A World withOut End, an exhibition in 7 parts.
Curated by Shizico Yi
Rob Burton. ‘Vestiges: Archived Lyviv 2019’ 68cm x 93cm Materials & technique Silk and Cotton fibres, Dye Sublimation Digital Print and Found Objects. 2020
The streets are full of memories. The places we've visited, the friends we've known the objects that tell stories of who we were. In Lyviv we walk through the cemetery where the pictures tell us stories of souls and spirits walking across through the city's past.
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Rob Burton. 'Hauntology: Mourning Shirt' . Three dimensional mixed media found object construction including vintage garment, silk fibre, starch and digital print technologies. 2020
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Rob Burton is a visual artist and critical thinker who explores themes of memory, loss and transformation. In this haunting installation, Hauntology: Mourning Shirt, Burton brings viewers to the understanding that " Death is not an absolute reality. Our souls existed before we were born, and they continue to exist after we die. The souls that have passed on are still with us. We can’t see them, but we sense they are there. We can’t hear them, but we know that they hear us. On the surface, we are apart. Beyond the surface, nothing can separate us." - Rob Burton.
Rob Burton. ‘A Song For Lost Blossoms: Cordelia’ Two dimensional mixed media found object construction including vintage garment, silk fibre, starch and digital print technologies 2020.
Clothes and cloth as material things must be considered in broader ways than a mere semiotic approach suggesting that clothes and textiles are a kind of pseudo language that speaks of identity and belonging, being haptic, emotive and deeply connected to thoughts and feelings. |
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Andres Villa 'Cinemas' is a series comprised of 20 photographs of an abandoned building in Bogota.
"This series of photographs was taken about 4 years ago in the loby of a building that no longer exists. It was a building where there was a multiple room for movie theatres in the centre of the city, they abandoned it in the 90s and when it lost its doors due to abandonment, the loby was filled with advertising posters over time, which for some is visual pollution for me is aesthetic. What inspired me to do this series, is the personal interest I have for the new Italian realism of the 70s and 80s, Villecle, Hains, Rotella, in my thesis I worked on that concept in screen printing and took it up with photography for this series of pictures.
Today the building no longer exists and this series remains as a document." --Andres Villa
Today the building no longer exists and this series remains as a document." --Andres Villa
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Adina Andrus. Assemblage #1. #2. 92x60 cm, cement, copper, fibers, paper and acrylic on paper /each.
“Assemblages“ presents shards of present day life for examination. An “assemblage” is an archaeological term meaning a group of different artifacts found in association with one another, that is, in the same context. The pieces that make up this series were created by collecting discarded materials reminiscent of a particular point in time and space and encasing them in cement which is subsequently broken to reveal these bits of day-to-day life. One assemblage collects the pieces of an experience and organizing and classifying them offers the viewer a glance into and maybe an understanding of it. Photographic images of the spaces referenced in the assemblages are combined with references to archaeological imagery. The pieces are presented in a gridded structure, an attempt at ordering otherwise disparate and temporally and spatially remote experiences.
“Assemblages“ presents shards of present day life for examination. An “assemblage” is an archaeological term meaning a group of different artifacts found in association with one another, that is, in the same context. The pieces that make up this series were created by collecting discarded materials reminiscent of a particular point in time and space and encasing them in cement which is subsequently broken to reveal these bits of day-to-day life. One assemblage collects the pieces of an experience and organizing and classifying them offers the viewer a glance into and maybe an understanding of it. Photographic images of the spaces referenced in the assemblages are combined with references to archaeological imagery. The pieces are presented in a gridded structure, an attempt at ordering otherwise disparate and temporally and spatially remote experiences.
Andres Villa. 'ECCE-HOMO' , Series INK, Transfer prints on canvas. collage, decollage, from visual mass-media(internet) , acrilyc (pva), color pigments
107 x 91 cm. 2019
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Andres Villa '21st Century Schizoid Man' , Series INK Transfer prints on canvas.collage,decollage, from visual mass-media(internet),acrilyc (pva), color pigments 100 x 70cm. 2020
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Quarantine, the world stopped being world to become human, Albert Camus said that the plague brings out the best and worst in society. --Andres Villa
'21st Century Schizoid Man', the title is a song from the first King Crimson album which part of its cover is in the work. When everything was printed they said that the ink holds everything, the representation of the image given to the removing the ink from the paper is making an impression which transfers the ink to the cloth is like the representation of the myth in Plato's cave. Ink has its properties as a material, but the center of everything is the represented image, the semantic charge of each image becomes a symbol (fetish) and it is where semiology becomes the common thread of the concept in representation. ECCE-HOMO is a criticism of the lack of humanity and political will by immigrants from developing countries.
