Francis Alÿs Tate Modern 2010 Le Temps du Sommeil
La Ronde by Francis Alÿs
Last week Francis Alÿs: A Story of Deception opened at the Tate Modern. In the first room we are faced with the artwork that inspired the exhibition’s name: a film of a flickering mirage in the Patagonian desert. Water appears to flood across a dusty highway… vanishing into the distance in a hypnotising shimmer. Originally from Belgium, viagra 40mg Alÿs has been a resident of Mexico City since the mid 1980s, sickness although his work often explores the politics of a worldwide diaspora. Each room encapsulates a particular project, remedy often showcasing the original source material, such as news clippings, and the tiny but beautifully formed oil paintings that Alÿs produces alongside films and other ephemera.
news clippings collected by Francis Alÿs.
Life in teeming Mexico City has provided rich material to plunder – especially in the constant walking walking walking of the city’s street vendors, echoed in the delicate collages displayed in a light box – and the casual violence which Alÿs imitates by carrying his own gun on prominent display through the streets (in Re-enactments) until he is arrested.
collaged images by Francis Alÿs, featuring ambulantes.
Paradox of Praxis 1 (Sometimes Doing Something Leads to Nothing) is one of the most famous pieces created by Alÿs. In it Alÿs pushes a block of ice around the streets until it is completely melted. Constant movement is a constant theme: whether kicking a can endlessly around the streets (a performance that ended when the absorbed Alÿs stepped in front of a car) leading sheep in a circle or pouring green paint out of a can to retrace the armistice border between Israel and Jordan.
Still from Paradox of Praxis by Francis Alÿs.
Still from The Loop by Francis Alÿs.
Still from The Green Line by Francis Alÿs.
Through all his methods of creation Alÿs never reaches a single point of resolution, an idea which is explored in the Rehearsal series, wherein a Beetle car is driven up a hill to the tune of a brass band, rolling backwards every time the music reaches a pause, much like Latin American modernisation, which always seems to find some reason for delay.
Alÿs questions the role of the artist in the political, transforming everyday objects into new roles. Half way through the exhibition the floor of a room is covered with rubber car mats decorated with a pop art graphic of a silenced mouth, and Camguns are created out of scrap wood, metal and film canisters. Since 2000 Alÿs has been throwing himself into the eye of the tornadoes that he chases through the countryside, seeing in these natural phenomena an echo of political chaos. If peace is found in the centre will it be possible for change?
Some of the newest work by Alÿs revolves around the concept of the tornado, implosions and explosions – a work in progress which is presented complete with post it notes on a wall in the last room. Some of the beautiful oils in this collection echo the delicate work of ongoing series Le Temps du Sommeil, which features 111 miniature oil paintings on recycled wood that feature dreamlike scenes reminiscent of the actions that crop up time and again in his other work. Not only does Alÿs enjoy the privacy of working in a traditional medium, he also uses the money from the sales of such paintings to finance his larger and less houseworthy projects.
A must see exhibition for anyone with an interest in how multimedia can be to used to effectively tackle difficult political subjects. It runs until 5th September 2010.
La Ronde by Francis Alÿs
Last week Francis Alÿs: A Story of Deception opened at the Tate Modern. In the first room we are faced with the artwork that inspired the exhibition’s name: a film of a flickering mirage in the Patagonian desert. Water appears to flood across a dusty highway… vanishing into the distance in a hypnotising shimmer. Originally from Belgium, try Alÿs has been a resident of Mexico City since the mid 1980s, cheapest although his work often explores the politics of a worldwide diaspora. Each room encapsulates a particular project, often showcasing the original source material, such as news clippings, and the tiny but beautifully formed oil paintings that Alÿs produces alongside films and other ephemera.
news clippings collected by Francis Alÿs.
Life in teeming Mexico City has provided rich material to plunder – especially in the constant walking walking walking of the city’s street vendors, echoed in the delicate collages displayed in a light box – and the casual violence which Alÿs imitates by carrying his own gun on prominent display through the streets (in Re-enactments) until he is arrested.
collaged images by Francis Alÿs, featuring ambulantes.
