Brasília Cars Pools and Other Modernities Clarissa Tossin — Volkswagen Brasilia

18 Июн 2015 | Author: | Комментарии к записи Brasília Cars Pools and Other Modernities Clarissa Tossin — Volkswagen Brasilia отключены
Volkswagen Brasilia

Brasília, Cars, Pools and Modernities . 2009-2013

Volkswagen cleaning pool equipment, video, photographs, book, plaque, letter, photo and drawing

_Artpace International 13.2

curated by Hou Hanru

11 — Sept. 15, 2013

commissioned and produced by Artpace San Photos by Todd Johnson.


Different Travels towards the Destination

— Curatorial on Artpace residency Fall

Hou Hanru

1. Artpace, a destination for

The ArtPace Residency is one of the most projects to support contemporary and art production across the US. The edition of 2013 has provided great to produce three highly projects by three remarkable The three participating artists, Tossin, Pak Sheung-Chuen and Trevor are from very different origins and personal backgrounds. respectively from Brasil adopted Houston and Los Angeles as Hong Kong, and California in New York), they are considerably However, as an outcome of the curatorial somewhat by intuition and “taste”, as as by long term research and or intellectual consistency, the artists been selected to come to San to stay together and share interesting dialogues. They are to produce new projects that can their personal interests and new through encounters with the communities and situations. Besides personal works, a certain and artistic coherence can be found their personalities and results of researches during the residency. a common subject could be and resumed as “imagination of travels modernity, with smooth and bumping obstacles.” The artists, 3 different continents – Asia, America and North America – shown in their final three radically different of travelling, from their own to the same destination: San Antonio. have shown three ways of engaging with the conditions and people. “Coincidently”, suggest unfold their through traveling respectively, by by car, and by satellite. Interestingly, the one the farthest side of the globe, Pak Sheung-Chuen from Hong decided to only travel the city of San Antonio to trace the intimate world of the local and the one from the “mid-distance” (Brasil), Tossin, decided to travel by car the home boy, the American Paglen, opted to fly by satellite…

As travels, the projects are more than real. However, are also truly “realistic” they incarnate perfectly of the of being of how contemporary creators and work in our age facing the very between global circulation and with specific questions of conditions – how modernity and its influences on our of the world and functioning of social have been formed the voyages of ideas, technologies, and systems of values. There are consisting of desires to understand, mistranslations and even conflicts peoples and cultures. Sometimes, between are even violent and as we have seen in the history of and neo-colonialism, when other can generate friendship and love. no doubt, this kind of has shaped our reality and continues to do so. polemics and challenges of this have also been a source of inspiration for contemporary especially for those who position thoughts and imaginations as process of individual creativity and social The three artists presented in the Artpace residency are among the outstanding ones in this with diverse approaches to art

2. Clarissa Tossin

I was very to find Clarissa Tossin the artists from Texas to for the residency during my trips to artists in the State. By chance, I met her in my and lecture trip to the Core Program of the Glassell School of the Museum of Fine Arts, in 2011. I was greatly impressed by her and especially by her critical investigations of art and modernity and her capacity to emphasize the of questioning through visual and forms. Her research on the circulation of and images of modernity and the specific of her original country, Brazil, as a ground for the making of a new society, was presented as the focus of her videos, and performances. The construction of modern has been a highly regarded of how the non-Western world has been to come up with independent of modernity as the foundation of a new society. in spite of all contradictions produced in the of the making of such a modern it has an immense impact on the formation of globalized reality across the Tossin has grown up in Brasilia, the of Brazil created by a group of architects including Oscar and Lucio Costa, etc. The is the embodiment of a utopian project of the of a new and modern nation beyond the Euro-American centric system. The of Brasilia as a sublime and spectacular new city – in spite of the complex and developments of social reality and difference – has demonstrated a distinctive of the circulation and reinvention of modernity: and its ideological and aesthetic models are no dominated by the West. Instead, it has reinvented in different parts of the world” to become enriched and Its reinventions have also the vitality and creativity generated by the nations in their negotiations for independence and, more new positions in the global economic, and cultural system. In turn, the raise of the powers of these

nations, currently marked by the of the South, represented by the “BRICS” Russia, India, China and Africa), the made-in-Brazil version of as both a social model and form, are gaining greater and influences on the world stage of and impacting the West itself. America is not simply a backyard for America’s economic and political It’s also a decisive to form the reality of North contemporary society itself…

Clarissa Tossin’s connection such a formidable history of of a new society has not only been a of her everyday life but also profoundly her intellectual and artistic She started her work in Brazil and has in Los Angeles and Houston for the last This personal experience has not made her an insightful observer of complex process of development and of the new modernity as well as its geopolitical and significance. The trajectory of her displacements the south and north Americas and the of an immigrant have also her to be an active participant in this and to develop an original and critical with the debates on the implication of a negotiation. And this engagement has the center of her research and practice.

