IRREVERSIBLE Projects USA Booth I3 Alejandro Mendoza Bénédicte Blanc-Fontenille Amanda Madrigal Deborah Shelton-Tynes Jonathan Baez IRREVERSIBLE Projects Belgium Booth I4 Dirk Janssens Curator of Special Projects Art Monaco 2014 Norelkys Blazekovic
Grimaldi Forum April 24-27, 2014 10 Ave. Princesse Grace 98000 Monaco www.artemonaco.com
Curator of Special Projects Norelkys Blazekovic
IRREVERSIBLE Projects USA Alejandro Mendoza Bénédicte Blanc-Fontenille Amanda Madrigal Deborah Shelton-Tynes Jonathan Baez
IRREVERSIBLE Projects Belgium Dirk Janssens
Art Monaco 2014 irreversiblemagazine.com
At a time when cultural institutions are suffering restrictive budget cuts and scaling back programs, and when publications are disappearing due to a lack of advertising dollars, what Norelkys Blazekovic is accomplishing with Irreversible Magazine is simply astonishing. Practically single-handedly, and with an admirable determination of purpose that miraculously trumps her scant financial resources, she has succeeded in transforming her dream into a cultural portal joining creative voices from Miami to Tokyo, from Spain to Switzerland and beyond. She has become a catalyst for linking artists of diverse vision in her projects. Whether she meets an artist in her travels to art fairs and creative forums in the
United States, Latin America, Europe or Asia, Blazekovic has a knack for attracting those she encounters in the spirit of collaboration. Her projects and magazine serve as a portable exhibit because she approaches them with the eye of a curator. Her goal at Irreversible has always been to “strive to broaden the global understanding of contemporary art and to foster cultural exchange by creating new paradigms through creative initiatives.� Here you will not only find some provocative art, but perhaps more importantly, an equal measure of Blazekovic’s clarity, boldness and independence, not to mention a resolute and unwavering passion for doing what she loves.
Carlos Suarez de Jesus, Art Critic
IRREVERSIBLE PROJECTS Alejandro Mendoza Cuba
Alejandro Mendoza is one of Cuba's most diverse and intensely driven contemporary sculptors. His career in the U.S., particularly in South Florida, has had far-reaching impact. His work is constantly evolving yet maintains an aesthetic and personal integrity. His sculpture, in particular, is unafraid of venturing into different themes and tones--from defense of natural world to explorations of the personal and collective unconscious. His work boldly explores a wide range of formal concerns and draws on and fuses such diverse references as nature, urban detritus, and the dream state, and he does this in works whose deceptive simplicity and presentational immediacy allows them to be enjoyed by
people with cultivated and popular tastes alike. His "Giants in the City," for example, has gathered dozens of inflatable sculptures by international artists specifically created for this project. Mendoza has taken them to numerous venues and installed them in publicly accessible grounds, permitting the general population to enjoy the various works whose impact range from the whimsical to the enigmatic and from the purely aesthetic to the socially conscious. Whether it be in his own powerful and distinctive work or in projects such as "Giants," Mendoza's spirit is the same--art is a fundamental social and personal need, an undeniable and irrepressible force in our personal and collective presence in this world.
Ricardo Pau-Llosa Art Critic Ricardo Pau-Llosa has published six books of poetry, the last four with Carnegie Mellon University Press. He is also a widely published art critic and curator.
