Cremaster 5 -1997-
Cremaster 1 -1995-
Matthew Barney
matthew barney, drawing restraint 17, 2010
© matthew barney
foto: hugo glendinning
cortesia de schaulager
the so-called 'drawing restraint archive' includes sculptures, vitrines, videos and drawings
which arose from his 'drawing restraint' performances which number sixteen to date.
at schaulager, barney's work is placed in dialogue with artworks deploying christian iconography
by such artists as albrecht dürer, hans baldung etc. the aim of this juxtaposition is not to draw
parallels between religious and secular visual traditions, but rather seeks to render latent ideas
in barney's work visible. his working themes of exertion, overcoming obstacles, rise and fall,
also evolved as traditions within the pictorial inventions of christian iconography.
el llamado "archivo Drawing Restrain" incluye esculturas, vitrinas, vídeos y dibujosque surgieron de sus "drawing restraint" y son 16 hasta el momento. En Schaulager, el trabajo de Barney se coloca en el diálogo con el despliegue de obras de arte de iconografía cristiana y de artistas como Alberto Durero, Hans Baldung, etc el objetivo de esta yuxtaposición no es hacer paralelismos entre las tradiciones visuales religiosas y seculares, sino más bien busca hacer que las ideas latentes en la obra de Barney como son el trabajo, el esfuerzo, la superación de obstáculos, el subir y bajar,se desarrollaran como las tradiciones dentro de las invenciones pictóricas de la iconografía cristiana.
matthew barney, drawing restraint 17, 2010
© matthew barney
foto: hugo glendinning
cortesia de schaulager
'drawing restraint 17' conveys a sophisticated allegorical narrative. taking his starting
point from the painting 'death and the woman' by hans baldung (called grien),
barney conceived the idea for a film in which the
fundamental elements of the 'drawing restraint' series are transposed to the basel locality.
for the first time, it is not barney himself, but a young woman who plays the role of the
film's protagonist, struggling against deliberately-placed hindrances.
matthew barney, drawing restraint 17, 2010
production still
© matthew barney
foto: hugo glendinning
cortesia de schaulager
'drawing restraint 18' is a performance which created an 'altarpiece' within the basilica-inspired
floor plan of the exhibition space. the trampoline from 'drawing restraint 6' was used
one more time and propped at a twenty-six degree angle with a pine wedge and placed
next to the wall. vertical marks were made on the altar wall at the height of each leap from
the angled trampoline. the length of the mark records the downward fall from the height
of each attempt.
'Drawing Restraint 18' es un espectáculo para el cual se creo un «retablo», con inpiracion en la basílica. el trampolín de "drawing restraint 6" se utilizó una vez más y apoyado en un ángulo de veintiséis grados con una rodaja de pino y se coloca junto a la pared. marcas verticales se hicieron en la pared del altar a la altura de cada salto de la cama elástica en ángulo. la longitud de la marca de los registros de la caída hacia abajo desde la altura de cada intento.
schaulager® münchenstein / basel
'matthew barney: prayer sheet with the wound and the nail'
jjunio 12 de octubre 3rd, 2010
cortesia de schaulager
schaulager® münchenstein / basel
'matthew barney: prayer sheet with the wound and the nail'
junio 12 de octubre, 2010
cortesia de schaulager
matthew barney, drawing restraint 15, 2007
© matthew barney
foto: neville wakefield
cortesia de schaulager
matthew barney, drawing restraint 15, 2007
© matthew barney
foto: neville wakefield
cortesia de schaulager
matthew barney, drawing restraint 15, 2007
© matthew barney
foto: neville wakefield
cortesia de schaulager
matthew barney, drawing restraint 15, 2007
© matthew barney
foto: neville wakefield
cortesia de schaulager
matthew barney, drawing restraint 15, 2007
© matthew barney
foto: kanoa baysa
cortesia de schaulager
matthew barney, drawing restraint 13, 2006
© matthew barney
foto: chris winget
cortesia de schaulager
matthew barney, drawing restraint 9: dynamic of internal relation, 2006
grafito. vaselina y iodo, dibujo en papel sobre cuadro de plastico.
13.5 x 11.5 x 1.5 pulgadas
fundacion emanuel hoffman,
© matthew barney
foto: öffentliche kunstsammlung basel, martin p. bühler
matthew barney, drawing restraint 9: amphibious landing, 2006
grafito, vaselina y iodo dibujo sobre papel en cuadro de plastico auto lubricado
13.5 x 11.5 x 1.5 pulgadas
emanuel hoffman fundacion
© matthew barney
foto: öffentliche kunstsammlung basel, martin p. bühler
matthew barney, drawing restraint 10, 2005
© matthew barney
foto: reggi shiobara
cortesia de schaulager
matthew barney, drawing restraint 9, 2005
© matthew barney
foto: chris winget
cortesia de schaulager
matthew barney, drawing restraint 9, 2005
production still
© matthew barney
foto: chris winget
cortesia de schaulager
matthew baraney, drawing restraint 7, 1993
© matthew barney
foto: michael james o'brien
cortesia de schaulager
matthew barney, envelopa: drawing restraint 7 (guillotine), 1993 (detail)
fotoa color en un cuadro de nylon
© matthew barney
cortesia de schaulager
matthew barney, drawing restraint: 1, 1987
© matthew barney
foto: michael rees
cortesia de schaulager
matthew barney was born in 1967 in san francisco, california.
he is best known for his ambitious film and performance cycles 'cremaster' and 'drawing restraint'.
since 1996, emanuel hoffmann foundation has been buying his work.
in all their various manifestations, barney's work is linked by the desire to lend inner states,
a binding form.
he is best known for his ambitious film and performance cycles 'cremaster' and 'drawing restraint'.
since 1996, emanuel hoffmann foundation has been buying his work.
in all their various manifestations, barney's work is linked by the desire to lend inner states,
a binding form.
Matthew Barney nació en 1967 en San Francisco, California.es más conocido por sus ambiciosos filmes y perfomance 'Cremaster' y "drawing restraint". desde 1996, la fundación Emanuel Hoffmann comprado su trabajo. en todas sus diversas manifestaciones, el trabajo de Barney está vinculado por el deseo de prestar los estados interiores en una forma vinculante.
No hay comentarios:
Publicar un comentario