NADA Curated: Reduction to Satire

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NADA CURATED:

REDUCTION TO SATIRE

Fatos Ustek


Dear Readers, Welcome to Reduction to Satire, an online exhibition organized on the occasion of the NADA Curated series, through an open call and a selection process. The exhibition is a gathering of artistic practices and a cacophony of artworks that relate to, respond to, and metaphorically activate what reduction to satire might mean, might posit to, and might activate. As a newly coined term, for the exhibition, reduction to satire invites you to scroll through the pages, immerse yourselves in the artworks and the haiku poems that are specifically composed with the image of each work in mind. Thank you to all the artists who are taking part in this show and for their openness to engage with such a concept. Here we roll….


HAIKU Ritual Look at the artwork’s image Read the description 1 x Walk around the table 1 x sip from the ginger chai, cinnamon stick, anise seed tea Hold the haiku cubes and focus on the artwork Throw onto silk scarf Make a picture Compose a free-associative prose At times follow rules of haiku (5-7-5) Choose the theme-cube that grabs your attention first


Cabbage pale kids, 2020 UV print on mild steel

Molly Grad

Molly Grad is an interdisciplinary artist and writer, working across the mediums of drawing, painting, performance, sculpture, and textiles. Grad is investigating personal, ancestral, and collective trauma, through enacting radical empathy towards its least visible–inanimate objects or live occupants alike. Utilizing multiple platforms, she performs an excavation process into urban cities’ industrial pasts, thus interfering with the vertical axis and inverting social orders as a solution to our current state. Grad’s “Fleeting Street Sculpture”, explores the potential of everyday urban landscapes to create site-specific, short-lived experiences utilizing existing structures to create an emergence–a radical change act.


Grad placed a textile cabbage on a walnut plinth in the middle of a homeless shelter’s front yard in North London, thus interacting with its all-male crew of residents and builders. The collision between the participants and an oversized cabbage, formed an absurd chance encounter - an opportunity to create wonder within the mundane in a zone society perceives as an “invisible realm”. The oversized British staple Prêta-manger classic recreated in concrete and silk hand printed lettuce leaves as well as the contrast of the light, upper-class material versus the rough, socalled working-class concrete formed an especially gritty, farcical serving, drawing attention on a regular workday of a heaving metropolis.

Concrete sandwich, 2021, UV print on mild steel

A Vision For Our World Wild fertile hand touches violet turn / Honestly gorgeous dancing tiger stage last / Fast glancing partner wise shape leaves / Every heart flock before - if fantasy / My shady anal - - - - / You muck around curvy home / They to many fire slips / Fathom sleep this man dreaming - - / Prick bust looks quickly clever - / Its shiver - - - / In


VIROSA

FISHBOWL, 2022, Digital short

Yulia Topchiy, curator

FISHBOWL is a short film by collaborative group VIROSA based in Los Angeles. Delving into the magical site of the La Brea Tar Pits, this film is designed to portray the tar pits and the museum which grew above it as a shifting place that draws the living and nonliving into unnatural alignment. The La Brea Tar Pits defy easy illustration. Smelly, dark, and messy, the nature of the pits is to permeate, and to trap those unfortunate enough to get too close for too long. What stories flow in this untamable place?


A Dream About My Romantic Life Giant sour Shady grass hump Pool ritual noodle Dynamic doctor prick hard doctor bank inside I gorgeous dancing rides Us so man please not Ugly baby with flock body charm it If I fall finally She have you on a bust Along ravenous balance as one etc. --A grace


Tristram Lansdowne Galerie Nicolas Robert, Montreal

Daily Omen, 2020, Watercolor on paper

Daily Omen is part of a series of newsroom images where text, branding details and objects have been removed to create eerily vacant spaces that emphasize the dramatically exaggerated nature of broadcast architecture. The work points out the absurdity of what has become a standard approach to delivering news, namely, something that is sold as fact, but is in reality a mixture of anecdotal opinion, dramatic interpretation and outright propaganda. The design of this space reflects a global placelessness, but also reads like a digital altar, or a dated concept of what the future could be. It is the deck of a spacecraft, or a windowless stage, upon which our fears and desires take root and the world is flattened into a consumable spectacle where even the weather report becomes entertainment.


