AGGTELEK. SPACE RIDERS. curated by laura plana gracia CRISP LONDON LOS ANGELES. opening 8th JUNE 2010
What a gas! , 2010
Mixed media 52x125x60cm. This artwork is done under “Conceptual Chili Art or Neue Objectualite Rationelle” premise to build up artworks in 3 or more parts. Conceptual Chilli Art it is a new way to give meanings to a shape in an esperpentican mode, but each object is generating a succession of happenings completing the meanings of the final work. The first element that has to be used is a personalized material. In that case, felt. A material used by Beuys or Morris, manipulated and used in a different way giving to it new uses and different meanings. Felter represents for us something disgusting, rude. It makes us feel bad and also could make us feel diarrhea. The next representation could be La Venganza de Montezuma. A decomposition of the Hubble photo in the creation of universe. A photodrama of shit, stars, blood. The Buddy Odor is a Gas let us know because of the lyrics to comprehend the swastika as a symbol of the process of the materialisation of concepts. In other order, trying to depict materialism in a simply way, the tights are used and represent the embodiment of humankind in a corpse of knowledge. After analyzing Morris and Beuys uses of felt, the sculpture takes the spectator to the interrogation about characters. Or, more strongly, the author as characters, under the character of sculptor. The sculptor could be Mr.Manhatatan. A character created by Alan Moore in Watchmen, a superhero.
If you were a rat , 2010
2 Photos Dimension variable Gallery floor . this piece is created from the sculpture what a gas ! whic is a suconceptual work from that. that means it starts where the other ends. but subconceptual represents subconcient, subnormal. as pascal said once "al badness in this world comes from our incapacity of being seated in a room doing nothing". the impossibility of drawing or sculpting express that reason of art. we want to display drawings or sculptures but only achieve a really bad way, bad manner, terrible forms, completely subnormal, subconceptual pieces and subcultural froms of meaning, idiot or intellectual.
notre suckin monde or the adn of art , 2010
dvd and 2 photos or sclpture wood canvas paint framed potho pvc tape wig plexiglass stickers aluminium neon light tv the work is a sculpture exhibited through info-comercial video and 2 phot os . it is inspired by site/non-site conceps of smithson. then, the sculpture is not physically at the gallery. but it will turn into site specific sculpture once it will be sold. the sculpture is made by cheap material taken from the artists studio is a readymade analyzing used objects and giving conceptual future waiting fo us. the concept of the sculpture is explained in the video.
invisible sculpture , 2010
wood paint nails exhibited near the invisible monument is independent and difficult to see. it is te contraposition of the monument but also a manifesto. exhibited near the invisible monument, it is independent and difficult to see.
invisible monument , 2010
5 photocopies the text is a manifesto and is planned as an annex of space riders. written and explained by ideas to make possible an invisible monument.
space riders video , 2010
is a galactic trip in which two astronauts live a conceptual sci-fi adventure. after their spaceshio swallows two objects related to the art wordl, they fly to the first intergalactic highway, the mecatuna road, a path which is modified by those who pass throough. it ends at 2666 year. in the voyage, they are called into question hypothetical issues about art creation in an unknow future in outer space. whic creative process will be developed in 2058? which art will be shown in mart? the film is a philosophical galactic fable about creative process, about the origin of matter, about solidification of objects. the interpretation of creation of the entire universe, new planets, news goods, new galactic highways. inspired by jason rhoades, robert smithson, charlie kaufman, and much more ...
