View allAll Photos Tagged Recontextualization
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
Copyright Kapitan Curtis
University Of Manitoba
Beautiful Sarah
This project was for a fine art class (Visual Language Studies) assignment involving the recontextualization of art. I chose the element of time as my aspect to rethink. Somewhere in this series the element of time is altered, I'll leave that to the viewer to discover. Additionally, on a technical note these portraits have been colored and airbrushed similarly to how Disney studios would prepare actors for a feature film. This is a form of concept art.
Nikon D70s & Carl Zeiss Lenses
Adobe Lightroom 2
Golden Nica u19 – CREATE YOUR WORLD
“Femme Chanel – Emma Fenchel” is a video that very elegantly sequentializes and recontextualizes found footage—that is, elements of previously existing films. The points of departure were “Night Train,” a commercial for Chanel No. 5 perfume, and feature films starring actress Audrey Tautou. “Emma Fenchel” consists primarily of cuts interconnecting formally well-matched sequences from other motion pictures.
Credit: tom mesic
Layer by Layer: Revelation of Process
Showing Sept. 19 - Oct. 8 at St. Edward's University Fine Art gallery.
TodaysArt
Theater aan het Spui, Den Haag 2012
TodaysArt presenteert in samenwerking met Nippon Television Europe (NTVE) een Japans gericht programma binnen het festival. Naast ‘Open Reel Ensemble’ presenteert Ei Wada ook zijn solo ‘Braun Tube Jazz Band’, een unieke audiovisuele performance waarin hij gebruik maakt van zijn lichaam en 12 oude CRT-televisies. Hij gebruikt het elektromagnetische veld van de TV’s om licht in geluid te veranderen en manipuleert het geluid door de TV’s te transformeren in percussie instrumenten en synthesizers.
In collaboration with Nippon Television Europe (NTVE), TodaysArt has created a program that focuses on Japan. After composing a number of musical pieces Ei Wada (b. 1987) subsequently switched his attention to outmoded electrical appliances, interested in their supposed obsolescence. He recontextualized and modified them to be played as musical instruments. In addition to ‘Open Reel Ensemble’, Ei Wada presents his solo ‘Braun Tube Jazz Band’, a unique audiovisual performance in which he uses his body and 12 old CRT televisions. He uses the electromagnetic field of the TVs to change light into sound and manipulates the sounds by turning the TVs into percussion instruments and synthesizers. Braun Tube Jazz Band won the 'Art Division Excellence Prize' at the 13th Japan Media Arts Festival.
“Femme Chanel – Emma Fenchel” is a video that very elegantly sequentializes and recontextualizes found footage—that is, elements of previously existing films. The points of departure were “Night Train,” a commercial for Chanel No. 5 perfume, and feature films starring actress Audrey Tautou.
Credit: tom mesic
Becky Forsythe has been making plans for a future exhibition inspired by the artist and naturalist known as Petra, who spent decades collecting stones and minerals from the mountains in Stöðvarfjörður, Iceland. Camila Sposati has been reflecting on the various “extractions” of a residency and exhibition that took place in the Amazon in 2004, gradually turning them into a script for a play. Becky and Camila are collaborating for this event on a procedural work using the library photocopier on the main floor (Receding Agate and Rhodochrosite). On the upper floor, they present two further collaborations via the media of “chairs and view” – Looking at the mountains and The mountain at my back – that recontextualize the interior space with respect to vistas of Mt Bourgeau, the Massive Range, Pilot Mountain, and so on.
Photo: Latitudes | www.lttds.org
More info: www.lttds.org/projects/geologictime/
Play Offs, Installation view I
works by Dario Escobar
Dario Escobar is known for his sculptural recontextualization of everyday objects. Born in Guatemala, his Catholic background and interest in local history became sources of inspiration for a body of work that combines mass-produced objects, craft techniques, and religious iconography. Born in Guatemala, he lives and works in Guatemala City. He has exhibited widely in galleries, museums and biennials in Latin America, North America and Europe, recent exhibitions include: Poetics of the Handmade, The Museum of Contemporary Art, Los Angeles, CA (2007); La Linea Interrumpida, Centro Cultural Metropolitano, Guatemala City, Guatemala (2007); The Hours: Visual Arts of Contemporary Latin America, Dublin Museum, Ireland (2005) and Museum of Contemporary Art, Sydney, Australia (2007). He will have a solo exhibition at Josée Bienvenu gallery, New York in spring 2008. In summer 2008, he will also be included in the group exhibition World Histories at the Des Moines Art Center, Des Moines, IA.
