sexta-feira, 17 de março de 2017

Hyperbolic Hyparxis

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Hyperbolic Polyhedra - Triangle
two-sided sculpture dimensions - 123x100x46cm
digital print on photographic paper, plexiglass


April 6th to June 6th, 2017

The Faculty of Science of the University of Lisbon is pleased to present HYPERBOLIC HYPARXIS an exhibition by the artist Margarida Sardinha.

PRESS RELEASE
Margarida Sardinha
babelamber@margaridasardinha.com
+351 918 631 894
Digital catalogue

“Henceforth, space by itself, and time by itself are doomed to fade away into mere shadows, and only a kind of union between the two will preserve an independent reality.” – Hermann Minkowski

Hyperbolic Hyparxis is an exhibition comprising 60 new works by the artist Margarida Sardinha for the Faculty of Sciences of the University of Lisbon. The monochromatic site-specific exhibition consists of Hyperbolic Hyparxis (an experimental film), Hyperbolic Curves (a 10ft diameter floating sphere filled with helium), Hyperbolic Polyhedra (4 large scale sculptures), Shadow Symbols and Points, Lines and Distances (respectively 36 and 20 works containing a digital background photograph and a three-dimensional polyhedron overlaying it). The five sets of works complement each other in a liminocentric way, thus, they repeat each other akin to recursive definitions in hyperbolic spaces. Its general concept relates to the following scientific, mathematical and geometrical notions:

Interconnected with the supersymmetric model of Calabi-Yau manifolds, Hyperbolic Hyparxis, conveys the symbolism of geometric sacred structures as shadows of liminocentric or fractal images contemporarily developed through multiverses. It does so by using elements of hyperbolic geometry, which was developed independently by Lobachevsky and Bolyai and it models spaces analogous to Euclidean space, but such that the Euclid’s parallel postulate is no longer assumed to hold as true. Instead, the parallel postulate is replaced by the following statement (in two dimensions):

Given any line L and point P, not on L, there are at least two distinct lines passing through P, which do not intersect L.

This postulate allows, in fact, for an infinite number of such lines to intersect P. However, this axiom still does not characterise the hyperbolic plane uniquely up to isometries; there is an extra variable, the curvature K<0, which must be specified. However, it does characterise this geometry up to homotheties, meaning up to bijections, which only change the notion of distance by an overall factor. By choosing an appropriate length-scale, one can thus suppose, without loss of generality, that K=-1. There are several important models of hyperbolic space: the Klein model, the hyperboloid model, and the Poincaré model. The existence of model spaces implies that the parallel postulate is logically independent of the other axioms of Euclidean geometry. On the other hand, all these models can be related by a transformation, which preserves all the geometrical properties of the space: they are isometric.

Thus, Hyperbolic Hyparxis uses a stream of multiple hyperbolic optical illusions structured as a rhizomatic polyhedral system (hyparxis). These polyhedra are deconstructed into seemingly Calabi-Yau manifolds, which are described in certain branches of mathematics such as algebraic geometry. The Calabi-Yau manifolds’ properties, such as Ricci flatness, also yield applications in theoretical physics. Particularly in superstring theory, the extra dimensions of spacetime are sometimes thought to take the form of a 6-dimensional Calabi-Yau manifold, which led to the idea of mirror symmetry amongst these types of spaces.

Written by Margarida Sardinha and revised by Professor Carlos Florentino (Fac. Ciências, ULisboa).

The Hyperbolic Hyparxis exhibition is organised by Helder Alfaiate Galeria de Arte.

Please use the this secure link to access the digital catalogue of the Hyperbolic Hyparxis exhibition.
The exhibition’s images are available for release upon request – please contact Margarida Sardinha.

Further reference and information

quinta-feira, 9 de março de 2017

Electricity


Electricity
The spark of life
February –June 25, 2017

Wellcome Collection
183 Euston Road
London NW1 2BE
United Kingdom

wellcomecollection.org 
Twitter / Instagram



John Gerrard | X. laevis (Spacelab) 2017

The story of electricity is the story of life itself. From the structure of the atom to the functioning of our brains, this invisible yet vital force is intrinsic to human life. For centuries electricity has captivated inventors, scientists and artists alike, and in the modern era it has transformed our world.

From the first breaths of Frankenstein’s monster to the brutal simplicity of the execution chair, this exhibition contemplates the contradictory life-giving and death-dealing extremes generated by electricity, and traces the story of how humanity has striven to understand, unlock and gain control over this invisible yet all-encompassing force, which continues to mystify and amaze.

