Katharina Grosse

 

Pepe Baena

 

Julius Hofmann

 

Johnson Ocheja

 

Jenna Gribbon

 

The "Furry Cup" remains a powerful symbol of how art can interrogate and challenge cultural conventions, particularly in relation to gender and female identity.

Meret Oppenheim, a prominent Surrealist artist, is perhaps best known for her work "Object" (1936), commonly referred to as the "Furry Cup" or "Fur-lined Teacup." This iconic piece consists of a teacup, saucer, and spoon covered in gazelle fur and became a groundbreaking work in both Surrealism and modern art. The piece is significant not only for its surrealist nature but also for its commentary on gender, femininity, and the body. By covering a domestic object (a teacup, typically associated with femininity and the private sphere) in animal fur, Oppenheim subverted societal expectations of what is considered “feminine” or “domestic.” The juxtaposition of a familiar, comforting object with a strange and provocative texture created an unsettling tension between the sensual and the grotesque. Some critics view the piece as a metaphor for the objectification of the female body and the roles imposed on women in a patriarchal society. Although Oppenheim did not consider herself a feminist, her work has been embraced by feminist art critics as a symbol of female empowerment and a critique of gender stereotypes. Her ability to blend everyday objects with disturbing or unusual elements, like fur, placed her work in a space where the boundaries between art, gender, and politics were constantly challenged. Pieces like the "Furry Cup" question domesticity, desire, and the power dynamics that shape women’s experiences.

Re-(t)exHile ::: IV Lagos Art and Architecture Biennial 2024 :::: Refuge

The video succinctly captures the essence of Re-(t)exHile, with purchase of five hundred pieces of second-hand clothing at Katangua Market, the assembly of the immense sewn fabric as a textile pavilion, all secured with three tensioned cables, and the subsequent participatory workshop, always surrounded by other pavilions and performances during Biennial week. A watercolor-like visual summary, with background music as a timeless fixative.

FILMED AND EDITED BY LLOVERAS

Liminality refers to a state of being where one is neither in one place nor another __________ ART SERIES 153 ***** 154

 

The concept of liminality was developed in Arnold Van Gennep's book "Rites of Passage," and later expanded upon by Victor Turner. It refers to a state of openness and ambiguity characteristic of the intermediate phase in a tripartite space-time structure (consisting of a preliminal or prior phase, a liminal or intermediate phase, and a postliminal or subsequent phase). Liminality is directly related to the idea of communitas, as it represents an anti-structure and anti-hierarchy phenomenon within society. In such a state, a generic "spiritual" communion among social subjects surpasses the specifics of stratification. Consequently, it is the moment where trivial distinctions are suspended, allowing "passage" between different social conditions. It represents being on a threshold, between something that has passed and something yet to come. Conditions such as illness, adolescence, the state between sleep and wakefulness, or temporary madness are considered liminal states, as are journeys, whether undertaken for pleasure or necessity. Liminality can also apply to places, such as airports or prisons, and to personal or group events Liminal spaces have inspired an Internet aesthetic that portrays empty or abandoned places that appear eerie, desolate, and often surreal. These spaces, related to the concept of liminality, can be transitional areas like hallways or rest areas, as well as places with nostalgic appeal, such as playgrounds and empty houses. Generally, images of liminal spaces depict abnormally empty and dreamlike places. Research from the Journal of Environmental Psychology suggests that liminal spaces may seem creepy or strange because they fall into an uncanny valley of architecture and physical locations.

THE LIMINALITY ART SERIES 153___154

1801 

1802 1803 1804 1805 1806 1807 1808 1809 

1810 1811 1812 1813 1814 1815 1816 

1817 1818 1819 

1820

STREAMING EGOS ////////////////////////////////// DÜSSELDORF //////// GOETHE INSTITUT ///////////// POSITIONAL ESSAYS ::::::::::::::::::::::::::::::: SITUATIONAL FIXERS

DÜSSELDORF

Digital Identity Convention NRW-Forum Düsseldorf

ONSITE ACTION AND CONVERSATION
WITH MATEO FEIJOO, 
THE INVITED ARTISTS
MONOPERRO, MARIO CANNEVACI, SONIA GÓMEZ + + +
WITH THE SUPPORT OF GOETHE INSTITUT
AND THE RELATION WITH THE EUROPEAN egoNETWORKS

