quarta-feira, 31 de maio de 2017

Bonecada também é arte!

Peter Saul, Ice Box 8, 1963,
Oil on canvas, 190 x 160 cm / 74,8 x 63 inches, 
Hall Collection, © Peter Saul, Courtesy Hall Art
Foundation, Photo: Jeffrey Nintzel

Peter Saul @ Schirn Kunsthalle Frankfurt

The powers that be who dominates the Portuguese indigenous art scene hate anything and anyone near hard drawing and hard-core figuration. The bureaucrats follow this idiotic trend and finance it with public money. Let's trash these pretentious apparatchiks!

Estou disposto a dirigir um pequeno museu de bonecada, para acabar de vez com o 'liricoidismo' indígena. Um museu de género, crítico, às vezes mesmo, sórdido, onde não falte a mãozinha, o saber fazer e o humor. Programa do futuro museu da bonecada de Lisboa (o desejo é livre):

Alice Geirinhas
António Olaio
Artur Varela
Daniela Viçoso
Eduardo Batarda (do período inglês)
gémeos Carvalho
Joana Vasconcelos
João Fonte Santa
Jorge Barradas
Jorge Castanho
José Carvalho
Manuel João Vieira
Gonçalo Pena
Paula Rego
Pedro Amaral
Pedro Proença
Pedro Zamith
Rafael Bordalo Pinheiro
René Bertholo
Sebastião Resende
Susanne Themlitz

e ainda...

Alfre Leslie
Alice Lex-Nerlinger
Carl Grossberg
Chitra Ganesh
Chris­tian Schad
Conrad Felixmüller
David Hockney
Edvard Munch
Egon Schiele
Elfriede Lohse-Wächtler
Emil Nolde
Ernst Ludwig Kirchner
Francis Bacon
Franz Radzi­will
Franz von Stuck
Frida Kahlo
Georg Scholz
George Grosz
Jörg Immendorff
Keith Haring
Kenny Scharf
Hans and Lea Grundig
James Ensor
Jeanne Mammen
Karl Hubbuch
Käthe Kollwitz
Leon Golub
Lotte Laser­stein
Lucian Freud
Max Beckmann
Miza Coplin
Oskar Nerlinger
Otto Dix
Paul Delvaux
Peter Saul
Philip Guston
Pierre Klossowsky
René Magritte
Richard Ziegler
Robert Crumb
Robert Williams
Rudolf Schlichter
Tim Behrens

E agora ...

Peter Saul, Rich Dog, 1963,
Oil on canvas, 149 x 150 cm / 58,7 x 59 inches,
Hall Collection, © Peter Saul, Courtesy Hall Art Foundation,
Photo: Jeffrey Nintzel

JUNE 2 – SEPTEMBER 3, 2017

From June 2 to September 3, 2017 the Schirn Kunsthalle Frankfurt is presenting an extensive survey exhibition of the work of the American painter Peter Saul (*1934 in San Francisco, California).

Long before “Bad Painting” became a central concern in contemporary art, Peter Saul deliberately offended good taste. Beginning in the late 1950s he developed his highly individual idiom blending Pop Art, Surrealism, Abstract Expressionism, Chicago Imagism, San Francisco Funk, and cartoon culture, one in which he managed to address complex political and social issues. Saul shares with Pop Art an interest in the commonplace, in consumer society, and the cheerful pictorial worlds of the comics in glowing, appealing colors. Yet his work is also associated with the aesthetic strategies of the California counterculture. He produces an almost irate kind of painting when depicting the darker sides of the American Dream. In it he combines exuberant humor and playful but harsh criticism of the system. He makes use of jokes, slapstick, puns, comedy, and persiflage, and often crude humor in his caricature-like attacks on American high culture. Apart from the major artistic schools, Saul developed an extremely idiosyncratic oeuvre. Never really associated with any group or movement, he has been painting in his own way despite changing artistic fashions for more than fifty years. Saul’s paintings tell stories, tend toward exaggeration, and resist unambiguous interpretation. The Schirn has brought together roughly sixty works by this hitherto little noticed “artists’ artist,” among them groundbreaking groups of works like his Ice Box Paintings, his comics narrations and Vietnam paintings from the 1950s and 1960s, as well as never exhibited drawings and selected late works from the 1980s to the 2000s.

This exhibition is made possible through support from the Terra Foundation for American Art.

Peter Saul, San Quentin # 1 (Angela Davis at San Quentin), 1971,
Oil on canvas, 180,3 x 238,8 cm / 71 x 94 inches,
© Peter Saul, Collection of KAWS


Atualizado em 1/6/2017 10:13 WET

domingo, 28 de maio de 2017

MAAT Conference on Post-Internet Cities

I met a few wonderful people at MAAT’s Post-Internet Cities, namely Nashin Mahtani, Morten Søndergaard, Andrea Baldini, Alice Bucknell, Marisa Olson and Giselle Beiguelman. I was also curious about the work by IOCOSE Collective, after listening to Matteo Cremonesi presentation. I had the feeling that if I have had the opportunity to listen to Linda Aloysius‘s complete wanderings on “Art: Women’s Dirty Work in the Digital Age”, another impression would last. Funny and very MIT was AI and ML approach by intelligent design post-graduate students Stephanie Cedeño, Xiaoxuan (Sally) Liu, Godiva Veliganilao Reisenbichler, Nicci Yin.

The only question (rephrased) I addressed the conference:

What are the differences between technology and nature from the point of view of today’s children, and what differences will they make to future art practices?