20091227
20091224
20091223
20091221
20091220
20091219
READYMADEPOEM191209
Skid mark
In motoring terms, a skid mark is the mark a tire makes when a vehicle wheel stops rolling and slides or spins on the surface of the road. More generally, any solid which moves against another can cause visible marks, and is an important aspect of trace evidence analysis in forensic science and forensic engineering.
Skid marks are divided into "acceleration marks" created on acceleration, if the engine provides more power than the tire can transmit, "braking marks," if the brakes "lock up" and cause the tire to slide, or "yaw marks", if the tire slides sideways.
In car accidents, skid marks are caused by rubber being deposited on the road, much like that of an eraser leaving pieces of rubber on a paper. The rubber of car tires heats up with sliding friction, degrades and disintegrates at the road-tire interface, and is deposited on the road surface.
20091218
20091217
20091216
20091215
CLAN ENVY/ CURATED BY MADELINE STILLWELL
Artists: SIMONA DiLASCIO, STEPHANIE CUSTANCE, ALEXINE CHANEL
Clan : the principal and original social unit.
Envy : a longing to possess something achieved by another.
In this exhibition, three international female artists expose ways in which Western society is longing for, even hungry for, a "Clan" of it's own. Simona DiLascio, Stephanie Custance, and Alexine Chanel invert, reverse, and ultimately cancel out connotations of being jealous of the ‘other’, while they raise questions concerning the social and the individual. Whether it is another’s femaleness, maleness, or clan-ness, these artists suggest that our global ‘self’ is currently in search of a global ‘society’ and vice versa.
Italian artist Simona DiLascio paints images of contained happiness: female faces caught in expressions that are at once suppressed and composed. These women act like dated advertisements—congenial and forever smiling, as though they’ve been meticulously trained to maintain an appearance of social status. And yet, somewhere behind the smile there is a severity seeping through the cracks—a classiness and a danger alike, reminiscent of a family photo of a once-youthful grandmother. Or in the words of the artist, “like a big stain on an old wall, if you look at it long enough you can see the face of a devil and a saint.”
French artist Alexine Chanel’s obsessive collection of human fingerprints calls into question identity through the lens of the scientific model. Her social and biological "research" ultimately exposes things like social privacy, public intimacy, assimilation, order, and paranoia. In the current political arena of fraud, credit crisis, and surveillance, our capitalist business model has hung its dirty laundry out for all to see. In a similar way, Chanel exposes the individual by marking a primal record of her specimen’s rebellion toward, or surrender to, the “system.” Whether or not her specimens participate, her mark-making uses the most unique and perhaps most private part of one’s body: one’s fingerprint—and transforms these tiniest of privacies (actual-sized fingerprints) into the vastness of a universe (large-scale video-projections).
American artist Stephanie Custance’s imagery presents individualism within a whole. Faces within faces show the self as a mirror of possibly every other "self” that’s ever existed. Each face is locked into the next through a shared eye, implying an undeniable connection to ancestry and to the past. Memory and loss layer the work with not only what is seen, but what is not seen. Reminiscent of long-forgotten scars of civilization, such as the Colonistic slaughter of Native populations across the globe, Custance’s drawings reveal the mystery that is the self: we are never only what we think we are, for we have unknown connections to unknown forces. Yet we are never only what we are conditioned to be, since the very social models we learn to accept as 'truth' are in constant states of flux and growth.
At the dawn of 2010, we’ve recognized that Capitalism isn't working any more. Perhaps Western society is looking at the primitive model with new eyes, with a bit of "clan envy."
Madeline Stillwell
Clan : the principal and original social unit.
Envy : a longing to possess something achieved by another.
In this exhibition, three international female artists expose ways in which Western society is longing for, even hungry for, a "Clan" of it's own. Simona DiLascio, Stephanie Custance, and Alexine Chanel invert, reverse, and ultimately cancel out connotations of being jealous of the ‘other’, while they raise questions concerning the social and the individual. Whether it is another’s femaleness, maleness, or clan-ness, these artists suggest that our global ‘self’ is currently in search of a global ‘society’ and vice versa.
Italian artist Simona DiLascio paints images of contained happiness: female faces caught in expressions that are at once suppressed and composed. These women act like dated advertisements—congenial and forever smiling, as though they’ve been meticulously trained to maintain an appearance of social status. And yet, somewhere behind the smile there is a severity seeping through the cracks—a classiness and a danger alike, reminiscent of a family photo of a once-youthful grandmother. Or in the words of the artist, “like a big stain on an old wall, if you look at it long enough you can see the face of a devil and a saint.”
French artist Alexine Chanel’s obsessive collection of human fingerprints calls into question identity through the lens of the scientific model. Her social and biological "research" ultimately exposes things like social privacy, public intimacy, assimilation, order, and paranoia. In the current political arena of fraud, credit crisis, and surveillance, our capitalist business model has hung its dirty laundry out for all to see. In a similar way, Chanel exposes the individual by marking a primal record of her specimen’s rebellion toward, or surrender to, the “system.” Whether or not her specimens participate, her mark-making uses the most unique and perhaps most private part of one’s body: one’s fingerprint—and transforms these tiniest of privacies (actual-sized fingerprints) into the vastness of a universe (large-scale video-projections).
