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Sense of Humor in Art No017 路 jan feb 2015

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Sense of Humor in Art No017 · jan feb 2015

Renato Garza, Technicolor (detail), 2010-12

DIRECTOR / ADVERTISING Catalina Restrepo Leongómez catalina@lar-magazine.com EDITOR / TRANSLATOR Daniel Vega serapiu@hotmail.com ART DIRECTOR / DIGITAL PRODUCTION Judith Memun judith@lar-magazine.com EDITORIAL COORDINATOR Valeria Castro info@lar-magazine.com WRITER AT LARGE Emireth Herrera emi.heva@ gmail.com EDITORIAL ASSISTANT Daniela González dany.gova@gmail.com. Contributors Carolina Ponce de León, Emilio Rangel, Miriam Matus, Mauricio Guillen, Daniel Vega, Homero V. Campos Reyna. Aknowledgments Gonzalo Ortega, Roberto Pulido, Carlos Castro. Photography & Video Courtesy of the artists, Museo de Arte Contemporáneo de Monterrey MARCO, Tate Modern, National Gallery of Australia, me Collectors Room Berlin.

FOUNDERS Catalina Restrepo Leongómez & Judith Memun.

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EDITORIAL

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Sense of Humor in Art Don’t you feel that art has become very solemn as of lately?

That’s a question made by a friend in a recent gathering. Humor is not a very novel theme within art, much less in contemporary art, but I at least had not questioned it in a long time. When I started thinking about examples and asking about relatively recent contemporary artists —not in the level of Warhol, Cattelan or Koons— that would work and propose their work around the subject, many isolated pieces came to mind, even many first pieces from artists that today have gained international recognition. But what perplexed me was that nobody would think the question was a difficult one.

Being funny or having a sense of humor is very hard; not everyone is born with that great gift, and even those who have it know that it’s not easy to maintain. Not repeating a joke is sometimes exhausting. In the same way, to bring out a laugh in the other (even an internal one) means being in control over a very powerful content-transmitting channel, the fastest one there is. Memes are a great example of this. I would call them the “communication Ferraris”, and in this issue we have Mauricio Guillén —who has the sharpest sense of humor and is without a doubt one of the smartest persons I know, clever like no other at connecting ideas— talking us about this matter in a very ingenious way: he explains how humor in art works from a terrible experience he had in the middle of a costume party, dressed as Andy Warhol and dancing reggeateon.

We also invited Emilio Rangel —who in person may seem the most earnest guy in the world—, who tells us about the different types of humor. He shares with us a very clear analysis of his stance towards himself and the different kinds of humor he perceives; being himself an artist whose pieces awake immediate guffaws, followed by an unsettling silence, together with deep reflections. Also in these pages we publish a text from Carolina Ponce de Léon,SCROLL about the FOR work MOREof Colombian artist Diego Piñeros, who has a very clear statement and, in his own

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EDITORIAL

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Humor en el Arte ¿No sienten que últimamente el arte se ha puesto muy solemne? Esa fue una pregunta que hizo un amigo en una reunión reciente. El humor no es un tema muy novedoso dentro del arte, mucho menos en el arte contemporáneo, pero por lo menos yo no me lo había cuestionado en mucho tiempo. Al momento de pensar referentes y preguntar sobre artistas contemporáneos relativamente recientes —no nivel Warhol, Cattelan ni Koons— que trabajaran y propusieran su obra alrededor del tema, se vinieron a mi mente muchas piezas aisladas, incluso muchas primeras piezas de artistas que hoy son reconocidos internacionalmente. Pero lo que me desconcertó fue que nadie pensaría que esa fuera una pregunta difícil.