A Desire For Gorgeous I around Sweet marvel Doctor grass empty Candy right tiger Shady fantasy balance your villain - Girl but ritual sees heavy hmmm Shines - - last dancing charm Mature war violet her Not our - - stick Bust tangle many dreaming feeling mommy - - - screwed fortune before an Me consume we Slips Fathom -


Xavier Robles de Medina

Xavier Robles de Medina, Gorillas in the Mountains of Southern Nigeria: World’s rarest great ape pictured with babies, BBC News, 9 July 2020, 2022 Acrylic on wood

Catinca Tabacaru Gallery, New York

Known for his rigorous monochrome works, Robles de Medina combines a consistent, almost mechanical mark-making technique and surface quality, with pictures drawn from a personal archive. Gorillas in the Mountains of Southern Nigeria: World’s rarest great ape pictured with babies, BBC News, 9 July 2020 is a life-size painting showing a group of rare gorillas local to the Mbe mountains of Nigeria. Wary of humans, this subspecies is rarely ever seen. This image was sourced by Robles de Medina from a 2020 BBC article, which stated “…the animals at risk of extinction are actually reproducing…” In what can be described as a reversal of roles, these gorillas are coming out of obscurity and near extinction at the same time that humans around the world are retreating to suppress the spread of COVID-19.


Detail of artwork

The reference to slowed human activity, also points to Robles de Medina’s process. Having spent five months forming the image, his method reverses the low-res image source. In this way, the artist’s paint marks act as a kind of personal base unit for his own measurement of time. Robles de Medina’s approach to painting, particularly in the case of his Gorillas, suggests a deep desire to find meaning outside the digital realm.

A Reflection On My Family Bank man I So slimy nerve us To - but Fortune waste Silly surface mommy Flesh fall anal sang Return blows wind dancing My rides precious It cheeks any salty those Noodle heavy bust His tried ravenous honestly muck etc. - riches stay between Bottle too clear trouble touches I Behind up our wild ground that ----


Amanda Kyritsopoulou

Amanda Kyritsopoulou, Margo wants to know how much is too much., 2021 Giclee Print on archival paper

Rook Contemporary, London

In Amanda Kyritsopoulou’s portraits of faceless characters, both the viewer and the subject lack clear vision. The viewer is confronted with uncomplicated but perplexing out-of-focus photographs and an inevitable desire for meaning, whilst the subject, with their face pressed down against a pillow, cannot see, but only wonder. Perhaps the clue could be in their elaborate titles: How much is too much, is a strong mind also heavy, who is responsible? Sooner or later, the open-endedness of these irreverent, near comical titles will leave us wondering whose vision is the fuzziest, activating the feeling–or the vision–that the possibility of an answer is as absurd as it is unreliable.


Marian is wondering if she's ever seen clearly, 2021 Giclee Print on archival paper

A Dream About My Romantic Life Logical thunder as wind Greased daddy swimming - Prick sleep watching this fall Grass grace - - Honestly obey flesh lips Clever wet cheeks Last desperate wicked bank ground Mouthing through stick - In any - ugly hard slimy dripping My tiger yelled to a gentle puck We along riches- so not I with a


Hirosuke Yabe

Untitled, 2019 Wood

Cindy Rucker Gallery, New York

Hirosuke Yabe’s carved wooden sculptures were created from his desire to shift from the modern ideal to a philosophical investigation into what we are as humans and who we are in the basest version of ourselves. This exploration of the anima results in depictions of animals, people, anthropomorphic creatures, even monsters, but all are metaphors for the human condition.


