Juliana Cerquiera Leite

Education
2006–2007 Camberwell College of Art, MA Drawing.
2006–2007 CityLit College, City and Guilds Certificate 7302, Delivering Learning.
2004–2006 Slade School of Fine Art, University College London. MFA Sculpture.
2001–2004 Chelsea College of Art and Design. BA Sculpture.
2000–2001 Chelsea College of Art and Design. Foundation Fine Art.
1999–2000 Fundação Armando Álvarez Penteado, São Paulo. BA Fine Art.

Sculputre/Video/Drawing/Photography/Curation

Up/Down are two sculptural pieces which are made by digging downwards(down)/upwards(up) through  a solid block of clay until the bottom/top were reached.

'Down' is white and is suspended perfectly from the celing with its tip touching the ground. When closer to the pieces you can see that the inital non formative shapes are actually knees and marks created by the artist as she dug through the clay, giving this piece more than a mathematical and visual aesthetic.

The same is done in the piece 'Up' which is painted black in reference to the darkness that the artist encountered whilst creating the piece. 'Up' seems to be less rousing perhaps due to its normative spatial presence beside the suspended 'Down' piece  or perhaps the colour drowns out the contrast and sharpness which is present in 'Down' and it's clarity.

Down: Plaster/Acrylic Polymer/Scrim/Polyester Rigid Foam
              82 in x 27in x 31in
              210cm x 70cm x 80cm

Up: Plaster/Acrylic Polymer/Black Cellulose Paint/Scrim/Polyester Rigid Foam
               82in x 19in x 15in
               210cm x 50cm x 40cm

Antoine D'Gata

-Employed with Magnum Photo Agency

-Studied at the ‘International Centre of Photography’ alongside Nan Goldin and Lenny Clark

-“I don’t see art as a competition or a spectacle but as a privileged space to give radical form to ones perspective on the world”

-Intelligence not cynicism

-“I look at art when it is shouted or vomited not conceptualised or marketed”

-“Intelligence and beauty do not compensate for passivity”

-“What Nan Goldin has taught me is to stand up, against all odds in a political and existential struggle for survival”

-“I try to express in the most precise and arbitrary way, the indefinable and unbearable beauty of keeping alive, physically , mentally and emotionally”

-“Step away from traditional documentary photography methods which I find are very frustrating and hypocritical/ There is a part of cowardice in the usual position of documentary photography in-between voyeurism and safety/ This is where exploitation lies.

Full Article: http://www.viceland.com/int/v17n11/htdocs/fear-desire-drugs-fucking-608.php

'Some Like It'

Leo and Yam

http://www.leoandyam.co.uk/

@ The Jackson Lane Theatre, London

Aerial Circus Theatre

Themes of gender, identity/ The genderlessists- fluidity of gender

20’s and 30’s iconography

Joanna Quail- Cello

Wonderful/Original/Intriguing Work

Louise Bourgeois, The Fabric Works

Louise Bourgeois

The Fabric Works – Hauser and Writh,  London,

Curated by Germano Celant

The works of Bourgeois are spread between the two Savile Row galleries of Hauser and Writh, London. The first gallery has the focal point of a large scale signature spider sculpture and the fabric works are then balanced neatly in a circular form along the walls allowing space to slowly absorb the work. The second gallery provides more rhythm to the pieces allowing atmospheres to be contained into certain rooms and spaces. The work varies immensely from sculpture to the initial concept of the fabric drawings, to their evolution and thus more complex pieces. This work is not merely a beautiful aesthetic but layered with conceptualism.

Bourgeois’ material choice and colour is quite hetronormative which allows us to easily and immediately be drawn into conversation. The material choice is perfect, creating sensual pieces, contrasting soft upon hard, fragile upon strong and vice versa.

Untitled 2006, (Fabric and Fabric collage) sees a pale blue carpet fabric behind 4 pieces of nylon which have undergone a process not unlike shibori. This piece firstly provokes you with its sensuality, whispering gentle tones of masculinity whilst being focused upon the femininity of the ‘shiboried’ material exhibiting gender, a repeating concept in Bourgeois work.

