High
& Low | Alta e baixa cultura
Duchamp, L.H.O.O.Q., 1919
(L.H.O.O.Q. – Elle a chaud au cul)
(L.H.O.O.Q. – Elle a chaud au cul)
Jasper Johns, Savarin, 1960, bronze pintado,
aprox. 32 x 10 x 10 cm
Claes
Oldenburg, Two Cheeseburgers with
Everything, 1962
Claes Oldenburg, The Store, 107 East 2nd St, NY, December 1961
In December 1961, Oldenburg opened The Store in the rented storefront at 107 East Second Street that served as his studio, which he called the Ray Gun Manufacturing Company. […] After The Store closed, on January 31, 1962, Oldenburg used the space to stage a series of performances collectively titled Ray Gun Theater.
“I'd like to get away from the notion of a work of art as something outside of experience, something that is located in museums, something that is terribly precious”. Claes Oldenburg http://www.moma.org/interactives/exhibitions/2013/oldenburg/
Claes Oldenburg, The Store, 107 East 2nd St, NY, December 1961
In December 1961, Oldenburg opened The Store in the rented storefront at 107 East Second Street that served as his studio, which he called the Ray Gun Manufacturing Company. […] After The Store closed, on January 31, 1962, Oldenburg used the space to stage a series of performances collectively titled Ray Gun Theater.
“I'd like to get away from the notion of a work of art as something outside of experience, something that is located in museums, something that is terribly precious”. Claes Oldenburg http://www.moma.org/interactives/exhibitions/2013/oldenburg/
Warhol, Brillo Box, 1964
Caixas de Brillo, etc, idênticas às de Warhol
Caixas de Brillo, etc, idênticas às de Warhol
Duane
Hanson, Woman with a Shopping Cart,
1969, alt. 166 cm
Allen
Jones, Chair; Hatstand; Table, c. 1969
Fischli
and Weiss | Hand-crafted polyurethane sculptures which simulate the myriad of
everyday objects to be found in Fischli and Weiss’s studio.
Claes Oldenburg, Plantoir,
2001, jardim de Serralves
Charles
Ray, Firetruck, 1993, painted aluminium, fiberglass, plexiglass, 365,8 x
243,8 x 1417,3 cm
Jeff Koons, Puppy, (Bilbao)
Takashi
Murakami, My Lonesome Cowboy,
1997, fiberglass, acrylic, oil paint, iron, 254 x 117 x 91 cm
Arte
/ Vida
Rauschenberg,
Bed 1955
“Painting relates both to art and life. Neither can be made. (I try to act in the gap between the two).”
Robert Rauschenberg, 1959
John Cage first came to Black Mountain College in the summer of 1948 to teach music […]. In the summer of 1952, Cage conceived of the event that has since become known as the first “Happening” in this country, an unscripted series of sequential and overlapping events within a strict time structure. […]. Starting in 1949, Robert Rauschenberg studied at the Black Mountain College in North Carolina under Josef Albers where he meets Merce Cunningham and John Cage. http://www.blackmountaincollege.org/programs/past/14-a-night-out-with-bob-rauschenberg-and-john-cage
“Painting relates both to art and life. Neither can be made. (I try to act in the gap between the two).”
Robert Rauschenberg, 1959
John Cage first came to Black Mountain College in the summer of 1948 to teach music […]. In the summer of 1952, Cage conceived of the event that has since become known as the first “Happening” in this country, an unscripted series of sequential and overlapping events within a strict time structure. […]. Starting in 1949, Robert Rauschenberg studied at the Black Mountain College in North Carolina under Josef Albers where he meets Merce Cunningham and John Cage. http://www.blackmountaincollege.org/programs/past/14-a-night-out-with-bob-rauschenberg-and-john-cage
Allan
Kaprow, Yard, 1961
“Contemporary
art has moved out of its traditional limits… The line between art and life
should be kept as fluid, and perhaps indistinct, as possible”. Allan Kaprow, c. 1959-61
Arte / Vida |
Perform 1 – author/actor
Hans
Namuth, Pollock at work on Number 32, 1950
The
Legacy of Jackson Pollock – “[Pollock] was perhaps, the embodiment of our
ambition for complete freedom… [The great need now is] to give up the
making of painting entirely — I mean the single flat rectangle or oval as we
know it. We must become preoccupied with and even dazzled by the space
and objects of our everyday life, either our bodies, clothes, rooms…” Allan Kaprow, “The Legacy of
Jackson Pollock”, 1958.
