15 May - 22 Jun 2013
Resident Artists: Jude Anogwih. Johanna Calle. Adriano Costa.
15 May - 22 June 2013
On May 15th 2013 Galerie Krinzinger on Seilerstätte 16, 1010 Vienna, opens the exhibition ConcretaSonho with the artists Jude Anogwih from Nigeria, Johanna Calle from Colombia and Adriano Costa from Brazil. All three have participated in a multi-week Artist-in-Residence programme of Krinzinger Projekte on invitation of Ursula Krinzinger and do now present in a joint exhibition the works that were created during their stay in Vienna. The exhibition ConcretaSonho can be seen from May 16th May to June 22nd 2013 in the gallery Krinzinger. It is the first part of a group exhibition with the same title in April/May 2014 where over 40 artists from Latin America, Africa, the Middle East and Asia will show selected works.
The exhibition in 2014 is curated by Brazilian curators Adriano Pedrosa and Luisa Duarte.
Adriano Pedrosa and Luisa Duarte borrow the title of their exhibition project from a work of Brazilian artist Ernesto Neto. Neto's work of the same name ConcretaSonho represents the apparent contradictions of reason and emotion: themes, that play a central role in every work presented in the exhibition. The rationalist ideal promoted by the European modernity, whereby progress could be achieved through pure reason, started with the triumph of globalization all over the world and in all areas of life; however, its end was already sealed at the same time. It turned out to be an unattainable dream: underdevelopment rather than development, destruction rather than production, wealth as an illusion, spreading hunger rather than general satisfaction of the basic needs, dumbing down instead of education, compulsion instead of freedom, destruction rather than preservation of culture, strategy of war rather than political strategy.
Jude Anogwih (Nigeria)
I am primarily influenced by the impact of light and the linear patterns it creates as it spreads from the diminishing or near total dark of most African cities at night especially Lagos to the light pollution that characterise many Western cites. I think this (light) is an interesting attraction for most migrants, who move towards these lighted cities and infuse multiple changes in the landscape, architecture, culture, social, economic and political structures of the city. My installations, experimental videos and painting/drawing on surfaces including photographs replay these dynamics. They generate utopic landscapes, which describe our commonality as we move from one space to the other. Jude Anogwih.
Multimedia artist Jude Anogwih, living and working in Lagos, Nigeria, is dealing in his work – including photographs, drawings, paintings, video works, installations and maps – with the themes of identity, mobility and migration. His works were presented amongst others in several international exhibitions and projects, such as at Museum Folkwang, Essen, at JA.CA. Centro de Arte Jardim Canadá Belo Horizonte, Minas Gerais (Brazil) or at the 5th International Festival of Video Art, FIVAC Camaguey, Cuba. The newly in Vienna created work group Spatium includes a selection of drawings, paintings, photographs, experimental video works and installations and is the continuation of Jude Anogwih’s work Boundarylessness (2012), that creates a new logic of mobility, migration and movement of people and ideas. Spatium analyses the influences and effects of migration on our society and interprets with the help of a simple form of language and clearly defined patterns and colors both the micro and macro spatial structures of our environment and the complexity of our reality.
Johanna Calle (Kolumbien)
„My language is drawing. I have developed a visual grammar to communicate my thoughts. In my drawings I use signs, alphabets, manuscripts, texts, photographs to construct an image. My drawings are related to the sign, symbols, words, synthaxis, ethimology, phonetics, oral tradition, dylects and linguistics. I draw writings.
I write drawings. My language is drawing.“ Johanna Calle.
For more than 20 years Colombian artist Johanna Calle is dealing with the medium of drawing. Calle’s nonnarrative and critical-analytic work is about the socio-cultural realities and problems of Colombia.
Specifically, the debate about the social and environmental structures of the country, the role of women and the increasing urbanization are the basis for her artistic work. Calle’s illustrations are not to be understood literally. Rather, the artist constructs complex and symbolically charged images through the choice of materials and the artistic realisation. The aesthetic key strategy of Calle is the targeted erasure of specific parts within the drawing. These blanked-out sections are often replaced with as inappropriate perceived elements and shapes and challenge the viewer to deal with the produced irritation and their significance.
Adriano Costa (Brasilien)
„I do not have a theme the theme is the work the work is the experience the experience is not exactly just mine sorry for that thanks Vienna.“ Adriano Costa.
In his paintings, sculptures and installations, Adriano Costa often refers to art historical genres or movements. However, instead of merely quoting them, he combines these references with other symbolically charged objects which he finds in his immediate environment and everyday situations. Thus, he gives these items a new meaning. The materials – colorful letters and notes that he has collected over the years or worn colored fabric scraps – are consciously selected by him. Costa puts them together in various compositions and shapes and explores different styles and genres. Sometimes he seems to summon the pale still life by Giorgio Morandi, in other works can be identified floor works by Carl Andre and sculptures of Russian Constructivism. Despite his cautious dealing with form, Costa is not making an attempt to hide the fragility of the materials. The final structures often appear to be on the verge of collapse. Nevertheless, it is not about a pure contrast of chaos and order, gray areas and bureaucracy or transition and duration in his work. In an improvised manner Costa articulates the different characters of Brazil's cultural "make-up" – a country "condemned to modernity," as the critic Mario Pedrosa once put it.