Typical Sea Monster Art Typical Sea Monster Art Meme

The Body of water Monster, The Deport

Jüri Arrak
Nadia Barkate
Vytenis Burokas
Beth Collar

Curated by Àngels Miralda

Lítost Gallery
Zizkov, Prague

24 January - 7 March 2020

Click Here for the PDF Dossier

In the previous exhibition at Lítost, Actress-Planetary Delivery, the bailiwick of narrative was approached through the lens of imagination and science fiction. Rather than an inverse, a complementary view, The Sea Monster, the Conduct imagines our procedure of thinking developed on a historical level as an illustration for the curatorial method. Taking Pier Paolo Pasolini'south The Trilogy of Life every bit a methodology for curatorial compilation, the exhibition aims to collect a series of stories expressed in images and objects with bridges extending to those outer narratives. Pasolini'southward trilogy uses compilation of tales by several authors in order to create a feeling through the aesthetics of storytelling. In the same fashion that most compilations of regional lore are collected and passed on, each generation translates these histories into their own dynamics. From the oral tradition of the Arabian Nights, to Chaucer'southward first writing in colloquial English language tongue in the Canterbury Tales, and Boccaccio's Decameron, the compilation becomes a meta-collection mirroring the process of each volume'south structure of a plurality of voices.

The fragmentary structure of these tales based on stories from beneath, is rebel in its character. Popular culture based on the folk traditions of fairy-tales and local mythologies serve various purposes from moralization to the construction of shared cultural values, and in their cacophonous worldliness, emerge from an unrecognised homo unconscious. They serve as veiled criticism of aloof and religious elites, or pass down wisdom millenia in the making. Taking Pasolini's Trilogy of Life equally a starting-point for a cultural assay of methods in curating, this exhibition puts frontward plurality and narrative besides every bit non-linear history as a powerful method of criticism and historical revisionism. The exhibition is a compilation in which several cases bring forth a more complete viewpoint, and albeit fragmentary in nature, the movement from one to the other is filled with the pregnant void.

The work of Jüri Arrak serves as an anchor to the exhibition. One of Estonia'due south most beloved artists, Arrak's work is symbolic of the power of art in moments in times of repression and censorship. Beginning his piece of work during the 1960'southward in Soviet Estonia, the themes of local mythology and folkloric tales were considered a radical subject matter that opposed the new mythos of Soviet man. Taking reward of a moment of relative freedom afterwards the most difficult-line moments of Stalinist realism, Arrak and his colleagues in Tallinn started to push the boundaries against repression and the formulaic and linear structure of agitprop. Based on traditional characters and stories, the images tin can be appreciated by anyone for their artistic integrity in illustration and painting, while the primal to their significance lies with the audition's knowledge of the mythic stories behind them. Arrak'due south work is significant in its ability to respond to a regional crisis in art at the same time as referencing the global trends in evolution during the 1960'south and seventy'due south. With the Decameron's release in 1971, the render to folkloric and mythic concepts spanned Europe, and can be inserted into the long history of resistance confronting unfettered modernity and the industrialisation process that favoured the linear time of progress and production.

The universality of story-telling and the fragmentary adds to the non-linear exhibition. Nadia Barkate explores the linguistic elements of analogy and painting through sketches based on stream-of-consciousness as a meter for personal feel. With references to surrealism both in art and writing, folkloric elements, Greek mythology, and regional stories mix with hybrid creatures that might as well be from science-fiction as from childhood fairy-tales. Vytenis Burokas uses painting and writing to investigate how history manifests itself in our daily existence. After writing the story of a fictional artist living in historical Lithuania, he embodies the character to create a body of piece of work which broke the taboos of his era and his creative secret society "the order of the spur." Dotted with religious and historical elements, the fiction serves every bit a human story applicable to any era. Visible in the space are Beth Neckband's laboriously produced white dirt sculptures of pelvises on modern barstools. These sculptures have evolved from a larger installation deputed for Dilston Grove, a space that occupies a deconsecrated church. They reference the work of the little-known Italian sculptor Niccolò dell'Arca and his bizarre terra-cotta contribution to a church in Bologna, recognizable by his extreme characterization of female person hysteria. In Collar's works, the psyche and the body are intertwined through layers of non-linear and pan-historical narratives.

As each story builds individually, the common cohesion betwixt thought and materiality, between historical continuity and interiorized fleshy memory of the subconscious, builds a thesis towards the inexistence of the contemporary. What connects all the stories traverses generations, geographies, and fourth dimension, towards a feeling of intuition, of the magical, an unknown known. With strong themes of religious references, the works position the gimmicky as inside the shadow of morality, with strong disquisitional attitudes to lingering conventions. If each generation will interpret ever-present themes to make them applicable to their own circumstances, the works address issues taken from everyday life experiences. Pasolini believed that his society had forgotten the value of oral tradition and lost much of its critical understanding - each of his fables teach u.s. to sympathize with the evil character, the antagonist, the terrorist, the intruder. Every bit in The Trilogy of Life, the exhibition itself too every bit individual pieces are a retelling that re-enact, or breathe new life into an endless struggle through fragments of storytelling.

