SCOPE Miami 1
collective
4 - 7 junio 2013
Earls Court Exhibition Centre, Londres
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PARTICIPATING CREATORS
Claudia has been photographing nature for years, but not the kind that was contemplated by the great landscape artists of the past, such as Ansel Adams. His images are destabilizing, provocative, they challenge the viewer, confronting him with a familiar landscape that, paradoxically, he does not recognize. His project to “rever” Rio – which naturally has changed a lot since the bucolic landscapes recorded by Marc Ferrez (1843-1923) at the end of the 19th century – records what remains of green in the density of this territory.
In the library series, nature becomes his memory and ceases to be concrete. In other images from the Rio de Janeiro: Constructed Landscape series, complex narratives emerge, such as the one suggested by the photo of the girl climbing into a water tank, which may be telling an individual story as well as synthesizing the collective and subterranean trajectory of the great carioca hills.
The apocalyptic landscape of a disappearing river buried by buildings and shacks somehow reflects the natural end of the world. The library series, in turn, is the emblematic expression of this confrontation. A frightening vision of a photographer identified with the environmental cause and interested in revealing the struggle between man and nature.
In the elaboration of his work, Fabiano Gonper addresses, based on personal experiences, questions about the subject in both individual and collective situations.
Power, politics, art, the subject, society, the art system (its categories, the museum, the gallery, the collector...) are situations explored by the artist in his drawings, sculptures, photographs and installations, leading to in a work that implies by its tensions in its physical and symbolic spheres.
The domestic aesthetic of Felipe Barbosa evokes the relationship between the industrial process and the intelligence of the Duchampian readymade and the serial object. Barbosa does not alter the visual capacity or nature of the object, but transforms it to generate other dysfunctional objects, formally unified as in a minimalist infinite structure. In this way, it reinforces the sense of the genesis of serialization.
Animal Motion Planet is a facility for orthopedic machines for unborn animals: calves and horses. These machines have different functions: walking, chewing in the manner of ruminant calves, raising their legs and bowing their heads, as rearing horses do.
These complex instruments, prepared to hold the body of the animal and give it the movements it would make if it were alive, for a moment give the appearance of life to these bodies, puppetizing them, albeit with a positivist attitude, the modern spirit that defies nature is emulated, denying the indefectible in a naive effort, and in this case, meaningless.
savon de corps, Nincola Costantino's soap, is a luxury cosmetic item. It is a multiple of 100 soaps containing 3 percent fat from the artist's body. This adipose tissue (which amounts to two kilos) was obtained from a liposuction that Costantino underwent for this project. The soap is shaped like a female back, waist and hip, and its gourmet aroma is sweet: caramel milk.
The work consists of the launch of Savon de Corps through the advertising strategy of the marketing of cosmetics is based on the identification of the public with a famous person such as a model or actress, and not on the article in Yeah. In Savon de Corps, Nicola does not appear as the face but rather the raw material of the product.