Archive for the ‘installation’ Category
Hugo Michel Hernandez
My body of work focuses on the duality of meaning in reclaimed objects and images. The paintings, drawings, and installation work are research oriented-projects informed by various interrelated sources including cultural history, architecture, language, and literature. The work attempts to seduce the viewer into places that are once eerily familiar yet ineluctably foreign. It wants to convey a sense of nostalgia based on memories that bespeak a culture of reinvention and banal planes of reflections. These references are conveyed through the specific and repetitive use of images, objects, textual language, as well as the use of traditional and non-traditional materials.
M.O.L.D. is a hot zone-themed wet lab and workshop at Angels Gate in San Pedro (5/3-6/12) that investigates the science, politics, and culture of food decomposition. The audience is invited to participate in various experiments and build their own amateur bioindicators to assess food quality and safety. www.finishing-school.net/mold.html
Finishing School is an interdisciplinary artist collective that explores contemporary social, political, and environmental issues. Their projects conflate praxis, play, and activism and seek to engage audiences through various participatory models. Finishing School was established in 2001 and is based in Los Angeles.
My work investigates post-industrial culture through the common uses and origins of modeling, gaming and information technologies. In my projects 3D models represent a quixotic attempt to make sense of things. To me games draw attention to the rules we (un)knowingly agree upon from one situation to another. I also use games and models for their association with childhood, which I see as an endless condition.
Lately I’ve become interested in shooter games and how they construct and conflate entertainment, childhood, war and masculinity. The video “Halcyon Atmosphere” and the sculpture it generated, “Semi-Automatic”, both use the sublime transformation of fearsome or horrific subjects into objects of contemplation and beauty, approximating of the kind of sublime experience of becoming immersed in a shooter game.
In shooter games, the gun quickly replaces the body as the primary site of agency, status and control. So in “Friendly Fire” we stripped a shooter game of all its other elements, including gravity. Only guns are left, floating in an infinitely empty expanse. “Friendly Fire” explores basic questions of personal agency within a set of rules and a field of “play” that appear to be familiar, but are in fact all inverted. The more the player shoots, the more guns appear and the less control the player has.
This sort of inversion is similarly illustrated in “on_The Ball”. A cue ball, which, like the shooter’s gun, is another presumptive “actor” or site of agency and control, has been fixed to the center of the video image. The table bounces around the ball, an inversion which calls attention to the limits of the playing field. The table becomes a metaphor for the unspoken rules we agree upon from game to game, from moment to moment. Who has more agency, the player or the agreed-upon boundaries of the game?
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“The Statue of Yong” is a self portrait bronze sculpture by artist Yong Choi. The Museum of Science and Industry in Chicago let him display his sculpture throughout the museum. Yong Choi received a BFA from the School of the Art Institue.
My art is the best method to communicate with others. I want to share my feelings with other people because I can get inspiration from my ordinary life and others are in my story without their will and opinion. So I want to give a little present to them in return. When I carted my statue on the street, many people asked me to take picture of me with my bronze twin, and I was glad to pose with their children and answer their questions. I tried to do my best. Some of them got my information, and sent emails including the photo images with cheers. I love the mutual activities. I would not expect spectators see my work raise their heads. That is why I made him laying down on the ground, and people can come and see him easily.
At 4’ x 5’11” and 400 lbs my bronze piece is not light. The traditional medium, bronze, makes me jump into history. I recorded my idea and thinking of every single day. And bronze “YONG” can travel the world and survive after a couple of thousand years conveying my will. Nobody knows the future. That is why life is so hopeful and I overcome my difficulties in the moment. The affirmative concept of my life often helped me to grow into a better man, and overcome my anger and frustration. If I change my point of view, my keen cutthroat competition can be comic film to others. So I do not want to be too serious and will take a cheerful view of life.
My goal is to make simple and effective modifications to everyday objects in order to open up their meanings triggering new associations for the viewer. For me, the best art engages and stimulates perception. I hope to exploit an object’s communicative potential and lead the viewer to consider the source and function of the object within the material culture and the contradictions and complexity of such culture. I work with a variety of media including craft, video, ready-mades, and found objects.
I spent my childhood and adolescence in Mexico City absorbing a visual landscape spanning pre-Columbian, Colonial, and Modern times. My sensibility is informed by these early experiences and most powerfully by the ingenuity of folk culture and its capacity to assimilate and corrupt/transform all these languages into hybrid forms of expression. After moving to the United States I drew from my aesthetic reservoir in an attempt to cope with the loss of the visual stimuli of my youth. I favored the low-tech processes of silk-screening and block printing which allowed for more immediate self-expression and often used folk motifs retrieved from memory.
