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For this picture I tried to portray value by getting the whole landscape into the picture, but it really focuses on the trees.
Maurizio Cattelan was born in Padua, Italy, in 1960. Since the early 1990s Maurizio Cattelan has been internationally recognized for his humorous and ironic works which provoke and challenge the limits of contemporary value systems. Maurizio Cattelan’s retrospective, Sussurro, will be showcased at the Serralves Villa, a 1930s Art Deco house. The exhibition brings together a selection of works deeply connected to history, reflecting Cattelan's approach to art. In addition to the pieces displayed in the Villa, sculptures by the artist will be installed throughout the Serralves Park. Together, these settings offer a unique contextualization of both Maurizio Cattelan´s work and of Serralves Park and Villa.
Most of the works selected for Sussurro demonstrate Maurizio Cattelan’s interest in History: historical changes, historical trauma, and historical icons. The times of transition, these in-betweens, seem to captivate Cattelan. The hanging, elusive moment between childhood and adulthood, between life and death, between historical eras, between laughter and sobs, is the source of his iconography. He turns these moments into icons.
Maurizio Cattelan has conceived his work as a series of saynètes populated by a cast of characters ranging from, and raging with, historical figures, self-portraits, friends and acquaintances, a bestiary, children, to familiar objects, locations and images. A détournement… a family of misfits, including direct references to some of his ancestors: Joseph Beuys, Lucio Fontana, Giovanni Anselmo, Piero Manzoni, Mario Merz, Jannis Kounellis, Carlo Collodi, Walt Disney, Günter Grass, Volker Schlöndorff, Stephen King and Stanley Kubrick… and between all the lines, Andy Warhol, for his furtive relationship to public image, his status as an image-maker, his entrepreneurial and publisher scheme, and his obsession with death.
The saynètes demonstrate an understanding of space that is quasi-theatrical or cinematographic. Locations, as the Serralves Villa, are key; framing, angles and sightlines are never innocent, nor is Maurizio Cattelan; and the overall context is a defining perception of the work. Scenography and art directing are as important in his work as the historical or cultural references. His conception of space and the way we, as visitors, encounter the works, is fully informed by the legacy of conceptual and minimal art, the phenomenological approach to space and to the awareness of space. The way the objects are strategically positioned, oriented in a room, on a public square, affects and informs our apprehension and reading of the works.
Sussurro is to Serralves what Hieronymus Bosch’s Temptations of Saint Anthony is to the Museu Nacional de Arte Antiga in Lisbon. The Tentation de Lisbonne has now its symmetrical with the Tentation de Porto. Bosch’s painting is an exacerbated spectacle of human madness, the vision of a world spinning towards an end with the background of Biblical allegory of good and bad, the psychotic vision of decay where humans and animals dance towards their damnation on a scorched earth. With Bosch, grotesque and humor, mimicry and blasphemy are extracted from the world and expose, iconically, the complicity between humanity and corruption. Images are salvation.
Maurizio Cattelan breaks in a culture in which the question of the place, the role, the veracity of images is at the center of an endemic malaise and he provides answers with images that are themselves effractions imbued with a malaise. This malaise might be our laughter.
Maurizio Cattelan’s visual aphorisms are exercises in re-routing, hacking a broad database of images deeply embedded in history, culture, belief systems and in our taboos. Sussurro speaks out loudly for those who want, and may not want, to hear.
Produced by the Serralves Foundation – Museum of Contemporary Art Porto, the exhibition is curated by Philippe Vergne, the Museum Director and is coordinated by Giovana Gabriel.
1) The element of art is value. It is reflected in this photo by the buildings and ground all being shades of red. Most things in this photo include the colour red, making everything in this photo match together.
2) The most visually striking part about this photo is the John Fluevog building. The building is the largest part of the photo which makes it the focal point. Not only that but everything on the building is red except for the green door which makes it stand out.
Taken by Scott Hull. The title for this image came first, and the whole time I was shooting I heard Bill Withers singing in my head. Not only did I learn how to light a pure white eggshell without blowing it out, but I also learned the value of having a pillow on the floor in front of the table...
proyecto VALUE, “Intercambio y Transferencia tecnológica sobre valorización de residuos de la industria de transformados vegetales”.
Asistentes: AIDIA, AZTI, FIAB, CENER, APESA, CATAR-CRITT, Iniciativas Innovadoras, CVR
A comparison of the full-color tonal family color wheel and the gray-scale version to illustrate the values of each color.
Brand consultancy for a wonderful charity who supports hard to place kids for adoption. Helped them reposition their organisation, then went on to do branding, marketing materials and website.
RE-design VALUE (week2)
9th > 13th May
12th May (Thursday) > Madeira Library I
Networking Session with the sector:
>Jeff De Gouveia (Hit the Road Tours Madeira) [Leisure Activities]; Lígia Gonçalves (WalkMe Mobile Solutions) [Tech & Gaming]; Luís Calado (Madeira Fitness Friends) [Sport & Community]; Saleta Valdés Marquéz (Savoy)
Value(s) for Money? Philanthropy as a Catalyst for Social Change (March 6-9, 2014)
Increasing social and environmental challenges, writ globally, are raising the stakes for philanthropy to find "solutions". The deeply complex nature of these challenges, however, defies easy fixes and requires more sophisticated and diffuse systems level approaches. Is the philanthropic sector ready, or capable of meeting critical systemic challenges? Probably not, as seen through the lens of Michael Edwards in a recent think piece entitled 'Beauty and the Beast: Can Money Ever Foster Social Transformation?'.
Innovative funding mechanisms that support social change - like crowd-funding, social impact bonds, payments for eco-system services and prize-backed challenges - have diversified the funding landscape and brought in new resources. The system, however, is arguably out of balance with too much focus placed on revenue-generation, and directing financial resources, through the market. At the same time, less funding is available for the deeper, less tangible drivers of social change - change that is driven by the beneficiaries themselves and is inherently more democratic. Money, while a seemingly essential tool in change processes, can be a "curse", reinforcing or exacerbating the very circumstances and power imbalances at the heart of systemic social challenges.
The objective of this program, in partnership with Hivos, is to shape a new narrative on funding for deep social change that can influence current and future funding trends and global policies.
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