GILBERT & GEORGE: POSTCARD PICTURES urethra
IVORY PRESS: until 14/05/1911
(original article in 'arte10.com': http:// www.arte10.com/noticias/index.php?id=389 )
long ago to icons of modern art, the two artists Gilbert & George stops in Madrid introduce its latest series, Urethra postcard pictures. Returning the postcard as unique material composition, his work follows the path of critically reworking national and religious representations and, above all, the flag and cross. Derisively questioning the political symbolism gives a good account of what, as it were, passed on the street, the work of this pair of scandal arouses ironic and glamorous artists equally. However, few times, if not no-has tried to see beneath the mask cynical and ironic that covered. Is your art as rebellious as it is presumed, is it your constant practice perfect vaccine against poison dart-throwing, self-reflective in the art itself? Losing socio-political depth to win leniency in the Olympus of contemporary art: the balance never seems perfect, but this couple seems to have found the key.
Proesch Gilbert (San Martin de Tor, Italy, 1943) and George Passmore (Plymouth, United Kingdom, 1942) are one of the most recognized art couples contemporary art scene. Said to have won the Turner Prize (1986), who have represented Britain at the Venice Biennale (2005) and that gave them a lofty Tate retrospective (2007), it is already clear that they are artists belonging to the select club of the elect to glory.
But not only that media artists, irreverent but not anti, punks before punk , sponsors of the British Young Generation , gentlemen willing to subvert the clause elitist art / folk art, etc.. There are many labels that refer to this pair of artists who remain in the gap after more than four decades.
words, to put it briefly, Gilbert & George in its perpetual pantomime, play dismissal. The dismissal of us believe that what they seem, that his art is, above all, his own image, its aroma subversive implication that emerges is of a beautification of art that has nothing opportunist, that their choice is the consistent with the situation of the institution-art today. Or what is the same, that their suits and ties are still as pristine as the day.
Artists born in the late 60's, when the minimal and conceptual intellectualism began to be blamed on all sides, Gilbert & George had enough light to bring to himself all the storm Warholian elitism for the populace and the glamor of the everyday. Life is for art, and art is for people. In these two equations, as succinct as problematic, is encrypted existential philosophy-simulation of this pair of angry priests of the rebellious pose and feverish.
Obviously, reaching such a plateau, not a few contradictions that have fallen so short or longer problematic situation pasty blasphemy that have been run aground, being themselves, as you say, his best work, difficult, or at least paradoxical that successfully completed (I'll explain later) the negotiations that all art incorruptible and not only branded as policy-a set with the reality that nosrodea circumspect. Acquired
visibility range public almost from the start with his performance "The Singing Sculpture ," first introduced in 1969 and which appear with their hands and faces covered in gold paint, standing on a table and repeatedly singing a song from the era Depression entitled "Underneath the Arches " (under the arches) while conducting some robotic dance moves, the rest of his work, while focusing more on their large-scale photographic works, known as The Pictures continues the same traces aestheticization preach from all walks of life.
thus reviving the leitmotiv avant-garde, according to which art should invade the structures of life completely, the bulk of his work is to operate one-way relationship between life and art, according to which all process communication, experience, all processes experiential, they fall entirely within the realm of art. The modus operandi, of course, we know by heart: an imaginary apply given different institutional regimes, pointing to the suspicion that something else is hiding in a basement, dare to infer that such a number of relationships is not the solution always provided by the policy areas.
This, like Warhol, like the whole pop generation, using images taken from the collective imagination that comes with more than incipient second industrial revolution. But unlike them, do not change these images, but take them as such. To carry out their work, have street signs, graffiti, maps and, above all, crosses and flags. The recurrent use of the Union Jack operates as a device encompassing of all that has been silenced under privileged fiction is reality, while the common has to do cross visual battlefield privileged to base pair politics / religion as a perfect target for his ironic attacks.
Thus, holed up under that dress of perfect cut of his usual irony, the work of this pair of 'comedy' points to emergence of critical devices when looking and sociality built around an imaginary determined. Thus, his first works used pictures found on his travels through the East London-his place of residence, to areas that remained invisible, and I mean both urban areas but social constructs, they had the possibility of visual emergency.
