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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.
Gomes, Fernanda
Fernanda Gomes (Rio de Janeiro, Brasil, 1960)Sem título, 2008 - 2009- Untitled, 2008 - 2009
- Nylon wire
- c. 437 cm
- 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
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.
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.’
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