Jane D. Marsching
Rachel Perry Welty
Super Vision / Foster Prize / Sergio Vega / Sandra and Gerald Fineberg Art Wall: Chiho Aoshima
december 10 2006 - april 29 2007
Superhuman vision, once the stuff of comic books and cartoons, is no longer a fantasy.
New technologies have pushed the limits of the visible world, allowing us to see almost anything—from the elemental particles of matter to the far reaches of outer space. Both what can be seen and how we are able to see are being radically transformed in ways that have profound implications for advanced science, global politics, and everyday life. Super Vision examines this phenomenon in the context of contemporary art, presenting work by 27 international artists who are defining the distinctive character of the contemporary visual experience.
Among the breathtaking and provocative works in the exhibitions are pieces that seem to bend, twist, morph, or enter a new dimension, as artists such as Anish Kapoor, Bridget Riley, and James Turrell use optical effects to alter the way we perceive ourselves and the space around us. Works by Mona Hatoum, Harun Farocki, and Chantal Akerman explore disembodied sight-while some technologies replace the human body, Hatoum's Corps e'tranger travels inside it with a video portrait of her body's interior.
Super Vision also considers how technology transforms artists' understanding of the physical world-from Ed Ruscha's conceptual map to Sigmar Polke's depiction of a carbon atom. Today's vision breaks wide open the possibilities for human knowledge and experience, but as the insidious web cam in Albert Oehlen's painting Dose and the chaotic energy of works by Julie Mehretu and Jeff Koons show us, the effects can also be threatening. Like the realization of any fantasy, this powerful new vision is both thrilling and dangerous.
Major funding for Super Vision has been provided by The Andy Warhol Foundation for the Visual Arts, with additional support from Etant donne's: The French-American Fund for Contemporary Art, a program of FACE, and The Cultural Services of the French Embassy.
december 10 2006 - march 11 2007
The James and Audrey Foster Prize recognizes Boston-area artists who demonstrate exceptional artistic promise.
Established in 1999 as the ICA Artist Prize, this award recognizes Boston artists whose work demonstrates adventurousness, conceptual strength, and skillful execution. Since its inception, the award has included a stipend and an exhibition at the ICA for the prize winner. This year, the prize has been named the James and Audrey Foster Prize and has an expanded format as the museum opens a new facility with 17,000 square feet of gallery space and a more diverse exhibition program. The $25,000 award will be given biennially, and will be accompanied by an exhibition of up to four finalists. This year's finalists were chosen from a pool of over forty of their peers by a distinguished jury, who will also decide the winner from the following artists:
Jane D. Marsching
Rachel Perry Welty
december 10 2006 - march 11 2007
Tropicalounge tells a complex tale layered with history, fantasy, philosophy, and the experience of everyday life in Brazil.
Sergio Vega is the sixth artist to be featured in Momentum, an exhibition devoted to new developments in contemporary art. Born in Argentina, and now based in Florida, Vega is known for an ongoing mixed-media project entitled Paradise in the New World, exploring the mythologies of paradise underlying the culture and history of Brazil.
For Momentum 6, Vega presents Tropicalounge, a room-scale installation inspired by a 17th-century colonial manuscript purporting to map the "New Eden" of South America. Seeking to discover this place for himself, Vega arrived at the Brazilian state of Mato Grosso, a region comprised of rainforests, swamps, mountains, archaeological sites, indigenous reservations, rural towns, shanty-towns, and cities. The history, culture, and mythology of this area-or rather, his imagination of them-are source material for Vega, who presents a sort of travel diary exploring the site through installation, sculpture, photography, video, and text.
At the ICA, Vega combines elements of the Tropicalounge that premiered at the 2005 Venice Biennale-brightly colored furniture, potted palms, photographs, architectural models, and sculpture-with work made especially for the ICA. While adopting the role of anthropologist or ethnographer, Vega acknowledges the fantasy and mythology that affects our understanding of a foreign place, especially one imagined as "paradise found."
Sandra and Gerald Fineberg Art Wall: Chiho Aoshima
december 10 2006 - october 28 2007
An elegant and energetic fusion of opposing forces, The Divine Gas invites viewers into Aoshima's fantastical daydream.
Chiho Aoshima, a Tokyo-born, largely self-taught artist, is known for digitally-rendered drawings, animations, sculptures, and large-scale murals. Drawn on a Macintosh G4 computer and printed on adhesive vinyl, the murals often shift dramatically in perspective and scale and combine vibrant colors and botanical details in graphic, dream-like scenes of supernatural worlds and their inhabitants.
The Divine Gas, Aoshima's work for the ICA, depicts a giant girl lying in a lush landscape. The setting seems idyllic and serene-butterflies flutter, a deer nestles near her foot, a couple frolics hand-in-hand. Meanwhile, a billowing cloudscape, lorded over by a genie creature, emerges from her bottom. A few figures sit nestled in the clouds, while others tumble toward the ground. Like an updated version of Hieronymus Bosch's Garden of Earthly Delights (c. 1500), the mural is mysterious tale of good and evil. An elegant and energetic fusion of opposing forces—beauty and darkness, the natural and supernatural, humor and earnestness—The Divine Gas invites viewers into Aoshima's fantastical daydream.
Chiho Aoshima was born in 1974 in Tokyo, Japan, where she currently lives and works. She received a degree in economics from Hosei University in Tokyo. Aoshima has created a piece for New York's Union Square Subway Station as part of Takashi Muramaki's recent exhibition Little Boy: The Arts of Japan's Exploding Subculture at the Japan Society. She has also been included in numerous group exhibitions including the 54th Carnegie International, Carnegie Museum of Art, Pittsburgh; Superflat at the Museum of Contemporary Art, Los Angeles in 2001; and an exhibition at the UC Berkeley Art Museum, Berkeley, California, in 2003. Her work is in the collections of the Ackland Art Museum, Chapel Hill, North Carolina; Museum of Contemporary Art, Chicago; and the Seattle Art Museum.
The Sandra and Gerald Fineberg Art Wall is dedicated to monumental, site-specific works by leading contemporary artists, commissioned annually.
The Institute of Contemporary Art/Boston
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