Partnership with the Jornal Dínamo

Was concluded, about two weeks ago, a partnership agreement with the Portuguese cultural newspaper online – Jornal Dínamo -. This Agreement is to further emphasize the dissemination of Portuguese contemporary artists. Thus the Portuguese art is disclosed in accordance with the number of interviews and biographies that are made by Jornal Dínamo or Arthoughts or vice versa.

on the other hand the Jornal Dínamo reserves the right to submit Arthoughts original articles that is intended for the production of Dínamo (http://www.jornaldinamo.com). Sandra Adónis, Director of the Journal, undertakes to “develop a dynamic partnership that is designed to the healthy development of both parts“.



Here are some points that will be developed in future.

1 – Increased disclosure of Portuguese Contemporary Art

2 – More original content, either produced by the team Arthoughts either produced by the Jornal Dínamo.

4 – More interviews with Portuguese Artists

5 – More Biographies



Foi celebrado, há cerca de duas semanas, um acordo de parceria com o Jornal Cultural Português – Jornal Dínamo -. Este Acordo vem no sentido de enfatizar mais a divulgação dos artistas contemporâneos portugueses. Desta forma a arte portuguesa será divulgada de acordo com o número de entrevistas ou biografias que se fazem no Jornal para o Arthoughts ou vice-versa.

Em contrapartida o Jornal Dínamo reserva-se o direito de apresentar artigos originais do Arthoughts no site a que se destina a produção deste Jornal (http://www.jornaldinamo.com). Sandra Adónis, Directora do Jornal, compromete-se a “desenvolver uma parceria dinâmica que tenha em vista o desenvolvimento saudável das duas partes“.



Aqui ficam alguns pontos que vão ser desenvolvidos futuramente.

1 – Maior dinamismo e mais informação

2 – Mais conteúdos originais; ora produzidos pela equipa do Arthoughts, ora produzidos pelo Jornal Dínamo.

3 – Maior divulgação da Arte Contemporânea Portuguesa

4 – Mais entrevistas com Artistas



Add to FacebookAdd to NewsvineAdd to DiggAdd to Del.icio.usAdd to StumbleuponAdd to RedditAdd to BlinklistAdd to TwitterAdd to TechnoratiAdd to Furl

Ikon Gallery is back to nature

Giuseppe penoneThe geometry in the hands,
2007
Bronze, Polished stainless steel,
195 x 120 x 103 cm
Courtesy of Giuseppe Penone
and Marian Goodman Gallery,
Paris



Giuseppe Penone
Ikon Gallery Birmingham
on now > 19 July, 2009



Press-release| PT (tradução de Ana Vinhas)



Giuseppe Penone is renowned rightly as one of the most important artists of his generation. Emerging through the late 1960s and 1970s as an exponent of Arte Povera, an avant garde Italian art movement that has had lasting effect, his career has gone from strength to strength. His work in the 2007 Biennale of Venice, for example, was a highlight in a choice selection of international contemporary art. This major exhibition, on both floors of Ikon Gallery, ranges from early seminal sculptures, drawings and photographs, through to recent and new pieces.

Penone’s aesthetic proposition springs from observations on natural phenomena, with a bearing particularly on our interaction with our environment. The nature of sensory perception is crucial for his proposition, especially through touch and sight – not surprisingly, given his choice of media. He has thus been consistently preoccupied with the eyes and skin, locations of interface between the human body and all that surrounds it. In this vein, Penone’s Rovesciare i propri occhi (Reverse Your Eyes, 1970), is a key work. It consists of a sequence of photographic slide projections showing the artist on a tree-lined road, each one zooming in on him until we can clearly see that his eyes are covered with mirrored contact lenses. In the dramatic final image we see Penone sightless and, in reverse, little convex reflections of what would otherwise be visible to him. He makes the point strongly that our knowledge of the world is derived ultimately from physical sensitivity. Many of Penone’s works, from the 1970s, involve impressions of his skin or magnifed images of eyelids.

