Professional Documents
Culture Documents
Zilvinas Kempinas
Daniela Libertad
Mauricio Limn
Anuar Maauad
Norman Mooney
Luis Felipe Ortega
Daniel Ruanova
Sebastien Verdon
1
1,2, VOLUMEN
1,2, VOLUMEN
3
1,2, VOLUMEN INTRODUCCIN
1, 2, VOLUMEN
COLOFN 5
1,2, VOLUMEN INTRODUCCIN
y otros grupos pertenecientes a las vanguardias, Sobre todo propusieron piezas que invitan a la
siguen sin encontrar respuestas definitivas. No reflexin del tema desde perspectivas inesperadas.
obstante, las investigaciones hechas entonces Cada uno de ellos ha explorado el tema
determinaron y siguen influyendo muchas de las ampliamente a lo largo de su trayectoria, logrando
prcticas artsticas. En todo caso, quiz no haya un grado de sntesis que otorga pistas para alguna
otra solucin que seguir preguntando para lograr posible respuesta o mejor, para decantarse hacia
atar algunos cabos. Muchos estamos convencidos cuestionamientos ulteriores sobre el tema. Tenemos,
de que preguntar es una, si no la ms fundamental sin embargo, la intencin de que sea el espectador
de las tareas del arte. quien llegue a sus propias conclusiones. Queda
de nuestra parte la propuesta de experimentar el
As, 1,2, Volumen, se presenta como una muestra volumen en algunas de sus posibles variaciones.
cuya funcin principal es hacer preguntas sobre el
uso del volumen y de la obra en tercera dimensin Sofa Mariscal, curadora de la exhibicin
en el arte contemporneo. Se trata de la cuestin Octubre de 2011
de la escultura, tan amplia o acotada como se la
quiera ver.
INTRODUCCIN 7
1,2, VOLUMEN INTRODUCTION
INTRODUCTION 9
1,2, VOLUMEN
ZILVINAS KEMPINAS
INTRODUCTION 11
1,2, VOLUMEN ZILVINAS KEMPINAS
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1,2, VOLUMEN ZILVINAS KEMPINAS
El volumen no tiene significado. Yo realmente La luz no afecta al volumen, pero puede cambiar
no pienso en tales categoras formales. nuestra percepcin de l.
CAPITULO A 15
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CHAPTER A 17
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What does volume mean to you? How do objects affect the space they inhabit?
What power might they have within a space?
Volume has no meaning. I dont really think
in such formal categories. Dont know what to say Obviously different
objects affect space they inhabit in many
How do you define sculpture? different ways.
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1,2, VOLUMEN ZILVINAS KEMPINAS
Exposiciones Individuales y Colectivas (seleccin): York City, New York, United States.
Solo and Group Exhibitions (selection):
2006
2011 FLYING TAPE, Palais de Tokyo, Paris
ZILVINAS KEMPINAS SOLO SHOW, Yvon Lambert
Gallery, Paris, France.
WHO RUNS THE SPACE NOW?, group show,
ECOH Galeria, Mexico City, Mexico.
2010
ON LINE, Group Show, Museum of Modern Art
(MoMA), New York City, New York, United States.
2009
53 VENICE BIENNALE, Pavilion of Lithuania,
Venice, Italy.
VOLTA SHOW 05, individual presentation, Spencer
Brownstone Gallery NY, Basel, Switzerland.
2008
ZILVINAS KEMPINAS, solo show, Kunsthalle,
Vienna, Austria.
ZILVINAS KEMPINAS, solo show, Galerie des
Franciscains & Le Grand Caf, Saint-Nazaire, France.
2007
PERALLES AND FLYING TAPE, Contemporary Art
Center, Vilnius, Lithuania.
WHITE NOISE, Spencer Brownstone Gallery, New
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DANIELA LIBERTAD
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Qu entiendes por volumen? Lo que se hace visible desde los lmites que lo
contienen, algo que jams he podido ver desde
Ancho, largo, profundo. dentro. Lo que se disfraza para poder ser. Lo
Un crep, el cabello cardado. que engruesa el pulso, lo que lo hace visible.
Mirarse de perfil en un espejo.
El aire que infla. La voz que levanta palabras. Qu es una escultura?
