This week, we listened the mexican performed by Babe Ruth; we passed by Meliksetian Briggs to see few works by the late artist Bas Jan Ader: we went to Bristol to check Josephine Pryde‘s new exhibition at Arnolfini; we listened few songs of the singer-songwriter John Grant; we visited the Gehry Residence in Santa Monica and the Watt Towers in South Central and finally end up in the lobby of the Equitable Life Building on Wilshire boulevard to check Jennifer Moon‘s installation.
Josephine Pryde: These are just things I say, They are not my opinions.
These Are Just Things I Say, They Are Not My Opinions is a new exhibition of British artist Josephine Pryde, an artist known primarily for her work with photography, though she often presents work with sculptural elements. Pryde plays with different photographic conventions, for example publicity or advertising images, where seductive and highly staged, high resolution images evoke and respond to desire. She draws on this visual language, responding to ideas and larger conceptual frameworks such as the history of photography and the moving image, through details, references, or the juxtaposition of different works.
Pryde’s works embrace moments of beauty – the shimmering surfaces of fabric, portraits of staged personas, or frozen images of splashing liquids. On first glance, the conventions of commercial and artistic photography seem to apply to these images, but on closer viewing, there are cues that subtly question the very visual language that she uses and references.
For Arnolfini, Pryde presents an installation that combines a new series of photographs and a three dimensional work – a miniature train that can be ridden through the galleries. The disclaimer in the exhibition title highlights questions around speech: what might be the difference between what is said and what is held as an opinion? Why distinguish between the two? And what is being said?
As part of Arnolfini’s summer exhibition ‘The Promise,’ American artist Oscar Tuazon presents a specially commissioned sculpture Live Steam Shift Whistle (2014) on The Downs, Bristol.
The work, formed out of a 20 foot steel cylinder and large concrete fire pit, doubles as a community barbecue, and can emit steam and whistle.
Tuazon‘s striking, monolithic sculpture playfully questions the relationship between Bristol’s residents and one of its most iconic public spaces by opening The Downs for previously prohibited communal activity. The sculpture, which takes inspiration from the tradition of architectural follies in landscape parks, is a monument to the people’s use of the site and a shared cultural history. The dual function of his work harks back to an ancient tradition of communal sharing, eating and shelter by firelight.
Throughout the summer, the sculpture will play host to a programme of Summer Barbeques, catered by top Bristol restaurants Rice n Thing and The Cowshed. On the opening day, families are invited to use the sculpture themselves to barbeque and picnic in the picturesque area.
text from www.arnolfini.org.uk
16 Narrow Quay
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