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Feldmann, Hans-Peter
Alle Kleider einer Frau, 1974- All of a woman’s clothes, 1974
- 70 b/w photographs mounted on 12 cardboards
- 32 x 22 cm (each)
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- This series of images, arranged as a sort of catalogue, depicts the clothes worn by a woman in the order in which they were worn. Introducing essential features of Hans-Peter Feldmann’s work - which evolved into an archival practice connected to the recording of everyday banality - the title of the work anticipates an ironic tension present in the order of the images, both impersonal and intimate.Feldmann’s oeuvre focuses on archives and image collections, presented through photographic production and artist books. By extracting objects from their original context, integrating them in another format, Feldmann’s photography becomes an open archive marked by the orderly arrangement, inventory and re-presentation of images of objects and other elements from visual culture. Feldmann probes an aesthetic of the mundane, convoking collective memory and the mysteries of everyday life in a ludic, sentimental and voyeuristic exercise.
Filipe, Carla
Carla Filipe (Aveiro, Portugal, 1973)Experiência flutuante - Paisagens gráficas, 2010- Flowing Experience ? Graphic Landscapes, 2010
- Spray on fabric
- 191 x 159.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2012
- 'Experiência flutuante ? Paisagens gráficas' [Flowing Experience ? Graphic Landscapes] is inspired by London’s industrial landscape. The artist presents a set of rapidly executed spray painted drawings on canvas from the artist’s walks around Hackney, in East London, where the artist spent a year in a residency programme at ACME Studios in 2010-11. London, the centre of the Industrial Revolution, is also marked by a strong railroad system. Trains are a central motif for the artist, since travel, displacement and walks are regular modus operandi in Filipe’s work.
Carla Filipe (Aveiro, Portugal, 1973)Experiência flutuante - Paisagens gráficas, 2010- Flowing Experience ? Graphic Landscapes, 2010
- Spray on fabric
- 111.5 x 119 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2012
- 'Experiência flutuante ? Paisagens gráficas' [Flowing Experience ? Graphic Landscapes] is inspired by London’s industrial landscape. The artist presents a set of rapidly executed spray painted drawings on canvas from the artist’s walks around Hackney, in East London, where the artist spent a year in a residency programme at ACME Studios in 2010-11. London, the centre of the Industrial Revolution, is also marked by a strong railroad system. Trains are a central motif for the artist, since travel, displacement and walks are regular modus operandi in Filipe’s work.
Carla Filipe (Aveiro, Portugal, 1973)Experiência flutuante - Paisagens gráficas, 2010- Flowing Experience ? Graphic Landscapes, 2010
- Spray on fabric
- 105.5 x 91 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2012
- 'Experiência flutuante ? Paisagens gráficas' [Flowing Experience ? Graphic Landscapes] is inspired by London’s industrial landscape. The artist presents a set of rapidly executed spray painted drawings on canvas from the artist’s walks around Hackney, in East London, where the artist spent a year in a residency programme at ACME Studios in 2010-11. London, the centre of the Industrial Revolution, is also marked by a strong railroad system. Trains are a central motif for the artist, since travel, displacement and walks are regular modus operandi in Filipe’s work.
Carla Filipe (Aveiro, Portugal, 1973)Experiência flutuante - Paisagens gráficas, 2010- Flowing Experience ? Graphic Landscapes, 2010
- Spray on fabric
- 79.5 x 108 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2012
- 'Experiência flutuante ? Paisagens gráficas' [Flowing Experience ? Graphic Landscapes] is inspired by London’s industrial landscape. The artist presents a set of rapidly executed spray painted drawings on canvas from the artist’s walks around Hackney, in East London, where the artist spent a year in a residency programme at ACME Studios in 2010-11. London, the centre of the Industrial Revolution, is also marked by a strong railroad system. Trains are a central motif for the artist, since travel, displacement and walks are regular modus operandi in Filipe’s work.