Un msculo que crece despus de muchas
repeticiones. Algo para ser reconocido mientras se camina
Un sonido que sube; escala en intensidad. en crculos.
Lo que engruesa. Lo que adelgaza. Una oportunidad para rodear.
12 lneas unidas que dibujan un cubo. Una incertidumbre constante, circular.
Un susurro, un grito. Una incapacidad para completar la mirada.
Una confusin en la cabeza.
Un plomo en el estmago al recibir una mala Slo la materia genera volumen?
noticia.
Una conciencia de los lmites propios. Toda materia genera volumen.
Un momento que pasa.
Eco. En trminos de experiencia del espectador qu
Una de las magnitudes resultantes al pensar diferencias crees que hay entre las piezas en
las relaciones entre espacio y masa. dos dimensiones y las de tres dimensiones?
Un problema de escalas, de distancias, de
alcances, de la capacidad que tenemos para El problema, para m, es la presencia. Las
ver e imaginar la materia. dimensiones me preocupan menos, podra
Un alejarse y acercarse constantemente. decir que tanto en la bidimensin como en la
Un punto, una lnea con conflictos de tridimensin hay un problema de presencia. Creo
contencin. que la presencia es diferente todo el tiempo, los
El alcance de una mirada, estirar el brazo, dar sentidos que ocupamos para estar cambian y
unos pasos para llegar o para irse, permitir que tambin la manera en la que los usamos.
la mirada abarque o enfoque. La mirada por ejemplo, distinta frente a un
CAPITULO B 29
1,2, VOLUMEN DANIELA LIBERTAD
dibujo y a un video. Los ojos no hacen lo mismo Graham, y otros tantos ya se haban ayudado
cuando miran algo que no se mueve y algo de otro ojo (el de la cmara) para poder explorar
que se mueve. Y qu decir de los ojos! Una otras miradas del cuerpo. Un problema de
se va a lugares diferentes cuando mira algo en simultaneidad que no podemos abarcar. Creo
movimiento y algo esttico. que sa es una de las tantas preguntas de la
(Otro tipo de movimiento) escultura; en relacin a la incapacidad propia
de rodear sin movernos. Este cuerpo nuestro
Despus comienzo a caminar, el cuerpo se
mueve, intento rodear un objeto que se sita Cmo cambia la experiencia creativa trabajar
en algn lugar de la sala. La mirada tiene que con volumen?
acomodarse, acostumbrarse, resignarse a la
incapacidad de construir un todo desde un solo Creo que se genera una atencin distinta. Al
punto, no puede abarcar si no est dispuesta a trabajar con volumen una tiene que estar mucho
pegar cachos, a posicionarse constantemente, a ms presente/consciente en peso, altura,
volver a construir lo construido, cansado a veces. anchura, masa. Se piensa con ms atencin
los lmites propios. La piel, por ejemplo, que me
Cito a Norma Barragn, -nos peinamos el contiene y separa del resto de las cosas, que
frente nada ms-, nos miramos al espejo me da la oportunidad de saberme diferente a la
y nos preocupamos porque nuestro frente silla, a la mesa. Hay espacios medios entre mi
est arreglado, de nuestro atrs no hay tanto volumen y el de otro objeto, ese punto que crece
problema. Tal vez porque no siempre tenemos o se achica dependiendo de las posiciones y
a la vista dos espejos encontrados que generen del movimiento. Otros indicadores del volumen:
un infinito y nos permitan ver un atrs mientras la distancia y los puntos intermedios.
miramos de frente. Tal vez porque estamos muy
acostumbrados a mirar al frente, porque an Yo que dibujo y hago video, mi atencin
haciendo un arco atrs (trmino gimnstico) generalmente se centra en lo que veo de frente,
no podramos ver el atrs de nuestro cuerpo en un plano. La imagen que se mueve, la hoja
sino el atrs que nuestro cuerpo podra ver de papel en blanco. Sin embargo tambin en lo
(de tener ojos en la nuca) Valie Export, Dan plano hay problemas de espacio, y me atrevo
CAPITULO B 31
1,2, VOLUMEN DANIELA LIBERTAD
a decir, que donde hay problemas espaciales completamente diferente, si hablamos desde
hay tambin problemas de volumen. Ahora, el odo, por ejemplo. Y entonces me pregunto
desde dnde y cmo est entendido el Cules son los objetos dentro del sonido?
volumen? Esas son las preguntas que, creo yo, Los tonos, los timbres, las frecuencias, la
se plantean en toda la exposicin. vibracin, la intensidad de onda? Dnde est
el espacio? Cmo identifico la tensin?