A Desire For My Work Life Able surface stage nerve Hot trunk gentle Noodle up inside Ouch heart greased dilemma Lurid shady sour home Balance finally Turn for - glorious hand Wicked candy but licks leaves - he Lots blocks boy us wind promises they Here - pluck - her - I I sand any it’s - went a Etc. - - Also - - -


Modularity, 2021 Oil on canvas

Secil Erel mmad art, London


Secil Erel thinks of herself “as a dreamer who gets excited by the unknown future.” For her, the idea of the future represents newness in ideas, and conversations where she anchors herself with a new breath of air and sense of presence. Erel primarily works with oil painting, and most recently has begun creating an interactive painting titled Infinity–a piece composed of hundreds of small canvases called units. “Infinity, stems from lockdown exercises that I set to myself as a way of meditating on a smaller scale and as a means of creating an area of play. It has supported me in staying positive and attentive to my process of working with paint.”

My Romantic Life A Desire For Life / Us salty cover / Glancing slowly she hoped / Hot marvel hero / Melodic sucker oozing - / Sees shines full journey / Your man stick to a bank balance / I tried places ran all dreaming / The etc. / Silly trunk / / Inside dripping - / Following right across ravenous leaves / Between bottle doctor baby body - / I turn - / hand / I stage / A - so / Our / Trouble


Sarah Brasier

If you surrender to uncertainty, nothing goes wrong, 2022 Acrylic paint, kiln dried birch on hoop pine stretchers

Daine Singer, Melbourne

Australian artist Sarah Brasier regularly employs dark humor and absurdism in her works. For If you surrender to uncertainty, nothing goes wrong, Brasier states, “one day there was a ladybug who had a panic attack because it felt like she was sitting in a house that was on fire. After figuring out that she was not a bug having a spiritual experience but a spiritual being having a bug experience she surrendered to what was happening and let her bug body dance with the universe and the fire stopped burning.” Brasier’s paintings are psycho-dramatic scenarios that incorporate astute observations, drawing on personal histories, rendered in bright colors and humor to offset the dark origins elucidated through her practice.


If it makes you happy it can’t be that bad, 2022 Acrylic paint, kiln dried birch on hoop pine stretchers

“The two of them flutter by into a party: B1 and B2 B2: Are you thinking what I’m thinking, B1? B1: I think I am, B2! Both: It’s (doing ket and talking about our feelings) time!”

A Reflection On My Childhood Woman licks clever heart Never we us inside Gentle wise glancing giant light Those shot finally all what down Sucker any stage sang biting my Doctor wicked for balance oozing ravenous Sister went places mouthful - hellbent Ground room eats riches or here fathom rides Trunk between hot sour life Hand to hmmmm


Johanna Robinson HESSE FLATOW, New York

Belly of the Beast, 2020 Oil on canvas

Robinson’s depictions of whimsical dreamscapes explore the depths of the human psyche. Her paintings and works on paper present curious menageries of creatures and objects entangled in nebulous webs, where animate and inanimate entities collide, interchange, and co-mingle. Figure-stacking is a motif recurring throughout the artist’s practice, notably through subjects contorting and balancing in comical acrobatic displays. A nod to the German fairy tale “Town Musicians of Bremen”, in which animals band together in defiance of their masters, this towering into quasiarchitectural forms allegorizes knowledge structures within Robinson’s work, which, through devices of humor and irony, she quite literally turns on their heads.


A Dream About Home riches sweet gorgeous Who please into Went of pool Woman embraced every shot Grand clamor journey mouthing under - Daddy mouthful finally opens his lurid life Wrong science window Hellbent charm behind her fertile looks I that partner but biting me Me - heavy along many So not your hero One pluck Shiver

Fountain (Animate Structure), 2022 Oil and cheesecloth on canvas


“I was hoping it was a lie”, 2022 Oil on canvas

Leo Mock M+B, Los Angeles


Leo Mock’s interest lies somewhere between beautiful, meaningless colors on a board, the early 1900 comic strips of Krazy Kat and Wee Willie, and pointing out our infinite oneness with the universe. Often landscapes are depicted in unrealistic colors, green skies and rusty red beaches, or perhaps the light source is inconsistent. Colors on a board have no meaning. While the painting “I was hoping it was a lie” portrays a rock thinking about a rock. How dare you think yourself more important than a rock. The title is yet a third absurdity, or more often than not, it’s part of a deeper narrative left for the viewer to fill in.

