Tag: Moving image art
For New York-based artist Jonathan Monaghan, Extell works as a kind of conceptual sketch. A robotic voice tries to seduce us with promises of wealth and status, while the camera offers a view of a virtual Central Park, then leads us into a perfect, neat, impossible to inhabit apartment. The artifice eventually leads to | … |
Unreal and Hyperreal: A Conversation with Matthew Weinstein
By Elvira Blanco Santini. In the case of films and videogames, we tend to take visual effects for granted, without truly understanding them as fictions. We don’t stop and say: ‘there’s a lens flare’ or ‘there’s a 3D animated character’, we just accept them. But when you give someone digital literacy, and they begin to know how those things are made, they start to see them differently –to really see them as fictions. In general, we go through life inhabiting spaces and using things that we have no idea how they’re made. I for one don’t understand how a computer works; it’s kind of a mystery to me. I guess I could read five books about it, but I probably won’t, so I just accept it. A person that works with me builds computers and has a deep understanding of how they work, so he doesn’t get angry and frustrated when they crash –he has power over them. Digital literacy, then, is about power: empowering people to not be just passive receivers.
«Powers Seen And Unseen»
All progressive art protests the dominance of what has gone before. Staged incidents and riveting imagery evoke pressures and tensions with the vividness of dreams and nightmares in POWERS SEEN AND UNSEEN [Poderes visibles e invisibles]. This international selection of recent moving image art, curated by Washington-based guest curator of Global Visions, Kelly Gordon, that highlights an array of distinctive artistic strategies. Each cultivates awareness of “forces,” visible, invisible, exterior and interior. The exhibition designer is Gaëlle Smits.
Between the Lines
During a recent studio visit, Federico Solmi grabbed an old-school kids’ coloring book depicting American landmarks from his source shelf and remarked: «What always fascinated me about these coloring books was that they took complicated historical events and represented them to popular culture as pleasant, polished line drawings». Sorting through an array of the artist’s | … |
«O Abuso da História» by Héctor Zamora
Can the world change in two minutes? Héctor Zamora’s O Abuso da História reveals a wild art performance that feels like it could be an odd, spontaneous protest riot. Various camera angles survey an elegant, old world Latin American colonial-vintage courtyard. Suddenly, large potted plants rain down, hurled from its windows. These crash to bits upon impact, remaining both living and near dead. The finale surveys the ambiguous wreckage while viewers experience a reflex to want to see all 120 seconds of the video all over again.
10 Questions to Jonathan Monaghan
NT: What are you going to show in Venezuela? JM: I’m going to be exhibiting a number of computer animated films, and they are going to be installed in various galleries spaces in Venezuela, and works are surreal explorations of power and commerce in the digital age. NT: How has been your experience | … |
Focus: Jonathan Monaghan
“I’m very interested in the boundaries between what’s real and what’s virtual. I think in the digital age we have to be careful.” Jonathan Monaghan. With a fluidity of mediums and meanings, artist Jonathan Monaghan (born New York, 1986) uses computer animation software and digital fabrication methods to create thought-provoking works that | … |
The evolution of cinema, video and new media in the context of visual arts has long been imminent, not only by their progressive occupancy of exhibition spaces, but because of the contents contemporary artists are choosing to explore in their works. The diversity and complexity of moving image art, along with its ongoing moment in contemporary | … |
Artists in Global Visions
Meet the artists invited by curator Kelly Gordon to be part of the Global Visions program: Jonathan Monaghan (USA), Héctor Zamora (Mexico), Federico Solmi (Italy), Matthew Weinstein (USA), Santiago Sierra (Spain).
Global Visions: Insights into International Moving Image Art
«Global Visions: Insights into International Moving Image Art» is a year-long program unfolding throughout 2016, comprising exhibitions, talks, workshops and screenings in Caracas and Maracaibo, and aiming to explore our contemporary relationship with moving image art from an international perspective.