Andres Villa on his Transfers series:
Thanks for the internet and the computer revolution or alienation, the image on the internet is public, it is the fetish of this time, this series is based on existential necessity and my activism in Facebook, for the conservation of the environment and human rights, is my political position marked against neoliberalism, against fascism and in favor of freedom, the dehumanization of the human being by the current political system, also for the preservation of the environment and of all living beings, is a series that denounces politics and social conscience through my personal vision for what I believe and what I feel. Now the representation of this image had to have a material which due to its semantic load to develop this series and the material is the ink of digital printing, when everything was printed they said that the ink holds everything, the representation of the image given to the removing the ink from the paper is making an impression which transfers the ink to the cloth is like the representation of the myth in Plato's cave. Ink has its properties as a material, but the center of everything is the represented image, the semantic charge of each image becomes a symbol (fetish) and it is where semiology becomes the common thread of the concept in representation.
'21st Century Schizoid Man', the title is a song from the first King Crimson album which part of its cover is in the work. When everything was printed they said that the ink holds everything, the representation of the image given to the removing the ink from the paper is making an impression which transfers the ink to the cloth is like the representation of the myth in Plato's cave. Ink has its properties as a material, but the center of everything is the represented image, the semantic charge of each image becomes a symbol (fetish) and it is where semiology becomes the common thread of the concept in representation. ECCE-HOMO is a criticism of the lack of humanity and political will by immigrants from developing countries.
Andres Villa on his Transfers series:
Thanks for the internet and the computer revolution or alienation, the image on the internet is public, it is the fetish of this time, this series is based on existential necessity and my activism in Facebook, for the conservation of the environment and human rights, is my political position marked against neoliberalism, against fascism and in favor of freedom, the dehumanization of the human being by the current political system, also for the preservation of the environment and of all living beings, is a series that denounces politics and social conscience through my personal vision for what I believe and what I feel. Now the representation of this image had to have a material which due to its semantic load to develop this series and the material is the ink of digital printing, when everything was printed they said that the ink holds everything, the representation of the image given to the removing the ink from the paper is making an impression which transfers the ink to the cloth is like the representation of the myth in Plato's cave. Ink has its properties as a material, but the center of everything is the represented image, the semantic charge of each image becomes a symbol (fetish) and it is where semiology becomes the common thread of the concept in representation.
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Guilherme Bergamini. Contrações/Contractions
85% of deliveries are cesarean sections in Brazil; the culture of cesarean section aiming at lower the woman's desire to give birth. Bergamini was able to have the privilege of experiencing this most primitive moment of his wife given birth in their own home, witnessing the 30 hours of contraction with indescribable strength and resistance of the mother, and finally, Malu was born in their room on June 29, 2015. From June 19 to July 10 the same year, Bergamini went to Post Office to send a postcard a day to Malu, in his own words, to bring a simple and childish dialogue to make official and to materialize these moments. Then, in a cardboard box, the main magazines and newspapers of the 29th are kept with these postcards that would be delivered to Malu, his daughter on June 29, 2030, at 8:35 a.m.
85% of deliveries are cesarean sections in Brazil; the culture of cesarean section aiming at lower the woman's desire to give birth. Bergamini was able to have the privilege of experiencing this most primitive moment of his wife given birth in their own home, witnessing the 30 hours of contraction with indescribable strength and resistance of the mother, and finally, Malu was born in their room on June 29, 2015. From June 19 to July 10 the same year, Bergamini went to Post Office to send a postcard a day to Malu, in his own words, to bring a simple and childish dialogue to make official and to materialize these moments. Then, in a cardboard box, the main magazines and newspapers of the 29th are kept with these postcards that would be delivered to Malu, his daughter on June 29, 2030, at 8:35 a.m.