Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

We met in Paris the independent curator Azad Asifovich in occasion of a visit to the exhibition Dogs in the Living Room at Galerie Rabouan Moussion. He explained us how, Farid Rasulov’s exhibition, took a great effort in terms of work: 550 meters of carpet interiors to be pasted by four assistants helping the artist, in order to cover the entire surface of the gallery, including every detail such as cups and books, throughout one month of installation. According to Rasulov: “Paris has a different mood, a special aura, a perfume. The city is like an obsession. I don’t know what attracts me, but I know this is my city”. Dogs in the Living Room is, as a matter of fact, developed all over in the Parisian gallery, from the floors to the ceilings, with traditional carpets from Azerbaijan. In November 2010 the Azerbaijani carpet was proclaimed a masterpiece of Intangible Heritage by UNESCO, in 2011 and 2013 Farid Rasulov’s Carpet Interiors were presented at Venice Biennale, at the Azerbaijan Pavilion.

Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

Born in Shusha, in the region of Karabakh, historical center of carpet waving, Farid Rasulov lives in Baku, Azerbaijan, ancient center of carpet weaving, but decides instead for this exhibition, to look for the fabric in Germany, and having it printed in Russia. A clash between the East and the West, a sign of a system of production, almost completely industrialized and globalized, and an artist who keeps an eye on the ancient patterns, repeated infinitely on the surface of the white cube of the gallery. Rasulov’s practice seems to be rooted in a Western universe represented by the white cube, and by the furnitures, but with an Eastern touch offering to the visitor a kaleidsocope of arabesques from his country, a traditional know-how transmitted from generation to generation. He said to the curator Azad Asifovich: “I use the carpet as a symbol of the Orient. It covers the Western interior, coexisting, it’s eternal”.

Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

In this conflict there are sometimes victims: human beings such as animals and plants. Dogs, but also cats, donkeys, horses, pigs, and other animals’ sculptures he adopted in his past installations, are victims of this dualism. It doesn’t really matter which kind of animal Rasulov is representing, in his work they are always a symbol of life and nature. And all of them are bright white, a representation of nature in its purity. The white dogs of the exhibition are looking out of the windows, sitting or standing. They are helpless animals without soul, faithful friends stucked inside the orientalized white cube and looking for light and freedom. Farid Rasulov’s installation at Galerie Rabouan Mouission is inspired by the Guba carpet waving school, but the artist will present in every installation a different region, every pattern being influenced by the variety of landscapes, from where the various color pigments are extracted: Baku, Shirvanm Ganja, Qazakh, Karabakh, Nakhchivan and Tabriz.

Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

Bom and raised in a family of scientists, Farid Rasulov, was destined to a bright future in medicine, but In 2007, after graduating from the University of Medicine in Azerbaijan, he decides to move away from science. Living in Baku, the capital, and regularly attending artist studios, he discovers, through contemporary art, a way of life, the concept of freedom of choice, new languages. This radical shift leads him to participate in the 53rd and 55th Venice Biennale. Farid Rasulov is an artist devoting intense use of diverse energy mediums: painting, 3D, animation, sculpture, installation. More informations about his practice in Alice Cazaux’s critical text Anatomie d’une Tradition.

Galerie Rabouan Moussion

 

 

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

“The mirror is thoroughly egoless and mindless. If a flower comes it reflects a flower, if a bird comes it reflects a bird. It shows a beautiful object as beautiful, an ugly object as ugly. Everything is revealed as it is. There is no discriminating mind or self-consciousness on the part of the mirror. If something comes, the mirror reflects; if it disappears the mirror just lets it disappear . . . no traces of anything are left behind.” (Zenkei Shibayma, On Zazen Wasan, Kyoto, 1967)

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

The Premier Machinic Funerary Part II is the second installation in a series depicting a form of hyper-commercial ancestral worship. The installations present abstracted funerals for the 3D printed scan of ancient hominid fossils set in contemporary retail or commercial environments. Arising before art, and marking a transition in the emergence of humans, intentional burial is the oldest of all rituals, as well as evidence of a complex cognition capable of the abstraction required for thinking about the afterlife. Dating back 60,000 years it has also been observed among the closely related Neanderthals, who decorated their transitions into the afterlife with flowers and antlers.

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Perhaps more appropriately understood as anti-funerals, these installations mark the re-emergence of a lifeform as it transitions through various phases from organism to fossil, or from CT scan to 3D print. Phase transitions are said to occur at critical thresholds, switching a physical system from one state to another, like the critical points of temperature at which water changes from solid to liquid, or from liquid to gas. These critical thresholds structure the topological space of possibilities within any physical system and thereby define its expression into the physical world.

