Besides, With, Against, and Yet:
Abstraction and The Ready-Made Gesture
November 13, 2009 - January 16, 2010
Richard Aldrich, Polly Apfelbaum, Kerstin Brätsch, Ana Cardoso, Jessica Dickinson, Cheryl Donegan, Keltie Ferris, Wade Guyton, Jaya Howey, Alex Hubbard, Jacqueline Humphries, Jacob Kassay, Jutta Koether, Nate Lowman, Seth Price, R.H. Quaytman, Blake Rayne, Davis Rhodes, Cheyney Thompson, Patricia Treib, Charline von Heyl, and Kelley Walker
The Kitchen, 512 West 19th Street
The Kitchen’s Board of Directors and Executive Director Debra Singer invite you to the exhibition opening of
Besides, With, Against, and Yet:
Abstraction and The Ready-Made Gesture
November 13, 2009 - January 16, 2010
Richard Aldrich, Polly Apfelbaum, Kerstin Brätsch, Ana Cardoso, Jessica Dickinson, Cheryl Donegan, Keltie Ferris, Wade Guyton, Jaya Howey, Alex Hubbard, Jacqueline Humphries, Jacob Kassay, Jutta Koether, Nate Lowman, Seth Price, R.H. Quaytman, Blake Rayne, Davis Rhodes, Cheyney Thompson, Patricia Treib, Charline von Heyl, and Kelley Walker
Friday, November 13, 5:00 - 8:00 PM
Opening Reception at The Kitchen, 512 West 19th Street
About the Exhibition:
This group exhibition brings together more than twenty New York-based artists whose works engage diverging conceptual approaches to abstract painting and question the fundamental roots of the medium’s modernist legacies. Renegotiating histories of painting with a mixture of both irony and sincerity, these artists appropriate aspects of non-narrative abstraction as “ready-made” vocabularies to be reinvented. Whether resulting from detached and mechanized modes of production or more direct, hand-rendered means, the works’ formal gestural qualities are offered up in relation to conceptual, minimalist, process, and pop art traditions. Curated by Debra Singer, the exhibition runs from November 13, 2009 through January 16, 2010. Exhibition Hours: Tues - Fri, 12-6 pm; Sat 11-6 pm FREE
This exhibition is made possible with generous support from the Dedalus Foundation, Inc., and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a state agency.
This exhibition is made possible with generous support from the Dedalus Foundation, Inc., and with public funds from the New York City Department of Cultural Affairs and the New York State Council on the Arts, a state agency.
FOR IMMEDIATE RELEASE
MIGUEL AMADO PRESENTS
Works by Ana Cardoso, Carolina Caycedo, Jeanette Doyle, Yevgeniy Fiks, Runo Lagomarsino, Michael Mandiberg, Kaeko Mizukoshi, and Miguel Ângelo Rocha
VIP Preview and Opening Reception: Friday, November 6, 5 – 9PM
Saturday and Sunday, November 7 and 8, 2 – 6PM; Monday, November 9, 12 – 8PM
New York, November 9 – The International Studio & Curatorial Program (ISCP) proudly announces “Miguel Amado Presents”, a project organized by Miguel Amado, 2009 curator-in-residence, for ISCP Open Studios. This project brings together New York-based and international artists at room 108 of the ISCP building. The project concludes a series of consecutive weekly one-work solo shows. Every Monday, Miguel Amado has installed a new work, which connected to the previous one and generated new, unexpected meanings. During ISCP Open Studios weekend, all the works will be on view, creating an innovative display. This project is a curatorial experiment, in line with the thought-provoking tradition of ISCP.
Open Studios present works by the 36 artists, artist groups and curators currently in residence at ISCP. Residents of ISCP employ a refreshingly diverse range of styles in the mediums of painting, drawing, photography, video, performance, sculpture and installation, all of which will be on view in their individual studios. Presented twice a year, ISCP Open Studios offer the public, art professionals and other enthusiasts access to cutting-edge contemporary art practices from around the world. These free events provide an exclusive peek into the production, process and personal archives of celebrated artists and curators with global reputations.
