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Oldenburg, Claes
Study for Feasible Monument to Be Scattered in a City Park: Fragments of Nightstick Contact, Second Version, 1971- Plaster, wood (3 elements)
- 7.6 x 38 x 38 cm (each)
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Portol, Portugal. Donation by Banco Privado Portuguê S.A. 2000
- 'Study for a Feasible Monument?' is one of Claes Oldenburg’s projects for large-scale outdoors sculptures, many of which were unrealized. The work consists of three wooden boxes that reinterpret the convention of the monument. The three versions presented represent crumpled items of clothing over which lie the fragments of a nightstick in an ironic commentary by Oldenburg, one of the most important pop artists, to the social politics of homelessness. The action of bestowing grandeur and monumentality to trivial gestures and everyday objects wittily, but with intent, undermines the solemnity associated with the idea of monument, through both the small scale used by the artist and the visual association of the fragmented baton with a fallen, ruined column.
Plantoir, 2001- Trowel, 2001
- Stainless steel, aluminium, fibreglass, acrylic enamel. Ed. 2/3
- 729 x 135 x 145 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto. Acquisition with funds donated by Joao Rendeiro, EU funds and funds from Fundacao de Serralves 2002
- Claes Oldenburg (Stockholm, Sweden, 1929), who has been living in the United States since 1936, and Coosje van Bruggen (Groningen, The Netherlands, 1942 - Los Angeles, EUA, 2009) settled in New York in 1978. From 1976, they worked together on the creation of large-scale urban sculptures. 'Plantoir' is typical of the public site sculptures developed by this artistic team since 1976: giant, colourful sculptures, whose forms the artists glean from the most common objects of everyday life, which are installed in public spaces in articulation or contrast with their context. Seeking a form specifically designed for a garden setting, the artists developed the idea of the shovel until it reached its final shape as a curved ‘blade’, undulated on the outside and smooth on the inside, with its tip partly buried in the ground, giving the whole sculpture a directional force towards the ground, as if it was indeed being dug by the object. Removed from its original context, and with its massive change in scale, this familiar object gains a strange quality. The place chosen for the work’s installation allows it to be seen from three different perspectives: the pathway that encircles the Museum building; the Serralves Villa; and the street outside. 'Plantoir' was installed in the Serralves Park for the exhibition ‘Through Liquidambar Lane: Sculpture in the Park’, as part of Porto 2001: European Capital of Culture.
Olowska, Paulina
Fryzjer, 2013- Hairdresser, 2013
- Glazed ceramic
- 35 x 27 x 23 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2013
- Paulina Olowska works in a range of media encompassing painting, performance, music and textiles. Fryzjer [Hairdresser] exemplifies Olowska’s interest in decoration and artisanal techniques. Produced in a local pottery, the ceramic sculpture reproduces the building of a hair salon in Olowska’s own neighbourhood in Krakow, as homage to the vanishing forms of simple vernacular architecture and traditional Polish crafts. The work is part of a series of ceramic houses, all produced in the same pottery, reproducing different rudimentary forms of architecture. Olowska’s work draws on the cultural archive of Poland of the last century of art, architecture, design, decorative arts and advertising, intertwining personal stories (such as her feminist stance in life and art) and the ghosts of modernism to ask: ‘Whatever happened to last century’s utopias, to the belief in progress?’.
Niebieski Ptak (Jan Dorman wg M. Meaterlincka 1963), 2013- The Blue Bird (Jan Dorman after M. Maeterlinck 1963), 2013
- Gouache on canvas
- 200 x 280 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2013
- 'Niebieski Ptak (Jan Dorman wg M. Maeterlincka 1963)' [The Blue Bird (Jan Dorman after M. Maeterlinck 1963)] is based on an image of the staging of the eponymous play by Maurice Maeterlinck (1862-1949). 'L'Oiseau bleu' (The Blue Bird) is a 1908 text by the Nobel Prize winner Belgian author that has been the subject of several films and TV series, including one directed by Jan Dorman, the founder and director of a theatre for children in Poland. A play about happiness, in which two children pursue spiritual joy, 'L'Oiseau bleu' considers whether happiness should be based on material objects and luxuries or in simple, ethereal things. The painting reflects Olowska’s interest in both social utopias and theatre, particularly in stage sets. Olowska works in a range of media encompassing painting, performance, music and textiles. Through her work, she explores the fascination of communist Poland with Western consumerist culture. Her paintings, drawings and collages replicate iconography from American and Eastern European popular culture to create unexpected intersections and disruptive associations. Oloswka plunges into the gigantic archive of the last one hundred years of art, architecture, design, decorative arts and advertising to produce a work that reflects a singular image of that iconography, intertwining personal stories (such as her feminist stance in life and art) and the ghosts of modernism to ask: ‘Whatever happened to last century’s utopias, to the belief in progress?’.
Onofre, João
João Onofre (Lisboa, Portugal, 1976)Box sized DIE Featuring (band to be announced), 2007- Box sized Die featuring (band to be announced), 2007
- Iron, accustic isolation materials, performance by death metal band. Ed. 1/3 + 1 A.P.
- 183 x 183 x 366 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- Central to João Onofre’s artistic practice are questions relating to irreversibility, the unyieldingness of things, the physical behaviour of materials and actions, and the analysis of closed systems in which processes of entropy and degradation are accelerated. In 'Box sized DIE featuring (band to be announced)', Onofre tests and explores these issues by using a black iron cube as a support or device to set in motion a performance. The cube is the exact size and shape of the sculpture, 'Die' conceived in 1962 and produced in 1968 by the American minimalist sculptor Tony Smith (1912-1980). Onofre’s cube is, in fact, a box lined with acoustic foam where, for at least twice during the exhibition, a death metal band performs. The duration of performance is determined by the band’s endurance: the cube is sealed and the oxygen available inside is limited. Outside, only a muffled sound is perceivable, the sign of an inner life. A palpable experience, the vibration felt during the performance calls for touch, physical contact with the cubic object to ensure a more direct contact with the inside. After the performance, the interior becomes a set of actions performed.
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