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    Artist of the month
    CHRISTINE SUN KIM
    [== CHRISTINE ==== SUN === KIM ==]
    NEWSLETTER JANUARY 2020
        [== LINK ==]

    Christine Sun Kim
    Three variations of “See Zero”
    2018
    Charcoal and oil pastel on paper
    125×125 cm each
    Photo credit: 2019 White Space Beijing and Yang Wei

     

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH CHRISTINE SUN KIM

    Since American Sign Language (ASL) does not have a written component like most other languages, we use English words as loan words (loosely known as “deaf English”) to express some signed visual concepts as written text via email or on social media.
    “See Zero” could mean three things: “I see nothing,” “I can’t see a thing,” and “There’s nothing to see here.”

    ADELAIDE CIONI
    [=== ADELAIDE == CIONI =]
    NEWSLETTER DECEMBER 2019
        [== LINK ==]

    Adelaide Cioni
    Pink Punk Piece
    2018
    Fabric, costumes for Pink Punk Performance
    Courtesy the artist and P420, Bologna

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH ADELAIDE CIONI

    To dress up as naked
    I had to dress first
    To ask myself what is it that I cover when I slip into jeans and t-shirt.
    Then to undress once,
    to think again about the pink of the flesh
    as of something fake,
    a convention, a cliché.
    It can be true or false nobody cares.
    I wondered what pink is.
    I thought first of all it is to be exposed.
    Maybe indecent, certainly vulnerable.
    What a joyful color though, what sea of bliss.
    To be in the skin. Maybe then, shame is in sex.
    It’s in red it’s in black. These are the violent colors.
    Here you really fight. You suffer. You are ferocious.
    Immediately after that, shyness.
    We’re all naked under our clothes.
    Sometimes we are naked on top of them.

    EVA & FRANCO MATTES
    [= EVA ===== FRANCO ==== MATTES ==]
    NEWSLETTER SEPTEMBER 2019
        [== LINK ==]

    Eva and Franco Mattes
    Personal Photographs, September 2009
    2019
    Cable tray, ethernet cables, digital images, Raspberry Pi single-board computers, micro SD cards, USB flash drives, custom software
    Dimensions variable
    Exhibition view, Team Gallery
    Photo credits: Jeff McLane

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH EVA AND FRANCO MATTES

    #!/bin/sh

    echo “Beginning photo sync…”

    #if [ “$(hostname)”==”rpa.local” ]; then
    #echo “$(hostname -s)”
    if [ “$(hostname -s)” = “rpa” ]; then
    recipient_host=”rpb.local”
    #recipient_host=”10.0.0.49″ #rpb
    #recipient_host=”rpb”
    echo “Sending photos to “$recipient_host”…”
    else
    recipient_host=”rpa.local”
    #recipient_host=”10.0.0.1″ #rpa
    #recipient_host=”rpa”
    echo “Sending photos to “$recipient_host”…”
    fi

    usb_drive_name=”$(ls /media/pi/ | head -n 1)”
    #usb_drive_name_escaped=”(command printf ‘%q’ $usb_drive_name)”
    #usb_drive_name_escaped=${$usb_drive_name// /\ }
    #usb_drive_name_escaped=${usb_drive_name// /_}

    echo “Using USB drive:” $usb_drive_name

    sender_path=/media/pi/$usb_drive_name/sending

    recipient_path=/media/pi/$usb_drive_name/receiving

    echo “Sending files in:” $sender_path
    echo “Sending files to:” $recipient_host:$recipient_path

    rsync –progress -a –recursive –ignore-times $sender_path/. pi@$recipient_host:$recipient_path

    echo “Fin.”

    GENESIS BELANGER
    [== GENESIS ==== BELANGER =]
    NEWSLETTER JULY 2019
        [== LINK ==]

    Genesis Belanger
    coins for the ferryman
    2019
    Porcelain and stoneware
    Size variable
    Courtesy the artist and Francois Ghebaly Gallery,
    Los Angeles CA
    Photo credits: Pauline Shapiro

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH GENESIS BELANGER

    There seems to be a gulf between how little we understand what motivates our actions. Originally, I was fascinated by this unknowing and how it was – almost – weaponized against us by the advertising industry. More recently I have noticed how this inner disconnect affects us in a more intimate context: how we grieve. Loss is an inevitable part of life, yet we are so obsessed with living we have very little support for it culturally. This disincentivizes a present tense understanding of how we are affected by our grief. We mourn many things – a death being paramount – but the gravity of an ultimate loss does not negate the pain of lesser losses. We all mourn the big and small absences. It is time to pull all these messy feelings into the known.

    ALEJANDRA HERNANDEZ
    [=== ALEJANDRA == HERNANDEZ =]
    NEWSLETTER JUNE 2019
        [== LINK ==]

    Alejandra Hernández Studio, Bogotà, 2019
    in the background
    Alejandra Hernández, Andrea & Santiago, 2019

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH ALEJANDRA HERNÁNDEZ

    What I intend to do are basically portraits of our time, of different ways of living, more than a final painting I see it as a document of people who are walking this earth and whom I sometimes have the pleasure to meet and translate said meeting into a canvas. More than a painting I see it as a social construct, where both sides are in constant dialogue and all our baggage can just drop for a few hours while we share the experience and concretely render it into a painting.