Performance art is where an artist uses their own body as a art medium and the artwork takes the form of actions performed by the artist. Performance art has origins in futurism and dada, but became a major phenomenon in the 1960s and 1970s and can be seen as a branch of conceptual art. An important influence on the emergence of performance was the photographs of the abstract expressionist painter Jackson Pollock making his so-called action paintings, taken in 1950 by the photographer Hans Namuth. http://www.tate.org.uk/learn/online-resources/glossary/p/performance-art
Performance art is where an artist uses their own body as a art medium and the artwork takes the form of actions performed by the artist. Performance art has origins in futurism and dada, but became a major phenomenon in the 1960s and 1970s and can be seen as a branch of conceptual art. An important influence on the emergence of performance was the photographs of the abstract expressionist painter Jackson Pollock making his so-called action paintings, taken in 1950 by the photographer Hans Namuth. http://www.tate.org.uk/learn/online-resources/glossary/p/performance-art
Kazuo
Shiraga , Challenge to the Mud,
1955
Saburo Murakami, Laceration of
Paper [Paper Break Through], 1956
(vista da instalação, Bienal de Veneza, 2009)
(vista da instalação, Bienal de Veneza, 2009)
Gutai were a Japanese avant-garde group formed in 1954 whose radical ideas and approaches to making art anticipated later performance and conceptual art of the 1960s and 1970s. […] Shiraga’s Challenge to the Mud 1955, in which the artist rolled half naked in a pile of mud, remains the most celebrated event associated with the group. Also in 1955 Murakami created his reportedly stunning performance Laceration of Paper [Paper Break Through], in which he ran through a paper screen. http://www.tate.org.uk/learn/online-resources/glossary/g/gutai
Bruce
Nauman, Dance on the Perimeter of a
Square, 1967-68, 16 mm film
Gilbert
and George, The Singing Sculpture, 1970
Gilbert & George place themselves, their thoughts
and their feelings at the centre of their art […]. They established their
reputation in 1969 with The Singing Sculpture. Standing together on a
table, they danced and sang the Flanagan and Allen standard Underneath the
Arches – a song in which two tramps describe the pleasures of sleeping
rough. http://www.tate.org.uk/whats-on/tate-modern/exhibition/gilbert-george
Dennis
Oppenheim, Reading Position for
Second Degree Burn, 1970
Body art covers a wide range of art from about 1960 on, encompassing a variety of different approaches. It includes much performance art, where the artist is directly concerned with the body in the form of improvised or choreographed actions, happenings and staged events. Body art is also used for explorations of the body in a variety of other media including painting, sculpture, photography, film and video. Body art is generally concerned with issues of gender and personal identity. A major theme is the relationship of body and mind, explored in work consisting of feats of physical endurance designed to test the limits of the body and the ability of the mind to suffer pain. http://www.tate.org.uk/learn/online-resources/glossary/b/body-art
Chris
Burden, Shoot, 1971
“At 7:45 P.M. I was shot in the left arm by a friend. The bullet was a copper jacket .22 long rifle. My friend was standing about fifteen feet from me.”
“The models were Picasso and Duchamp. I was most interested in Duchamp.” Chris Burden http://www.newyorker.com/arts/critics/artworld/2007/05/14/070514craw_artworld_schjeldahl?currentPage=all
“At 7:45 P.M. I was shot in the left arm by a friend. The bullet was a copper jacket .22 long rifle. My friend was standing about fifteen feet from me.”
“The models were Picasso and Duchamp. I was most interested in Duchamp.” Chris Burden http://www.newyorker.com/arts/critics/artworld/2007/05/14/070514craw_artworld_schjeldahl?currentPage=all
Joseph
Beuys, I Like America and America
Likes Me (Coyote), 1974, René Block Gallery, New York
Joseph Beuys viewed performance art as a medium with
the potential for self healing and social transformation. He believed that by
enacting self-invented rituals, he could assume the role of a modern-day shaman
and affect the world around him. His performances, or "actions,"
utilized elements of the absurd and contained layers of meanings and symbols.
But even within a seemingly chaotic environment, Beuys attempted to create an
atmosphere for his viewer that would unite the intuitive, passionate soul with
the intellectual mind, and thus prepare the individual for a spiritual
evolution.
Beuys traveled to the United States in 1974 and
performed an action entitled I like
America and America Likes Me at the René Block Gallery in New York.
The action actually began at Kennedy Airport, where friends wrapped him in felt
and transported him to the gallery in an ambulance. Beuys then spent several
days in a room with only a felt blanket, a flashlight, a cane that looked like
a shepherd's staff, copies of the Wall Street Journal (which were
delivered daily), and a live coyote. His choice of employing a coyote was
perhaps an acknowledgment of an animal that holds great spiritual significance
for Native Americans. http://www.walkerart.org/archive/5/9D43B5DB685147C46167.htm
Joseph
Beuys, How to Explain Pictures to a
Dead Hare, 1965, performance
http://www.youtube.com/watch?v=P4ZkR1X6s7E
http://www.youtube.com/watch?v=P4ZkR1X6s7E
“Beuys sat on a chair in one corner of the gallery,
next to the entrance. He had poured honey over his head, to which he had then
affixed fifty dollars worth of gold leaf. In his arms he cradled a dead hare,
which he looked at steadfastly. Then he stood up, walked around the room
holding the dead hare in his arms, and held it up close to the pictures on the
walls; he seemed to be talking to it… All this was done with indescribable
tenderness and great concentration.” Heiner Stachelhaus, Joseph Beuys,
Abbeyville Press, 1987
“This
seems to have been the action that most captured people’s imaginations. On one
level this must be because everyone consciously or unconsciously recognizes the
problem of explaining things, particularly where art and creative work are
concerned, or anything that involves a certain mystery or question. The idea of
explaining to an animal conveys a sense of the secrecy of the world and of
existence that appeals to the imagination. Then, as I said, even a dead animal
preserves more powers of intuition than some human beings with their stubborn
rationality.” Joseph Beuys, “Wie man dem toten Hasen die Bilder
erklart” (1965)
The
work of Mierle Laderman Ukeles concerns the everyday routines of life. In 1969,
following the birth of her first child, Ukeles wrote her "Manifesto for Maintenance Art" as
a challenge to the oppositions between art and life, nature and culture, and
public and private.