AGGTELEK. Space Riders
CRISP London Los Angeles
curated by laura plana gracia
opening 8th June 2010
9th June – 17th July 2010
curatorial critical essay
Their work begins developing actions where the artist interacts with the space and the materials, building,Destroying and re-building again, sculptures, characters,and objects. The mediums, cardboard boxes,adhesive tape, painting, construct the architecture, the monuments and the ephemeral in-habitants in perpetual synapsis. Altogether with the action, the subtlety and the evasion make them work on an investigation method in process, which implies performance and theatre, objects making and schenography. In a modern code and with strong references to silent film, the stories and nonsense approach them to Arte Povera, Actionism and Pop Art. Interested in the relation between performance and sculpture and the function of the creative process, Aggtelek create ephemeral assemblages and sculptures. Aggtelek take the name from Hungarian city defying the authorial concept, the idea about the death of the author, as Boetti declines “it is not the material, it is the attitude” what signifies as in the linguistic criticism Barthes narrativeii. As a group, they act without personalization, as the nomination they choose, that referees a place, not a person. In their works, they re-invent the concept of the narrative. In that way, Lewis Carroll and his work “Alice in Wonderland”iii it is used as a model for the development of the idea about voyage as a kind of narrative in the contemporary literature, constituting the search as the paradigm of the evolution and the structure. Their labyrinthine first scenographic sculptures defend that. Then, the non-sense character touring the non-site, where time unfolds, disappears, and, in those time-capsulesiv, future becomes past. The Sci-Fi influence in their temporal narration constitutes one of their artistic typologies. Kurt Vonnegutv appears as a reference, and then appropriation and re-invention of literary structures define the artwork. Based as well in the deconstruction, all the broken-body-parts-sculptures are defying a post-condition in the narrative tradition of the contemporary language. In that way, Aggtelek are concluding in the nonsense illusion of art and compiling a collection of absurd and illogical characters that belongs to our quotidian world, surrounding us.vi The paroxysmal situationism and the drift(derive) is a kind of strategic artistic language. Aggtelek through them sculptural and video voyage encounter a proper international young artistic style reworking contemporary materials as plastics, foams, and many others, intentionally recovering the poetics of materialism in a disenchanted world, without function. After the critic of production modes in constructivism and critic theory, Aggtelek re-signify the material as a concept. It is a new minimalism determined by the production models of Sci-Fi. As Barthes and linguistic construct the idea about the lack of signvii, the lost of the signification in the object, in Aggtelek artwork the sign is supported through the ideology of the joke and satire and maintaining as well the practice of the performance, something that implies and effort and a compromise in the development of the art. It is said that the non-signal works, those who only develop market structures, like banalities and commodities, encourage the institutional tradition, the mainstream, but not the institutional critique. The compromise and the reification through the sign of joke, satire and teacher make that sculptures a model on contemporary art practice and production. The search as a paradigm in the art creative process is expressed through voyage, nomadic, drift (derive), interrogation, those elements in a non-finite condition. In that way, the sci-fi definition of time as a process as Lewis Carroll defines, the capacity of invention is a futuristic potential, a symbolic resignification of the imaginary viii. But in as sci-fi models for knowledge and art production, they never exclude the determinism of the present, summoning the poetry of the space. In that sense, the poetics of the space are equalled to the codifications as a human answer. In these poetics, they use literature as a model to turn the experience in art into a ommunication of ideas,developing models for thought and scienceix. The poetics of material, as well, results from the influences of minimal and the reification of the sign, defended by post-structuralism and deconstruction, giving them not only to the creation of objects, but spaces. The nomadic concept implies as well the idea of the performativity in their works. The consequences of this performativity are many. Action and theatre become the center of their artistic practice, including as well other categories as sculpture. Constantly influenced by Fellini, Pasolini and the Masonic Italian style, the objectuality becomes abject. The Aristotle discourse it is used as a dialectical method about the objectual discourse, where the sculptural language, based on materials, is used by the melancholic mode of reception and the institution as a place of pedagogy. Apart from the Italians, as they thankful in their videos, the are many more influences, Boris Groys, Stalin, Malevich, Valerie Solanas, Rauschenberg, Piero Manzoni, Gelitin, The Divine Comedy, Cervantes, Quevedo, Heraclitus, Dali, Spielberg or Kurt Vonnegut, the last one known for his humanist beliefs as well as being honorary president of the American Humanist Association. He is widely considered one of the most influential American writers of the 20th century.As in Contemporary Pygmalionx, the satire, black comedy and science fiction is used to serialize the concept of production under the influence of communicating art as a model for social criticism like Baldessari or Gilbert&George photographic panels’, which Aggtelek use to deploy the logic of conceptual materialism and its social and anthropologic dimension. The criticism strives in the Masonic and
