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Revivals. Avant Garde No019 路 jun jul 2015

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Revivals. Avant Garde No019 · jun jul 2015

Francesco Merletti, Series L’arte di stare in pubblico, 2006

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. Contributors Marisol Argüelles, Inga Lāce, Daniel Vega, Homero V. Campos. Aknowledgments Gonzalo Ortega, Roberto Pulido, Rosanna Magro, Sonia Becce, Jose Maria Lafuente. Photography & Video Courtesy of the artists, Scottish National Gallery of Modern Art, BOZAR Centre For Fine Arts, La Biennale di Venezia, Museo de Arte Contemporáneo de Monterrey MARCO. FOUNDERS Catalina Restrepo Leongómez & Judith Memun.

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EDITORIAL

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Revivals. Avant Garde To explain what Art is in a universal way is impossible. We could ask many experts, who would all say different things but would surely agree with only one: art is something in constant change.

When certain guidelines and canons are defined as established, beneath there’s a generation changing the rules to reinterpret “that” which stands for art.

For decades in museums and galleries, we’ve been bumping into objects that don’t say much at first sight, pieces that with no intervention, gallery text, catalog or artist explanation, would not be able to transmit their whole meaning. Conceptual art is completely established; for that reason, I also sense some movement underneath that could shake things up. Personally I love this idea, that we are entering a moment of radical changes and not because I have something against conceptual art, but because changes excite; to analyze things differently is always stimulating.

For some years now I’ve found artists who recover qualities that seemed out of focus, for example: technical and manual qualities, the singularity —and originality— of the pieces, interest for architecture, forms, spaces, etc. And I see that today, on one hand there are those that have a lot of strength and keep validating (if I may say) ultra-conceptual creations, and on the other those who are fed up with that and look for proposals that —from the first encounter— invite to feel more than to understand something; artists whose aesthetics much remind me of German Expressionism, Impressionism, Surrealism, Futurism, Constructivism, among other movements of modernity.

I would think that this resurgence has to do with Spiral Dynamics and the course of history, where everything is repeated sooner or later, always from a different point. Past catches up with us, SCROLL FOR MORE whether conscious or unconsciously.

It makes us analyze that which mattered before, which is revived in the present and is

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EDITORIAL

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Resurgimientos Decir qué es Arte de una manera universal es imposible.

Podríamos preguntarle a muchos expertos, que dirían cosas diferentes entre ellos pero seguramente estarían de acuerdo en una sola: que el arte es algo que cambia constantemente.

Cuando se definen ciertos lineamientos y cánones como establecidos, debajo hay una generación cambiando las reglas para reinterpretar “eso” que se entiende por arte.

Llevamos décadas encontrando en museos y galerías objetos que a simple vista no dicen nada, piezas que sin una mediación, texto de sala, catálogo o explicación del artista no podrían transmitir del todo su significado. El arte conceptual está totalmente instaurado, y por lo mismo, también presiento que hay algo debajo que se mueve y que podría desestabilizar las cosas. Personalmente me encanta percibir que esto podría ser así, que estamos entrando a un momento de cambios radicales, y no porque tenga algo en contra del arte conceptual, sino porque los cambios emocionan; ponderar algo de manera diferente es siempre estimulante.

Desde hace algunos años me vengo encontrando con artistas que rescatan cualidades que parecían estar fuera de foco, por ejemplo: la calidad técnica y manual, la singularidad —y en ese sentido originalidad— de las piezas, el interés por la arquitectura, las formas, los espacios, etcétera. Y puedo ver que actualmente por una parte están quienes dan mucha fuerza y siguen validando un tipo de creaciones (si se pudiera decir) ultra-conceptuales, y por otra los que ya están hartos de eso y buscan propuestas que desde un primer encuentro inviten a sentir, más que a entender algo. Artistas cuya estética me recuerda mucho al expresionismo alemán, al impresionismo, surrealismo, futurismo, constructivismo, entre otros movimientos de la modernidad.

