Vista da Exposição "At the Edge og Logic"


Ania Dabrowska, S/Título 1, da série Ritual I , 2011


Vista da Exposição "At the Edge of Logic"


Benjamin Beker, 2000 (Pozarevac)


Vista da Exposição "At the Edge of Logic"


Rita Soromenho, Geometrias Negativas , da série Placas de Vidro, 2010


Vista da Exposição "At the Edge of Logic"


Tess Hurrell, da série Basic needs, 2008 - on going


Abigail Reynolds, Transposed Blenheim, 2010


Vista da Exposição "At the Edge of Logic"


Hannah Dakin, S/Título, da série Mourning Whispers, 2011


Vista da Exposição "At the Edge of Logic"


Peter Ainsworth, Zones of Transit, 2009-2011

Exposições anteriores:

2015-11-11


GERAÇÃO 2015




2015-09-01


TWIST THE REAL




2015-05-15


ABSOLUTELY + The Pogo Collection_screenings




2014-09-18


Devido à chuva a revolução foi adiada




2014-05-15


ART STABS POWER - que se vayan todos!




2014-03-06


Nós




2013-11-14


MOSTRA ESPANHA




2013-09-26


Dive in




2013-05-30


6749/010.013




2013-03-07


THE AGE OF DIVINITY




2012-11-05


CABEDAL | THE OPERA




2012-09-27


DIG DIG: DIGGING FOR CULTURE IN A CRASHING ECONOMY




2012-06-05


LIMBO




2012-04-12


O PESO E A IDEIA




2011-11-10


SUBTLE CONSTRUCTION | PANÓPTICO




2011-09-29


INFILTRATION // Le privilège des chemins




2011-06-22


AT THE EDGE OF LOGIC




2011-05-04


O QUE PASSOU CONTINUA A MUDAR




2011-03-17


UMA IDEIA NOVA DECLINA-SE FORÇOSAMENTE COM UMA DEFINIÇÃO INÉDITA




2011-01-21


A CORTE DO NORTE




2010-11-20


Pieces and Parts




2010-09-14


Tough Love - uma série de promessas




2010-06-17


De Heróis está o Inferno cheio (Piso 1) / If I Can't Dance, I Don't Want to be Part of your Revolution (Piso 3)




2010-04-07


Marginalia d'après Edgar Allan Poe (Piso 3)/Play Them (Piso 1)




2010-01-18


Objet Perdu




2009-11-12


Colectivo [Kameraphoto] (Piso 1) | VOYAGER (Piso 3)




2009-09-08


HEIMWEH_SAUDADE




2009-05-12


AGORA LUANDA - Kiluanje Liberdade e Inês Gonçalves




2009-03-21


A Escolha da Crítica




2009-01-14


Convite Cordial




2008-11-15


O Contrato do Desenhista - Exposição com curadoria de Paulo Reis




2008-09-15


ALL WORK AND NO PLAY - Exposição Colectiva




2008-06-11


TERRITORIAL PISSINGS - Exposição Colectiva




2008-04-28


NOVAS GEOGRAFIAS, LISBOA | Mónica de Miranda




2008-03-17


uma combinação | Armanda Duarte




2008-01-24


Central Europa 2019




2007-11-22


Video Killed The Painting Stars




2007-09-14


REMOTE CONTROL




2007-06-23


DEBAIXO DO TAPETE




2007-05-02


747.3




2007-03-22


VOYAGE, VOYAGE




2007-03-20


MUXIMA | Alfredo Jaar




2007-01-19


DECRESCENTE FÉRTIL




2006-11-14


SCULP YOUR MIND l MARIAGE BLANC l ANALOGÓNIA




2006-09-26


(RE) VOLVER




2006-06-23


OLHEI PARA O CÉU E NADA VI




2006-05-06


PEDRO LOUREIRO: FOTOGRAFIAS 94-05




  
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AT THE EDGE OF LOGIC


Abigail Reynolds, Ania Dabrowska, Benjamin Beker Hannah Dakin, Peter Ainsworth, Rita Soromenho, Tess Hurrell


‘Everything we see could be otherwise’