pornographic style, that invites, seduces and eroticizes the subject. The video untitled as well Slash Theatre of my Mundoxi, the abject is presented here from the tradition of satire and the joke as mode of critique. The grotesque, kitsch and awful, the unpleasant are the consequences of being a body. This body language as abject subject is done when the artist becomes actor and performer, because of the
lack and trauma that implies the mechanization of work and the lost of humanism. The joke is used as a relief and a way of surviving in that hypothetical art world. The melancholic process that produces the recognition of being abject turns the art work creations to the historic and pedagogic mode. In abstract way, Aggtelek exemplify the idea of the death of the author because of the plenty and constantly references in the appropriation of classic literature modes and humanist culture. It might be thought, the conflict whit the mode of production history as a way of making art and trying to solve the problem with the totalitarianism.xii Also they get involved with the idea of the uniqueness of the object, where some sculptural models are not for serialized abstract production, but the uniqueness objectivity of the figure as
a meaning of understanding the rules of the universal-world. As in Sky Visionxiii and Primary Formxiv evoking the meaning of the quality, the minimal discourse, that gives to the object the aesthetic category, prioritizing the emotion in front of the artwork as the strategy to change history, so the emotion of the history as the definition of Aesthetic. Aggtelek are provocative and non-sense, chaotic, irrational, comic, with black humour and funny to explode the causality of universe. The fantastic and mundane serve to create characters. And the research for the shape and material becomes emotive, poetic. Their actions doing objects/sculptures
registered in video, and after projected, remind to Thomas Hirschorn, Franz West, Dada, Constructivism, Tatlin, and Schwitters. Their performances develop a “mise en scene” with painting & sculpture & photo, documented with video. And in that poetic of the space they interrelate and dissect all the mediums. Interested in the relation between form and space, their sculptural interventions are labyrinths, and as Paolo Santarcangeli proposes those are unimaginable shapes where the universal archetype becomes esoteric, tragic and playful. Because of the anthropologic sense that it have, it symbolizes the universality of the human culture, between the moment of decision, the search as paradigm and the ferocity of the center of the
enigma, the way of knowledge and the essence of humanity and his fatal consequence, the death. In her cross through the labyrinth more than psychogeographers, Aggtelek are psicagogs, artists conducting souls. In that function, their bodies become sculptures because of the way they are working with the process as a creation. These idea about body-sculpture in process makes think about Erwin Wurm Austrian artist who since the late 1980s has developed an ongoing series of "One Minute Sculptures," in which he poses himself or his models in unexpected relationships with everyday objects close at hand, prompting the viewer to question the very definition of sculpture. Erwin is creating a clear and fast, sometimes humorous, form of expression in sculpture, being spontaneous and temporary. Dramatic, intriguing tension, illusion, isolation are attributes that define the sculpture of the Spanish artist Juan Munoz. It can also be imputed to Aggtelek. Those artist are involved in a social melancholic problematic defending the space/place of the Art in their relation with the society. They are working in real networking, in displacement, crossing constantly borders in/out, and defining voyage to develop the modern idea of the different strategies used in art in order to emplace their relation in society. The reappropriation of the place/space in contemporary art is solved in that case (and as a consequence of the problematic it implies) through the relation the subject have with the public space, the experience with the crowd and the consideration of the environmental surrounding him. In an anthropologic condition of the uses of the public space, the public sculpture is obsolete, but also we feel a lack of art in the social streets, markets and places. The monument once art, now is not anymore useful. New emerging architecture and places are being developed directly with community plans and the budgets for site specific projects are being much fewer. The City-sculptures are