DESLIZA PARA LEER Pensaría que este resurgimiento tiene que ver con la llamada Dinámica Espiral y el curso de la historia, en donde todo se

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CONTENTS Editorial Revivals. Avant Garde

Article Zeitgeist by Marisol Argﾃｼelles

Article Some Notes on the Clock, Mobility and Time Going Backwards in Relation to the Exhibition Visionary Structures

by Inga Lﾄ…e

TAP ARROWS TO GO

Recommended Artist Rooms: Roy Lichtenstein Scottish National Gallery Edinburgh, Scotland Visionary Structures. From Johansons to Johansons BOZAR Centre For Fine Arts Brussels, Belgium Stanley Kubrick Museo de Arte Contemporﾃ｡neo de Monterrey. Mﾃｩxico

Artist Portfolios Edgar Orlaineta Anibal Catalan Amilcar Rivera Karen Dana Marlon de Azambuja Francesco Merletti Pablo Cotama Julia Carrillo

Article Gutai. An Experimental Universe

by Emireth Herrera

All the World's Futures La Biennale di Venezia Venice, Italy

Special Guest Federico Jordan

Interview Federico Jordan

by Emireth Herrera

Music Randall Dunn: Interview

by Daniel Vega

"YOU CAN UNDERSTAND NOTHING ABOUT ART, PARTICULARLY MODERN ART, IF YOU DO NOT UNDERSTAND THAT IMAGINATION IS A VALUE IN ITSELF." MILAN KUNDERA

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SOME NOTES ON THE CLOCK, MOBILITY AND TIME GOING BACKWARDS IN RELATION TO THE EXHIBITION VISIONARY STRUCTURES ﾂｯ

by Inga Lace

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The time I went to school in Riga was marked by several visual and spatial reference points. One of them is connected to arriving at the train station where I would always look at the clock of the Riga central station, located on the top of a tower built in the mid-1960s. The numbers showing the time are placed so high up that I would see them from the street and while going back, and I would always be able to realize whether I would get the train in time or not.

The same clock tower, but from a different time and with a multiprogramme light system, is represented in the exhibition Visionary Structures, currently on show in BOZAR, Brussels. The light system for the tower was conceived in 1980 as part of the Riga Central Railway Station reconstruction project, designed by the Latvian artist Jānis Krievs, 1942. It comprised the benchmarks of the period—aesthetics, dynamics and precision. The tower was visible from a distance and quickly became a landmark in the city centre.

Countless sources of light from the electronic-dynamic light system built into the tower formed mutable geometric images with the intervals of minutes and seconds. Each programme lasted 60 seconds, thus making it an important part of the city’s time system and allowing everyone to keep track of the motion of time.1 Due to technical complexities and a frequent necessity for maintenance, the light system was removed a few years after its installing. The

Riga Central Railway Station clock tower with multi-programme light system, 1980.

Authors: Jānis Krievs, Aivars Bērziņš, Israel Blumenau, etc.

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ARTIST PORTFOLIOS

Francesco Merletti

Pablo Cotama

Italy

México

Karen Dana

Amilcar Rivera

México

México

Edgar Orlaineta

Anibal Catalan

México

México

Julia Carrillo

Marlon de Azambuja

México

Brazil

Edgar Orlaineta

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Suspended, 2014 1/12

Edgar Orlaineta

Suspended, 2014

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Edgar Orlaineta

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Con la mano en el ojo - con el ojo en la mano, 2014-15 4/12

Edgar Orlaineta

Con la mano en el ojo - con el ojo en la mano, 2014-15 7/12

Amilcar Rivera

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rtist tat ent

Declaraci贸n del artista

Se mueven, 2013 1/14

Amilcar Rivera

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So単adores, 2015 3/14

Amilcar Rivera

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Amilcar Rivera

Sรกbado, 2013

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"ART CANNOT BE MODERN. ART IS PRIMORDIALLY ETERNAL." EGON SCHIELE

Marlon de Azambuja

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Panamericano, 2015 1/7

Marlon de Azambuja

American Brutalism, 2015

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Marlon de Azambuja

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Herencia, 2014 4/7

Marlon de Azambuja

Techo Estrellado, 2011

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Francesco Merletti

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Blaubart, 2007 1/12

Francesco Merletti

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Fusa 3/12

Francesco Merletti

L’arte di stare in pubblico, 2006

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Francesco Merletti

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Cattiva in rosso 6/12

Francesco Merletti

Predatrici, 2012

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ZEITGEIST by marisol argﾃｼelles

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When we think about the artistic movements that preceded us we usually imagine they happened as a result of the unanimous will of a whole generation. We think of artists as a supportive guild that, hand in hand, set way to a fixed, clear and well visualized point. I’m not saying it didn’t happen in some cases —the preRaphaelites, for example—, but in many others it’s evident that the great changes were actually a result of the sensibility that permeated a society, and that said sensibility is also a product of a certain moment where the political, the academic, the religious and personal flow together: the individual facing himself and the collective facing its time.

with a determined purpose, artists constituted themselves in groups —Proceso Pentágono, Suma, Tetraedro, TAI—, organizing themselves around a sense of collectiveness far from individualisms and the author’s stamp. In the same decade the group of young poets self-named “infrarealists” wrote a manifest and found in the clan formula the only tool to face the established writers of their time.