Peter Goin says, ignorance is not the path to originality. This is why we research before every photography project. However, every so often, when I do my research I start feeling defeated. I think that everything has been done before, and that I have nothing new to contribute to the history of art. There have been so many artists throughout history, many of which have never even made it into the history books. For the most part I understand why the artists in my art history books are in there, but why were they canonized and not someone doing the same type of work, why aren’t there more women, and who chooses who makes it and who doesn’t? I feel like these canonized “masters” are put up on a pedestal and worshiped. With this project I want to show that these “masterpiece” paintings shouldn’t be taken so seriously and at the same time I want to elevate photography to the hierarchical level of painting. Since the invention of photography, photographers have been considered mere technicians of a machine and not artists. In an attempt to prove that I’m an artist I made my photographs more painterly and showed the hand of the artist by using body painting to recreate and recontextualize some of the canonized paintings that have really stuck out to me, done by artists that I respect.
This is an examination into the potential of an integration of the methods of landscape architecture and architecture into design to create a sense of place.
The thesis project is set within East - Central Illinois, using the program of housing. How can suburban housing and landscapes be affected by a process that integrates architecture and landscape architecture?
Recontextualizing this for the present, this project at the time was a critique of Neo-traditional development and is now a critique of sustainability - both for being too abstract to respond to the local.
So familiar... but what is this? Mixing comedy with tragedy, Nathan Mabry's "Process Art (B-E-A-G-G-R-E-S-S-I-V-E)" is a mash-up of Rodin's "The Burghers of Calais" with the heads of sports team mascots (mask-arts?). Mabry refers to this work as "recontextualized metaphor". Striking, alarming and humorous... See MY mash-up photo next door (stage left 2X).
This installation is at the Savannah College of Art & Design Museum of Art: www.scadmoa.org/art/exhibitions/2014/nathan-mabry-sculptu....
Nathan Mabry's bio and examples of his other works can be found here: www.skny.com/artists/nathan-mabry/bio/..
More about Mabry and "The Burghers of Calais": www.cherryandmartin.com/content/File/NM_1304_StarTelegram....
Peter Goin says, ignorance is not the path to originality. This is why we research before every photography project. However, every so often, when I do my research I start feeling defeated. I think that everything has been done before, and that I have nothing new to contribute to the history of art. There have been so many artists throughout history, many of which have never even made it into the history books. For the most part I understand why the artists in my art history books are in there, but why were they canonized and not someone doing the same type of work, why aren’t there more women, and who chooses who makes it and who doesn’t? I feel like these canonized “masters” are put up on a pedestal and worshiped. With this project I want to show that these “masterpiece” paintings shouldn’t be taken so seriously and at the same time I want to elevate photography to the hierarchical level of painting. Since the invention of photography, photographers have been considered mere technicians of a machine and not artists. In an attempt to prove that I’m an artist I made my photographs more painterly and showed the hand of the artist by using body painting to recreate and recontextualize some of the canonized paintings that have really stuck out to me, done by artists that I respect.
From the museum label:
Love, Queen, Adam Pendleton's (b. Richmond, Virginia, 1984; lives in Brooklyn, New York) first solo exhibition in Washington, DC, brings together recent works to highlight the centrality of painting, as well as the translation and transformation of the handmade mark, in his practice. Since he began making art in the early 2000s, Pendleton has developed an expansive approach to art-making that employs gesture, fragment, text, and image to recontextualize histories of painting, abstraction, Blackness, and the historical avant-garde. Deploying collage as model and method, Pendleton places traditionally separate ideas and processes in close proximity, creating a fluid state that opens up new spaces for seeing and thinking.