promoted by Public Art Institutions whom cultural promotion is developing tourism-artxv. They are not really based in site-specifics, but in contemporary unified standards models of massive urbanism mechanization. Public space has to be reassembled by the citizens as a space for art strategies. Industry, progress and time-machine are displacing art as manufacture and crafts. The making models of imaginary are completely displaced to the cinematographic and cultural industries, where once were public sculptures and monuments. The criticism to those models and the recovery of public space and its monumentality in contemporary art is developing forms as public art, performance and human rights social movements. Aggtelek have done in the past art in public spaces, based in ephemeral temporal Interventions as Per una eròtica del monumentxvi. The sculpture performances Aggtelek had done through the idea of the choreographic movement surround the space with the body in the scene. It can be called as well Process Art or Sculpture_Process_Art. Their performance stands out among others artists as Juan Morey (Desencert,Dominion, El enemigo interior, Obey. Humillados & Ofendidos, Postmortem), Mary Coble (Marker, Blood Script, Aversion, Binding Ritual Daily Rutin, Note to self), Beth Moyses (Miedo, Diluidas en agua, Y pasa,Lecho rojo, Huecos del Alma), Nezaket Ekici (Flub ohne Ufer, Umgestulpt, Permanent Words, Border Inside, Madonna), Cosima von Bonin (Hundeschule/Obedience School) o Jiri Kovanda (Kissing Through Glass, Installation1. December 1978). As in Joan Morey, Mary Coble or Beth Moyses, the auctorial role is not only played with the own artists body, putting the model in Antonin Artaud, but using the performance as pseudo-theatrical-narrative where the director embodies itself inner the play-artwork. So likewise, the relations body-space that the professionalism of Nezaket Ekici or Eulalia Valldosera represented, are still embodied in the Aggteleks’ hanging sculptural bodies like Lightfall Post-collagexvii. The 1970’s conceptual performance inheritance in Aggtelek is evident in the way the exhibition incorporates all the disciplines, starting from performance, including as well the text and literacy as a linguistically mode. Cosima Von Bonin is one of the feminine exemplars according that trend, developing models in exhibitions with sculptures that came from comic models and using the mask and costume. Paul McCarthy is another example. The more relational aesthetic influence in the performance they are exploding is the actoral-model in the public space and the register of the actions’ set up like Jiri Kovanda or Mary Coble. In Lieder, 2000, 2:45 min, colour, sound, the germane artist Cheryl Donegan sets up a series of charged relationships between artist and model, art object and artistic "gesture," performer and viewer. Donegan head is wrapped in plastic and duct-tape, her pregnant body swathed in a black garbage bag. Rendered anonymous, accompanied by the menacing noise of the chair, the artist becomes mechanized and impersonal. Gobs of brightly-colored paint are hurled at her from off-screen, underscoring the aura of threat and violence, which Donegan suggests is implicit in the relationship between performer and spectator. xviii Aggtelek are seeking for the spectatorship models well. They are intrigued in the receptor as a participatory ideological structure in the art work. In a violently Boxplot xix they not interact directly through action with public, but bullying, accusing them through language. The public as voyeur is posted as well into the tradition of performance as the limit of the body as a consecutive truth. Their life-sculptures mean a representation of live through pain, body and materiality. The idea about the voyage from the beginning to the end, and the posterior destruction and chaos is represented in a complex narrative process, using multilevel elements in the Lyotard conditions under the influence of new communicative systems and the multiplicity of meanings. Videos like Post After many othersxx are played with humour, influenced by slapstick and silent film. Buffoonery is representing the ridiculous limit of art in front of the criticism to societyxxi. Complicity, quotidian sarcasm and eschatological pornography are the main characteristic, and it is succeeding in Paul McCarthy and the abject actionist, performers or happenings, they did moreconceptual art works, this actions emplace the language with the body and substance, going for origin and sensitivity. The more based scenes related with the interaction with the space, are properly based in Dan Graham and experimentation in video. Those from the 70s again, were the actor artists play constitutional elements in the whole structure. A more conceptual approach in their video takes example from Baldessari painting rooms or Dan Grahammeasuring corners. The most postmodern theory is as well trivialised in their own dialectic, where postmodernist theory is accepted as a simplification of the globalization culture, one of its consequences is the US Americanism nationalisation, such as George Ritzer’s emphasis onMcDonaldisationxxii. Thatcomplex dialectic in globalization, where local and global, diversity and unilateralism are constantly dialoguing, is the constant force that makes the market to exist. Just as institutional critique introduces, art is known in social scene acting lesser effectively than politics, economy or activism. In that way, art