“I
am an artist. I am a woman. I am a wife. I am a mother. (Random order) I do a
hell of a lot of washing, cleaning, cooking, renewing, supporting, preserving,
etc. Also, (up to now separately) I ‘do’ Art. Now I will simply do these
everyday things, and flush them up to consciousness, exhibit them, as Art”.
Mierle Laderman Ukeles,
1969
Arte / Vida |
Perform 2 – Happenings
Allan
Kaprow, 18 Happenings in 6 Parts, October 1959
Trabalhando
a partir de um guião preciso, [Kaprow] criou uma situação interativa que
manipulava a audiência de modo nunca visto na arte do século XX. Foi
distribuída pela audiência um programa e três cartões, onde podiam encontrar as
instruções para a sua participação: a performance dividia-se em seis partes, e
cada parte continha três happenings que deviam ocorrer em simultâneo, com o
início e fim de cada um deles a ser assinalado por uma campainha. As instruções
também estipulavam o momento em que os participantes deviam mudar de lugar e
deslocar-se para a sala ao lado; para a performance, a galeria foi dividida em
3 espaços diferentes através de plástico semitransparente (com colagem de
referências a obras anteriores de Kaprow), e também por painéis com palavras
pintadas e fiadas de frutos de plástico. O público não devia aplaudir no fim de
cada ato mas apenas depois de tudo terminado. Contrastando com Cage, que
encorajava a participação da audiência com o objetivo de delegar o controlo
autoral, os participantes nos Happenings de Kaprow tornavam-se em instrumentos
para a execução da visão do artista. Paul
Schimmel, «Leap into the Void: Performance and the Object», in: Out of Actions:
between performance and the object, 1949–1979, MoCA Los Angeles, New
York/London, 1998.
Happenings were the forerunners of performance art and in turn
emerged from the theatrical elements of dada and surrealism. The name was first
used by the American artist Allan Kaprow in the title of his 1959 work 18
Happenings in 6 Parts […]. Happenings typically took place in an
environment or installation created within the gallery and involved light,
sound, slide projections and an element of spectator participation. http://www.tate.org.uk/learn/online-resources/glossary/h/happening
Allan
Kaprow, Household, 1964,
happening (fragmentos)
Ver recriação de 2008 em: http://www.moca.org/kaprow/index.php/category/household/
Ver recriação de 2008 em: http://www.moca.org/kaprow/index.php/category/household/
Carolee
Schneemann, Meat Joy,
1964, group performance: raw fish, chickens, sausages, wet paint, plastic,
rope, shredded scrap paper. First performed as part of the First Festival of
Free Expression at the American Center in Paris, and later at Judson Memorial
Church in NYC.
“Meat Joy has the character of an erotic rite: excessive, indulgent, a celebration of flesh as material: raw fish, chickens, sausages, wet paint, transparent plastic, rope brushes, paper scrap. It's propulsion is toward the ecstatic-- shifting and turning between tenderness, wilderness, precision, abandon: qualities which could at any moment be sensual, comic, joyous, repellent”. Carolee Schneemann http://www.caroleeschneemann.com/meatjoy.html
“Meat Joy has the character of an erotic rite: excessive, indulgent, a celebration of flesh as material: raw fish, chickens, sausages, wet paint, transparent plastic, rope brushes, paper scrap. It's propulsion is toward the ecstatic-- shifting and turning between tenderness, wilderness, precision, abandon: qualities which could at any moment be sensual, comic, joyous, repellent”. Carolee Schneemann http://www.caroleeschneemann.com/meatjoy.html
Arte / Vida |
Perform 3
Yves
Klein, Anthropométries de l'époque
bleue, 1960
At the opening of the Galerie international d’art contemporain, Klein organized nine musicians to perform his Symphonie-Monoton-Silence. The musicians were instructed to play one note for twenty minutes. Klein dressed to the nines in a tuxedo and a white bowtie and was a step removed from the performance. Though he was the artist, he wasn’t creating the art or the music. Instead, he directed the musicians as well as a group of models to make his paintings. The models were nude women who slathered paint on their bodies and then pressed themselves up against sheets of paper, their body marks becoming Klein’s paintings.
At the opening of the Galerie international d’art contemporain, Klein organized nine musicians to perform his Symphonie-Monoton-Silence. The musicians were instructed to play one note for twenty minutes. Klein dressed to the nines in a tuxedo and a white bowtie and was a step removed from the performance. Though he was the artist, he wasn’t creating the art or the music. Instead, he directed the musicians as well as a group of models to make his paintings. The models were nude women who slathered paint on their bodies and then pressed themselves up against sheets of paper, their body marks becoming Klein’s paintings.
Arte / Vida | Perform 4 – audience?
Lygia
Clark, Dialogue Googles,
1968
Lygia Clark's
Dialogue belongs to her Nostalgia of the Body series, which began in 1964 with
individual and two-person sensorial explorations, and developed, after 1968,
into collective creations she titled Organic or Ephemeral Architectures. The
Dialogue goggles restrict the visual field of the two participants to an
eye-to-eye exchange, merging interactivity and dialogism, two of the central
concerns in Clark's work.