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

In this installation, the phase transitions undergone by this Homo Habilis (1.9 mya) and Paranthropus Aethiopicus (2.52 mya), which themselves originate at the threshold of humanness, provide an example of how being itself exists primarily in the topological realm of possibilities, and only in the secondary emerging into the physical through a given media. Timur Si-Qin

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Timur Si-Qin (b.1984 Berlin) is an artist of German and Mongolian-Chinese descent who grew up in Berlin, Beijing and the American Southwest. Si-Qin has shown internationally at the Taipei Biennial, Bonner Kunstverein, CCS Bard New York, Museum Fridericianum Kassel, Ullens Center for Contemporary Art Beijing, Société Berlin, among others. Si-Qin lives and works in Berlin. The Premier Machinic Funerary: Part II at Carl Kostyal in London follows Part I presented as part of the Taipei Biennial 2014, and will be followed by Part III in New York with Eleanor Cayre in November.

Carl Kostyál

Timur Si-Qin

 

Preview in pictures of this edition of Fiac art fair. A selection of 2D works you may find in Paris.

Hans-Peter Feldmann

Hans-Peter Feldmann

Marieta Chirulescu

Marieta Chirulescu

Sebastian Black. Courtesy the artist & Balice Hertling

Sebastian Black. Courtesy the artist & Balice Hertling

Albert Oehlen. Courtesy the artist and Galerie Max Hetzler, Berlin | Paris

Albert Oehlen. Courtesy the artist and Galerie Max Hetzler, Berlin | Paris

Matt Sheridan Smith. Courtesy of the artist and  Kaufmann Repetto, Milan / New York

Matt Sheridan Smith. Courtesy of the artist and Kaufmann Repetto, Milan / New York

 

 

Photo Andrea Rossetti. Courtesy of Namsal Siedlecki

Photo Andrea Rossetti. Courtesy of Namsal Siedlecki

In september, the start of the new season was celebrated in the wide space of Ventura XV, Lambrate, Milan, with Keep It Real, a self-produced project, managed in every aspect by the artists: Alis/Filliol, Luca De Leva, Andrea De Stefani, Helena Hladilová, Invernomuto, Diego Marcon, Giovanni Oberti, Gianandrea Poletta, Namsal Siedlecki, along with Vittorio Rappa (fundraising and logistics) and Daniel Sansavini (graph). The idea for the exhibition was born a couple of months ago, without long premeditation: Andrea De Stefani and Namsal Siedleck both had the desire to deal in a practical manner and on a common space with other artists, so they moved their ass to realize this intention. They spread the proposal to their peers and what had started as a private chat, turned into a chorus of nine artists. Keep it Real is a slogan born in the suburbs of American cities and spread since the 80s through the voices of oldschool mc’s and rappers. It is a reminder that, in an hyperbolic mood, invites to authenticity, to keep our feet on the ground, and to live in a pragmatic way.

Photo Andrea Rossetti. Courtesy of Diego Marcon

Photo Andrea Rossetti. Courtesy of Diego Marcon

Photo Andrea Rossetti. Courtesy of Diego Marcon

Photo Andrea Rossetti. Courtesy of Diego Marcon

Now that the exhibition’s doors are closed, it’s time for reviews, and Keep it Real seems to be like a message read and understood by all the artists involved in this collective project, even in the most ironic nuances. Each of them dealt with the experience of everyday life in a similar way, as active interpreter and keen observer of sensible reality. Each artist was constantly immersed in facts, landscapes, circumstances, forms, specific behaviors of the everyday, without filter: for instance, people who prefer to dive belly and then resurface the head. As a result, the works in the exhibition were multiform projections of an analysis which took place on a common ground. The aggregation of personality preceded the choice of the works: there wasn’t any previously established critical path through specific productions, the show has been built up step by step, on free and individual proposals. In order to reduce costs, the collective tried to involve friends and various stakeholders in an exchange of contributions. In a nutshell, a small cooperative making the project work.

Photo Andrea Rossetti. Courtesy of Gianandrea Poletta

Photo Andrea Rossetti. Courtesy of Gianandrea Poletta

Photo Andrea Rossetti. Courtesy of Gianandrea Poletta

Photo Andrea Rossetti. Courtesy of Gianandrea Poletta

Diego Marcon, presented: “The Nap” and “The Phone Call”, 2014, two triptychs made of vinyl stickers applied on windows, thus creating two big screens activated by natural light, in concomitance with his new publication, a collection of 38 self-contained episodes, entitled: “A Script for Dick”, and published by CuraBooks. Gianandrea Poletta, usually working with iconic products, in “Moonwalk Pro”, 2014, managed to have a sponsorship by Nike, in order to present his rotating Nike Air Huarache, which will be visible again at the upcoming edition of Artissima contemporary art fair. Namsal Siedlecki, for his work: “Gomba Kalap”, 2014, met one of the last old craftsmen producing mushroom leather in Transylvania, a material similar to suede, obtained by the processing of a particular fungus. Siedlecki learned the procedure of making a hunting hat, and the craftman greeted him with enthusiasm in his small house in a forest where they spent three days together, time needed to go through the manufacturing stages. The formula of arrangements with companies and artisans in the production of the works, definitely seems to be a valid and repeatable experiment.

