jueves, 28 de marzo de 2024
miércoles, 27 de marzo de 2024
Ghada Amer 1743
https://www.youtube.com/watch?v=PdsJQ1FKeBA
https://www.youtube.com/watch?v=Tx77eiqDwZU
Ghada Amer begins by painting female figures onto the unfolded surfaces of discarded cardboard boxes, before transferring these portraits into clay, redrawing each of their features in relief. The clay models are cast, eventually realized as bronze sculptures. Amer’s tactile approach is reflected in the raised ridges of the outline across the surface that reveal the imprint of the artist’s hand. A quality of tenderness is brought to light upon close examination.
𝘗𝘢𝘳𝘢𝘷𝘦𝘯𝘵 𝘎𝘪𝘳𝘭𝘴 exemplifies Amer’s long-standing concern regarding the gaze and the power dynamics at work in the act of looking. Paravents, or “folding screens,” were utilized as privacy devices, often used to conceal an (undressing) woman from view. Mass media have often portrayed screens in scenes of flirtation, seduction, or violations of privacy. Thus, Amer’s primary material of unfolded cardboard boxes serve as a metaphor for these screens, calling attention to the roles of the viewer and the viewed. In the 𝘗𝘢𝘳𝘢𝘷𝘦𝘯𝘵 𝘎𝘪𝘳𝘭𝘴, the female figure is depicted on both sides of the sculpture, defying notions of modesty.
Meschac Gaba 1746
Meschac Gaba's 'Museum of Contemporary African Art' is an immersive twelve-room installation, a 'museum within a museum', which is currently sprawling through Tate Modern. It includes its own shop, library and restaurant as well as less conventional museum spaces such as a Salon, Music Room and Art and Religion Room - where you can sit down to relax, play the piano or have your tarot cards read.
Gaba began working on the Museum of Contemporary African Art in 1997 during a residency in Amsterdam because he felt there was no space in Europe or Africa for the type of work he wished to make. As the work developed over several years and at various locations, Gaba also incorporated expressions of his own biography, including a Marriage Room containing photos, gifts and his wife's wedding dress from their marriage ceremony, which was conducted inside the museum. The Library also contains an audio work in which the artist imagines what his late father might say about his son's life.
The 'Museum of Contemporary African Art' is 'not a model...it's only a question', says Gaba. As much a conceptual space as a physical one, it stands as a provocation to the Western art establishment to attend to contemporary African art.
El Anatsui 1738
The Ghanaian artist El Anatsui won the Golden Lion for lifetime achievement at Venice Biennale. The jury, led by the president of the Biennale, Paolo Baratta, and the curator of the international exhibition, Okwui Enwezor, praised the “originality of Anatsui’s artistic vision” and his contribution to “the recognition of contemporary African artists in the global arena”. The jury also acknowledged Anatsui’s “sustained and crucial” work as a mentor and teacher over the past 45 years.
Born in Anyako in 1944, Anatsui moved to Nigeria in 1975, where he began to teach art at the University of Nigeria. His shimmering tapestries made from flattened bottle tops propelled him to international fame in the early 2000s, and his work has since been collected by institutions including the British Museum in London, the Centre Pompidou, Paris, and the Smithsonian Institution in Washington, DC. In April 2014, Anatsui was elected an honorary Royal Academician.
In an interview with The Art Newspaper last year, Anatsui said his inclusion in the 2007 Venice Biennale marked a turning point in his career. The curator of the international exhibition, Robert Storr, displayed one of his wall hangings in the Arsenale and the work was met with great acclaim. “I reckon that not only the works in the Biennale itself, but also my piece outside on the façade of Palazzo Fortuny (in the exhibition Artempo) led to an increase in invitations for other projects from around the world,” Anatsui said.
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