Saturday, 14 July 2012

Mike Nelson
http://www.mikenelson.org.uk/


Image - Mike Kelley: Test Room Containing Multiple Stimuli Known to Elicit Curio
Image - Mike Kelley: Test Room Containing Multiple Stimuli Known to Elicit Curiosity And Manipulatory Responses (full cast) [1], 2001. Courtesy Mike Kelley.

The exhibition is curated by Stephanie Rosenthal, Chief Curator of the Hayward Gallery. Featured artists include some of modern and contemporary art's most celebrated artists and choreographers: Tania Bruguera, William Forsythe, Isaac Julien, Mike Kelley, La Ribot, Robert Morris, Bruce Nauman, Tino Sehgal, Yvonne Rainer, Simone Forti and Trisha Brown.


tunga_01.jpg
Tunga, True Rouge, 1998, installation view, dimensions variable. All images courtesy of Luhring Augustine.



TUNGA BRAZIL


ERNESTO NETO RESEARCH. had show in hayward gallery 2010

Ernesto Neto (b. 1964) lives and works in Rio de Janeiro and has established over the past 20 years an international reputation for his work. His influences range from the international artists Constantin Brancusi, Giovanni Anselmo, and Richard Serra to his Brazilian predecessors, Lygia Clark, Hélio Oiticica, and Tunga. He has been the subject of major solo exhibitions in New York and Paris and has been included in major group shows including the Carnegie International (1999) and the Venice Biennale (2001). Last year, he created his largest work to date, anthropodino at the Park Avenue Armory, New York.
Over the last decade, he has achieved international acclaim for dramatic, participatory environments involving biomorphic forms. Though his work is characterised by the use of stretchy, transparent fabric, often weighted with spices, he constantly experiments with other materials and explores new techniques. Underpinning all his work is a continual inquiry into a vast range of subjects, including anthropology, subatomic physics, urban planning, sociology, film and literature. In his work, Neto aims to create 'an art that unites, helping us to interact with others, showing us the limits, not as barriers but as a place of sensations and of exchange and continuity.'




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