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<title>Inauguração/Opening: A.U.T.O.E.N.U.C.L.E.A.T.I.O.N. Rasmus Røhling – sexta/friday 10 Jul 22:00</title>
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Sismógrafo: Rasmus Røhling<br>
Exposição / Exhibition
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<a href="http://us3.campaign-archive1.com/?u=ab4eb899b20a1f87e612121f6&id=2ec302e051&e=0046895fa6" style="color: #662d91;word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;font-weight: normal;text-decoration: underline;" target="_blank"><span style="">View this email in your browser</span></a>
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<br>
<br>
<span style="font-size:34px"><span style="font-family: arial, verdana, sans-serif; line-height: 1.6em;"><span style="line-height:20.8px">Rasmus Røhling</span></span><font style="line-height: 1.6em;" face="helvetica, arial, sans serif"><span style="line-height:50px"><strong> </strong><br>
A.U.T.O.E.N.U.C.L.E.A.T.I.O.N.</span></font><br>
<br>
<span style="font-family: arial, verdana, sans-serif; line-height: 1.6em;"><span style="line-height:20.8px">curadoria/curated by Amy Zion</span></span></span></div>
<div style="text-align: center;"> </div>
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<span style="font-size:18px">Inauguração/Opening<br>
sex/fri 10 Jul 22:00<br>
<br>
até/until 8 Ago/Aug<br>
qui–sáb/thu–sat 16:00–20:00<br>
<br>
Conversa com o artista e a curadora<br>
Talk with the artist and the curator<br>
dom/sun 12 Jul 17:00</span><br>
<br>
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<div style="text-align: center;"><span style="font-size:16px"><span style="font-family:helvetica,arial,sans serif">[português]</span></span></div>
<div style="text-align: left;"><p style="margin: 0px 0px 1em; font-size: 18px; line-height: 22px; font-family: 'Helvetica Neue', helvetica, arial, sans-serif; padding: 0px; text-align: left;"><br>
<em><span style="font-family:times new roman,times,baskerville,georgia,serif">Kasia,<br>
<br>
Lembras-te quando falamos acerca de arrogância e disseste que as virtudes desta poderiam ser atingidas e praticadas sem de facto ser-se arrogante?<br>
<br>
Não me recordo como fomos daí para o tópico relacionado com Moyra Davey, mas penso que tentei (polemicamente) enfatizar o facto de Moyra decretar o virtuosismo de um modo similar àquele que te referias a respeito da arrogância, utilizando de alguma maneira a sua potência sem contudo produzir o seu efeito.<br>
<br>
Encontro-me num ponto da minha pesquisa no qual comparo basicamente a forma de Moyra de (anti)habitar o papel do artista, com a forma como, no primeiro dos filmes Alien, Sigourney Weaver, enquanto Ripley, habita o (até esse ponto muito dominado por homens) papel de Space-Joe/protagonista. Ripley é uma manifestação do trauma freudiano masculino (medo masculino da penetração, incompreensão da gravidez, blá, blá) subvertido nesta nesta figura/arquitectura/enredo maternal domesticada. (A crítica de cinema Barbara Creed fala mesmo acerca do filme como uma série de representações formalmente mutantes por ela designadas como “O monstruoso-feminino enquanto mãe arcaica”...!)<br>
<br>
Nos </span></em><span style="font-family:times new roman,times,baskerville,georgia,serif">Fifty Minutes</span><em><span style="font-family:times new roman,times,baskerville,georgia,serif"> de Moyra, quando ela está no quarto, emaranhada na família: interrompida pelo marido, pelo filho, pelo cão que entra no plano. Para mim, esta é a cena icónica em Alien: Ripley, informal na sua roupa interior de algodão, na barriga da nave espacial emaranhada em fios e blindagem. Trabalhando o mecanismo sem cerimónias, guiando a nave, mas resistindo à má trip da “capitaneidade”, a merda formal do uniforme. Nesta nave Moyra/Ripley trata dos afazeres a partir do seu quarto-cockpit, resistindo a que os mecanismos “interpolativos” de género a conduzam, por assim dizer. Esta descontracção “na cama”, enquanto estratégia, é a evolução do processo artístico no seu clímax: antes do momento infeliz onde é produzido no trabalho artístico. Serra antes de se virar para o aço (comparação muito má, mas percebes o que quero dizer).<br>
<br>
Continuo a pensar a “obra de arte” enquanto representação da ausência: ausência do artista, e o papel do artista como aquele que trabalha sempre no sentido de se substituir/ de substituí-la com um gesto tipo-virtuoso, o qual pretende fazer uma contabilidade sublime das intenções e da presença (perdida) do artista.<br>
