Wind-hounder,
mind-rambler, sky-soarer,
maker
of autumn storms,
shaper
of agitated thoughts,
chasing
away the azure!
Hear
me, you insane seeker,
race
and rush,
hurtle
by you unchained
intoxicator
of storms.
Elena
Guro, 1913
Wednesday, July 5, 2017
4.543 billion. The matter of matter
Alexandra
Navratil, Detail of ‘Modern Magic’ (2013), courtesy the artist
and Dan Gunn, Berlin
4.543
billion. The matter of matter’ is an exhibition that addresses
works of art, collections and cultural histories in relation to
ecological processes and a geological scale of time. It presents a
continuum of materials and temporal landscapes – films, works on
paper, photographs, sculptures, documents, and other meaningful
things – and springs from the CAPC
building’s former life
as a warehouse for colonial commodities whose limestone walls were
once deep in the ground and whose wooden beams were once part of a
forest.
A
central proposal of the exhibition is that works of art are part of
geophysical history as much as art history. ‘4.543 billion’
attempts to take into account both a micro-local and a planetary
perspective, and to rethink some of the histories of art as fragments
of broader narratives about the Earth and how our place in it has
been represented. What is at stake when art and museums take on
greater temporal and material awareness? How might they move beyond a
spatial framework of “think globally, act locally”, to “think
historically, act geologically”?
This
exhibition takes a situated view of the past that resists an
undifferentiated narrative in which modernity in general is at fault
for global ecological disarray, or humanity in an invariably abstract
sense must take responsibility. Accordingly, the artists included
instead often address the specific roles and purposeful effects of
individuals, practices, states or corporations in an account of how
mineral agents and organic processes have intertwined with and
underpinned culture. Several of the more documentary projects on
display trace the relationships between Modern art, the museum, and
wealth created through extractive industry, combining approaches
framed by Earth sciences with colonial history, sociology and
political reportage. Yet other works take a more atmospheric, filmic,
sculptural or graphic approach to extraction, economy, energy and
global exchange, whether orbiting around sunlight, forests, synthetic
materials derived from fossil fuels, or the services and substances
entailed in buildings that display art
With
the participation of: A.J. Aalders, Lara Almarcegui, Maria Thereza
Alves, Félix Arnaudin, Amy Balkin, Alessandro Balteo-Yazbeck in
collaboration with Media Farzin, Bernd Becher and Hilla Becher,
Étienne Denisse, Hubert Duprat, Giulio Ferrario, Ângela Ferreira,
Anne Garde, Ambroise-Louis Garneray, Terence Gower, Rodney Graham,
Ilana Halperin (also at the Université de Bordeaux’s zoology
department), Marianne Heier, Christina Hemauer and Roman Keller,
Lucas Ihlein and Louise Kate Anderson, Jannis Kounellis, Martín
Llavaneras, Erlea Maneros Zabala, Nicholas Mangan, Fiona Marron,
Alexandra Navratil, Xavier Ribas, Alfred Roll, Amie Siegel, Lucy
Skaer, Alfred Smith, Rayyane Tabet, Pierre Théron, Pep Vidal,
Alexander Whalley Light, Stuart Whipps (also at the Musée des
Beaux-Arts) as well as documents and objects lent by the archives of
the CAPC, the Archives Bordeaux Métropole, the Archives
départementales de la Gironde, and the geology collection of the UFR
Sciences de la Terre et de la Mer, Université de Bordeaux.
Curated
by Latitudes
CAPC
musée d’art contemporain de Bordeaux
29
June 2017–7 January 2018
Sunday, July 2, 2017
Desert Rose
Desert roses are crystal-like formations and may produce a rose shape, multiple plates adjoining at
angles or the formations may look like a cluster
of cereal flakes
Praying for the Sun
Somebody,
a
friend, a bit more than a friend
uses
one kind of emoji the most in our WhatsApp
chat.
The emoji I mean shows two hands in a
praying
position with a shine around it. You imagine
a
bright sun behind the hands. She's hidden like
a
little piece of gold.
When
will
this
bit more than a friend,
this
friend,
this
somebody
open
his hands and let the sun shine straight
away?
Lucia Graf, 2017
A Certain Blue of the Sea
The
history of art is inseparable from the history of colour and in this
history, blue has always been associated with vastness, ‘blue has
no dimensions. It is beyond dimensions,’ as Yves Klein described.
Ultramarine
blue derives from lapis lazuli, a gemstone that for centuries could
only be found in a single mountain range in Afghanistan. For hundreds
of years, the cost of lapis lazuli rivaled even the price of gold.
