A arte de Rémy Amezcua

A primeira vez que tive contato com o trabalho do fotógrafo mexicano Rémy Amezcua foi através de seus experimentos com polaroides. Seu trabalho meticuloso e ao mesmo tempo espalhafatório me chamou a atenção pela essência experimental mesmo de suas obras. A série de ‘pinturas’ sobre polaroides foi a meu ver muito feliz e as cores saltam da tela do computador.

O que Rémy Amezcua tem feito até o dia de hoje é ‘tomar controle’ das texturas que faz sobre as fotos, já que o artista só tem mesmo controle nesta parte do processo pois o resto do ‘fazer artístico’, a plasticidade fica por conta da máquina, no caso uma câmera de polaroides O processo é totalmente acidental e o artista pode somente pressentir o que vai acontecer ou seja ele não tem certeza das cores que o experimento vai dar às suas peças pois ele está expondo os negativos a luz e através da sua percepção e intuição pode então presumir quanto e como parar a exposição dos negativos do filme a luz. Tudo acontece por ‘chance’. Um ato totalmente randômico e aleatório que pode trazer qualquer resultado menos o que é realmente esperado. Este ato é antagônico ao processo fotográfico onde o fotógrafo normalmente tem o ‘controle’ de todo o processo, sabe o que quer e como quer que a foto ou o projeto seja finalizado.

Foi por esta razão, pelo caráter aleatório que me interessei por seus trabalhos e me deparei também com ‘Evidence Collages’. Eu aprecio muito materiais recolhidos. Eu também tinha essa ‘mania’ de ‘recolher’ algum material por onde passei para depois lembrar do momento de alguma maneira ou de outra. Com o passar do tempo eu não tinha mais onde colocar os objetos e com as mudanças estas ‘estórias’ foram desaparecendo aos poucos até serem jogados fora completamente.

Como uma criança se aventurando na floresta deixando marcas por onde passa para não se perder pela vasta imensidão da penumbra florestal, o artista pega aquilo que o interessa, por mais insignificante que possa parecer, tudo é memória, tudo tem uma estória, uma marca, um pensamento por trás. Só presta o que é aparentemente resto.

Este trabalho funciona como evidencias do caminho ou lugar onde esteve. O processo é bem simples mas o contexto, a ideia é muito impactante. As colagens aparentemente infantis para o olho destreinado são na verdade um catálogo de elementos que para muitos pode ser tratado como lixo mas para Rémy Amezcua se trata de elementos artísticos que relatam sua trajetória, suas experiências, desalentos, memórias, elementos e aventuras pelo tempo que passou em Los Angeles. Caso não fossem recolhidos ou armazenados de alguma maneira, o artista se sentiria num conto sem começo, meio e fim, num filme sem sentido, como uma música sem sons, uma camisa sem botão, um dedo sem unha ou um ouvido sem tímpanos.  

Mais informações e outras imagens podem ser encontradas no site:

http://www.1500gallery.com/

Banksy in secret exhibition

Graffiti artist Banksy has pulled off an audacious stunt amid tight secrecy to stage his biggest ever exhibition.

A burned-out ice-cream van is among 100 works Banksy has installed at Bristol’s museum, replacing many of the museum’s regular artefacts.

The reason the museum was closed was kept secret from top council officials.

Banksy said: “This is the first show I’ve ever done where taxpayers’ money is being used to hang my pictures up rather than scrape them off.”

Staged in the council-owned City Museum and Art Gallery, Banksy v Bristol Museum features animatronics, installations and a sensory display.

“This show is my vision of the future, to which many people will say: ‘You should have gone to Specsavers'”, Banksy added.

The exhibition and its location have been a closely-guarded secret since October, with just a couple of museum officials in the loop.

“I think we may have dragged them down to our level rather than being elevated to theirs,” said Banksy of the subterfuge involved in staging the show in his home city.

‘Megastar’

Museum director Kate Brindley said it was a huge relief to finally be able to talk about the exhibition, and admitted they had taken a “risk”.

Plans for the summer show were kept from Bristol City Council chiefs until Friday – the day before it was due to open.

THAT WAS SOME SECRET!
Jon Kay, West of England correspondent Whatever you think of Banksy, his art and his stunts, what he’s done here is pretty extraordinary.Normally this grand building is home to artefacts and paintings remembering Bristol’s maritime history, but today the Edwardian halls are filled with Banksy’s unique blend of anger and humour. All this – and hardly anybody knew about it.

Exactly WHO Banksy is remains shrouded in mystery – we do know he grew up in Bristol, and this free exhibition is said to be his way of thanking and rewarding the city.

Many people are proud of him – he’s become one of Bristol’s most famous (and notorious) sons – others are bound to question whether a guy who spent his youth spray-painting walls deserves to be given this platform.

Either way, you’ve got to hand it to him – he’s done it again!

Bristol has had a love-hate relationship with Banksy since he started stencilling on the city’s walls in the 1990s. There is likely to be criticism of the decision to stage an official expo of his work.

“We ran a bit of a risk,” said Ms Brindley, “but we knew that it was just the right thing for the city.

“Equally there’s so many people in Bristol who just love Banksy, and internationally. He’s a megastar.

“We’re a gallery that wants to work with contemporary artists – he’s our home-grown hero.”

The artist himself was involved in setting up the exhibits and came to the museum to oversee its installation, but staff were unaware who he was among the crew setting up the show.

Although Bristol has seen work by Banksy adorn the city’s walls, this is his first official indoor exhibition in the city since 2000.

That show was held at the Severnshed restaurant on the waterfront and featured several paintings which have since gone on to sell for thousands of pounds at auction.

Banksy has exhibited in New York, Los Angeles and Bethlehem.

He became famous after a series of “guerrilla” stunts which saw him paint the West Bank barrier and put an inflatable figure of a Guantanamo Bay prisoner at Disney World.

It was Bristol where he first made his mark though, with a series of graffiti paintings on iconic local buildings such as the city council headquarters, an M32 bridge and the Thekla floating nightclub.

His work has since become highly collectable, and has attracted buyers including Brad Pitt and Robbie Williams.

BBC

CONMEN WHO FAKED BANKSY PRINTS SENTENCED

A pair of conmen who admitted selling fake prints they claimed were the work of graffiti artist Banksy have avoided a jail sentence.

Lee Parker, 45, from Eastbourne, East Sussex, and Grant Champkins-Howard, 44, from Croydon, south London, faced charges of conspiracy to defraud.

Kingston Crown Court heard the men sold copies of genuine numbered prints on the internet shopping site eBay.

Judge Suzan Matthews handed the pair 12-month suspended sentences.

She said: “Neither of you should be under any illusion that I regard both of you as nothing more than a pair of old-fashioned conmen.

“You saw a way, and exploited a way, of making a quick and easy profit.”

Art by the guerrilla artist Banksy regularly sells for hundreds of thousands of pounds.

In 2006 a set of Kate Moss prints, painted in the style of Andy Warhol’s Marilyn Monroe pictures, sold for £57,600 at a Sotheby’s auction.

BBC