Trees, with their compelling human resemblance, also often feature in Penone’s work; they have limbs and skin as we do. In 1968 Penone devised an action that involved him grasping a tree trunk, “adding his strength to the strength of the tree”, in an intense communion. This was documented by a beautiful black and white photograph. The artist then fixed a cast steel replica of his hand to the same place on the trunk and left it there for ten years. A photograph reveals a thick scar caused by the foreign metallic body, evidence of the tree’s remarkable power of assimilation. Penone also leaves a telling trace of himself in Soffio di Foglie (Breath of Leaves, 1979), a bed of dried leaves that bears an impression of his prostrate body. Near the head is a concavity as a result of his exhalation, the adding of his breath to the foliage that, when alive and attached, breathes for trees.

Essere fiume (Being a River, 1981–1995) draws an analogy between natural forces and artistic activity. Here Penone uses a mechanical masonry device to sculpt a quarry stone into an exact replica of a river stone, meticulously reproducing the smooth contours made from thousands of years of water erosion. The stone sculpture of a stone is exhibited alongside the original, demonstrating the artist’s conviction that what already exists in the natural world is wonderful enough, and that contrived products of the human imagination pale in comparison. This work sums up Penone’s radical challenge to conventional notions of art.



Contact details

Ikon Gallery
1 Oozells Square
Brindleyplace
Birmingham
B1 2HS

T. +44 (0) 121 248 0708

ikon-gallery.co.uk



Add to FacebookAdd to NewsvineAdd to DiggAdd to Del.icio.usAdd to StumbleuponAdd to RedditAdd to BlinklistAdd to TwitterAdd to TechnoratiAdd to Furl

Portugal Pavilion – 7JUN » 22NOV | La Biennale di Venezia


logo_150


02



img37high resolution

A Pedra Inviolável, 2004
João Maria Gusmão + Pedro Paiva
Filme 16 mm, cores, sem som, 1’28’’
Agradecimentos: Fundação Calouste
Gulbenkian e Galeria Zé dos Bois, Lisboa


Images and credits – ENG | PT|

Press-release ENG |


Sobre a Representação Oficial Portuguesa na 53ª Exposição Internacional de Arte La Biennale di Venezia

A 53ª Exposição Internacional de Arte, La Biennale di Venezia, decorre entre 7 de Junho e 22 de Novembro de 2009. A presente edição da mais importante exposição de arte contemporânea do mundo tem como tema genérico Fare Mondi e será organizada pelo curador internacional Daniel Birnabaum (Estocolmo, 1963).

Desde início da presente década Pedro Paiva e João Maria Gusmão têm apresentado, sob plataformas expositivas e formatos diversificados como o cinema experimental e a instalação, um conjunto estruturado de ensaios numa incessante procura da afirmação das possibilidades da “verdade”. Radicando essa investigação duma forma não ortodoxa ou académica na ontologia, os artistas dedicaram-se a construir sentidos para o que a experiência humana no mundo apresenta de diverso e inexplicável.

Na Bienal de Veneza de 2009 a dupla de artistas apresentará um novo corpo de trabalho, certamente multidisciplinar e complexo, enquadrado nas directrizes da curadoria de Natxo Checa – Fundador, programador, produtor e director da Galeria Zé dos Bois.


Ver também: Portuguese Journal Press – Público



CONTACTOS

Pavilhão Português
Fondaco dell’Arte
Calle del Traghetto o Cá Garzoni
San Marco 3415 Veneza
Itália

www.dgartes.pt/veneza2009

pavilhao_local







Coordenação e Produção
Antonia Gaeta . agaeta@dgartes.pt
Direcção-Geral da Artes . Ministério da Cultura
Av. da Liberdade, 144 – 2º andar . 1250-146 Lisboa
T [+351] 211 507 010 . F [+351] 211 507 261 . E geral@dgartes.pt



Add to FacebookAdd to NewsvineAdd to DiggAdd to Del.icio.usAdd to StumbleuponAdd to RedditAdd to BlinklistAdd to TwitterAdd to TechnoratiAdd to Furl

Brazil goes Dutch!!!

ROTTERDAM SHOW
BRAZIL CONTEMPORARY

Three Rotterdam museums –
Museum Boijmans Van Beuningen,
the Netherlands Architecture Institute,
the Netherlands Photo Museum
– are bringing the rich culture of Brazil
to the city on the Maas.


