viernes, 31 de diciembre de 2010

Fire with Fire: Un edificio en llamas como protesta artística

Una de las cosas que más disfrutamos de las proyecciones de vídeo sobre obras arquitectónicas, es ver como estas cobran vida ante nuestros ojos. Hasta ahora, las proyecciones que habíamos visto se han utilizado para conmemorar celebraciones importantes (el bicentenario de Argentina, por ejemplo) o simplemente como publicidad. Sin embargo, el potencial que tiene esta herramienta audiovisual es muy amplio y se puede utilizar para otros fines.
Mnkzn Fire01 640x455 Fire with Fire: Un edificio en llamas como protesta artística
Fire with Fire es un ejemplo perfecto de que este recurso puede servir incluso para levantar la voz acerca de problemas que aquejan a una comunidad. Obra de la artista canadiense Isabelle Hayeur, Fire with Fire es una exposición artística que haciendo uso de proyectores, incendió figurativamente un edificio en una de las zonas más peligrosas de Vancouver, aquejada por la falta de vivienda de sus habitantes, el abuso de drogas, la prostitución y la violencia. La idea es llamar la atención de las autoridades y la población en general hacia una zona que necesita una rehabilitación urgente.
Para prender fuego a un edificio de cuatro pisos patrimonio arquitectónico de la ciudad, se utilizaron diversos proyectores, reproductores de Bu-Ray y un vídeo de 15 minutos que simula un incendio. Como se puede apreciar en el vídeo, el resultado es tan convincente que de hecho, hay conductores y transeuntes que se detienen a observar el suceso. Es evidente que la protesta funcionó a la perfección, solo espero que se hayan dado cuenta que se trataba de una simulación y que no hayan hecho demasiadas llamadas al departamento de bomberos.

Mnkzn Fire01 100x100 Fire with Fire: Un edificio en llamas como protesta artística Mnkzn Fire02 100x100 Fire with Fire: Un edificio en llamas como protesta artística Mnkzn Fire03 100x100 Fire with Fire: Un edificio en llamas como protesta artística

miércoles, 29 de diciembre de 2010

Cundin at Bienvenu

Jose Maria Cundin is elusive, chimerical; he has exhibited here since the 1960s but is rarely seen. A one time resident of Broadmoor who now lives in Folsom, he spent a number of years in Miami in between. His work is also slippery, and his TWELVE ANTI-PORTRAITS show is aptly titled because the images are totally abstract, depicting no one's actual appearance. But Cundin is a master colorist, and color is a quality of light, and light is what people radiate. While no one's visage is actually visible, Cundin gives us the colors of his subjects' personalities instead, like a collection of so many painterly mood rings. So CHAVEZ, WHY DON'T YOU SHUT UP?, top, is an uneasy agglomeration of red, green and tangerine blobs shifting disconsolately and radiating the kind of unholy crimson glow that we might expect from Venezuela's caffeinated loose cannon president.  But in CARLOS GARDEL SINGING "MUNECA BRAVA," left, the articulated blobs seem to almost gyrate in harmony with the music of the legendary Argentine tango singer-songwriter. And RUBEN DARIO OBSERVING HIS OWN BRAIN is complex, as introspection often is, even for the esteemed Nicaraguan founder of Latino literary modernism. Here Cundin gives us a non-objective new form of biographical history painting that relies solely on a visual lexicon of cellular forms and irradiated colors to convey the essential character of his subjects. And once again the canny Basque expatriate escapes any further attempt to define him. 

twelve anti-portraits

This collection of 12 "Anti-Portraits represents a focused effort in search for my unified manner or formula of work, one that will aloud certain elusive expressive overflows from the formal boundaries of the Abstraction into an unlimited subjective visual realm, where the plastic effects should become both the main desired fact plus the conveyor for nuances, codes,etc.and wherever intended plausible meaning. This, of course, is very much like " Looking for three legs in the cat",  some beloved and recurrent Utopia in the Spanish Order of things.

In this arduous tasks I found some encouraging point of departure reading Hans Hofmann's essay: "The Color problem in Pure Painting--It's Creative Origin"  in which he  explains and propose a protocol of chromatic action and also recommends and Ideal; never where there any scarcity of commendable references to follow or  to contrast in my lengthy process  of achieving some rewarding result, and yet, today  the Journey continues with the same magical astonishment that I perceived with the first brush stroke in my painting "Carta a Ignacio Arana" (New Orleans,1989), composition of 16 vignettes where I explore sequentially the possible transition from the representational styles, which had occupy me for more than thirty years, into the Abstract  narrative context of this 2010 Anti-Portraits show.

In denominating this 12 works as Anti-Portraits I am not aiming for moral explicitness in the characters, but  rather towards what I wish to accomplish: The persistence of expression before and beyond the "ensemble" of forms, masses, weights, directions, forces and color, a qualifying condition of such a mysterious nature as, for example, Murphy's Law.

To close this justification in time for the Inauguration of the Show, I will add my suspiction that a Lie is a possible reality, but will never be a Truth; and this is our aim.

Jose-Maria Cundin

lunes, 27 de diciembre de 2010


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sábado, 25 de diciembre de 2010

The Museum of Modern Art, New York

"Last Tango in Paris," 1972.
Directed by Bernardo Bertolucci.