Three celebrated artists have been commissioned to create three new artworks for this exhibition: John Gerrard has taken inspiration for his commission from Luigi Galvani's famous experiments into bioelectricity; Bill Morrison explores historical footage from the Electricity Council archive to consider the movement and networks of electricity and its profound interconnectedness with our daily lives; and Camille Henrot considers our energy-dependent lifestyles, as well as the relationship between humans, technology and the environment.

A trio of films accompany the exhibition, each profiling one of the contemporary artists. The first, featuring John Gerrard, can be found here.

Electricity: The spark of life will run from February 23–June 25, 2017. It is curated by Lucy Shanahan and Ruth Garde, Wellcome Collection, with consultant curator Paul Bonaventura. The exhibition has been produced in collaboration with Teylers Museum, Haarlem, Netherlands and the Museum of Science and Industry, Manchester, UK. Following its presentation at Wellcome Collection it will tour to both venues in summer 2017 and 2018 respectively.

segunda-feira, 6 de março de 2017

A Segunda Cidade

Snapart/ Dasha Battelle

Segunda Cidade—o artista e os seus exoesqueletos

Por António Cerveira Pinto

Este seminário (reservado a convidados) faz parte integrante da edição de 2017 do The New Art Fest e conta com a colaboração da Ocupart e da Livraria Sá da Costa—Editora. Se pretender participar escreva-nos dando conta da sua motivação.

Vou iniciar um ciclo de conversas sobre a ideia de uma segunda cidade—cognitiva, algorítmica, eletrónica, imaterial, digital—que já existe interconectada sob a forma de redes e nuvens, embora dispersa e da qual temos uma consciência ainda parcial e difusa.

Estas conversas dizem respeito a uma metamorfose técnica e social da humanidade, cuja perceção procurarei estimular sob o ângulo privilegiado da criação artística, começando desde logo por propor uma conversa sobre a metamorfose da arte e do artista nesta transição de uma sociedade pós-moderna para uma sociedade pós-contemporânea.

A sociedade pós-moderna, ou a condição pós-moderna, refere-se, segundo a visão perspicaz do já desaparecido filósofo francês, Jean-François Lyotard, ao fim da teleologia moderna, sob a forma de uma dissolução das grandes narrativas (marxismo, democracia, arte moderna) em micrologias e sistemas artificiais de complexidade crescente (ciência, tecnologia, globalização, multiculturalismo). No campo da arte, esta transição deu lugar à emergência da chamada ‘arte contemporânea’—uma tentativa efémera de transformar a arte moderna numa arte eterna, especialmente desenhada para manter a inércia institucional e comercial do património constituído, bem como da especulação financeira associada a esse património e à produção corrente de novos artefactos.

O colapso do tempo moderno, de que o tempo pós-moderno é a transição, deu lugar a um tempo novo, instável no seu começo, de contornos ainda imprecisos, a que chamo mundo pós-contemporâneo, e onde se incluem logicamente as sociedades pós-contemporâneas e uma cultura global pós-contemporânea—de que a arte pós-contemporânea é uma inevitável consequência.

O que distingue radicalmente este novo tempo pós-contemporâneo é a emergência de um mundo artificial inteligente, no qual o tempo também é artificial, nomeadamente no sentido em que deixa de fazer sentido dividi-lo entre passado, presente e futuro. O tempo pós-contemporâneo não corre como correm os rios que ainda correm, nem obedece à estrutura temporal dos seres humanos e das suas fantasias. O tempo pós-contemporâneo e o que este tempo gera é o resultado de uma coisa nova. A essa coisa nova, a que Bruno Latour, Michel Callon e John Law, entre outros, chamam ANT (Actor-network theory), e outros entendem como a emergência do pós-humano no humano, eu prefiro chamar sociedade pós-contemporânea.

O artista, segundo Alfred Gell, é simultaneamente um agente e um paciente entre o objeto arte e a comunidade. Não é a pura subjetividade narcisista que, de certo modo, a modernidade acolheu e potenciou na sequência da libertação revolucionária do invidíduo pós-medieval. O artista é um artífice competente e obstinado de uma relação subjetiva concreta que é estabelecida no cerne das comunidades em movimento, entre os seus membros e aquilo que os rodeia. Esta mediação através da forma, ora demiúrgica, ora pagã, exige e exigiu sempre o domínio da técnica, no sentido de um saber fazer potencial cuja aprendizagem e perfeição só está aparentemente ao alcance de alguns. Seria, pois, muito estranho que os artistas de hoje perdessem o contato com complexidade e alta frequência das tecnologias pós-contemporâneas.