A Dream About My Romantic Life #@&*#!! Watching dripping mouthing Precious gorgeous time trouble Swell woman over sister We journey Embraced screwed hellbent wild Shelter into places inside Much not - clamor full opens Dead peace shiver all ravenous Hard sucker doctor Stay went any but - it’s - or I overlook across Villain for the salty me


Ouin..., ouin (Gala), 2021 Velvet, knitted lace, cotton, polyester stuffing, soundbox

Julie Béna

Nicoletti Contemporary, London


The Den, Installation View

Satire and sarcasm are recurring features in Julie Béna’s practice, which often uses humor– preferably acerbic, absurd, or grotesque–to address questions related to gender and class politics. Ouin..., ouin (Gala) [Whine…, whine, (Gala), 2021] is part of a group of weeping plush figures that Béna realized for her solo exhibition The Den (2021), where the French artist took the mythical figure of the ogre as the epitome of patriarchy and political power in contemporary societies. Named after the artist’s daughter Gala, this bald mermaid comprises a soundbox that, when pressed, plays the sound of a young girl crying for her mother. Through the unapologetic waggishness of her work, Béna plays with the codes of fairy tales, horror movies and comedy, evoking the multiple facets of the ogre mythology, torn between its popularity as an innocent children’s story–such as its Hollywoodian version Shrek (a Yiddish word meaning ‘fear’ or ‘fright’)–and its multifarious interpretations in psychoanalysis and politics, where he is often used as the personification of the dictator.

A Regret About Sleeping fortune went Tiger shape who gleeful hoped Gentle cheeks around Left his he must salty glorious shelter Sooth light biting behindJourney for #@&*#!! Giant following have here They dreaming woman The finger sucker I anal slimy water Brother watching stay Gorgeous alternate On no as one Parallel shiver Desperate putrid too Your honestly - Trunk


Ellen De Meijer UniX Gallery, New York

Arctic Indictment, 2018 Oil on canvas

Ellen de Meijer is on a mission to confront the stereotypes using satire as her weapon and medium of choice. She dissects the society–exposing uncomfortable truths that are routinely glossed over. Life is often viewed through the prism of peer pressure to achieve, and through social media as a means of validation. De Meijer’s characters seem to live at the pinnacle of this imaginary, perfect world, yet their aloof melancholic appearances show the emptiness and unhappiness of their existence. “Kitsch is the lipstick of society. You, me–we are all part of this circus. All of us have agreed to keep up with our harmful and fake appearances”, notes De Meijer. She surrounds her protagonists with absurd power status signifier objects to enhance the irony and sarcasm of the works.


Exposure, 2020, Oil on canvas

My Future So time home embraced if one baby Ass prick timidly eats salty wind Your trouble killed glorious heart science return He rides shady noodle They hmmmm pregnant hump - - - To slimy stick cover water ground Must sleep too a point last A you around her between he oozing -------


Maryam Mohry O Gallery, Tehran

Two Bears, Two Rabbits and A Man (Artist Book), 2021 Watercolor on paper

Maryam Mohry has had the habit of making cut-outs from her children’s books in order to narrate her own version of the story since she was a child. In the process, she takes every single thought, ordinary event, movie or picture as a serious source of inspiration and makes small sketches that eventually translate into genuine stories in her artworks. The sarcasm and her passion to fully immerse in the process of creation and experimentation, fueled by a playful childlike sensibility all add to her unique works. Mohry keeps the “game” of storytelling connected within all her works by offering notes of cartoonish eeriness in the humanlike expressions of her characters and addressing environmental concerns in a playful set up. Her impulsive stories are crafted without trying to hide them behind various layers of paint, making them effortless and plausible.


A Regret About My Family There consume blows wrong feeling Friendly but wicked Who swimming behind it A bottle please Fire your science Fall gentle my ground She return - point Balance sucker lips Hoped to hump around Honestly finally under its trunk An overlook dripping tried finger Lots to - - - He rides trouble etc. I pool those - Glorious


Sarah Fuhrman

Gymboree, 2019 Mixed media on canvas

Rocket Science, New York

Sarah Fuhrman creates intricate tableaus that are figurative, surreal, and deeply satirical. She confronts the complexities of contemporary life and the psychological problems of effective functioning in society, with all its burdens and pretense. Her references range from Bosch to American pop culture. The worlds she creates are autobiographical and reflect the life of a modern young woman.