Fischer, Urs
Urs Fischer (Zurique, Suíça, 1973)Untitled (Pink Lady), 2001- Sugar, polystyrene, polyurethane, fabric, plaster, oil paint, acrylic paint
- 100 x 100 x 150 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2006
- The pink lady in the title of this sculpture sits on an inverted table placed on top of a chair. Although this description might translate the arrangement of the elements that compose 'Untitled (Pink Lady)', it does not say much about them: the pink is too loud for the female figure to be perceived as a lady, the pieces of furniture are too worn out and slanted to be clearly identified, and the canopy suggested by their arrangement does not seem to decorate a throne or an altar but, at best, a kind of bed-stage. Moreover, in their unfinished appearance, both women and furniture seem to have started to melt, standing at the verge of leaving the solid state, located in an impossible place between the transient and the permanent. Striking at consensual notions of good taste, Swiss-German artist Urs Fischer created a work that is simultaneously attractive and heinous, amusing and repulsive. To accentuate this situation, he decided to show it, in the 2001 exhibition ‘Squatters’ at Serralves, in one of the Serralves Villa’s rooms associated the most with the kind of sophistication and French coquetterie that inspired the architects: the so-called ‘pink bathroom’. Also a sign of flirtatious elegance is the Pink Lady cocktail, a gin-based drink that gets its pinkish hue from the pomegranate cordial used in preparing it. Much like cartoons and fairy tales, Fischer’s sculptures are at once amusing and serious, seductive and repellent, ephemeral and permanent, comical and tragic. His disregard for the composure required by the protocols of art is corroborated by the list of artists that he recognizes as having influenced his work. As Fischer stated to curator Gerald Matt, ‘I admire Dalí and Warhol, who kept producing relentlessly and eventually transcended the notion of what an artist can or cannot do. Some artists won’t let themselves be locked in. This whole fuss about what may or may not be done bores me. It’s very limited. The art world is very conservative in its obsession with its own value. As an artist you have to decide to whom or to what you want to make a vow of chastity’.Like Dalí and Warhol, Fischer also derides the seriousness of art, resorting to effects from the entertainment industry, such as excessive glitter and Hollywood-like excess, to question such criteria as value and excellence. In their apparent ridiculousness and clumsiness, his sculptures are disarming because only upon further reflection does their awkward and parodic aspect, in the direct lineage of Dada, appear as premeditated. 'Untitled (Pink Lady)' is a perfect illustration of Fischer’s predilection for processes of decay and metamorphosis and for the de-familiarization of common objects. Often using debris or edible materials, the artist persuades both museums and collectors to ensure the preservation of his works, an aspect that clearly shows the influence of fellow Swiss-German artist Dieter Roth (1921-1998), as noted by art critic Dominic Van den Boogerd. On the other hand, and as a truly omnivorous artist, Fischer resorts to everything that surrounds him, his use of pieces of furniture being recurrent. Tables and chairs, which are seldom noticed ? except when they become symbols or instruments of power (the electric chair, the throne) ? may, like a blank page, be invested with all kinds of meanings. Furniture is the ideal vehicle to convey the boredom of studio work, the daily contemplation of the pettiness of everyday life. As curator Alison M. Gingeras remarks, ‘furniture has become a perfect vehicle for Fischer’s musings not only because of its pervasiveness in his environment, but also for its obvious anthropomorphic quality. The simple structure of a table or a chair affords him with an efficient, yet humorous surrogate for the human form without having to worry about realistic representation’.‘Why is sculpture so boring?’, asked Charles Baudelaire in 1848. Urs Fischer’s sculptures may be born out of boredom, but the artist proves that an iconoclastic and irreverent approach, merged with forms of entertainment, can please both the art critics and the crowds.
Forti, Simone
Simone Forti (Florença, Itália, 1935)Solo no. 1, 1974- Video (Betacam), b/w, sound, 4:3, PAL, 19’30’’
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- Simone Forti, considered one of the most influential choreographers of the twentieth century, begins the performance in 'Solo No. 1' by walking hypnotically in circles. Shortly after she falls to the floor and begins a cycle of alternate walking and crawling adopting the movements of various animals. This cycle can be seen as an open metaphor for evolution and aging, and the relation of the human form to animal movement. Through the course of the performance, the camera follows Forti's circling motion at increasingly close range, creating an interactive dance between camera and performer. 'Solo No. 1' serves as an engaging document of Forti's dedicated study of natural movement, and the relation of choreography and dance to nature.
Framis, Alicia
Alicia Framis (Barcelona, Espanha, 1967)Billboard Thailandhouse, 2001- Wood, fabric, colour photograph. Ed. 2/5
- 35.8 x 51.7 x 56.9 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2006
- In her work Alicia Framis crosses art, architecture, fashion, and performance to create construction propositions as a form of engagement with society and politics.'Billboardhouse' is one such series that relates to a study carried out by the artist on the present condition of women and on contemporary urban lifestyle. Her research on shelter and architecture led her to think about new housing alternatives that take into consideration the fact that the house became a place that we return to only to rest.Comprising a cube made from three billboards with an open fourth side, like a child’s playhouse, the maquette proposes that advertising companies pay for construction of structure which serves as space for rest inside. 'Billboard Thailandhouse' refers to the 'Billboardhouse' unit designed for Thailand, which took into account the country’s rainy, hot season ? the house is raised above the ground and features only curtains instead of doors or windows.
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