<br>
Moyra resiste a este ritual virtuoso; ela subverte a manobra virtuosa e nesse sentido é (na origem etimológica do virtuoso conotada com virilidade) precisamente anti-viril. Moyra resiste à execução de representação do virtuoso. Em vez disso, Moyra é presença: ela é uma infraestrutura de afecto e de investigação simultâneos. Ambos simbioticamente cercados e cercando o seu assunto, encontrando agora nele uma profunda, íntima, diarística confidencialidade, contudo anilhando-lo, contextualizando-lo. Ainda assim ela não faz nenhum esforço para passar isto para o gesto artístico => de acumular essas funções de modo a transformá-las num/para um (potente) gesto virtuoso. Moyra mantém a domesticidade, nunca envia nada fora, nunca põe nada adiante, em vez disso parece que a “encontramos” no seu (aparente) estado civil, no contexto doméstico da sua própria cronologia.</span></em><br>
<br>
<span style="font-family:times new roman,times,baskerville,georgia,serif">Fifty Minutes,</span><em><span style="font-family:times new roman,times,baskerville,georgia,serif"> simplesmente como um exemplo, é (formalmente) uma peça como qualquer outra peça, porém ela existe e alcança a sua função/significado/estatuto, sem se submeter aos meios do virtuoso. Tudo isto é terrivelmente problemático, especialmente comparando Moyra Davey a uma monstruosidade maternal, e não tenho realmente nenhum interesse em empregar este tipo de retórica de género, mas até que consiga calibrá-lo, isto significa de facto um grande elogio, uma vez que ela criou uma alternativa perfeita para as convenções relacionadas com o virtuosismo, que penso ser ainda extremamente influente/ problemático para o processo artístico.</span></em></p><p style="margin: 0px 0px 1em; font-size: 17px; line-height: 21px; font-family: 'Helvetica Neue', helvetica, arial, sans-serif; padding: 0px; text-align: left;"><em><span style="font-family:times new roman,times,baskerville,georgia,serif">xR</span></em><br>
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</p><p style="margin: 0px 0px 1em; font-size: 16px; line-height: 22px; font-family: 'Helvetica Neue', helvetica, arial, sans-serif; padding: 0px; text-align: left;"><span class="fsl"><span>A exposição A.U.T.O.E.N.U.C.L.E.A.T.I.</span>O.N. de Rasmus Røhling, é formada por dois vídeos: <em>Male Goes Down on Phantom</em> (2006) e uma nova peça sem título (2015), assim como uma escultura – <em>sem título</em> (2015). Comissariada por Amy Zion, a mostra procura tocar questões acerca do modo como percepcionamos hoje a arte, pondo em causa não só o <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=490dd20d78&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #6DC6DD;font-weight: normal;text-decoration: underline;"><span style="color:#084c9e">virtuosismo artístico</span></a> enquanto modelo, mas também os <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=54d2d4a115&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #6DC6DD;font-weight: normal;text-decoration: underline;"><span style="color:#084c9e">mecanismos</span></a> de construção de uma identidade que limite a criação. Os trabalhos do artista dinamarquês parasitam, tal qual um alien, nos pressupostos iconoclastas sobre o “real”, história, e linguagem, apontando para a possibilidade<span class="text_exposed_show"> de uma resistência ao fluxo de <a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=a20d36aa4c&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #6DC6DD;font-weight: normal;text-decoration: underline;"><span style="color:#084c9e">significados que consomem hoje o objecto</span></a>. </span></span><br>
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<u><span class="fsl">Rasmus Røhling</span></u> (Dinamarca, 1982). As mais recentes exposições em que participa incluem: “Speaking Backwards”, SixtyEight Gallery, Copenhaga (2015), “Macho Man, Tell It To My Heart”, Artist Space, Nova Iorque (2013), “Rage and Patience”, HumanResources, Los Angeles (2013), “Elephants”, YEARS, Copenhaga (2013), “Tell It To My Heart, Collected by Julie Ault”, Museum Für Gegenwartskunst, Basileia (2013), “The Congress”, dOCUMENTA (13), Kassel (2012). Røhling é formado pela Jutland Academy of Fine Arts, Dinamarca (2008) e concluiu o Mestrado na California Institute of the Arts (2010). A prática artista de Røhling debruça-se sobre o estatuto da arte como sendo epistemologicamente inominável, e na forma como este potencial afecta a própria metodologia artística.<br>