A Tirade About My Childhood

We All Must Deal, 2020 Acrylic and oil on canvas

My cheeks must have grand water fantasy Me pluck #@&*#!! Silly ground Parallel brother went sour We ugly her never under For ana shines sees feeling One licks her one not Desperate flesh ouch boy Surface opens wild fertile sleep Its hump sang sucker hare Peace next across what for The slimy - - Sang - - -


Sahar Khoury Rebecca Camacho Presents, San Francisco

Untitled (cooperative trees), 2021 Ceramic, powder coated steel, paper textile mâché, resin

Sahar Khoury’s recent sculptural works based on the concept of the orchard, combine a freewheeling approach to material in the pursuit of a series of naturalistic scenes in which anthropomorphic ceramic trees take the lead amidst paper mâché backdrops and spindly steel supports. Each piece carries a distinct sense of pastoral feeling, or the lack thereof. Khoury’s interpretations of the natural world verge on the absurd. With shaggy, loose branches piled onto roughly formed brown trunks, Khoury’s simplistic trees are mostly set off in pairs, one tree balancing another on its crown. This creates a playful sense of personification, with one tree giving another a boost, perhaps a better view.


Untitled (trees with big cloud overhead), 2021 Ceramic, powder coated steel, wire, leather, resin

A Reflection On Our World Trunk which journey here marvel me Your alternate along with wet limbs Torture must that in blows A shady woman - mommy sweet shot Sleep many fortune rides Clear bottle if well swimming Muck killed slimy pluck - fast mature Following time doctor sang water tangle doctor Our stage so full - lots touches - - - - sang


Bird and Nightstick Flowers, 2018 Acrylic on Canvas

Ekin Saçlıoğlu

Through the use of rich materials and disciplines such as painting, sculpture, drawing and installation Ekin Saçlıoğlu brings together the fictional and real world. Inversion and dualities such as fiction-real, natural-artificial, animate and inanimate as well as memory, dreams, stories and tales, animals and plants, and the relationship of different species present themselves in her work through metaphors. Bird and Nightstick Flowers is a painting and sculpture duo associated with the absurd correlation of justice, vulnerability, and violence. The image of the baton confronts us through the vegetation in the sculptures and paintings.


A Tirade About My Work Life Me mommy timidly between rides --My doctor shady grass woman doctor she grace those before Gorgeous wet eye empty shelter --Giant peace into lurid calls Logical slips surface - One screwed hot candy sucker --I turn places up for mature flock Also fall sang - ---


Jorge Rios

This Was The First Time, 2022 Oil, oil stick, and watercolor on cowhide

Devening Projects, Chicago

Jorge Rios makes paintings about fictional events that are by definition untraceable. For example: the first sunset, color, fire, silence, or morning. He produces this work to remind himself, and others, of the awesomeness and absurdity of existence. Because they’re not concrete and present in the world, the ideas belong to the realm of metaphysics, art’s most effective means of transmission.


A Reflection On My Romantic Life Hellbent down stick Honestly he looks wild Simple light So not into love It’s hot A revolting empty putrid realize Your nerve anal surface fire point ---A spiral no travel dilemma - Thunder friendly licks me slowly We have grand lips turn obey Sneaky cheeks for baby eats the war As bust - - -


Mouth, 2022 Plastic, epoxy resin, acrylic paint, acrylic sheet

Maria Petrovskaya Rocket Science, New York


The biomorphic sculptures of Maria Petrovskaya blend body parts with a psychological narrative that highlights the complexity of being a female and a human, and highlight the pervasive sexualization of women. Petrovskaya is interested in the resulting coping mechanisms that develop to reconcile the opposites–pressure to be viewed as desirable and refusal to be objectified, harassed or intimidated.