turns in merchandise. Ass Dialecticsxxiii problematizes with the conceptualization of the video as merchandise in a dialectic complex globalised art world. The artistic object, from Dada to the actual registration of its conceptualization in video, creates a narrative wherein the artwork is a process that involves photo, slide, installation, video, performances and costumes. They produce a false dialogic
narrative with the spectator and are based in history and the register of the habit. Their work with video is basically depicting the idea of the artist as actor, visualizing the subject in the artwork as a demonstration of the conflict art/life, reality/representation showing vital attitudes, banal quotidian, through own
language, expression of everything, history and epoch, sensibility and sense. The artist in the video is dressed as the narrator and main character at the same time, taking the history as a plot, the argument. Their style is barely queer, and the codification of the divinity through femininity represents the strength of
creation as a goodness thinking the history. Here then, mythologies, literature and architecture are trying to resolve the problems with the materiality of the medium and his expression in society, and as well the problems of projecting light. Slash theatre of my mundo synthesizes all of this. Criticizing the poetic idea of the genius, jokes, abject and exhibitionism are their main characteristics. Their auto - symbolic - representation as protagonist in Our gonzo show is exampled at one of the latest videos they have done. Their compromise with creation comprises the making of objects. In a kind of sense, it remains proximately to neue objectualite. It finds as well the disciplines painting & sculpture altogether mixed, hybrid. This represents the loose of signification (sing) of art in society, based in Foster and Barthes. Aggtelek acting as sculptural performers, build the expression of the history of shapes and materials. As the discourse about materiality, the projection of plane is a creative principle intersected by vectors and axis in a temporal/spacial dimension, as in all contemporary art formalist movements influenced by Tatlin, constructivism, Mondrian, cubism. The materiality is completely Dadaist and Surrealist based in objet trouve and new materials. Their sculptures use the poesies aesthetic with foams, feminine objects, tights,
appropriated objects, and light art. The baroque figuration in art as a linguistic form is expression about the development of the language in art, as many others in society, mathematics, and digital. If the scientific discourse is delegitimized by Popper and the digital discourse, by pos-humanism theory, the objectuality discourses (where paints does not exist no more, and either sculpture) their process of hybridism and evolutionism as a nietzschean human nihilism, is denied by capitalism, market economies and consumer goods. In this synthetic development of the plane as a shape, to recover the Neoplasticist tradition, Constructivism and the Suprematism altogether with models of Warhol pop figuration and the depiction of characters in social roles in Richard Prince, Aggtelek present a new representation code, similar to the abject figuration of Thomas Schutte and Antony Gormley, Rober Gober or Kiki Smith. The more contemporary young artists working in sculpture are building as well this assembled bodies decontextualized, absurd, melancholic in a way, one of the most representatives is Rachel Harrisonxxiv. That typology of sculpture recovers the logic of the objectuality from the vision theories, gestalt and trying to signify the discovery of the subconscious in Freudian surrealism. In other aspect, barely contrary, Aggtelek assume the Aristotelian narrative of material. With a basic formalism and materials never serialized or manufacturing, but biologic or organics, as a vindication of the essence of truth, amorphous
and non-purism in Forma Primariaxxv recoding the duality that Miquel Barceló proposes. Their objects turn into a style combining Pop, Slack and Dada. In Aggtelek artworks is something near to the Rachel Harrison sculptures (b. New York 1966 USA), Jonathan Monk (b. 1969 Leicester UK), Peter Fischli/David Weiss (b. 1979 Switzerland), Christian Jankowski (b. 1968 Gottingen Germany), Sarah Lucas (b.1962
Holloway London UK), approaching to the production of dysfunction objects as in pop British school of YBA Young British Artist.The totally of the Aggtelek art works is being processed and condensed in installations they display in art exhibitions space. Approaching to Lindsay Seers, the installations became deserted spaces without ornament, between the grotesque and objet trouve, the Art Povera and the mise en scene of Jonathan Messe, an esoteric hybrid between installation, environment and assemblage, a construction/destruction schenography with cartoon, wood and hybrids materials. As in Thomas Hirschorn, Swiss artist resident in Paris features a series of vitrines, mannequins, installations where each work is a "commentary" on the "complex, chaotic, cruel, beautiful and wonderful" world we