sexta-feira, 16 de dezembro de 2011

Grandville

Un Autre Monde, 1844

A inscrição, em francês:
"A-croix mois A mi-lecteur neuf fées pâque homme sept imbécil qui se casse la tête pour me deviner"
(Ah! crois moi, ami lecteur, ne fais pas comme cet imbécile, etc.)
Ah! acredite em mim, caro leitor, não gosto deste tolo que quebra a cabeça para me adivinhar.



segunda-feira, 12 de dezembro de 2011

domingo, 11 de dezembro de 2011

Tania Mouraud

 I HAVEN'T SEEN A BUTTERFLY HERE, 2011
Wall painting, site-specific - Courtesy of Cueto Project, New York

 Tania Mouraud, HCYS?, 2007.
[how can you sleep?] 

wysiwyg
[what you see is what you get]

I have a Dream, 1990.

IHAD, 2005, Espace de l'art concret, Mouans Sartoux
exposition: Arts de l'Islam et abstractions: Le chant rythmique de l'esprit
 
Neste trabalho, fica evidente a geometrização das letras do alfabeto romano como uma forma de aproximação da escrita kufi, um estilo de escrita árabe.
 
 
Tania Mouraud was born in 1942 in Paris, France, where she continues to live with her family. Mouraud studied languages prior to her initial foray into the artworld as a painter in 1963. Since 1976, she has taught art at L'Ecole Regionale d'Expression Plastique, Tourcoing, France. During the past three decades, Mouraud has shown in numerous exhibitions throughout Europe and the United States. Her solo exhibitions have included: Tania Mouraud: Wall Painting (UCLA Hammer Museum, 1999), World Signs (Riverside Studios, London, 1998), Black Power (Galerie de Lege Ruimte, Bruges, 1989), Garden Shooting (Galerie Contretype, Bruxelles, 1987), City Performance No. 2 (60 posters, Lyon, 1980), and Art Space No. 5 (Special project, PSI, New York1977). Among the group exhibitions Mouraud has participated in are: Flash (Power Plant, Toronto, 1997), Femininmasculin (Centre Georges Pompidou, Paris and New York, 1995), Public and Private (Edinburgh, 1993), Diversité Photographique (Galerie 1900-2000, Paris, 1991), Minimal Art-Art Conceptual (Galerie Christian Cheneau, Paris, 1987), Typish Frau (Galerie Philoméne Magers, Bonn, 1981), and Artwords and Bookwords (LAICA, California, 1978). (via unapinceladadearte)

sexta-feira, 9 de dezembro de 2011

Ellen Tongzhou Zhao



 
I AM YOU, a book by Ellen Zhao, talks about the relationship between the book and the reader. While documenting its own process from conception to realization, the book contemplates about the identity of the reader.(via http://www.buro-gds.com)

David Bellingham

Economy of Means, 1998
9,7 x 7,2 cm 12p.

sexta-feira, 2 de dezembro de 2011

Robert Indiana



  Here’s the 1973 L.O.V.E. stamp.

This is a sculpture by Robert Indiana. Created in a time when the United States was consumed by the Vietnam War, LOVE became a symbol for Peace. This famous sculpture is one of the most celebrated works within the pop art movement.

 Marc Bijl, Porn, 2002

Aldo Chaparro, 2008

General Idea's famous AIDS logo, an appropriation of Robert Indiana's LOVE sign of the 1960s. The artists created the logo as a form of branding, and then applied it to media and advertising strategies, calling the infiltrations that followed Imagevirus.


AIDS - Amsterdam Tram Project, 1990
62,5 x 63,7 cm
poster / screenprint on sticker
edition 40, handwritten title 'Amsterdam Tram Project'


* In 1990 trams in Amsterdam were covered with large AIDS silkscreen stickers of General Idea. The 'Amsterdam Tram Project' became quite controversial, i.e. conductors refused to drive their trams covered with the colourful and marked stickers afraid of giving their support to or at least being compromised and associated with homosexuality.
In the mid-1980's, the Canadian art group General Idea - AA Bronson, Felix Partz, and Jorge Zontal - created a symbol using the acronym AIDS, using the letters in a manner that resembled Robert Indiana's LOVE logo. This became part of Imagevirus, a project of paintings, sculptures, videos, posters, wallpapers and exhibitions that investigated the term AIDS as both word and image, using the mechanism of viral transmission. Imagevirus spread like a visual virus, producing an image epidemic in urban spaces from Manhattan to Sydney. It was displayed as, among other things, a Spectacolor sign in Times Square, a sculpture on a street in Hamburg, and a poster in the New York subway system. General Idea felt compelled to make Imagevirus at a time when AIDS was emerging as a global epidemic affecting gay men disproportionately.
Museum Fodor Amsterdam issued the posters in a signed and numbered edition.