Photo Andrea Rossetti. Courtesy of the artists and Pinksummer

Photo Andrea Rossetti. Courtesy of the artists and Pinksummer

Alis/Filliol, Luca De Leva, Andrea De Stefani, Helena Hladilová, Invernomuto, Diego Marcon, Giovanni Oberti, Gianandrea Poletta, Namsal Siedlecki + Vittorio Rappa & Daniel Sansavini  

© Jonas Lindström

© Jonas Lindström

Nirvana – Strange Forms of Pleasure is Switzerland’s first international-level exhibition to be devoted to forms of pleasure in contemporary creation, exploring design as well as fashion and contemporary art, and the first compre­hensive study of the influence of erotica on design, contemporary art and fashion. By turns bold, luxurious and mysterious, the exhibi­tion presents works by around eighty artists and designers, and over 200 objects and installations.

© Diego Indraccolo

© Diego Indraccolo

The exhibition features a selection of contemporary designers who draw on the iconography of pleasure in their creative work, finding inspiration in erotic and fetishist literature, along with the images, objects and clothing to which they frequently refer. Visitors will discover finely-crafted, sometimes rare and inaccessible items, made from materials usually associated with the worlds of luxury goods, craftsmanship and contemporary art.

© Mustafa Sabbagh

© Mustafa Sabbagh

The exhibition invites us to examine our own ideas and perceptions of pleasure. It forces us to observe how its forms of expression can cross the line from the private to the public sphere when they are the subject of fashion, design or art. Designers cover the body with close-fitting garments or sensual materials, adorning them with jewellery that is aesthetically as well as erotically pleasing, creating furniture with evocative forms, works of art in which beauty and perfection are spiced with the whiff of brimstone. Nirvana shows that society’s desire for sensual pleasure remains vigorous in our digital age.

© Lara Giliberto

© Lara Giliberto

The exhibition focuses on design, fashion, and also contemporary art, which helps to open our eyes: its aim is to examine our relationship with the forms and objects that give physical expression to our unconscious perceptions of sexuality and our private notions of pleasure. In the exhibits, taboos are subverted by the use of unexpected shapes and materials, and by an attention to detail that has much in common with what the fashion world would consider haute couture.

© Mustafa Sabbagh

© Mustafa Sabbagh

Celebrated and up-and-coming designers alike bring these multiple influences into the spotlight, placing in the public sphere what has hitherto remained private. All these designers force us to question our value judgements on erotic practices by presenting unexpectedly luxurious items, worked to the highest standards of craftsmanship in leather, glass and precious metals.

Mudac

Image courtesy of the artist. © Allen Jones

Image courtesy of the artist. © Allen Jones

This autumn the Royal Academy of Arts will present the first major exhibition of Allen Jones’ work in the UK since 1995. This will be a long-overdue appraisal of Jones’ comprehensive contribution to British Pop art. Allen Jones RA will span the artist’s entire career from the 1960s to the present. Comprising over 80 works, the exhibition will feature examples of Jones’ paintings and sculpture, including the iconic furniture works from the late 60s, and new works created especially for this exhibition. Rarely-seen drawings will also be displayed to showcase Jones’ exceptional skills as a draughtsman, and the important influence of the medium of drawing on his practice as a whole. The female figure has remained an enduring interest for Jones, who has continually found fascination in popular culture’s prolific and differing depictions of femininity, ranging from the erotic to the seductive and the glamorous.

Image courtesy of the artist. © Allen Jones

Image courtesy of the artist. © Allen Jones

Allen Jones RA will present examples of portraits of cultural icons, for example a painting of Darcey Bussell and a new work of Kate Moss, reflecting the strong impact of cult images from 1960s America on his work. The exhibition will place a focus on Jones’ sculptural depictions of the female figure, featuring perhaps his most famous and controversial works Hat Stand (1969), Table (1969) and Chair (1969), but also more recent examples, such as Refrigerator (2002) and Light (2002). As a retrospective survey, Allen Jones RA will trace Jones’ development as an artist. The selection of paintings will explore how the early influences of European painting traditions, seen in Bikini Baby (1962) and Hermaphrodite (1963), gave way to the influence of Abstract Expressionism. Jones made frequent and prolonged visits to America where he came to admire the pictorial innovations of his contemporaries Roy Lichtenstein and Tom Wesselmann in New York, and Ed Ruscha and Mel Ramos on the West Coast, with this inspiration clearly visible in First Step (1966).