In my current work I investigate the intersection of different cultural registers (e.g. the language of modernism and minimalism vis-à-vis feminine handicrafts, consumer society, design, and the everyday). I continue to use what is at hand and process materials through the grid, repetitions, pairings, and juxtapositions. I am interested in how something small and mundane can open up to larger meanings.
Georgina Valverde is a Mexican artist, born in Mexico City, 1962 and lives and works in Chicago, Illinois. She received her MFA from the University of Illinois at Chicago in 2003.
Photo credits: Bill Bengtson
Navajo Rug (a little sex, a little violence)
Currently living and working in El Paso, TX
Print media and packaging from various cultures and eras, political propaganda, historical and scientific drawings, pop art, industrial design, and recycling are my influences. Examining consumption of the visual as a unique commodity is my curiosity. I approach it like a scientific process, with results depending on chains of small experiments.
I favor the use of recycled and found objects, especially old slides, books, advertising, and used fabrics in my current work. The shortened life cycle of goods in the global marketplace begs intervention – after being sold, bought, and used – things can become something different in their afterlife. With a sewing machine, tape, and intuition I test how feasible it is to intervene.
I feel like I straddle an invisible fence between cultures and histories; soaking in what I see in the world at large, mainly through print media, hybridizing it to my specs, and then turning it loose upon itself. It is either adulteration or making with what is at hand when there is lots at hand. Seeing things being thrown away as a byproduct of the current mass digital conversion of libraries, print media, and photographs is the perfect way to have lots at hand.
2003 University of Texas at Dallas (B.A. in Art & Performance)
Brave but Doomed
Perlas y Almendras
In my trans-disciplinary practice I conceptually employ electronics, video, sculpture, installation, painting, photography, and craft to investigate the subtle seductiveness of power facilitated by systems of visual control. I am primarily interested in the artificial means by which we extend our ability to see and the mediating object’s affect on the transmission of images to affirm social and political hierarchies.
Mise-en-Scene appropriates the language of the gallery, video games, scientific experiment, and surveillance to examine how mediation functions both to facilitate acts of violence and to uphold the assertion of boundaries between cultural and political institutions of power. In Mise-en-Scene the viewer is presented with a sealed 8-foot room. Inside the room a woman stands in darkness, surveilled by four closed circuit night vision cameras that feed her real-time infrared image to corresponding monitors imbedded in each of the room’s outer walls. Under each monitor is a large red video game button. When a viewer presses one of the buttons an electric shock is administered to one of the performer’s limbs causing her muscles to seize from the jolt until the button is released. Mise-en-Scene explores the effect of a “social relationship mediated by images” as the desire to see is transformed into a means of painful control over another’s body. The seductive quality of surveillance synthesized with gallery mores and interface transparency makes viewer, institution, and artist equal participants in the creation of the scene.
In LAN Party or “National Take Your Daughter to Work Day” I graft autobiographical narrative onto appropriated images, objects, and contexts in an attempt to negotiate the complexities of power, which reverberate between the interpersonal and institutional. The resulting installation, or local area network (LAN,) implicates the viewer in an act of violence and uses the gallery as a medium to examine the historical precedence that affirms the authority of viewership. In LAN Party a Remington M700 police sniper rifle is poised atop a domestic looking table. A stool and headphone set invite the viewer to position herself behind the rifle, aimed at a small ornately framed monitor across the room. The monitor which, can only be seen and heard when standing in close proximity, shows found footage taken through the lens of an American helicopter sniper as he targets and kills Iraqis on the ground. The video is accompanied by a telephone recording of my father’s voice coolly describing the formal qualities of his own experience with the Remington M700 (weight, material, kickback.) Outfitted with headphones and enabled by the magnifying powers of the rifle’s scope, the viewer across the room receives the sniper footage in concert with the original soundtrack—the voices of gunmen and the booming sound of shots being fired.
Currently my work is informed by the unique socio-political climate of the Southern California border with Mexico and the imaging technologies used to uphold it. Ground Control is a wool Gobelin rug made in Guadalajara, Mexico by José Antonio Flores and Jonathan Samaniego in exchange for the amount of money it would cost a family of four to illegally immigrate to the United States. Ground Control reconstructs an image of the US/Mexico border at Mexicali/Calexico taken by the Terra satellite’s Advanced Spaceborne Thermal Emission and Reflection Radiometer (ASTER.) ASTER is made possible by collateral exertions of energy, economy, research and labor between NASA, Japan’s Ministry of Economy, Trade, and Industry (METI) and Japan’s Earth Remote Sensing Data Analysis Center (ERSDAC). Ground Control is an exercise in free monetary/commodity exchange across the U.S./Mexico border in contradistinction to the growing restrictions on human migration. The trans-national means of image collection and production of the work displaces the distinctions of national margins the ASTER photograph depicts, while the electromagnetic abstraction of the border obscures the image’s coded political content.
Check out more on Noelle Mason: http://www.noellemason.com