2009 | VIDEOEXHIBITIONS
OCTOBER 1 - DECEMBER 31, 2009
Gê Orthof, 800º C, 2009, installation, mixed media, 7,8 x 7,8 x 7,8 in
http://www.georthof.com
800ºC a new object by Brazilian artist Gê Orthof, is a small and fragile construction made of matchboxes and acetate prints of images of fire, such as firemen, burning buildings, books etc. The title 800ºC alludes to the temperature (1,472ºF) that matches rise to, when they burn. The work was made especially for Davis Museum and will be exposed for the first time at LACDA, "Los Angeles Center for Digital Arts".
Orthof has been working with installation and performance arts since the eighties, with a particular interest for the intimacy of small size and poetic objects. That is a deliberated tactic for fighting against the banality and fast speed of contemporary life and art fruition. With the diminutive scale, the artist hopes to set a slower and more accurate approach of the audience’s observation, inviting the observer for getting closer in order to appreciate the works.
Gê Orthof: 1959, Petrópolis – Rio de Janeiro. Lives and works in Brasília, Brazil.
Professor at the Visual Arts Department - Art Institute - Brasília Federal University, since 1993, Visual Arts Coordinator at Latin American Culture House - Brasília University, (1999 – 2000). Visiting artist at School of Visual Arts, Penn State University (2002), Post-doctorate at the School of the Museum of Fine Arts, Tufts University (2001) Boston, Doctorate (Ed.D.) (1992), Ed. M (1985) and (M.A.) Visual Arts, T.C., Columbia University, Visiting artist at Aveiro University, Portugal (1990), New York, Fulbright Scholar at the School of Visual Arts, NYC (1983), and B. A. in Design at Rio de Janeiro State University (1981).
Founder editor of reVISta, the graduate program’s art magazine and has contributed with several publications specialized in art in Brazil, curatorship, and participation in juries, such as: Banco do Brasil Cultural Center, Caixa Cultural Center, Itaú Cultural Center, The National Foundation for The Arts, Brasília University, Brasília Cultural Foundation and Central Bank Museum. Has illustrated more than twenty children’s books for major publishing houses in Rio and São Paulo.
Since 1997 organizes Campus Muse, a student site-specific intervention group at the Brasília Federal University Campus.
SOLO EXHIBITIONS
2008 The violence’s history: Gertrud’s ground Centro de Arte Moderno, Madrid, Spain (Side event of Brazilian’s representation at Madrid’s ARCO Art Fair)
2006 Transtheater; Latin American Culture House, Brasília.
The Stripper’s Library: The Root Book, performance with Cecilia Aprigliano, Torreão, Porto Alegre, Brazil.
thestripperlibrary: The Root Book, performance with Cecilia Aprigliano, Centro Cultural Banco do Nordeste. Fortaleza.
2004 thestripperlibrary: The Root Book, performance with Cecilia Aprigliano, Arte Futura Gallery, Brasília.
2001 Receiving Chamber, performance with Gertrude Berg, Forest Hills Cemetery, Boston.
thestripperlibrary - work in progress, School of the Museum of Fine Arts Gallery, Boston.
2000 Before, Center de Arte Moderno, Buenos Aires, Argentina.
Over All Transport: Destination Madrid, Cruce Gallery, Madrid, Spain.
1999 Over All Transport: Destination Torreão, Porto Alegre.
1998 Over All Transport, Rubem Valentim Gallery. Brasília.
1997 Encapsulated The Sleeping Box, São Paulo Cultural Center.
1996 Encapsulated The Sleeping Box, Curitiba Cultural Center.
1994 Oxford – Brazil, Sérgio Porto Cultural Center, Rio de Janeiro and Museum of Contemporary Art, São Paulo.
1991 Macy Gallery, New York.
1987 UFF Art Gallery, Rio de Janeiro.
1984 Macy Gallery, Nova York.
1979 Divulgação e Pesquisa Cultural Center, Rio de Janeiro.
SELECTED GROUP EXHIBITIONS
2009 Digital Capital. Museu de Arte e Ciência, João Pessoa, Brazil.
Work-Box. Centro Cultura Renato Russo, Brasília, Brazil.
2008 Work-Word. Museu Nacional da República, Brasília, Brazil.
2007 Garden of Power. Centro Cultural Banco do Brasil, Brasília, Brazil.
2006 Invaded City, traveling exhibition Spain and Brazil.
Gilberto Chateaubriand’s Collection; ECCO Cultural Center, Brasília, Brazil.
A flat place; ECCO Cultural Center, Brasília, Brazil.
2005 Human/ Post-Human, Bank of Brasil Cultural Center. Brasília, Brazil.
Brasília Contemporary Art, Caixa Cultural Center. Brasília, Brazil.
2004 Precious Vows. ECCO, Brasília, Brazil.
2003 Brazilian Contemporary Artists, Bogotá, Colombia.
The Red Room, Centro de Arte Moderno, Argentina.