American artist Stephanie Custance’s imagery presents individualism within a whole. Faces within faces show the self as a mirror of possibly every other "self” that’s ever existed. Each face is locked into the next through a shared eye, implying an undeniable connection to ancestry and to the past. Memory and loss layer the work with not only what is seen, but what is not seen. Reminiscent of long-forgotten scars of civilization, such as the Colonistic slaughter of Native populations across the globe, Custance’s drawings reveal the mystery that is the self: we are never only what we think we are, for we have unknown connections to unknown forces. Yet we are never only what we are conditioned to be, since the very social models we learn to accept as 'truth' are in constant states of flux and growth.
At the dawn of 2010, we’ve recognized that Capitalism isn't working any more. Perhaps Western society is looking at the primitive model with new eyes, with a bit of "clan envy."
Madeline Stillwell
20091214
20091213
20091211
ANNOUNCING: OPENING TONIGHT!
DIE WELT ZU GAST BEI SCOTTY ENTERPRISESInternationale GruppenausstellungEröffnung: Freitag, 11. Dezember, ab 19 UhrAusstellungsdauer: 12.12.2009 - 16.01.2010
(Galerieferien: 20.12.09- 03.01.10)
Scotty Enterprises
Oranienstr. 46
10969 Berlin
Nahe U8 Moritzplatz
Mi – Fr 15 bis 19 Uhr
Sa 12 bis 16 Uhr
www.scotty-enterprises.de
Pressetext:
DIE WELT ZU GAST BEI SCOTTY ENTERPRISESJahresausstellung mit 13 internationalen Künstlern als Gäste der Berliner Produzentengalerie
Entgegen der Tradition, zur Jahresausstellung alle Künstler einer Galerie zu präsentieren, wird bei SCOTTY ENTERPRISES von den einzelnen Mitgliedern jeweils ein internationaler Künstler als Gast eingeladen.Die Auswahl der Künstler und der zu sehenden Arbeit erfolgte seitens der Galeriemitglieder unabhängig voneinander. Ohne das Wissen, wer die anderen Künstler sein würden. In der Hängung dieser unterschiedlichsten Arbeiten liegt also auch ein großes Überraschungsmoment. Es besteht keine Beschränkung in Medium, Thema oder Stilrichtung, einzige Vorgabe ist die Formatbegrenzung auf maximal 80 x 80 cm.Diese Ausstellung ist, neben dem Wunsch, sich DIE WELT in die SCOTTY ENTERPRISES Galerie zu holen, auch ein Spiegel der Vielfalt in der eigenen Struktur, der künstlerischen Ansätze und der individuellen Netzwerke. Und sie entspricht dem Credo der Gruppe der größtmöglichen Freiheit des Einzelnen bei maximaler Ausnutzung des Gruppenpotentials.
SCOTTY ENTERPRISES ist ein Raum von Künstlern für Künstler, gegründet 2006 mit Sitz in Berlin-Kreuzberg. Zur Besatzung gehören insgesamt 18 Künstlerinnen und Künstler; mit Malerei, Zeichnung, Fotografie, Installation, Film und Video ist ein weites Spektrum an künstlerischen Medien vertreten.SCOTTY ENTERPRISES präsentiert aktuelle künstlerische Positionen und realisiert Ausstellungen von und mit internen und externen Künstlern.
Liste der Ausstellenden:
MIHO YAMANARI (Japan)Eingeladen von Frederik Poppe
MARIE-THERES GALLNBRUNNER (Österreich) www.misfitsparadise.netEingeladen von Ute Litzkow
RACHEL KORMAN (Brasilien) www.rachelkorman.comEingeladen von Katrin von Lehmann
MAI YONGXI (Guangzhou, China) www.lijiangstudio.org/web/Studio.jspEingeladen von Alfred Banze
PIERRE GRANOUX (Frankreich) www.bazarmoderne.comEingeladen von Isabel Pauer
MARIA ZALINSKA (Polen) www.zalinska.comEingeladen von Karen Linnenkohl
SOFIE ARFWIDSON (Schweden) www.arfwidson.comEingeladen von Charlotte Bastian
WASINBUREE SUPANICHVORAPARCH (Thailand) www.banyan-project.de/wasinburee.htmlEingeladen von Christine Falk
FERNANDO NINO-SANCHEZ (Kolumbien) www.axelobiger.comEingeladen von Linda Weiss
ALEXINE CHANEL (Frankreich) www.alexinechanel.blogspot.com
Eingeladen von Sarah Schastock
EMMY SKENSVED (Kanada) www.emmyskensved.comEingeladen von Claudia Schömig
DANIEL URRIA (Chile) www.danielurria.comEingeladen von Simone Häckel
EMANUEL BERNSTONE (Schweden) www.emanuelbernstone.comEingeladen von Martina Goldbeck
20091208
C'EST RENE QUI L'A DIT
Let us suppose, then, that we are dreaming, and that all these particulars—namely, the opening of the eyes, the motion of the head, the forth-putting of the hands—are merely illusions; and even that we really possess neither an entire body nor hands such as we see.
Rene Descartes (1596-1650)
20091206
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