Ernesto NetoErnesto Neto, collection: Museum Boijmans Van Beuningen



Brazil is inspiring, astounding, amazing. It is one of the largest countries in the world, with vast cities of millions of inhabitants that defy the imagination. Brazil is also developing at breakneck speed and is one of the economic giants of the future. But Brazil has its downside too: the depletion of the rainforest, the enormous contrast between rich and poor, the favelas. These phenomena are culturally reflected in an exciting cocktail of high and low art, of street art and politically committed art, and of different art disciplines and traditional craftsmanship. Brazilian culture will go to your head.

After the success of China Contemporary (2006), the three museums have decided to join forces again to focus on a country that has emerged as a global player in economic, social and cultural terms within a short period. Brazil Contemporary presents a broad panorama of Brazilian culture and introduces the public to young Brazilian artists, architects and designers.



MUSEUM BOIJMANS VAN BEUNINGEN presents a dazzling survey of the contemporary art of Brazil. The work of Hélio Oiticica (1937-1980) occupies pride of place. Oiticica considered that Brazil should not just passively undergo and imitate Western influences, but that artists should transmute these influences into a uniquely Brazilian culture. The exhibition shows to what extent today’s artists are still under the influence of Oiticica, with works by Ernesto Neto, Rivane Neuenschwander, Cao Guimaraes and Ricardo Bassbaum. 30 MAY to 23 AUGUST

Visiting Address
Museum Boijmans Van Beuningen
Museumpark 18-20
3015 CX Rotterdam

Phone | Email | Web
T. +31 (0)10 44.19.400
email. info@boijmans.nl

www.boijmans.rotterdam.nl



Opening hours
Tuesdays to Sundays
11.00 to 17.00



THE NETHERLANDS ARCHITECTURE INSTITUTE introduces the public to one of the biggest cities in the world: São Paulo. With its melting pot of cultures and identities, São Paulo is the reflection of contemporary Brazil. The exhibition introduces visitors to the mind-boggling size, the social structures and the cohesive forces of this metropolis. There are three intertwining narrative threads. First is the story of a vast city with millions of inhabitants. Then there is the story about life in the city – neighbourhoods, communities and well-known architecture projects by Oscar Niemeyer, Lina Bo Bardi, Paulo Mendes da Rocha and others. And finally there is the story of the Paulistanos, the residents of São Paulo, and their dreams for the city. 30 MAY to 23 AUGUST

Visiting Address
Netherlands Architecture Institute
Museumpark 25 3015 CB
Rotterdam Netherlands

Postal Address
P.O. Box 237 3000 AE
Rotterdam Netherlands

Opening Hours
Exhibition Galleries and Sonneveld House
Tuesday – Saturday: 10.00 – 17.00
Sundays and national holidays: 11.00 – 17.00
Closed on Mondays, January 1, April 30 and December 25
Closed on Saturdays in July and August.

Phone | Email | Web
tel. +31(0)10-4401200
fax +31(0)10-4366975
e-mail. info@nai.nl

en.nai.nl



THE NETHERLANDS PHOTO MUSEUM zooms in on the rapidly changing Brazilian visual culture with its mixture of high and low, élitist and populist, artistic and applied. The exhibition shows not only photography, but also other old and new media, television and internet, with an excursus on fashion and design. 30 MAY to 23 AUGUST

Visiting Address
Nederlands Fotomuseum
in Las Palmas Building (gallery 1)
Wilhelminakade 332
NL-3072 AR Rotterdam
The Netherlands

Postal Address
Nederlands Fotomuseum
Postbus 23383
3001 KJ Rotterdam
The Netherlands

Opening Hours
Tuesday to Friday
10:00 to 17:00 hrs
Saturday and Sunday
11:00 to 17:00 hrs

Phone | Email | Web
tel. +31 (0)10-2030405
fax +31 (0)10-2030406
email. info@nederlandsfotomuseum.nl

www.nederlandsfotomuseum.nl



Get your self updated at www.brazilcontemporary.nl



Add to FacebookAdd to NewsvineAdd to DiggAdd to Del.icio.usAdd to StumbleuponAdd to RedditAdd to BlinklistAdd to TwitterAdd to TechnoratiAdd to Furl

JOHN WOOD & PAUL HARRISON at Vera Cortês Art Agency – 29MAY » 25 JUL

logo_veracortes



1kmJohn Wood & Paul Harrison
Another one kilometre
2009
16:9, 2’12’’, Colour, sound