Tractatus, Wittgenstein


O mundo, incluindo os actuais paradigmas da arte, está instável. Quando o mundo está instável, as pessoas perdem a confiança nos sistemas de conhecimento e poder, ou em casos extremos, transformam-se em seus cegos seguidores. Isso pode parecer perigoso, excitante, positivo ou assustador - dependendo da percepção. Durante séculos essa condição tem proporcionado um espaço para a introspecção artística sobre o que é ser humano. At the Edge of Logic não procura dar explicações ou respostas definitivas. Os sete artistas internacionais reunidos nesta mostra lidam com a lógica paradoxal do seu mundo, através do processo de questionamento das estruturas formais, estéticas e narrativas do trabalho e definindo a ideia da natureza arbitrária da percepção. Usam a fotografia para explorar e comunicar as suas ideias e processos, produzindo imagens que exigem ao espectador uma análise mais profunda das intenções do artista e o abrandamento do seu modo de olhar. A fotografia é, na sua essência, uma construção visual, uma forma conceitual, abstracta de interpretação. Enquanto a luz a situa no real, a fotografia nunca foi uma transcrição exacta do mundo, mas um "estranho espaço confinado" *. Embora no seu inicio se acreditasse que a fotografia copiava o mundo em toda a sua exactidão e detalhe, como se a natureza se desenhasse a ela própria, o processo fotográfico torna o mundo bidimensional e imóvel. Devido à sua tradicional ligação ao "real" - a ideia de que uma fotografia é uma referência, um registo directo do que aconteceu, sempre houve uma tendência para explicar, identificar o que é retratado numa fotografia. Os artistas aqui apresentados, cada um de uma maneira diferente, desafiam os parâmetros da fotografia e transgridem as suas funções historicamente estabelecidas, a fim de exteriorizar o interno, de escapar ou encontrar outras esferas de representação. Transformam o seu trabalho num acto de emancipação das formas dominantes da lógica, pegam em segmentos visuais do nosso meio cultural, reconfiguram-nos. Afinal, a percepção é uma acção de tomada de posse e de apreensão do mundo com a mente e os sentidos. O que se apreende é resultado de interacções entre experiências passadas e as nossas interpretações do que vemos. Como vão os seres humanos escapar ao determinismo cíclico do seu próprio conhecimento? Estes processos de reconfiguração do mundo poderiam ser visto como fetichismo ou manipulação? Isso revela nostalgia artística para a materialidade, ou, pelo contrário, poderia ser visto como uma forma de crítica à superficialidade, o efémero, ou talvez até um desejo de encontrar novas interpretações do mundo, que cada um sente ser esmagadoramente pré-descrito? *Mary Price, “The Photograph: A Strange, Confined Space” (1994)


 


AT THE EDGE OF LOGIC


Abigail Reynolds, Ania Dabrowska, Benjamin Beker Hannah Dakin, Peter Ainsworth, Rita Soromenho, Tess Hurrell


‘Everything we see could be otherwise’


Tractatus, Wittgenstein


The world, including the current frameworks of art, is unsettled. When the world is unsettled, people lose confidence in the systems of knowledge and power, or in the extreme, they can turn into their blind followers. This can seem dangerous, exciting, positive or scary - depending on one’s perception. Throughout centuries this condition has provided an arena for artistic introspection on what it is to be human. At the Edge of Logic does not look for explanations or gives final answers. The seven international artists brought together in this exhibition deal with the paradoxical logic of their worlds by making the process of questioning manifest in the formal, aesthetic, and narrative structures of the work, and by championing the idea of the arbitrary nature of perception. They use photography to explore, communicate, and process their ideas producing images that require the viewer to slow down the process of looking and to analyze in more depth the intentions of the artist. In essence, a photograph is a visual construction, always a conceptual, abstract form of interpretation. Whilst light grounds photography in the real, the photograph was never an exact transcript of the world, but a “strange, confined space”*. Although early photography was believed to copy the world in all its completeness and detail, as if nature was drawing itself, the photographic process renders the world two-dimensional and still. Because of its traditional connection to “the real”- the idea that a photograph is a referent, a direct record of what has been, there’s always been a tendency to explain, to identify what is depicted in a photograph. The artists exhibiting in this show, each in a different way, challenge the parameters of photography. They transgress its historically established functions in order to externalise the internal, to escape or to find other realms of representation. They turn their escapism into an act of emancipation from dominant forms of logic, taking visual segments of our cultural surroundings and reconfiguring them. After all, perception is an action of taking possession and apprehension of the world with the mind or senses. What one perceives it’s a result of interplays between past experiences and our interpretations of what we see. How are humans to escape the cyclical determinism of their own knowledge? These processes of reconfiguring the world could be seen as akin to the fetishism of manipulation. Does this reveal artistic nostalgia for materiality, or on the contrary, could it be seen as a form of critique of the superficial, the fleeing, or maybe even a desire to find new interpretations of the world, which one feels to be overwhelmingly pre-described? *Mary Price, “The Photograph: A Strange, Confined Space” (1994)