For further information, please contact Miguel Amado at miguelamadoprojects@gmail.com or the ISCP at info@iscp-nyc.org or (718) 387-2900.
MIGUEL AMADO PRESENTS
Works by Ana Cardoso, Carolina Caycedo, Jeanette Doyle, Yevgeniy Fiks, Runo Lagomarsino, Michael Mandiberg, Kaeko Mizukoshi, and Miguel Ângelo Rocha
VIP Preview and Opening Reception: Friday, November 6, 5 – 9PM
Saturday and Sunday, November 7 and 8, 2 – 6PM; Monday, November 9, 12 – 8PM
New York, November 9 – The International Studio & Curatorial Program (ISCP) proudly announces “Miguel Amado Presents”, a project organized by Miguel Amado, 2009 curator-in-residence, for ISCP Open Studios. This project brings together New York-based and international artists at room 108 of the ISCP building. The project concludes a series of consecutive weekly one-work solo shows. Every Monday, Miguel Amado has installed a new work, which connected to the previous one and generated new, unexpected meanings. During ISCP Open Studios weekend, all the works will be on view, creating an innovative display. This project is a curatorial experiment, in line with the thought-provoking tradition of ISCP.
Open Studios present works by the 36 artists, artist groups and curators currently in residence at ISCP. Residents of ISCP employ a refreshingly diverse range of styles in the mediums of painting, drawing, photography, video, performance, sculpture and installation, all of which will be on view in their individual studios. Presented twice a year, ISCP Open Studios offer the public, art professionals and other enthusiasts access to cutting-edge contemporary art practices from around the world. These free events provide an exclusive peek into the production, process and personal archives of celebrated artists and curators with global reputations.
For further information, please contact Miguel Amado at miguelamadoprojects@gmail.com or the ISCP at info@iscp-nyc.org or (718) 387-2900.
2009.jpg)
Artforum online > Critic's Picks: Ana Cardoso ------------------------------------------------------------------------->>>>
No. 3 / No. 13 ana cardoso 24 junho - 7 agosto 2009 carlos carvalho arte contemporânea
rua joly braga santos, lote f – r/c 1600 – 123 lisboa www.carloscarvalho-ac.com
seg a sex 10h - 19h30 e sáb 12h - 19h30
-----------------------------------------
TACTICAL SUPPORT: CURATOR'S CHOICE
9 May - 31 July 2009
9 May - 31 July 2009
TRACY WILLIAMS, Ltd.
313 West 4 Street
New York, NY 10014
Tuesday - Saturday, 11-6
ANTHONY HUBERMAN: Shannon Bool Ana Cardoso Jochen Lempert Sriwhana Spong TREVOR SMITH: Richard Grayson Sarah Kabot Joanna Malinowska Christian Tomaszewski Suzanne Treister BENJAMIN WEIL: Isola and Norzi Gianluca and Massimiliano de Serio Alberto Tadiello |
Ana Cardoso, Surprise Surprise (Flag), 2009
Ana Cardoso, Meditation 6 (Diamond), 2009
STRIP/STRIPE, a project by TEST
May 8-22, 2009
Emily Harvey Foundation
537 Broadway
New York, NY 10012
Tuesday - Saturday, 2-6 pm
Opening Reception -
May 8, 6-9 pm
Ann Craven
Amy Granat & Emily Sundblad
Ana Cardoso
Fia Backstrom
Jutta Koether
Alison Fox
Olivier Mosset
Richard Aldrich
Charles Curtis
Raha Raissnia
Dexter Sinister
Jeff Perkins
Joao Simoes
Stefan Tcherepnin
Robert The
Matt Keegan
Drew Heitzler
Peter Halley
Geoff Hendricks
Jacob Kassay
Amir Mogharabi
Yehuda Safran
Heather Guertin
International Pastimes
Odili Odita
Chuck Nanney
David Medalla
Alexandre Estrela
Michael Portnoy
Guido Van der Werve
Bianca Beck
Josh Brand
Chris Riddle
Isabel Halley
Joana Avillez
Marc Kokopeli
Ian Cooper
Opening reception with performances by Amy Granat,
Michael Portnoy, Amir Mogharabi, Stefan Tcherepnin, Richard Aldrich, ...
and films selected by Amy Granat (dates to be announced)
and stripe works from the Fluxus Emily Harvey Collection!