https://www.youtube.com/watch?v=9HheegNhZr8

https://www.youtube.com/watch?v=MZozBr9PJTg

https://www.youtube.com/watch?v=O-7-GBg188g

https://www.youtube.com/watch?v=DChTccRl3Ic

https://www.youtube.com/watch?v=DO8qzuCHoBM

https://www.youtube.com/watch?v=AdGmAxidmJQ

https://www.youtube.com/watch?v=KqEtBYImmEE

https://www.youtube.com/watch?v=CLbuaFjecQk

https://www.youtube.com/watch?v=QpL4i_PJvpY

https://www.youtube.com/watch?v=IWBhvCwgT3Q




IM INVITED TO ACTIVATE MY ART SERIES AND RITUALS
IN A CONTEXT OF CONTEMPORARY PERFORMANCE
AND STAGE POST COREOGRAPHY

Spain’s “body bubble” was an incredibly rich and timely contribution to the question of “who are we when we are online?” It clearly positioned itself as post-digital reinforcing not only the alteratiosn/extensions of the ego in the “parallel space” of the internet, but it stressed that inside or outside the web, we are embodied human beings. The body never leaves us behind, nor do we leave it behind…  The fluidity between the five artists involved in the exhibit, carefully put together by curator-conductor Mateo Feijoo, and working each in a different medium, brought this “bubbled self” alive, making it into a post-digital-happening. All media involved reflected on the way we communicate and interact online: the looped music by Dr. Kurogo who was sadly off site; the live writing action by the charming performer Sonia Gómez who covered the bubble with German words, arbitrarily, according to their rhyme and feel, like in a surrealist poem; the tattooed body triptych made by an off site artist; and the live-recorded-edited-and-streamed version of the event by TOMOTO. If only the event had taken place the way TOMOTO recorded it! All of these media however were connected by the strong presence of Monoperro’s live “cave drawings" with a sexual under- and overtone. Monoperro’s illustrations uncovering the body’s “secrets", uncovering that which is imagined but never outspoken, that which is not seen but intuited, brought this exhibit into a completely new dimension. As a whole, this analogue media-orchestra reminded a bit of the Theater of the Absurd or a dream-sequence in Buñuel, pointing out that the web, as much as any “alteration of the ego” brings out what is deeply rooted in the self.  This is something visceral. Something fleshy. Something intimate. Something personal. The shared “space” of the web was then literally covered by a beautiful bubble structure, a web-uterus, created by the architects Plastique Fantastique. When we opened up the vaginal “doors” for too long, the bubble let out too much air so that it started deflating. This made me wonder, how can we take out the communal air from the internet? Bravo Mateo Feijoo and his team of artists for bringing the streaming egos alive!

Bernardette / GUEST CRITIC

THE SITUATION IN DÜSSELDORF

IS EXTENDING 

THE POSITIONAL ESSAYS 
= 

RAW IDENTITY VIDEO SERIES - ///////////////////////////////
SITUATION, CONTEXT AND MEMORY - ONGOING META DOCUMENTARY

AND 

THE TRANSLATORIAL - 

UNSTABLE CHROMATIC FIXERS -
ADDING BODIES AND ATMOSPHERES TO THE SERIES

++++++++++++
BROWN SERIES
NO LEFTOVERS
http://antolloveras.blogspot.com.es/2016/01/brown-cadiz-supernaturalno-leftovers.html

SERIES

http://antolloveras.blogspot.com.es/2015/07/greengreenblack-blackunstable.html

PHOTO BY 
Melanie Stegemann 
melanie-stegemann.com

EXTENDED EGOS MADRID JUNE 2016 :::::::::
>>>>
http://antolloveras.blogspot.com.es/2016/06/streaming-egos-extended-madrid-june.html

RECENT WORKS AND SITUATIONS - 2015 / 2016

THAT CONNECT WITH THE ONGOING SUPERNATURAL SERIES

AND

THE ONLINE EXHIBITIONS OF LAPIEZA

MUDAS SERIES MUDAS - MUTE SERIES - MEXICO CITY - 12.2015
http://antolloveras.blogspot.com.es/2016/01/mudasnuevas-series-mudasoxidaciones.html

THE LIGHT ON THE RICE FIELDS - SPAIN 11.15
http://antolloveras.blogspot.mx/2015/11/the-ligh-on-rice-fields-vejer-cadiz.html 

AS FAR AS THE ARM CAN REACH - NORWAY 10.15 SUPERNATURAL
http://antolloveras.blogspot.com.es/2015/11/substractionautumnconceptual.html 

DUNA DUNAJ - SLOVAKIA - 09.15
http://antolloveras.blogspot.sk/2015/09/duna-dunaj-slovakia-september-2015.html 

MIMESIS - SPAIN 08.15
http://antolloveras.blogspot.com.es/2015/08/mimesistime-and-honor2015negradas.html 

SITUATIONAL FIXERS - PRAGUE - 06.15
http://antolloveras.blogspot.cz/2015/06/prague-quadrennial-of-performance-and.html 

THE LIGHT IN PROVENCE - FRANCE 05.15
http://antolloveras.blogspot.com.es/2015/06/the-light-in-provence-2015.html 

THE CITY IS AN ANIMAL - TAXIDERMY LONDON 04.15
http://antolloveras.blogspot.com.es/2015/04/taxidermy-east-london-city-is-animal.html

Leo Park

 

Lukasz Wierzbowski

 

Tom de Peklin

 

Agnés Verano

 

Artur Grucela

 

Prudence Flint

 

Marine

 

Peter Larsen

 

Daniel Anhut

 

Gina Beavers

 

Genevieve Cohn

 

Matthew Imuetiyan Eguavoen