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<td>exhibitions
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<td>exhibitions
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<td>settembre 2013<!--data-->
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<td>settembre 2013<!--data-->
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FACELESS PART I<!--title-->
<br />
quartier21 museumsquartier _ wien (AU)
artisti _ marina abramović, jeremy bailey, jonathan barnbrook for david bowie, thorsten brinkmann, caron geary aka feral is kinky, hrafnhildur gissurardóttir, david haines, katsuya kamo for junya watanabe comme des garçons, ute klein, nienke klunder, maison martin margiela, slava mogutin, gareth pugh, raf simons, mustafa sabbagh, bryan lewis saunders, jun takahashi for undercover, maiko takeda, viktor & rolf, bernhard willhelm & more
cura _ bogomir doringer e brigitte felderer
Faceless part I presenta opere contemporanee dal mondo dell'arte e della moda all'interno delle quali I volti sono nascosti, trasformati, mascherati. Oltre ad un centinaio di lavori di artisti tra cui Marina Abramović, Thorsten Brinkmann, Asger Carlsen, Shahram Entekhabi, David Haines, Ren Hang, Ute Klein, Nienke Klunder, Manu Luksch, Slava Mogutin, Mustafa Sabbagh, Jan Stradtmann, e Levi van Veluw, la mostra include maschere di designers del calibro di Maison Martin Margiela, Jun Takahashi for Undercover, e Katsuya Kamo for Junya Watanabe's Comme des Garçons.
Per l'artista Bogomir Doringer, curatore della mostra assieme a Brigitte Felderer della University of Applied Arts di Vienna, la mostra ha preso origine principalmente dalle conseguenze sociopolitiche successive all'11 Settembre. Come il valore dell'identificabilità facciale è aumentato, forme e rappresentazioni astratte dei volti si sono simultaneamente impossessate di larga parte della produzione artistica contemporanea. “La nostra identità instabile anela ad un ritorno alla maschera”, dice Doringer. “Come nelle epoche passate, siamo attratti dall'indossare maschere come forma di protezione, di mimetizzazione, come sostegno, o per puro intrattenimento”.
“I volti grotteschi attraverso i quali i media ci bombardano non attaccano solo il nostro ego; non solo ci destabilizzano con riflessi differenti; ma soprattutto ci imprigionano in un eccessivo autocontrollo”, dice Brigitte Felderer. “Essi hanno già da tempo lasciato solchi profondi, incisi in modo indelebile nell'onnipotente web. Eternalizzati nei ‘libri di facce', ci siamo resi rintracciabili, identificabili. Conseguentemente, ogni nostro progetto, ogni nostro desiderio è stato rivelato, e peggio ancora divulgato ad enti di controllo tanto legali, quanto segreti. Una volta affiorati, diventa impossibile rendersi invisibili. Faceless esplora le varie strategie ed i differenti progetti di rivolta e di riappropriazione del potere personale che, di fronte a standard così devastanti, non riusciremo mai più pienamente a soddisfare”.
The exhibition FACELESS part 1 presents contemporary works from the worlds of art and fashion in which faces are hidden, transformed or masked. In addition to some one hundred works by artists including Marina Abramović, Thorsten Brinkmann, Asger Carlsen, Shahram Entekhabi, David Haines, Ren Hang, Ute Klein, Nienke Klunder, Manu Luksch, Slava Mogutin, Mustafa Sabbagh, Jan Stradtmann, and Levi van Veluw, the show features masks by designers like Maison Martin Margiela, Jun Takahashi for Undercover, and Katsuya Kamo for Junya Watanabe's Comme des Garçons.
For artist Bogomir Doringer (SRB/NED), curator of the exhibition together with Brigitte Felderer from the University of Applied Arts Vienna, the exhibition was chiefly inspired by thesociopolitical consequences of 9/11. As the value of facial identifiability has risen, abstracted forms and representations of faces have become increasingly common in artistic production. “Our unstable identity yearns for a return to the mask”, says Doringer. “Like in times past, we are attracted to wearing masks as a form of protection or camouflage, as a prop, or just for entertainment”.
“The grotesque faces the media bombards us with not only affect our sense of self, not only confront us with unequal reflections, but also ensnare us in excessive self-control”, says Brigitte Felderer. “They have long since left marks that are indelibly engraved in the almighty web. Eternalized in the book of faces, we become findable, identifiable. Ultimately, all our projections and desires are revealed, and worse yet are divulged to entities of control both legal and secret. We emerge and can never disappear from view again. ‘FACELESS' explores the various strategies and projects of revolt and self-empowerment in the face of these overpowering standards we can never satisfy”.
