234 x 233 cm, 8 parts : 120 x 85 cm each
Map 1969-2005, a poster glued on the wall, questions space in its relation to geography. On a red background, a free-hand drawing in white refers to the aesthetics of maps. Map 1969-2005 is not an accurate map of the United States, but one that combines mapping, overlaps and merges diverse elements: Oregon, Lake Superior, San Francisco, Cheyenne, Missouri, Zuni, Navajo, Texas, Shawee, Colorado, Piegan, Canada, Miami, etc. In the same space the map’s original design and representation is also shown, yet each requires a specific reading, and each reading is different. Map 1969-2005 is a critical image which by introducing geographical and identity shifts plays out exploration myths of the United States territory.
Many of the projects of Peter Friedl, in their heterogeneous medium and style, function as intersection points between countless lines of thought and reference, creating a vast didactic network where dialogues simultaneously merge with critical logic and narrative. Power, gender, language, history, identity, and territory mingle in the work of Friedl. His work radically shifts modernist rules of the making to methods conditioned by the social context. Thus, in the work “Playgrounds” (2004), a set of color slides of public playgrounds around the world, is thought of by the artist as “an aesthetic ethnography that examines the playground as the scene where ‘small’ subjects, children, make their first public experiments.” The images convey more information than it seems at first glance. Friedl has underlined that “commentaries, speech and any kind of information in the background remain invisible and has simply become a component of the series.” Peter Friedl was born in 1960 in Austria where he lives and works today.
Peter Friedl’s projects place aesthetic questions within an expanded field that takes into account the social, political and philosophical context...
Podcast 50: Anna Chan, Asia Network for Dance (AND+) | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints November 22, 2018 Duration: 36 min Chan Sze-Wei finds out more about the Asia Network for Dance (AND+) from one of its co-conveners Anna Chan, who was former head of Performing Arts and Dance for the West Kowloon Cultural District and current Dean of the School of Dance at the Hong Kong Academy for Performing Arts...
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Peter Friedl’s projects place aesthetic questions within an expanded field that takes into account the social, political and philosophical context...
For Immersion , Harun Farocki went to visit a research centre near Seattle specialized in the development of virtual realities and computer simulations...
Shot in Oliveto Lucano, a village in the south of Italy, AUTOTROFIA (meaning self-eating) by artist Anton Vidokle is a cinéma vérité style film that slides fictive characters into real situations, and vice-versa, to draw a prolonged meditation on the cycle of life, seasonal renewal, and ecological awareness...
In his posters, prints, and installations, Erick Beltrán employs the language and tools of graphic design, linguistics, typography, and variations in alphabetical forms across cultures; he is specifically interested in how language and meaning form structures that can be misconstrued as universal...
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Adição por subtração 4 (Addition by Subtraction, 2010) is an intervention into the white cube with both beautiful and intimidating results...
The Fifth Quarter might have taken its mysterious inspiration from the eponymous Stephen King story collated into the Nightmares & Dreamscapes collection...