Rivane Neuenschwander

Rivane Neuenschwander

Exposición: Mar 15 – May 13, 2001


El idioma es el núcleo del nuevo trabajo de Rivane Neuenschwander. Durante su residencia, la artista realizó dos instalaciones. El primero, Omission Points, fue una instalación temporal que ocupó el espacio de su estudio durante solo dos días. El artista taladró agujeros en las paredes de la galería, creando una línea de horizonte de espacio negativo. La línea no se detuvo por la arquitectura, continuó a través de las ventanas abatibles y las puertas metálicas de la galería. Con este simple gesto, Neuenschwander implicaba una interrupción y una disrupción inminente. Los agujeros aparentemente perforaron el espacio, dividiéndolo en una parte superior e inferior. Los huecos también hacían referencia al lenguaje, creando una cadena de elipses que, en lugar de conectar pensamientos, simplemente dejaba espacio para una pausa.

Solo queda un rastro de puntos de omisión en la galería: los agujeros en las ventanas. Para la exposición a la vista, Neuenschwander presenta un laberinto a gran escala de cajas de cartón. Las cajas solo llegan a la altura de la rodilla, por lo que el espectador no se pierde como en un laberinto de jardín formal. Uno puede seguir el camino predeterminado o simplemente trepar por los bordes. El curso lleva al espectador a un espacio vallado para una proyección de video. La película, realizada en colaboración con el cineasta brasileño Cao Guimarães, muestra un ejército de hormigas que marchan a través de una habitación, cada una de las cuales lleva una hoja de papel con el texto inscrito: en un lado, “PALABRA”, en el otro, “MUNDO”.

También se produjeron durante su residencia fotografías de escarabajos con pompas de jabón. Tomadas desde arriba, recuerdan geometría y diagramas algebraicos. Los insectos aparecen en parejas: a veces, dentro de una burbuja y, en otras, separados por su borde. Si bien el arreglo es por casualidad, la metáfora de las relaciones humanas es ineludible. Neuenschwander también presenta nuevas esculturas hechas con cáscaras de pomelo vacías. El artista ha grabado letras del alfabeto en las pieles de las frutas, que se cuelgan de la pared en bolsas de plástico. Esta contención del lenguaje refleja las investigaciones en curso de Neuenschwander sobre el control (o la falta de control) en la naturaleza, el lenguaje y la sociedad.

Artista

Rivane Neuenschwander

Belo Horizonte, Brazil

Rivane Neuenschwander was born in 1967 in Belo Horizonte, Brazil, where she lives and works. She studied at the School of Fine Arts, UFMG, Brazil and the Royal College of Art in London, England. She has exhibited her work internationally, including solo exhibitions at IASPIS (the International Artists Studio Program in Sweden), Stockholm, Sweden (2000); Stephen Friedman Gallery, London, England (1997, 1999); Galeria Camargo Vilaça, Sao Paolo, Brazil (1998, 2000); and Douglas Hyde Gallery, Dublin, Ireland (2000). She has participated in numerous international biennials and festivals, including the 5th International Istanbul Biennial, Turkey (1997); the 2nd Johannesburg Biennale, South Africa (1997); XXIV Biennale of Sao Paolo, Brazil (1998); SITE Santa Fe, NM (1999); and the First Liverpool Biennial of Contemporary Art, England (1999). Her work has also been included in group exhibitions at the Museum of Modern Art in Rio de Janeiro, Brazil (1995); The Museum of Fine Arts of Buenos Aires, Argentina (1996); The Art Gallery of New South Wales, Sydney, Australia (1997); The New Museum of Contemporary Art, New York, NY (1998); Kunstforeningen Copenhagen, Denmark (1999); Nordjyllands Kunstmuseum, Aalborg, Germany (1999); and the National Museum of Art, Osaka, Japan (2000).
Merging the traditions of sculpture and drawing, Rivane Neuenschwander’s work combines precise handicraft with natural and found sources. The results are discrete objects and temporary, material-based installations.
Rivane Neuenschwander was chosen for her ArtPace residency by the March 1998 panel consisting of Dan Cameron, Annette DiMeo Carlozzi, Amada Cruz, Kellie Jones, Hans-Ulrich Obrist, and Nancy Rubins.