& invitation card by Dexter Sinister
Amir Mogharabi preparing performance 22 & Ana Cardoso, Surprise Surprise, 2009
-----------------------------------------
Space Study, What If
Space Study, What If
by Ana Cardoso, New York, 2008
(34 pages, artist edition of 200, inkjet print)
---------------------------------------------------
Portuguese Artists Abroad
exhibition curated by João Pinharanda
for EDP Foundation & Presidency Museum
Opening Jan 16th, 9.30 pm
Electricity Museum, Lisbon
Portuguese Artists Abroad
exhibition curated by João Pinharanda
for EDP Foundation & Presidency Museum
Opening Jan 16th, 9.30 pm
Electricity Museum, Lisbon
Until March 15th 2009
Ana Cardoso
text by Joao Pinharanda
Behind these paintings, there are compositional and thematic models that annul and subvert each other. The sleeping bodies of Courbet's women have lost their original aura of scandal, just as their skin tones are no longer differentiated as tan and fair. They are there to evoke for us the history of that painting, revealing in their simplicity of means the essential lines of the geometrical composition that contains the bodies. The accompanying geometrical paintings evidently enhance that, without, however, taking us back to the prior figurative content, revealing instead, through lush chromatic enrichment, the extent of abstraction's incompatibility with any indoctrination or dogma. The artificial lightning equipment, which connects itself freely and from a different plan (on the floor) to the set of paintings, reinforces the desire of freeing them from all illustrative purposes.
in LA FORA exhibition catalogue
EDP Foundation and the Presidency Museum of Portugal, 2009
---------------------------------------------------
LINK:
Flash Art Online on Joao Simoes’ closing reception at Emily Harvey FoundationNEW YORK - As the Bernadette Corporation put it, “New York itself strives to become the ultimate collective experiment in which the only thing shared is the lack of uniqueness.” This certitude was heralded once again on a night when I found myself on Broadway, following an invitation to the mysterious closing reception of a tentacular project by Portuguese artist and architect Joao Simoes at the Emily Harvey Foundation.
...
Rendering the night even more exciting was a painting collaboration by Ana Cardoso Jacob Kassay and a very special couple of films: Ann Craven’s wonderful and all-is-full-of-love Shadow, which featured the artist’s cat projected onto the decays of Shimada’s arrangements, followed by the Lisbon Film by Amy Granat and Emily Sundblad.
...
Anthony Huberman, Maï-Thu Perret, John Armleder, Jutta Koether, Ann Craven, Amy Granat, Jacob Kassay and Ana Cardoso; Amy Granat and Emily Sundblad's Lisbon Films, created during the meeting in Lisbon for TEST project in February 2008.
-----------------------------------------
7 November - 14 December, 2008
Self & Others, 2008
acrylic on unprimed cotton canvas, 76x66 in
SOUTHFIRST Presents
Ana Cardoso: SPACE STUDY7 November - 14 December, 2008
Self & Others, 2008
acrylic on unprimed cotton canvas, 76x66 in
How to Draw the Line Between the Friend and the Enemy, 2008
acrylic on unprimed linen fabric and fluorescent lamp, 33x78 in
acrylic on unprimed linen fabric and fluorescent lamp, 33x78 in
-----------------------------------------
Emily Harvey Foundation
537 Broadway, 10012 New York, NY
emilyharveyfoundation.org
for immediate release
Christian Xatrec, on behalf of the Emily Harvey Foundation, gives carte blanche to Lisbon and Brooklyn based artist Joao Simoes. Fenced, by option, between blue-chip dates - opening the day after the Elections and closing the day before Thanksgiving - Simoes invites :
Nov 14, 2008
3-7:00 pm
Ana Cardoso and Jacob Kassay
Across Across Across: Painting installation / Collaboration
7:00 pm
Yehuda Safran
On two particular images
8:00 pm
Alison Knowles
Piece for any number of vocalists
program of events
-----------------------------------------
SOUTHFIRST Presents
Ana Cardoso: SPACE STUDY
7 November - 14 December, 2008
Ana Cardoso: SPACE STUDY
7 November - 14 December, 2008
---------------------------------------------------
VPF Gallery Presents
Ana Cardoso: SANS IMAGE
25 Sep - 8 Nov 2008
Titles of the paintings [>in the show]:
Duck, 2008
Light (for P.), 2008
Blind, 2008 [>covering half the window]
Stripes (for S.J.), 2008
Sun (///), 2008
Cross, 2008 [>leaning on wall, with fluorescent lamp behind]
o0O, 2008
Non-Image, 2008
44, 2008
Meditation 3 (Diamond), 2008
Complementary Identity 2 (after Sleep, Courbet), 2008
Meditation 2 (Diamond), 2008
Yellow Wall, 2008
Sun (x), 2008 [>circular painting on top shelf]
.jpg)
---------------------------------------------------
////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
An Interview
Int: Why do you call this show (Sans Image) a group show since it is in fact a one-person exhibition?
