7 Şubat 2015 Cumartesi
Curated by artist Bogomir Doringer in support of Brigitte Felderer from the Applied Arts Academy in Vienna, is an exhibition exploring a phenomenon present all around us: the fashion of facelessness that first appeared in the creative arts at the beginning of this century and has remained popular since then. The exhibition reminds us of the impact that media-generated images can have on the creative arts and the ways in which they respond to public images, pop culture, and the mainstream in general. The exhibition shows, the appeal that hiding, veiling, or masking the face exerted on art and fashion after 9/11. The fear of terrorist attacks led to a change in security concepts and the installment of surveillance systems in public spaces – presented to us as if for our own safety. As a result, we feel that our faces are becoming "compressed" and exposed. The only way for us to regain this lost privacy is through subversive media strategies or by reinventing privacy. By wearing a “mask” we form a collective critical body.
As the value of facial identifiability has risen, abstracted forms and representations of faces have become increasingly common in artistic production. Bogomir Doringer, for one, has been exploring the theme of facelessness in fashion and art for years. “Our unstable identity yearns for a return to the mask,” he says. “Like in times past, we are attracted to wearing masks as a form of protection or camouflage, as a prop, or just for entertainment.”
Following the events of 9/11, images of masked faces of terrorists became dominant in the media; repeated as a ghostly, unknown presence that reminds us of the unsafe time we live in. At the same time, throughout Europe people began to pursue a ban on burqas. Artists and designers at the very beginning started directly reacting on these issues with their works, but slowly the reference has been lost and an image remained. In addition to the loss of privacy, the rules of modern technology demand that we be constantly visible. Social networks, initially developed as platforms for communication, came to define standards of everyday activity and lifestyle. They approach us with the promise of serving as tools for self-promotion, and then increasingly invade our privacy with our express consent.
“As much as a face and an expression can give away about us,” says co-curator Brigitte Felderer of the University of Applied Arts Vienna, “we have plenty of creative potentials at our disposal for making these tale-telling surfaces illegible, even invisible, without running the risk of suffering social death.”
FACELESS continues the survey in a more participatory, laboratory approach and researching practical solutions for anonymity in contemporary society that are result of interdisciplinary works involving art or coming from artist mostly. The focus is on interdisciplinary works and lectures, performances, and workshops that convey how we can survive without losing face and at the same time revolt.
In De Markten, FACELESS will be presented in a smaller format as a media laboratory open on the invitation of and as part of the 8th Computers, Privacy and Data Protection congress (http://www.cpdpconferences.org/) it will be followed by a symposium on the Privacy Day on 28th of January involving special guests. The exhibition successfully merges art and fashion in the context of a subject that is of collective urgency and importance.
FACELESS was presented and produced for the first time at Museums Quartier in Vienna, and then later presented at Mediamatic in Amsterdam. In spring 2015 it will shape itself in a form of publication published in support of the Applied Arts Academy, Artistic Technology Research, Museums Quartier and Linz Art Academy. Visitors are kindly invited to upload “faceless” images and gif and join the ongoing research and future exhibitions www.facelessexhibition.com
Organisation: Privacy Salon vzw and Restart vzw. Partners: IAPP, deBuren, Vrije Universiteit Brussel and De Markten en freiraum quartier21 INTERNATIONAL / MuseumsQuartier Vienna
FACELESS PARTICIPATING ARTISTS:
Marina Abramović, Lisette Appeldorn, Martin Backes, Jeremy Bailey, William Basinski, Zach Blas, Thorsten Brinkmann, DAWAMESK (Thomas Mercier), Ondrej Brody & Kristofer Paetau, Ben DeHaan, Sofie Groot Dengerink, Nezaket Ekici, Arthur Elsenaar, Shahram Entekhabi, Caron Geary aka FERAL is KINKY, David Haines, Ren Hang, Adam Harvey, Sabi van Hemert, Jwan Yosef, Katsuya Kamo for Junya Watanabe COMME des GARÇONS, KATSU, Brian Kenny, Miodrag Krkobabić, Vanessa Lodigiani, Zachari Logan, Jill Magid, Slava Mogutin, Veljko Onjin, Bernd Oppl, Tanja Ostojić, Marco Pezzotta, Gerda Postma, Eva-Maria Raab, RAF SIMONS, Daphne Rosenthal, Tarron Ruiz-Avila, Mustafa Sabbagh, Olivier de Sagazan, Daniel Sannwald for WOODKID, Carmen Schabracq, Frank Schallmaier, Hester Scheurwater, Tim Silver, Jan Stradtmann, Sergei Sviatchenko, Filippos Tsitsopoulos, Saša Tkačenko, Marc Turlan, Levi van Veluw, Ari Versluis & Ellie Uyttenbroek, Philippe Vogelenzang & Majid Karrouch, Martin C de Waal, Bernhard Willhelm, Andrew Norman Wilson and Lucy Wood.