Her webbed pieces slowly allow you to begin to relate to the giant ‘Crouching Spider’ which is an overwhelming, giant crouching spider sculpture. This piece is not only impressive in its size (270.5 x 835.6 x 627.3cm / 106 ½x 329x247in) but in its sheer ability to be free standing. Made from steel the piece is an amazing sculpture and beside these pieces begins to articulate, is this spider the creator of these pieces? The nucleus of these emotions? Simply a concept? Or a protector?

The webbed fabric pieces are tight and intricate. The webs follow complex linear design with the starting point varying from fabric to roses.

Her ‘Spiral’ works are similar to her ‘Web’ pieces continuing with the linear patterns but with more juxtapose positioning.

Untitled 2006- (Fabric with ink and fabric collage) shows a spiral contrasting with a vertical linear background. The spiral is made up of small pieces of fabric each with a line drawn down the middle with ink and then sewed together to create this rough, fragile piece. This aesthetic continues within the spiral works.

Along with the Crouching Spider, ‘Bullet Hole’, another 3D piece is also present in Gallery 1. Bullet Hole is an enclosure built from wooden panels, some being doors bearing glass allowing the viewer to look inside along with a slight opening, the wood also has text welded across the back of two of the panels loudly asking ‘ What makes your world go round?’. Inside of the structure sits three pale circular like but broken and quite disfigured shapes.

The 3D work continues into gallery 2 with ‘Peaux de Lapins, Chiffons Ferrailles Á Vendre’, a mesh cage occupied with shapes on chains suggesting human figures. Off centre sits a gravity defying sculpture of pastel marble with a ring of fur hanging on the top, this sculpture within the instillation could stand independent as a work of its own as it exceedingly executes sensuality, the textures are contrasting yet complement each other beautifully. In a side room hangs a headless human figure. The figure is made from fabric and hangs in an organic form as the chain is strapped to the figures torso the figure lies back loosely with arms and legs freely hanging. Although headless the figure has a penis which reiterates notions of sexuality, another reoccurring theme in Bourgeois work.

The final Sculpture in the exhibition ‘Conscious and Unconscious’ strikes a charismatic presence alongside the gridded fabric works that share the same space. Once you examine the mere complex aesthetic of the pin cushion with needles and thread attached and then the pale singular fabric sculpture which is a product of the needles and thread you begin to ask which is which? Has the outcome outweighed the creator? It is almost Kantian, questioning consequentialism.

This collection of Bourgeois work is outstanding. The evolution of her work, the interruptions with her 3D pieces, the conclusion with ‘Conscious and Unconscious’ all fit together harmoniously and are perfectly executed.

WE.ARE.NOT.DECORATIONS.

Gay Art

-          Identity is a hybrid which is constantly in negotiation

-          Why choose the trait of sexuality to define work?

-          Choosing different aspects of identity to become a definition, gay art, black art, feminist art, vegetarian art? Middle class art? Size 9 shoe art? Where would you begin to draw lines?

-          Straight people making homoerotic art (Steve McQueen)

-          If an artist is gay and black is it gay or black art? Which trait is more dominant?

-          Is all art white and male?  Is everything else a deviation?

-          Is art merely depiction or organic and from experience? 

     

      Does the origin of the art change the viewers perception?- Imagine Mapplethorpe’s work, would you see it differently if it was created by a 70 year old woman- would it still be gay art? Or if Nan Goldin’s work was staged by a hetronormative man.

-          Is art created inside out or visa versa?

-          The Political

-          If political it is still necessary

-          Is it mere wording? – Gay Art – Political Art due to homosexual themes

-          Definitions-Expectation-Audience

-          The notion of being too gay, overpowering gay themes. Overpowering heterosexual themes? Romeo and Juliet? Macbeth? Beauty and the Beast?

-          The notion of QUEER

-          Queer as identity/aesthetic/outlook not just sexuality

-          Is the work of Emin Queer? Monet? Marina Abramovic? – Is commercial art Queer? – The existence of the genre

-          What makes a piece gay/queer, the artist? the subject? the medium?

Artists: Tracey Emin, Nan Goldin, Robert Mapplethorpe, Goodyn Green, Corinne Day, Raphael Perez

These artists are gay, straight, queer, black, white etc. etc. etc.

Could you define these works into categories under titles of race and sexuality?