Paradox of Praxis 1 (Sometimes Doing Something Leads to Nothing) is one of the most famous pieces created by Alÿs. In it Alÿs pushes a block of ice around the streets until it is completely melted. Constant movement is a constant theme: whether kicking a can endlessly around the streets (a performance that ended when the absorbed Alÿs stepped in front of a car) leading sheep in a circle or pouring green paint out of a can to retrace the armistice border between Israel and Jordan.
Still from Paradox of Praxis by Francis Alÿs.
Still from The Loop by Francis Alÿs.
Still from The Green Line by Francis Alÿs.
Through all his methods of creation Alÿs never reaches a single point of resolution, an idea which is explored in the Rehearsal series, wherein a Beetle car is driven up a hill to the tune of a brass band, rolling backwards every time the music reaches a pause, much like Latin American modernisation, which always seems to find some reason for delay.
Stills from Rehearsal by Francis Alÿs.
Alÿs questions the role of the artist in the political, transforming everyday objects into new roles. Half way through the exhibition the floor of a room is covered with rubber car mats decorated with a pop art graphic of a silenced mouth, and Camguns are created out of scrap wood, metal and film canisters. Since 2000 Alÿs has been throwing himself into the eye of the tornadoes that he chases through the countryside, seeing in these natural phenomena an echo of political chaos. If peace is found in the centre will it be possible for change?
Silencio by Francis Alÿs.
Camguns by Francis Alÿs.
Some of the newest work by Alÿs revolves around the concept of the tornado, implosions and explosions – a work in progress which is presented complete with post it notes on a wall in the last room. Some of the beautiful oils in this collection echo the delicate work of ongoing series Le Temps du Sommeil, which features 111 miniature oil paintings on recycled wood that feature dreamlike scenes reminiscent of the actions that crop up time and again in his other work. Not only does Alÿs enjoy the privacy of working in a traditional medium, he also uses the money from the sales of such paintings to finance his larger and less houseworthy projects.
Details from Le Temps du Sommeil by Francis Alÿs.
A must see exhibition for anyone with an interest in how multimedia can be to used to effectively tackle difficult political subjects. It runs until 5th September 2010.
La Ronde by Francis Alÿs
Last week Francis Alÿs: A Story of Deception opened at the Tate Modern. In the first room we are faced with the artwork that inspired the exhibition’s name: a film of a flickering mirage in the Patagonian desert. Water appears to flood across a dusty highway… vanishing into the distance in a hypnotising shimmer. Originally from Belgium, this web Alÿs has been a resident of Mexico City since the mid 1980s, information pills although his work often explores the politics of a worldwide diaspora. Each room encapsulates a particular project, often showcasing the original source material, such as news clippings, and the tiny but beautifully formed oil paintings that Alÿs produces alongside films and other ephemera.
news clippings collected by Francis Alÿs.
Life in teeming Mexico City has provided rich material to plunder – especially in the constant walking walking walking of the city’s street vendors, echoed in the delicate collages displayed in a light box – and the casual violence which Alÿs imitates by carrying his own gun on prominent display through the streets (in Re-enactments) until he is arrested.
collaged images by Francis Alÿs, featuring ambulantes.
Paradox of Praxis 1 (Sometimes Doing Something Leads to Nothing) is one of the most famous pieces created by Alÿs. In it Alÿs pushes a block of ice around the streets until it is completely melted. Constant movement is a constant theme: whether kicking a can endlessly around the streets (a performance that ended when the absorbed Alÿs stepped in front of a car) leading sheep in a circle or pouring green paint out of a can to retrace the armistice border between Israel and Jordan.
Still from Paradox of Praxis by Francis Alÿs.
Still from The Loop by Francis Alÿs.
Still from The Green Line by Francis Alÿs.
