BRICK SECURITY SERIES, 2013.
Bettina Allamoda

bettinanuovo

Contemporary Eventmarketing meets troop entertainment without sustaining warzones: In 2003 Lt. Nik Gurander, stationed to guard an archeological site in Hatra, Northern Iraq watches The Exorcist film on his portable DVD-player during his shift and makes a discovery more by mistake: surprised by the fact that he himself is in fact in the original setting of the introductionary scenes of William Friedkin’s 1973 Horror classic, where the sculpture of an ancient demon is excavated unleashing evil. The coincidence led way to an new corporate idea: backed by a modest fund from the Pentagon, the “Exorcist Theme Park” should lure new tourists to Iraq. Following this news story, my current work aims at reflecting the mediation of archeology, war and tourism and how this could materialize into sculpture. The output and nature of the developing and forthcoming work is to create site-specific installations reconsidering the conditions of (the) environment in its artistic, social, political and cultural historical conditions. By rereading and reusing mixed media (sculpture, performance, installation, photography, grahics, drawing and film/video. A first exhibtion introducing these approaches was created under the title: No-Go* -The Exorcist revisited, focussing on the environment and country where the original news story was created extensive field studies in the urban, cultural and natural landscape of the city of Los Angeles were made.
Brick Security (or No-Go* or The Exorcist revisited II) investigates the history of this coverage and could be developed into an environment. By rereading the concept of environment today, I plan to reconsider, change media and formats: by trading and diametrically applying advertisement sign-like displays as documenation, conceived as spacious sculptural, heavy reliefs as giant pop-ups. Or building, documenting objects out of clay instead of filming, be it a reenactment or simulation, originally „built“ as a visual medium. Some preliminary studies have been made concerning various found footage, or archived documents, collected in a kind of „Archeology of History“. My work so far, has led in all encompasing, complex & intruiging directions: from the German Archeolocigal Institut, American Heritage Society, Iraq Veterans Against the War and towards the US filmindustries/landscape, So an „Exorcist Theme Park“ can find diverse forms of being realised, possibly developing into a still open reanimation of the original setting and beyond, thematizing mediatization of recent and past history.

Sahara, metallic sequin spandex tulle, photo, 30 x 40 cm

Sahara, metallic sequin spandex tulle, photo, 30 x 40 cm

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Talocan, PVC-mesh, photo, 30 x 40 cm, framed.

Ennis House / Green, polyester holographic glitter mesh, photo, 30 x 40 cm

Ennis House / Green, polyester holographic glitter mesh, photo, 30 x 40 cm

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Hollyhock House / Lime, liquid lamée, photo, 30 x 40 cm, framed.

Las Vegas, liquid lamée, photo, 30 x 40 cm

Las Vegas, liquid lamée, photo, 30 x 40 cm

Armin Linke
Jeux sans Frontierès

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The Italian-German artist presents a photographic project based on the television show Games Without Frontiers. Special attention is paid to the 1995 TV episode that took place in Castello Sforzesco in Milan: an architecturally monumental scenery, a backdrop enriched with ephemeral sets for the sports challenge broadcast in “Eurovision”.

Armin Linke was born in 1966 and lives in Berlin.As a photographer and filmmaker he combines a range of contemporary image-processing technologies in order to blur the borders between action and reality. His artistic practice is concerned with the different possibilities of dealing with photographic archives and their respective manifestations, as well as with the interrelations and transformative powers of urban, architectural or spatial functions and the human interaction with these environments. Through work with his own archive, as well as with other historical archives, Linke challenges the conventions of photographic practice, with a strong emphasis on how photography is installed and displayed. When the artist takes a collective approach to producing and curating together with artists, designers, architects, historians and curators, the outcome is multifaceted. He was Research Affiliate at MIT Visual Arts Program Cambridge, guest professor at the IUAV Arts and Design University in Venice and professor in photography at the University for Arts and Design Karlsruhe (HfG).


