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Gillick, Liam
Liam Gillick (Aylesbury, Reino Unido, 1964)Research Platform, 2005- Anodized aluminium, opaque Plexiglass
- 300 x 200 x 5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2014
- "Research Platform" is intended as a free-hanging structure that designates as much a conceptual as a real space. The modular-like form and material finish alludes to a history of modernist architecture and design, as well as to conceptual art and minimalism. The function of the structure, however, is specifically non-specific, in contrast to the ‘specific objects’ of minimalist artist Donald Judd, for example. A canopy more than a platform to stand upon, "Research Platform" effects a spatial and temporal pause, literally a suspension of meaning, the punctuating semicolon that precedes an elaboration of a phrase or an idea.Liam Gillick’s art is based on an ongoing practice that includes writing, cinema, applied art and design, architecture and sculpture. Research Platform is part of a group of applied and freestanding structures made of Plexiglas panels and powder-coated aluminium first developed in 1996 as part of a conceptual body of work titled "The What If? Scenarios. The What If?" Scenarios proposed an alternative and speculative model for art production and its possible functions. Its lexicon is taken from the world of economics, politics and the post-war business models of major corporations. For Gillick, scenario thinking was conveyed as enabling an open and propositional framework when its processes were in fact a strategy of disguised control. By embracing the paradoxical nature of scenario thinking in his "Research Platform", Gillick posits the possibility of a counter-position to the work of art appropriated into institutionalized value relationships, be they based on notions of aesthetic judgement, the market, or an assumed sense of social or political engagement.
Goldblatt, David
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Child minder, Joubert Park, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Child minder, Joubert Park, JohannesburgFrom the particular series, 1975 - 2007
- B/w photograph
- 48 x 47 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Girl with purse, Joubert Park, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Girl with purse, Joubert Park, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 47 x 46 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Woman going to the trading store holding money under her blanket, near FlagstaffFrom the 'Particulars' series, 1975 - 2007- Woman going to the trading store holding money under her blanket, near FlagstaffFrom the particulars serie, 1975 - 2007
- B/w photograph
- 48 x 47 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Woman smoking, Fordsburg, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Woman smoking, Fordsburg, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 48 x 47 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Woman sun-bathing, Fellside, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Woman sun-bathing, Fellside, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 47 x 47 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Woman at play during their lunch-hour, Pieter Roos Park, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Woman at play during their lunch-hour, Pieter Roos Park, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 47 x 47 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Man with necklaces, Joubert Park, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Man with necklaces, Joubert Park, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 47 x 47 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Woman dressed for an occasion, Joubert Park, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Woman dressed for an occasion, Joubert Park, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 47.5 x 46.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Woman with pierced ear, Joubert Park, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Woman with pierced ear, Joubert Park, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 47 x 46.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Woman sleeping, Zoo Lake, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Woman sleeping, Zoo Lake, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 47 x 47 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Woman resting on her way to work, De Villiers Street Park, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Woman resting on her way to work, De Villiers Street Park, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 56.5 x 47.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Couple on Sunday afternoon, Zoo Lake, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Couple on Sunday afternoon, Zoo Lake, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 47 x 47 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Woman on a bench, Joubert Park, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Woman on a bench, Joubert Park, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 48 x 48 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
David Goldblatt (Randfontein, África do Sul, 1930 - Joanesburgo, África do Sul, 2018)Woman sleeping, Zoo Lake, JohannesburgFrom the 'Particulars' series, 1975 - 2007- Woman sleeping, Zoo Lake, JohannesburgFrom the particulars serie, 1975 - 2007
- B/w photograph
- 47 x 47 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2010
- From 1964 until the early 1990s, David Goldblatt built a vast photographic testimony of the social and cultural structures of complex South-African society under the Apartheid regime and, subsequently, under the new social order that emerged in the country. The series ‘Particulars’ focuses on a set of close-ups of gestures and attitudes of various women before a photographic camera. ‘Particulars’ questions the traditional role of the portrait, reducing it to the body language details of each photographed subject that nevertheless suggest their personal characteristics and circumstances.Moving away from the recording of brutal events to focus on the structures that supported the status quo, Goldblatt’s oeuvre shows a formal rigor and an inventive understanding of reality that rejects the fixed boundaries between documental and artistic photography.