AC: Because images are appropriated, they're briefly mine, maybe never. And soon never again... they are randomly taken from History and then back to its tracks.
Int: And, why Sans Image? Are you driven towards the anonymous?
AC: Not really… Sans Image refers to a lack of reference and a frustration in pinning down the world through images, our substitute for language and a potential place for creativity… if/when it happens.
It is a show about nothing, actually. A meditation…
Int: On the impossibility of clearly expressing oneself…
AC: Well, more or less. The impossibility of not being able to express oneself through the boring task of coherence…
Int: I see…
AC: I think images, like most families, are dysfunctional although they gather like particles – it is a mystery.
Int: And you are also attracted by this magnetism.
AC: I am. I see painting through this perspective – images have different dynamics, like quantum physics! I am attracted to images I don’t quite understand – images that devolve some mystery or just strangely relate to your actual thoughts.
Int: Thank you!
AC: My pleasure.
////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
ANA CARDOSO
SANS IMAGE
VPF Gallery, Lisbon
25 Sep – 8 Nov 2008
SANS IMAGE
VPF Gallery, Lisbon
25 Sep – 8 Nov 2008
25 Sep – 8 Nov 2008
////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
An Interview
Int: Why do you call this show (Sans Image) a group show since it is in fact a one-person exhibition?
AC: Because images are appropriated, they're briefly mine, maybe never. And soon never again... they are randomly taken from History and then back to its tracks.
Int: And, why Sans Image? Are you driven towards the anonymous?
AC: Not really… Sans Image refers to a lack of reference and a frustration in pinning down the world through images, our substitute for language and a potential place for creativity… if/when it happens.
It is a show about nothing, actually. A meditation…
Int: On the impossibility of clearly expressing oneself…
AC: Well, more or less. The impossibility of not being able to express oneself through the boring task of coherence…
Int: I see…
AC: I think images, like most families, are dysfunctional although they gather like particles – it is a mystery.
Int: And you are also attracted by this magnetism.
AC: I am. I see painting through this perspective – images have different dynamics, like quantum physics! I am attracted to images I don’t quite understand – images that devolve some mystery or just strangely relate to your actual thoughts.
Int: Thank you!
AC: My pleasure.
////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////////
ANA CARDOSO
SANS IMAGE
VPF Gallery, Lisbon
25 Sep – 8 Nov 2008
---------------------------------------------------
Sans Image Series [(x), (..), (/), (-)] &
Occupancy + Sountrack Studies / Distribution Poster
in Territorial Pissings, Plataforma Revolver, Lisbon
in Territorial Pissings, Plataforma Revolver, Lisbon
June 19th - July 31st, 2008
Inc. Artist Books and Editions (bookstore, Porto)
http://www.inc-livros.pt/
featuring Space Study and Monolog
http://www.inc-livros.pt/
Bendover/Hangover: An Evening with Cinema Zero
May 10 at 8 PM One Night OnlyPERFORMANCES BY RICHARD ALDRICH*, FELICIA BALLOS* & FLORA WIEGMANN*, STEFAN TCHEREPNIN*, AND AMY GRANAT*.
