a project in collaboration with: Eloise Hawser. Martin Soto Climent. Patrick Tuttofuoco. Per-Oskar Leu. Lena Henke. Andrea Sala
how to make a delicious tea II
flip presents a project in collaboration with: Eloise Hawser. Martin Soto Climent.
Patrick Tuttofuoco. Per-Oskar Leu. Lena Henke. Andrea Sala
ART METROPOLE. Toronto 18.02 - 16.03. 2012.Opening saturday feb.18. 6:30pm. 788 King St W.
Art Metropole hosts how to make a delicious tea, an ongoing accumulative project, reflecting on artistic production in terms of subtle and layered processes. It extends from the idea of the print, addressing the singularity of the original and implications of reproduction.
The project is the re-representation of an image from an existing work transformed through reprint and shift in materiality. Silk is the support; it refers to changes in material perceptions and alludes to notions of hierarchy. It is this small shift that creates a new object, with a kind of conceptual blurriness, as it hovers between documentation and a ‘new work’.
how to make a delicious tea expands with additional artist collaborations contributing specific work to this process.
flip presents a project in collaboration with: Eloise Hawser. Martin Soto Climent.
Patrick Tuttofuoco. Per-Oskar Leu. Lena Henke. Andrea Sala
ART METROPOLE. Toronto 18.02 - 16.03. 2012.Opening saturday feb.18. 6:30pm. 788 King St W.
Art Metropole hosts how to make a delicious tea, an ongoing accumulative project, reflecting on artistic production in terms of subtle and layered processes. It extends from the idea of the print, addressing the singularity of the original and implications of reproduction. The project is the re-representation of an image from an existing work transformed through reprint and shift in materiality. Silk is the support; it refers to changes in material perceptions and alludes to notions of hierarchy. It is this small shift that creates a new object, with a kind of conceptual blurriness, as it hovers between documentation and a ‘new work’.
how to make a delicious tea expands with additional artist collaborations contributing specific work to this process.
how to make a delicious tea . ARTISSIMA LIDO . Eloise Hawser. Martin Soto Climent. Patrick Tuttofuoco. Per-Oskar Leu
Directing attention to the role of materiality in contemporary art, flip has approached four young, international artists whose practices already engaged with material as vessels for narrative. Recognizing that the material used in the production of art whether pedestrian and industrial or precious and rare are never neutral elements. Flip is curious about how specific materials that have been endowed with value and meaning by way of cultural history can transfer their attributes to the work and objects that they become a part of. Flip has collaborated with the artists in the exhibition How to Make a Delicious Tea in order to select and reproduce images of each artist's previously exhibited works onto silk-hangings. This gesture is at once a documentation, translation and discourse. Four diverse works are each imbued with the intrinsic value of the storied textile of silk and their three-dimensional forms are experienced as two-dimensional emblems. This change in the configuration of each work continues an ongoing conversation in contemporary art and material culture on how value is determined.
- Denise Ryner . Toronto 2011
how to make a delicious tea
.......
flip presents a project in collaboration with:
Eloise Hawser (UK). Martin Soto Climent (Mexico)
Patrick Tuttofuoco (Italy). Per-Oskar Leu (Norway)
Sarah Rose (New Zealand) for video screening hosted
by Artissima Social Club
Artissima 18 – Lido
International Fair of Contemporary Art .Turin
nove. 4-6, nove.3 (preview) .......
invited event for independent art spaces
located in the mediaeval district of the ‘Roman Quadrilateral
Curated by, Christian Frosi, Renato Leotta, and Diego Perrone
.......
how to make a delicious tea reflects on artistic production in terms of subtle and layered processes; as well as methods of material accumulation and juxtapositions. The aim is the re-representation of an image of an existing work transformed through reprint and shift in materiality. Silk is the support: it alludes to notions of hierarchy and predisposed value, also refers to changes in material perception and categorization as it forms to create the ‘art object’.
