lunes, 16 de septiembre de 2024
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.
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.
STREAMING EGOS ////////////////////////////////// DÜSSELDORF //////// GOETHE INSTITUT ///////////// POSITIONAL ESSAYS ::::::::::::::::::::::::::::::: SITUATIONAL FIXERS
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=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
THE SITUATION IN DÜSSELDORF
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SITUATION, CONTEXT AND MEMORY - ONGOING META DOCUMENTARY
BROWN SERIES
NO LEFTOVERS
http://antolloveras.blogspot.com.es/2016/01/brown-cadiz-supernaturalno-leftovers.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
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