This is Not An Institutional Critique Artpace’s IAIR 13 2 Visual Art San… — Volkswagen Brasilia

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This is Not An Institutional Critique: IAIR 13.2

Published: 24, 2013

Failed utopias, wrenched from utility, unhinged: if one were to attempt to the work of all three participants in San Antonio’s summer 2013 under a central theme, the of dislocation comes to mind. Tossin (Houston), Trevor (New York City) and Pak Chuen (Hong Kong), by Hou Hanru, remind the viewer the International Artist-in-Residence Program is, in no way, dictated by the proclivities of the curator; specifically, how and why certain more tellingly, a certain of artists—fits into meta-narratives of own devising. Hanru has long the idea of the “global artist,” individuals like himself who work that traverses boundaries in reference to—and/or in of—the rapidly shifting of their physical location. Paglen and Pak all fit this prerequisite, the varied aesthetic, formal, procedural and process-oriented concerns manifest in

each artist’s practice.

Given the layout of Artpace, a flow predetermines the experience of exhibition, and thus Tossin’s is the first encountered. A relative to the art world (the artist her MFA in 2009), her work is nonetheless polished, presented with attention to archival practices and underlying architectural concerns—a theme. As a native of Brasília, the most radical, expansive New manifestation of modernist ideals into the built environment, the often grapples with the social ramifications of quixotic, notions forced upon an populace.

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In Brasília, Cars, Pools and Modernities . Tossin’s roughly arrangement of images and objects an arc that begins in the late with archival images of the of Brasília (led by urban Lúcio Costa and architect Niemeyer) and ends abruptly, by a beaten-up beige Volkswagen outfitted with pool tools parked in the gallery—the physical space that housed a car dealership. Between paradigms of the modern era, a installation documents the artist’s trip in the same little car her hometown to Niemeyer’s “Strick in Santa Monica, Calif. an bourgeois construction represented through architectural plans and correspondence between the architect and the

This is not the first time seen a marooned vehicle the confines of Artpace. Arthur My Black Death (2002) and Cordova’s Moby Dick after ishmael, chico de y arl hampton (2008) come to but Tossin’s installation has less to do identity politics than the practice of a society actively ideology from industry. of lofty intent —as with involvement with the Strick is just another architect playgrounds for the privileged. Likewise, attempt to propel itself the future via a grand, planned, community now amounts to little than gated suburbs by favelas (slums)—utopia cannibalized. the installation is conceptually resolved but it is if Tossin is attempting to be informative, or merely

elliptical.

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