Gentle Reversion, Oduvaldo Viana Filho Cultural Center, Rio de Janeiro, Brazil.
Plataforma Contemporânea, Museum Imperial, Petrópolis, Rio de Janeiro, Brazil.
2002 Precarious Image, Reference Gallery, Brasília.
Gentle Reversion, Bank of Brasil Cultural Center, Brasília.
2000 Feminine Dislocations, Caixa Cultural Center, Rio de Janeiro.
1998 Guest artist at National Art Salon, Museum of Modern Art of Rio de Janeiro.
1995 Frontiers. Museum of Brazilian Art, Álvares Penteado Foundation. São Paulo.
Panorama Brasília - IV Visual Arts Forum, Brasília.
1993 Panorama Brasília - II Visual Arts Forum, Brasília.
1992 Art Salon, Art in General, New York.
1991 Three Artist at St. James Chapel, New York.
Group Show, Wetherholt Gallery, The Funding Center, Washington D.C.
Group Show, Public Space, Washington D.C.
AWARDS
2005 Travel Abroad - Coordination Foundation of Improvement of Superior Level Personal CAPES.
2003 Travel Abroad - Coordination Foundation of Improvement of Superior Level Personal CAPES.
2001 International Exchange Scholarship - Penn State University, PA.
2001 Post Doctorate Scholarship Award - Coordination Foundation of Improvement of Superior Level Personal CAPES.
2000 Travel Abroad – Ministry of Culture - MINC.
1999/98 Research Scholarship – National Council for the Scientific and Technological Development CNPq: Supermodernity: Encapsulated Landscapes.
1999 Five best Exhibitions of the Year, Correio Braziliense Award. Brasília.
1998 Art Reality Award for Best Web Design Art Journal. California.
Elite Site Award for Best Web Design Art Journal.
Akita Award for Best Web Design Art Journal. Japan
Award-it for Best Web Design Art Journal. Canada
1993 Young Talents Award. School of Arts and Communication, São Paulo University ECA-USP.
1992/88 Doctorate Degree Abroad Scholarship. National Council for the Scientific and Technological Development.
1989 Professional Development Award. Columbia University, New York.
1982 “The Best for Children of the Year Award”. National Foundation for Children’s Book. Rio de Janeiro.
1981 “Brazilian Best Illustrator of the Year” São Paulo Art Critic Association.
1982 Study Abroad Scholarship. Organization of American States. Washington, D.C.
1985/83 Master Degree Abroad Scholarship. National Council for the Scientific and Technological Development.
1983 FULBRIGHT Scholarship.
1980 1st Prize (drawing). University of Rio Art Salon. Rio de Janeiro.
Art Project Scholarship. Ministry of Culture and Ministry of Education.
1979 1st Prize (engraving). University of Rio Art Salon. Rio de Janeiro.
COLLECTIONS
Dr. Davidoff, NYC, USA. Dr. Soares, Chicago, USA. Dr Sahr, NYC, USA. Museu Murilo Mendes, Juiz de Fora, Brazil, Centro de Arte Moderno, Madrid, Spain, Casa de Cultura da América Latina, Brasília, Brazil, Espaço Cultural Contemporâneo- ECCO, Brasília, Brazil, Museu de Arte de Brasília - MAB
JULY 1 - SEPTEMBER 30, 2009
PSJM, Khodorkovsky, 2006, Animation, 00:52:00
www.psjm.es
ABOUT THE ARTISTS
PSJM is an artistic team conformed by Pablo San José (Mieres, 1969) and Cynthia Viera (Las Palmas, 1973) and operating in Berlín. PSJM acts as a commercial brand of cutting edge art posing questions about the work of art on the market, communication with consumers and the function as artistic quality, making use of the communicative resources of entertainment capitalism to highlight the paradoxes issuing from its chaotic development. PSJM has had shows in places like New York ("The Real Royal Trip… by the Arts", PS1-MOMA. In collaboration with El Perro and Aitor Méndez. DIVA NY 07, Blanca Soto Gallery), Basel (Volta 07, Riflemaker Gallery), Miami (Pulse 08, Galería Espacio Líquido), Berlin (Scala e.V., Zagreus Projekt), Sao Paulo (Baró Cruz Gallery), Stockholm (WIP:sthlm) or London (Riflemaker Gallery) and many solo and group shows in Spain, among them “Trial Balloons” in MUSAC and MARX® in Laboral and CAAM.
HIDDEN BRANDS
This work belongs to the series Hidden Brands that makes use of suggestion mechanisms normally used in the exercise of power, but in this case to show the dangers of globalised capitalism. It involves advertising those who do not wish it. Hidden Brands criticises hidden power, which is really aimed at all of us. In globalised post modernity, states are controlled by the interests of large multinationals and the people who govern them.
PSJM has chosen four predators and proposes to draw a portrait of them. The image of corporations reflects their identity, their policy. To represent these new global prophets, this same procedure was followed, creating four brands and representing each of them with a logo and a spot which emphasises their qualities, although critically.