PAINTINGS AND PRINTS BY WILLIAM S. BURROUGHS, AND JACOB KASSAY*, ANA CARDOSO*, ANN CRAVEN*, and MATT KEEGAN*.
FILMS BY DREW HEITZLER*, FIA BACKSTROM*, CHARLES & RAY EAMES, OLIVIER MOSSET*, JOAO SIMOES*, ANTHONY BALCH/WILLIAM S. BURROUGHS/BRION GYSIN, AND FROM THE ARCHIVES OF LOCOCO FINE ART.
*Scheduled to attend.
White Flag Projects is pleased to announce a very special event, BENDOVER/HANGOVER: AN EVENING WITH CINEMA ZERO, organized by Amy Granat. For one night only White Flag Projects will introduce an unprecedented assembly of fast-rising national and international artists to the St. Louis art audience, including four artists featured in the current Whitney Biennial.
This remarkably timely event offers a rare opportunity for local audiences to experience some of the most talked about art of the day as it is happening, without the typical delay of months or years as developments in the coastal art capitals filter into the middle of the country.
BENDOVER/HANGOVER will feature films by: Drew Heitzler, Fia Backstrom, Charles & Ray Eames, Olivier Mosset, Anthony Balch/William S. Burroughs/Brion Gysin, Joao Simoes, and archival footage from Lococo Fine Art, in addition to paintings and prints by William S. Burroughs, Ann Craven, Matt Keegan, Ana Cardoso and Jacob Kassay, and performances by Richard Aldrich, Felicia Ballos & Flora Wiegmann, Stefan Tcherepnin, and Amy Granat.
"SANS IMAGE", AN ONGOING SERIES, ENTANGLES ALL THE IMAGES I WORK WITH. REPRESENTATIONAL OR ABSTRACT IMAGES ARE SEEN AS NON-IMAGES.
.
Paintings in Sonambulism (2008), Poste-Ite, Pedro Oliveira gallery, Porto
000000, 2008
Erro, 2008
2009, 2008
1221, 2008
Cubist Lady, 2007
End Title, 2007
Track #1, 2007
1978, 2008
Contraplacado, 2008
Nonsubstancial, 2008
Sonambulism 3, 2007
Lining, 2008
1/50, 2007
1/40, 2007
K, 2007
Dia, 2007
Coherence, 2007
Who Knows Who, 2007
Lilás, 2008
Fazenda, 2008
Bonus Track, 2007
...
000000, 2008
Erro, 2008
2009, 2008
1221, 2008
Cubist Lady, 2007
End Title, 2007
Track #1, 2007
1978, 2008
Contraplacado, 2008
Nonsubstancial, 2008
Sonambulism 3, 2007
Lining, 2008
1/50, 2007
1/40, 2007
K, 2007
Dia, 2007
Coherence, 2007
Who Knows Who, 2007
Lilás, 2008
Fazenda, 2008
Bonus Track, 2007
SONAMBULISM, 2008 - STACKED PAINTINGS ON THE GROUND AGAINST THE WALLS, WITH FLUORESCENT LAMPS INSTALLED BEHIND THEM. THE PAINTINGS DID NOT HAVE THE PERFECT WHITE CUBE DISPLAY. BECAUSE OF THESE RELATIONSHIPS ONE ENGAGED MORE DIRECTLY IN THE DETAILS AND JUXTAPOSITIONS. THE WALLS WERE PAINTED SILVER – THE ENAMEL ON THE WALLS SMELLED LIKE AN AUTO-MECHANIC SHOP. SOME WERE NOT EVEN PAINTING.
.
POSTE-ITE ROOM
EDIFÍCIO ARTES EM PARTES
RUA MIGUEL BOMBARDA, 457 – 3ºA · 4050 PORTO
Press Release
SONAMBULISM
OPENING SAT 12 JAN 4PM
+
PRESENTATION OF ”SPACE STUDY, LINKAGES & SONAMBULISM &”
12 JAN - 23 FEB 2008
TUE – SAT . 3PM – 8PM
ANA CARDOSO INSTALLS PAINTINGS FROM THE SERIES “SONAMBULISM” IN THE POSTE-ITE ROOM.
