Big Fish Games Hack Guide

"KINETIC REVOLUTION" - OP ... WHAT?!

Call it what you will: op art, optical art, illusion, etc.. We do not like it. Do not sympathize with this idea of artists challenge our gaze. The thing is boring, redundant, empty of content and game established between work and viewer ceases to be funny after three minutes. Not to mention the hoax that is looking for a seeming reality - and that's not such a union of art with life, yada yada yada? No, not that. Not the same thing. Here we are talking about equations mathematical, optical effects and other "mysterious". Uuuuh ... Everything to deceive the viewer. Spend time decoding what is background and purpose? But what for, anyway? Our skepticism regarding the op-art cools, however, when we look at one or a Vasarely Bridget Riley, but ... and the rest? A waste of time, a complete emptiness, an incurable cancer. In short, everything leads us to question our view, the image that is decoded by the brain and the way they process this information, we do not care. At least when presented that way. Marcel Duchamp was right in 1966, when it foretold a great future to op art.
And it was everything we feel when we visited the exhibition "Revolution Kinetic" at Museu do Chiado, which ended in the past 16 days. The exhibition, which also had some Portuguese artists as Nadir Afonso, Eduardo Nery or René Bertholo, merely presenting a series of historical names of the movement. Got away to the rotoreleifs Duchamp's obviously stuck there do not really know how or why. And also do not see why, after all, did not rescue recent examples, and equally valid, the movement. So suddenly, we remember a Ross Bleckner or a Philip TAAF, for example. Finally, a loss time. And voila, they can close shop already distill our hate.

Bridget Riley

Fobo Ru????????????? Milena Velba

"Territorial Pissings" on PLATFORM HANDGUN



Says Wikipedia: "apartheid (" separate life ") is an African word, legally adopted in 1948 in South Africa, to designate a second scheme which whites had the power and the remaining people were forced to live separately, according to rules that prevented them from being true citizens. "

serves up the prelude to explain exactly what? To explain "Territorial Pissings," a group exhibition inspired by the music of Nirvana with the same name, organized by the "Platform for Contemporary Art Revolver" and reflected in VPF CreamArt Gallery (Rua da Boavista, n º 84 - Lisbon) until next July 31. Ana Cardoso, Sergio Costa, Susana Guardado, Tatiana Macedo, Carlos Rosa and Sandra Day In addressing the issue through "a clear analogy to the behavior of an animal survival, using various media and viewpoints.
this set, highlight the series of photos of Tatiana Macedo - "Watchmen" - composed of a series of portraits of supervisors of museums, perhaps a clever way to speculate on the possible aesthetic sensibilities of an involuntary spectator. Or, if you will, a portrait of someone ready to judge the value of carefree, a new way of (not) looking at art; Carlos In an installation presented symbolically accessible and able to elicit an exchange of ideas relevant in the line of "Ravine" presented there are a couple of months in the gallery Peter Serrenho. It is again a job with a view or interpretation one way at first glance seems airtight, easy to read but after the first impact, which promotes a word game intelligently and effectively, the video of Susana Guardado is perhaps the most ambitious Exposure - a set of versions of Nirvana's music, performed by musicians such as Error!, Victor Street Black or Bambi, with the right visual record of the process of composition and interpretation. It is, at bottom, a set of reactions to a stimulus. A raw picture of an indulgent and potentially world seen from various angles. A hymn to the difference, but asking for more tolerance. It should go take a leap.