To be or not to be “generation”, a problem that gets more complex with time if we consider that now the coincidences that may have happened within the European countries in the 19th Century —and early 20th in México—, and that triggered the creation of a nationalist spirit and with it a desire to forge an own identity, now seem to blur towards the imposing wave of information that circulates in a hyper connected world, where the spirit of change is originated and transmitted in a global level spreading at impressive speed.

"... CHANGES WERE ACTUALLY A RESULT OF THE SENSIBILITY THAT PERMEATED A SOCIETY..."

That is why it is not strange to see artists shaking off generational tags, partly because those transformations weren’t always originated from a manifest or a particular leadership: artistic sensibility —from creator or spectator—, which gives continuity or breaks with tradition, is largely determined by a cultural atmosphere and a shared past. This “group negation” phenomenon was present in Spanish writers and plastic artists as well: Dámaso Alonso rejected the existence of a thing such as the “’Generation of ‘27” arguing the absence of a leader, a national or international event originating it, or even a shared writing style. Also, Mexican artists that we relate to the “Rupture” today didn’t have the will to constitute themselves as a group, or even calling their whole body of work “rupturist”, as they were renown after Octavio Paz gave them that name. The 70s in México allowed a phenomenon where, consciously and

A certain collectivity is formed from that, one which is not necessarily formed among compatriots, and that encourages a sensibility that is relatively-shared but with the sufficient nurture to generate certain simultaneities that can be understood as an answer to the global context. And it is precisely here where it is worth to pay attention to a phenomenon that happens these days: after the overwhelming arrival of Postmodernity and its impressive critical apparatus, today things seem to be turning towards a new figuration that regains the vilified notion of “expression” as an expressive objectivity. Is

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this a symptom that surpasses a formal search and inserts itself into a political-social context?

It may be so.

The most evident argument forces me to remember that the artist is not a countryless hermit, he comes from a tradition, a school or at least a group that, no matter how small, is permeated by a cultural, social and political atmosphere. Both the creative process and the aesthetical enjoyment may be a result, first, of an individual perception phenomenon, but the language —either verbal or non verbal— uses certain communicable and partially consensual codes that part precisely from a verifiable truth.

Or wasn’t Post-War painting in the United States

picture of a thing, it’s the thing itself”1. Authors like Rothko, De Kooning and Pollock were in favor of creative freedom inspired by emotional expression.

Modernist aesthetics based their precepts on philosophers like Kant, and on the 20th Century, Edward Bullough, Clive Bell and Roger Fry reinforced the idea of the free interpretation of a work of art over its time and context. It maybe was a way of de-politicizing the artistic object, or of giving it a universality that encouraged the idea of art as an experience through the senses, despite knowledge itself, of its place in history or of any local ingredient. Minimalism had its peak and abstract painting gained an unequalled

"...ARTISTIC SENSIBILITY, WHICH GIVES CONTINUITY OR BREAKS WITH TRADITION, IS LARGELY DETERMINED BY A CULTURAL ATMOSPHERE AND A SHARED PAST." linked to a political environment, despite the artists’ try to set apart from it? Because it is important to say that the abandonment of the figurative, the quest for expression at its most elemental understanding, and the idea of “art for art” were, beside from an aesthetical search, a reaction to the war disasters with the help, of course, of the most influential critic of the time: Clement Greenberg, who was the flag-bearer of the idea of “art for art” along the many decades of the 20th Century. Also, Harold Rosenberg said the most representative thing about the spirit of that pictorial movement: “a painting is not the

terrain. But Greenberg’s kingdom wouldn’t last forever. According to another great art critic and historian, Arthur Danto, there is an exact date for the “end of art”; that is how he calls the day and hour when Andy Warhol exhibited the famous “Brillo Box” sculptures at the Stable Gallery, in 1964. Danto claims that this artistic gesture brought an end to what then was understood as Art, introducing a philosophical question: “What is the difference between a work of art and something that is not a work of art when there is not an interesting, perceptive difference among them?”2 With that we would have to re-