live in. The work of Thomas Hirschhorn (b.1957 Bern) is a politically committed reflection about contemporary reality. Employing a variety of disciplines such as sculpture, video and installation, Hirschhorn produces works charged with social and political criticism. Some are originally created to be shown in a public space in Paris. Others uses everyday materials such as adhesive tape, cardboard, sheets of plastic, photocopies or mannequins, he represents universal situations in a transgressive, direct way. Through the mannequins, which are intended to represent human beings, the artist talks to us of a "universal wound", which personifies his assertion, "Each wound is my wound." The depiction of the characters in Aggteleks’ installations is based in a personal relation with the environment, and moreover the emplacement with the own-artist-body in the center of the performance place. One in all, as the mise en scene of Jonhatan Messe, those could remember the performance dada at cabaret Voltaire. According to Karel Schampers, "Jonathan Meese can tell a story in such a gripping way that you would never have the idea to doubt its truth. Especially his installations benefit from this quality." The meaning of the installation under the development of hybrid strategies achieves the non objectuality and exposes the entire signification. Using not the exactly same strategy in Lindsay Seers body installation never performing at the place, Aggtelek disposes the body as the object centred at the work through videos and works emplacement. The matters of projecting light as an aesthetic construction of art are the center point of her artistic career. In a similar way, Aggtelek use to display light artefacts at the center of her work, after the labyrinth, the cavern, as the embroidery place for light and matter, as in the film Stalker by Tarkovski. Drawing on historical theories of vision, Seers creates highly personal narratives by interweaving concepts of science, philosophy and photographic theory into the work, in an ongoing investigation into how cinematic and photographic technologies shape us. These narratives are punctuated by incredible plot devices – stalking, burglaries, and shipwrecks – that mimic the rupture at the heart of image production, creating a dramatisation of selfhood in all its melancholy and failure. By re-casting photography as an act that actually creates experiences rather than records them,or as David Burrows describes it in Human Camera, by creating ‘an indexical process that is transformative’, the boundaries of photography in Seers’ work are truly extended. Other constant in installation art, is that does not point its structures in matters of projecting light but rather the ideology of black box. As in Sokurov or Leckey, cinema installation in art space tries to reproduces the idea of the cavern and the myth, the language on history. Mark Leckey won the 2008 Turner Prize for his exhibition Industrial Lights and Magic. It included the piece Cinema-in-the-Round a video lecture where “the artist offers a compilation of his talks on film, television and video about the relationship between object and image. The displayed installation in the museums copies the cinema boxes as Aggtelek display in the installation view of Slash theatre of my mundo. Then, the cinematographic tradition gets into museums and projects its narratives modes or its literary tradition of sci-fi and imaginary influences. Like Lewis Carroll, and after in Won Kar Wai, the ethics of the images, the subliminal code and totalitarism serves to the mass instrumentation criticism. The last exhibitions of Aggtelek are developing the concept of monumentality. It could be seen as a reference the exhibition displayed and curated by the artist Franz West, The Hamsterwheel, seen in Centre d’Art Santa Monica Barcelona when was directed by Ferran Barenblit 2007, with John Bock, Urs Fischer, Erik van Lie shout, Maurizio Nannucci, Paola Pivi, among others. The Hamsterwheel initiated by the Austrian artist Franz West was originally presented at La Biennale di Venezia, 2007. The exhibition could be subtitled “Moving just for the sake of moving. Moving due to the need to do so” and is really about play, attempting to show Art as turbulence, Art as a spontaneous and non-hierarchical collaborative installation, Art as a chaotic stage where genres and expressions are installed next to, and overlapping each other. Aggtelek recognizes in own words the influence of Gelitin, Douglas Gordon, Matthew Barney, Isa Genzken, Paul McCarthy, Allan Kaprow and others like Jason Rhoades Jessica Stockholder, Cristoph Buchel, Mike Nelson, Pierre Huygue, Catherine Sullivan, Bruce Naumann, Jeff Koons, Martial Rayse Kippenberger. The exhibition Ass Dialectics in Josza Gallery Bruxelles show in their artistic career the 2nd phase in style. After the first sculpture-performance the criticism, personages, and the processual methodical stylishly their narrative, video and the development installation creates an entire body of work. In the Aftermath and Postimetrias de pegamento the Sci-fi Povera theatre and linguistically value . Polymorphous row ephemeral playground is the installation . aftermodern. Tate triennial. Gubelkian fnd. Nicolas bourriaud. Critica estetica relacional system produccion artistic.