So, what, at least for us, of course, is that Gilbert & George In this 'evil' character pose hidden circus, in that 'badness' burlesque, camouflage, and I think that knowing-all political aspect of his art. Because if not mistaken, if we were not as mere opportunists and take back-and here we are convinced that they are not, "his art can only be understood within the spectrum of production and visual imagery both-ways that are formed within an area of \u200b\u200bgreat strength and creativity, "and that its mere gesture production can be constructed as a tool themselves active and participates in the political process itself reconfiguration of the social. Significantly deflating erosion depth of his imagination, identified also as a lifelong conservative, "Gilbert & George allow their gesture is updated, free of any policies that would weaken his artistic work.
Obviously, on the contrary then, midway between becoming a weapon of resistance or be referred to a practice of imagination, his work runs the risk of being buried by the visual violence of some of his works and his irreverence .
This time, the pair shows 76 pieces of the 564 originally form the Urethra Postcard Pictures - first series based on postcards for almost twenty years without it. The series title refers to Charles W. Theosophist Leadbetter (1853 - 1934), who signed his letters with " Urethra and kisses." Thus emphasizing the link between the work of this couple with a mission to seek progressive moralist, the symbol of the urethra is arranged in a square post -12 and-center in all parts as a reference to one common link of progress and freedom.
Postcards, found or bought in the souvenir shops that populate London, they all reference a la bandera inglesa o a picantes anuncios sexuales. La función es entonces más que clara: o el escándalo archirepetido de entablar diálogo entre la bandera flemática inglesa y las pornográficas referencias al sexo sucio o –nos quedamos con ésta- poner en jaque la construcción tradicional del cuerpo social. Cifrada en, como sostendría Rancière , la época de la estética representacional, la bandera, la simbología monárquica en general, operaba una identificación entre todos los campos de visibilidad referenciándolos a una misma política. Ahora, con su patearse Londres, con su mapearlo de arriba abajo, con el simple gesto de salir a la calle y comprar aquello que se offers tourists or go into phone booths obsolete, Gilbert & George put on the table that the hoax fabulous representational system.
It is, of course, excluded, invisible, the country does not, so, as would Machado, passing in the street, what is not covered by any flag. So, maybe the pose a bit of this pair of circus performers comes to collude with one possible solution: the art as a unique opportunity to provide identity. The low profile before we wanted to see the depth of its theoretical body the time to be able to interfere in political resemantization networks, is then the task for the viewer: that he too can map your city, your environment, you also see what remains invisible. In short, he is also a 'living sculpture'.
Proesch Gilbert (San Martin de Tor, Italy, 1943) and George Passmore (Plymouth, United Kingdom, 1942) are one of the most recognized art couples contemporary art scene. Said to have won the Turner Prize (1986), who have represented Britain at the Venice Biennale (2005) and that gave them a lofty Tate retrospective (2007), it is already clear that they are artists belonging to the select club of the elect to glory.
But not only that media artists, irreverent but not anti, punks before punk , sponsors of the British Young Generation , gentlemen willing to subvert the clause elitist art / folk art, etc.. There are many labels that refer to this pair of artists who remain in the gap after more than four decades.
words, to put it briefly, Gilbert & George in its perpetual pantomime, play dismissal. The dismissal of us believe that what they seem, that his art is, above all, his own image, its aroma subversive implication that emerges is of a beautification of art that has nothing opportunist, that their choice is the consistent with the situation of the institution-art today. Or what is the same, that their suits and ties are still as pristine as the day.
Artists born in the late 60's, when the minimal and conceptual intellectualism began to be blamed on all sides, Gilbert & George had enough light to bring to himself all the storm Warholian elitism for the populace and the glamor of the everyday. Life is for art, and art is for people. In these two equations, as succinct as problematic, is encrypted existential philosophy-simulation of this pair of angry priests of the rebellious pose and feverish.