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RECOMMENDED All the World’s Futures la Biennale di Venezia 56th International Art Exhibition Curated by Okwui Enwezor Venice, Italy Ӏ May - November 2015

Giardini, Venezia, 2015. Photography Alessandra Chemollo. Courtesy la Biennale di Venezia

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Giardini, Venezia, 2015. Photography Alessandra Chemollo. Courtesy la Biennale di Venezia 2/8

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Christian Boltanski, Animitas, 2014. Photography Amparo Irarrazaval

Barthélémy Toguo, The New World Climax, 2000-14.

Courtesy Stevenson, Cape Town and Johannesburg; Bandjoun Station Cameroun. Photography Mario Todeschini

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RECOMMENDED

STANLEY KUBRICK Museo de Arte Contemporáneo de Monterrey Monterrey, México • March to July 2015

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Exhibition views

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2001: A Space Odyssey, 1965-68. The astronaut Bowman (Keir Dullea) in the storage loft of the computer HAL. Š Warner Bros. Entertainment Inc.

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INTERVIEW WITH Federico Jordan

BY EMIRETH HERRERA

Emireth Herrera: Why do you say that illustration is your vengeance?

Federico Jordan: There is nothing more stimulating for creation than vengeance. Not in a pernicious or offensive way, I refer to the vengeance against image and sign, the battle against one’s power over creation. “Illustration is my vengeance” is a phrase that is part of other ones, that in my vision conform the essence of the illustrator: “Illustration is paratextual”, “Illustration is unity”, “Illustration is my silence”, “Illustration is bi-media,” etc.

EH: What happens when you are invited to collaborate with important media outlets such as The New Yorker and Forbes?

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Other times you have said that illustrations are a product of observing and “playing” with the materials, and that it is the image that takes control. What happens when you have the pressure of publishing in these world-renowned media outlets?

Do you feel that images take even more control? Or on the contrary, do you want to control the details so the illustration is as prolix and perfect as possible?

FJ: Although illustration is functional, it stimulates the artistic game of production. To look through a small window of limitations heightens the challenge of a pragmatic and poetic solution. How to do it? That is the real vengeance. Illustration to me, especially in The New Yorker, has been a real honor. It is a publication with real content and prestige.

EH: The Japanese aesthetic term wabi sabi speaks of the impermanence and imperfection of beauty. You once told me that it is an essential element for your life and work, since you look to extract fleeting beauty from imperfection. How would you define this element, and is it still present in your production?

FJ: By nature, my experimentation work embraced the aesthetics of wabi sabi: the spontaneity of error, of defect, of pleasure; time blesses the objects with beautiful wounds. My grandfather Elpidio Gómez taught me to value it: the rust of metal, the erosion of wood, paper and stone. Without pretending so, many of my objects have ancient injuries, even in the freshness of their execution.

EH: From watching you work one can tell you have a very singular notion of perfection. You are painting or drawing and you suddenly “correct” when something seems too “perfect,” does this mean you don’t necessarily look for perfection in your work? Tell us a bit more about your vision in this sense, and if you aren’t looking for something perfect, how do you decide: “it is ready, I’m sending it”?

FJ: I feel that these corrections you’ve seen while I work correspond to the battle every artist wages with his work: it is a constant communication. The worst thing for an artist may be an uncontrollable imagination towards the infinite quality of the process. The decision of modifying and finishing is an important one.

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EH: Historically, illustration has been linked to social and political critique, sometimes even to denunciation itself. You have two particular illustrations, for example: “Je suis Charly” and “43 Missing from Ayotzinapa;” you even twitted the latter with the phrase: “I, Federico Jordan, want to know where the 43 are.”

These images were much appreciated by those who follow your work. Would you say that your work has an important political or denounce weight (although not evidently, except for this two cases)? Since when seeing your illustrations, many of them distinguish themselves for having a fun essence, an apparently simple sense of humor that at the same time has a very strong symbolic charge.

FJ: My relaxed and jubilant spirit is transmitted with the image.

Even in the saddest moments of my life, my images are radiant with energy. “Je suis Charly” was from an invitation of the French paper Le Monde. The cartoonists at Charlie Hedbo are my tribe, they are close to me and it is my duty to homage them. The 43 missing from Ayotzinapa symbolize my pain as a Mexican. I just followed the lead of a talented illustrator and my friend BEF. I don’t have the initiative in these types of projects.