After the fall of the USSR, the soviet oil company Yukos was privatised and purchased at a ridiculous price by Mikhail Khodorkovsky. When Khodorkovsky was arrested in Russia and his oil holdings in Yukos were confiscated, the process was much more than just a turn of the screw against the most powerful Jewish Zionist in Moscow. In a single blow, Russia’s strong arm President Vladimir Putin ensured the future of Russian oil operations and blocked the efforts of Israel, which was using free oil from Yukos, among others, to move its machinery of war throughout the Middle East.*
http://www.redvoltaire.net
APRIL 1 - JUNE 31, 2009
María Cañas, The Toro's Revenge, 2006, video, 02:00:00
http://www.animalario.tv
STATEMENT
María Cañas, audiovisual artist and cannibal; art curator, collectionist and archivist; organiser of singular contests in the Internet having to do with appropriationism, with a Iberico ham as the suculent prize.
Her work is experimental, unpredictable, chaotic and mordant.
By means of iconographic cannibalism, she invites a reflection on the strange mixture of the fun, tremendismo, and lugubrious and sensual imagery which surrounds us.
Video pieces, photomontages, online televisions... with a great sense of humour that oscillates between irony and the prank, subtlety and obscenity, this Sevillan woman deforms in the mirror of her reflections the clichés and stereotypes of the Andaluz and Spanish imaginary: reality shows, the universe of the Iberico pig, the Fiesta Nacional, folklorism...
The work of María Cañas is a delirious visual torrent in which iconography and pornography, cinephagia and zoophilia go hand in hand.
In www.animalario.tv Cañas proposes other possible modes of production and distribution of the art performance today; as in her film El Perfecto Cerdo (2005) -a delirious and excessive metadiscoursive exercise about the “swinelike character” of information nowadays- which is also a declaration of principles: if we can make good use of everything in the pig, so can we with the contemporary image, wherever it comes from.
Her documentary scratches and collages, of the sci-fi-surrealist genre, under the notion of a cinema without limits, reach a large variety of narrative trajectories (false documentary, music video, vj, film essay, video performance, video art, found footage, home video...) and attempt to explore the hidden truth of images.
Cañas has found in appropriationism and double linking (an image or an idea that refers to another previously known) rich soil for meta-artistic reflection. Following this thread, she generates pieces that refer to others, to illuminate and/or pervert them.
Iconoclast, uninhibited, audacious and incorrect, many times excessive.
BIOGRAPHY
Among other prizes and acknowledgments, she received in 2006 the Prize for Art Practice Iniciarte and a grant for film production from the Junta de Andalucía for the project Meet my Meat N.Y. In 2007, she received the Roman GubernFilm Essay Award UAB. In 2005, she received the prize RTVA-Zemos98, the Barcelona VisualSound and the Jury Prize Intervenciones.tv 6, Fundación Rodríguez.
She was shortlisted for the prizes Imagen Transmediale 03 (Berlín); Injuve01 (Madrid); Eurovídeo 01 (Málaga); Certamen de jóvenes creadores del Ayuntamiento de Madrid and Festival Alacant/Vídeo.
She has participated in collective exhibitions in the galleries Juana Aizpuru, La Caja China, Sala de eStar (Sevilla), Fernando Serrano (Huelva), Carmen de la Calle (Madrid), Galería 44 and ADN (Barcelona) and in solo exhibitions in the galleries Galería Carmen Carmona (Sevilla) and Llucià Homs (Barcelona).
Cañas collaborates in projects, publications, seminars, round tables and televisions, such as MTV (Sr. Chinarro’s music video), Canal Internacional, televisionet.tv, horitzo.tv, Fundación Rodríguez (intervenciones.tv, Videologías, Neff, Tv Jam - Centro Cultural de Montehermoso, Vitoria), A&E - Arteleku (San Sebastián), Mediateca CaixaForum - La Caixa, Casa Encendida - Caja Madrid, DVD Películas Musicales de Acuarela, Visual (Madrid), FICA (Badajoz), Blogs&Docs, MUSA, Neo2, MU Magazine, etc...
La Cosa Nuestra is a trip into the darkest and most surrealist side of the bullfighting universe. Fun and tremendismo* operating within an iconographic cannibalism.
* tremendismo makes reference to an aesthetic movement of 20th Century writers and painters in Spain who exaggerated the crudeness of life. In bullfighting, tremendismo refers to a style of bullfighting that pays more attention to the spectacular than to the classic rules of tauromachy.
The erotic perversity of fanatic pop fans cheering to bullfighters gored by the bulls Human death as a fiesta, let the horn enter and the music sound... Who said that the toro’s revenge could not be funny?
SHORT BIOGRAPHY
María Cañas (Seville, 1972) graduated in Fine Art. She completed a Doctorate in Aesthetics and the History of Philosophy at the University of Seville. She runs Animalario TV Producciones, www.animalario.tv, a platform for audiovisual experimentation in various fields: video-art, video-clips, installations, digital imagery and on-line projects.
