FATkükü wieder in der Amboss Rampe |
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Calco 1 and 2
(From the series: Calcos)
Zinc by hand cutted (1,80 m x 2 m aprox) and digital photography (29 cm x 42 cm)
neebex Gallery in Bogotá, 2015
Viviana Gonzalez
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Los gehts um 17 Uhr.
Amboss Rampe, Zollstrasse 80, 8005 Zürich.
Die FATkükü-Vorstellungen finden grösstenteils in Zürich und Umgebung statt und beinhalten ein enormes Potential an Image- und Beziehungsbildung. Sie sind für die Künstler*innen und alle, die sich mit ihrem Projekt der Öffentlichkeit präsentieren wollen, kostenlos.
Wir schaffen den Ausgleich. Wir wollen die Kunst von Frauen* sichtbar machen. Wir wollen die Künstlerinnen* vernetzten. Wir wollen Solidarität in der Kunst kreieren.
Am Freitag den 31.08 stellt FATkükü die Künstlerin Viviana Gonzalez vor.
Ihre Arbeiten beschäftigen sich mit der urbanen Landschaft und deren auffindbaren Objekten und Dynamiken.
Ihre frühen Werke behandeln Vivianas Heimat, Latein Amerika.
Viviana versteht die Landschaft als ein Bild, welches von einem bestimmten Standpunkt aus gesehen werden kann. Sie interessiert sich für fragmentarische Bilder und was passiert, wenn sie den Raum näher betrachtet.
Für weitere Information könnt ihr unsere Facebook-Veranstaltung besuchen.
Erfahre mehr über Viviana Gonzalez. | represented by FAT Art Virtual Gallery
Wir sorgen für den Ausgleich!
Viviana im Gespräch über ihre Kunst
My interests are closely tied to landscapes, primarily to the urban and the objects and dynamics that define them. My work has been focused on places such as Latin American cities where the boundlessness, the heterogeneity and the impossibility of total regulation are characteristical.
My interests are closely tied to landscapes, primarily to the urban and the objects and dynamics that define them. My work has been focused on places such as Latin American cities where the boundlessness, the heterogeneity and the impossibility of total regulation are characteristical.
Now I face very different kinds of landscapes.
I understand landscapes as images of places from a particular vantage point. My point of view is not one that is constructed by only looking. I am more interested in the fragments and in what happens when coming closer. I mean the space that is only possible from the perspective of a walker, the one who inhabits space from below. My landscapes have lost their memories, their "currency" and may not have visible relationships to history or previous layers of information.
I am interested in the physical act of walking as a way of approaching landscapes and as a "way of doing". Walking without a fixed direction appears in my artwork also initiates my approach to the notion of fluency. However, I have also looked for testimonies of my Dérives: materials, objects or images that became excuses to walk. In principle, materialized excuses are witnesses to my action (as a walk-gatherer) and they constitute fixed elements within the image of fluency and change.
Walking also implies the recognition of emerging patterns that will determine or give clues to the construction of artworks. Objects, images or practices usually are marginal, precarious, residual, not important, commonly unnoticed and without or with a minimal exchange value. However, they are typical of places and therefore, I understand them as raw materials for my landscapes.
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