"Truth isn't found only in one dream, just in many" - Arabian Nights

Bios:

Jüri Arrak (b. 1936, Tallinn, Estonia; lives and works in Tallinn) is one of Estonia's most recognised artists. During the 1960'due south and lxx'southward he formed part of what is now chosen the Soviet non-conformist groups during which he developed an instantly recognisable personal style including discourse around local Estonian mythological figures also as surreal and abstract international referents. He was a member of 1 of the most of import mail service-war advanced groups in Estonia ANK'64. During that time, he exhibited around the world, including Czechoslovakia, Yugoslavia, and the USSR. Since 1970 Arrak has organized over xc personal exhibitions for example in the USA, England, Germany, Portugal, Iceland, Denmark, Sweden, Norway, Finland, Poland and Greece.His works are in the collections of Estonian Art Museum, Tartu Fine art Museum, Tallinn Fine art Hall, Tretyakov Gallery, Moscow; Krakow National Museum, Museum Ludwig, Cologne; Museum of Modern Art, New York; New Orleans Art Museum; The White Business firm, Washington; New York Public Library, Zimmerli Art Museum, New Jersey, USA; Museum of Academy of Western Sydney, Australia; Randers Fine art Museum, Denmark; Estonian Firm, Stockholm; in improver to private collections in Estonia and abroad.

Nadia Barkate (b. 1980, Bilbao, Basque Country; lives and works in Donostia) has a practice that combines sculpture and drawing with autobiographical remnants to connect daily experience with manual work and writing. Using theory from psychology also equally modernist tendencies of Dadaists and surrealists she relies on stream-of-consciousness as a meter of personal feel. Solo presentations of her piece of work include those at EtHall in Barcelona, Carreras Múgica in Bilbao, Altes Finanzamt in Berlin, Espacio Alexandra in Santander, and at MA Studio in Beijing. She has also exhibited widely in group shows, including the Westfälischer Kunstverein in Münster, Bombón Projects in Barcelona, Bilbao Fine Arts Museum, Tabakalera in Donostia, and La Casa Encendida in Madrid, amongst others. Barkate holds an MA in the Arts from the University of the Basque State.

Vytenis Burokas (b. 1990, Vilnius, Lithuania; lives and works in Vilnius) is an artist and curator who merges interests in different disciplines and genres in search for splintered traces of cultural influences constructing a new whole by straining findings through a filter of personal experiences and observations and presenting it in a grade of a performance, publication, installation, sculpture and drawings. In his practice, he investigates metabolism and the fermentation of knowledge cartoon attending to relationships between microorganisms and people. Known for creating and preparing beer recipes based on creative, philosophical, anthropological, sociological ideas, in his publication Beer Metaphysics he has approached the human relationship between the body's processes of metabolism, inebriation and the evolution of philosophical thought. In his recent projects he was creating change ego characters for his narrative based performances and drawings. He is a graduate in contemporary sculpture from Vilnius University of Arts where he is currently teaching and a participant of Rupert Alternative Education Plan in 2013 – 2014. After studying fine arts he became curator at the National Gallery of Arts in Vilnius, Lithuania. He has exhibited at CAC, Vilnius; Rupert, Vilnius; Autarkia, Vilnius; Bus Projects, Melbourne; 427, Riga; Komplot, Brussels; MOCAK, Krakow, Nida Fine art Colony, Nida etc.

Beth Collar (b. 1984, Cambridge, UK; tries to alive and work in Berlin) works around and between sculpture and performance. The sculptures often deal closely with forms of the human being body, signifying the sculptural potential of the individual, and literary archetypes that bargain with family relationships, gender issues, emotional, and cognitive behaviour. In 2019 solo shows included 'Daddy Bug' at Dilston Grove commissioned by Matt's Gallery and Southwark Park Galleries and 'Retrogression' a collaborative exhibition with Eoghan Ryan at 427 in Riga, Latvia. Other solo presentations accept been at Waldo @Mathew Gallery, New York, Matt's Gallery, London, Chief, Nottingham all in 2018, at Standpoint, London in 2017 and at Fig2 at the ICA in London 2015. Her recent group exhibitions take been at A PLUS A, Venice, The Academy of Fine Arts, Helsinki, Kunsthal ved siden af, Svendborg, Kingdom of denmark, Bärenzwinger, Berlin, Cell Project Space, London and KW, Berlin. Performances accept taken place at Bob Store, Berlin, Cafe Oto, London, Kunstverein München, Serpentine, London, Cubitt, London, Nottingham Contemporary and Raven Row, London. She is an artist in residence with the charity Waterloo Uncovered who use archaeology and the structures surrounding it to aid veterans with mental health injuries recover.

Press:
Art Viewer, The Sea Monster the Bear and lítost, 2 June 2020
Tzvetnik, "'The Ocean Monster, The Conduct', a Group Prove at lítost, Prague" 3 March, 2020
Echo Gone Wrong, "Photo reportage from the exhibition 'The Body of water Monster, The Bear' curated by Àngels Miralda at the lítost, Prague", 20 Feb 2020
Arttalk.cz, "Jüri Arrak, Nadia Barkate, Vytenis Burokas a Beth Collar v galerii lítost", 25 February 2020
Blok Magazine, "'The Body of water Monster, The Bear' at lítost", 24 Feb 2020
Echo Gone Incorrect, "Vytenis Burokas and Jüri Arrak office of grouping exhibition 'The Sea Monster, The Bear' at lítost, Prague", 1 February 2020
Art + Antiques, "O Morske Prisere A O Medvedovi," January 2020
Radnicní Listy, "A Morske Prisere a Medvedovi" Jan 2020

morganfassescarde.blogspot.com

Source: http://angelsmiralda.com/The-Sea-Monster-The-Bear

Share this post