Her work has been exhibited at Spanish galleries such as Juana de Aizpuru, Birimbao, Félix Gómez, La Caja China, Carmen Carmona and Sala de eStar (Seville), Fernando Serrano (Huelva), MECA (Almería), Carmen de la Calle (Madrid), ADN, Llucià Homs (Barcelona) Dean Project (N.Y) and Esca (Francia). Her work has also been shown at international festivals and events, including the Festival LOOP’08-07, BAC’06 (Barcelona), Les Rencontres Internationales París-Berlín-Madrid, Transmediale 03 (Berlín), INICIARTE-Tokio Cervantes Institute, Visible Evidence. Strategies for Success: Review video system strategies-Universidad de Lincoln, England, Annecy Spanish Cinema Bienal, Oberhausen Short Film Festival (Alemania), VISION:A: LOOP-Cervantes Institute of Pekín-Milán-Lyon-Casablanca-Brasilia-Estocolmo-Caracas-Praga-Polonia, DUOLUM Museum of Modern Art of Shanghai, WISPS IX Conference-Instituto Cervantes, Dublín, FIFVC-Beirut, the Navarra Festival of Audiovisual Creation, the Punto de Vista International Festival (Pamplona),
D-Generación: Cervantes Institute of Estocolmo, Praga and Dublín, Las Palmas International Film Festival, EX DOCS-XI Latinoamerican Cinema (Lima), Art Futura, VAD (Girona), Portland Underground Film Festival (Oregón), MUSA and Muca-Roma (México), ARCO, Muestra de Arte 2000 and Audiovisual Injuve 2000-01(Círculo de B.B.A.A. and Amadís Showroom, Madrid and Iberoamérica), Cervantes Institute (Manchester), Nelson Garrido Organization (Caracas), Cyberia (Santander), Canal Metro-Madrid Abierto, Medialab Panorama Digital 03 (Conde Duque, Madrid), Festival de Creación Audiovisual de Navarra, C.A.A.C, Espacio Iniciarte, caS, Lux´06, Zemos98 (Sevilla), Beat-Portobello Film Festival (Londres), Festival de Holguín (Cuba), Maribor Internacional Computer Arts Festival (Eslovenia), Wro Center For Media Art (Polonia), Teknemedia (Turín), ISEA (Nagoya), C.G.A.I (Galicia)…
Recently she has shown her project Kiss the Fire at the Espacio Iniciarte (Seville). Her work has won numerous prizes and awards, including several in 2007: The Ibn Batuta FIAV Prize (France) for her piece The Toro’s Revenge, the Memorimage Videocreación prize (Reus) and the Roman Gubern prize for Assaig Cinema.
In 2006, she received in 2006 the Prize for Art Practice Iniciarte and a grant for film production from the Junta de Andalucía for the project Meet my Meat N.Y..
In 2005, she received the prize RTVA-Zemos98, the Barcelona VisualSound and the Jury Prize Intervenciones.tv 6, Fundación Rodríguez.
She was shortlisted for the prizes Imagen Transmediale 03 (Berlín); Injuve01 (Madrid); Eurovídeo 01 (Málaga); Certamen de jóvenes creadores del Ayuntamiento de Madrid and Festival Alacant/Vídeo.
Cañas collaborates in projects, publications, seminars, round tables and televisions, such as MTV (Sr. Chinarro videoclip), Canal Internacional, Documanía, TV3 Silenci, V87, televisionet.tv, horitzo.tv, Art Tech Media, Blogs&Docs, Fundación Rodríguez (intervenciones.tv, Videologías, Neff, Tv Jam - Centro Cultural de Montehermoso, Vitoria), A&E - Arteleku (San Sebastián), Mediateca CaixaForum - La Caixa, Casa Encendida - Caja Madrid, DVD Películas Musicales de Acuarela, Zemos 98, Fundación Audiovisual de Andalucía, Universidad de Bristol, Sevilla y Granada, C. E. A., F.I.C.A., Junta de Andalucía, Cajasol, caS, ICAS, Ayuntamiento de Sevilla, LOOP, AECI, INJUVE, IAJ, Instituto Cervantes, BAC, Mostrat, Experiencia MECA, Proyecto Lunar, Sevillafoto (Sevilla), Visual (Madrid), FICA (Badajoz), MUSA, Neo2, Revista MU, lafresa, etc...
TEXT ABOUT MARÍA CAÑAS
María Cañas, an audiovisual cannibal, a collector and archivist, runs Animalario TV Producciones, an audiovisual experimentation platform in diverse fields: video pieces, musical videos, installations, photomontages, online televisions…
Her work is an invitation to reflect on the bizarre mixture of fun and alarm, of the gloomy, sensual imagery that surrounds us, operating in the iconographic cannibalism. It turns its provocative gaze towards some of the customs and traditions deeply rooted in our identity: bullfighting, the universe of the Iberian pig, folklore, television, reality shows, pornography, love…
María Cañas’ work is a delirious visual torrent in which iconoclasty and pornography, cinephagia and zoophilia go hand in hand.
