El galerista. Leo Castelli y su círculo (Noema) (Spanish Edition)

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Toyo Dredging Sand Pump Ask Price Following maintenance repair service testing all hydraulic kinds of hydraulic system of industrial spare parts sales services fault finding installation or recondition hydraulic pumps motors control valve pressure holding valve. For example, Vanessa Beecroft, in her series The Sister Project , uses the classic position of a woman reclining on her divan; Jane Bretle adopts an identical attitude with her series Restoration Works , although in this case juxtaposing the image of the neoclassical sculpture Paulina Borghese as Venus Vectorix, by Antonio Canova, with that of the young Olivia, who adopts the same posture in a contemporary bedroom setting.

A visual relationship that reflects the relationship she has had with the sculpture, since she is its restorer. But the presence of works from the past can respond to other pretensions.

From pure homage to certain artistic periods to the introspection of the relationships between works and their exhibition spaces. The former is perceptible in series by Carlos Serrano such as Carne, demonio y mundo Flesh, demon and world , , which he dedicated to the classic statuary of Antiquity, for which he scoured the different historical museums and buildings housing it.

His approach to it is doubtless sentimental; the use of black and white photography, the blotchiness of the image, the employment of close-up compositions, the insistence on backlighting, all create a melancholic tone while simultaneously constructing an almost human fleshiness. Indeed, it could be stated that the preponderance conceded to the couch in the title places those elements in a secondary position, as objects that contribute to the luxurious nature of that atmosphere of royal elegance.

Hence, before the City Hall of Calais, it fulfills its original purpose: The same phenomenon can be observed in other media.

For example, in literature, where a structure as characteristic as melodrama is adopted first by film and then by radio and television. The radical changes produced over a mere two decades in the sphere of the global economy, which are contributing to a transition from industrial to cultural capitalism14 directly affect the territory of art, especially its channels of distribution, exhibition and, of course, its reception, broadened in quantitative terms.

Art, through its traditional exhibition spaces: Therefore, it is not surprising that all these spaces for art claim the attention of an ever greater number of artists, most, although not all, of whom, as we have seen, are interested in their sociological aspects. What we have here is the rehabilitation of a genre from contemporary parameters. He has curated numerous exhibitions and he contributes regularly to several publications, such as El Mundo, Madrid, among others. He has published papers on art theory, architecture and contemporary art, most recent of which is a monograph on the Italian painter Emilio Vedova.

Consortium of Salamanca, , page Rifkin, Jeremy, La era del acceso, Piados, Barcelona, , pages Rifkin, Jeremy, page Louise Lawler Exhibition, Paint, type, shelves, printed glasses, and two framed cibachromes: Un saber ya constituido, repertoriado, codificado. Se separan, se desligan del sistema de poder, con sus complicidades, posesiones y reconocimientos constitutivos.

Algo indeterminado viene a trastornar estas escenas demasiado plenas de sentido. El efecto trasciende el lugar donde lo esperamos. Su gesto hace de ella misma parte integrante de este juego donde los bienes circulan en el modo de la transitividad. La multiplicidad de las ocurrencias expuestas y reexpuestas amplifica el valor de los objetos y alimenta sus discursos. En cada una de las ocurrencias resimbolizadas hay ganancia: Reforzando sus encajes tentaculares, aumenta la oferta en el proceso. Sin embargo la obra de Louise Lawler no se reduce a un acto contextual.

Los indicios aligerados se inscriben en el hueco, en detalles fantasmas.

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Remito a los numerosos ensayos esclarecedores que Johannes Meinhardt ha dedicado a la obra de la artista. An Arrangement of Pictures, citada anteriormente. Harcourt Brace Jovanovitch, Inc. Appropiation and Montage in Contemporary. The work of Louise Lawler is presented in an ostensibly clear program, as work on the conditions, procedures, instances of presentation, framing and circulation of works of art. She photographs art and its spaces, but to disturb her skillfully channeled economy of attention span and attachment.