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Curadores

Amada Cruz

Los Angeles, CA
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Kellie Jones

New York, NY
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Nancy Rubins

Topanga, California, USA

Born in 1952 in Naples, Texas, Californian Nancy Rubins received her MFA from the University of California, Davis. She has had numerous solo exhibitions, including shows at Paul Kasmin Gallery, The Museum of Modern Art, New York, and the Venice Biennale Aperto. Rubins’ work was included in the 1995 Whitney Biennial and the Museum of Contemporary Art, Los Angeles’ Helter Skelter exhibit in 1992. Rubins teaches at the University of California, Los Angeles’ Art Department. She has received grants from the Rockefeller Foundation, the Tiffany Foundation, and the National Endowment for the Arts.

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Annette DiMeo Carlozzi

Austin, TX

Independent curator Annette DiMeo Carlozzi has built an expansive practice across the US as a curator of modern and contemporary art, focusing on ideas and experiences, artists and audiences. Raised in Boston and trained at the Walker Art Center, she has served in a variety of foundational roles: as the first curator at Laguna Gloria Art Museum (now The Contemporary Austin); executive director of the Aspen Art Museum and the Contemporary Arts Center, New Orleans; Visual Arts Producer for the 1996 Olympic Games in Atlanta; and in multiple positions—ranging from founding modern and contemporary curator to Deputy Director for Art and Programs to Curator at Large—at the Blanton Museum of Art, University of Texas at Austin. Committed to expanding the canon, she has created notable exhibitions (Luis Jiménez, Paul Chan, Michael Smith, Deborah Hay, Negotiating Small TruthsAmerica/AmericasDesire), produced important commissions (Nancy Holt, Siah Armajani, Betye Saar, Vito Acconci, Byron Kim, Teresita Fernández), and acquired major works by a wide range of international artists. Carlozzi has had a long relationship with Artpace, having served as an early advisor, artist interviewer, and program panelist, member of the 1998 artist selection panel and 2001–03 Board of Visitors. In 2015 she curated Immersed from Linda Pace’s art collection, now called Ruby City.

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Dan Cameron

Newport Beach, California

From 2012 to 2015 he was Chief Curator at the Orange County Museum of Art in Newport Beach, California. In 2006, Dan Cameron founded the Biennial Prospect New Orleans, where he worked at until 2011. From 1995 to 2005 he was Senior Curator at the New Museum, New York, where he developed numerous group exhibitions, such as East Village USA and Living inside the Grid, and several individual shows dedicated to the artists Martin Wong, William Kentridge, Carolee Schneemann, Carroll Dunham, Doris Salcedo, José Antonio Hernández Diez, among others.
As independent curator he has organized many exhibitions that brought him international attention, such as El arte y su doble (Fundación Caixa, Madrid, 1987); El jardín salvaje (Fundación Caixa, Barcelona, 1991); Cocido y crudo (Museo Nacional Centro de Arte Reina Sofía, Madrid, 1995), among many others. In 2003, he was the Artistic Director of the 8th Istanbul Biennial, and in 2006, Co-curator of the 5th Taipei Biennial.
He has published hundreds of texts in books, catalogues and magazines, and has given numerous talks and conferences at museums and universities around the world, also carrying out an important teaching activity in New York.

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Hans Ulrich Obrist

London, England

Hans Ulrich-Obrist is the Co-Director of Exhibitions and Programs and Director of International Projects at the Serpentine Gallery in London, positions created for Ulrich-Obrist in April 2006. As a curator at the Musée d’Art Moderne de la Ville de Paris, France since 2000, among many other exhibitions he organized solo shows with Jonas Mekas (2003), Anri Sala (2004), and Cerith Wyn Evans (2006). Before this position Ulrich-Obrist was an independent curator for a decade, organizing the group show Take Me I’m Yours at the Serpentine (1995) and Retrace Your Steps: Remember at the John Soane Museum (1999), also in London, England. Ulrich-Obrist was a panelist in 1998 for the 1999-2000 year of artists, and was invited to be a speaker at the 2003 symposium, but was unable to come due to illness.
Photo by Dominik Gigler

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