Obviously, reaching such a plateau, not a few contradictions that have fallen so short or longer problematic situation pasty blasphemy that have been run aground, being themselves, as you say, his best work, difficult, or at least paradoxical that successfully completed (I'll explain later) the negotiations that all art incorruptible and not only branded as policy-a set with the reality that nosrodea circumspect. Acquired
visibility range public almost from the start with his performance "The Singing Sculpture ," first introduced in 1969 and which appear with their hands and faces covered in gold paint, standing on a table and repeatedly singing a song from the era Depression entitled "Underneath the Arches " (under the arches) while conducting some robotic dance moves, the rest of his work, while focusing more on their large-scale photographic works, known as The Pictures continues the same traces aestheticization preach from all walks of life.
thus reviving the leitmotiv avant-garde, according to which art should invade the structures of life completely, the bulk of his work is to operate one-way relationship between life and art, according to which all process communication, experience, all processes experiential, they fall entirely within the realm of art. The modus operandi, of course, we know by heart: an imaginary apply given different institutional regimes, pointing to the suspicion that something else is hiding in a basement, dare to infer that such a number of relationships is not the solution always provided by the policy areas.
This, like Warhol, like the whole pop generation, using images taken from the collective imagination that comes with more than incipient second industrial revolution. But unlike them, do not change these images, but take them as such. To carry out their work, have street signs, graffiti, maps and, above all, crosses and flags. The recurrent use of the Union Jack operates as a device encompassing of all that has been silenced under privileged fiction is reality, while the common has to do cross visual battlefield privileged to base pair politics / religion as a perfect target for his ironic attacks.
Thus, holed up under that dress of perfect cut of his usual irony, the work of this pair of 'comedy' points to emergence of critical devices when looking and sociality built around an imaginary determined. Thus, his first works used pictures found on his travels through the East London-his place of residence, to areas that remained invisible, and I mean both urban areas but social constructs, they had the possibility of visual emergency.
So, what, at least for us, of course, is that Gilbert & George In this 'evil' character pose hidden circus, in that 'badness' burlesque, camouflage, and I think that knowing-all political aspect of his art. Because if not mistaken, if we were not as mere opportunists and take back-and here we are convinced that they are not, "his art can only be understood within the spectrum of production and visual imagery both-ways that are formed within an area of \u200b\u200bgreat strength and creativity, "and that its mere gesture production can be constructed as a tool themselves active and participates in the political process itself reconfiguration of the social. Significantly deflating erosion depth of his imagination, identified also as a lifelong conservative, "Gilbert & George allow their gesture is updated, free of any policies that would weaken his artistic work.
Obviously, on the contrary then, midway between becoming a weapon of resistance or be referred to a practice of imagination, his work runs the risk of being buried by the visual violence of some of his works and his irreverence .
This time, the pair shows 76 pieces of the 564 originally form the Urethra Postcard Pictures - first series based on postcards for almost twenty years without it. The series title refers to Charles W. Theosophist Leadbetter (1853 - 1934), who signed his letters with " Urethra and kisses." Thus emphasizing the link between the work of this couple with a mission to seek progressive moralist, the symbol of the urethra is arranged in a square post -12 and-center in all parts as a reference to one common link of progress and freedom.
Postcards, found or bought in the souvenir shops that populate London, they all reference a la bandera inglesa o a picantes anuncios sexuales. La función es entonces más que clara: o el escándalo archirepetido de entablar diálogo entre la bandera flemática inglesa y las pornográficas referencias al sexo sucio o –nos quedamos con ésta- poner en jaque la construcción tradicional del cuerpo social. Cifrada en, como sostendría Rancière , la época de la estética representacional, la bandera, la simbología monárquica en general, operaba una identificación entre todos los campos de visibilidad referenciándolos a una misma política. Ahora, con su patearse Londres, con su mapearlo de arriba abajo, con el simple gesto de salir a la calle y comprar aquello que se offers tourists or go into phone booths obsolete, Gilbert & George put on the table that the hoax fabulous representational system.
It is, of course, excluded, invisible, the country does not, so, as would Machado, passing in the street, what is not covered by any flag. So, maybe the pose a bit of this pair of circus performers comes to collude with one possible solution: the art as a unique opportunity to provide identity. The low profile before we wanted to see the depth of its theoretical body the time to be able to interfere in political resemantization networks, is then the task for the viewer: that he too can map your city, your environment, you also see what remains invisible. In short, he is also a 'living sculpture'.