Robert
Morris, installation at Tate Gallery, 1971
Robert Morris, vista da instalação,
Museu de Serralves, 2011
Ângela Ferreira, Rega, 2012, Parque de escultura
contemporânea, Vila Nova da Barquinha
Dan
Graham, Public Space, Two Audiences, 1976, two rooms divided by glass,
one mirrored wall, etc.
“Public Space, Two Audiences … took advantage of man’s very ingenuous perception of space to double the reference coordinates of a place, using a “simple” mirror-wall and another in transparent glass that intersected a rectangular room. It was like looking through a bottomless mirror, with one’s ego reflected in it; but it was also pervaded by a transparency. Meanwhile other wandering presences could be discerned, though it was impossible to ascertain their exact whereabouts. This work inaugurated a new approach by Graham to time delay: a dizzy perception postponed, an opportunity to observe a stranger, albeit only for an instant, before recognizing the stranger as oneself.” Massimiliano di Bartolomeo http://www.parkettart.com/downloadable/download/sample/sample_id/151
“Public Space, Two Audiences … took advantage of man’s very ingenuous perception of space to double the reference coordinates of a place, using a “simple” mirror-wall and another in transparent glass that intersected a rectangular room. It was like looking through a bottomless mirror, with one’s ego reflected in it; but it was also pervaded by a transparency. Meanwhile other wandering presences could be discerned, though it was impossible to ascertain their exact whereabouts. This work inaugurated a new approach by Graham to time delay: a dizzy perception postponed, an opportunity to observe a stranger, albeit only for an instant, before recognizing the stranger as oneself.” Massimiliano di Bartolomeo http://www.parkettart.com/downloadable/download/sample/sample_id/151
Rirkrit
Tiravanija, Untitled, 1992/1995/2007/2011-…
In 1992 Rirkrit Tiravanija created a show entitled Untitled (Free) at 303 Gallery in New York. Interested in exploring the possibility of creating congenial social spaces in places usually reserved for the quiet contemplation of art, Tiravanija transferred everything from the gallery’s back office—even the dealer and her staff—to the exhibition space. He then converted the empty office space into a kind of restaurant, where he cooked curry and rice, serving it to visitors free of charge. http://www.moma.org/collection/object.php?object_id=147206
“The work is a platform for people to interact with the work itself but also with each other. A lot of it also about a kind of experiential relationship, so you actually are not really looking at something, but you are within it, you are part of it. The distance between the artist and the art and the audience gets a bit blurred.” Rirkrit Tiravanija
In 1992 Rirkrit Tiravanija created a show entitled Untitled (Free) at 303 Gallery in New York. Interested in exploring the possibility of creating congenial social spaces in places usually reserved for the quiet contemplation of art, Tiravanija transferred everything from the gallery’s back office—even the dealer and her staff—to the exhibition space. He then converted the empty office space into a kind of restaurant, where he cooked curry and rice, serving it to visitors free of charge. http://www.moma.org/collection/object.php?object_id=147206
“The work is a platform for people to interact with the work itself but also with each other. A lot of it also about a kind of experiential relationship, so you actually are not really looking at something, but you are within it, you are part of it. The distance between the artist and the art and the audience gets a bit blurred.” Rirkrit Tiravanija
Marta Wengorovius, A toalha, Centro Cultural de
Lagos, 2009
A
Ação da Toalha propõe um movimento, uma deslocação. Assim é proposto juntar de
alguma forma duas situações: uma tradição popular (piquenique) e um evento
artístico contemporâneo. O levantamento cromático, a passagem da cor para o
alimento, que habitualmente é feito pelos cozinheiros do projeto, neste caso
será alargado a todos os que se inscreverem para o evento-piquenique. Será
pedido aos novos participantes que realizem e preparem os novos condimentos
para o evento a partir do que entenderam por levantamento cromático da Toalha. http://www.martawengorovius.com/cgi-bin/wnp_db_dynamic_record.pl?dn=db_mw_exhibitions_pt&sn=exhibitions&orn=3
Katerina
Sedá, There's Nothing There,
2003, video 30 min 12 sec, from mixed-media project
Kateřina Šedá is a Czech artist. […] For one of her best-known works, There’s Nothing There (2003), which she undertook while still a student at the Academy of Fine Arts in Prague, Šedá set out to convince the inhabitants of the Moravian town of Ponětovice to simultaneously perform a series of normal daily activities for an entire day. For weeks before the project, she launched a campaign urging all the residents to follow a prescribed ‘Daily Regime’ on Saturday 5 May. […] Šedá was no doubt aware that the majority of her participants had spent most of their lives under a system of government that dictated their activities. In her more playful version of the imposed daily regime, everyone sweeps their gardens at 10am, rides bikes at 10:30am, gathers for a beer at 5pm, and goes home that night knowing their neighbours a little better than they did the day before. Rule number six: ‘Nobody wins and nobody is defeated.’ http://www.frieze.com/issue/article/what-matters-most/
