras do programa de culinria de Nigella Lawson, Nigellas Kitchen. Enquanto Nigella famosa pelo uso de insinuaes sexuais subtis nos seus programas, o trabalho de CasseteBoy fora a sua linguagem sexualmente sugestiva ao ponto de ruptura. Em Nigellas XXXmas, as palavras da apresentadora so reordenadas de modo a faz-la falar explicitamente sobre sexo oral, dizendo: "h algo que eu adoro fazer nesta poca do ano e que fazer um broche. Eu chupo as salsichas do meu amigo ... Meus lbios esto enrugadas e prontos para este pau entrar na minha boca ... delicioso. Um pouco de gosto adulto". E depois, o acto sexual: "eu vou enfiar esta salsicha doce, grossa, preta e brilhante salsicha dentro de mim. Aqui vai ... Agora vo as nozes (nuts = testculos), e eu estou a deix-los largar o seu revestimento salgado - olha para isto a escorrer para fora". Ao contrrio de The Grey Album, talvez seja difcil considerarNigellas XXXmas como um sinal de respeito, ou uma tentativa por parte de CasseteBoy para absorver o esprito benevolente de Nigella Lawson. Pelo contrrio, o trabalho degradante, insultuoso e profundamente humilhante. E difcil considerar a obra nada menos do que um completo assassnio de carcter; um ataque mordaz, cuja natureza deve certamente ser pelo menos um pouco semelhante ao acto do canibalizar do cadver de Tutapu por parte de Tangiia. Lembre-se como o acto de Tangiia de arrancar e engolir os olhos de Tutapu representa na sociedade polinsiar um insulto e uma vergonha para tanto a vtima como respectiva famlia. De um modo de desonra semelhante, as vtimas do canibalismo udio CasseteBoy so feitas "parecerem ... incompetente(s), egosta(s), sexualmente desviante(s)" (Walker, 2010). O seu trabalho representa o canibalismo udio para efeitos de abuso, insulto e uma abastardamento das palavras da vtima e sua conduta.

que esperam vocs alcanar com o vosso trabalho?", Michael Bollen dos CasseteBoy respondeu dizendo, O nosso objectivo sempre foi apenas fazer as pessoas rir. o pblico britnico sempre gostou de um pouco de sujidade e insinuaes" (Bollen, em Walker, 2010).

A Era Iminente do Canibal.

No entanto, embora o trabalho de CasseteBoy deva no final ser definido como humor negro retorcido, salienta no entanto a possibilidade de uma nova e mais sdica forma de canibalismo udio nos moldes da histria de Tangiia e Tutapu. Uma forma totalmente motivada por vingana e por represlias, uma forma que no foi feita para gargalhadas ou divertimento, mas simplesmente para causar vergonha e desgraa nas respectivas vtimas. Ironicamente, talvez seja precisamente esta uma das razes pela qual as obras de CasseteBoy sejam entendidas como sendo bem-humoradas. Porque jogam com a idia de que, se desejarmos, podemos vingar-nos de estrelas de Reality TV frvolas ou sobre a celebridade eternamente difundida cujo rosto omnipresente nos mdia. Porque jogam com a idia de que, se desejarmos, podemos corromper e desconstruir as palavras de uma figura pblica odiada , e recostur-las novamente para a fazer parecer tosca e incompetente. Em ltima anlise, canibalismo udio deste tipo cria um sentimento de poder no seu pblico atravs da repartio de uma metodologia para a vingana. Mostra audincia uma forma de humilhar e envergonhar aqueles de que no se gosta. E isso representa tanto um esforo gratificante como deliberadamente cruel, um empreendimento cujo potencial praticamente infinito. Qualquer figura pblica, qualquer poltico, qualquer personalidade da TV, e toda a celebridade cujas palavras foram gravadas digitalmente e distribudas um alvo potencial. As tcnicas de canibalismo udio que CasseteBoy promove ir-se-o talvez generalizar. possvel que estejamos a entrar numa era de barbrie do canibalismo udio. difcil dizer. Mas para aqueles no centro das atenes do pblico, este tipo de trabalho deve certamente provocar um dilema inquietante: Quem vai sucumbir ao mesmo destino de Nigella Lawson? Quem ser a prxima vtima do canibal de udio? Qual de ns ser comido de seguida?