Thanks to Cañas, concepts like “appropiationist cinema”, “collage” and “deconstruction”, which are suspects of disguising real mental masturbation, take on their whole transgressor, anarchic, unmasking, vitalistic sense.
The artist’s imagery shapes a passionate tableau which restores both ethical and aesthetic postulates from the Baroque period and Film Making to our time.
The essence of her creations flows into our consciousness even to our regret, questioning us on transcendental subjects: love, loneliness, death…diffusing a wealth of formal, existential density by means of a vitriol-like humour, a grotesque vision of the world which, according to her, is notably influenced by Luis Buñuel’s spirit and Román Gubern’s writings, among other authors.
Cañas’ video-collages and scratch-documentaries can be linked to the tradition of snipers who called classic cinema’s foundations into question, by means of experimental cinema or found footage, thus enlarging the meta-linguistic capacity of the audiovisual language and breaking the rules of the game. We are talking about visionaries such as Agnes Vardá, Chris Marker, Kenneth Anger, Werner Herzog, Jean-Luc Godard and so many others who lucidly sighted the hidden, naked truth of images, the lenitive power of the cinema, the ability to transmute filed and celluloid images, visions condemned to obscurity, into heterodoxy and visual vigour.
The artist creates her work by practicing “appropiationism” (remontage of someone else’s images in order to give new, different meanings to its original use), and also double linking (communication situations in which we receive different or contradictory messages), thus smoothing the way for meta-artistic reflection.
www.animalario.tv is a place dedicated to recycling culture, an experimental visions file reinterpreting creations in the Internet context. Its interest is focused on the digitalization of artistic contents from the past, present and future, beyond style limitations.
Both in the online contest Y un Jamón and in Porco Archivo coexist net art, remixes, fakes, tributes, corsair art…”All those art manifestations which swiftly become common knowledge and brighten up our lives.”
Her video El Perfecto Cerdo (2005), a delirious and excessive metadiscursive exercise about the “swinelike character” of information nowadays, is also a declaration of principles: if we can make a good use of everything in the pig, the same applies to the contemporary image, wherever it may come from. All in all, it is a research on the creation devices that hold much of the contemporary cultural production.
In La Cosa Nuestra (2006), a bizarre trip to the most hidden, surrealist side of the tauromachy world, Cañas reels off the relations between the bull, other bovidae and man in different cultures, starting from a series of pieces overflowing with an iconoclast sense oh humour.
In El Perfecto Cerdo y La Cosa Nuestra, the artist practices a militant cinephagia by creating a delirious speech based on two ancient animals: the pig and the bull, typically rooted in our idiosyncrasy. They are chosen because of their influence in our collective imaginary, with the intention of subverting clichés and satirizing elements from popular culture.
Land of 1000 Tvs (2005), an apocalyptic fable filled with television sets and animals, generates an odd narrative about the media power to exterminate human beings and impose an “animal telecracy.”
In Down with Reality (2006), Cañas reflects with a false documentary style on reality shows through contemporary art and cinema.
This video challenges the scant cultural contribution of reality shows with the creative power and the feeling of immortality granted by the cinema to our collective psyche.
The end of this work is a tribute to those marvellous B-movies and to their directors, who turned minimalism (less money is more creativity) into their raison d’être.
In her photographic series La virtud demacrada (2007) and her last video installation Kiss the Fire (2007) —specifically produced for Espacio Iniciarte—, she reflects on love, eroticism and pornography both from nowadays and earlier times by resorting to the History of Art and to contemporary icons from the cinema, Internet or the other side of life.
Cañas creates a baroque, alarmist digital cosmogony, a playful hell made of symbols claiming pornography as a creative language: a world where everything worsens and improves at the same time, keeping our desires and perversions alive by taking as a starting point the intense imaginery, with its evil alarmist spirit and the visionary inspiration of artists like Goya, Fuseli, Caravaggio, Duchamp… and movie scenes that deal with love and death.
In the mists of an apocalyptic landscape of atomic bombs and chaos, a martyr sacrifices himself in the sacred vagina dentata. A tiny man in flames leaps into the void from a giant, feminine, lethal mouth. We all are that miserable little man trying to flee from something terrible and inevitable… These cathartic images belong to Kiss the Fire, an audiovisual witches’ sabbath destined to exorcize our love demons. A love Apocalipsis cross-dressed by cinema. The pieces comprised by this work reflect about this concept, both ambiguous and ubiquitous, that we call Love.
For Cañas, love is schizoid: it splits into lack of affection; it is Devil’s spine, the evil howling El Blues del Fuego.
