On the Sixth day of Christmas

On the Sixth day of Christmas, My true love gave to me: my six interview, with Peles Empire, after Mara Castilho interview; over than five good news on gallery visits, art books, Murano glass and exhibitions, and coffee beans; more than four sculptures from Tony Cragg; three exhibitions to see; two places to sleep: a set of impressions and feelings.

O conjunto de entrevistas apresentado pelo programa Molduras - Antena 2, RTP, centra-se no campo da prática artística contemporânea neste período da globalização e nos dilemas do paradigma actual. Esta série de entrevistas consiste numa única questão, colocada a artistas contemporâneos, nacionais e internacionais, sobre como estes testam as condições políticas, em particular as estruturas económicas. Ou seja, de que forma é que a prática artística corrente informa sobre os processos de globalização, e durante o processo transforma e faz visível as condições políticas da sociedade contemporânea.

RGC: de que forma é que na tua prática controlas e informas sobre a noção de 'Corpo' e 'Confronto'?

Mara Castilho: Num tempo, onde os sistemas de crenças chocam uns com os outros, provocando, frequentemente, conflitos violentos, o meu trabalho explora questões em torno dos sentimentos e comportamentos humanos implicados pelo conflito. O vazio e o corpo são temas sempre presentes nos meus trabalhos. Navegando entre o corpo, a solidão, o sofrimento, a perda, vida e morte, os meus trabalhos são "sets" que convidam-nos a pensar sobre a complexidade e dualidade da condição humana. O confronto está sempre presente no meu olhar e no espectador. É um confronto direto.

O 'Corpo' é sempre apresentado como um confronto com o mudo que nos rodeia, seja ele físico ou mental. O 'Confronto' é direto entre este corpo e o que o rodeia; entre o corpo, a sua ausência, e o olhar do espectador. As portas estão abertas a diversas interpretações, mas o confronto é direto. Cabe a cada um colocar as suas próprias interrogações e retirar as suas próprias interpretações.

Mara Castilho (19??). Vive e trabalha em Lisboa. Exposições Individuais: 2012, Arquivos Secretos, Arquivos da Câmara Municipal de Lisboa; 2010, Untitled Galeria Nuno Centeno, Porto (Portugal); 2009, Trapped Inside my Head, Galeria 111, Lisboa (Portugal). Exposições colectivas (selecção): 2012, Os Culturofagistas, Fabrica ASA - Guimarães European Capital of Culture (Portugal); 2011, Silencio, Galeria Zipper, Sao Paulo (Brazil), Attraction of the Opposites, HB Gallery, Rotherdam (Holanda).

On the Sixth day of Christmas

On the Sixth day of Christmas, My true love gave to me: my six interview, with Peles Empire, after Mara Castilho interview; over than five good news on gallery visits, art books, Murano glass and exhibitions, and coffee beans; more than four sculptures from Tony Cragg; three exhibitions to see; two places to sleep: a set of impressions and feelings.

O conjunto de entrevistas apresentado pelo programa Molduras - Antena 2, RTP, centra-se no campo da prática artística contemporânea neste período da globalização e nos dilemas do paradigma actual. Esta série de entrevistas consiste numa única questão, colocada a artistas contemporâneos, nacionais e internacionais, sobre como estes testam as condições políticas, em particular as estruturas económicas. Ou seja, de que forma é que a prática artística corrente informa sobre os processos de globalização, e durante o processo transforma e faz visível as condições políticas da sociedade contemporânea.

RGC: de que forma é que na tua prática controlas e informas sobre a noção de 'Corpo' e 'Confronto'?

Mara Castilho: Num tempo, onde os sistemas de crenças chocam uns com os outros, provocando, frequentemente, conflitos violentos, o meu trabalho explora questões em torno dos sentimentos e comportamentos humanos implicados pelo conflito. O vazio e o corpo são temas sempre presentes nos meus trabalhos. Navegando entre o corpo, a solidão, o sofrimento, a perda, vida e morte, os meus trabalhos são "sets" que convidam-nos a pensar sobre a complexidade e dualidade da condição humana. O confronto está sempre presente no meu olhar e no espectador. É um confronto direto.

O 'Corpo' é sempre apresentado como um confronto com o mudo que nos rodeia, seja ele físico ou mental. O 'Confronto' é direto entre este corpo e o que o rodeia; entre o corpo, a sua ausência, e o olhar do espectador. As portas estão abertas a diversas interpretações, mas o confronto é direto. Cabe a cada um colocar as suas próprias interrogações e retirar as suas próprias interpretações.

Mara Castilho (19??). Vive e trabalha em Lisboa. Exposições Individuais: 2012, Arquivos Secretos, Arquivos da Câmara Municipal de Lisboa; 2010, Untitled Galeria Nuno Centeno, Porto (Portugal); 2009, Trapped Inside my Head, Galeria 111, Lisboa (Portugal). Exposições colectivas (selecção): 2012, Os Culturofagistas, Fabrica ASA - Guimarães European Capital of Culture (Portugal); 2011, Silencio, Galeria Zipper, Sao Paulo (Brazil), Attraction of the Opposites, HB Gallery, Rotherdam (Holanda).

On the Fifth day of Christmas

On the Fifth day of Christmas, My true love gave to me: over than five good news on gallery visits, art books, Murano glass and exhibitions, and coffee beans; more than four sculptures from Tony Cragg; three exhibitions to see; two places to sleep: a set of impressions and feelings.