Cmo afecta la luz al volumen?
CAPITULO B 33
1,2, VOLUMEN DANIELA LIBERTAD
CHAPTER B 35
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What does volume mean to you? is disguised so it can be. What thickens the
veins, making pulse visible.
Wide, long and deep.
A bouffant, the hair combed back. How do you define sculpture?
To see yourself in the mirror in profile.
The air that inflates, the voice that raises words. Something that is recognized while walking
A muscle that grows after repetitive movement. in circles.
A sound that rises; a scale of intensity. An opportunity to go around.
What thickens. What thins. A constant circular, uncertainty.
12 lines that together draw a cube. An inability to complete the gaze.
A whisper, a scream.
A confusion of the mind. What else, aside from material, can create
A lead weight in the stomach when you volume?
receive bad news.
An awareness of our own limits. All matter creates volume.
A passing moment.
Echo. For the viewer,what do you think is the difference
One of the magnitudes that results from in experiencing 2D versus 3D artwork?
thinking about the relationship between space
and mass. The problem for me concerns presence. Im less
A problem of scale, distance, range, of our concerned about dimensions. I would say that
ability to see and imagine matter. in both the three-dimensional form and two-
A constant zoom in and zoom out. dimensional form theres an issue of presence. I
A point, a line with issues of containment. think that presence is different at all times, the
The scope of an eye, to stretch the arm, to senses that we use to be preset change along
take a few steps arriving or leaving, allowing with the way in which we use them.
the gaze to cover, to approach or to focus. The gaze, for example, is different when
What is visible in the boundaries that contain looking at a picture than when looking at a
something Ive never seen from within. What video. The eyes do not act the same when
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1,2, VOLUMEN DANIELA LIBERTAD
looking at something that moves as compared can see (by having eyes in the neck) ... Valie
to something that does not. And what to say Export, Dan Graham, and many others had
about the eyes! Our mind goes off in different been aided by the other eye (the camera)
directions when looking at something moving in their exploration of other views of the
versus something static. body. Its a problem of simultaneity that is
(Another type of movement) incomprehensible. I think that this one of the
many questions of sculptureones inability
Then I start walking; the body moves, I try to surround something without moving. This
to round the object that lies within in the body of ours...
room. Ones gaze has to accommodate, adjust,
resigned to ones inability to construct a whole How does the creative process change when
from a single point of view. It can not really working with volume?
be seen if they eyes are not ready to put the
pieces together, constantly accommodating, I believe volume ask for a certain type of
rebuilding that which has already been built, attention. To work in volume one needs
tiring at times. to be more present / conscious of weight,
height, width, and mass. One has to give more
To quote Norma Barragan, we only comb attention to a volumes limitations. The skin,
that which is in front, we look at ourselves for example, is what restrains me and separates
in the mirror and worry about fixing our from the rest, it gives me the opportunity to
front, theres no such worry for that which understand a chair or a table differently.There
is behind. Perhaps this is because we dont are spaces in between my own volume and
always have two opposing mirrors to create that the object, these spaces grow or widen
an infinite perspective that would allow us depending on ones position and movement.
to see the back while we look at the front. Distance and halfway points are also indications
Perhaps we are only used to looking at the of volume..
front. Even if we perform a back bend (the
gymnastic pose) well never be able to see the When I draw or make videos, my attention
back of our body unless the back of our body generally is concentrated upon what is seen in
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front of me on a flat surface.The image moves, everything changes and it is more difficult for
the white sheet of paper. Nevertheless, even me to respond to things. If I close my eyes I
that which is flat has issues of space; and I dare have to begin to listen, touch, smell, and taste.
say, that when there are spatial issues there are For example, if we consider just hearing or
also issues of volume. So, how and from what listening, we can see that ones understanding
perspective do we understand volume? These of tension and power can be completely
are the questions that I believe are fundamental different. In this way I can ask myself what
throughout the exhibition. are the objects inside of a sound? What are
the tones, frequency, vibration, timber, and
How does light affect volume? intensity of the sound wave? Where is the
space? What is the tension like?