In February 2005, the Department of Culture of the Andalusian Regional Government launched Iniciarte (Initiative to Support the Creation and Diffusion of Contemporary Art.) Likewise, in order to encourage, give recognition and promote our creators’ artistic background, we set off the Art Activities Prize. The first year’s awards were obtained by María Cañas, Jesús Palomino and Simón Zabell. It was María Cañas who opened the new phase of Santa Lucía’s Church as a venue for events and exhibitions by emergent artists linked to the Iniciarte programme.
The first opening work, Kiss the Fire, is an exclusive production for Espacio Iniciarte where María Cañas presents a video installation made up of:
Kiss the Fire
-Ápse 2'
-Side Apse 2'
-Rose Window 2' 45''
El coro del alma negra ( The Black Soul´s Choir). 4'
El amor es el demonio (Love is the Devil). 4' 30''
More info:
http://www.hamacaonline.net/autor.php?id=55
http://www.galerialluciahoms.es/artist_canas.html
WELCOME TO ANIMALARIO.TV...
…where animals have ceased being animals…
A site dedicated to THE CULTURE OF RECICLING…
…AND APPROPRIATIONISM,
In which you can find solutions to store everything inside you without having you explode or rot…
ANIMALARIO.TV: A strategy of true education of the professional eye…
…and ideal place to make interconnections between things accessible to people…
…where the PORCO ARCHIVE will recycle you, and consider that all objects are equal, usable and reusable…
Its structure expels radiations of…
…ARCHIVES…
…SCRATCH…
…DRIFT…
…COLLAGE…
…REINTERPRETATION…
…SAMPLING…
…APROPPRIATION…
…JAMMING…
…HYBRIDATION…
…CONTAMINATION…
…DECONSTRUCTION…
…PARASITISM…
Don’t get scared, you are in no danger…
…you just are still not ready to possess objects:
TRANSFORM YOURSELF.
TRANSFORM THEM:
Stocks of material of previous existence…
Trough of AUDIOVISUAL DETRITUS…
It is here where plagiarism evolves further than nihilism…
IF YOU BELIEVE THAT…
All that has been registered in celluloid
Has multiple possibilities of remix…
…there are many versions to history…
…the first step for wealth is desire…
…time improves ideas…
…it is good that something good happens to someone good…
…the voice with which you speak today might not be yours…
…the available resources are inexhaustible and mutate constantly…
…You can endow new life to the material in the ARCHIVES.
if you copy and lift from one,
…if you copy from two and adapt,
…if you copy from three and create...
YOU WILL CUT.
RESOLVE.
EXPAND.
IF YOU BELIEVE IN…
…RECONSTRUCTION for DECONSTRUCTION…
…images for suspicion…
…un/controlled EXPERIMENTALISM…
…recombination for EVOLUTIONhellip;
…the visitation of television…
…film made without cameras…
IF INSTEAD OF IMITATING WHAT YOU LOVE, YOU EAT IT AND DIGEST IT,
AND WHAT COMES OUT IT YOURS A PART OF YOU…
If you have a high fidelity complex…
If you stop expecting from real places what they cannot give you and start inventing other options…
If you like to meet strangers and make them your friends…
IF YOU ASPIRE TO…
…live tuned in with your times…
…TO DIG UP THE HIDDEN TRUTH OF IMAGES AND SOUNDS…
then there is no doubt that…
…THIS IS YOUR SITE:
YOU ARE A SYNTHESIZER.
ANIMALARIO.TV, a place to live,
To murder time
And a place to die some day.
Y un jamón contest. Deadline 17th January 2009
Greetings from Animalario TV!!!
www.animalario.tv (press the Japanese anus and come in)
A place where animals have ceased being animals! A site dedicated to the culture of recycling and appropriationism!
The website animalario.tv is an experimental melting-pot of audiovisual works related to artistic appropriation, mockumentaries, cinema essays, cannibal and pirate art…a space of reflection and fun that promotes cultural exchange, seeks to create a new community of like-minded people, and to offer an exciting chance for collaboration with other artists, theorists, musicians, and anyone interested in the subject.
Animalario.tv will screen experimental visions and projects that reinterpret the creative subject in the context of the internet.
www.animalario.tv, confront the popular fact in Spanish cuisine that “everything can be used from the pig”- from the snout to the tail, together with the modus operandi of numerous creative people working with inter-textuality, appropriation, re-elaboration and the free circulation of information on the internet. This subject is currently culturally explosive - Creative Commons, internet public archives, etc.
Do you feel a fatal attraction for ham and “cultural cybermortadellas”?
If so, then take part in the competition “Y un jamón”. Send to us at yunjamon@animalario.tv your links or your net.art works and videos related to the theme of: “Creative Banditry, Culture of cut ups, Remix, Contradiction, Freshness, Illegal Art, Popular Art…” It’s your interpretation and manipulations of pre-existing ideas and material that we want to see, or even your own creations and unusual visions!
(or if you prefer via snail-mail, let us know!).