Abigail Reynolds (Lincolnshire, 1970) lives and works in St Just in Penwith, Cornwall and in London. She is represented by ‘Seventeen Gallery’ in London and ‘Ambach and Rice’ in Los Angeles. She teaches at The Ruskin School of Fine Art, Oxford University. Her work was recently acquired by the Government Art Collection. Recent Solo Shows include Collider, Ambach and Rice Seattle 2010, Mount Fear, Trade Gallery Nottingham 2010, Strange Attractor Seventeen Gallery, London, 2010 The Universal Now Seventeen Gallery, London 2009. Recent group shows include Second Hand, IMO Copenhagen 2010, Spasticus Artisticus Ceri Hand Liverpool, Pattern Recognition Leicester City Gallery 2009, Unfold Nettie Horn, London 2009.


Ania Dabrowska, (born 1973, Poland), lives and works in London. Artist working in a variety of media: photography, installation, text, sound, and film. Exhibited in solo and group shows in the UK and internationally since 2001. Winner of the Observer Photographic Hodge Award, 2003. Selected for the National Portrait Gallery Photographic Portrait Award, 2007. Awarded the Wellcome Trust People Award, 2008-11. Producer and workshops facilitator for participatory photography projects in the UK and Internationally. Lecturer at the Ruskin School of Drawing and Fine Art in Oxford (2007-10), and a visiting lecturer at Goldsmiths College, University of London. Artist in residence at Arlington, London, SPACE, 2010-11.


Benjamin Beker was born in 1976 in Bonn, Germany and grew up in Hong Kong, China and Belgrade, Yugoslavia. He studied Photography at the BK Art Academy in Belgrade and graduated in 2001. Beker moved to London in 2005 and a year later started a MA in Photography at the Royal College of Art, graduating in 2008. He received the National Magazine Award in 2007 and for his final exhibition piece War & Liberation Monument Installation, receiving the Painters and Stainers Award, RCA Society and Thames & Hudson Art Book Prize and was short-listed for the Conran Award. He now lives and works in London and has been exhibiting in various group shows, such as "Feel the Force" at the CGP Gallery, "Farmers Market", at the Handel Street Project Gallery and "Fresh Faced and Wild Eyed" at the Photographers Gallery in London. After winning the ArtSway Open 08. Beker was given a solo exhibition at ArtSway Gallery, New Forest, Hampshire in September 2009.


Hannah Dakin MA Photography,LCC University of the Arts London, 2007. Currently living and working in London. Recent exhibits include Michael Hoppen gallery, London. Has shown work with WW Gallery in London and the Venice Biennale ’09. Also has been included in numerous exhibitions at galleries such as Four Corners, Mall Gallery, Touchstones Gallery, Format photography festival in Derby and represented by Saatchi Online at Form Art Fair, London.


Peter Ainsworth. Born United Kingdom 1978. Currently lives and works in London. A recipient of the dazed and Confused Emerging Artist Award 2010 Peter Ainsworth has been exhibited at Stephen Friedman gallery and published in Dazed and Confused. Awarded a flash forward award 2010 his work was also selected to represent new British Staged photography in the exhibition ‘Rock, paper, scissors’ in Toronto, 2010. He has undertaken a Pavilion Commission in 2008 the culmination of which was an exhibition at the National media museum. His work is held in the collection of the Museum of Fine Art Houston.


Rita Soromenho Born 1977 in Lisbon. A selection of international exhibitions include: 2009 Nem Tanto ao Mar Nem Tanto a Terra, VPF Cream Art, Lisbon (solo); 2008 New Contemporaries (Liverpool Biennial and London); Anticipation, curated by Kay Saatchi and Catriona Warren; Chobi Mela International Photography Festival, Daka, Bangladesh; Through The Lenses, Royal West of England Academy; 2007 Kaunas International Photography Festival, Lithuania. Shortlisted to the Sony World Photography Awards (2009) and IPG Terry O’Neill Awards (2007), her work has been recently published in Source Photographic Review (Spring 2010) and belongs to the prestigious collection of the Calouste Gulbenkian Foundation (UK). In 2010 she was an Artist in Residency at Atelier Aberto #3, Casa Tomada, Sao Paulo, Brazil. She graduated in 2008 from the MA Photography, LCC, University of the Arts, London.


Tess Hurrell.Born 1975 in Zimbabwe, I now live in London where I have been working as an assistant to Wolfgang Tillmans since 2007. I received a bursary in 2009 from the National Media Museum and completed a Pavilion Commission in 2008. My work has been exhibited in a number of shows and festivals internationally, and in the UK including the Victoria & Albert museum in London. 


 


 





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