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Jonas, Joan
Joan Jonas (Nova Iorque, EUA, 1936)Songdelay, 1973- 16mm film transferred to video, b/w, sound, PAL, 18'35''
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- In ‘Songdelay’, shot by the Hudson river, New York, Joan Jonas stages a choreography of space, movement and sound in which the relationship between distance, time and perception is demonstrated through the use of ludic, theatrical props. The time delay between the performers, the moving image and the sound corresponding is revealed in the title of this pioneering video-performance, influential among subsequent generations of artists.A pioneer of such disciplines as performance and video, Joan Jonas uses tools from the fields of drawing and theatre to explore those media.
Jotta, Ana
Ana Jotta (Lisboa, Portugal, 1946)Vasco, 1998- Silkscreen printing on cloth
- Coll. Peter Meeker, long-term loan to Fundação de Serralves - Museu de Arte Contemporânea, Porto. Deposit 2000
- In 'Vasco', Ana Jotta silkscreened a series of musings and graphic elements freely associated on a tablecloth, a material associated with domesticity and household tasks. Rather than used in the traditional manner, Jotta´s ‘tablecloth’ is rolled and hung up, evoking the gesture of drying one’s hands, its length varying according to the space in which it is shown. The texts themselves have been reproduced from all sorts of literary sources. The blue background somehow simulates the carbon paper formerly used to transfer texts and drawings. The idea of the artist as a copyist is one of the defining strategies the artist uses to critique the notion of a personal touch or of a singular style. Jotta continually appropriates objects, images and texts by others, while also toying with the artistic languages of minimalism, post-minimalism and process art. Over the last three decades, Ana Jotta has explored virtually every medium, from painting and sculpture, to drawing, installations, embroidery, needlework and ceramics.
Ana Jotta (Lisboa, Portugal, 1946)Zambujeira do Mar, 2000- Cast aluminium (32 elements)
- Dimensions variable
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2006
- Zambujeira do Mar is the name of a beach in the Alentejo, in the South of Portugal, known since 1997 as the venue for an annual August festival of pop and rock music, Sudoeste, featuring international bands. Not long after the beginning of this yearly pilgrimage by thousands of young people, Ana Jotta bought a holiday home in the area, in which she regularly spent periods of rest ? others would call them periods of work (Jotta is known for inscribing several of her works with the phrase ‘is there life after work?’) ?, during which she started collecting bits of worn out wood dragged in by the sea and picked up during walks on the shore. The bits of wood were then cast in aluminium at a small factory that specializes in kitchen utensils.'Zambujeira do Mar' (2000) is composed of 32 elements of this ‘silver wood’ that can be distributed in whichever way may best suit the museum or gallery space. For instance, in the 2005 exhibition ‘Rua Ana Jotta’, at the Serralves Villa, the work was installed with the various elements stacked on top of each other, while in the 2012 show ‘Entrevista Perpétua’, at Edifício Axa, in central Porto, the same elements formed a pathway. When asked about the correct way of installing 'Zambujeira do Mar', the artist answers: ‘Let the curator decide!’.The work testifies to Jotta’s interest in the processes of corruption, in this case the erosion caused by the sea. This fascination leads her to constantly introduce in her works small alterations that constitute deviations or degradations in relation to the purity, quality or correction of certain artistic movements. At first glance, many of her works seem to fit seamlessly into the various ‘isms’ (expressionism, minimalism, conceptualism and others) that marked the twentieth century, but a closer look reveals small, albeit important deviations that constitute a sort of visual translation of the language games that the artist is so fond of, such as the deliberate mispronouncing or misspelling of a word or phrase. 'Zambujeira do Ma'r is also a consequence, and an illustration of yet another aspect of Jotta’s artistic practice: her compulsion to collect and appropriate. The artist’s home, where every room is filled from floor to ceiling with the most disparate objects ? her own works and works by artist friends, but mostly obsolete everyday objects, folk art, toys, mementos, curiosities from across the world ? is the work of a true artist-collector, eager to recreate a condensed version of the world in her surrounding environment.
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