Creio que este preâmbulo poderá servir para introduzir o tema da primeira sessão do acelerador de partículas criativas em volta da Segunda Cidade, ou 2.C): O Artista e os seus exoesqueletos.

Segunda Cidade
Acelerador de Partículas Criativas 2.C

Sessão n.1
7 de março, terça-feira, 18:00-19:00
Livraria Sá da Costa
Praça Luís de Camões, 22, 4º andar. Lisboa

+(351) 927 569 362


quinta-feira, 9 de fevereiro de 2017

Tim Behrens (1937-2017)




The School of London and this mysterious missing link


Tim Behrens died two days ago aged 79. R.I.P.

It is almost impossible to find in English any written review about Timothy Behrens. Did this gentleman exist? If so, who was Tim Behrens? Apparently, he was a young artist that use to drink with Francis Bacon, Frank Auerbach, Michael Andrews, and Lucian Freud among others at infamous pubs like The Colony Room—“a private members’ drinking club for artists and other creative people at 41 Dean Street, Soho, London, founded and presided over by Muriel Belcher from its inception in 1948 until her death in 1979” (Wikipedia). The few printed references to Tim Behrens are related either to him as a model of two important paintings, of four portraits Freud did of the young pupil and close friend—Red Haired Man On A Chair (sold-out for £4,152,000 in 2005) and A Painter—, or as a young artist in a famous photograph by John Deakin: Lunch at Wheelers: L-R: Timothy Behrens, Lucian Freud, Francis Bacon, Frank Auerbach and Michael Andrews.

Though ignored in England for motives nobody apparently understands, Tim Behrens has been a prolific artist for more than fifty years. He left Britain very young and very sad. Namely with Lucian Freud after nine years of intense friendship. Freud became to him a surrogate of his hatred father, a banker. Being abandoned by his teacher and close friend, Tim left England for good, spending most of his life in Greece, Italy, and Spain. I still don't understand though why is Tim Behrens missing in all surveys of the British art from the early sixties.

The most extensive description of Timothy Behrens I could find in the British press is this one:

Celebrities and bohemians come together for Lucian Freud sale 

A rare portrait by Lucian Freud of a fellow painter from the Soho bohemian artistic scene in the 1960s in London is to go on sale at Christie's next year. 
Red-Haired Man on a Chair, a portrait of the artist Tim Behrens, is expected to fetch up to £1.8m in the auction on 9 February. It will go on sale next to Freud's celebrated portrait of the supermodel Kate Moss, who was painted naked and pregnant. Naked Portrait 2002, in a private collection, is one of the few occasions Freud has chosen to paint someone well known. It is expected to sell for about £3.5m. 
Christie's announced the sale of the Moss painting in October; the addition of the Behrens picture will make the sale an important one. Freud's paintings rarely come up for auction. This will be one of the few occasions that two of his works have come up for auction at the same time. 
As a relative unknown, Behrens, a painter and student at the Slade School of Art, was a more likely candidate for a Freud painting. He was part of the tightly knit group of artists and intellectuals who frequented the Colony Room, the infamous Soho drinking club where Freud and others such as Francis Bacon spent much time during the late 1950s and early 1960s. Other regulars have included such figures as Jeffrey Bernard and George Melly, while current members include the new generation of British artists like Damien Hirst and Tracey Emin. 
Said to be a great admirer of Freud, Behrens posed in the artists' small Paddington studio in 1962 and 1963; Freud is renowned for the length of time taken to complete portraits. The painting features a pile of rags in the background which were to find their way into many other Freud pictures. 
—in Independent
Another extensive description of the relation between Timothy Behrens and Lucian Freud can also be found in a recent book by Geordie Greig: Breakfast with Lucian. A Portrait of the Artist



Bibliography related to this post

—Geordie Greig. Breakfast with Lucian. A Portrait of the Artist [Amazon] [Amazon Look Inside!]
A Portrait Painted in Heavy Strokes. ‘Breakfast With Lucian,’ by Geordie Greig. Books of The Times. By DWIGHT GARNER NOV. 21, 2013
—About Red-Haired Man on a Chair, in Christie’s Press Release, 4 January 2005 (pdf)
El coruñés de la escuela de Londres. La Opinión, 09.02.2017
T. Behrens by T. Behrens
T. Behrens and the so-called School of London
The Colony Room school
Tim Behrens. Sobre uma retrospectiva necessária


Photo (above)

Timothy Behrens
by John Vere Brown
bromide fibre print, 1958
10 in. x 10 1/8 in. (254 mm x 256 mm)
Purchased, 1994
NPG x68288Timothy
© Mander and Mitchenson Theatre Collection
National Portrait Gallery

Last update: 9 February 2017