THE SMALL 20 CUBIC METER ROOM WORKS AS A FREEZING CHAMBER WHERE THERE ARE PAINTINGS, MATERIAL, IMAGES.
IN THE SILVER-PAINTED ROOM, THE LIGHTING IS VERY STRONG AND WHITE – PAINTINGS RELATE THROUGH THE LIGHT CONTINUITY AND STABILITY.
SOME PAINTINGS ARE COLOR EXPLOSIONS AND REMIND US OF KANDINSKY. OTHER ONES ARE FROM THE SERIES GEOMETRICAL CONSTELLATIONS OR THE BLACK SERIES. THERE ARE PAINTINGS WHERE THE FEMININE FIGURE OCCUPIES THE CENTRE. IN THIS PROJECT OF MINIMAL ACTION, SOME OF THEM ARE PERHAPS NOT EVEN PAINTING.
SONAMBULISM IS A PROJECT – WHICH HAS BEGUN IN NEW YORK CITY – WHERE ANA CARDOSO OVERLAYS SERIES WHICH MAY NOT EVEN TOUCH. WITH THIS PROJECT ROOM CARDOSO TRIES SOME OF THE IDEAS AND PIECES MADE IN OTHER FORMATS. A COLLECTION ABOUT COPYRIGHTS, WHERE POINTS OF VIEW ARE DISCLOSED – IMAGE DYSFUNCTIONALITY, COHERENCE, MODERNISM, SHALLOWNESS, INTROSPECTION.
.
Space Study, Linkages & Sonambulism &
"SPACE STUDY, LINKAGES & SONAMBULISM &" (2007) -- IN THIS BOOK NOTHING IS IDENTIFIED – ORIGINALITY, AUTHORSHIP AND INTIMACY. THE RESULT IS A DISTORTED LANGUAGE FIELD AS IT HAPPENS WITH A FRANTIC USE OF OVERLAPPING SPACES.
.
CHAT 2007-01-20
Ricardo Valentim: 21:27:06
how do you explain the concept of difference?
ana cardoso: 21:27:26
through difference
ana cardoso: 21:28:02
between alike
Ricardo Valentim: 21:28:17
yes, but when Different things are put into a grid
ana cardoso: 21:28:45
things are set apart
ana cardoso: 21:29:48
showing their rupture points
ana cardoso: 21:31:15
there aren’t any categories when there are only differences
Ricardo Valentim: 21:32:11
culturally speaking it doesn't make sense a grid like the one you mentioned
ana cardoso: 21:32:29
why not
ana cardoso: 21:33:04
grid may equal culture
Ricardo Valentim: 21:33:16
because difference doesn't imply a category
ana cardoso: 21:33:43
but culture is way more vast
Ricardo Valentim: 21:34:31
sure, but what is important in your work - culture or difference?
ana cardoso: 21:35:00
culture=difference
ana cardoso: 21:35:56
I like difference because is less specific
Ricardo Valentim: 21:36:06
we can in fact make some use of putting them together in a kind of healing platform
Ricardo Valentim: 21:36:38
and culture can be less specific also
ana cardoso: 21:36:56
sure!
ana cardoso: 21:37:05
healing platform....
ana cardoso: 21:37:45
platform is a space
Ricardo Valentim: 21:38:24
what is important is to understand how a series of paintings can meet these ideas, without being just a formal composition in between them
Ricardo Valentim: 21:38:53
their relation aspires to a cultural image
ana cardoso: 21:39:02
yes, there are the primary choices, that are not formal
ana cardoso: 21:39:54
sure, of contemporary society as I know it
Ricardo Valentim: 21:40:15
but how is that relation processed
ana cardoso: 21:40:34
images that stay latent
ana cardoso: 21:40:54
it is a relation of signifiers
ana cardoso: 21:41:16
cultural signs and signifiers
Ricardo Valentim: 21:42:26
that means that the reality you want to engage with is not the present one but a constructed truth
ana cardoso: 21:42:27
stressed by differences rooted on contemporary culture
ana cardoso: 21:43:10
what is the present reality?
