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Rivane Neuenschwander对一个令人痛苦的世界的感性思考

恐惧 - 如今普遍存在 - 长期以来一直是Neuenschwander的重要主题。

rivane neuenschwander,“ TróPicos Malditos,Gozosos E Devotos 15“(热带:诅咒,高潮和致力于15)(2020),羊毛,丙烯酸纤维,棉花,66 7/8 x 89 3/4英寸(由艺术家和泰国Bonakdar画廊提供,纽约/洛杉矶;照片:Pierre Le Hors)

Rivane Neuenschwander’sTropics: Damned, Orgasmic and Devoted在Tanya Bonakdar Gallery是一个特别有关的展览。金博宝188app

The show encompasses lush, unsettling tapestries; acrylic paintings and drawings; an installation of vintage postcards paired with silkscreens; and an embroidery that lists whopping fears. Each work resonates with the staggering conditions afflicting so much of the world: COVID-19, escalating authoritarianism, resurgent racism and sexism, environmental mayhem, poverty. In Neuenschwander’s home country, Brazil, the COVID-denying, blatantly racist, right-wing extremist president Jair Bolsonaro is wreaking his special havoc.

恐惧 - 如今普遍存在 - 长期以来一直是Neuenschwander的重要主题。Several years ago, she conducted an art-making workshop in Bogotá during which children composed drawings of what they feared: ghouls and monsters, a scary insect containing a devil, demons, a creature that’s part ghost and part crustacean, a volcano blowing its top. No doubt the workshop was cathartic for the kids, as it inspired them to give form to their raw fears.

安装视图,rivane neuenschwander,àespreita纸上亚克力系列(由艺术家和Tanya Bonakdar画廊的礼貌,纽约/洛杉矶)

Neuenschwander先前已经将她自己的这些图形公司纳入了沉浸式交互式装置 - 例如,从观众可以操纵的透明胶片,因此改变了安装。互动现在出来,由于大流行,因此在系列中àespreita.(从新闻稿中从葡萄牙语翻译为“在监视”或“观看”)Neuenschwander在纸上重新培育和转化了24个丙烯酸(全2020)的小(14乘10英寸)丙烯酸,如图所示gallery’s front wall. Her versions are luminous, mostly white reverse silhouettes, with bursts of red, on inky black grounds. While they still resemble children’s drawings, the artist lavished care on them, with her spare yet vivid palette and fastidious brushwork.

A boxy, low-slung creature with webbed feet and evil eyes, inside an irregularly shape red outlined, advances on viewers from the dark (“àespreita.[Escuridão]”), while a ghostly figure, in what looks suspiciously like a priest’s robe festooned with a red cross and dripping blood from the sleeves, reveals the black outline of a skeleton (“àespreita[莫尔特]”). In “àespreita[minhocas],“什么看起来像一个盘绕的蛇(虽然Minhocas.表示“蚯蚓”)从一个震惊的女孩的头部突出。她的手臂悬垂蠕虫或蛇,她的衣服或身体展示了类似的生物。危险事物侵犯的脆弱的身体现在袭击了一个神经。Neuenschwander的图纸在一起讲述了漏洞和焦虑的集体故事。

rivane neuenschwander,“àEspreita [Minhocas]2020),丙烯酸纸上,14 x 10英寸(未犯);15.25 x 11.25 x 1.375英寸(框架)(由艺术家和Tanya Bonakdar画廊提供,纽约/洛杉矶)
这些有效的图像与Neuenschwander系列的挂毯和绘画滤网网TrópicosMalditos,Gozosos E Devotos(Tropics: Damned, Orgasmic and Devoted), in the main gallery space. The title is from Brazilian writer Hilda Hilst’s 1984 collection of poemsPoemas Malditos,Gozosos E Devotos。凭借他们的热带色彩,有机形状和乞讨纹理,尤其是由棉,羊毛和丙烯酸纤维制成的挂毯 - 是华丽和诱人的。他们也令人痛苦。

在一个(来自系列的13号),人形爬行动物和一个在华丽的衣服中的两种昆虫生物攻击了一个有暴露的外阴和一个植物的女人。这些细节迷人:凯旋,凯旋曲的展望,从其他袭击的其他袭击事件上看着爬行动物的救影人的脸,黑色钳子和天线。不祥的抽象黑色形状悬停在顶部,而底部的红色池,暗示血液。

Rivane Neuenschwander,一个标准e o mÉ.todo(订单和方法)2020),124张葡萄酒明信片和124个丝网屏幕,12 5/8 x 9 3/8英寸(每帧);27 1/2 x 322 1/2英寸(整体安装)(由艺术家和Tanya Bonakdar画廊提供,纽约/洛杉矶;照片:Pierre Le Hors)

强奸和其他形式的暴力似乎是令人兴奋的统治和恐惧的计划的一部分。一只鸟头的女性似乎在15号中的几个奇怪生物似乎袭击,虽然这也可能是群体性的疯狂版本。整个人体,动物头部,具有人体属性的动物尸体,以及性化战斗中的人为阑尾植物。在这些卷轴的场景中,外阴,片质,爪子,喙,叶子,叶状物和血液,这些卷轴在人类和非人之间争先恐后的区别。