Humans
with reduced blue sensitivity have difficulty identifying differences
between blue and yellow, violet and red and blue and green. To these
humans our ecosphere appears as generally red, pink, black, white,
grey and turquoise. Blue appears green and yellow appears violet or
light grey for humans with tritanopia, namely, for those who lack
blue cone cells.
Visual
perception is one of the most important mediums for our acquisition
of knowledge and for our experience of our environment, of the
physical world including our own bodies and others, while, colour is
one of the most dominant components of our perception. Nevertheless,
the physical world and the world of objects do not contain colour and
aren’t coloured as we experience them. Colour isn’t a physical
property of objects, thus, our blood is not red, the sea isn’t
blue, the trees aren’t green…
The
colour appearance of an object can be changed by changing the colour
of light that shines on it and the colour of visible light depends on
its wavelength. White light is composed of all of the colours of the
rainbow, because it contains all wavelengths, and it is described as
polychromatic light. Colour glows with the light of the radiant sun
and creates a relentless spectacle of sheer visibility, of an intense
luminosity that can even be blinding.
Drawing
from our different perceptions of colour, colour vision deficiency
and even “achromatopsia” (total colour blindness), the 40
participating artists of the Group Exhibition will trace the
different interpretations of the notion of colour as sensation,
visual and sensorial experience, psychological property of visual
experiences, mental property, representation and construction of the
brain.
Dimitris
Zouroudis ~ Katerina Zacharopoulou ~ Antonis Tsakiris ~ Adonis
Volanakis ~ Kostis Velonis ~ Filippos Tsitsopoulos ~ Danae Stratou ~
Aggelos Skourtis ~ Christina Sgouromiti ~ George Sampsonidis ~ Nana
Sachini ~ Nikos Navridis ~ Marina Provatidou ~ Artemis Potamianou~
Brigitte Polemis ~ Hara Piperidou ~ Aemilia Papafilippou ~ Antonia
Papatzanaki~ Nikos Papadopoulos
~
Margarita Myrogianni ~ Maro Michalakakos ~ Leon Michail ~ Iliodora
Margellos ~ Christos Kostoulas (Captain) ~ Esmeralda Kosmatopoulos ~
Peggy Kliafa ~ Maria Katrantzi ~ Irini Karayannopoulou ~ Nikos
Kanarelis ~ Sofia Housou ~ Aspassio Haronitaki ~ Cleopatra Haritou ~
Yioula Hadjigeorgiou ~ Kleio Gizeli ~ Maria Georgoula ~ Sandra
Christou ~ Venia Bechraki ~ Rania Bellou ~ Evgenia Apostolou ~ Lydia
Andrioti
Curator:
Sozita Goudouna
Ionian
Parliament ~ Island of Corfu
4-31
July
GOD & SAUSAGES
“After
that' said Gargantua, 'I wiped myself with a kerchief, with a pillow,
with a slipper, with a game-bag, with a basket - but what an
unpleasant arse-wiper that was! - then with a hat. And note that some
hats are smooth, some shaggy, some velvety, some of taffeta, and some
of satin. The best of all are the shaggy ones, for they make a very
good abstersion of the fecal matter. Then I wiped myself with a hen,
a cock, and a chicken, with a calf's skin, a hare, a pigeon, and a
cormorant, with a lawyer's bag, with a penitent's hood, with a coif,
with an otter. But to conclude, I say and maintain that there is no
arse-wiper like a well-downed goose, if you hold her neck between
your legs. You must take my word for it, you really must. You get a
miraculous sensation in your arse-hole, both from the softness of the
down and from the temperate heat of the goose herself; and this is
easily communicated to the bum-gut and the rest of the intestines,
from which it reaches the heart and the brain. Do not imagine that
the felicity of the heroes and demigods in the Elysian Fields arises
from their asphodel, their ambrosia, or their nectar, as those
ancients say. It comes, in my opinion, from their wiping their arses
with the neck of a goose, and that is the opinion of Master Duns
Scotus too.’
‘The
Life of Gargantua & Pantagruel’, Francois Rabelais
God
& Sausages brings together a group of works that try out
satirical adaptations, purposeless rituals, close-up observations,
bodily encounters and micro-jokes. Stemming from personal
perplexities and tracing inner entities, the works feast on a type of
corporeal knowledge or excess, that can be found in introspective
play and that can be revealing.
Lucy
Clout
Magdalena
Drwiega
Rafael
Perez Evans
Maria
Georgoula
Paul
Housley
Stelios
Karamanolis
Kostas
Sahpazis
Ian
Whitfield
curated
by Maria Georgoula
July
6 – July 16
Lekka
23-25 & Perikleous Stoa Zerbini Athens
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