The deadline is January 17th 2009, St. Anton’s day. The most nutritious will win a “Spanish ham”.
Furthermore, we offer our web page as a showcase for your proposals and projects through “PorcoArchive”, a platform of collaborative resources and appropriationism which is always on the move. We have room for your audiovisual treasures, cyber-piracy, those suggestive moments that move you…“PorcoArchive” is divided into sections to which you can mail us:
"Vídeo": video@animalario.tv
"Audio": audio@animalario.tv
"Imagen": imagen@animalario.tv
"Biblioteca": biblioteca@animalario.tv
"Links": links@animalario.tv
We look forward to seeing your treasures: websites, fakes, urban legends, science fiction, criptozoology, hoaxes. All those signs of the collective unconscious that travel fast mouth to mouth, incite debate and creativity and cheer up our lives.
JANUARY 1 - MARCH 31, 2009
Davis Lisboa, Davis Museum, 2009, methacrylate and vinyl, 7,8 x 7,8 x 7,8 in
www.davislisboa.com
EDUCATION
1996-2008
Universitat de Barcelona, Fines Arts. Painting. Spain.
1987-1990
Escola Massana. Painting. Barcelona, Spain.
1985-1987
Private conceptual drawing classes with contemporary artist Carlos Fajardo,
(brazilian representant at the Venice Biennale in 1978 and 1993), São Paulo, Brazil.
1982-1984
EBART, Escola Brasileira de Arte. Drawing and Painting. São Paulo, Brazil.
1978-1982
Escola Carlos de Campos. Drawing of Communication. São Paulo, Brazil.
BIOGRAPHY
2009
Recognition of the Davis Museum contemporary art collection by
the Museums Department of the Generalitat de Catalunya (Catalan Government).
Barcelona, Spain.
Invited artist for the project for N2 Art Events, N2 Galería, Barcelona, Spain.
Creation, foundation and manegement of the DAVIS MUSEUM.
The Davis Lisboa Mini-Museum of Contemporary Art in Barcelona.
2008
Reproduction of the painting Hybrid-phylacterium on the cover of Christine Bell's book
On the Law of Peace: Peace Agreements and the Lex Pacificatoria.
Oxford University Press, 2008.
Participation in the Asperger: Interior Magazine, directed by Lorena Dorta.
CASM, Centre d'Art Santa Mònica. Barcelona, Spain.
Artworks for sale in Galería Artnobel. Barcelona, Spain.
Member of the APIC, Associació Professional d'Il·lustradors de Catalunya. Barcelona, Spain.
2007
Artworks for sale in the Galería Artevistas. Barcelona, Spain.
Worked as actor in Un amor de Terry, videoart directed by Telmo Moreno.
Museu Comarcal del Montsià. Amposta, Spain.
2006
Artworks for sale in the Galeria San Vicente 31. Seville, Spain.
Artworks for sale in the Galeria Paspartú. Barcelona, Spain.
Artworks for sale in the Galeria espai [b]. Barcelona, Spain.
2005
Participation in the instalation Aparador col·lectivitzat, directed by Pep Dardanyà. Fundación Obra Social Caja de Madrid. Barcelona, Spain.
Collaborations to CASM's newslleters. Centre d'Art Santa Mònica. Barcelona, Spain.
Artworks for sale in the Galería Kunsthaus 414. Barcelona, Spain.
Artworks for sale in the Galería Gaudí. Madrid, Spain.
Member of the AAVC, Associació d'Artistes Visuals de Catalunya.
Barcelona, Spain.
2004
Worked as webmaster. Oscar's Studio. Barcelona, Spain.
1998
Obtains the Hispanic-Brazilian nationality.
1989-now
Worked as freelance illustrator and artistic painter. Barcelona, Spain.
1987–1989
Worked as illustrator. Estudi de Disseny ACR. Barcelona, Spain.
1987
Moved to live in Barcelona, Spain.
Worked as illustrator. Publigrafs Publicidade. São Paulo, Brazil.
1986–1987
Worked as illustrator. FCB Siboney Publicidade. São Paulo, Brazil.
1985–1986
Worked as illustrator. CBBA Publicidade. São Paulo, Brazil.
1983–1984
Worked as illustrator. Sempre Propaganda S.A.. São Paulo, Brazil.
1965
Born in São Paulo, Brazil.
SOLO EXHIBITIONS
2009
Hybrid-visiolibri. La Cova de les Cultures, Barcelona, Spain.
Hybrid-farrago. Sala de Arte Alteroutlet, Barcelona, Spain.
Davis Museum: Exhibition of the permanent collection of contemporary art by Davis Museum,
MKAC, Museo Karura Art Centre. Second Life.
Què hem de fer amb l'art dels nou vinguts?. Centre Cultural Riera Blanca. Barcelona, Spain.
2007
BMW by Davis. BMW Ibérica, Madrid, Spain.
BMW by Davis. BMW Cano Catalunya. Sant Cugat, Spain.