www.artissima.it/frontend/in-
life jacket under seat - toronto
Alfred Boman. Annabell Chin. Simon Davenport. Federico Del Vecchio. Giulio Delve'. Luca Francesconi
Hannes Michanek. Jacopo Miliani. Othmar Farré. Pennacchio Argentato. Scott Rogers. Sarah Rose
text by: Giorgio Giusti. Matthew Gregory
1Alfred Boman 2Annabell Chin 3Simon Davenport 4Federico Del Vecchio 5Giulio Delve' 6Luca Francesconi
7Hannes Michanek 8Jacopo Miliani 9Othmar Farré 10Pennacchio Argentato 11Scott Rogers 12Sarah Rose
opening: wed. sept. 7, 2011. 7pm
september 7 - 30, 2011 (by appointment)
back alleyway of 326 davenport rd. access from bedford rd. toronto . canada
-----------------------------------------------------------------------------------------------------------------------------------------------
In a world of constant movement and change, what remains of the life of an object? As we pick it
up, leave it, move it, transfer it, into new realms and other worlds. Art objects become part of this
cyclic motion of our contemporary life. As nothing and no one seems to root in a single place.
Stillness implies the end.
The collection at Lifejacket Under Seat questions and reflects this thought. It presents a series of
works collected through our personal exchanges. Each object travelling with us or parallel to us to
form in a single place and depart again from there. The mapped movement of these objects cannot
be fully controlled or predicted.
Lifejacket Under Seat is not a reminder of an emergency situation; rather it is a reminder of a text,
not a subject, which seems to be of frequent repetition as we move.
It is also the inherent part of the practice of each individual artist that has allowed this connection
and exchange to occur. And what remains of these encounters, are objects; objects on the move.
In nature there is no real violence, found there is only brutal growth of quantities and apathetic destruction. Nature adheres only to one principle and that is survival by any means possible – economic efficiency and accumulation of sexual capital. The sole creature of violence is man, created as we were in the image of gods and like theirs our violence knows no bounds. Ours is the reflected violence of divinities. It is the violence of Saturn as he is devouring his sons, that of the Semitic desert-god as he floods the earth or of Shiva the dancer, shining like a thousand suns. Real violence is what nature is not. It is that which has no necessity – the act of doing something purposeless as if it had a purpose. Its principle is concerned with the things that never can emerge from words alone – the rushing of blood and sweat or cries of joy and pain. Animals too, of course, writhes in pain from time to time and some of them even sweat, but unable to affirm these sensations, their violence is but a vulgar shadow. In nature nothing would consume all of its fuel just to watch the fires rise. In nature nothing even fails to reach the perfected, for only man would ever try to venture there. All of our attempts to do so is are abundant luxuries and grandiose sacrifices of all means consumed. In violence we pay tribute to our humanity and we do it by denouncing what is always given – growth and apathy. There is nothing natural in Bomans and Michaneks works, what they do is adding to the friction that is culture. Though not complete apocalypses of their own, they are at least in unprecedented opposition to the natural world. Just as Oppenheimer did when he witnessed the first atomic explosion, they all seem to quote the Bhagavad-Gita “I am become death, the destroyer of worlds.” They are part of that vast, rolling machine that we constitute as a collective, as a species. It is a machine we should care for most tenderly, keep it muscular, sweaty and beautiful, no matter the costs.
Jonatan Ahlm Brenander, 2011
100% FUEL presents two artists Alfred Boman and Hannes Michanek, whose
works are filled with the same momentum conveyed in the title. In both their
practice, the paint is the initiating medium, yet the results extend beyond the
painting. Speed is a differentiating factor in their methods, Boman’s fast and
energetic production in comparison to Michanek’s perseverance; both filled
with adrenalin. Despite the obvious differences in the two works, one important
aspect linking their practice is the extent of their production and consumption.
Saturation is a key principle, whether it is saturating the canvas or the occupied
environment of the installation. There is tension evoked in their production, a
fascination with the man made and the unnatural versus the predisposed idea
of the handmade. The works are accompanied by a text from the Swedish writer
Jonatan Ahlm Brenander, setting the context behind the show.
works are filled with the same momentum conveyed in the title. In both their
practice, the paint is the initiating medium, yet the results extend beyond the
painting. Speed is a differentiating factor in their methods, Boman’s fast and
energetic production in comparison to Michanek’s perseverance; both filled
with adrenalin. Despite the obvious differences in the two works, one important
aspect linking their practice is the extent of their production and consumption.