IRREVERSIBLE PROJECTS Alejandro Mendoza Cuba
I am, by default, the illustrator of my ideas, even though I seem to lie to myself constantly. Creating is the most “bestial” process of my conclusions. It is the energy of starting something without exactly knowing the actual outcome. My environment are constants in my aesthetic proposal, which is tied to the parallel need to understand common sense and making my interpretation of it more or less acceptable or understandable. Creating is the experience of being constantly unsatisfied. When this happens, I should redo and lie to myself again. www.alejandromendoza.net
Mutant Series “A Man” Ink and Acrylic on clear polyurethane vinyl. 20”x20” 2014
Mutant Series “Dream House” Ink and Acrylic on clear polyurethane vinyl. 20”x20” 2011
IRREVERSIBLE PROJECTS Bénédicte Blanc-Fontenille France
Bénédicte Blanc-Fontenille is a french artist living and working in Miami. She draws her inspiration from a reflexion on the fragility of the human being and his cultures: Fragility appears to me as an energy, an engine which propels the human being and generate the movement, as life is nothing but movement. There is the buried element and the visible one, the demolition that calls the reconstruction, the fold that needs to be unfolded to access the knowledge, to acquire achievement.There is nothing definitive, or permanent, rather the pursuit for
White Personages Plaster Variable dimensions
renewal, revival, revision. This movement represent a succession of moments. As G. Bachelard was writing: “Time has only one reality, that one of the moment.” Following that trend, each of her pieces could be called “passage” or “snapshot” with all the vulnerability contained in those words. In her work, lines, colors, rocks, architecture or silhouettes of humans become the witnesses of the fugacity of each present moment in wich lurks the projection of the future.’ www.blanc-fontenille.com
White Personages Plaster Variable dimensions
IRREVERSIBLE PROJECTS Amanda Madrigal USA
I began working on this piece from the inside out, both literally and figuratively. It is a circular object, created using a single element crochet technique, beginning in the center and working outward. The form is reminiscent of a polar grid, the same basic structure used to create a doily, but in this case, on a huge scale. I think about this piece as both a release of energy and collection of time. A way for me to transfigure the energy inside of me into something outside myself, and tangible; evidence. The piece was created using mostly donated and found materials
that I would cut up and rip into long strips which I then crocheted into the final product, a large circular net. The simple and repetitive actions felt so necessary to me, they became a way to capture the fleeting time. The net is a physical construct made to collect my thoughts, ideas, feelings, and memories. Formulated from thousands of stitches, I would tear things apart and put them back together, stronger and united as a whole. www.amandamadrigal.com
“To be continued...” Found and Donated Materials. 27’x27’ 2014
IRREVERSIBLE PROJECTS Jonathan Baez Dominican Republic
Sympathy for the Devil’s Dreamy Spectacle Mixed media on canvas. 48”x60”
I try not getting in the way of my work. To allow something else to appear, to show me the way… I recognize the presence of something else that works through me at the time of the creation. This can only happen when I surrender the illusion of control and become receptive. www.jonathanbaezart.com
Night at the Mausoleum Mixed media on canvas. 32”x44”
IRREVERSIBLE PROJECTS Deborah Shelton-Tynes USA
“Create by Capture”, as a freelance photographer my passion is NATURE and the world which we all share. Cultures, Landscapes, Urbanscapes, and the Sea, I love to capture their uniqueness and beauty. Through my lens I see extraordinary visions which must be shared. gravatar.com/deborahsheltontynes
Urban 1 Photographic print on metal. 20”x30”
Urban 2 Photographic print on metal. 20”x30”
[untitled] Photographic print on metal. 4 pieces, 20�x30� each
IRREVERSIBLE Projects Belgium Dirk Janssens www.dirkjanssens.eu
Art and Text, as the name might suggest, takes an in-depth look at the use of text in modern and contemporary fine art - "one of the most defining developments in visual art of the twentieth century" - and examines the way in which text has introduced a new mode of thought to artistic practices. During the 1960s, it became common practice for modernist critics to attribute a meaning or explanation to a piece of work, but with text now playing such a prominent role, the justification for the artwork's existence seemed to already be there, written clearly in front of the viewer. In actual fact, many artists such
as Dadaist RenĂŠ Magritte used it as an antiart or an "anti-aesthetic sentiment", rejecting conventional artistic standards or even questioning whether or not "art" actually exists. Today, artists are still developing and expanding this prominent artistic medium's possibilities; Dirk Janssens uses text as a means of directly confronting the viewer and provoking an immediate response that takes an in-depth look at the use of text in art. When language is used in the artistic domain, the letter, the word or the sentence are seen and experienced. The language is freed from the page as well as from its received meanings, habitual forms.
IRREVERSIBLE PROJECTS Dirk Janssens Belgium
In his art Dirk Janssens explores the positive and emotional aspects of the basic concept of being human. His work is a tribute to life and love, purely instinctive, in a completely unique language. His works are an investigative transformation; it is far from arbitrary, and represents a willful, passionate craving for almost unattainable and utopian Love. At the same time, this art offers comfort, as it fires an enthusiasm for life and inspiration; in fact it’s a tireless courting of passion itself. The artist forces himself to convert every single feeling of frustration into pure life force. Whether futile or intense, the expression shows an iron will, an unfailing passion and an enduring optimism that is deep-rooted in the artist himself. By doing so he makes his audience contemplate their own happiness. www.dirkjanssens.eu
There Is No Place Like Home Wood and paint. 37�x47� 2013
Be Thankful Fluorescent paint, acrylic and crayon on canvas. 47”x57” 2010
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