Y es que causar gracia o tener sentido del humor es una cosa muy difícil; no todas las personas nacen con ese gran don, e incluso si se tiene es complicado mantenerlo. No repetir chistes es agotador a veces. De la misma forma, lograr en el otro una risa (así sea solo interna) significa tener el control sobre un canal transmisor de contenidos muy poderoso, el más rápido que existe. Los memes son un gran ejemplo de esto; yo los llamaría los “Ferraris de la comunicación”. En esta edición Mauricio Guillén —quien tiene un sentido del humor agudísimo y es sin duda una de las personas más inteligentes que conozco, hábil como nadie para conectar ideas— nos habla sobre este fenómeno de una manera muy ingeniosa: expone cómo funciona el humor en el arte a partir de una experiencia terrible en medio de una fiesta de disfraces, vestido de Andy Warhol y bailando reggaeton.

También invitamos a Emilio Rangel —que en persona puede parecer la persona más seria del mundo—, quien nos habla de los diferentes tipos de humor. Emilio nos comparte un análisis muy claro de cómo es su postura frente al mismo y las diferentes clases de humor que percibe; siendo él mismo un artista cuyas piezas despiertan DESLIZArisotadas PARA LEERde manera inmediata, seguidas por un silencio inquietante, acompañadas de una

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CONTENTS TAP ARROWS TO GO

 Editorial Sense of Humor in Art

 Article The Coens, Black Humor, and the Pleasure of Laughing at Everyone

 Article

Else by Miriam Matus

Humor & Art

 Recommended

by Mauricio Guillen

 Interview

 James Turrell: A Retrospective National Gallery of Australia

Carlos Castro

Canberra, Australia

by Emireth Herrera

 Watch Me Move

 Artist Portfolios

Museo de Arte Contemporáneo de Monterrey MARCO. México

 Diego Piñeros

 A Man Walks Into a Bar...

me Collectors Room Berlin

by Carolina Ponce de León

 Santiago Forero  Renato Garza  Isabel Rojas  Javier Gutiérrez  Emilio Rangel

 Article Humor in Art

by Emilio Rangel

Berlin, Germany  Time, Conflict, Photography Tate Modern London, England

 Special Guest Galamot Shaku

 Music Nick Cave. From the Ridiculous to the Sublime

by Daniel Vega

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"I CAN’T UNDERSTAND WHY PEOPLE ARE FRIGHTENED OF NEW IDEAS. I’M FRIGHTENED OF THE OLD ONES" JOHN CAGE

Courtesy @fansofmau

by Mauricio Guillen

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Last Halloween I decided I would dress up as Andy Warhol. I had everything to succeed: a white wig with his unique cut, vintage plastic specs, 1977 Halston sweater, ad hoc with its respective period jacket. I was skinny and pale since I had just been following one of those detox diets that are so hip.

ing I was dressed like him would have been a huge success without a doubt.

Could it be that this "Whatsapp generation" can only recognize a temporal theme? I believe so.

The day came. The first thing I noticed was the ignorance of the newer generations towards my chosen character, since nobody knew what my costume was. Could it be that this Whatsapp generation can only recognize a temporal theme? I believe so.

I visited more than three parties and the same happened in all of them, my costume was identified as an old man or just as another dead man.

Some even told me that the wig could be used for Celia Cruz in “La vida es un carnaval”, or that it would also serve someone who wanted to dress as Ursula, the villain in The Little Mermaid.

Finally, in the third party, there were two or three people my age, people like me who are drawing farther from the 30s and gradually getting closer to 40. A couple of them shouted, upon seeing me: — It’s that guy, the Pop Art one. What’s his fucking name?

And in the distance there was a voice that said: — It’s Ciberman.

One step away from me was an old journalist (the typical smartass) who started defining who Andy Warhol was. His narration was listened by several catrines, catrinas and the dead; there were also a pair of Annabelle dolls and some beings directly from the Saw series, which undoubtfully were the most popular characters this Halloween.

It may sound weird but I didn’t see Maleficents anywhere.

Whatever, let’s move on.

Time passed in the party and I wasn’t tiring myself in explaining who I was and what my costume was anymore, I preferred to say I was a version of Ciberman, and tried to enjoy the evening.