<br>
<u>Amy Zion</u> é actualmente Curadora Assistente no Pavilhão da Dinamarca, na 56a Bienal de Veneza, e na exposição colectiva “Slip of the Tongue”, com curadoria de Danh Võ na Punta della Dogana, Veneza, Itália. É co-fundadora e directora da 1747812 Alberta Ltd., uma colecção sedeada em Edmonton, Canada. Desde 2007 que trabalha como editora na Fillip, uma revista de arte semestral publicada em Vancouver, Canada, e distribuída internacionalmente. Zion é mestre em Estudos Curatoriais pelo Bard College, Nova Iorque (2012).<br>
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<div style="text-align: center;"><span style="font-size:16px"><span style="font-family:helvetica,arial,sans serif">[english]</span></span></div>
<div style="text-align: left;"><p style="margin: 0px 0px 1em; font-size: 18px; line-height: 22px; font-family: 'Helvetica Neue', helvetica, arial, sans-serif; padding: 0px; text-align: left;"><br>
<em><span style="font-family:times new roman,times,baskerville,georgia,serif">Kasia,<br>
<br>
Remember when we talked about arrogance, and you said that the virtues of arrogance could be achieved and exercised without actually being arrogant?<br>
<br>
I can’t remember how we went from there to the topic of Moyra Davey, but I think I tried (polemically) to make the point that Moyra enacted virtuosity in a way similar to what you talked about regarding arrogance, somehow utilizing its capacity without producing its effect.<br>
<br>
I’m at a point in my research where I’m basically comparing Moyra’s way of (anti)inhabiting the artist’s role, to how, in the first Alien movie, Sigourney Weaver as Ripley inhabits the (up till that point very male-dominated) role of the Space-Joe/protagonist. Ripley is a manifestation of Freudian male trauma (male fear of penetration, misunderstanding of pregnancy, blah blah) subverted into this domesticized maternal figure/architecture/plot. (Critic Barbara Creed even talks about the movie as a series of shape-shifting representations of what she refers to as “The monstrous-feminine as archaic mother”…!)<br>
<br>
In Moyra’s </span></em><span style="font-family:times new roman,times,baskerville,georgia,serif">Fifty Minutes,</span><em><span style="font-family:times new roman,times,baskerville,georgia,serif"> when she is in the bedroom, entangled in the family: interrupted by the husband, by the son, the dog walks into the shot. To me, this is the iconic scene in Alien: Ripley, casual in her cotton panties in the belly of the spaceship entangled in wires and armature. Unceremoniously working the mechanism, running the ship, but resisting the bad trip of “Captianness”, the formal bullshit of the uniform. On this ship Moyra/Ripley runs business from her bedroom cockpit, resisting that the interpolative mechanisms of the genre run her, so to speak. This “in-bed” casualness, as strategy, is the evolution of the artistic process at its climax: right before the sad point where it is churned into the artwork. Serra right before he turns into steel (really bad comparison, but you know what I mean).<br>
<br>
I keep thinking of “the artwork” as the representation of absence: absence of the artist, and the role of the artist as one who always works towards replacing her/himself with a virtuoso-type gesture which is to make a sublime account for the artist’s intentions and (lost) presence.<br>
<br>
Moyra resists this virtuoso ritual; she subverts the virtuoso maneuver and is (in the etymological origin of virtuoso as connoting manliness) exactly anti-manliness. Moyra resists the execution of virtuoso representation. Rather, Moyra is presence: she is an infrastructure of simultaneous affection and investigation. Symbiotically both surrounded by and surrounding her subject matter, now finding deep, intimate, diaristic confidentiality in it, yet nesting it, contextualizing it. She makes no effort though to export this into the artistic gesture => to accumulate these functions in order to turn them into /towards a virtuous (potent) gesture. Moyra keeps it domestic, never sends anything off, never sets anything forth, rather we appear to “find her” in her (seemingly) civilian state in the domestic midst of her own chronology.</span></em><br>
<br>