A Dream About My Family Next sand grass Ugly dynamic daddy muck me Heart spat grace candy Too logical desperate gorgeous She feeling dripping happy Through lofty watching One smooth shiver blocks revolting Cover up villain here Girl eats dead right hand To that I pluck for One have war-obey what Or me - on --Window etc. -


Aideen Barry

The work Possession was conceived in 2011 following the massive economic collapse that engulfed Ireland. Suddenly that word, Possession, seems to be such a heavy loaded word. People were suddenly “possessed” by abject horror at the state of our economic and social reality, houses were becoming re-possessed by vulture funds and people were finding themselves living in half finished mass housing estates all over the country suddenly in negative equity. The words “ghost-estates” were banded about as a way to describe how the mass housing boom had really not been considered with over a quarter a million houses in various states of build now facing the reality that they would never be lived in.


Possession, 2011 Performative Film

A dream about Limbs Around wise Giant gleeful pregnant shape leaves Alternate one swell In all - hero sees Slowly hard mature Science to fortune Window bottle she Grass travel calls Behind war blows Journey shot tiger I realize Wet if I - hoped Sister fall He a melodic curvy stick Who cover flesh His lots touches dreaming Sleep - -


Per Lunde Jørgensen Bonamatic, Copenhagen

The series OC10KMCPH is based on upholstery fabrics from office chairs collected from private homes around Copenhagen. The upholstery is dismantled and seamlessly sewn into the canvas, creating a flat surface, and appearing as minimalist color field paintings empty of narrative pictorial content. The traces of wear and tear adds a new form of subjectivity that points to the former owner of the chair, and the transformation of these mass-produced objects raises questions about how subjectivity is formatted in a culture of prefabricated solutions and products. OC10KMCPH has a satirical dimension that questions (and mildly ridicules) some key myths of modernism, and at the same time a very concrete element of reduction turning a 3D object into a pictorial state, pointing to entropy and consumption.


OC10KMCPH#49, 2022 Upholstery and canvas on stretchers

OC10KMCPH#39, 2019 Upholstery and canvas on stretchers

A Regret About My Childhood The tangle sees So not My ass Your dynamic stage Smooth fortune bottle Shot Pool clear - To dancing slowly A riches Lurid it’s touches my he - in I wrong bust Following - hellbent - his With wise villain there Candy love ritual Boy life pregnant science swimming For fertile window down licks If I-----


Shannon Wright

Rubric: Effort, 2022 Archival dye-infused print on aluminum

ada gallery, Richmond

Shannon Wright’s series Rubric began as a tongue-in-cheek response to academia’s focus on “measurable learning outcomes.” For Wright, sculpture, as a category, struck her as essentially immune to quantitative assessment. When the sculpture called Effort assigns itself an A-plus for effort, it satirically alludes to current dialogues surrounding artificial intelligence. “As an educator, I am a relatively late adopter of detailed grading rubrics. I cringed when I first guiltily acknowledged that rubrics make my life simpler even as they replace nuance and complexity with simplistic formulas,” notes Wright.


A Vision For My life under mature-esque Science slowly - one Fast surface - wise Leaves next war sees Happy trouble – fertile woman Gleeful body hero around - wicked Dreaming journey with - dripping heart Sister consume he sour He but also - following hump Trunk for its shady pluck One wrong clear stage Shot her hoped Mouthing Licks


Curatorial Concept Reduction to Satire (Reductio ad Satura) is a newly coined term for the NADA Curated series. It is a hybrid term, borne out of the juxtaposition between two distinct approaches of engaging with the truth. Reduction to Absurdity (Reductio ad Absurdum) is commonly used in mathematics and logic, famously by Euclid, as a method to prove by contradiction. Reduction to absurdity can be described as a figure of speech that is defined as a to prove one’s own position by showing the absurdity of the position of one’s opponent. Satire (lanx satura), on the other hand, is a literary work that ridicules its subject through the use of techniques such as exaggeration, reversal, incongruity, and/or parody in order to make a comment or criticism. Depiction of the notion ‘absurd’ can be traced in art, through movements of realism and existentialism. The use of satire in visual, literary and performing arts transcends cultures going back to Ancient Greece, with a strong trace in literature, theatre and the arts.