EH: On social commitment: recently in countries like Spain, Colombia and México, alternative art or design schools/ workshops have become trends. Technology and online courses have also opened doors that reconsider the subject of education. Do you believe that the educational institution in art is something that should be reassessed? What do you think about the academy in creative careers? I ask this because apart from being one of the most renowned Mexican illustrators, your job as an educator stands out in the different schools you have taught.

FJ: My class is free. I talk about my experience and interests. I enjoy talking with the new generations about our passion and curiosity. The subject or course is a pretext. I think that the outstanding pupil will find his language and his teachers with the help of God over his talent, will and destiny.

EH: A distinction has always been made between art and design.

Artists tend to be very jealous about categorizing their work

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Randall Dunn: Interview by daniel vega

Photograph by Jessica G joursdepapier.portfoliobox.me

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Randall Dunn is an almost spiritual-like presence in the underground Seattle scene. Born in Michigan, the producer moved to Seattle in the early 90s, and found himself in the middle of a peaking music scene. Always looking for new sounds and musicians with the will to experiment, his musical journey has led him to collaborate with some of the most emblematic artists of the scene — Earth, Wolves In The Throne Room, Sunn O))), Marissa Nadler— deepening his formation as a producer and studio engineer. As a musician, his work with his band Master Musicians of Bukkake continues his avant-garde style with some eastern touches and wicked humor. Today he talks us about how he has traced himself a path among the alternative music landscape, gives us some hints about his more recent work, and shares his vision of the current state of the music industry.

DV: You started out your career wanting to do music for films.

What came first for you, music or films?

RD: I think those things came sort of hand in hand for me. I got interested in music through film, so being a lover and appreciator of film I first got interested in soundtracks. Then of course, when you are young you are interested in whatever music is happening at the time. I was lucky enough to grew up through great bands like The Cure, a lot of really great early metal, a lot of really amazing soundtracks.

DV: What soundtracks did you like when growing up?

RD: I got really into the Terminator 2 soundtrack, just the main theme, I was like “what is this”? So it got me interested in synthesizers and just all kinds of music, and eventually I got into Twin Peaks, because that was on TV when I was young. I watched that series and got really into the music and what it could do as far as moodiness and bringing a different kind of psychological frame to a picture. So when I moved to Seattle I was going to pursue sound, composing for film, and filmmaking also. And I just got kind of sidelined by a really incredible scene I found in Seattle. That kind of turned me into a producer.

DV: What year did you arrive in Seattle?

RD: Think it was late ’93, or ‘94.

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DV: So the music scene there had already peaked.

RD: Yeah, it was sort if on its way down, and definitely people had a feeling of that, too. In some ways it had gotten more eclectic because whenever you have a boom of any kind of industry-related support for a movement in a city, musicians come from all over to try to participate. Oddly enough that’s not why I went to Seattle, but a lot of people did. So when I got there, there was all this talent and the industry was kind of done. Then people just started playing music they enjoyed, so other things were happening; there was a really incredible jazz scene, the experimental music scene was unbelievable at the time, it was very healthy and people were way more interactive.

DV: Around this time is when Earth comes into the picture.

RD: Yeah, maybe a little earlier, cause they were sort of parallel with Nirvana. Dylan (Carlson, Earth frontman and founder) stopped playing music for a good portion of the 90s, you know, life just happens to people, so there was a long dead period of Earth. But there was more people related to bands like Coil, this kind of electronic music, there were a lot of people doing processed acoustic instruments, improvised music, a lot of different things. I think that was something that really inspired me to stay in Seattle, cause I was learning so much about manipulating sound at that time, it was sort of an awakening.

DV: You mentioned The Cure, David Lynch, some of your early influences. What albums do you admire sonically, as a producer?

RD: So many. I really love Disintegration by The Cure, it’s an incredible-sounding record. Of course I’m a big fan of a lot of the records of the 70s, and I’ve tried to bring some of that into my more modern productions. I really like the sound of the first few Plastic Ono Band records, and I really like, you know, the obvious ones: Zeppelin, some Beatles records, Harry Nilsson.

DV: I love that first Plastic Ono Band album. You heard Yoko’s Season of Glass, the one that got Lennon’s bloodied glasses on the cover? Really experimental stuff.

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