    SANTIAGO REYES VILLAVECES
    [== SANTIAGO === REYES ==== VILLAVECES ==]
    NEWSLETTER MAY 2019
        [== LINK ==]

    Santiago Reyes Villaveces, Harp, 2019.
    Courtesy The artist, The Blank Contemporary Art, Fondazione Amleto Bertoni
    Installation view. Sacristy of Sant’Ignazio former church, Saluzzo (CN), Italy

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH SANTIAGO REYES VILLAVECES

    The Harp project consists in constructing an exploded copy of the Tópaga harp (1680) that occupies the architectural space of Sacristy of the Church of Sant’Ignazio.
    The instrument’s design is deformed through the use of an elliptical structure with two foci-bridges.
    Making use of the Sacristy’s open drawers, windows, and physical structure itself as resonance boxes, Harp fabricates a polyarchic harp (of multiple origins) as a flow of historical, architectonic, embodied, and decolonising frequencies that aim to destabilize the origin story delivered to the “new world” by the Jesuit harp.

    KLAUS RINKE
    [== KLAUS === RINKE ==]
    NEWSLETTER APRIL 2019
        [== LINK ==]

    Klaus Rinke
    Taking Possession of the Mediterranean for the Arts
    Spain, 1969
    100 x 140 cm
    Courtesy of the Artist

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH KLAUS RINKE

    “I found that water was a sculptural material. In handling water, I concluded that filling up a sculpture with water takes time. A ton, how long to fill it up? How long to empty?” Rinke uses the element of water as a universal symbol of femininity and fertility, purification and flux, often focusing on the evaporation of water to depict its impermanence. In his art, he emphasizes water as an essential element focusing on its importance to life and human well-being. His work with water also serves to highlight his environmental concerns emphasizing the fragility, scarcity and interconnection of our global water sources.

    NATHALIE DJURBERG & HANS BERG
    [== NATHALIE === DJURBERG ==== HANS === BERG =]
    NEWSLETTER MARCH 2019
        [== LINK ==]

    Nathalie Djurberg & Hans Berg
    Dark Side of the Moon, 2017
    Stop motion animation
    06:40 min.
    Ed.: 4, II

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH NATHALIE DJURBERG & HANS BERG

    One need not be a chamber
    to be haunted –
    one need not be a house –
    the brain has corridors – surpassing
    material place.

    Far safer, of a midnight meeting
    external ghost
    than its interior confronting –
    that cooler host.

    Far safer, through an abbey gallop –
    the stones a’chase –
    than unarmed, one’s a’self encounter –
    in lonesome place.

    Ourself behind ourself, concealed –
    should startle most –
    assassin hid in our apartment –
    be horror’s least.

    The body borrows a revolver –
    he bolts the door –
    o’erlooking a superior spectre
    or more.

    PAOLO ICARO
    [=== PAOLO = ICARO =]
    NEWSLETTER FEBRUARY 2019
        [== LINK ==]

    Studio of Paolo Icaro, Tavullia, 2019
    in the foreground
    P. Icaro, Racconto, since 1969, onyx, lead,
    cm. 116x152x11

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH PAOLO ICARO

    I thought I had met in that ingot of common steel, commonly called iron, a proportion, a unit I would say” symbolic “of all the iron: that metal was all there inside in an atomic explosion. That ingot was not a form, it was not an object but a thing in itself. So I looked for other materials that were equally intensely appealing to me, and the only formal criterion that I imposed was the size of the first Racconto. […] The other criterion was intensity and the satisfaction of the various meetings, now echoes of memories now of nostalgia, of places and situations.

    extract from Paolo Icaro. Faredisfarerifarevedere, curated by Lara Conte, Mousse publishing, 2016

    JORGE MACCHI
    [=== JORGE ==== MACCHI ==]
    NEWSLETTER JANUARY 2019
        [== LINK ==]

    Jorge Macchi
    Overwhelmed
    2018
    watercolor on paper
    29,7 x 42 cm
    Courtesy the artist and GALLERIA CONTINUA, San Gimignano / Beijing / Les Moulins / Habana
    Photo Ela Bialkowska, OKNO Studio

    THE BLANK CONTEMPORARY ART
    99 WORDS WITH JORGE MACCHI

    The artist takes the hand of the visitor and leads him into the forest. He knows it very well (in fact he has planted all the trees). He takes the visitor to a clearing in the middle of the forest. They stay there for some minutes in silence. Taking advantage of a moment of distraction the artist disappears behind some bushes and runs until he reaches the limit of his forest. The visitor suddenly realizes that he is alone in an unknown place. He tries some paths to go out but all of them bring him to the very same place. He regrets having been distracted with those flowers.

    © THE BLANK 2020
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    NEWSLETTER JANUARY 2019 | JORGE MACCHI