照片不会传达这些挂毯的视觉和物质动力,由复杂的针尖,簇绒,山脊和微妙的斜坡组成;最好地体验到近距离和长度。虽然几乎没有教学,但他们解决了持续影响巴西和许多其他国家的迫使:殖民,控制和专制权力;服从和抵抗该权力;超级性(如往往在巴西和热带地区预测)和性暴力;强烈的宗教信仰,它对右翼狂热的支持,如Bolsonaro;右翼无视环境及其居民 - 博尔森·罗戈斯在利用亚马逊,无犹豫不义对环境和土着人口的可怕影响,包括Covid-19对偏远村的传播。

“The Indians do not speak our language, they do not have money, they do not have culture,” Bolsonaro once announced (Campo Grande新闻,2015年4月22日),自从长期以来,驳回了巴西居住在16世纪的葡萄牙殖民地之前居住了巨大的热带地区的人。接近Neuenschwander系列的一种方法是将其视为在攻击下的热带地区的代表。

rivane neuenschwander,“恐惧”2020), fabric, thread, acrylic paint, 24 3/8 x 35 inches (Courtesy of the artist and Tanya Bonakdar Gallery, New York / Los Angeles; Photo: Pierre Le Hors)

Neuenschwander is renowned for the eclectic knowledge that she brings to her work and for her use of many different mediums and materials. She excels at realizing probing, politically and culturally charged ideas, in concrete, sensuous forms. The press release relates her series to 17th-century erotic Japanese woodcuts, as well as northeast Brazil’s Cordel folk literature — pamphlets and booklets that combine narrative poems with woodblock prints (often displayed in marketplaces hanging from strings). I’d throw in animistic art reaching back centuries, along with Surrealism and the rich tradition of Brazilian Conceptualism.

在后面的房间是一个令人惊讶的工作,但鉴于上下文,一个有意义的工作。e ométodo(The Order and the Method, 2020) is based on Jean-Luc Godard’s 1963 antiwar filmLes Carabiniers.,其中两名男性农民被军事招聘人员与壮观奖励承诺的招聘人员诱惑。而不是掠夺他们回到他们的邋hamly哈姆雷特,其中一块明信片描绘了着名的世界地标;各种车辆;异国动物;精彩的vistas;和美丽的女人。他们只有辉煌的图像,而不是自己的辉煌,而不是丰富的世界,但没有实际的赏金。当国王突然投降和战争结束时,他们总结由同一招聘人员诱导他们战争。

Neuenschwander的安装是由与电影中的明信片相对应的明信片组成,并且她走到很长的长度来查找完全匹配(例如eBay或互联网上的其他地方)。它们显示为三行的水平网格。Each postcard is coupled with a silkscreen on paper (most red or black) showing the back of the postcard, whether it contains nothing, an address, a vacation report, or a heartfelt message sent to a loved one. Images in a fictive film are physicalized and suffused with actual history — not huge historical events but instead people’s travels, adventures, family connections, and relationships. At the bottom, in truncated black letters stretching from silkscreen to silkscreen, is a quote from the movie: “What do soldiers do before the battle? Before the battle soldiers are afraid.”

Rivane Neuenschwander,一个标准e o mÉ.TODO(订单和 方法,细节)(2020),124张葡萄酒明信片和124个丝网屏幕,12 5/8 x 9 3/8英寸(每帧);27 1/2 x 322 1/2英寸(整体安装)(由艺术家和Tanya Bonakdar画廊提供,纽约/洛杉矶;照片:Pierre Le Hors)

遇到这些日期的明信片,并阅读了几十年前匿名人民发送的消息,这是深受触摸 - 例如,从蒙古首都乌兰Batr德语写作,向“妈妈”发送生日祝福。一些图像显示在20世纪30年代的伦敦这样的地方,很快就会被战争吞没。其他人似乎痛苦地偏僻,因为旅行在全世界都停止了。

然而,巧妙地或倾斜地,Neuenschwander也表明倒数第二时刻戈达尔的电影从很久以前是非常相关的right now. Like Godard’s trusting peasant soldiers, many people are enthusiastically supporting authoritarians like Bolsonaro (and Trump, Putin, Erdogan, Orbán, et al.); Bolsonaro was swept into power, in part, by millions of working class and rural voters. It is dubious whether these supporters will be rewarded for their loyalty. Likely, these “kings” don’t really care about them one whit. In Godard’s film, authoritarianism and militarism depend on pipe dreams, misguided aspirations, and complicity. Neuenschwander’s work proposes that much the same thing is happening now.

在相对的墙上是“恐惧”(2020),织物,螺纹和涂料组合物用Neuenschwander缝合。我想她已经完成了这种奇妙的艰苦工作,唤起了民间艺术,在隐居中;在Bolsonaro下,巴西已被大流行蹂躏。来自的图像和图àespreita.drawings now list their fears. Fear of war, church, end of the world. Fear of strangers and sadness. Fear of virus. Fear of rape. Neuenschwander focuses not on the machinations and harmful policies of powerful leaders, but instead on the experiences, visceral and emotional, of many people in this stricken time. I have not seen many exhibitions over the past several months. I am grateful that I have experienced this one.

Rivane Neuenschwander:热带地带:诅咒,高潮和致力于在10月24日,在Tanya Bonakdar Gallery(521号西21st Street,Chelsea,曼哈顿)继续。

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