“FIRED BUT UNEXPLODED”: A PROVOKING VIDEO INSTALLATION (AT CAP KUWAIT) TO PROCESS THE BRUTAL TRAUMAS OF THE LATE CENTURIES

 FIRED BUT UNEXPLODED (Invitation)

Under the patronage of the Hungarian Ambassador in Kuwait Ferenc Csillag, Contemporary Art Platform (CAP) in collaboration with Art Moments and Hybrid art, Hungary, is proud to present the video installation of the Hungarian artist Zsolt Asztalos, ”Fired But Unexploded”, exhibited recently at the Hungarian Pavilion in the 55th international exhibition, Venice Biennale 2013.

The installation comprises sixteen videos, each presenting an unexploded projectile found in Hungary. The vision of the destructive weapons, which hover in a homogeneous, indefinite space, is complemented with the sounds of the world around them, and thus the films open the way to new narratives.

Each bomb has its own story. Which is essentially one of two kinds. Bombs may explode and thus fulfill their role as objects made specifically for the purpose of destruction, and then enter history books and the personal histories that families maintain. Zsolt Asztalos Hold, in his turn looks into the other possible story in his installation, the story of the malfunctioning device (unexploded bomb) as it leaves behind its original function, assumes a life of its own, starts writing a narrative, becomes a director of our lives through the contingency it introduces. It stays with us humans as it generates and symbolizes conflicts among us.

It is an object of mercy, a threat, or a memorial. In HOLD’s work, unexploded bombs are revealed to have several functions and fields of interpretation. Floating in an indeterminable space, the bombs seem to exist, thanks to the sound effects that surround them, in a matrix defined by the continuous interaction of the past and the recent past, the present and the future.

CAPK 2

Zsolt Asztalos HOLD’s objects trouvés are multiple representations of conflict situations, open to simultaneous interpretations on personal, local, regional and global levels. This brave and thought-provoking installation belongs to the praxis of visual art that has been instrumental, through research and exhibition, in processing the brutal traumas of the late 20th and 21st centuries.

The website *Fired but Unexploded* http://www.fired-but-unexploded.com is an integral part of the installation: it not only provides further information on the exhibition, but also aims to create a worldwide map of conflicts with its interactive interface. An application available for all smartphone platforms will guide visitors through the exhibition and will provide more information for those who want to further immerse themselves. This Exhibition is part of Zenith Art Exchange program between Contemporary Art Platform, Kuwait, and Art Moments, Hungary.

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*FIRED BUT UNEXPLODED*, organized by Contemporary Art Platform. VIDEO INSTALLATION BY ZSOLT ASZTALOS HOLD, Exhibition of Hungarian Pavilion, The 55th Venice Biennale, *Exhibition Dates: 12/12/2013  – 11/1/2014, Contemporary Art Platform (The Art Room*). CAP Kuwait.

http://capkuwait.com/

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SOMEWHERE IN THE COSMOS… SCENE FROM A CRACKS MAGNIFICATION (IT’S NOT A PAINTING OR A DIGITAL WORK)

© ROBERTO ALBORGHETTI – CRACKS – LACER/ACTIONS PROJECT

© ROBERTO ALBORGHETTI – CRACKS – LACER/ACTIONS PROJECT

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Someone told me that CRACKS – and all my LACER/ACTIONS researches about torn and decomposed publicity posters – are a sort of  “Wabi-sabi” expression (it’s the Japanese art of finding beauty in imperfection and profundity in nature, of accepting the natural cycle of growth and decay…) 

In fact, “Wabi-sabi” celebrates cracks and crevices and all what is marking time, weather, ages and so on… Architect Tadao Ando says: “Wabi-sabi reminds us that we are all but transient beings on this planet-that our bodies as well as the material world around us are in the process of returning to the dust from which we came. Through wabi-sabi, we learn to embrace liver spots, rust, and frayed edges, and the march of time they represent.” (Read more atWhat Is Wabi-Sabi)