“My work is meant to blend in with normal things, with ordinary life […] What I’m trying for is so that anyone can repeat what I’ve done; I’m trying to find the simplest solution possible.” Kateřina Šedá
Kateřina Šedá is a Czech artist. […] For one of her best-known works, There’s Nothing There (2003), which she undertook while still a student at the Academy of Fine Arts in Prague, Šedá set out to convince the inhabitants of the Moravian town of Ponětovice to simultaneously perform a series of normal daily activities for an entire day. For weeks before the project, she launched a campaign urging all the residents to follow a prescribed ‘Daily Regime’ on Saturday 5 May. […] Šedá was no doubt aware that the majority of her participants had spent most of their lives under a system of government that dictated their activities. In her more playful version of the imposed daily regime, everyone sweeps their gardens at 10am, rides bikes at 10:30am, gathers for a beer at 5pm, and goes home that night knowing their neighbours a little better than they did the day before. Rule number six: ‘Nobody wins and nobody is defeated.’ http://www.frieze.com/issue/article/what-matters-most/
“My work is meant to blend in with normal things, with ordinary life […] What I’m trying for is so that anyone can repeat what I’ve done; I’m trying to find the simplest solution possible.” Kateřina Šedá
Relational
aesthetics – Term created by
curator Nicholas Bourriaud in the 1990s to describe the tendency he noticed in
fine art practice to make art based on, or inspired by, human relations and
their social context. http://www.tate.org.uk/learn/online-resources/glossary/r/relational-aesthetics
Arte / Vida | Vida e morte
Andy Warhol, Ambulance Disaster, 1963
Nan
Goldin, Bloody Bedroom in a Squatted
House, Berlin, prova cromatogénica, 76,2 x 101,6 cm
Abigail
Lane, Bloody Wallpaper with Concrete Dog and Ink Pad (red), installation view,
ICA, 1995
Despite its decorative appearance, the repeat image of Bloody Wallpaper originated from the smears of blood found on the walls following a murder - as depicted in a found black and white forensic photograph taken at the scene of a crime in the 1950's
Despite its decorative appearance, the repeat image of Bloody Wallpaper originated from the smears of blood found on the walls following a murder - as depicted in a found black and white forensic photograph taken at the scene of a crime in the 1950's
Ron
Mueck, Dead Dad, 1996-7, silicone and acrylic, 20 x 102 x 38 cm
Christian Boltanski, 364 suisses morts, 1990
Boltanski utiliza anúncios de necrologia ilustrados e recortados do jornal Le Nouvelliste du Valais. Porquê suíços? “Antes, as minhas obras mostravam judeus mortos, mas judeu e morto combinam demasiado bem. Não há nada de mais normal que um suíço, não existe portanto nenhuma razão para que um suíço não morra e, por isso, todos estes mortos são ainda mais aterradores. Somos nós.” http://pt.museuberardo.pt/colecao/obras/92
Boltanski utiliza anúncios de necrologia ilustrados e recortados do jornal Le Nouvelliste du Valais. Porquê suíços? “Antes, as minhas obras mostravam judeus mortos, mas judeu e morto combinam demasiado bem. Não há nada de mais normal que um suíço, não existe portanto nenhuma razão para que um suíço não morra e, por isso, todos estes mortos são ainda mais aterradores. Somos nós.” http://pt.museuberardo.pt/colecao/obras/92
Bill
Viola, Nantes Triptich,
1992, video projection, 3 channels
The three panels of Viola's triptych show video footage of birth (on the left), death (on the right) and a metaphorical journey between the two represented by a body floating in water (in the centre). […] The birth was inspired by the birth of Viola's first son in 1988 (although it does not depict his son's birth) and was filmed at a natural childbirth clinic in California. […] The floating body in the central panel was filmed in a swimming pool for an earlier work, The Passing (1987-88). Viola filmed his mother as she lay dying in a coma in 1991 as a means of confronting her death artistically. The three passages are accompanied by a sound-track of crying, water movement and breathing in a 30-minute loop. http://www.tate.org.uk/art/artworks/viola-nantes-triptych-t06854/text-summary
The three panels of Viola's triptych show video footage of birth (on the left), death (on the right) and a metaphorical journey between the two represented by a body floating in water (in the centre). […] The birth was inspired by the birth of Viola's first son in 1988 (although it does not depict his son's birth) and was filmed at a natural childbirth clinic in California. […] The floating body in the central panel was filmed in a swimming pool for an earlier work, The Passing (1987-88). Viola filmed his mother as she lay dying in a coma in 1991 as a means of confronting her death artistically. The three passages are accompanied by a sound-track of crying, water movement and breathing in a 30-minute loop. http://www.tate.org.uk/art/artworks/viola-nantes-triptych-t06854/text-summary
Dimensão
político-social
Bruce
Conner, Child, 1959-60,
wax, nylon, cloth, metal, twine, high chair, 87,7 x 43,1 x 41,7 cm
Conner was outraged at the death sentence given to
Caryl Chessman, who had been arrested in Los Angeles for rape and robbery, but
who claimed that the confession he signed was the product of police brutality.
(Despite worldwide protest, Chessman was eventually executed in 1960.)