Gomes, Fernanda
Fernanda Gomes (Rio de Janeiro, Brasil, 1960)Sem título, 2008 - 2009- Untitled, 2008 - 2009
- Nylon wire
- c. 437 m2
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2009
- The work of Fernanda Gomes (Rio de Janeiro, Brazil, 1960) comes out of the Brazilian history of neo-concretism and a history of Brazilian art in general, which has privileged the overlooked, the discarded, and the provisional. Sem título uses trees as the support for a net made of thread. Its purpose is to offer visitors the perfect spot to rest in the shade as well as an ideal place from which to quietly observe the surrounding area. The artist worked in four stages corresponding to the seasons and the relative state of the trees in order to create a relationship with the surrounding nature. The resultant net-like structure merges almost completely with the landscape as if it had always been there, yet it is resistant enough for visitors to lie. In doing so, the artist has created the conditions for us to relate to our surroundings in a novel way, and to become aware of shapes, sounds and smells that would otherwise go unnoticed. Sem título was conceived in 2007 specifically for this location, and was installed in Serralves Park in 2009.
Graham, Dan
Two Home Homes, 1966- Colour photograph
- 27.5 x 35.5 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1998
- 'Two Home Homes' is part of the 'Homes for America' project - a series of photographic images that depict the typology of North American suburban homes, primarily built after the Second World War. In this work, Dan Graham compiled the houses in terms of their possible variations of style, colour and form. He thereby drew a critical parallel between sociology, architecture, mass production, and the serial quality of minimalist aesthetics. The images of 'Homes for America' were subsequently developed in a photo essay published in 'Arts Magazine', exploring alternative ways of presenting works away from artistic institutions and simultaneously reproduced on a large scale and made available to a wide audience.Based on an analytical discourse on the historical, social, and ideological functions of contemporary cultural systems, Dan Graham’s work has explored the mechanisms of the artwork, in terms of the tensions between the public and the private, processes of perceptual and subjective experience or the use of mirrors and glasses as critical tools for exploring the self, as part of a social and public context. From his video performances of the 1970s to his most recent pavilions, his production has focused on perceptual and philosophical structures, using a psychosocial approach to the perception of space, with strong audience involvement.
Detumescence, 1967- Collage, digital print, typed text an handwritten on text
- 67 x 71.5 x 3.7 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2012
- Resorting to the daily distribution system of mass media,' Detumescence' is a newspaper ad - a short text written in clinical language - in which Dan Graham states that he wanted to hire someone capable of describing what happens to a man’s body and psyche in the post-coital experience. This description of the emotional and physiological aspects following a man’s sexual climax evokes eroticism and sensory experience to address a subject that, according to the artist, was repressed in the specialist literature of the period. In his words, the work sought to expose this ‘suppression, this psychosexual-social conditioning of behaviour’.Based on an analytical discourse on the historical, social, and ideological functions of contemporary cultural systems, Dan Graham’s work has explored the mechanisms of the artwork, in terms of the tensions between the public and the private, processes of perceptual and subjective experience or the use of mirrors and glasses as critical tools for exploring the self, as part of a social and public context. From his video performances of the 1970s to his most recent pavilions, his production has focused on perceptual and philosophical structures, using a psychosocial approach to the perception of space, with strong audience involvement.
Performer / Audience / Mirror, 1977- Performance / Audience / Mirror, 1977
- Video (Betacam), b/w, sound, 4:3, PAL, 22’52’’
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 1999
- From the 1970s onwards, the introduction of video production systems made it possible to record performances in real time, strengthening the artist’s relationship with the spectator and furthering the temporality of this experience. In 'Performer/Audience/Mirror', Graham uses video to explore perception, the shared present, and real-time informational feedback, by conducting a phenomenological investigation of the audience/performer relationship and concepts of subjectivity and objectivity. By confusing the boundaries between the performer-subject and the target audience, the artist interprets video in this case as a medium that, by providing information in real time, functions, in semiotic terms, as a mirror.Based on an analytical discourse on the historical, social, and ideological functions of contemporary cultural systems, Dan Graham’s work has explored the mechanisms of the artwork, in terms of the tensions between the public and the private, processes of perceptual and subjective experience or the use of mirrors and glasses as critical tools for exploring the self, as part of a social and public context. From his video performances of the 1970s to his most recent pavilions, his production has focused on perceptual and philosophical structures, using a psychosocial approach to the perception of space, with strong audience involvement.
Double Exposure, 1994 - 2003- Mirrored glass, glass, stainless steel, Cibachrome transparency. Photograph: Attilio Maranzano. Architectural project: Pedro del Llano
- 230 x 400 x 400 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2003
- Dan Graham (Urbana, Illinois, USA, 1942) uses the conventions of architecture as a form of social interaction. Double Exposure, one of a body of works using of the form of the pavilion, consists of a triangular-base pavilion with a door through which the interior can be accessed. The external face is mirrored on two sides. On the third a colour transparency has been applied that reproduces the image of the surrounding landscape photographed at dusk on a spring day. From the inside, viewers can see the landscape through the transparency, while the two other sides reflect the Park outside and allow for viewing from the inside. Vision is thus broken down into multiple perspectives in terms of who is looking at what, and from overlapping of a present moment, the actual landscape, and a past moment, the same landscape but photographed. Double Exposure was commissioned for the Serralves Park as part of the retrospective exhibition at the Museum in 2001, ‘Dan Graham: Works 1965-2000’. The piece was installed in 2003.Based on an analytical discourse on the historical, social, and ideological functions of contemporary cultural systems, Dan Graham’s work has explored the mechanisms of the artwork, in terms of the tensions between the public and the private, processes of perceptual and subjective experience or the use of mirrors and glasses as critical tools for exploring the self, as part of a social and public context. From his video performances of the 1970s to his most recent pavilions, his production has focused on perceptual and philosophical structures, using a psychosocial approach to the perception of space, with strong audience involvement.