It creates heat, combusts, causes growth.
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1,2, VOLUMEN
2011
TERRIBLE SUBLIME SUBLIME TERRIBLE. Group
show, ECOH Galeria, Mexico City.
2010
UNA COSA Y LA CONTRARIO, ExMolino
Foundation. Mexico City, Mexico.
MFA THESIS SHOW, 80 Washington Square East
Gallery. New York City, New York, United States.
OPEN LEINZELL XX / X, Silvia Biennale Foundation
Wickleder Helmut und Stiftung. Leinzell, Germany.
NIGHT NE, St. Cecilia Convent. New York City, New
York, United States.
2009
POSTE / BOLSA, Individual, Casa Vecina, Mexico
City, Mexico.
ADFUL EXHIBITION OF THE INTERNATIONAL
STUDENTS SHOW, Gallery Korea Advertising
Cultural Center, Seoul, Korea.
<>. Collective, The Commons Gallery, New York
City, New York, United States.
GRACIAS! First Year MFA Show, Group Show,
The Commons Gallery. New York City, New York,
United States.
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MAURICIO LIMN
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Espacio ocupado por un cuerpo, que ocupa un La luz descubre la bidimencionalidad del
lugar en el espacio, a partir de una medicin. volumen.
CAPITULO C 49
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CHAPTER C 51
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What does volume mean to you? How does light affect volume?
How do you define sculpture? How do objects affect the space they inhabit?
What power might they have within a space?
Volume is developed or modified either
physically or conceptually. Based on the theory that all matter is made
up of particles interacting with one another,
What else, aside from material, can create during different, stable periods, their power is
volume? in what they represent.
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1,2, VOLUMEN MAURICIO LIMN
2008
PSICOTRPICO, Hilario Galguera Gallery, Mexico
City, Mexico.
2007
EL LUGAR DE LAS RANAS, Museuo Mural Diego
Rivera, Mexico City, Mexico.
2006
AND A BIG FELLOW TOO, Trolebus Galeria, Mexico
City, Mexico.
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ANUAR MAAUAD
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CAPITULO D 63
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CAPITULO D 65
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What does volume mean to you? volumetric characteristics of the objects that
surround us. It is a skill that few develop.
Volume is the third dimension.
How does the creative process change when
How do you define sculpture? working with volume?
It is the manipulation of materials in relation Working with volume implies working from
to volume. a particular perspective: an analysis of space
and an understanding of three-dimensional
What else, aside from material, can create form. You can work with volume from a
volume? traditional approach to objects, such as the
sculpture that uses specific materials and slow
No. Volume exists if we can perceive it with and costly production. Or you can work with
any of our senses, therefore an optical illusion, volume from a conceptual approach, which
light, heat and energy can create volume. does not imply that we need have a specific
It may even be virtual; space itself is also material but questions our relationship with
volume. Our perception is always limiting or the volume and space.
containing space.
How does light affect volume?
For the viewer,what do you think is the difference
in experiencing 2D versus 3D artwork? Light is what activates volumeit gives the
work shadows and depth and interacts with
During childhood we experience our the surface of the objects, allowing us to
environment through our curiosity for objects differentiate between an object and an image.
and space. As we start school and become
educated, we begin to understand our world How do objects affect the space they inhabit?
and to communicate through 2D images. What power might they have within a space?
Our eyes and our memory usually record
information as images, rarely considering the Volume cannot exist without space; we
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2010
GROUPO DE LOS 16, Hacienda de los Morales,
Mexico City, Mexico.
PLAY HOUSE MoMA, art and design collective
exhibition, Mexico City, Mexico.
SELECCIN CUADRO, Polyforum Siqueiros,
Mexico City, Mexico.
2009
HOT ART FAIR BASEL, representing Mexico, Basel,
Switzerland.
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NORMAN MOONEY
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1,2, VOLUMEN NORMAN MOONEY
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1,2, VOLUMEN NORMAN MOONEY
El sentido de lo absoluto, espacio ocupado que La luz es un elemento fundamental del espacio,
nos llena desde dentro. el volumen no existe sin la luz, el volumen se
trata de esparcir la luz en el espacio.
Qu es una escultura?