Jeux Sans Frontières IBN_000052_6 riproduzione da negativo originale, stampa su carta baritata con trattamento al selenio per la conservazione – cornice a cassetta sezione 2 x 4 color bianco con vetro, distanziatore e telaio per foto 50 x 60 cm. Edizione di 5

Jeux Sans Frontières IBN_000052_6 reproduction of the original negative, print on fiber-base silver coatte paper with selenium treatment for the conservation – white wooden frame with glass, 50 x 60 cm. Edition of 5 + 2AP

Jeux Sans Frontières IBN_000052_6_B riproduzione da negativo originale, stampa su carta baritata con trattamento al selenio per la conservazione – cornice a cassetta sezione 2 x 4 color bianco con vetro, distanziatore e telaio per foto 50 x 60 cm. Edizione di 5

Jeux Sans Frontières IBN_000052_6_B reproduction of the original negative, print on fiber-base silver coatte paper with selenium treatment for the conservation – white wooden frame with glass, 50 x 60 cm. Edition of 5 + 2AP

Jeux Sans Frontières IBN_000053_18_B riproduzione da negativo originale, stampa su carta baritata con trattamento al selenio per la conservazione – cornice a cassetta sezione 2 x 4 color bianco con vetro, distanziatore e telaio per foto 50 x 60 cm. Edizione di 5

Jeux Sans Frontières IBN_000053_18_B reproduction of the original negative, print on fiber-base silver coatte paper with selenium treatment for the conservation – white wooden frame with glass, 50 x 60 cm. Edition of 5 + 2AP

Jeux Sans Frontières IBN_000050_1_B riproduzione da negativo originale, stampa su carta baritata con trattamento al selenio per la conservazione – cornice a cassetta sezione 2 x 4 color bianco con vetro, distanziatore e telaio per foto 50 x 60 cm. Edizione di 5

Jeux Sans Frontières IBN_000050_1_B reproduction of the original negative, print on fiber-base silver coatte paper with selenium treatment for the conservation – white wooden frame with glass, 60 x 50 cm. Edition of 5 + 2AP

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Franco Ariaudo
The Revolution Will Not Be Televised

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The revolution will not be televised, il cui titolo è tratto da una nota canzone di Gill Scott-Heron, poeta e musicista statunitense, celebra l’impossibilità di esibire l’essenza dell’atto di ribellione, non solo in termini mediatici, ma anche di semplice condivisione pubblica. La fotografia, inoltre, svela quale sia la forma reale dei solidi lignei (sasso, uovo di vernice, sampietrino, molotov, mattone), mostrandola allo spettatore, tuttavia, soltanto nel momento successivo al lancio, e dunque in forma di resto o impronta. Il bersaglio, un anonimo muro della periferia torinese, esprime, proprio come la canzone di Scott-Heron, l’impossibilità di creare una narrazione. Serie delle 3 fasi del lancio. Prodotte per la mostra The Pitcher.

Franco Ariaudo born in 1979, Cuneo, Italy Lives and works in Turin, Italy. Educated at the Academy of Fine Arts in Florence, Ariaudo’s transdisciplinary research draws on anthropology, sociology, ritualism, sport and leisure. His research investigates, and at times destabilizes, those anthropological and social short-circuits that lead to the formation of a specific train of thought, to the establishment of a tradition or simply to the expression of a cliché. On a formal level, Ariaudo constructs mechanical and sculptural devices, and engages in performances, video and installations that, by virtue of small perceptual variances, tend to disturb the habitual gaze of the spectator. His work highlights and features “the play of forces at play”- that tension between contrasting movements and energies that leads to a specific subject becoming an object of contention (between tradition and modernity, power and submission).


The Revolution Will Not Be Televised act 3, 2015, fine art print on photographic paper, b/w, edition of 5 copies, 70 x 100 cm. The Revolution Will Not Be Televised act 2, 2015, fine art print on photographic paper, b/w, edition of 5 copies, 70 x 100 cm.

The Revolution Will Not Be Televised act 1, 2015, fine art print on photographic paper, b/w, edition of 5 copies, 70 x 100 cm.

The Revolution Will Not Be Televised act 3, 2015, fine art print on photographic paper, b/w, edition of 5 copies, 70 x 100 cm. The Revolution Will Not Be Televised act 2, 2015, fine art print on photographic paper, b/w, edition of 5 copies, 70 x 100 cm.

The Revolution Will Not Be Televised act 2, 2015, fine art print on photographic paper, b/w, edition of 5 copies, 70 x 100 cm.

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The Revolution Will Not Be Televised act 3, 2015, fine art print on photographic paper, b/w, edition of 5 copies, 70 x 100 cm.

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