Image courtesy of the artist. © Allen Jones

Image courtesy of the artist. © Allen Jones

The influences of city life, transport, advertising, music and cinema all provide equally fascinating subject matter for Jones to exploit and explore. For example, 2nd Bus (1962) evokes the energy and movement of people on a mode of transport which was to become a cultural icon for London. Matching Jones’ expansive world view is his ability to work with a wide variety of media, which is very much underpinned by his accomplished skills as a draughtsman. Drawing has played a key role throughout his career, and examples on display will explore the relationship between Jones’ drawings and finished works. Borrowing freely from other forms of expression, Jones frequently employs storyboarding techniques to imbue his work with a cinematic sense of action and atmosphere. The result is a highly developed sense of performance, as seen in Hot Wire (1970) and Three-Part Invention (2002).

Image courtesy of the artist. © Allen Jones

Image courtesy of the artist. © Allen Jones

Allen Jones is a key figure in British Pop art whose reputation was established in the 1960s at the Royal College of Art, London, where he studied alongside celebrated artists David Hockney RA, Derek Boshier, Peter Phillips RA and Ron Kitaj amongst others. This cohort of students was catapulted into the spotlight of the British art scene with a new visual language, firmly rooted in contemporary culture, and with the human figure often central to their work. Allen Jones was elected a Royal Academician in 1986 and his work has been exhibited around the world in both solo and group exhibitions. Jones also designs for stage and television, with productions including Oh Calcutta! (Kenneth Tynan), Männer wir kommen (West Deutsche Rundfunk), Satie/Cinema (Ballet Rambert) and Signed in Red (Royal Ballet, London). Jones lives and works in London and Oxfordshire.

Royal Academy

The western cultural abuse of type-symbols such as:

! # * (: , @ % ~ / . ` “ $

underlines a lack of genuine thinking in favour of an overloaded mass production of globalized

Hyper-signs > more close to the indiscriminate glazing on doughnuts than a real ECOLOGY of language

WikiLeaks and rainbow gradients:

Gogoși are Romanian sweet pastries similar to doughnuts

shaped into a flattened sphere > deep-fried in oil

Courtesy of Stefano Calligaro

Courtesy of Stefano Calligaro

> optionally > dusted with icing sugar

> filled with chocolate, jam or cream cheese

 They have no hole and are believed to date back to classical antiquity

HTML tags:

< head>

<title>EAST</title>

</head>

<body>

the opposite of west

perpendicular to north and south

 

Courtesy of Stefano Calligaro

Courtesy of Stefano Calligaro

By convention:

the right hand side of a map

the direction toward which

the  Earth rotates about its axis

delimitarea este mobilă

și poate avea în vedere puncte de radicalizare

a limbajului plastic

     un amalgam de reacții și curente dialectale

</body>

*E-W:

 

Courtesy of Stefano Calligaro

Courtesy of Stefano Calligaro

A Symbol,

contrasted with continuous and analog signals,

linguistic information,

input devices of a group of switches pulled at regular intervals

*E-W: W-E: E-W: E-W: W-E: E-W: W-EAST

The *E-Wstern cultural abuse of PROP-Political values:

Geographical algorithms

Economic schedules for web interdependence

Manufactured critical masses

 

Courtesy of Stefano Calligaro

Courtesy of Stefano Calligaro

Classifications > involved in the delivery of limited industrial outputs

Tweet seed: The Information Age

a knowledge-based society surrounded by a high-tech global economy, with precise personalized needs, focused and enforced by the State, under social and cultural trends, beyond the glaze of HIP-Industrial Revolutions

Pollution and unsolicited low-value information:

> PUBLIC CUSTOMED PEEPBUZZ

The premise of art

Aesthetic Growth, attention-grabbing patterns,

Objects on landscapes and financial transactions on

 

Courtesy of Stefano Calligaro

Courtesy of Stefano Calligaro

retailers – who offer corporate aesthetic in order to

costumize human hands in creatures of suggestion -

> businessdictionary

literally > ethics and billions of mobile ads

a unique model for teaching primary principles of

BILINGUAL infomercial display

STICKERS on apples in supermarkets

Herbal Essences

music in the background and a silhouette listening:

For instance the brochures have a beautiful design,

they have no hole and are believed to date back to classical antiquity

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