Minutes before going home I asked my mother to take my picture dressed up as Warhol; the pic was uploaded to Instagram and after spending a couple of minutes preparing it, it got its

Ciberman is a pseudo-astrologer with mental problems who wanders through the streets of my town, who also has grey hair, and sayOliviero Toscani, Andy Warhol with Camera, 1974 © Oliviero Toscani VISIT OUR WEBSITE WWW.LAR-MAGAZINE.COM

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reminds me those who didn’t recognize my costume, those that I have named the Whatsapp generation.

Exhibits and art fairs (just like in any costume party) have the works that have impact, the more talked about ones, those that will always be present, and the inevitable works that follow fashion or trends. A catrina costume will always be a catrina, but an Anabelle doll was surely “hilarious” this year. It is usual to see the spectator laughing of his sad reality and if it represents a current moment it will be equally comical. There are some who mourn the death of Chespirito and some who will keep yearning for the shrewdness of Joan Rivers. The act of laughing, and most of all its triggers, are an obvious reminder of the relativity and the classic clash of the majorities and the otherness. I want to say that when I decided to dress as Warhol I never

thought who the “joke” was aimed to; at least Instagram liked it.

The art industry is as demanding as those who call for dancing in a costume contest. Every day it is more common to see pieces (installations, mainly) that cover different functions, apart from aesthetics. Within those functions is the amazement that in many cases brings up the humor, and hence, the laughter.

Duane Hanson’s work is a clear example of how the spectator lives the process of distinguishing between the awe of technique, the power of content and the “funny” sense of being in front of one of his pieces. In truth, I don’t believe that neither Duane Hanson nor Miguel Calderón, I mean, not even Artemio himself or Amandititita, who are considered “funny”, make their exhibits in hopes of getting some laughs. When

Miguel Calderón, Greetings from my Hairy Nuts, 1996

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JAMES TURRELL A RETROSPECTIVE NATIONAL GALLERY OF AUSTRALIA. CANBERRA UNTIL JUNE 2015

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Shanta II (blue), 1970. Image National Gallery of Australia

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After Green, 1993. National Gallery of Australia, Canberra. © James Turrell. Photography © Florian Holzherr

"MY IDEAS ARE ALL THE SAME BUT LOOK DIFFERENT" MAURIZIO CATTELAN

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ENTREVISTA CON

READ IN ENGLISH

POR EMIRETH HERRERA

1. ¿Crees que el sentido del humor es un elemento característico de tus piezas?

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2. Como espectadora percibo en tu obra un sentido del humor muy marcado dentro de la recontextualización de imágenes y objetos. ¿Crees que tus piezas activan la memoria conectando el pasado con el presente? ¿Crees que el factor humor que existe detrás de tus obras recae en la ironía o el sarcasmo, y que de alguna manera esto causa una reacción, que si no necesariamente es risa, podría llamarse gracia?

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"A SENSE OF HUMOR IS PART OF THE ART OF LEADERSHIP, OF GETTING ALONG WITH PEOPLE, OF GETTING THINGS DONE" DWIGHT D. EISENHOWER

ARTIST PORTFOLIOS

Diego Piñeros Colombia

Javier Gutiérrez

Renato Garza

Santiago Forero

Argentina

México

Colombia

Emilio Rangel

Isabel Rojas

México

México

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Diego Piñeros

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Exhibition Kind of Magic “No es que sea pesimista, es que el mundo es pésimo”

Diego Piñeros García: Zombie Existencialism or “I Look to Laugh so as Not to Weep”

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by Carolina Ponce de León / Bogotá February 4, 2014 Humor has a recurring presence in Colombian art. In the 60s and 70s, for example, it became an instrument of social satire for artists like Fernando Botero, Beatriz González and Bernardo Salcedo. Juan Camilo Uribe, meanwhile, used to erase the division between popular imagery and highbrow art in order to go back to more feasible artistic contents. For others, like Fernando Uhía and Wilson Díaz in the 90s and 00s, it evidenced the hypocrisies of institutionalism in art. These three intentions —social satire, accessibility to art and institutional critique— are blended in the humor of Diego Piñeros García.

