LiMAC » Text

This is not a Lawrence Weiner

ahenry — Fri, 25 Jan 2013 17:09:34 +0000

This is not a Lawrence Weiner uses the power of words to magnify and apply them on walls. In employing this visual poetry in a tridimensional space the viewer is confronted with the limits of language.

Institute of Artist Leadership A.C

ahenry — Tue, 22 Jan 2013 18:40:34 +0000

Vicente Razo generates a series of critical operations that confront the ideological corporatization of contemporary art. In the production process of the work, Razo uses the term legal sculpture in order to incorporate legal procedures in the arts. In other words, the artist uses the legal system as an artistic medium. The Institute of Leadership Artists A.C is a work that consists in the juridical civil association under that same name. For the occasion, the founding documents of the Institute made by the artist under notarial supervision are presented

Chanson d´Automne (Fall Song)

ahenry — Thu, 13 Dec 2012 14:47:51 +0000

An assemblage of articles from The Wall Street Journal dated September 2008, a month rich in doomsday headlines culminating with the near-meltdown of the world financial system. Within these clippings, an alternative narrative emerges in the form of verses of poetry, as if decoded within the newsprint and materialized by markings in red grease pencil. Poetry revealed from within the fracture lines of a dysfunctional economic order.

The juxtaposition takes on a politically enigmatic meaning when we are reminded of a prior appearance in the media of these same verses from Paul Verlaine’s Chanson d’Automne (Autumn Song). “When a sighing begins / in the violins / of the autumn song” was broadcast on the BBC in 1944 as a coded signal to the French resistance that the invasion of Normandy was imminent. And on the eve of D-Day “My heart is drowned / in the slow sound / languorous and long” triggered acts of sabotage behind enemy lines.

Chanson d’Automne treats the drama of the Fall of 2008 with a little poetic humor, while at the same time questioning what forms of resistance, either covert or overt, remain in play at a time when capitalism is in crisis, and triumphant theories about “The End of History” are being replaced by the utter uncertainty of chapters to come.

End of Silence

ahenry — Thu, 13 Dec 2012 11:21:26 +0000

Carlos Garaicoa (Cuba, 1967) 2010 Installation: Seven tapestrys of wool, mercurized cotton, trevira-cs, cotton, polyester, acrylic, and lurex (aluminium) Two mini- DV videos transferred to DVD [link url="http://www.carlosgaraicoa.com/" text="(Courtesy of the artist and Gallería Continua, San Giminiano, Beijing, Le Moulin)"]

Ni Cristo, ni Marx, ni Bakunin

ahenry — Tue, 11 Dec 2012 23:07:07 +0000

Carlos Garaicoa (Cuba, 1967) 2001 Color photography on Duraflex paper 50 x 60 cm [link url="http://www.carlosgaraicoa.com/" text="(Courtesy of the artist and Gallería Continua, San Giminiano, Beijing, Le Moulin)"]