Through all his methods of creation Alÿs never reaches a single point of resolution, an idea which is explored in the Rehearsal series, wherein a Beetle car is driven up a hill to the tune of a brass band, rolling backwards every time the music reaches a pause, much like Latin American modernisation, which always seems to find some reason for delay.
Stills from Rehearsal by Francis Alÿs.
Alÿs questions the role of the artist in the political, transforming everyday objects into new roles. Half way through the exhibition the floor of a room is covered with rubber car mats decorated with a pop art graphic of a silenced mouth, and Camguns are created out of scrap wood, metal and film canisters. Since 2000 Alÿs has been throwing himself into the eye of the tornadoes that he chases through the countryside, seeing in these natural phenomena an echo of political chaos. If peace is found in the centre will it be possible for change?
Silencio by Francis Alÿs.
Camguns by Francis Alÿs.
Some of the newest work by Alÿs revolves around the concept of the tornado, implosions and explosions – a work in progress which is presented complete with post it notes on a wall in the last room. Some of the beautiful oils in this collection echo the delicate work of ongoing series Le Temps du Sommeil, which features 111 miniature oil paintings on recycled wood that feature dreamlike scenes reminiscent of the actions that crop up time and again in his other work. Not only does Alÿs enjoy the privacy of working in a traditional medium, he also uses the money from the sales of such paintings to finance his larger and less houseworthy projects.
Details from Le Temps du Sommeil by Francis Alÿs.
A must see exhibition for anyone with an interest in how multimedia can be to used to effectively tackle difficult political subjects. It runs until 5th September 2010.
La Ronde by Francis Alÿs
Last week Francis Alÿs: A Story of Deception opened at the Tate Modern. In the first room we are faced with the artwork that inspired the exhibition’s name: a film of a flickering mirage in the Patagonian desert. Water appears to flood across a dusty highway… vanishing into the distance in a hypnotising shimmer. Originally from Belgium, recipe Alÿs has been a resident of Mexico City since the mid 1980s, healing although his work often explores the politics of a worldwide diaspora. Each room encapsulates a particular project, this often showcasing the original source material, such as news clippings, and the tiny but beautifully formed oil paintings that Alÿs produces alongside films and other ephemera.
news clippings collected by Francis Alÿs.
Life in teeming Mexico City has provided rich material to plunder – especially in the constant walking walking walking of the city’s street vendors, echoed in the delicate collages displayed in a light box – and the casual violence which Alÿs imitates by carrying his own gun on prominent display through the streets (in Re-enactments) until he is arrested.
collaged images by Francis Alÿs, featuring ambulantes.
Paradox of Praxis 1 (Sometimes Doing Something Leads to Nothing) is one of the most famous pieces created by Alÿs. In it Alÿs pushes a block of ice around the streets until it is completely melted. Constant movement is a constant theme: whether kicking a can endlessly around the streets (a performance that ended when the absorbed Alÿs stepped in front of a car) leading sheep in a circle or pouring green paint out of a can to retrace the armistice border between Israel and Jordan.
Still from Paradox of Praxis by Francis Alÿs.
Still from The Loop by Francis Alÿs.
Still from The Green Line by Francis Alÿs.
Through all his methods of creation Alÿs never reaches a single point of resolution, an idea which is explored in the Rehearsal series, wherein a Beetle car is driven up a hill to the tune of a brass band, rolling backwards every time the music reaches a pause, much like Latin American modernisation, which always seems to find some reason for delay.
Stills from Rehearsal by Francis Alÿs.
Alÿs questions the role of the artist in the political, transforming everyday objects into new roles. Half way through the exhibition the floor of a room is covered with rubber car mats decorated with a pop art graphic of a silenced mouth, and Camguns are created out of scrap wood, metal and film canisters. Since 2000 Alÿs has been throwing himself into the eye of the tornadoes that he chases through the countryside, seeing in these natural phenomena an echo of political chaos. If peace is found in the centre will it be possible for change?
