martedì 7 febbraio 2012
lunedì 6 febbraio 2012
Bryn Chainey - Monument
“MONUMENT is a series of photographs documenting Samatzai’s most unexpected inhabitants. The families we met were incredibly warm and generous, but from the outside you get the feeling of being within a fortress-city: each home is guarded behind a high stone wall and iron gate. There is a deep conservatism to the community; a sense that the streets are only used when absolutely necessary. There are no cars, no loitering youth, no advertisements. However, there are penises. Many of them. Spray-painted, scratched and scribbled onto walls, doors and streets signs, these are the sole occupants of Samatzai’s neglected streets. Apparently the penises have always been there, though no one admits to being responsible. I found over twenty of them - each one unique in size, shape and style. This is not the work of a lone vandal; this is a secret community project. It was fairly shocking to find these profanities (which I had previously associated with teenage suburbia) all over this rural Catholic community, but perhaps the rocket-ship-penis is just one of humanity’s fundamental images. Perhaps it’s even vital”
Nuno Vicente - Mutation of two forms \ Tracing I (human presence translated to clay) \ Tracing II (Rock dust) \ Tracing III (time)\ Object to translate presence into air
Nuno’s work was initially influenced by sardinian’s geography, than he started to work with basic elements that characterize that landscape, the concrete of the hills of Samatzai , the wind, the fauna and flora and the time.
Wind was the power that influenced the first sculpture he created while being in the town. A tower for the dispersion of the ashes. In Berlin he set-up different landscapes, translating the immaterial presence of the sardinian experience in something more physical.
Wind was the power that influenced the first sculpture he created while being in the town. A tower for the dispersion of the ashes. In Berlin he set-up different landscapes, translating the immaterial presence of the sardinian experience in something more physical.
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| Tracing I (human presence translated to clay) Body print on clay, unbaked Dimensions and duration variable 2012 |
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| Tracing II (Rock dust) Animal trace, pulverization of water on cement 10x4x13cm 2012 Tracing III (time) Mediterranean tortoise, cement Duration variable 2011 |
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| Mutation of two forms Wood, fan, rock (made of cement from Sardinia), butterfly, glass 100x80x200cm, duration variable 2012 |
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| Object to translate presence into air Wood, coolers, vegetation from Sardinia-Italy 40x30x40cm 2012 |
Carlo Spiga - Biaxi
During the residence in Samatzai the people were informed of the event by a communal communication system consisting of loudspeakers installed all over the whole village.That communication service gets interrupted by songs of the local band Tamanera for time to time.
In Berlin the aim of communication remains, but the method is adapted to the visual noise of the urban context.
Music credits : A sa chi amu - Efisio Loni
domenica 5 febbraio 2012
Ewa Surowiec - Family portrait / Losing Sharpness
The traditional Mediterranean family has inspired the work of Ewa Surowiec, who set up a living portrait of the Sanna-Family, inspired by the relation between old paintings and photography, as the artist says:
“In the past painters used to work for rich, noble families, to freeze the significant, often idealistic features of the person, then with the time the form was varying and changing. The photographic medium allowed grasping the moment, but enforced people to fake their expressions. Psychological deepness of the painting was depending on the intention and talent of the painter. He was long time interpreting and filtering personalities of his subject. In the case of photography the factor of coincidence was essential. The family photos became even casual part of life. Portraits have always been also a kind of way of immortalizing banality and embalming memories”
“In the past painters used to work for rich, noble families, to freeze the significant, often idealistic features of the person, then with the time the form was varying and changing. The photographic medium allowed grasping the moment, but enforced people to fake their expressions. Psychological deepness of the painting was depending on the intention and talent of the painter. He was long time interpreting and filtering personalities of his subject. In the case of photography the factor of coincidence was essential. The family photos became even casual part of life. Portraits have always been also a kind of way of immortalizing banality and embalming memories”
FAMILI PORTRAIT- video stills
LOSING SHARPNESS - video stills
Marisa Benjamim - Pé enterrado na terra (foot under the ground)
In Samatzai she has created a cactus garden. To do this, she went from house to house to ask if someone could offer her a piece of cactus available in any garden. This is a traditional behaviour which is usually used between friends in small towns to foster their social interconnections. In Berlin she recreated the same atmosphere to collaborate with the people. At the same time she tries to rebuild the close connection between humanity and plants.
all the photos:courtesy of Orange Ear
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