calendario eventi  :: 




29/4/2011

The Last First Decade

Ellipse Foundation Art Centre, Cascais

Unlike the historiographer's approach, which struggles to free itself from its discursive rigidity, the exhibition format is based on the polysemy of the artworks. To some extent, this is a double exhibition: something presented but not visible (the avant-garde movements whose concepts structure the show) and something visible but whose structure fuses (the work produced in the last decade). Including works by Adel
 Abdessemed, Eija-Liisa
 Ahtila, Olaf Breuning, Pedro
 Cabrita Reis, Sophie
 Calle, Rui
 Chafes, David
 Claerbout, Tatjana
 Doll, Jimmie
 Durham...


comunicato stampa

curated by Alexandre Melo, Ivo André Braz

Including works by:
Ignasi
 Aballí, Adel
 Abdessemed, Eija-Liisa
 Ahtila, Slater
 Bradley, Olaf
 Breuning, Pedro
 Cabrita Reis, Sophie
 Calle, Rui
 Chafes, David
 Claerbout, Tatjana
 Doll, Jimmie
 Durham, Gardar Eide Einarsson, Olafur
 Eliasson, Elmgreen & Dragset
, Rodney
 Graham, Mona
 Hatoum, Kiluanji Kia
 Henda, Candida
 Höfer, Roni
 Horn, Pierre
 Huyghe, Angel
 Ihosvanny, José
 Iraola, João Maria Gusmão & Pedro Paiva
, Zoe
 Leonard, Glenn
 Ligon, Sarah
 Lucas, Ryan
 McGinley, Aleksandra
 Mir, Muntean/Rosenblum
, Nick
 Oberthaler, João
 Onofre, Catherine
 Opie, Gabriel
 Orozco, Raymond
 Pettibon, Jack
 Pierson, Richard
 Prince, Gonzalo
 Puch, Julião
 Sarmento, Collier
 Schorr, Steven
 Shearer, Andreas
 Slominski, Dash
 Snow, Hiroshi
 Sugimoto, João
 Tabarra, Wolfgang Tillmans, João Pedro
 Vale, Adriana
 Varejão Júlia Ventura, Yonamine

The Ellipse Foundation Contemporary Art Collection is pleased to announce its new exhibition, The Last First Decade.

Almost 100 years after the advent of the historical avant-garde, the exhibition The Last First Decade proposes revisiting it through the art of the first decade of the 21st century. The idea, however, is not to trace a genealogical line linking the avant-garde to the art of today or to suppose a direct and immediate influence. Unlike the historiographer's approach, which struggles to free itself from its discursive rigidity, the exhibition format is based on the polysemy of the artworks. To some extent, this is a double exhibition: something presented but not visible (the avant-garde movements whose concepts structure the show) and something visible but whose structure fuses (the work produced in the last decade). Based on this paradox—between a past which saw itself as a construct of the future and a present which considers itself as actuality—The Last First Decade replicates the way in which the avant-garde idea runs through contemporary art via return and departure, anticipation and retrospection.

Taking the self-criticism intrinsic to modernity to a state of paroxysm, the historical avant-garde represented the founding moment of contemporary art, placing at the centre of this the connection between art and life. In the mid-20th century, the neo-avant-garde (re)appropriated the avant-garde legacy by means of a relationship of trauma, of reinscription in the symbolic order. At the start of the 21st century, in the face of a contemporaneity that seems to invert the avant-garde dream—with the change from ethics to aesthetics replaced by a globalized aestheticisation—we are faced with the political question of how art can continue to connect to reality. In this context, the art of the last 10 years, when faced with some of the fundamental concepts bequeathed by the avant-garde, emerges as a re-opening in the symbolic order that identifies its cracks. The exhibition The Last First Decade accentuates the paradoxes created by this confrontation and challenges the observer to interprete them in his own way.

Image:Collier Schorr, "Traitor," 2001–2004. Gelatin silver print, 130,3 x 106 cm (framed). Copyright: the artist. Photo by: DMF.

Opening: Saturday, 30 April, 7 pm

Ellipse Foundation Contemporary
Alameda das Fisgas, 79 - Cascais, Portugal
Opening hours are 11 am to 6 pm, from Friday to Sunday

IN ARCHIVIO [3]
The Last First Decade
dal 29/4/2011 al 17/12/2011

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