Cracks is part of my Lacer/actions Project, about  the decomposition of torn publicity posters on outside advertisings (my realistic and not manipulated images are transferred on canvases, lithographic prints or textiles). I’ve been also researching on metal and plastic surfaces, or metal and plastic platings. This is the wonderful world of Cracks… My eyes and cameras discovered in cracks magnifications amazings textures.  Also my Cracks are realistic, natural, random and not enhanced images, as you see in this picture, which is not a painting, but a real scene from this real world… I took in Bergeggi (Liguria, Italy) two months ago…

THE CRACKS GALLERY – robertoalborghetti.wordpress.com

“DEATH OF A CAMERAMAN”: EHIBITION OPENS IN NEW YORK EXPLORING THE POWER OF IMAGES… ARE CAMERAS WEAPONS?

Death of a Cameraman

organized by Martin Waldmeier

apexart

291 Church Street

New York

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Opening reception:

Thursday, September 12: 6-8 pm

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On view:

September 13 – October 26, 2013

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Featuring work by:

Adam Broomberg & Oliver Chanarin, Harun Farocki, Rabih Mroué

Hrair Sarkissian, Rudolf Steiner. An Unsolicited Proposal Program winning exhibition.

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On July 1, 2011, in the neighborhood of Karam Shami in Homs, Syria, a young man stands on the rooftop of a building. He uses his cell phone to document gunfire in the streets below as his camera suddenly catches sight of a gunman on an adjacent balcony. For a brief instant, the cameraman and the gunman directly face each other. A single shot is fired. The camera falls, and with the cameraman’s death, image and reality collapse into one.

In the course of recent political events, anonymous cameramen and women have emerged as powerful new figures in the politics of representation and mediation, documenting conditions that surround them while simultaneously carrying the biggest stakes in the telling of th eir story. They create images that do not necessarily show violence, but are visible manifestations of it; images that do not seek to create viewers, but witnesses.

Death of a Cameraman revolves around a powerful moment in which the making of an image becomes a matter of life and death, with the camera functioning both as an extension of the eye and as a weapon. The exhibition explores the power of images to influence reality and alter the course of events. Are cameras weapons? Can they penetrate reality? What’s at stake in the making of images? What does it mean to bear witness through them?

Martin Waldmeier is a curator from Basel, Switzerland, and currently a Ph.D. candidate in Visual Culture at Goldsmiths, University of London, writing a dissertation on translation as an artistic practice. Waldmeier was a Fulbright fellow in Visual and Critical Studies at the School of the Art Institute, Chicago, and received an MA in Modern and Contemporary Art History from the University of Bern. His current research interests include aesthetics of migration, images and narrations of conflict, cultural translations, and the politics of language in the present-day cultural industry.

apexart’s exhibitions and public programs are supported in part by the Affirmation Arts Fund, Andy Warhol Foundation for the Visual Arts, Bloomberg Philanthropies, The Greenwich Collection Ltd., Lambent Foundation Fund of Tides Foundation, and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts. This exhibition is also supported in part by the Stanley Thomas Johnson Foundation; the Swiss Arts Council Pro Helvetia; Kalfayan Galleries, Athens-Thessaloniki; and Video Data Bank.

www.apexart.org

291 church street

New york, ny 10013

t. 212.431.5270

STREET ART OR JUST PART OF THE STREET? SCENES FROM A (DISFIGURED?) WALL…

© ROBERTO ALBORGHETTI

Art of the street or only part of the street? Is street art illegal? Is street art vandalism? Yes, these are the usual questions when we see some writings on public (or private) spaces… Here, in the pics, some details from the dock situated in Lenno, on Lake Como shore (Italy). Free art or vandal act? Pop art or just a disfigured wall? Everybody have their answers. But some colors and shapes are really interesting… (Isn’t it?)