JOHN WOOD & PAUL HARRISON
No Time



Press-release | ENG | PT



INAUGURAÇÂO DIA 28 de MAIO ÀS 22h
de 29 de Maio a 25 de Julho
na Vera Cortês Agência de Arte

OPENING ON THE 28TH OF MAY AT 22H
from the 29th of May to the 25th of July
at Vera Cortês Art Agency

DIRECTIONS / MAP
Av. 24 de Julho, 54 – 1.º Esquerdo
1200-868 LISBON – PORTUGAL

CONTACTS
T. +351 213 950 177
F. +351 213 950 178
email: vc@veracortes.com
www.veracortes.com

Loop Festival 09 – 21 May » 31 May, 2009 | Barcelona | Spain


logoloop





Press-release | ENG | PT | ES


Dossier | ENG | PT | ES



LOOP Festival
May, 21 – 31, 2009


LOOP Fair
May 28, 29, and 30, 2009


LOOP Panels
May 28, 29, and 30, 2009



Where to get looped?
LOOP
C/ Diputació, 239 4rt 1ª
08007 Barcelona
Spain

Tel. +34 932 155 260
email: info@loop-barcelona.com
www.loop-barcelona.com



Special Attention to:

Contemplations
Alexandre Reigada | David Arantes | André Marques | César Rodrigues | Vera Mota | Paulo Menezes

at MAUMAU Underground | 22 May | 21h30

Curated by: Cláudia Camacho | AntiFrame – Independent Curating Project

Contemplations gets together six videos from 6 Portuguese video-artists. Their videos converge to each other in many ways:
suggestion / metaphor, doubt / ambiguity, blindness / death psychological, oscillations / continuity, memory / time.

Sarah Sze – until August 31 | Baltic Center for Contemporary Art | London


SARAH SZE
Tilting Planet



sarah-sze
Sarah Sze Tilting Planet (carpet),
detailed image – mixed media,
740 x 970 x 122 cm.
2006 | 2007
Courtesy of the artist and Victoria Miro Gallery,
London



Press-release | ENG | PT (versão portuguesa não disponível)



OPENING TIMES:
Open Daily 10.00-18.00 except Tuesdays 10.30-18.00.
Last entry 15 minutes before closing.



Email: info@balticmill.com
www.balticmill.com


BALTIC Centre for Contemporary Art
Gateshead Quays South Shore Road Gateshead NE8 3BA UK
Tel: +44 (0)191 478 1810
Fax: +44 (0)191 478 1922
Text phone: +44(0)191 440 4944

Anish Kapoor – May2 » May24 | Brighton Festival


Starts Today!



2-24 May
Guest Artistic Director: Anish Kapoor
Opening Weekend includes:
Diamanda Galás, Anish Kapoor, Willkommen Collective, Walk the Plank, les ballet C de la B, Takács Quartet, Ivo Papasov
48 hours of serious fun. Don’t miss it.
Watch this space for next week’s highlights.



‘British arts festivals will be hard pushed to match Brighton’s astonishing pizzazz.’ telegraph.co.uk



Festival Night Train

Squeeze more into your festival weekends with Southern railway’s late-night festival service. The Festival night train leaves Brighton at 23.19 and is fast to East Croydon and Clapham Junction (00:03) arriving at London Victoria at 00:13 in time for the last connecting tube home. You can also save money with advance tickets from £3 one way across the network. Visit southernrailway.com/advance.



Make a Festival Break of It

Why not make a real Festival break of it? We’ve linked up with VisitBrighton to set up some fantastic offers on accommodation and restaurants during this year’s Festival. Visit www.visitbrighton.com/offers

MAP




anish_kapoor_4“I am often asked what my works mean, what they are about. And I have often countered that they are not ‘about’ anything, that I have nothing particular to say, no ‘message’ to give. But I am of course very concerned with a work’s content and a work’s context and the way in which meaning arises out of the encounter between body and object or non object. The intimate, the wondrous and perhaps even the sublime are all entities that cause us to question what, why and how? Art can and must engage these simple but fundamental questions.

There are works of real challenge and seriousness here alongside the humorous and entertaining, and they are all part of a total experience that I hope has a cumulative power to excite the mind, to be memorable and meaningful.