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Bernardo Bertolucci
The Roy and Niuta Titus Theaters 1 & 2

December 15, 2010 – January 12, 2011

The Museum of Modern Art,
New York


This comprehensive 20-film survey, presented in collaboration with Cinecittà Luce, Rome, celebrates the work of Bernardo Bertolucci, one of the great living practitioners of the art of cinema. All of the prints in this series are newly remastered by Cinecittà Luce, with sound and color correction overseen by several of the cinematographers who have worked with the director, including Vittorio Storaro, Darius Khondji, and Fabio Cianchetti. Featured screenings include The Conformist (1970)—a film that has deeply influenced American filmmakers as diverse as Martin Scorsese and Steven Spielberg—and a rare presentation of Bertolucci's documentary Oil (La via del petrolio) (1967), a major rediscovery at the 2007 Venice Film Festival.

At the age of 21, Bernardo Bertolucci debuted at the Venice Film Festival with his first film, La commare secca (The Grim Reaper) (1962); he has since gone on to earn every award and accolade to which a filmmaker can aspire. Tirelessly experimental in form and content, his films have enjoyed both popular and critical acclaim. Renowned for pushing the boundaries and creating works for adventurous audiences, his oeuvre also contains its share of popular blockbusters, including The Last Emperor (1987), which garnered nine Oscars, including Best Picture and Best Director. Watching the films in this series together, one witnesses Bertolucci's development as an artist, from grappling with the influence of cinematic trends and filmmaking icons to developing and refining his own voice, and ultimately becoming an enormously influential auteur who creates films of beauty and consequence.

This complete retrospective also includes such revered films as Ultimo tango a Parigi (Last Tango in Paris) (1972), starring Marlon Brando and Maria Schneider; Novecento (1900) (1976) with Robert De Niro, Gérard Depardieu, and Donald Sutherland; The Sheltering Sky (1990) with Debra Winger, John Malkovich, and Campbell Scott; Little Buddha (1993) with Keanu Reeves, Bridget Fonda, and Chris Isaak; Stealing Beauty (1996), with Liv Tyler, Sinéad Cusack, and Jeremy Irons; and The Dreamers (2003), with Michael Pitt, Eva Green, and Louis Garrel.

A full screening schedule is available at

The exhibition is co-produced by the Department of Film of The Museum of Modern Art and Cinecittà Luce, Rome. It is organized by Jytte Jensen, Curator, Department of Film; Camilla Cormanni and Paola Ruggiero, Cinecittà Luce; and Alessandra Bracaglia.

Bernardo Bertolucci is supported by the Cinema Department of the Italian Ministry of Culture and by eni, a major integrated energy company committed to valuing people, environment, and integrity. Special thanks to Alitalia and the Italian Cultural Institute of New York.

11 West 53 Street
New York, NY 10019
(212) 708-9400

Happy Holidays!

Ballet school rehearsal of The Nutcracker

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Dear friends,

Between Christmas and New Year we will close for a much needed break.

Our announcements will resume after January 3rd and the Time/Store will reopen on January 4th.

We wish all of you a wonderful holiday season and all the very best in the New Year!


Museum of Contemporary Art, Chicago

Adrian Piper, "Cornered," 1988. Collection Museum of Contemporary Art, Chicago, Bernice and Kenneth Newberger Fund.

Without You I'm Nothing:
Art and Its Audience

Now through May 1, 2011

Museum of Contemporary Art, Chicago
220 East Chicago Avenue
Chicago, IL 60611

viernes, 24 de diciembre de 2010

Kunsthalle Bern

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The Kunsthalle Bern
is looking for a new director
starting January 2012

Please submit your application by the end of
February to:
Kunsthalle Bern
CH-3000 Bern 6

For further information:

Malba – Fundación Costantini

Marta Minujín at her atelier in rue Delambre, Paris, 1962.*

Marta Minujín. Works 1959-1989
25 November 2010 – 7 February 2011
Gallery 5 (2nd floor), gallery 3 and terrace (1st floor)
Guest Curator: Victoria Noorthoorn

Malba – Fundación Costantini
Avda. Figueroa Alcorta 3415
Buenos Aires, Argentina
T +54 (11) 4808 6500
F +54 (11) 4808 6598/99

University of Toronto: Call for Applications

University of Toronto

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Masters in Visual Studies (MVS)
MVS: Curatorial Studies
MVS: Studio Art

Application Deadline: Monday, January 10, 2010

jueves, 23 de diciembre de 2010

Collaborative Research Residency hosted by Baltic Art Center, The Factory of Art and Design (FFKD) and Hordaland Art Centre

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Deadline: 1 February 2011

Escola Sao Paulo: Call for Applications

The National Museum of Contemporary Art (MNAC) Bucharest

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Golden Flat & Co.

Ion Bârlădeanu, Ştefan Constantinescu, Cristian Mungiu, Corneliu Porumboiu &
an installation by Alexandru Potecă

Ruxandra Balaci

11 November 2010 – 22 February 2011

The National Museum of Contemporary Art (MNAC) Bucharest
2-4 Izvor St., E4, Bucharest 5 (RO), 050563
Tel./ fax: +40 21 318 91 37
Wednesday – Sunday 10.00h-18.00h


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