Volkswagen Brasilia

her stay at the Artpace residency, she has and realized a long-term project summarizes this commitment, “, Cars, Pools and Other This complex multimedia with documents, a car, a and other elements, presents the of an ongoing investigation and intervention to the complication of the travel of the “Brazilian to the US and the misunderstandings between two societies in modernity signifies very meanings. Tossin, settling in Los discovered the only building in the US by Oscar Niemeyer, the father of modernity, a communist who believed architecture could provide the home for a new society founded the interest of the working class. this house, located in Monica, commissioned by a wealthy family, was designed and built through correspondent letters the architect and the client because was not allowed to travel to the US due to his communist This story was further by the fact the new owner of the house any public access to this important house. Tossin, decided to carry out a performative to test the ground and proposed us to the case critically. She turned into a pool cleaner, a Volkwagen – a model designed and in Brazil as the symbol of Brazil’s industrial success and democratization of car – from Brasilia to Los Angeres, from the Brazilian capital of car or the ideal image of modernist to Los Angeles, the American car capital, in to come to clean the pool of (in)famous Niemeyer designed

The project has been realized great efforts of investigation and in the search of actual “props” as the old Volkswagen car and the Niemeyer building and of course, the history behind Particularly remarkable is that, the complexity and contradictions of the historical and significance of both Brazilian as a “myth” and the geopolitical negotiations the “myth”, Tossin has chosen a angle to intervene into the She emphasizes on the “anti-heroic” aspect of the while the “myth” of Brazilian has often been seen as sublime and glorious. She adopted the of perception of the everyday, the “quotidianity ” as as the viewpoint of the working class, a of “anti-hero” of History of Modernity. She her video in a bumping and precarious in order to render the trajectory of adventure uncertain, fragile and This approach was also in her installation/video work “Monument to in which she reconstructed the Presidential in Brasilia designed by Niemeyer in bags, the left-over materials construction workers could to use to build their own houses. real questions and critique of the project of modernity become exactly when it’s put in an uncertainty and fragility.

Finally, one should not forget this project is by no means an one. Instead, it’s a point among an entire of Tossin’s interrogations of the relationship Brazilian modernist architecture and reality, always in connection global circulation of modernity’s Its complexity, contradiction and different, opposed, perceptions in and out of the country, as as its long-term effects on the national and psychologies, represent a key dimension of the of the remapping of our current world. As in her work “ Unmapping the World” . always has a “world map” in her a map that demonstrates possibilities and to “unmap” and remap itself various forms of power and negotiations – through the difficult between the colonialist-imperialist powers, the and the resistance through the self-emancipation of the and the emerging nations.

[. ] 3. Pak Sheung 4. Trevor Paglen

San Francisco, 9, 2013

“Brasília, Cars, Other Modernities” is the culmination of a of work that departs my experience of growing up in Brasília, planned capital. The project of a site-specific gesture in which a Volkswagen Brasilia car, with pool cleaning assits with the Strick swimming pool maintenance in Monica. Brasília’s architect, Niemeyer, designed the aforementioned concurrently with his work on the A unique project, the Strick was built entirely by letter the socialist architect was never entry to the United States.

a planned city influenced by utopian ideals, Brasília’s is best described by some phrases such as “Fantasy “Capital of Hope” and “Capital of The last one alludes to the large of houses with swimming within its residential area. Not Los Angeles, pool culture engrained in the city’s identity time.

This work draws between the cities of Los Angeles and . Whereas Los Angeles is the apex of car culture, Brasília’s urban was meant to motivate the then car industry in Brazil. Within context, the Volkswagen Brasilia a national design, became a icon. Adopted by pool for its affordability as a second-hand vehicle, the Volkswagen became a local in contrast to the modern skyline. project uses a replica of the cleaner’s VW Brasilia: beaten-up car aluminum poles, plastic and brushes attached to the roof and cell phone number on the side doors. The vehicle was from Brasília to Santa to assist with the Strick swimming pool cleaning By collapsing distances and bringing material evidences of a history in space and time, this proposes a narrative that the symbolic messages attached to the sites.

The project takes as an installation including the car, a video, photographs, photographic a book about the recently house, a letter to Niemeyer and ephemera.

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