Twenty four frames, a video and a soundtrack make up the solo exhibit, Kind of Magic – It’s not that I’m a pessimist, but the world sucks. At first sight, one establishes an instant emotional link with these works due to the laughter caused by its tender and black humor. There is also familiarity with the collective imagination, fantasies, icons and DOWN narratives from the pop culture SCROLL that he extracts fromINhis image bank to create his works.

Each DOWNLOAD LARMAGAZINE THE iPAD APP STORE OR GOOGLE PLAY TO READ THE ENTIRE ISSUE piece is made out of plasticine, a material that is good, pretty

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Diego Piñeros

Kind of Magic “No es que sea pesimista, es que el mundo es pésimo”, 2012

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Diego Piñeros

Kind of Magic “No es que sea pesimista, es que el mundo es pésimo”, 2012-13

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Santiago Forero

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Santiago Forero

The Widowmaker (Chapter 1), 2010

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Santiago Forero

Olympic Games, 2014

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Santiago Forero

Story about Gnomes, 2014

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Renato Garza

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Technicolor, 2010-12

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Renato Garza

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Technicolor (detail), 2010-12 2/13

Renato Garza

Technicolor (detail), 2010-12

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Renato Garza

Escape II, 2006

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Javier Gutiérrez

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Reptilianos, 2013

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Javier Gutiérrez

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Javier Gutiérrez

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Javier Gutiérrez

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Javier Gutiérrez

Diferentes máscaras, un mismo circo, 2012

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Isabel Rojas

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El mundo estรก ligado con secretos nudos, 2013-14

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Isabel Rojas

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Tres tristes tigres, 2009

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Autosex, 2009 VISIT OUR WEBSITE WWW.LAR-MAGAZINE.COM

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Isabel Rojas

Series Texturas tripof贸bicas, 2014

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Texturas, 2009 5/10

Isabel Rojas

Carita, carita, 2008

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Acompa単ame, 2008

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Emilio Rangel

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Genealogías, 2013-14

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Emilio Rangel

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Emilio Rangel

Miguel, Minerva y Rรกpido Gonzรกlez, 2011

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Emilio Rangel

La puta de Babilonia, 2012

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Bella y la bestia, 2012

Emilio Rangel

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HUMOR IN ART

LEER EN ESPAﾃ前L

BY EMILIO RANGEL

Marcel Duchamp, Fountain, 1917. Public domain via Wikimedia Commons

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elements of critique. It is interesting that this critical exercise towards an orthodox perspective of art resulted in a “free” artistic language that would eventually become orthodox. Valuing irony as an aesthetical category, it is only expected that contemporary art has so much space for humor.

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...its main purpose is not humor itself, but the attack to a reality the author disapproves...

From all the types of humor that exist, the most used by art is the satirical one, which is oriented towards outrage through a somewhat moralizing and ludic punctuation. Although at first satire was planned for entertainment, its main purpose is not humor itself, but the attack to a reality the author disapproves, using his intelligence for this enterprise. Rhetoric as a language of the artist plays the role of a supposed superiority as a modality of humor: to mock and laugh the inferior. On the other hand, irony works as a rhetorical tool that illustrates the nonsense of the world, a kind of coded language that seeks to show the contrary to what is told.

The different value scales, either for regional or cultural issues, contribute to an identity that defines what we found as funny. Laughter is a type of communication derived from an evolutionary process that involves social relationships: it only works if it’s shared, has a cathartic function and tends to be pleasant. To cause laughter is the quest for approval through negation, to laugh of something is a kind of disapproval (unless tickles are involved). Laughter is the subject of different types of sensibilities and is closely linked to rationality, the parameter from which it works. Humor is brief, instantaneous and has an expiration date; it only gains sense upon being shared, with the objective of generating a moment of grace to the interlocutors, and to feedback from their reaction in order to stay relevant. Also, it is subjected to a temporality, since many times the laughable cause lies in the moment’s problematic.

“a museum is no place to go and tell jokes,” and yes, it is not a place to tell them, but to make them.