BMW by Davis. Performance and exhibition. BMW Cano Catalunya, Barcelona, Spain.
2006
Locus quod Filiolus. Galería San Vicente 31, Seville, Spain.
Locus quod Filiolus. Fine Arts, University of Barcelona. Spain.
2003
12 Autoretrats. Fine Arts, University of Barcelona. Spain.
1984
Firasse. Galeria Art Brut. São Paulo, Brazil.
SELECTED GROUP EXHIBITIONS
2010
A Book About Death. SAL Art Gallery, CW Post Campus of Long Island University,
Brookville, NY, USA.
HomeMade. A group video show curated by Stéphani Hab and Irene Pomar.
Davis Museum. Barcelona, Spain.
A Book About Death. MOMA Wales - Museum of Modern Art, Machynlleth, Wales, UK.
A Book About Death. MuBE - Museu Brasileiro da Escultura. São Paulo, Brazil.
2009
Els Colors del Foc. Centre Cívic Parc-Sandaru. Barcelona, Spain.
XXI Equus Catalonia. Galería Artnobel. Barcelona, Spain.
Digital Art Expo International. LACDA, Los Angeles Center for Digital Arts, USA.
Moda Ilustrada. Galeria Olido, São Paulo, Brazil.
Barris Creatius, Energia Barcelona. Ajuntament de Barcelona, Spain.
Sketch it Out!. APW Gallery. New York, USA.
Mi Torito Pucará. Galeria Artevistas. Albi, Toulouse, France.
2008
FAIM 2008. Feria de Arte indenpendiente de Madrid, Spain.
Asperger: Interior Magazine, directed by Lorena Dorta.
CASM, Centre d'Art Santa Mònica. Barcelona, Spain.
Muzeum Swiatowej Ilustracji. Bibliotece Glowinski. Olesnica, Poland.
Mi Torito Pucará. Galeria Artevistas. Barcelona, Spain.
Sentidos. Galeria Cristina Costa. Famalicão, Portugal.
Sketchbooks!. Galeria Pop. São Paulo, Brazil.
Galeria Artevistas. Barcelona, Spain.
2007
Night of 1,000 Drawings. Artists Space, New York, USA.
VI Biennale Internazionale dell'Arte Contemporanea di Firenze. Italy.
Museu de Arte do Parlamento de São Paulo. Brazil.
Galeria Paspartú. Barcelona, Spain.
2006
Galeria espai [b]. Barcelona, Spain.
Marb Art. II International Exhibition of Contemporary Art in Marbella. Spain.
Galeria Paspartú, Barcelona, Spain.
2005
Miedzynarodowy Projekt, Art for Chelmek. Galerii Epicentrum.
Miejskiego Osrodka Kultury Sportu i Rekreacji w Chelmku.
Chelmek, Poland.
Puro Arte International Art Fair, Vigo, Spain.
Holland Art Fair. The Hague, Holand.
Galería Gaudí. Madrid, Spain.
1989
Sala Jaume Busquet. Escola Massana. Barcelona, Spain.
1988
Wonder. Sala Jaume Busquet. Escola Massana. Barcelona, Spain.
1984
Galeria Art Brut. São Paulo, Brazil.
Associação de Artistas Plásticos da Colagem. São Paulo, Brazil.
GRANTS
2007
Institut Ramon Llull. Barcelona, Spain.
CONFERENCES
2009
Museo Karura Art Centre (MKAC). Second Life.
CLIENTS
BMW (Dommo ), Cacique (Doubleyou), Correos (Draft), Cruz Campo (Ogilvy),
Daikin (Draft), Electrolux (Doubleyou), Heinz (SoloAD), La Vanguardia (Igriega),
Oxford University (OUP), Samsung (FCB/Tapsa), San Miguel (Red 032), Unilever (Draft),
Villarrosàs (Estrella Damm), Volkswagen (DDB), etc.
PUBLIC AND PRIVATE COLLECTIONS
SAL Art Gallery, CW Post Campus of Long Island University,
Brookville, NY, USA
FluxMuseum, Texas, USA
MOMA Wales, Museum of Modern Art, Machynlleth, Wales, UK.
MuBE - Museu Brasileiro da Escultura. São Paulo, Brasil.
Evelina Podjapolskaja Collection. Barcelona, Spain.
Museo Karura Art Centre (MKAC). Second Life.
LACDA, Los Angeles Center for Digital Arts, USA.
Maite Alonso Romero Collection. Barcelona, Spain.
Muzeum Swiatowej Ilustracji. Bibliotece Glowinski. Olesnica, Poland.
Accensi-Pinacho Collection. Barcelona, Spain.
Artists Space. New York, USA.
Museu de Arte do Parlamento de São Paulo. Brazil.
BMW Ibérica Collection. Madrid, Spain.
JBM Collection. Barcelona, Spain.
Galerii Epicentrum, Miejskiego Osrodka Kultury Sportu i Rekreacji w Chelmku, Chelmek, Poland.