Qu poder / efecto tienen los objetos en el
El proceso mediante el que intento entender el espacio?
mundo que me rodea.
El espacio y los objetos se afectan entre ellos
Slo la materia genera volumen? de igual forma, hay una relacin intrnseca; uno
ayuda a definir al otro.
Todo tiene volumen.
CAPITULO E 77
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What does volume mean to you? How does light affect volume?
A sense of the whole, full space that fills us Light is a fundamental element of space,
from the inside out. volume does not exist without it, volume is
about shedding light on the dark.
How do you define sculpture?
How do objects affect the space they inhabit?
The process by which I try to understand the What power might they have within a space?
world around me.
Both the space and the object equally affect
What else, aside from material, can create each other, there relationship is intrinsic; each
volume? one helps to define the other.
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2011
UNCOMMON GROUND II, Bridgehampton, New
York, United States.
2010
WALL FLOWERS, Causey Contemporary, New York
City, New York, United States.
ARTPRIZE, Grand Rapids, Michigan, United States.
FIRE WORKS, Hunterdon Art Museum, New Jersey,
United States.
UNSEEN, MOSI, Tampa, Florida, United States.
OBJECTIF ON ART, Robert Goff Gallery, New York,
United States.
2009
CARBON DRAWINGS, Sasha Wolf Gallery, New
York City, New York, United States.
ARTPRIZE, Urban Institute of Contemporary Art,
Grand Rapids, Michigan, United States.
FALLING SHORT OF KNOWING, Collectors
Contemporary, Singapore.
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LUIS FELIPE
ORTEGA
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1,2, VOLUMEN LUIS FELIPE ORTEGA
Pienso en la escultura como un lugar de experiencia y viceversa. Son experiencias distintas, tanto en
en varias direcciones: de tensin corporal, de trminos de pensamiento como de cierta pragmtica
trayectos en el espacio por parte de los materiales de los objetos hacia los sentidos y el cuerpo.
y del espectador; me interesa la temporalidad de
esa experiencia. Quiz por esa razn he decido Creo que la principal diferencia entre lo bidimensional
hablar en muchas de mis piezas escultricas y tridimensional es corporal. Tanto para el artista
en trminos de emplazamientos; hablan de un que trabaja con objetos y materiales puestos en
tiempo finito de las cosas en el espacio para accin en determinado espacio (extensin, peso,
articular una experiencia. tensin, equilibrio, fragilidad, masa, etc.) como para
la recepcin y contencin del cuerpo del espectador
Desde luego que otros soportes (no matricos) respecto a esta disposicin matrica (y la manera
tambin problematizan el volumen. El dibujo sin como ubica o posiciona o tensa o ajusta su cuerpo
duda es uno de ellos. El desplazamiento de soporte respecto a eso).
quiz es uno de los aspectos ms importantes para
separar dos mbitos de pensamiento visual (con la En trminos fsicos es la proyeccin de la luz sobre
manera en que el artista moldea sus ideas): el que los objetos lo que determina su condicin en el
tiene que ver con problemas de representacin y espacio, no solamente es un hecho que permite la
que remite directamente al acontecimiento sobre visibilidad sino que afecta definitivamente al objeto
el plano (los lmites son claros del papel, por y al entorno en trminos de reflexin y dispersin
ejemplo: hay un marco, un permetro muy claro). impactan a las cosas tanto como esa suma de
Por el contrario, el trabajo con ciertos materiales, choques y rebotes, determinan cierta relacin
el conocimiento del mismo (hilo de algodn, varillas de impacto con el espectador. Es un juego de
de cobre por poner dos ejemplos) lleva a resolver impactos, si puede decirse as, donde hay ciertos
problemas espaciales donde el volumen exige golpes pticos, de modo que podramos hablar de
atencin permanente, se genera volumen, se trabaja una especie de violencia en trminos fsicos.
a partir de modelar el espacio (incluso negativo)
para aventurar esos materiales a una relacin Es gracias a los materiales (y a la manera en que estos
especfica en presencia del espectador, es l quien materiales son manipulados) que el artista tiene una
detona cierta actitud del volumen hacia su cuerpo relacin especfica con el espacio, donde va de la
CAPITULO F 89
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CAPITULO F 91
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I think of sculpture as a place of experience in several both in terms of thought and the pragmatic aspects
directions: of the bodys tension, of the materials concerning the objects relationship to the body
and viewers journeys into space. Im interested in and its senses.