<br />
quartier21 museumsquartier _ wien (AU)
artisti _ marina abramović, jeremy bailey, jonathan barnbrook for david bowie, thorsten brinkmann, caron geary aka feral is kinky, hrafnhildur gissurardóttir, david haines, katsuya kamo for junya watanabe comme des garçons, ute klein, nienke klunder, maison martin margiela, slava mogutin, gareth pugh, raf simons, mustafa sabbagh, bryan lewis saunders, jun takahashi for undercover, maiko takeda, viktor & rolf, bernhard willhelm & more
cura _ bogomir doringer e brigitte felderer
Faceless part I presenta opere contemporanee dal mondo dell'arte e della moda all'interno delle quali I volti sono nascosti, trasformati, mascherati. Oltre ad un centinaio di lavori di artisti tra cui Marina Abramović, Thorsten Brinkmann, Asger Carlsen, Shahram Entekhabi, David Haines, Ren Hang, Ute Klein, Nienke Klunder, Manu Luksch, Slava Mogutin, Mustafa Sabbagh, Jan Stradtmann, e Levi van Veluw, la mostra include maschere di designers del calibro di Maison Martin Margiela, Jun Takahashi for Undercover, e Katsuya Kamo for Junya Watanabe's Comme des Garçons.
Per l'artista Bogomir Doringer, curatore della mostra assieme a Brigitte Felderer della University of Applied Arts di Vienna, la mostra ha preso origine principalmente dalle conseguenze sociopolitiche successive all'11 Settembre. Come il valore dell'identificabilità facciale è aumentato, forme e rappresentazioni astratte dei volti si sono simultaneamente impossessate di larga parte della produzione artistica contemporanea. “La nostra identità instabile anela ad un ritorno alla maschera”, dice Doringer. “Come nelle epoche passate, siamo attratti dall'indossare maschere come forma di protezione, di mimetizzazione, come sostegno, o per puro intrattenimento”.
“I volti grotteschi attraverso i quali i media ci bombardano non attaccano solo il nostro ego; non solo ci destabilizzano con riflessi differenti; ma soprattutto ci imprigionano in un eccessivo autocontrollo”, dice Brigitte Felderer. “Essi hanno già da tempo lasciato solchi profondi, incisi in modo indelebile nell'onnipotente web. Eternalizzati nei ‘libri di facce', ci siamo resi rintracciabili, identificabili. Conseguentemente, ogni nostro progetto, ogni nostro desiderio è stato rivelato, e peggio ancora divulgato ad enti di controllo tanto legali, quanto segreti. Una volta affiorati, diventa impossibile rendersi invisibili. Faceless esplora le varie strategie ed i differenti progetti di rivolta e di riappropriazione del potere personale che, di fronte a standard così devastanti, non riusciremo mai più pienamente a soddisfare”.
The exhibition FACELESS part 1 presents contemporary works from the worlds of art and fashion in which faces are hidden, transformed or masked. In addition to some one hundred works by artists including Marina Abramović, Thorsten Brinkmann, Asger Carlsen, Shahram Entekhabi, David Haines, Ren Hang, Ute Klein, Nienke Klunder, Manu Luksch, Slava Mogutin, Mustafa Sabbagh, Jan Stradtmann, and Levi van Veluw, the show features masks by designers like Maison Martin Margiela, Jun Takahashi for Undercover, and Katsuya Kamo for Junya Watanabe's Comme des Garçons.
For artist Bogomir Doringer (SRB/NED), curator of the exhibition together with Brigitte Felderer from the University of Applied Arts Vienna, the exhibition was chiefly inspired by thesociopolitical consequences of 9/11. As the value of facial identifiability has risen, abstracted forms and representations of faces have become increasingly common in artistic production. “Our unstable identity yearns for a return to the mask”, says Doringer. “Like in times past, we are attracted to wearing masks as a form of protection or camouflage, as a prop, or just for entertainment”.
“The grotesque faces the media bombards us with not only affect our sense of self, not only confront us with unequal reflections, but also ensnare us in excessive self-control”, says Brigitte Felderer. “They have long since left marks that are indelibly engraved in the almighty web. Eternalized in the book of faces, we become findable, identifiable. Ultimately, all our projections and desires are revealed, and worse yet are divulged to entities of control both legal and secret. We emerge and can never disappear from view again. ‘FACELESS' explores the various strategies and projects of revolt and self-empowerment in the face of these overpowering standards we can never satisfy”.
<img src="file:///Works/Mustafa Sabbagh/Exhibitions/photo_preview.jpg" width="900px" height="645px" />
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