“THE BIG PICTURE” IN DUBAI : DEMOLISHING BOUNDARIES AND FREEING ARTISTS “FROM ART POLITICS, GALLERIES’ PROFITABLE GUIDELINES AND FAME-DRIVEN MARKET”

“The Big Picture” contemporary art exhibition was hosted by the Gallery of Light at Dubai Community Theatre & Art Centre (DUCTAC) on the weekend of 6 – 8 June 2013. It explored multifaceted artistic creations, featuring paintings, photography, sculpture, digital art, performance art, installation as well as audiovisual arts.

The Big Picture is an independent art exhibition that was self-funded and organized by some of the participating artists. The concept was inspired by a fast and busy society that often magnifies minor issues and gets caught up in the details of a demanding daily schedule, while ignoring the vision and the essence of where we are all heading as collectives or individuals and neglecting the significance of the journey and the overall process we each follow.

We live in a vast world; let us look at art from outer space, let us look at the big picture, no matter how big it gets, or small it might need to be” said Ram Nath, the co-organizer and curator of The Big Picture. Nath’s exhibited work reflected childhood memories that have been complicated and overwritten by time and the ever-changing society. In his piece called Clown, we see that he used the nostalgic technique of Pop Art to portray a laughing clown, whose cheerful colors are slowly fading by as time passes by.

The Big Picture exhibition showed more than 30 different artworks using different media. As for the performances, it started with the artist Abdullah Abd Al Karim, aka Dokhan, painting live on a classic Dodge car that was presented by Union Cars Club. Behind him was a screen that showed a video by VJ IS who demonstrated various clips of black and white adverts saturated by consumerism, which were taken in the early 20th century and that do not differ much from our times now.

The varied colors and media used to make the other artworks inside the gallery space were what gave a vibrant and positive feeling and atmosphere to the space. Entering the exhibition, you would have seen Amjad Aljoukhdar painting live, on speakers’ covers given by Libratone, his own imaginary characters, one of which was an angel turning to a devil that was painted and drawn on a canvas inside the exhibition.

Co-organizer Roba Hamadeh’s work was a four-piece graphic design that gave the audience a glimpse of what goes inside an artists head from subjects of love, hope, sadness and life. As for the biggest piece, it was that by Nashwa Zakaria who managed to present a full and colorful survey of the culture and heritage of Dubai. Shoak Taher showed two paintings portraying the situation in Iraq via her own primitive and spontaneous mean of expression. Another artwork that was also outstanding was that of Anji Abbas’, who expressed the speed of thoughts via characters born from her own creative thoughts on 9 connected canvases. This is only a

The Big Picture aimed to demolish boundaries and give the artists the freedom to express their interpretation of this message in a simple method, freeing it from art politics, galleries’ profitable guidelines or fame-driven market, while emphasizing the importance of it via large pieces. It was an exhibition that did not limit the artists with the commercial factors rather allowed them to concentrate on art for art’s sake.

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Participating Artists:

Amal Mahmoud, Amjad Aljoukhda, Angie Abbas, Ashwin Pillai, B’lu, House of Design, Ilona Maras, IS, Karim Hobeika, Lama Kabbani, Mai Aldabbah, Manisha Andrade, Mel Pickup, Nashwa Zakaria, Nihal Akmal, Ram Nath, Roba Hamadeh, Shaok Tahir, Sumanta Dahda, TJ Abustan, Ufuk Kobas, Zaahirah Muthy

NEW: THEY ARE “CRACKS”! (AND NOT PAINTINGS) / EXPLORING METAL AND PLASTIC SURFACES…

CRACKS  © ROBERTO ALBORGHETTI  - REALISTIC IMAGE - # 1

CRACKS © ROBERTO ALBORGHETTI – REALISTIC IMAGE – # 1

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WELCOME TO THE WORLD OF “CRACKS”, WHERE MATTER IS BROKEN BUT NOT SPLIT…

Cracks is part of my Lacer/actions Project but it moves in another direction. Through Lacer/actions I have been investigating and exploring the incredible dimension of the decomposition of torn publicity posters we usually see on outside advertisings.