the temporal aspects of that experience. Perhaps
for this reason I have tried to have my sculptural I think the main difference between the two-
pieces communicate in terms of emplacement - to dimensional and threedimensional concerns the
speak of the finite aspect of things in the space that body. Both for the artist who works with objects
articulate an experience. and materials that are put into action in a given
space (length, weight, tension, balance, fragility,
Of course, other media (that which is not tangible) mass, etc...) and for the reception and containment
also problematize volume. Drawing is certainly of the viewers body regarding the placement of
one of these media. The shifting of the creative physical matter (and the way in which he locates,
platform is perhaps one of the most important places, tenses, or adjust his body regarding the
facts that separates the two areas of visual thinking physical matter).
(the way the artist shapes his ideas). It has to do
with problems of representation and refers directly In physical terms it is the projection of light upon
to the action upon a flat surface (paper has its objects that determines their condition in space.
limits, for example: there is a frame and clear edge). This fact not only allows for visibility but also
By contrast, when working with certain materials affects the object and its environment in terms
and our understanding of them (cotton yarn or of reflection and scattering... it impacts objects in
copper rod, to give two examples), we find that as much as it collides and rebounds, determining
they insist that we solve spatial problems in which a certain relationship that impacts the viewer. If
the volume needs constant attention. Volume I may say so, it is a game of impact, where there
is created; one works at modeling space (even are optical hits. Therefore we can talk in physical
negative space) in order to push such material to a terms about a kind of violence.
specific relationship generated by the presence of
the viewer. It is the spectator who creates a certain Due to the materials (and how these materials are
sense of volume concerning his body and vice- handled) the artist has a specific relationship with
a-versa. Ultimately, they are different experiences, space, which covers the spectrum from the abstract
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to certain specific ways of directing what the artist Exposiciones Individuales y Colectivas (seleccin):
wants from the space (pointing, tension, impose, Solo and Group Exhibitions (selection):
contain) ... the object is the medium and the
potential by which the space can conceive, address, 2011
and shape our own subjectivity in a particular ANTES DE LA RESACA: UNA FRACCIN DE LOS
environment. Objects arranged in space are a tool NOVENTA EN LA COLECCIN DEL MUAC, Group
to leverage our relationship with the world and in Show, Mexico City, Mexico.
the world (here / now). GOD ONLY KNOWS WHO THE AUDIENCE IS:
PERFORMANCE, VIDEO AND TELEVISION
Many of my pieces have been about movement THROUGH THE LENS OF LA MAMELLE, CCA Wattis
(and relocation) between these two domains (2D Institute for Contemporary Arts, San Francisco, CA,
to 3D), which are physical, but also mental. A very United States.
particular vertigo is created between the potential
of an image and the potential of sculpture--the 2010
vertigo of the bodily experience, when it is used as AS ES, AHORA ES AHORA, Laboratorio Arte
a tool beyond the materials limitation.The vertigo Alameda, Mexico City, Mexico.
of failing into the new space of the void that we
have been drug into ...a kind of zero degree; that 2009
which we expected to happen (you could also 4th Prague Biennale, Czech Republic.
make this distinction in terms of a event) wont
happen... 2006
BEFORE THE HORIZON, Maison dArt Actuel des
Chartreux, Brusels, Belgium.
ESQUIADOR EN EL FONDO DEL POZO, The Jumex
Collection, Mexico City, Mexico.
2004
OCUPACIN, Sala de Arte Pblico Siqueiros,
Mexico City, Mexico.
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1,2, VOLUMEN
2002
Gwanju Biennale, South Korea.
2001
Tirana Biennale, Albania.
2000
YO, NOSOTROS, Centro de la imagen, Mexico
City, Mexico.
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DANIEL RUANOVA
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CAPITULO G 103
1,2, VOLUMEN DANIEL RUANOVA
Los espacios se hacen por quin o qu los Ruanova grew up in a bicultural environment that
habita/usa/transita/descarta... has proved fundamental in his artistic development.
The security apparatus that is ubiqutious along the
Hablando del soporte de trabajo Dnde est la Mexico and United States border captured Ruanovas
frontera entre la segunda y la tercera dimensin? attention from the days of his earliest artworks.