Love, Queen includes paintings from five bodies of work: Black Dada, Untitled (Days), WE ARE NOT, Composition, and Movement. Challenging convention through their blurring of distinctions among painting, photography, and drawing, Pendleton's visually active and spatially complex paintings give visual form to what the artist describes as the "complex real"—the onslaught of sensory phenomena and often contradictory information that defines contemporary experience.
His painting process begins on paper by exploring the full breadth of mark-making. He layers paint, spray paint, ink, and watercolor, integrating fragmentary text and geometric forms through stenciling techniques. These works on paper are photographed and then layered using a screen-printing process. The resulting paintings—simultaneously expressionistic, minimal, and conceptually rich—feature both stark contrasts and subtle variations in tone and finish. They are a tangible manifestation of his belief in painting as a powerful "visual and conceptual force."
Becky Forsythe has been making plans for a future exhibition inspired by the artist and naturalist known as Petra, who spent decades collecting stones and minerals from the mountains in Stöðvarfjörður, Iceland. Camila Sposati has been reflecting on the various “extractions” of a residency and exhibition that took place in the Amazon in 2004, gradually turning them into a script for a play. Becky and Camila are collaborating for this event on a procedural work using the library photocopier on the main floor (Receding Agate and Rhodochrosite). On the upper floor, they present two further collaborations via the media of “chairs and view” – Looking at the mountains and The mountain at my back – that recontextualize the interior space with respect to vistas of Mt Bourgeau, the Massive Range, Pilot Mountain, and so on.
Photo: Latitudes | www.lttds.org
More info: www.lttds.org/projects/geologictime/
The pilot stage of Actors of Urban Change has come to an end, and yet it is the beginning of a beautiful friendship since Actors has already become a vivid network of commited people.
From May 8 to 11, the Participants of the first generation and local guest from the participating cities came again to Berlin to celebrate and show their achievements during the Closing Ceremony in the representative office of the Robert Bosch Stiftung.
This was following in depth workshops, evaluating the respective developments within the teams, projects and the program, which were carried out on the premises of the ZKU - Zentrum für Kunst und Urbanistik.
Getting back to real urban challenges, May 10, was filled with three field trips in different districts of the city to recontextualize the Berlin experience.
More information at actors-of-urban-change.eu.
Photo by Panos Georgiou
Play Offs, Installation view II
works by Dario Escobar
Dario Escobar is known for his sculptural recontextualization of everyday objects. Born in Guatemala, his Catholic background and interest in local history became sources of inspiration for a body of work that combines mass-produced objects, craft techniques, and religious iconography. Born in Guatemala, he lives and works in Guatemala City. He has exhibited widely in galleries, museums and biennials in Latin America, North America and Europe, recent exhibitions include: Poetics of the Handmade, The Museum of Contemporary Art, Los Angeles, CA (2007); La Linea Interrumpida, Centro Cultural Metropolitano, Guatemala City, Guatemala (2007); The Hours: Visual Arts of Contemporary Latin America, Dublin Museum, Ireland (2005) and Museum of Contemporary Art, Sydney, Australia (2007). He will have a solo exhibition at Josée Bienvenu gallery, New York in spring 2008. In summer 2008, he will also be included in the group exhibition World Histories at the Des Moines Art Center, Des Moines, IA.
Play Offs, Installation view III
works by Dario Escobar
Dario Escobar is known for his sculptural recontextualization of everyday objects. Born in Guatemala, his Catholic background and interest in local history became sources of inspiration for a body of work that combines mass-produced objects, craft techniques, and religious iconography. Born in Guatemala, he lives and works in Guatemala City. He has exhibited widely in galleries, museums and biennials in Latin America, North America and Europe, recent exhibitions include: Poetics of the Handmade, The Museum of Contemporary Art, Los Angeles, CA (2007); La Linea Interrumpida, Centro Cultural Metropolitano, Guatemala City, Guatemala (2007); The Hours: Visual Arts of Contemporary Latin America, Dublin Museum, Ireland (2005) and Museum of Contemporary Art, Sydney, Australia (2007). He will have a solo exhibition at Josée Bienvenu gallery, New York in spring 2008. In summer 2008, he will also be included in the group exhibition World Histories at the Des Moines Art Center, Des Moines, IA.