It is this basic yet irresolvable doubt that encircles the photographs of Louise Lawler. Detail, which takes on an incongruous nature, plays a crucial role in the appropriation, a doubtlessly cruel play on identification. If the system is anchored around such reversible elements, what credit can it be given? These photographs cut out the established meaning. They feed on the supposition of knowledge, a type of knowledge that has already been acquired, classified and coded. What does she show us? Arrangements are always tied to social conventions, to systems of subordination, coordination or alienation.

To focus on detail is not to seek anecdotes. It is the detail that counts. As compared to customary understanding, well-informed connivance, or conventional interpretation, on a rebound, her photographs introduce a slight departure. In the power system with its complicities, its memberships, its constitutive recognition, her photographs mark a. Black and white photo with mat, 10 x 7,6 cm image , 53,3 x 47 cm mat. And it is at this unnoticeable shifting point in the in-between, when slipping across the boundaries between meaning, convention and contextual confusion that something begins to take root.

Something undetermined comes to shake these scenes that are too full of meaning. In the end, what hits us is the ungraspable overbearing of something that insists without persistence. The impression pervading the work is one of sophisticated grace, of absolute elegance, of poignancy. In this defensive move, discrete in these times of cacophony in exhibits and unusual for the various types of anesthesia found in modern-day art, the tone is maintained, a pertinent tone, an impertinent tone, governed by epigram and fable. Beyond calling into question power, systems and authority, there is a unique place that these cold analyses confer to a one-of-a-kind way of viewing, sensibility without pathos, nostalgia or deploring, without militancy, that does not propose rallying behind any position but rather a vision full of perplexities, a functional contrast of the new management of symbolic affairs, fragile adventures in a relationship with the present marked by a gap.

With a keen sense of the precariousness with which we inhabit time, a sense of enduring misunderstanding, the work indicates that the evidence, be it visual or not, is really not enough in and of itself. The artist borrowed a painting representing a racehorse at rest from the New York Racing Association. This was a shift to an incongruous context in a place devoted to the presentation of up and coming art. The photographer decided to light the exhibition area with two theatre spotlights. One, placed over the painting, disrupted the viewing which could only be done through the glare.

The other, oriented outwards, tied the exhibit hall interior together with the street below. Louise Lawler was already then trying to conjugate and decompartmentalize spaces, instances, communities of interest, and highly divergent styles. How can one cross what is not supposed to be, any situation that has never been, she underscores this: In addition, a play was established between the elevation and the restoration of an object, the painting. The painted horse, only perceived with difficulty, was hung in the center of a row of window panes. This modulation of the set in turn evoked a profusion of unalike places, such as the stable stall, the continuation of the landscape in the glass, the reflection of the painted sun echoing the Hollywood-like spotlight.

In , Louise Lawler intervened in the prestigious Leo Castelli gallery of contemporary art with an exhibition of work on paper entitled Amalgame. Having obtained authorization to use an insertion, she hung her work, a photograph entitled Open among those of Jasper Johns, Warhol…and responded to the ostentatious legibility of their names by placing it, with equally large letters, under the name Anonymous.

The photograph Open is centered on the fold and the margins of a double page spread of an open book about a novel by Moravia. If the system is based on nothing more than a play on differences and places, if the differences do not draw their value from anything other than the places they occupy, then it is the symbolism itself that introduces the issue of places.

Louise Lawler observes the relationship between different places in order to draw something that normally remains unperceived. The piece Open is a contextual intervention in an explicit ellipse. For her photograph Open, she pooled from and diverted a fragment of recognized literature to a world of recognized visual arts. Pooling from what is heterogeneous, a piece of literature, and inserting it in a framework nevertheless upsets the hegemony of membership, shifting what is implicit and what is explicit, triggering a slippage of meaning within the contiguity.

Texts only appear as related to the photographs, but the artist also displays them on pieces of glass, matchboxes, paper napkins, paperweights, writing paper, which she thereby produces. Slipping them in in an ancillary fashion can be interpreted as a way to state that the rest of the world also counts, and not only the world of art where the attention is channeled.