Good news never come alone! they are preceded by and come in disguise between gallery visits, news about where we came from, books and presents, art works in Murano glass, pastries, toasted coffee beans and fried chillies in the morning with eggs, people with conspicuous behaviour and reestablished conversations with old friends and loved ones.

Good news never come alone! they are preceded by recollections of a time already gone, reflections of that that is, and judgements about the one that might become, they come in disguise between awesome symphonies composed by colours, noises and silence, by a text written and finish with embedded videos and sound, by an invitation to continue to attend a knowledge' seminar.

Good news never come alone! they are preceded by something and someone, by an investigation in to your success, and by freezing wind, a cold weather and a long beard, they come in disguise between a realization that time should never been shortened but lived in full blossom, love what you have not what you don't have "ten twenty years ago".

On the Fourth day of Christmas

On the Fourth day of Christmas, My true love gave to me: more than four sculptures from Tony Cragg; three exhibitions to see; two places to sleep: a set of impressions and feelings.

Tony Cragg, Group (wood, 325x23x386cm) & Orb (marble, 119x139x139cm), 2012

On the Third day of Christmas

On the Third day of Christmas, My true love gave to me: three exhibitions to see; two places to sleep: a set of impressions and feelings.

The Modern Language Experiment will hold the second part of their lecture programme 'sudo document' at Angus-Hughes Gallery. Cathy Lomax, Colin Perry & Jon Cairns will each give a lecture about their current research.


SATURDAY 8TH DECEMBER 2012, 3 - 4.30pm
CATHY LOMAX
Is an artist and Director of Transition Gallery based in east London. Transition is an independent and innovative gallery/publisher founded in October 2002. The gallery shows work by both emerging and established contemporary artists as well as producing publications and periodicals. Cathy's lecture will be about:

The traditional gallery system is distasteful – gentleman gallerists carousing with oligarchs to flog overpriced artworks by artists who often profess to have a social conscience. The alternative is working within the subsidised arts where securing funding is a prize only awarded to those who know how to play the game.
The whole system is full of contradictions and being an artist is as hard as it always has been. Artists need to take control and devise new models – stop the researching and the empty words and start doing. The way forward is not to compartmentalise but to integrate the making, showing, working and watching.


SUNDAY 9TH DECEMBER 1 - 2.30PM
COLIN PERRY
Is a freelance art writer based in London, UK. Colin writes reviews and profiles for Art Monthly, Frieze, ArtReview, Art in America, Modern Painters, Catalogue magazine, MAP, and catalogue texts. Currently he is working part-time as an editor at Phaidon and has presented talks with artists and academics, organised film screenings, and collaborated with artists on texts and performances. For his lecture Colin will be discussing:

Into the mainstream: Experimental film and video on TV
In recent years, there has been a growing interest in artistic strategies for intervening in broadcast television. At the same time, there has also been a expanding fascination with typologies of documentary film and video, with essay-film formats appearing in galleries across the global art network. These forms have an entwined history that is rarely discussed; their existence has important implications for how we produce and consume artistic forms and for how artistic production is funded.
There is a long history of experimental documentary in Britain, from the GPO to Channel Four’s investment in experimental film and video. But these changes have not taken place ‘top-down’. Rather, artists to have been able to win funding by forming pressure groups and collectives and combining across sectarian divides. This history shows that – even in a recession – the power of combination and collectivity can create opportunities for art beyond the commercial sphere. The talk will explore these concerns, using the works of Stuart Marshall and Marc Karlin as an example.


SUNDAY 9TH DECEMBER 3 - 4.30PM
JON CAIRNS
Is Co-ordinator of Critical Studies for BA Fine Art at Central St. Martins. Jon's work in the last few years has engaged with queer historiography and the ambivalence of interpretation, hinging on the mobile relationships between photography and performance, and between ‘fact’ and ‘fiction’. For his lecture Jon will be discussing:

Feeling Your Way: art, affect and value in times of recession
There has been a renewed urgency to questions of value in the context of cultural retrenchment (brought on by cuts to arts funding, education spending etc) and the consequent threat of a return to old hierarchies of class and access when it comes to the production of fine art. In the course of my research for a special issue of Visual Culture in Britain, I have come into contact with numerous small and independent artist-run initiatives, who have repeatedly stressed the value and importance of collaboration, informality and surprise. I note a frequent prioritisation of ‘content’ and the critical encounter with art over the usual exigencies of commerce and funding.
The significance of the intuitive, the experiential, the quality and range of audience response may be perennial concerns, but I wonder whether this emphasis on the ‘affective’ structures of art – its display, how we interact with it and come to understand it – has a particular resonance right now. What kind of affective communities does art solicit and construct today? What might affect’s political value be in a moment of cultural crisis?


This weekend will be the final series in the programme and we would like to thank all the contributers in giving over their time to the project and allowing us an insight into their important research. We would also like to warmly thank Goldsmiths, Univeristy of London's Annual Fund for their kind support for 'sudo document'.

contact@modernlanguageexperiment.org
www.modernlanguageexperiment.org

Angus-Hughes Gallery
www.angus-hughes.com
26 Lower Clapton Rd (at the junction of Urswick Rd)
London E5 0PD

On the Second day of Christmas

On the Second day of Christmas, My true love gave to me: two places to sleep: a set of impressions and feelings.

On the First day of Christmas

On the First day of Christmas, My true love gave to me: a set of impressions and feelings.