The best teacher I’ve ever had in life once told me: “a museum is VISIT OUR WEBSITE WWW.LAR-MAGAZINE.COM no place to go and tell jokes”, and yes, it is not a place to tell them,

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"CONTRARY TO GENERAL BELIEF, AN ARTIST IS NEVER AHEAD OF HIS TIME BUT MOST PEOPLE ARE FAR BEHIND THEIRS" EDGARD VARÈSE VARESE

Barnaby Furnas, Janet Cardiff, Lothar Hempel (details)

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Bjoern Melhus

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"AN ARTIST IS SOMEBODY WHO PRODUCES THINGS THAT PEOPLE DON’T NEED TO HAVE" ANDY WARHOL

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THE COENS, BLACK HUMOR, AND THE PLEASURE OF LAUGHING AT EVERYONE ELSE

by

MIRIAM MATUS

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A man goes into a house looking for a treasure. He seeks in the lower floor. Nothing. He goes up the stairs and sniffs around some rooms. Nothing. There is one last possible corner: the mistress’s room. He begins exploring under the bed, continues with the desk in front, under the TV, behind the curtains, under the pillows… but he doesn’t find anything either. Suddenly, a sound; someone enters through the main door and starts climbing the stairs. Under threat of being found, the man seeks for an immediate hiding place; the answer is just behind him: a closet. From there he observes the mistress’s lover, who has arrived and is about to take a bath. The man watches him secretly, is afraid of being discovered and of making any noise that will reveal his presence; he doesn’t

"Black humor is about finding the funny side of these types of events that would usually cause pity, fear or shame". move an inch, only the hooks and garments around him know his whereabouts. After a few minutes, he listens the shower stopping.

He watches the lover coming out semi-naked and dressing rapidly; what a relief! Maybe he is in a hurry to leave. It is a matter of waiting a little, only his shirt now… which he is about to take from the very same hideout. The man is now numb with fear and closes his eyes (as if not seeing will keep him from harm). The lover opens the door and suddenly sees a hidden man, who opens his eyes and smiles embarrassed while he shrugs; the bizarre surprise puts him on auto-mode, shooting the gun he was carrying under his pants.

The bullet enters right in the middle of the man’s forehead, the man who succeeded in nothing: he didn’t find the treasure nor got out alive. His body slips among the clothes, and the wall is splattered with his blood.

"But, how is it misadventures?"

possible

to

laugh

of

other’s

This scene from the Coen Brothers’ Burn After Reading leaves the audience in a shock… but they don’t take long before showing a smile. The man handled the situation so poorly that he doesn’t even deserves the sympathy of the whole audience; on the conVISIT OUR WEBSITE WWW.LAR-MAGAZINE.COM

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Fargo caricatures the adventures in the snow of an idiot who does not know how to borrow. The characterizations succeed in portraying characters so anodyne that they seem immune to any event.

It would seem that, for them, everything occurs just like the insignificant movement of a dust ball; yes, everything, even if it’s about a grotesque murder. This impartial tale about a series of events that turn into tragedy polarizes the experience in a bittersweet but enthralling experience.

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Fargo, 1996. http://youtu.be/LyPhsD1vHGk

"The Coens, for their part tell tales that demystify their country’s perfection through pathetic but touching characters..."

If in this world you are what you do (your job), but you do NOTHING, what do you become? If you’re lucky, you become the most acclaimed loser of all times. The Dude is a pathetic but revolutionary character that may live without the need of being productive.

Failure is his way of life, and despite how reproachable his attitude may be against the current success paradigms, the Coens present him in a way that the audience does not only laugh because of his chronic indifference, but they glorify him as the coolest of all anti-heroes.