The added benefit, she says, is that a distance is left from artistic imperatives. Louise Lawler attaches importance to all that the institutional sphere produces even in its most humble and neglected mediums: An integral part of the materials on exhibit and of the circulation of art, these modest, marginal elements, become media detached from art. Invited to put up her first official exhibition in in the Metro Pictures gallery, Louise Lawler responded to the invitation by composing a mis-en-scene of the works of the following artists: The gallery in fact represented a group of artists with a shared ideology, all of whom touched upon the so-called strategy of appropriation.

And a two or three phased to- began. In the first phase, she went to the Metro. Pictures gallery collectors and photographed the work of the gallery artists placed among the everyday objects in their respective public or private surroundings.

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This naming of the place where the photograph was extracted simulates a re-appropriation in the opposite direction, between authors and operators, owners and producers. In the interview with Douglas Crimp that prefaces the book An Arrangement of Pictures where she reminds the readers of the decisions taken for this exhibition, Louise Lawler said: Both explicit and implicit collaboration are also stated as being central to her work.

She went on to work in collaboration with other artists, such as Sherrie Levine A Picture is No Substitute for Anything where they adopted a feigned position of a gallery proprietor, and also with Allan McCollum for her installation Ideal Settings for Presentation and Display which presented the gallery space as a true-to-life sized advertising stage. And the effect is produced where it is not expected. It would then be exhibited in that same gallery —she takes us into the world of musical chairs of merchandise and representations, in this closed system where Louise Lawler strikes out the original overstatement by making her own overbid, thereby forming an integral part of this play upon transitive circulation.

The host of occurrences exhibited and reexhibited amplifies the value of the objects and feeds into their discourse. This added value couples itself with the system of recognition, identity and accelerated promotion. This exhibition is also a stage for photographed capital, for revaluing value. Louise Lawler interferes on this stage that capitalizes on places of reference. Yet in this play on incursions and referrals, even in its critical mirroring, her work amplifies the mechanism of packaging capital.

By enhancing the interlocking tentacles, what is on offer is enhanced in the process. Within a widespread economy of trade, denunciation itself incontestably plays a part and outbids to the extent that it cannot escape mimetism or the dynamics of reciprocity.

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A point of uncertainty subsists. Louise Lawler surprises the objects by swinging back and forth between their highlighting and their abandon, playing upon the notion of their face and interface, exhibiting, adjoining and returning them to the wall. But it also makes itself known through its adaptable, flexible, ever connected grip, and through exhibiting mobility as a factor for profit making. What seems to be a question of art is actually dominated by other issues, the agenda being the reorganization of cultural hegemony, but under the aegis of other imperatives.

The titles adjoined to the images come to inflect or displace the seizing of the photograph. They take on a host of forms: Certain titles lend sound to the photographed scene. The titles, either on the wall or of the photographs themselves, point towards the tradition of legends in photography. Yet their content does not take in information that would accompany a document.

This selection of images conceived by the magazine EXIT reminds us of the first portfolio that the artist did in in num. The dimensioning of the page leads, in effect, to an analogy of documents, sequences, or inventories. For instance a two page spread juxtaposed four photographs, each presenting a sort of taxonomic accumulation.

The portfolio specifies the extent to which photography elicits a comparison, an autopsy or a check. This increasingly appears in the concern for cataloguing, as photographic recording tends to reduce the works of art to easily recognizable nomenclatures of signs or tables of contents. There is always a series that can be combined ad libido with comparable and potentially identical signs. The descriptive pooling is even shown as making the works unrealizable, and paradoxically contributes to organizing their invisibility. The order here is fixed.

This can be seen from the outside, it can be heard as a rebroadcast, a sort of reconverting of the scale of time. Is art overrated or underrated? There is an explosive derision in these captured, truncated, destabilized, fixed lists of implementations where breakage shapes what is missing.

What is essential is caught between disappearance and an attempt to establish points of support in the face of this elision, this randomness, conjecture, untidiness, noise. The system of representation in the photographs is much like a set. It captures the effects of the decor on the works of art in the atmosphere created.