Andy
Warhol, Electric Chair, 1971
Warhol,
Birmingham Race Riot,
1964
The riots at Birmingham, Alabama, in the spring of 1963 were notorious across America, and with this wide publicity the event was one of the climaxes of the Civil Rights Movement. Supporters of Martin Luther King, protesting at segregation at lunch counters, were attacked by the police with dogs and water hoses, and King himself was arrested. Warhol contributed this small print to a portfolio of work by ten artists, published the year after the riot. The image is changed only in size and status from a newspaper photograph. In the form of a print in this portfolio it commemorates the tensions in American popular life at the time, and forcefully illustrates the distance of the arts from such events. https://www.tate.org.uk/art/artworks/warhol-birmingham-race-riot-p77809/text-display-caption
The riots at Birmingham, Alabama, in the spring of 1963 were notorious across America, and with this wide publicity the event was one of the climaxes of the Civil Rights Movement. Supporters of Martin Luther King, protesting at segregation at lunch counters, were attacked by the police with dogs and water hoses, and King himself was arrested. Warhol contributed this small print to a portfolio of work by ten artists, published the year after the riot. The image is changed only in size and status from a newspaper photograph. In the form of a print in this portfolio it commemorates the tensions in American popular life at the time, and forcefully illustrates the distance of the arts from such events. https://www.tate.org.uk/art/artworks/warhol-birmingham-race-riot-p77809/text-display-caption
Martha
Rosler, Bringing the War Home, House
Beautiful, c 1969-71, colagem
Kienholz,
Edward, The Eleventh Hour Final,
1968, mixed media installation, 366 x 327 cm
Kienholz evokes the comforting atmosphere of an average respectable bourgeois living room. Critically, though, he destroys it at a stroke with one single object: a concrete television set with a severed doll’s head standing for the victims of the Vietnam war, visible behind a matt screen bearing statistics of the numbers killed. The simple act of quotation highlights the absurdity of the statistics, which – as indicated by the work’s title – were read every evening on the late news. http://tinguely.museum/en/ausstellungen_events/austellungen/2012/Kienholz.html
Kienholz evokes the comforting atmosphere of an average respectable bourgeois living room. Critically, though, he destroys it at a stroke with one single object: a concrete television set with a severed doll’s head standing for the victims of the Vietnam war, visible behind a matt screen bearing statistics of the numbers killed. The simple act of quotation highlights the absurdity of the statistics, which – as indicated by the work’s title – were read every evening on the late news. http://tinguely.museum/en/ausstellungen_events/austellungen/2012/Kienholz.html
Cildo Meireles, Inserções em Circuitos Ideológicos, Projecto
Coca-Cola, 1972, garrafas de vidro e texto impresso.
Gravar nas garrafas de refrigerantes informações e opiniões críticas, e devolvê-las à circulação. Utiliza-se o processo de serigrafia com tinta branca vitrificada, que não aparece quando a garrafa está vazia e sim quando cheia, quando se torna visível a inscrição contra o fundo escuro do liquido Coca-Cola.
Gravar nas garrafas de refrigerantes informações e opiniões críticas, e devolvê-las à circulação. Utiliza-se o processo de serigrafia com tinta branca vitrificada, que não aparece quando a garrafa está vazia e sim quando cheia, quando se torna visível a inscrição contra o fundo escuro do liquido Coca-Cola.
Hans Haacke, MoMA-Poll, 1970, instalação com
participação da audiência, duas caixas em acrílico transparente
Hans
Haacke, Shapolsky et al. Manhattan Real Estate Holdings, A Real Time Social
System, as of May 1, 1971
The work consists of 146 photographic views of New
York apartment buildings, six pictures of transactions, an explanatory wall
panel, and maps of Harlem and the Lower East Side. Each photograph is
accompanied by a typed text that describes the location and the financial
transactions involving the building in the picture. Haacke discloses the
transactions of a real-estate firm between 1951 and 1971. Harry Shapolsky, the
key figure, who is well protected by influential friends, is guilty of an
assortment of fraudulent practices of which the judicial system has been
exceedingly forgiving. Haacke’s one-artist show at the Guggenheim, of which
this work was to be part, was canceled by the director of the museum six weeks
before the opening, and artists occupied the premises in protest against this
censorship. (source: excerpt from Documenta X short guide, Ostfildern 1997, p.
84.)