(TR) Olmayana Yergi (Reductio ad Satura) deyimi, çoğunlukla matematik ve mantık alanlarında kullanılan olmayana ergi metodu (reductio ad absurdum) ile edebiyatın yergileme roman geleneği bir araya getirilerek, NADA Curated sergi serisi için, oluşturulmuş yeni bir kavram. Olmayana ergi genellikle ikilikli koşullarda kullanılan mantık ispatı olarak tanımlanabilir, genellikle antik yunan felsefesinde ve Öklid’in matematiksel savlarında rastlanır. Bir olguyu, olmadiığı üzerinden absürtlüğe sürükleyerek doğruluğunu kanıtlar. Absürtlüğe indirgeme 20.nci yüzyıl sanatında, gerçekçilik, varoluşçuluk gibi akımlarda on plana cıkar. Yergileme, istiare metodu da, şark edebiyatında onemli bir yer taşır. Absürtlük ile bir araya geldiğinde amaçlanan, sanat için yeni söylem alanları açması, yeni bakıs acılarına ön ayak olması, birbiri ile yan yana gelmesi olası görünmeyen kavram, duygu ve düşünceleri bir araya getirme potansiyelidir.


(ES) Reducción a la sátira (Reductio ad Satura) es un término recién acuñado para la serie NADA Curated. Es un término híbrido nacido de la yuxtaposición entre dos enfoques distintos para acercarse a la verdad. La reducción al absurdo (Reductio ad Absurdum) es un método celebrado por Euclides que prueba por medio de la contradicción y es comúnmente utilizado en matemáticas y lógica. La reducción al absurdo se puede describir como una figura retórica que busca debatir una posición personal para mostrar lo absurdo de la posición del oponente. La sátira (lanx satura), por otro lado, es una obra literaria que ridiculiza a su tema mediante el uso de técnicas como la exageración, la inversión, la incongruencia y/o la parodia para hacer un comentario o una crítica. La representación de la noción de “absurdo” se puede rastrear en el arte, a través de movimientos del realismo y existencialismo. El uso de la sátira en las artes visuales, literarias y escénicas trasciende las culturas que se remontan a la antigua Grecia, con una fuerte huella en la literatura, el teatro y las artes. (DE) Reduktion auf die Satire (Reductio ad Satura) ist ein für die kuratierte Reihe NADA neu geprägter Begriff. Es handelt sich um einen hybriden Begriff, der aus der Gegenüberstellung von zwei unterschiedlichen Ansätzen zur Auseinandersetzung mit der Wahrheit entstanden ist. Die Reduktion aufs Absurde (Reductio ad Absurdum) ist eine in der Mathematik und in der Logik gängige Methode des Beweises durch einen Widerspruch, für die vor allem Euklid bekannt wurde. Reduktion aufs Absurde lässt sich als eine rhetorische Wendung beschreiben, bei der zum Beweis der eigenen Position die Absurdität und Unhaltbarkeit der Position des Gegners aufgezeigt wird. Die Satire (lanx satura) hingegen ist ein literarisches Werk, das seinen Gegenstand durch Techniken wie Übertreibung, Umkehrung, Inkongruenz und/oder Parodie lächerlich macht, um einen Kommentar oder eine Kritik zum Ausdruck zu bringen. Darstellungen des Begriffs “absurd” können in der Kunst im Realismus wie auch im Existentialismus aufgezeigt werden. Die Verwendung von Satire ist kulturübergreifend und reicht bis in die griechische Antike zurück, mit markanten Spuren in der bildenden, literarischen und darstellenden Kunst.


Reduction to Satire August 9–September 16, 2022 Curator: Fatos Ustek Artists: Molly Grad, VIROSA, Tristram Lansdowne, Xavier Robles de Medina, Amanda Kyritsopoulou, Hirosuke Yabe, Secil Erel, Sarah Brasier, Johanna Robinson, Leo Mock, Julie Béna, Ellen de Meijer, Maryam Mohry, Sarah Fuhrman, Sahar Khoury, Ekin Saçlıoğlu, Jorge Rios, Maria Petrovskaya, Aideen Barry, Per Lunde Jørgensen, Shannon Wright

Presented by New Art Dealers Alliance as part of NADA Curated


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