My eyes and my cameras tried to reveal the colors and the shapes of ripped paper. All my images (transferred on canvases, lithographic prints or textiles) are the reproduction of real and not manipulated scenes.            

Since 2009 I’ve been workin’ on another matter. Not paper but metal and plastic surfaces, or metal and plastic platings. So, I entered the wonderful world of Cracks…

We are surrounded by cracks. We live in a planet of cracks (yes, cracks are maybe another metaphor of Life, as well as the waste-paper…)

I began taking and storing lot of images about cracks, specially the ones I see on particular metallic surfaces…

My eyes and cameras discovered, through cracks magnifications, other astonishing textures.

I like to repeat that all my Cracks are realistic, natural, random and not enhanced images.    

Yes, welcome to Cracks world, where  matter is broken but not split…

In this “postcard” the first of seven images I’m gonna post from today to next saturday. Enjoy them! 

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RELATED POSTS

https://robertoalborghetti.wordpress.com/2013/05/15/cracks-comin-soon-2/

https://robertoalborghetti.wordpress.com/2013/05/10/cracks-comin-soon/

   

“THE BIG PICTURE”: SELF-FUNDED ART HAPPENING IN DUBAI SET TO DEMOLISH BOUNDARIES FOR ART SAKE

“The BIG Picture” exhibition will be hosted by the Gallery of Light at Dubai Community Theatre & Art Centre (DUCTAC) on the weekend of 6 – 8 June 2013. 

The BIG Picture is an independent art exhibition; self-funded and organized by participating artists. The concept is inspired by a fast and busy society that often magnifies minor issues and gets caught up in the details of a demanding daily schedule, while ignoring the vision and the essence of where we are all heading as collectives or individuals and neglecting the significance of the journey and the overall process we each follow.

The BIG Picture demolishes boundaries and gives the artists the freedom to express their interpretation of this message in a simple method, freeing it from art politics, galleries’ profitable guidelines or fame-driven market, while emphasizing the importance of it via large pieces. It is an exhibition that does not limit the artists with the commercial factors and allows them to concentrate on art for art’s sake.

We live in a vast world; let us look at art from outer space, let us look at the big picture, no matter how big it gets, or small it might need to be” said a member of The Big Picture team. The BIG Picture will be exploring multifaceted artistic creations, featuring paintings, photography, sculpture, digital art, performance art, installation as well as audio visual arts, by ambitious emerging and published artists. It will present over 22 Dubai based artists who have been inspired by growing and cosmopolitan societies. The opening night will be on Thursday 6 June, 19.00-22.00, and the exhibition will continue on Friday and Saturday from 10.00 to 22.00.

Participating Artists:

Amal Mahmoud, Amjad Aljoukhda, Angie Abbas, Ashwin Pillai, B’lu, House of Design, Ilona Maras, IS, Karim Hobeika, Lama Kabbani, Mai Aldabbah, Manisha Andrade, Mel Pickup, Nashwa Zakaria, Nihal Akmal, Ram Nath, Roba Hamadeh, Shaok Tahir, Sumanta Dahda, TJ Abustan, Ufuk Kobas, Zaahirah Muthy

About the Gallery of Light

The Gallery of Light is dedicated to collaborations with under-represented artists and curators and to exhibiting arts practice that is evolving & experimental. Gallery of Light is operated on not-for-profit principles putting all income received from sponsorship or rental hire back into it’s cultural programming, educational outreach and the welcome of all visitors.

Exhibition Informations

The Big Picture – Art Exhibition

Opening 6 June 2013, 7pm – 10pm

Timings

6 June: 7pm – 10pm; 7 June: 10am – 10pm; 8 June: 10am – 10pm

Address

Gallery of Light, Mall of Emirates, 2nd level, Al Barsha

Dubai, United Arab Emirates, Tel: +971 4 341 4777

www.thebigpicture.ae