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http://paisajesocial.org/

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UN VIAJE POR LA ANIMACIÓN MUSEO DE ARTE CONTEMPORÁNEO DE MONTERREY MARCO MONTERREY, MÉXICO NOVEMBER 2014 - MARCH 2015

Frank & Caroline Mouris, Frank Film, 1973. © Frank and Caroline Mouris

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J. Stuart Blackton, Humorous Phases of Funny Faces, 1906 Courtesy of the Motion Picture and Broadcasting Division of the Library of Congress

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"WITHOUT ART, THE CRUDENESS OF REALITY WOULD MAKE THE WORLD UNBEARABLE" GEORGE BERNARD SHAW

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Galamot Shaku

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“In the beginning, pixel images answered to the technical limitations of computer monitors and videogame consoles. These images were created by programmers who didn’t usually have an artistic formation; however, they progressively developed their own style.”

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“Like so many members of my generation, my childhood was surrounded by videogames, an essential part of my influences.”

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Nick Cave, 1986. Via Commons using Flickr upload by DingirXul (talk)

by Daniel Vega

NICK CAVE. FROM THE RIDICULOUS TO THE SUBLIME

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"Do you want to know how to write a song?

Songwriting is about counterpoint. Counterpoint is the key.

Putting two disparate images beside each other and seeing which way the sparks fly.

Like letting a small child in the same room as… I don’t know…

A Mongolian psychopath or something. And just sitting back and seeing what happens.

Then you send in a clown, say on a tricycle. And again you wait, and you watch. And if that doesn’t do it… You shoot the clown."

Nick Cave has narrated his obsessions with death, love and religion for more than three decades with his loyal band, the Bad Seeds. In his songs it is often easy to identify the child and the Mongolian psychopath, but the clown with a bullet between his eyes almost always deserves the applause. Cave, a demonic version of the classic crooners, creates dark vignettes, shrouded with blood and despair, stories of old rotten love, and of red-hot hate. His formula often brings out results filled with black humor: the juxtaposition of two ideas, so far one from the other that upon being forced to coexist they stretch and deform their realities in order to find some kind of sense or mutual complementation, creating a distorted and absurd world.

From his start with The Birthday Party (band that would eventually transform into the Bad Seeds)

the Bats, that the British publication New Musical Express included in its list of the 20 best goth songs, tells the story of human-sex-loving bats.

Without a textual guide, it is hard to tell the lyrics among the dissonant whirlwind the band creates, but the furor with which Cave interprets it is as shocking as the interspecies erotica story they contain. The band’s music is seldom branded as “Goth rock” due to its dark and pessimist tone; but this darkness is transmitted with a spark of humor, a touch of mockery that gives it a unique fun style and makes it, among other things, a great piece of entertainment.

The artist has defined himself by a twisted but on-fire world perspective. His laments, almost always with a half-smile and a mocking undercurrent, are filled with literary allusions, tortured and pulp versions of mythical characters.

“Darkness and wickedness turn into the purest melancholy, and create a record full of hazy and lonely landscapes.” in the mid 70s, Cave made a trademark of his irony and histrionics. The 1983 single, Release

Among his gallery of characters one can find Lazarus, straight from the Old Testament, resus-

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RECOMMENDED CONFLICT, TIME, PHOTOGRAPHY | TATE MODERN London, England November 2014 - March 2015

An-My Lê, Untitled, Hanoi Series Untitled, Vietnam, 1995. Courtesy of the artist and Murray Guy, New York

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Toshio Fukada, The Mushroom Cloud - Less than twenty minutes after the explosion (1), 1945 Tokyo Metropolitan Museum of Photography (Tokyo, Japan)

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Luc Delahaye, US Bombing on Taliban Positions, 2001 Courtesy Luc Delahaye & Galerie Nathalie Obadia, Paris/Bruxelles

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Match and Mate. Tap the face of the celebrity and then click on the corresponding name’s button.

Who’s who

mike kelley

lisa dennison

annette messager

ann temkin

david rimanelli

jeffrey deitch

hans ulrich obrist

kiki smith

sol lewitt

eugenio lópez

annie leibovitz

amanda lepore

Developed by Homero V. Campos

LARMAGAZINE subscribe A Different Kind of Feminism No015 路 sept oct 2014

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Snobbism. Comunication in Arts No016 路 nov dec 2014