His recent Fuck Off Project consists of a series of
En la relacin entre la idea y la accin... site-specific sculptures that are built in an organic
and intuitive manner using simple steel armatures
held together by screws. His sculptures both invade
and defend the space, inviting viewers to analyze
the relationship between security and vulnerability,
as well as the meaning of security and violence.
Ruanovas work has been exhibited throughout
Mexico and the United States, in addition to
shows in Europe, Russia and China.
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What else, aside from material, can create It all depends on what kind of light and what
volume? kind of volume. If the volume is perceived
with the eyes, light affects it totally. But if
The sense of volume is generated by the it is perceived with another sense, or a
perception of matter. combination of other senses, it does not affect
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at all. Unless you consider heat or energy waves Exposiciones Individuales y Colectivas (seleccin):
emitted by light. Solo and Group Exhibitions (selection):
2008
CIVIC PROJECT, THE CUBE / Centro Cultural
Tijuana, B.C., Mexico
WAR AS A WAY OF LIFE, 18th Street Art Center,
Santa Monica, California, United States.
EHRENBERG / SIGNS AND SIGNALS, Palacio de la
Cultura, Tijuana, B. C., Mexico.
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SEBASTIEN VERDON
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Material confrontado al espacio. En cuanto al Verdon lives and works in Neuchtel Switzerland
proceso: una suma o sustraccin de materiales. and studied visual arts at the University of Bern.
Interaccin con el cuerpo y con el espacio. His work has been exhibited across Europe and
North America. This is the second time that his
Slo la materia genera volumen? work has been shown in Mexico.
Verdon works in various media including
Tambin una ilusin de volumen. video, installation, drawing and sculpture. His
art examines the question of the viewers linear
Cmo cambia la experiencia creativa al trabajar perception while constantly calling into question
con volumen? the role of the contemporary artist.
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B. DANIELA LIBERTAD
B1. Daniela Libertad, der Boden. 60 minutos bailando (der Boden,
60 minutes dancing), 2010, Impresin digital, Ed/5 / Digital Print.
B2. Daniela Libertad, Cuchara (Spoon), 2011, Cuchara, leche,
19.5 x 4.3 x 1.5 cm / Spoon, milk.
B3. Daniela Libertad, Diagrama 15, 2010, Grafito sobre papel,
16 x 21.5 cm. / Graphite on paper.
C. MAURICIO LIMON
C1. Mauricio Limn, Solutio per pendo is ere (Solucin
Perpendicular), 2011, Madera, Espejos, Impresin sobre vinil
auto aderible, 180 x 180 x 180. / Wood, colored vinil.
D. Anuar Maauad
D1. Anuar Maauad, Estrella (Star), 2010, resina, esmalte
epoxico y grafito, 100 x 100 x 10 cms. / Cast resin, epoxic
paint and graphite.
D2. Anuar Maauad, estatequieto (staystill), 2011, instalacin
con turbina, tela, 500 x 80 (diametro) cms. / Fan, fabric.
E. Norman Mooney
E1. Norman Mooney, Star No.1 and Star No.2 , 2009, Vaciado
de Aluminio, 243.84 x 365.76 x 243.84 cms (cada una). / Cast
aluminium.
E2. Norman Mooney, Carbon Panel #42, 270 x 180 cms.,
Carbn sobre panel de madera, laminado, 2010. / Carbon on
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panel, laminated.
E3. Norman Mooney, Wall Flower No.2 , Vaciado de resina y
pigmento rojo, 2010, 223.52 x 121.52 cms. / Cast Resin with
red pigment.
G. DANIEL RUANOVA
G1. Daniel Ruanova, Becoming Browser, canaletas de alumino,
tornillos, 160 x 180 x 150 cm, 2009. / Aluminium.
G2. Daniel Ruanova, Security Site, canaletas de aluminio,
tornillos, medidas variables. Vista de la instalacin: Centro
Cultural Tijuana. / Aluminium.
h. sebastien Verdon
H1.Sebastien Verdon, 3D at Dannys Studio (remake), 2011,
Impresin digital, 70 x 100 cms./ Digital print.
H2. We need more space, 2009-2011, Pintura sobre muro,
300 x 200 cms. (variable)./ Mural painting.
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