Ricardo Valentim: 21:43:28
the one we live
ana cardoso: 21:43:35
sure, that is quite impossible to define exactly
ana cardoso: 21:43:57
but of course it is the one I live
Ricardo Valentim: 21:45:32
so you think that by displaying an abstract painting next to a figurative painting that relation will be established as a possible result of contemporary living
ana cardoso: 21:46:33
yes but that is a simplified form
Ricardo Valentim: 21:47:14
what? contemporary life or a painting next to another
ana cardoso: 21:48:31
a thing next to another. that is how you find relations and create / look at signifiers in contemporary life
ana cardoso: 21:49:11
but evidently it is subliminal
ana cardoso: 21:49:28
linkages
Ricardo Valentim: 21:50:14
so we are facing a lie
ana cardoso: 21:50:42
no. why?
ana cardoso: 21:51:06
I'm only talking about reading
Ricardo Valentim: 21:27:06
how do you explain the concept of difference?
ana cardoso: 21:27:26
through difference
ana cardoso: 21:28:02
between alike
Ricardo Valentim: 21:28:17
yes, but when Different things are put into a grid
ana cardoso: 21:28:45
things are set apart
ana cardoso: 21:29:48
showing their rupture points
ana cardoso: 21:31:15
there aren’t any categories when there are only differences
Ricardo Valentim: 21:32:11
culturally speaking it doesn't make sense a grid like the one you mentioned
ana cardoso: 21:32:29
why not
ana cardoso: 21:33:04
grid may equal culture
Ricardo Valentim: 21:33:16
because difference doesn't imply a category
ana cardoso: 21:33:43
but culture is way more vast
Ricardo Valentim: 21:34:31
sure, but what is important in your work - culture or difference?
ana cardoso: 21:35:00
culture=difference
ana cardoso: 21:35:56
I like difference because is less specific
Ricardo Valentim: 21:36:06
we can in fact make some use of putting them together in a kind of healing platform
Ricardo Valentim: 21:36:38
and culture can be less specific also
ana cardoso: 21:36:56
sure!
ana cardoso: 21:37:05
healing platform....
ana cardoso: 21:37:45
platform is a space
Ricardo Valentim: 21:38:24
what is important is to understand how a series of paintings can meet these ideas, without being just a formal composition in between them
Ricardo Valentim: 21:38:53
their relation aspires to a cultural image
ana cardoso: 21:39:02
yes, there are the primary choices, that are not formal
ana cardoso: 21:39:54
sure, of contemporary society as I know it
Ricardo Valentim: 21:40:15
but how is that relation processed
ana cardoso: 21:40:34
images that stay latent
ana cardoso: 21:40:54
it is a relation of signifiers
ana cardoso: 21:41:16
cultural signs and signifiers
Ricardo Valentim: 21:42:26
that means that the reality you want to engage with is not the present one but a constructed truth
ana cardoso: 21:42:27
stressed by differences rooted on contemporary culture
ana cardoso: 21:43:10
what is the present reality?
Ricardo Valentim: 21:43:28
the one we live
ana cardoso: 21:43:35
sure, that is quite impossible to define exactly
ana cardoso: 21:43:57
but of course it is the one I live
Ricardo Valentim: 21:45:32
so you think that by displaying an abstract painting next to a figurative painting that relation will be established as a possible result of contemporary living
ana cardoso: 21:46:33
yes but that is a simplified form
Ricardo Valentim: 21:47:14
what? contemporary life or a painting next to another
ana cardoso: 21:48:31
a thing next to another. that is how you find relations and create / look at signifiers in contemporary life
ana cardoso: 21:49:11
but evidently it is subliminal
ana cardoso: 21:49:28
linkages
Ricardo Valentim: 21:50:14
so we are facing a lie
ana cardoso: 21:50:42
no. why?
ana cardoso: 21:51:06
I'm only talking about reading
-2006-162x152.jpg)
_2006WEB1.jpg)
-2006-183x173cm.jpg)
-2006-71x153cm.jpg){kind=spacer}
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