Hans
Haacke, Solomon R. Guggenheim Museum
Board of Trustees, 1974 (detail)
“…sited at the point of the crisis in Chile, the
democratically elected President Ferdinand Allende having been overthrown and
murdered in a CIA-sponsored coup by the Chilean military [lead by Augusto
Pinochet], It is at this moment that Haacke reveals the profound connection
between a large number of the Trustees of the Guggenheim and the Kennecott
Copper Corporation in Chile. One of the driving forces behind the intervention
of the CIA in Chile at that time was the massive threat of the Corporation’s
(and the American military’s) interests posed by the nationalization of the
copper mines by the newly elected president.” Foster; Krauss; Bois; Buchloh
– Art Since 1900, p. 547
Institutional
critique is the act of
critiquing an institution as artistic practice, the institution usually being a
museum or an art gallery. Institutional criticism began in the late 1960s
when artists began to create art in response to the institutions that bought
and exhibited their work. In the 1960s the art institution was often perceived
as a place of ‘cultural confinement’ and thus something to attack
aesthetically, politically and theoretically. http://www.tate.org.uk/learn/online-resources/glossary/i/institutional-critique
Archive
/ Documentation – The rise of
performance art in the twentieth century meant that artists became heavily
reliant on documentation as a record of their work. A similar problem arose in
relation to the Land art movement of the 1960s whose interventions in the
landscape were often eradicated by the elements. Conceptual art often consisted
of documentation. In practice the documentation – photograph, video, map, text
– was rapidly adapted to have the status of artwork. http://www.tate.org.uk/learn/online-resources/glossary/a/archive
Michael
Asher, Installation at Claire Copley Gallery, Los Angeles, 1974
“Michael Asher took his lead from Minimalism’s theatricality, which was designed to enhance viewers’ perceptual awareness of their role within the exhibition space. […] Asher’s work is typically associated with the Conceptual art practice of Institutional Critique. Historically, the placement of Asher’s work within the discourse of Institutional Critique was cemented with his 1974 project at the Claire Copley Gallery in Los Angeles. For this work, Asher removed the wall separating the exhibition and office spaces, revealing the otherwise hidden gallerist working at her desk. With all physical traces of Asher’s intervention repaired, visitors to the gallery encountered a space whose only apparent focus was the administration of business”. Marie B. Shurkus http://www.pomona.edu/museum/exhibitions/2011/part-1-hal-glicksman-at-pomona/
“Michael Asher took his lead from Minimalism’s theatricality, which was designed to enhance viewers’ perceptual awareness of their role within the exhibition space. […] Asher’s work is typically associated with the Conceptual art practice of Institutional Critique. Historically, the placement of Asher’s work within the discourse of Institutional Critique was cemented with his 1974 project at the Claire Copley Gallery in Los Angeles. For this work, Asher removed the wall separating the exhibition and office spaces, revealing the otherwise hidden gallerist working at her desk. With all physical traces of Asher’s intervention repaired, visitors to the gallery encountered a space whose only apparent focus was the administration of business”. Marie B. Shurkus http://www.pomona.edu/museum/exhibitions/2011/part-1-hal-glicksman-at-pomona/
Hans
Haacke, Germania, 1993,
German Pavilion, Venice Biennale 1993
“Entering the German pavilion at the 45th
Venice Biennale, visitors were confronted by a life-size photograph of Hitler’s
June 14th visit to the pavilion during the 1934 Biennale. […] This
photograph, framed by the classical doorway of the pavilion, is directly
juxtaposed with an oversized plastic reproduction of a Deutschmark coin
occupying the former location of the eagle and swastika that previously adorned
the entrance. […] The only way to enter the space of this pavilion was
to walk under the enlarged Deutschmark and confront the evidence of the
photograph – documenting the fact that Hitler stood in this very site and used
the Venice Biennale […] as an apparatus for disseminating Nazi ideals...
[…] The installation at the Venice Biennale called attention to the tortured history of Germany, specifically as embodied within the German pavilion, through which he highlights the ideologies of political and commercial interests that were the underlying subtexts of the site. He accomplished this by a surprisingly simplistic and direct means of confronting the history of the space: he dug up the floor”. Miriam Jordan and Julian Jason Haladyn http://www.academia.edu/2322715/Disrupting_Utopia_Hans_Haacke_s_Germania_or_Digging_Up_the_History_of_the_Venice_Biennale
[…] The installation at the Venice Biennale called attention to the tortured history of Germany, specifically as embodied within the German pavilion, through which he highlights the ideologies of political and commercial interests that were the underlying subtexts of the site. He accomplished this by a surprisingly simplistic and direct means of confronting the history of the space: he dug up the floor”. Miriam Jordan and Julian Jason Haladyn http://www.academia.edu/2322715/Disrupting_Utopia_Hans_Haacke_s_Germania_or_Digging_Up_the_History_of_the_Venice_Biennale
Victor
Burgin, Possession, 1976,
offset poster, 109 x 84 cm
Victor
Burgin, Today is the Tomorrow You
Were Promised Yesterday, 1976, 102 x 152 cm
Afirmações
no feminino
Martha
Rosler, Semiotics of the Kitchen,
1975, video, 6 min. http://www.youtube.com/watch?v=3zSA9Rm2PZA
“…foi o feminismo que explodiu como uma bomba na minha mente. Isso fez-me parar de fazer pintura abstrata, porque foi então que compreendi que tinha muita coisa a dizer e a pintura abstrata era de facto muda e auto-mutiladora…”. Martha Rosler, 1991. Em: Wood; Frascina; Harris; Harrison. Modernism in Dispute: Art Since the Forties. London, New Haven; Yale University Press, 1993.
“…foi o feminismo que explodiu como uma bomba na minha mente. Isso fez-me parar de fazer pintura abstrata, porque foi então que compreendi que tinha muita coisa a dizer e a pintura abstrata era de facto muda e auto-mutiladora…”. Martha Rosler, 1991. Em: Wood; Frascina; Harris; Harrison. Modernism in Dispute: Art Since the Forties. London, New Haven; Yale University Press, 1993.
Yoko Ono, Cut Piece, 1964, performance
Em Cut Piece Yoko Ono recorre ao próprio corpo e à evocação de relações de poder homem/mulher. Ono ajoelhou-se no palco, enquanto, um a um, espectadores do sexo masculino lhe iam cortando pedaços de vestuário com grandes tesouras.
Em Cut Piece Yoko Ono recorre ao próprio corpo e à evocação de relações de poder homem/mulher. Ono ajoelhou-se no palco, enquanto, um a um, espectadores do sexo masculino lhe iam cortando pedaços de vestuário com grandes tesouras.