In the unframed frames that dilate different tempos, Louise Lawler plays on a twofold space, on the playfulness of the exhibit and its wings behind the scenes, on its reservations, on the separations between the two serving in order to codify and bolster not so much the theatrical illusion but rather the overvaluing mechanism, the revaluing of value.

It is in these subtle seams between what is on field and off-field that the compromise between the opening and closing of worlds materializes and the artist immobilizes the air of an unstable passage, an unevening or pivoting of. The sites of Art. Douglas Crimp in the interview opening the feature entitled Louise Lawler. An Arrangement of Pictures, previously mentioned. The very de-centering is an indication of rarity, of slender baroque, of the growing importance attached to what was initially merely a technical function, implementing and coordinating works.

Louise Lawler attempts to find the differential, nowhere to be retrieved. She has published several writings on literature, feminism and contemporary art in features, catalogues and magazines, and has written on the Works of artists including Lucio Fontana, Daniel Buren, Marcel Broodthaers, Michael Asher, Gerhard Richter, Isa Genzken and Lawrence Weiner.

Artforum, September , New York, pp. The photographic work by this German artist, living in England, takes two paths with complementary intentions elaborated from carefully constructed compositions in which metaphor and irony share the stage with a rhetorical stance regarding beauty and culture.

On the one hand, she tries to draw up the map of relations between the power instituted through texts and images that question knowledge, and the different classifications of cultural elegance and sophistication. These items are repeated during different periods throughout her career, as are the ideas of happiness and beauty, dealt with by way of the observation of place and its symbolic components.

On the other hand, other series conceive a social utopia that may serve to mark differences with reality but that is also meant to create conflicts with the visual representation of happiness and the good life. The highly conceptualized criticism, the laconic humour and the use of some images of stylized beauty in which art and culture enter into a dialectic confrontation with nature and the animal world, define a body of work with the intention of projecting its presence beyond a mere, superficial appreciation. Granted that her techniques could be aligned with the coldness of the German approach to objects, the mise-en-scene and the profound conceptualization of her images radically distinguish them from the production of any other artist currently working with photography.

Lastly, that touch of humour, so thoroughly English, situates us before a very personal body of work that finds its most interesting arguments in the criticism of aesthetic structures and in the destruction of cultural topics. Art, literature, painting, the idea of museums or spaces for art and its contemplation, according to the formula of cultural frameworks for specialists, and a feminist perspective that dominates the staging, are present in all the work that, since the decade of the s, has evolved toward the preoccupation with the physical and mental space of art, expressed through the photography, installation, texts, video and sound of her most recent projects.

Despair, , de la serie Visitors. Karen Knorr The Analysis of Beauty, , de la serie Connoisseurs ,5 x ,5 cm, Cibachrome print, framed with brass plaque. La mirada que cataloga la historia y la naturaleza recae ahora en el museo, tanto como idea como lugar de aprendizaje, formaliza la actitud del propio espacio que sirve de punto de encuentro entre el pasado y el momento actual.

Desde la anciana China hasta las salas del J. The glance that catalogues history and nature has now shifted toward the museum, as idea as well as a place for apprenticeship, formalizes the attitude of the very space that serves as a nexus between the past and the present. In his work documenting the restoration projects around the world funded by the Getty Conservation Institute, he has become the main witness of the recovery of spaces that have historically been places for culture and art.

From ancient China to the spaces in the Getty Museum in California, his photographs offer us a testimony of the physical decadence and the survival of the aura that art, beauty and intelligence leave in those spaces in which they live and develop. After his most well-known series, compiled in the book Museology, Ross delves deeper into that vision of the place for art, going beyond the objects.

In other words, he passes from the body to the soul of the place. There are no specific references in these recent images; there are neither objects nor people interfering in a timeless atmosphere. The magic of empty spaces does not exist if they have not been previously inhabited. The trace, the memory of their creators, those who bestowed on them their reason for existence, survives beyond the physical reality of their presence.

This is made patent in the invisible, ghostly presence marked by light, by the shadows we can discover in these interiors in which there is nothing, but which, nonetheless, are not really empty. It thus becomes comes clear that Ross has not actually changed his style; by shifting from overabundance to essence, he strives to take that search one step further, that search for what is behind art, the objects inhabiting museums, meaning to follow the traces of people who used those objects, who painted those paintings, who built those buildings.