REFF, FakePress, AOS and Ossigeno
present
REFF on tour
Ancona, Osimo, Macerata
REFF on tour
REFF on tour
30-31 marzo 2011
Just back from London REFF, the fake institution promoting from 2009 cultural policies, artworks and technologied inspired to the systhematic reinvention of reality, will arrive in Marche (Italy)
Thanks to the collaboration of Ossigeno, REFF A/R Youth Program, the special program in Education & Learning dedicated to yung gneration, will be presented in public shool, Academias and Universities of Ancona, Osimo and Macerata cities.
Everyones – students, professors, citizens – will have the possibility to experiment the extraordinary effects of REFF AR Drugs, the augmented reality drug recently lunched by the fake institution.
REFF – Remix the World! Reinvent Reality!
Program of activities
30th March 2011 , 10,40am – Aula Magna
Liceo Artistico Mannucci “E. Mannucci” – Ancona
Introduction by Prof. Francesco Colonnelli
30th March 2011 – 17.30pm
Libreria Il mercante di Storie – Osimo (AN)
31th March 2011 – 10am – Aula Magna
Accademia di Belle Arti Macerata – Macerata (http://www2.abamc.it/)
Introduction by Prof. Antonio G. Benemia
More info on:
ABOUT REFF AR YOUTH PROGRAM
REFF AR Youth Program is a special program of Education & Learning enacted by REFF to ensure the immediate distribution of REFF AR Drug to young generations.The Program consists in a series of theoretical and practical workshops exploring the possibilities offered by fake, remix, recontextualization, plagiarism and reenactment as a tool for methodological reinvention of reality.
REFF AR Youth Program was lunched in London as a part of the exhibit “Remix the World! Reinvent reality!” (Fourtherfield Gallery, 25th Feb – 26th Mar 2011). The agenda of the Fake Institution inspired approval and enthusiasm in the academic world. Six different universities in London already guested REFF workshops and presentations.
Learn mere here:
ABOUT REFF AR Drugs
From the information sheet:
“REFF is an Augmented Reality (AR) Drug. Also referred to as Simulata Realitas per Activam-Industriosam-Laboriosam Multiplicationem, REFF AR Drug is a psychotropic antidepressant administered cross-medially.This drug is used to treat social depression, fear of the future, precariety, anthropological distress, lack of opportunities, communicational totalitarianism, scarcity of freedoms and intolerant social ecosystems.Compared to other drugs acting on the same areas, REFF AR Drug is designed with accessibility in mind and as an enabler of the spontaneous generation of forms of expression and of collaborative practices.
REFF AR Drug is also used (off-label) to treat numerous other conditions such as the UFPS (Uncertainty for the Future of Publishing Syndrome), and the LDSBMS (Lack of Decent Sustainable Business Models Syndrome).”
Learn more here:
ABOUT REFF – RomaEuropa FakeFactory
REFF is a fake cultural institution enacting real policies for arts, creativity and freedoms of expression all over the world.
REFF was born in Italy in 2009. Since then it continuously operated using fake, remix, reinvention, recontextualization, plagiarism and reenactment as tools for the systematic reinvention of reality. Defining what is real is an act of power. Being able to reinvent reality is an act of freedom. REFF promotes the dissemination and reappropriation of all technologies, theories and practices that can be used to freely and autonomously reinvent reality.
To do this, REFF established an international competition on digital arts, a worldwide education program in which ubiquitous technologies are used to create additional layers of reality for critical practices and freedoms, a series of open source software platforms and an Augmented Reality Drug.
REFF collaborates with art organizations, student groups, research institutions and all other subjects wishing to promote the freedoms to reinvent their world. REFF has received several official recognitions worldwide: it was hosted in the Cultural Commission of the Italian Senate, and was an official initiative of the European Community’s Year of Creativity in 2009.
Official site:
REFF in the world:
Photos by Marco Fagotti and Giacomo Cesari