Mary
Kelly, Mary, Post-Partum Document,
1976
Coming back from work this week, I realised that I
wasn’t thinking about K so often when I was out, or walking faster as I got
near the house. I felt a bit guilty, but when I expressed this to R in the form
of … ‘ maybe K’s difficult because we leave him with other people a lot ‘… R
said ‘on the contrary, it’s because we’re on top of him too much’.
T2 8.2.76 AGE 2.5
K’s aggressiveness has resurfaced and made me feel
anxious about going to work. I can’t count the number of ‘small wounds’ I’ve
got as the result of his throwing, kicking, biting etc…… I’m not the only
object of his wrath but I’m probably the source. Maybe I should stay at home…
but we need the money.
T4 7.3.76 AGE 2.6
Post-Partum Document is a six-year exploration of the mother-child
relationship (1973-79). Each of the
six-part series concentrates on a formative moment in her son’s mastery of
language and her own sense of loss, moving between the voices of the mother,
child and analytic observer. Informed by feminism and psychoanalysis, the work
has had a profound influence on the development and critique of conceptual art.
Judy
Chicago, The Dinner Party,
1979
Judy Chicago, Untitled Test Plate #6 from The Dinner Party, 1974
Judy Chicago’s The Dinner Party depicts and celebrates the lives of mythical and historical women, each of whom represent a historical period in Western civilization. The work, which opened at San Francisco’s Museum of Modern Art in March 1979, features 39 place settings, each containing a painted, often carved, porcelain plate featuring a vulvar-butterfly motif on a runner decorated using a variety of fiber art techniques. https://www.radcliffe.harvard.edu/schlesinger-library/blog/crafting-dinner-party
Judy Chicago, Untitled Test Plate #6 from The Dinner Party, 1974
Judy Chicago’s The Dinner Party depicts and celebrates the lives of mythical and historical women, each of whom represent a historical period in Western civilization. The work, which opened at San Francisco’s Museum of Modern Art in March 1979, features 39 place settings, each containing a painted, often carved, porcelain plate featuring a vulvar-butterfly motif on a runner decorated using a variety of fiber art techniques. https://www.radcliffe.harvard.edu/schlesinger-library/blog/crafting-dinner-party
Guerrilla
Girls, The Advantages of Being a
Woman Artist, Heresies, 1989
Guerrilla
Girls, Do women have to be naked to
get into the Met. Museum?, 2004, poster
“There was skepticism, shock, rage, and lots
of talk. It was the Reagan 80's and everyone was crazed to succeed, nobody
wanted to be perceived as a complainer. Hardly any artists had the guts to
attack the sacred cows. We were immediately THE topic at dinner parties,
openings, even on the street. Who were these women? How do they dare say that?
And what do their facts say about the art world? Women artists loved us, almost
everyone else hated us, and none of them could stop talking about us.
We didn't expect anything. We just wanted to have a
little fun with our adversaries and to vent a little rage. But we also wanted
to make feminism (that “f” word,) fashionable again, with new tactics and
strategies. It was really a surprise when so many people identified with us and
felt we spoke for their collective anger. We didn't have the wildest notion
that women in Japan, Brazil, Europe and even Bali, would be interested in what
we were doing”. Guerrilla Girls http://www.guerrillagirls.com/interview/index.shtml
Hannah
Wilke, Beware of Fascist Feminism,
1977
Wilke had a difficult relationship with the feminist
movement in the 1970s as a result of her uncompromisingly glamorous
self-presentation and the confrontational use of her nude body in her work,
which by many was seen dismissively within the narrow prism of narcissism. Marxism
and Art is a response to such critics […]. In the poster Wilke makes the
point that prejudices against traditional ideals of femininity or feminine
beauty may come from women as much as from men; that a feminism that prescribes
how a woman should look or behave is as harmful as the objectifying values that
feminism seeks to redress. http://www.tate.org.uk/art/artworks/wilke-marxism-and-art-beware-of-fascist-feminism-p79357/text-summary
INTRA-VENUS is Hannah Wilke’s last work. She died on January 28,
1993 of complications from Lymphoma. During the later stages of her illness,
she collaborated with her husband, Donald Goddard, on a series of photographs
documenting the realities of her physical and mental transformation.
Bibliografia:
Foster, Hal; Krauss, Rosalind; Bois, Yve-Alain; Buchloh, Benjamin – Art Since 1900: Modernism, Antimodernism, Postmodernism. London: Thames & Hudson, 2004.
Harrison, Charles; Wood, Paul – Art in Theory 1900-1990: An Anthology of Changing Ideas. Oxford, UK; Cambridge, USA: Blackwell, 1995.
Krauss, Rosalind – A Voyage on the North Sea: Art in the Age of the Post-Medium Condition. Thames & Hudson, 2000
Kwon, Miwon – One Place After Another. Cambridge, Mass.: The MIT Press, 2002.
Perry, Gill; Wood, Paul – Themes in Contemporary Art. New Haven; London; Yale University Press in association with the Open University, 2004.
Wood, Paul – Arte Conceptual. Lisboa; Editorial Presença, 2002.
Wood, Paul; Frascina, Francis; Harris, Jonathan; Harrison, Charles – Modernism in Dispute: Art Since the Forties. New Haven & London: Yale University Press in association with the Open University, 1993.
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