Saturation is a key principle, whether it is saturating the canvas or the occupied
environment of the installation. There is tension evoked in their production, a
fascination with the man made and the unnatural versus the predisposed idea
of the handmade. The works are accompanied by a text from the Swedish writer
Jonatan Ahlm Brenander, setting the context behind the show.
ancient erotic
--------------------------------------------------------------------------------------------------- april-may 2011
Ancient Erotic initiates a dialogue between two works with corresponding
aesthetic principles. Matthew Gregory's prose-poem, 'The Lobster', is a narrative
excerpt from the life of the French poet Gerard de Nerval, remembered for his
fascination with and empathy for the lobster; keeping one specimen as a kind
of otherworldy, alternative 'pet' to the toy-poodles and chows of 19th century
Paris. The poem is an abstract response to Simon Davenport's film, 'Ancient
Erotic', which enters into conversation with the poem on several frequencies,
texturally, atmospherically, and through a kind of congenital sympathy with the
absurd or the darkly comic.
The work of Simon Davenport, extending beyond these initial parameters, is
essentially explorative, a shifting surface that doesn't seek to encapsulate, or
underline here as a literal illustration, but to dis-cohere, to disjoin elements, and
to rearrange them again in an order all of themselves. In this example, the
elements are analogous with those of the poem - there is a sense of primitive
desolation, incoherence, an unsettling sensuality in the organic world, beyond
language and human order. The sparse videos move through phases of
microactivity, blurring scale and objects, engendering a sense of drama from
their minimal components.
The recitation of the poetry by the poet adds a performative layer to the content,
allowing for a physical moment, a standstill to redirect attention on sounds and
words. The depth of engagement, as with the extent of conversation between
poem and image, is left open.
--------------------------------------------------------------------------------------------------- april-may 2011
Ancient Erotic initiates a dialogue between two works with corresponding
aesthetic principles. Matthew Gregory's prose-poem, 'The Lobster', is a narrative
excerpt from the life of the French poet Gerard de Nerval, remembered for his
fascination with and empathy for the lobster; keeping one specimen as a kind
of otherworldy, alternative 'pet' to the toy-poodles and chows of 19th century
Paris. The poem is an abstract response to Simon Davenport's film, 'Ancient
Erotic', which enters into conversation with the poem on several frequencies,
texturally, atmospherically, and through a kind of congenital sympathy with the
absurd or the darkly comic.
The work of Simon Davenport, extending beyond these initial parameters, is
essentially explorative, a shifting surface that doesn't seek to encapsulate, or
underline here as a literal illustration, but to dis-cohere, to disjoin elements, and
to rearrange them again in an order all of themselves. In this example, the
elements are analogous with those of the poem - there is a sense of primitive
desolation, incoherence, an unsettling sensuality in the organic world, beyond
language and human order. The sparse videos move through phases of
microactivity, blurring scale and objects, engendering a sense of drama from
their minimal components.
The recitation of the poetry by the poet adds a performative layer to the content,
allowing for a physical moment, a standstill to redirect attention on sounds and
words. The depth of engagement, as with the extent of conversation between
poem and image, is left open.
The Lobster
The poet fatigues over scallops on blvd. Saint Germain. His friend, Theophile Gautier, talks
cheerfully about himself. The beard moves up and down. Certain books and men sprout
in that beard but the poet is tired of both. Theophile keeps on. His speaking mind speaks itself
to a sound where there is nobody else. The poet dabs his napkin at a spot on his plate he has
just noticed. One lobster fizzes in the tank after the night’s trade has passed. The poet watches
it raise a strapped claw with effort. Morsels confuse the water and the lobster flicks
a long wand. The poet lets his ear travel across the bistro to listen to the tank. This sensation
of departure is pleasant and water is bubbling sweetly there. His friend is regaling loudly
to himself. The poet has let his mind enter cold water. From his table he holds the thoughts
of the lobster. This poor element is green. Mussels grip their lives tightly. The mind centres
on the white pin of the present. But the poet returns to himself. That’s a poet speaking
for the other. At the table Theophile is speaking with his beard and his hand. The scallops
are cold and Theophile says something ribald in Latin. The waitress picks across the night’s
remainders. The lobster is crying. But the poet returns to himself. That’s a poet speaking
crustacean. That’s a poet speaking into a shell. And listening, for the ocean, speaking French.
Matthew Gregory. flip print 2011
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