23 Mart 2014 Pazar
|Levi van Veluw, Archive, 205x120 cm.|
|Levi van Veluw, Grid, 205x120 cm.|
|Levi van Veluw, Hole, 73x51 cm.|
|Levi van Veluw, Hole of light, 73 x51 cm.|
I met multi-disciplinary artist Levi van Veluw, with his “The Origin of the Beginning” exhibition in 2011 at Ronmandos Gallery. He showcased works from a series of installations, photographs and videos in which he drew from his own childhoodmemories to thematically and narratively develop his own brand ofself-portraiture. The artist had created 3 “rooms” covered withmore than 30.000 wooden blocks, balls and slats respectively (without any digital manipulation). Each “room” was executed as a life-size installation (4m x 2.5m x 2.5m). I still remember this amazing works. You can see images of these works on his personal website: http://www.levivanveluw.nl/work/origin-beginning-0.
The work of Levi Veluw has been exhibited internationally in leading museums and
institutions, and is included in both public and private collections, including the Borisan
Collection, the Caldic Collection, the Ekard Collection and Kpmg.
Levi van Veluw’s Upcoming Exhibitions
2014 “Kunst Vereniging Diepenheim” March 30th until June 1th.
Show: Installation and drawings
2014 La Galerie Particulière will present 5 new drawings at “Art Paris” and “Drawing now Paris” 26 March 2014 – 30 March 2014.
2014 Exhibition Villa Mondriaan with films and drawings. May 16th 2014.
2014 La Galerie Particulière, Paris, France (Solo)
2014 Loop Fair Barcelona, Spain (Solo), 3 new films will be presented by Galerie Ron Mandos at Loop Barcelona. 5, 6, 7 June 2014. At the same time we will present Levi van Veluw’s new website designed by Julius van der Vaart.
2015 Marres House of Contemporary Art, the Netherlands (Solo)
2015 Rosenfeld Porcini Gallery, London, United Kingdom
New videos of Levi van Veluw Presented by Galerie Ron Mandos at Loop Barcelona 2014
The series “The Collapse of Cohesion” consists of films, drawings, installations and photographs. Whereas the previous series incorporated themes of control, order and structure, in these works we witness the disintegration of these elements. Order turns into chaos. Visions of collapsing desks, falling cupboards and exploding cabinets mark the moment of disruption. Human structures are affected by forces of nature such as gravity, water and wind and in this way realigned into a new, natural order of things.
Although these works play on our fascination for destruction and need for disorder, they do possess an inherent compositional equilibrium. The physics of falling objects has a logic that is bound by rules. Every image has been carefully composed by Van Veluw in preliminary drawing studies. The placement of each element was not left to coincidence but was a preconceived choice of the artist.
The role of every discipline and their sequential order in the series has particular meaning. Every idea originates in drawings, which are subsequently translated into three-dimensional reality through installations, photographs and films. This particular sequence is important: the drawing, which acts as the original artistic impetus, corresponds to the freest phase of expression in the elaboration of the concept. In drawing, reality is created out of nothing; traces of carbon or charcoal on a carrier form the base from which everything is constructed. In contrast, other disciplines replicate reality by means of its very building blocks; reality is as it were construed, staged, manipulated.
The newest instalment in “The Collapse of Cohesion” is a series of short films, based on drawings.
One of the drawings presents an image of an archive room, filled with large structures of cabinets containing more than 1500 neatly arranged icosahedrons.
The whole arrangement is held in place by the very structure of the cabinets and the force of gravity, in a fundamental and continuous on-going struggle between the desire for order and the forces of nature. An unknown cause upsets this equilibrium and the cabinets are made to topple over. The symmetrical forms are no longer held in place, gravity takes over, order is turned into chaos.
In the film, the drawing has been replicated life-size in wood. All the visible surfaces are covered in carbon powder, and the setting acquires shape only through the reflection of the light. Reality becomes tangible only through the experience of lighter or darker hues, as in a drawing.
The falling apart of the structure is filmed at over 1000 frames per second. After months of meticulous preparation, this is the only, and crucial, moment over which the artist has no control. In contrast to the drawing in which the moment of chaos remains an interpretation by the artist – and is therefore inexorably linked to him – the film makes it possible to relinquish all and every form of control. Unpredictability becomes a new factor in this work.
The time of the event is stretched; the moment measured in seconds becomes a minute-long occurrence and forms a new reality. Time, because of this massive slowing, seems to no longer affect the process of disruption. The icosahedrons float through the air, rotating, the glistening of the light that reflects on their 20 faces reveals their symmetry in its ultimate form. Entirely free, in search of a new order. With a great feeling of serenity, the viewer experiences how gravity gives these elements their new place.
BIOGRAPHY OF LEVI VAN VELUM
Levi van Veluw was born in the Dutch town of Hoevelaken in 1985 and studied at the ArtEZ
Institute of the Arts in Arnhem. Since graduating in 2007, Levi van Veluw has produced multi-disciplinary works that includes photographs, videos, sculptures, installations and drawings. This varied body of work has been showcased in many different locations across Europe and the United States, earning him a number of nominations and awards.
2003-2007 ARTEZ Institute of the Arts, Arnhem, the Netherlands
2006 Internship Erwin Olaf Springveld
2009-2010 Art Teacher, Photography department,
Willem de Kooning Academy Rotterdam, the Netherlands
More information can be found on the website www.levivanveluw.nl. This site presents all the artist’s work in chronological order, with accompanying information.