Griffa, Giorgio
Strisce orizzontali, 1976- Horizontal Stripes, 1976
- Acrylic on canvas
- 270 x 281 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2013
- In the last four decades, Giorgio Griffa has been developing a work process that is ‘constant and never finished’ and results invariably in abstract paintings. The elementary character of the horizontal stripes of 'Strisce orizzontali' [Horizontal Stripes] allows the viewer to apprehend the simple and repetitive movement executed by the artist on unstretched canvas placed directly on the floor. Once the paint was dry, the artist folded the canvas into uniform sections. Griffa approach favours painting as act, and as memory of an action. From an iconographic point of view, his works do not aim at revealing the external world: ‘I do not represent anything, I just paint’, said the artist. By using basic painting tools and poor materials, such as cotton or linen unstretched, unprimed canvases, Griffa’s paintings mirror the very process used to make them. For the artist, to paint is to measure the time and rhythm of the execution as the acrylic’s absorption rate dictates the next, always identical movement of the brush. The repetition also bears resemblance to the depersonalizing pursued by minimalism. However, unlike the works that characterize that American artistic movement in their quasi-industrial finishing, the paintings of Giorgio Griffa never hide the hesitations and the imperfections of their making.
Grosse, Katharina
Atoms Outside Eggs, 2007- Acrylic on polyurethane on styrofoam (39 elements)
- 120 x 873 x 720 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2007
- Somewhere between painting and sculpture, 'Atoms Outside Eggs' may be considered a sculptural painting, paradigmatic of Katarina Grosse’s experiments with coloured materials withdrawn from the conventional support of a painting to form painterly objects which aimed to bridge the gap between colour and matter.The title refers to the two different shapes used as supports for the painting, eggs and spheres. It refers also to the custom of colouring eggs for Easter. Grosse organized the elements in a particular constellation of more or less even distribution and spray-painted again over the already coloured surfaces. On the one hand she applied different colours in such a way that when seen from different angles each time particular colours dominated, such as purple when seen from one side, orange from another. Additionally she used for the first time a very fine nozzle for her spray gun to apply linear drawing in the shape of scribbles on top of the cloudy expansions of paint, thus bringing into the museum techniques and forms usually associated with street art, namely graffiti. Together with their dimensions, the arrangement of the eggs and spheres in the space contributes to cancel any privileged point of view for the perception of painting. Experiencing in the surrounding exhibition space an all-encompassing walk-through situation that is understood as a part of the work itself, the visitor may feel s/he has entered a world of Gulliver.Katharina Grosse’s work started to acquire a high degree of public visibility when she began to spray-paint rooms and facades towards the end of the 1990s. All the spectacular quality of such work notwithstanding, her practice has always been guided by her fundamental concern with basic questions of painting, in particular the way colours and shapes, or the applied paint and its support, relate.
Grosvenor, Robert
Sem título, 1992- Untitled, 1992
- Fibreglass, concrete, steel sheet, paint, plastic
- 127 x 540 x 540 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2006
- Robert Grosvenor belongs to the generation of minimalist artists that from the 1960s onwards revolutionized the practice of sculpture. A dialogue between sculpture and architecture, the use of large scale and the appropriation of seemingly unaltered materials relating to building and construction has underpinned Grosvenor’s sculptural practice since its inception. His works have a strong material presence, addressing questions around balance and imbalance, mass and line, movement and stagnation.‘Untitled’ is characteristic of the body of work that Grosvenor began making in the early 1980s. Materials appropriated by the artist such as bricks, metal sheets, decorative stones and cement blocks are here combined, underscoring the dialogue between art and the different functional universes of everyday life. In the artist’s words, ‘I had painted a steel tube which was standing upright. Then I made the wall and placed the tube on top of it. When I turned my back it fell off the wall. I caught just a glimpse of it falling. So I fixed the tube to the wall in this transitory position. I then wanted a barrier around the wall to protect it.’
