JULIETA ARANDA AT THE GUGGENHEIM
Julieta Aranda, Partially untitled (tell me if I am wrong), 2009
Camera obscura (wood, paint, and translucent screen), hourglass, Lexan, rotating mechanism, and light sourceGuggenheim Museum, New York, Announces New Exhibition Series
Devoted to Emerging Artists
Intervals: Julieta Aranda
April 10 – July 19, 2009From April 10 to July 19, 2009, the Guggenheim Museum will inaugurate Intervals, a new contemporary art series, with a multipart installation by Julieta Aranda (b. 1975, Mexico City).In Aranda’s presentation, four conceptually related works propose an alternative notion of temporal experience as a shifting and unquantifiable state, liberated from rigid conventions of measurement. In an interstitial space near the museum’s staircase, a peephole reveals the image of an hourglass, a traditional symbol of mortality. Viewed through the refracting optical device of a camera obscura, the grains of sand appear to flow upward in a startling reversal of time’s passage. Nearby, patches of paint on the walls recall the look of covered-up street graffiti, rendered indecipherable yet retaining a ghostly presence in the urban landscape. Here Aranda has transcribed quotations about time drawn from sources that span more than 2,000 years. Using phosphorescent paint, the words become visible only when the space is darkened, momentarily recovering the erased language.One floor above, Aranda has installed an oversized clock in which the day is divided into 10 elongated hours. This system references decimal time, a short-lived initiative introduced during the rationalizing fervor of the French Revolution that reorganized the day into 10 hours, containing 100 minutes of 100 seconds each. While the clock pays homage to this act of iconoclasm, the movement of the second hand represents an entirely subjective experience of time, corresponding directly to the fluctuating rate of the artist’s own heartbeat over the course of one day. The time it takes for the clock to complete a revolution of 100 seconds therefore varies according to Aranda’s behavior and state of mind: it ticks faster during moments of excited activity and slower during periods of rest. In an accompanying sound piece, a transistor radio emits a recording of this heart rate, suggesting the nuanced tempo of human experience.Aranda’s multimedia, project-based work has frequently focused on the dissemination of information and the agency of the individual in contemporary society. In collaborative projects with Anton Vidokle, such as an itinerant, freely available archive of videos (e-flux Video Rental, 2004– ) and an operative store where artists could hock their works (Pawnshop, 2007), she has reinvented existing systems of commerce and circulation as part of an ongoing project to, in her own words, “generate viable propositions for alternative transactions of cultural capital.”Intervals was initiated by Chief Curator Nancy Spector as an experimental series to allow the museum to respond quickly to innovations and new developments in contemporary art as they arise. Conceived to take place in the interstices of the museum’s exhibition spaces or beyond the physical confines of the building, the program will invite a diverse range of artists to create new work for a succession of solo presentations.Following Aranda’s exhibition, a series of subsequent Intervals projects will be presented each year. The second Intervals presentation, featuring Berlin-based artist Kitty Kraus, is planned for fall 2009, with further projects under development for 2010.
Intervals: Julieta Aranda is organized by Nancy Spector and Katherine Brinson, Assistant Curator. Julieta
…would like to start from the beginning
(the art of heroic machines), 2009
C-Print, aluminum mounted
30 inches x 40 inches
The artist Julieta Aranda’s work marks processes in which motion and standstill are intertwined — rhythm and circulation are central elements of her installations.
Her work hereby functions on different layers. On the one hand, she plays with our perception: we see part of the work only when we no longer see anything else. Light, shadow and darkness, appearing, disappearing and erasure rely on each other — this becomes palpable. On the other hand, these plays on perception and the humorous titles of her work are loaded with various, often political, references.
In It is not necessary to resolve this (2009), we see strangely shaped patches of color on the wall. Only when the lights suddenly turn off for a brief moment, do we discover the graffiti ‘beneath’ them. Inscriptions of the city, which have been ‘erased’ by gentrification, are now restored as shimmering warning lights.
The heavenly glory of the hymn „a happy land, far, far away“ is altered to There is a heppy lend — fur, fur awa-a-ay (2011). This distortion sounds like a scratched ideological record and correspondingly, the horizon we see is a greenish fluorescent screen, onto which small antennas cast large shadows.
The straight path of progress and faith coils and curls before our eyes. JS / NT
Between Timid and Timbuktu
Testi: Aranda Julieta, Vidokle Anton .
F.to: 21,5×14; pagg. 399; rileg. brossura.
Editore: Revolver, Frankfurt, 2005.
|e-flux video rental (EVR) is a project by Anton Vidokle and Julieta Aranda, comprised of a free video rental store, a public screening room, and a film and video archive. Its collection, selected in collaboration with a large group of international curators, consists of more than 550+ art films and video works, and is available to the public for home viewing free of charge.|
EVR started in 2004 in a small storefront on the Lower East Side in New York – the international headquarters of the Electronic Flux Corporation. Since then it has traveled to venues in Berlin, Amsterdam, Miami, Frankfurt, and will soon appear in Seoul and Vienna amongst other locations. For each of its new locations, EVR expands its inventory to include new selections by local curators invited jointly with the hosting institutions. A program of talks and special screenings will continue at all branches.