Pingapa ▌PLUS▼

Il mondo non è banale? ░ Il linguaggio conveniente del Sublime Prefetto

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¨ Sutta  (vedico: s ū tra; letteralmente: filo * ) del linguaggio conveniente del Sublime Prefetto ** Mia Nonna dello Zen così ha udito: una volta dimorava il Sublime Prefetto presso la Basilica di Sant’Antonio, nel codice catastale di Padua. E il Sublime così parlò: “Quattro caratteristiche, o mio bhikkh ū *** , dirigente dell’area del decreto di espulsione e dell’accoglienza e dirigente anche dell’area degli enti locali e delle cartelle esattoriali e dei fuochi d’artificio fatti come Buddho vuole ogni qualvolta che ad esempio si dica “cazzo di Buddha” o anche “alla madosca” o “gaudiosissimo pelo”, deve avere il linguaggio conveniente, non sconveniente, irreprensibile, incensurabile dagli intercettatori; quali quattro? Ecco, o mio dirigente che ha distrutto le macchie: un dirigente d’area parla proprio un linguaggio conveniente, non sconveniente, un linguaggio conforme alla Dottrina del Governo, non in contrasto con essa, un linguaggio gradevole, non sgradevole, un lin...

Luis Camnitzer ░ Dibujos

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Luis Camnitzer at Parra & Romero


Luis Camnitzer at Parra & Romero
Artist: Luis Camnitzer
Venue: Parra & Romero, Madrid
Exhibition Title: Dibujos
Date: October 26, 2016 – February 11, 2017
Luis Camnitzer at Parra & Romero

Luis Camnitzer at Parra & Romero
FuLuis Camnitzer at Parra & Romeroll gallery of images, press release and link available after the jump.
Images:
Images courtesy of the artist and Parra & Romero, Madrid
Press Release:
Parra & Romero is pleased to present the exhibition Dibujos by Luis Camnitzer (b. 1937), Uruguayan artist whose contribution was essential in the development of international Conceptual Art from mid 60’s until nowadays.
The show, third solo exhibition by Camnitzer at the gallery, presents two works that review the artist’s career. Both are a reflexion about issues derived from memory and immateriality. Their starting point is one specific object, which is changing and developing itself in relationship with the perspectives that describe it.
In the first room is displayed the installation El Cuaderno Rayado, 2012/2016 formed by eleven texts and a  notebook intervened by the artist. The lines of the notebook are covered with different handmade lines in some kind of “elegant vandalism”. Camnitzer used that intervention to leave his mark, showing that we cannot see the things surrounding us, only the images covering those things. The exhibited notebook replaces another one made by the artist on 1972 and lost later. The different texts approach from different perspectives the circumstances in which Camnitzer created it and the consequences of reworking it.
The second room contains Dibujos en el Agua, 2012/2016 installation that includes an old bowl, five texts and a shelf with several bottles. The bowl filled of water is the support for making different drawings, each one stored in a different bottle. The artist ironizes with the homeopathic possibilities of the drawings, confronting a homeopathic or immaterial art and an allopathic or material art. At the same time, the possibilities of the bowl are limitless, it is an object of objects, where on the same way of the Aleph by Borges, everything converges and it is reflected.
Luis Camnitzer (1937) lives and works in New York. His work has been shown in noted exhibitions and institutions since the 1960s, including individual shows at The Kitchen and El Museo del Barrio, New York, NY; List Visual Arts Center at M.I.T., Cambridge, MA; and Museo Carillo Gil, Mexico City, Mexico. He had recent solo shows at Museo de Arte Moderno, Buenos Aires, Argentina; Museo de Arte Contemporáneo, Santiago, ChileRetrospectives of his work have been presented at Lehman College Art Gallery in the Bronx, NY; Kunsthalle Kiel, Germany; as well as at the Daros Museum in Zurich, Switzerland, El Museo del Barrio, New York, NY; and Museo de Arte Moderno de Medellín, Bogotá, Colombia. His work forms part of the permanent collections of institutions as Tate Modern, Museo Nacional Centro de Arte Reina Sofía, MoMA, Whitney Museum o Museu de Arte Contemporânea de São Paulo.

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