Grupo Acções Colectivas (Kollektivnye deistviya)
Tempo de acção, 1978- 9 b/w photographs on paper and 1 typewritten text mounted on painted cardboard
- 99 x 99 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2004
- The Collective Actions Group organized performative actions in spaces located far from the city and art institutions, and therefore distant from traditional museum structures and the oppressive sociopolitical context of the Soviet Union of the 1970s. Based on invitations sent to a group of people, these actions usually occurred in uninhabited areas around Moscow and were based on precise and bizarre, mysterious or meaningless instructions - thereby generating a state termed ‘empty action’. The events depicted in ‘Time for Action’ lasted 90 minutes, and consisted of pulling a 7-kilometre roll of rope, previously placed between two trees on the edge of a forest.The Collective Actions Group was created in 1976 and became one of the focal points of conceptualism and participatory art in Eastern Europe and Russia. Given the saturation of everyday life with ideology and surveillance, the group approached ideas of individual freedom and imagination using participation as an artistic and social strategy. One of the dominant characteristics of the group’s practice was meticulous documentation, commentary and archiving of its actions-performances, thus seeking to create a space of difference and debate, based on subjective aesthetic experience and a plurality of hermeneutical speculations.
1 Balão / 2 Terceira Variante / 3 Comédia, 1977 - 1978- 9 b/w photographs on paper and 3 typewritten texts mounted on painted cardboard
- 99 x 99 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2004
- The Collective Actions Group organized performative actions in spaces located far from the city and art institutions, and therefore distant from traditional museum structures and the oppressive sociopolitical context of the Soviet Union of the 1970s. Based on invitations sent to a group of people, these actions usually occurred in uninhabited areas around Moscow and were based on precise and bizarre, mysterious or meaningless instructions - thereby generating a state termed ‘empty action’. The events depicted in ‘Time for Action’ lasted 90 minutes, and consisted of pulling a 7-kilometre roll of rope, previously placed between two trees on the edge of a forest.The Collective Actions Group was created in 1976 and became one of the focal points of conceptualism and participatory art in Eastern Europe and Russia. Given the saturation of everyday life with ideology and surveillance, the group approached ideas of individual freedom and imagination using participation as an artistic and social strategy. One of the dominant characteristics of the group’s practice was meticulous documentation, commentary and archiving of its actions-performances, thus seeking to create a space of difference and debate, based on subjective aesthetic experience and a plurality of hermeneutical speculations.
Lugar da Acção, 1979- Place of Action, 1979
- 9 b/w photographs mounted on paper
- 99 x 99 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2004
- The Collective Actions Group organized performative actions in spaces located far from the city and art institutions, and therefore distant from traditional museum structures and the oppressive sociopolitical context of the Soviet Union of the 1970s. Based on invitations sent to a group of people, these actions usually occurred in uninhabited areas around Moscow and were based on precise and bizarre, mysterious or meaningless instructions - thereby generating a state termed ‘empty action’. The events depicted in ‘Time for Action’ lasted 90 minutes, and consisted of pulling a 7-kilometre roll of rope, previously placed between two trees on the edge of a forest.The Collective Actions Group was created in 1976 and became one of the focal points of conceptualism and participatory art in Eastern Europe and Russia. Given the saturation of everyday life with ideology and surveillance, the group approached ideas of individual freedom and imagination using participation as an artistic and social strategy. One of the dominant characteristics of the group’s practice was meticulous documentation, commentary and archiving of its actions-performances, thus seeking to create a space of difference and debate, based on subjective aesthetic experience and a plurality of hermeneutical speculations.
1. M., 19832. Para Panitkov, 1980, 1980 - 1983- 1. M., 19832. To Panitkov, 1980, 1980 - 1983
- 9 b/w photographs on paper and 1 typewritten text mounted on painted cardboard
- 99 x 99 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2004
- The Collective Actions Group organized performative actions in spaces located far from the city and art institutions, and therefore distant from traditional museum structures and the oppressive sociopolitical context of the Soviet Union of the 1970s. Based on invitations sent to a group of people, these actions usually occurred in uninhabited areas around Moscow and were based on precise and bizarre, mysterious or meaningless instructions - thereby generating a state termed ‘empty action’. The events depicted in ‘Time for Action’ lasted 90 minutes, and consisted of pulling a 7-kilometre roll of rope, previously placed between two trees on the edge of a forest.The Collective Actions Group was created in 1976 and became one of the focal points of conceptualism and participatory art in Eastern Europe and Russia. Given the saturation of everyday life with ideology and surveillance, the group approached ideas of individual freedom and imagination using participation as an artistic and social strategy. One of the dominant characteristics of the group’s practice was meticulous documentation, commentary and archiving of its actions-performances, thus seeking to create a space of difference and debate, based on subjective aesthetic experience and a plurality of hermeneutical speculations.
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