Beyond appearance, beyond their existence in a specific time. Neue Galerie, Graz, Austria, Richard Ross Basement storage racks J. Montserrat Soto Paisaje secreto 8, , x cm. Las obras, en sus territorios, dejan de ser pensamientos independientes para pasar a pertenecer a otra unidad: Space, landscape, emptiness, the act of looking and the reason for being of artworks as they relate to the vision and integration of the viewer have polarised the work developed by Montserrat Soto Barcelona, , throughout the twelve years of her artistic career in crescendo. In , with Interval, a large photograph portraying four empty Barcelona showroom spaces that succeed each other, Soto turned her attention toward art spaces.

The works, in their territories, cease to be independent thoughts to belong to another unity: El lugar compite con lo que ese lugar contiene, hasta el punto de que nunca una obra de arte, una pintura, un objeto, ocupa el centro de la imagen. In her photographs, the empty space, the walls, the windows, the floors, all those zones a viewer does not usually notice when visiting a museum, are endowed with unexpected limelight.

The immaculate aspect of her images, together with the virtual absence of people convert the architecture of these places into the real protagonist of the photographs. Museums partially observed, conference rooms, great halls, museum storerooms, intermediate zones in these spaces dedicated to culture, are reminiscent of a landscape tradition predominant in Dutch and German painting.

The place competes with what that place contains, to the point that a work of art, a painting, an object never occupies the center of the image. Art lives here, its presence, the life of a history of sensations and desires can be felt, but photography merely frames the place where things have occurred. Haus des Rundfunks, Berlin X, La historia de la pintura nos ha dado numerosos ejemplos de estas idas y vueltas entre el que observa y el cuadro observado. Sin embargo, subsisten ciertos matices y una diversidad de puntos de vista que en ocasiones se enfrentan.

El concepto de imagen-cuadro estaba ya engendrado. Famille Massimo, Roma, Es lo que ha ocurrido con el concepto de imagen-cuadro. Recordemos las palabras de Theodor Adorno: The first of these fascinations resides in the observation on the part of someone who looks at a work as a subject of an object, and where this object is, in itself, what is looked at as a work.

An overlapping of words, of meanings, of perspectives, all played out in the questioning of the intentions and intentionalities. Hardly twenty years ago, and leaving aside the conceptual use of photography, the debate about it was still in the terrain of its status: Since then, there have been radical changes regarding the consideration of the very content of photographic material, since the plastic element began to be questioned more than technique, photography attained for image the notion of painting, or tableau.

Certainly, since the decade of the seventies, artists had not ceased to use it as testimony, as an instrument of criticism and analysis. Striving erroneously for a sort of confiscation of reality, or with the intention of registering the ephemeral or documenting actions, photographs crossed almost every artistic trend in the seventies, especially that of conceptual art. Previously, Pop Art, particularly through Andy Warhol or the German scene linked to the Real Politik, had elaborated a reflection of the relationship between painting and photography from another angle, distinct from the pictorial acts with which, historically, photography had tried to identify itself in its beginnings.

From then on, artists have used photography and those who make photos do so with the sole intention of making art and reflecting on the constitution of the work. However, certain subtleties subsist, as do a diversity of points of view that occasionally confront each other. In fact, at a given time, a need for updating photographic theory was made manifest, and in the year alone, there were three large exhibitions inaugurated in the most important institutions in Paris: We could add that the catalogue text became a milestone and had the merit of contributing to the idea that photography does not present any specificity as a medium.

From that moment on, numerous ambiguities subsisting on the institutional level have been clarified, such as that demonstrated in the last sentence of JeanClaude Lemagny in the above-mentioned catalogue. The previous year, Chevrier and Lingwood had organized another exceptional exhibition, Matter of Facts, which included only British artists. The concept of image-tableau was already engendered. Nevertheless, granted that the formula of the photo as tableau has spread beyond all expectations, nowadays artists seem almost irritated by the confusion this definition seems to have unleashed.

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