<span style="font-family:times new roman,times,baskerville,georgia,serif">Fifty Minutes,</span><em><span style="font-family:times new roman,times,baskerville,georgia,serif"> just as one example, is (formally) a piece just like any other piece, yet it exist and achieves its function/meaning/status, without submitting to the virtuoso means. All this is terribly problematic, especially comparing Moyra Davey to a maternal monstrosity, and I really have no interest in employing this kind of gendered rhetorics, but until I get it calibrated, it is really meant as a very big compliment as she has modeled an exact alternative to the conventions around virtuosity, which I still think is hugely influential/problematic to artistic processing. </span></em></p><p style="margin: 0px 0px 1em; font-size: 17px; line-height: 21px; font-family: 'Helvetica Neue', helvetica, arial, sans-serif; padding: 0px; text-align: left;"><em></em><em><span style="font-family:times new roman,times,baskerville,georgia,serif">xR</span></em><br>
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</p><p style="margin: 0px 0px 1em; font-size: 16px; line-height: 22px; font-family: 'Helvetica Neue', helvetica, arial, sans-serif; padding: 0px; text-align: left;"><span class="fsl"><span>The exhibition A.U.T.O.E.N.U.C.L.E.A.T.I.O.N. by Rasmus Røhling, consists of two videos: <em>Male Goes Down on Phantom</em> (2006) and a new untitled piece (2015) as well as a sculpture – <em>untitled</em> (2015). Curated by Amy Zion, the show examines how we perceive art today, questioning </span><a href="http://sismografo.us3.list-manage2.com/track/click?u=ab4eb899b20a1f87e612121f6&id=fea5afff71&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #6DC6DD;font-weight: normal;text-decoration: underline;"><span style="color:#084c9e">artistic virtuosity</span></a><span> as a model in addition to mechanisms for the construction of identity </span><a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=6d5fa32878&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #6DC6DD;font-weight: normal;text-decoration: underline;"><span style="color:#084c9e">mechanisms</span></a><span> which limit creation. The works of the Danish artist parasites, like an alien, onto iconoclasts in their assumptions about the </span></span>“<span class="fsl">real</span>”<span class="fsl"><span>, history, and language, pointing to the possibility of a resistance to the flow of </span><a href="http://sismografo.us3.list-manage.com/track/click?u=ab4eb899b20a1f87e612121f6&id=949bbc0a29&e=0046895fa6" target="_blank" style="word-wrap: break-word;-ms-text-size-adjust: 100%;-webkit-text-size-adjust: 100%;color: #6DC6DD;font-weight: normal;text-decoration: underline;"><span style="color:#084c9e">meaning that today consumes the object</span></a><span>.</span></span><br>
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<u><span class="fsl"><span class="text_exposed_show">Rasmus R</span><span>ø</span></span></u><span class="fsl"><u>hling</u> (Denmark, 1982) is an artist whose work challenges art’s status as being epistemologically unnameable and how this potentially affects artistic methodology. Recent exhibitions include: </span>“<span class="fsl">Speaking Backwards</span>”<span class="fsl">, SixtyEight Gallery, Cph. (2015), </span>“<span class="fsl">Macho Man, Tell It To My Heart</span>”<span class="fsl">, Artist Space, NY(2013), </span>“<span class="fsl">Rage and Patience</span>”<span class="fsl">, HumanResources, LA (2013), </span>“<span class="fsl">Elephants</span>”<span class="fsl">, YEARS, Cph. (2013), </span>“<span class="fsl">Tell It To My Heart, Collected by Julie Ault</span>”<span class="fsl">, Museum Für Gegenwartskunst, Basel (2013), </span>“<span class="fsl">The Congress</span>”,<span class="fsl"> dOCUMENTA (13), Kassel (2012). Røhling holds an MFA from California Institute of the Arts (2010) and a BFA from Jutland Art Academy, DK.<br>
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<u>Amy Zion</u> is Assistant Curator of the Danish Pavilion at the 56th Venice Biennale as well as </span>“<span class="fsl">Slip of the Tongue</span>”<span class="fsl">, a group exhibition curated by Danh Vo at Punta della dogana, Venice, Italy. She is co-founder and director of 1747812 Alberta Ltd., a collecting institution in Edmonton, Canada. Since 2007, she has worked as an Editor at Fillip, a bi-annual art magazine published out of Vancouver, Canada.</span><br>
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