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Cristina Guerra: all to wall (part II) - 23 Sept 2011 to 5 Nov 2011 Current Exhibition |
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SABINE HORNIG - Hut III, 2009
metal, plexiglas, duraclear, magnets | 31 x 50 x 36 cm � Sabine Hornig |
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all to wall (part II) group show Curator | João Silvério Opening 22 September | 10 pm 23 September to 05 November (...) continue. “The installation is frequently denied the status of a specific art form, because it’s not obvious what the medium of an installation actually is. Traditional art media are all defined by a specific material support: canvas, stone, or film. The material support of the installation medium is the space itself. That does not mean, however, that the installation is somehow “immaterial”. On the contrary, the installation is material par excellence , since is spatial — and being in the space is the most general definition of being material. The installation transforms the empty, neutral, public, space in to an individual artwork — and it invites the visitor to experience this space as the holistic, totalizing space of the art work.” 1 The second part of the all to wall exhibit presents works by Michael Biberstein, Carla Filipe, José Loureiro, Henning Lundkvist , Daniel Malhão , Cesare Pietroiusti, Diogo Pimentão, Sabine Hornig and Kim Schoenstadt . Continuing from the initial proposal for a possible route stemming from different notions of spatiality and impermanence, the exhibit takes on another direction with an emphasis on narrative. Word and image occur in the most diverse means of artistic expression such as painting, drawing, sound, photography, video or installation, and present the exhibiting space as an apparently transitory place. Thus, the exhibition assumes the role of a network, unlikely though it may seem, of connections that situate us before stories, speculative reflections and collaborative proposals that return the space to us as a medium. A redemptive instance of individual experience before each work, in the sense that the space and the works of art exposed within it come together as an essential device in the artistic process. In this sense, the transformation to which the gallery is temporarily subjected to represents a moment of passage, like an archaeological record, a material remain of its performative characteristics to which only the exhibited pieces can attest in these two exhibitive moments. 1 Boris Groys, Politics of installation , in http://www.e-flux.com/journal/view/31 Cristina Guerra Contemporary Art Rua de Santo António à Estrela . 33 1350 - 291 Lisboa Portugal www.cristinaguerra.com [email protected] T +351 213 959 559 F +351 213 959 567 |
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