i Alex Brahim, Attitude at play.
ii Roland Barthes, The Death of the Author, 1968.
iii Lewis Carrol, Alice's adventures in Wonderland , 1865.
iv Time capsules can be classified into two types: intentional and unintentional. Intentional time capsules are placed on purpose and are usually intended to be opened or accessed at a particular future date. Unintentional time capsules are usually archaeological in nature (labyrinths, pyramids, tombs,..).
v Kurt Vonnegut, Jr. (November 11, 1922 – April 11, 2007). American novelist who wrote works blending satire, black comedy, and science fiction, such as Slaughterhouse-five (1969), Cat's cradle (1963), and Breakfast of Champions (1973).
vi Jacques Lacan, “El cuerpo fragmentado”, in The mirror stage, 1936/1949.
vii Roland Barthes, Mythologies, 1957.
viii Marshall McLuhan, “Sublimamos nuestros sistemas nerviosos (imaginario) con nuestras protesis electronicas (sci-fi)”,Understanding media: the extensions of man, 1994.
ix Roland Barthes, “El texto desplaza la obra como paradigma”, writing Degree Zero (1968), Hill and Wang 1968. Elements of Semiology (1968), Hill and Wang. New York.
x Contemporary Pygmalion, mixed media, 152 x 122 x 122 cm, 2010. Exhibition “Slash theatre of my mundo”, Luis Adelantado,Valencia
xi Slash Theatre of my mundo, Part 1. DVD Color sound. 19.47min. 2010. ed.7
xiii Sky Vision, Vision del cielo, spray paint on wood, 139x128x19cm, 2010.
xiv. Primary Form, Forma Primaria, Wood, wheals, clay, wire and plaster, 167 x 61 x 50 cm, 2010
xv As Hal Foster detects in “The Return of the Real”
xvi Per una Eròtica del Monument. Interferències 06. Terrassa. Barcelona. Spain
xvii Light Fall Post-collage.
xix Boxplot Perfomance Performing Arco. Arco Art Fair. Madrid. Spain. 2008
xx XII Premi Ciutat de Burriana
xxi Fernando Castro Florez. ABC Cultural. Febrero 2010. Critica para Magda Belloti
xxii George Ritzer
xxiii Ass Dialectics DVD - loop - colour – sound, 00:17:40, 2009, Ed. 5
xxiv Rachel Harrison is represented by http://www.greenenaftaligallery.com/artist/rachel-harrison http://www.saatchigallery.
xxv Forma Primaria, Wood, wheals, clay, wire and plaster, 167 x 61 x 50 cm, 2010
AGGTELEK SPACE RIDERS Crisp London Los Angeles
Opening Tuesday 8th June 2010 – until 17th July 2010
This work by Laura Plana Gracia is licensed under a Creative Commons Attribution-NoDerivs 3.0 Unported License
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