Brighton is a place of wonderful contradictions and juxtapositions, of energy and beauty, ideal for the sort of exploration that should be at the heart of an arts festival.”

Anish Kapoor, Guest Artistic Director


Sky Mirror, 2006
Stainless Steel
10 x 10 x 2 m
Organised by Public Art Fund
Installed: Rockefeller Centre, New York

What is to have an idea in Art?



PT |


Basically to have an idea in Art turns out to be exactly the same thing as having an idea of any other thing. The mental operations for reaching conclusions are the same. However each individual only deliberates about cinema or painting if this is really of his or her interest.

In its substance an idea is the result of a set of abstract mental operations: it’s an expression that implicitly brings a presence of intention, resulting in a material experience. Therefore, when an idea comes, there is an unconscious process triggered, mechanically, but, at the same time, also very naturally and humanly. A logic constructive method is developed depending on knowledge’s singularity, acquired during our life experience. This is mainly the only action obtained unconsciously because when we talk about intention, consciousness is readily brought up.

When in a constructive mental process you may get back, whenever necessary, to the memory of already experienced events or recently acquired knowledge, giving answers to idea’s requirements and to its mathematical simplification.

For Plato, an idea emerges from a thing of the intelligible world, an idea represents the projection of knowledge; when a thing is watched, the eyes transmit rays of light that project that same thing which exists in us as an universal principle – extroversion.

For Aristotle an idea originates from the experience of the sensitive world, from phenomenon and contingent phenomenon, believing that things create copies of themselves through the reflection of light, copies that are absorbed by senses and interpreted by natural knowledge or acquired one – introversion.

The synonyms may vary, depending on the type of situation at a specific moment:

Mental Approach: You’re there! That idea approaches the thing.
Thought Content: Never thought of that!
Form Content: Right at the first notes, the idea for the score arose!
Esteem: With that idea, you’re going to make it!
Intention: The idea was not making dinner tonight!
Innovation: It is, without a doubt, a promising idea!
Opinion: I don’t like that absurd idea!

The ideas come up to a child through a sensitive experience; it’s through its innate knowledge that they just emerge naturally. Usually a child has ideas of things it can do to have fun and to interact with the other, for example. A child is incapable of using its own intelligible world for having ideas about the corporation world, because they have yet not experienced it. Having ideas is therefore common to everybody but the ability to develop them asks for an understanding about the transformation from immaterialism to matter.

Our juridical ability, matured while we grow up, enables us with a clear distinction on what is good or bad – the parameters being established by our society. Not that we’re actually programmed, as, at a first glance, all ideas are good. What tells us if an idea is good or bad? It’s the experience. Without trying what we think it will be difficult to know if, in the real world, our immaterial idea continues to be a good idea or there is the chance of being a complete failure.

In the creative environment we’re confronted with this situation countless times. Everything is less, obviously! It’s more complicated to put the idea outside because it’s like a root, you cannot see it from above. When you pull it, the idea comes with its ramifications and full of soil. The artist’s job will be, therefore and firstly, to clean up the soil and afterwards to find the main root (the main source of his work). This is when the artist may say he’s being objective because he knows what’s the nature of the work. After, comes the materialization that results from this brainstorming, done in parallel with experience. That’s why, sometimes, neither artist or observer understand what is being shown.

I think it’s also important to take care of the idea’s spell, which is also caused by the art work. This state is harmful to action. It leaves us physically puzzled and astonished. It’s frequent to finish up pondering a detail and eternally attracted to it, forgetting how to react. And that’s when many show their “works of art”, in a state of “don’t know what”. It’s the experience that breaks the spell and allows us to continue until the detail is finally reached and, at that time, transformed in a work of art.

Success is never certain. The probabilities of failing seem smaller when the idea arises but, as you experience, frictions start coming up and making the preview more difficult. Expectations decrease and the frustration/despair take its place. However the ability to overrun ends up to be stronger and that idea, that was already seen as a looser, may be revisited in memory and be useful for completing another idea that may arise – helping to know what not to do next time, for example.



Written by Jorge Reis and translated by Ana Vinhas



Add to FacebookAdd to NewsvineAdd to DiggAdd to Del.icio.usAdd to StumbleuponAdd to RedditAdd to BlinklistAdd to TwitterAdd to TechnoratiAdd to Furl