Rato come Beattle / CasseteBoy come Nigella Lawson.

Embora a histria de Tutapu e Tangiia possa fornecer uma fascinante introduo fora motriz por detrs do canibalismo na Polinsia, acredito que os seus temas centrais possam talvez lanar alguma luz sobre uma srie de prticas contemporneas completamente alheias. Mais propriamente, as motivaes por detrs da cultura de sampling nas artes musicais. Ao usar aqui a palavra sampling, refiro-me ao processo artstico de reaproveitamento de extractos de uma obra musical j existente para fazer parte de uma nova composio, um termo normalmente mais aplicado mistura digital de material gravado. Como tcnica, o sampling tem sido fundamental no desenvolvimento de um nmero significativo de movimentos musicais e artsticos nos ltimos trinta anos ou mais. De John Oswald "plunderphonics"; ao incio do hip-hop de Grandmaster Flash ou Sugar Hill Gang, para a msica Mashup, ou Bastard Pop, como conhecida no Reino Unido. Em todos os casos, o sampling leva criao de um tipo de msica agregada, uma composio ou um compsito que apresenta uma justaposio ou colagem de vrias fontes diferentes. Tambm inspirou uma grande variedade de textos que discutem a relevncia do fenmeno e a sua importncia para a msica - ou, alternativamente, que condenam a tcnica como sendo plgio. Porm, talvez nenhum texto incorpore de forma mais adequada as preocupaes com o sampling do que a idia do jornalista David Quantick de que "o Pop vai-se autocanibalizar". Quantick usou pela primeira vez a expresso num artigo de 1980 para descrever o instinto cada vez mais repetitivo da msica popular para se reciclar a si prpria, uma tendncia que pode ser identificada em abundncia na msica popular dos nossos dias, no precisando dessa forma de introduo. A sugesto do jornalista particularmente digna de nota j que, friamente, confere ao processo de sampling uma dimenso canibal. Uma sugesto de msica como consumidora da sua prpria gordura, como devoradora da sua prpria carne, como aquela que escava a carne dos prprios antepassados. Nesta concepo, sampling representa um simulacro de canibalismo. Ou, para dar-lhe outro nome, uma espcie de "udio canibalismo". J consideramos as motivaes do canibal polinsio Tangiia. Ento como

Bibliografia Crocombe, M. (1983) 'Cannibalism on Rarotonga'. In Maretu (1983) Cannibals and Converts: Radical Change in the Cook Islands. Trans. by M. Crocombe. Institute of Pacific Studies: University of the South Pacific. Gill, W-W. (1885) Jottings from the Pacific. Religious Tract Society: London. Graham, R. (2004) Jay Z, The Beatles meet in 'grey' area. [Online] Disponvel em: http://www.boston.com/news/globe/living/articles /2004/02/10/jay_z_the_beatles_meet_in_grey_area/ Hopkins, J. (2004) Extreme Cuisine: The Weird and Wonderful Foods That People Eat. Periplus. Jay Z (2010) The Fresh Air Interview: Jay Z 'Decoded'. [Online] Disponvel em: http://www.npr.org/player/v2/mediaPlayer.html Maretu (1983) Cannibals and Converts: Radical Change in the Cook Islands. Trans. by M. Crocombe. Institute of Pacific Studies: University of the South Pacific. Walker, J. (2010) James Walker put some questions to Michael Bollen of Cassetteboy fame. [Online] Disponvel em: http://www.leftlion.co.uk/articles.cfm/id/2836 Werde, B. (2004) Defiant Downloads Rise from the Underground. [Online] Disponvel em: http://www.nytimes.com/2004/02/25/arts/defiant-downloads-rise-fromunderground.html