Diana Soria Hernandez: Keep On Trying (2012)<\/p>\n\n\n\n
AV-arkin ja Cinema Orionin Taidetta taiteen vuoksi -n\u00e4yt\u00f6ssarjan syyskausi k\u00e4ynnistyy teemalla Kosketa minua. Kosketus voi hoivata ja rakentaa yhteytt\u00e4 mutta my\u00f6s rikkoa. N\u00e4yt\u00f6sten teoksissa ollaan kosketuksissa ja tullaan kosketetuiksi, hapuillaan ja tutkitaan haptista eli aistikeskeist\u00e4 liikkuvaa kuvaa ja tartutaan yhteis\u00f6llisiin affekteihin. Teeman ensimm\u00e4isess\u00e4 Kehollisesti l\u00e4sn\u00e4 -nimisess\u00e4 n\u00e4yt\u00f6ksess\u00e4 8.10.2024 tarkastellaan kosketusta ja kehollisuutta.<\/p>\n\n\n\n
N\u00e4yt\u00f6ksen avaa Natalia Kozielin <\/strong>viime kes\u00e4n\u00e4 Sodankyl\u00e4n elokuvajuhlillakin n\u00e4hty live cinema -esitys Warm Data, jossa taiteilija fiilmiprojektorien ja piirtoheittimen avulla hahmottelee k\u00e4sin kaupungissa sykkiv\u00e4\u00e4 \u201cl\u00e4mmint\u00e4 dataa\u201d. OJOBOCA taiteilijaparin teos<\/strong> The Skin Is Good (2018) ja Barbara Hammerin<\/strong> lesboelokuvan klassikko Dyketactics (1974) jatkavat koskettelun ja iholla olemisen teemoja. Mona Hatoumin <\/strong>Measures of Distance (1988) puolestaan tarkastelee kehollista ik\u00e4v\u00e4\u00e4 ja kosketuksen mahdottomuutta. Minna Suoniemen<\/strong> teoksessa Hit (2006) taiteilija kaipaa erilaista kosketusta; h\u00e4n pyyt\u00e4\u00e4 ly\u00f6m\u00e4\u00e4n itse\u00e4\u00e4n kasvoihin. Viimeisen\u00e4 teoksena esitet\u00e4\u00e4n kuva- ja performanssitaiteilija Diana Soria Hernandezin<\/strong> Keep On Trying (2012). <\/p>\n\n\n\n Taidetta taiteen vuoksi tuo yhteen taiteilijain liikkuvaa kuvaa, mediataidetta ja kokeellista elokuvaa niin Suomesta kuin ymp\u00e4ri maailmaa, uutuuksia ja klassikoita. N\u00e4yt\u00f6ssarjaa ovat tukeneet Koneen s\u00e4\u00e4ti\u00f6, Opetus- ja kulttuuriministeri\u00f6 sek\u00e4 Helsingin kaupunki. Sarjan kuratoinnista vastaa ty\u00f6ryhm\u00e4, johon kuuluvat Diego Ginartes, Sepideh Rahaa, Azar Saiyar ja Avreno Heikka. Seuraavat Taidetta taiteen vuoksi -n\u00e4yt\u00f6kset esitet\u00e4\u00e4n 5.11.2024 ja 10.12.2024. N\u00e4yt\u00f6ksiin on vapaa p\u00e4\u00e4sy!<\/p>\n\n\n\n Lunasta ilmainen lippusi Cinema Orionin verkkokaupasta.<\/a><\/p>\n\n\n\n Taidetta taiteen vuoksi:<\/strong> Kosketa minua<\/strong> Natalia Koziel: Warm Data (live cinema -esitys)<\/strong> Entitled ”Warm Data,” it shows deep into the fabric of the metropolis, where every frame pulses with the city dynamics and offers another dimension of understanding to what is typically learned only through quantitative data, (cold data).<\/p>\n\n\n\n Here, two 16mm film projectors are joined by an old, school-type overhead projector. I use this machine like a puppeteer tool, where I rhythmically animate folded silhouettes of paper that echo the shapes of the city. Adding a kaleidoscope of filters, I fill in the simple black-and-white frames of the film with colors, textures and mesmerizing patterns. With live projections and hands-on manipulations, I carefully orchestrate the pace and flow of the story.<\/p>\n\n\n\n OJOBOCA: The Skin Is Good (2018)<\/strong> Barbara Hammer: Dyketactics (1974)<\/strong> Mona Hatoum: Measures of Distance (1988)<\/strong> Minna Suoniemi: Hit (2006)<\/strong> Diana Soria Hernandez: Keep On Trying (2012)<\/strong> Diana Soria Hernandez: Keep On Trying (2012) AV-arkin ja Cinema Orionin Taidetta taiteen vuoksi -n\u00e4yt\u00f6ssarjan syyskausi k\u00e4ynnistyy teemalla Kosketa minua. Kosketus voi hoivata ja rakentaa yhteytt\u00e4 mutta my\u00f6s… Lue lis\u00e4\u00e4 \u00bb<\/a><\/p>\n","protected":false},"author":10,"featured_media":1857956,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[1337,1338,2769],"class_list":["post-1857841","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uutiset","tag-av-arkin-levitystoiminta","tag-helsinki","tag-taidetta-taiteen-vuoksi"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.av-arkki.fi\/fi\/wp-json\/wp\/v2\/posts\/1857841","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.av-arkki.fi\/fi\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.av-arkki.fi\/fi\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.av-arkki.fi\/fi\/wp-json\/wp\/v2\/users\/10"}],"replies":[{"embeddable":true,"href":"https:\/\/www.av-arkki.fi\/fi\/wp-json\/wp\/v2\/comments?post=1857841"}],"version-history":[{"count":0,"href":"https:\/\/www.av-arkki.fi\/fi\/wp-json\/wp\/v2\/posts\/1857841\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.av-arkki.fi\/fi\/wp-json\/wp\/v2\/media\/1857956"}],"wp:attachment":[{"href":"https:\/\/www.av-arkki.fi\/fi\/wp-json\/wp\/v2\/media?parent=1857841"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.av-arkki.fi\/fi\/wp-json\/wp\/v2\/categories?post=1857841"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.av-arkki.fi\/fi\/wp-json\/wp\/v2\/tags?post=1857841"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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Kehollisesti l\u00e4sn\u00e4 8.10.2024<\/strong><\/p>\n\n\n\n
<\/strong>Step into the bustling streets of Toronto through the small-scale project designed as both, live expanded cinema and digital film, where the visual narrative unfolds in layers of urban information captured entirely on 16mm black and white film to tell the story about city symphony.<\/p>\n\n\n\n
<\/strong>The skin fiend is a stranger. He sent us strange messages. In the last message the skin fiend said: \u201cTry to be skin fiends for a moment. How, you ask? Well, to be a skin fiend one has to summon the skin demon. To summon the skin demon, one has to say the skin prayer.” We made this film for you, skin fiend. What do you think?<\/p>\n\n\n\n
\u201cHammer\u2019s films of the \u201970\u2019s are the first made by an openly lesbian American filmmaker to explore lesbian identity, desire and sexuality through avant-garde strategies. Merging the physicality of the female body with that of the film medium, Hammer\u2019s films remain memorable for their pioneering articulation of a lesbian aesthetic.\u201d
-Jenni Sorkin, WACK! Art & The Feminist Revolution<\/p>\n\n\n\n
Measures of Distance (1988), a 15-minute video work, tacitly foreshadows Hatoum\u2019s evolution from the more subjective perspective of performance-based work to the sculptures and installations she has produced in the intervening decade. The video\u2019s key footage uses a visual screen of Arabic script \u2014 taken from a series of letters between the artist and her mother \u2014 that is superimposed over the filmed image of her mother taking a shower. The screen both frames and obscures her mother\u2019s body. In both the literal sense that it was made during a visit home, and in a broader sense as well, Measures of Distance is one of the few examples of Hatoum\u2019s work to employ direct reference to the artist\u2019s exiled condition. Hatoum, a Palestinian born in Beirut in 1952, was stranded in Europe at the outset of civil war in 1975 (the municipal airport in Beirut was closed for nine months), and decided to study art in London, where she has subsequently lived most of her adult life. In the video\u2019s soundtrack, as well as in the graphic image of text layered over flesh, Hatoum explores how degrees of proximity and separation can be conveyed by employing both concrete examples (her mother taking a shower), and more formal abstractions (text, paper, voices, a trip to Beirut).<\/p>\n\n\n\n
Videoteoksessa taiteilija pyyt\u00e4\u00e4 ly\u00f6m\u00e4\u00e4n itse\u00e4\u00e4n kasvoihin. Hidastettu kuva paljastaa pienetkin vihjeet reaktioista. Ly\u00f6nneist\u00e4 kuuluva hidastettu \u00e4\u00e4ni muistuttaa tennispallon \u00e4\u00e4nt\u00e4 peliss\u00e4.<\/p>\n\n\n\n
Keep on Trying is a video work made a year after moving to Finland. The efforts and success required for such an endeavor become clouded by the new challenges. Through printmaking techniques, the repetition and erasure of Keep on Trying depicts what seems the never ending path of efforts. The weight of text on the skin is repealed by gestures only to start again.<\/p>\n","protected":false},"excerpt":{"rendered":"