Silencio by Francis Alÿs.
Camguns by Francis Alÿs.
Some of the newest work by Alÿs revolves around the concept of the tornado, implosions and explosions – a work in progress which is presented complete with post it notes on a wall in the last room. Some of the beautiful oils in this collection echo the delicate work of ongoing series Le Temps du Sommeil, which features 111 miniature oil paintings on recycled wood that feature dreamlike scenes reminiscent of the actions that crop up time and again in his other work. Not only does Alÿs enjoy the privacy of working in a traditional medium, he also uses the money from the sales of such paintings to finance his larger and less houseworthy projects.
Details from Le Temps du Sommeil by Francis Alÿs.
Worth it to see these paintings alone, this is a must see exhibition for anyone with an interest in how multimedia can be to used to effectively tackle difficult political subjects. It runs until 5th September 2010.
Vivienne Westwood, viagra 100mg illustrated by Kerry Lemon
While things like free booze and miniature pies are thoroughly good perks of a fashion week, buy information pills it is also completely inevitable that you somehow manage to end up with hundreds of bits of paper and about six half-drunk bottles of water rolling around in your bag, and sure enough by the time I reached the Ravensbourne show I had unwittingly acquired three in the space of forty five minutes. Out of all the shows at Graduate Fashion Week, Ravensbourne is the hottest ticket – so hot, in fact, that only Vivienne bloody Westwood was in the audience. We found out afterwards that she’s working on a climate change television project with the college’s media course and went to support the fashion students. Her presence proved a bit of a personal distraction during the show and I seemed less concerned about what I was thinking than what she was thinking. It was a bit difficult to tell though.
Judging by the pleasantly psychotic combinations of ideas on show one can only presume that the class of Ravensbourne BA 2010 took a trip to the zoo on a cocktail of hallucinogens and then sat down to design their collections. With the extensive parade of animals on show it was like the four-footed refugees of Noah’s Ark had washed up on the beaches of Graduate Fashion Week – after a more muted and minimalist BA show from Central St Martins, it was a eye-popping joy to watch, with cartoons and pop art emerging as other pungent themes. The show was opened by Bobby Charles Abley with a menswear collection that proved children’s cartoons and bondage need not be two mutually alienating concepts, even if they are more than a little disturbing when thrown together. Speech bubble printed trousers, stuffed teddy bears and hoods with animal ears were paired with bondage straps in innocuous looking primary colours.
While Ravensbourne is particularly well known for producing amazing digital prints, Sera Ulger’s womenswear collection featured beautifully hand painted animal motifs on silk, featuring a crow, a lemur, a tarsier and an owl with its eyes in suggestive places on a selection of mohair dresses.
Ravensbourne took the Menswear Award for the second year in a row with Thomas Crisp’s elegantly tailored collection of leather and velvet jackets, based on Parisian street gangs in the late 1800s.
Amy Addison’s designs featured digital prints, miniskirts, thigh high socks and sleeves ending in boxing gloves…
…while Jessica Holmes’s cocktail dresses were emblazoned with ducks and Dumbos.
We’ve also come to expect a lot of accomplished knitwear. Harriet Clinch’s retro knitwear was basically a walking seventies ski lodge – simple jumpers and a star-spangled poncho with a vast selection of different knits thrown into the mix – stripes, bobbles, fair isle and cables, accessorised with sheepskin oven mitts and even a knitted camera.
photographs courtesy of catwalking.com
Categories ,1800s, ,Amy Addison, ,Bobby Charles Abley, ,cartoons, ,Central Saint Martins, ,Climate Change, ,Digital Prints, ,ducks, ,Earls Court, ,fashion, ,Graduate Fashion Week 2010, ,Harriet Clinch, ,knitwear, ,london, ,menswear, ,Pop Art, ,ravensbourne, ,Sera Ulger, ,Ski, ,Teddy Bears, ,Thomas Crisp, ,Velvet, ,Womenswear
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