Museo Tamayo Arte Contemporaneo
Mexico City
Paseo de la Reforma y Gandhi - Bosque de Chapultepec 11580
(5255) 5286 6519
WEB
Roman Ondak - Monika Sosnowska
dal 8/4/2011 al 6/8/2011

Segnalato da

Beatriz Cortes



 
calendario eventi  :: 




8/4/2011

Roman Ondak - Monika Sosnowska

Museo Tamayo Arte Contemporaneo, Mexico City

Ondak presents The Exhibition Vanished without a Trace, a solo show curated by Magali' Arriola, which consists of a series of performances that will take place at different times and spaces of Museo Tamayo. As part of the Special Projects series, Sosnowska presents The Fire Escape, curated by Magnolia de la Garza. This large scale sculpture responds to an invitation by Museo Tamayo to create a temporary piece for its central courtyard.


comunicato stampa

Roman Ondák
The Exhibition Vanished without a Trace

Roman Ondák presents The Exhibition Vanished without a Trace, a solo show curated by Magalí Arriola, which consists of a series of performances that will take place at different times and spaces of Museo Tamayo. The works in the exhibition unveil the processes of production and consumption of the artwork and its symbolic value by dealing with topics such as the institution’s boundaries, the visitors’ expectations and their involvement in the museum’s structure by means of their participation in the work’s creative process. By orchestrating a series of short-lived situations in which daily routines dissolve within the institution’s everyday life, the show seeks to involve spectators in such a way that their experience of the works brings into play the margins and gaps of the institutional space.

Roman Ondák (Slovakia, 1966), is one of the main representatives of a generation of artists who emerged from Eastern Europe over the last decade.. Tied to the tenets of performance art and conceptual practice that questioned institutional space, Ondák’s work tend to explore the moments and spaces where aesthetic experience converges with day-to-day life. By staging individual behaviors that viewers identify with and the collective dynamics in which they participate, the artist seeks to question the nature of artistic gestures, the art institutions’ modes of operation (as museums or galleries), and their impact on everyday life.

The works in the exhibition unveil the processes of production and consumption of the artwork by dealing with topics such as the institution’s boundaries—by establishing a bridge between interior and exterior, as in The Stray Man, 2006—; the visitors’ expectations—by enacting art’s symbolic value, as in Good Feelings in Good Times, 2003—; and their involvement in the museum’s structure by means of their participation in the work’s creative process, as in Measuring the Universe (2007). By orchestrating a series of short-lived situations in which our daily routines dissolves within the institution’s everyday life, this show seeks to involve spectators in such a way that their experience of the work brings into play the margins and gaps of the institutional space.

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Monika Sosnowska
The Fire Escape

As part of the Special Projects series, Monika Sosnowska presents The Fire Escape, curated by Magnolia de la Garza. This large scale sculpture responds to an invitation by Museo Tamayo to create a temporary piece for its central courtyard. Sosnowska’s intervention is inspired by the fire escape stairways of New York City buildings, which she striped from their utilitarian sense, turning them into dysfunctional elements that prompt the question of at what point does architecture transform into sculpture. To produce this piece, the artist collaborated with a local workshop in order to achieve the plasticity and stability of the sculpture. During the process, a stairway was built respecting the original material, structure and scale, but its structure was molded into an impossible situation.

For Monika Sosnowska (Poland, 1972), different aspects of today’s social and political reality can be detected in architecture and everyday objects, which she reconstructs in her practice to create site-specific installations and sculptures. The artist reproduces as they are these elements which she then modifies until they lose their original function and become a blend of reality and fiction. In this way, Sosnowska creates a sense of disease in the spectator, thus giving rise to the question: At what point does architecture become sculpture?

The Fire Escape was produced following an invitation from the Museo Tamayo to create a work for its central courtyard. Sosnowska took her inspiration from the New York fire escapes, but stripped the ladder of its utilitarian function in order to turn it into a dysfunctional object. The artist spent a month working with the employees of a local workshop to create it, experimenting with steel and a cardboard model to achieve the piece’s combination of plasticity and stability. The resulting sculpture made no alterations to the original scale or material, nor did it seek to destroy the original structure, but rather it molded the ladder’s form to create an impossible situation.

For further information, please contact: Beatriz Cortés
prensa@museotamayo.org or call (+52-55) 5286-6519, ext. 2228

Museo Tamayo
Paseo de la Reforma and Gandhi s/n, Mexico City, Mexico

IN ARCHIVIO [10]
Two exhibitions
dal 6/11/2015 al 20/2/2016

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