Provenstudio

 

This year of high jumps and low downs, just lets me understand different layers of comfort and uncomfort, a battlefield of disappointments, that unique sense of instability in a safe area. The rabbit that goes and comes taught me that and even more. Crisis makes you prioritise based on your survival needs, even if it’s not life and death related, it’s just a matter of contrasts. Who is with you and isn’t, just circumstances define the path. For the first time I rented a studio to try to find those ways of survival artistically speaking, I decided to create a project inside a project as I usually tend to work. Generally I used to work in my mind, in my small room or even in the street as an atelier, as a nutritive field of creation, now is time to move and visit a space to focus in the current status of ideas and the upcoming ones. This weekend I will open the door in this sense inside the sense of studio and Provenstudio to display some priorities for the moment, for these circumstances. 

13,14,15 Oct Atelier Artéria

Abertura de Ateliês de Artistas

+info https://www.castelodif.pt/index.php?view=article&id=430…

#provenstudio

AAA

 

On 13, 14 and 15 of October #Provenstudio will be part of Abertura de Ateliês de Artistas with Atelier Arteria, a tour to visit artist studios in Lisbon. Come to visit, get to know the spaces and the artists, as well as attend to the workshops!

Here’s the schedule:

October 13
13:00 to 20:00 — Exhibition / open studios
20h — Drink and talk with the artists

October 14
10:00 to 20:00 — Exhibition / open studios
10:00 to 12:30 — 2nd part of traditional tile painting workshop. with Margarida Filipe da Silva
(https://www.instagram.com/im_pirica_/ ). (you can watch).

October 15
10:00 to 20:00 — Exhibition / open studios
15:00 to 17:00 — Ceramics workshop for beginners with Joana Sampaio
(https://www.instagram.com/lxxlstudio/) (you can attend and participate. Free admission. Limited participants. Does not include firing of the ceramics).

Atelier Arteria is located in Estrada de Benfica, 255!

More info at: www.castelodif.pt

Poster by Associação Castelo D'if

Garimpo: A Search of the Golden Shower

Garimpo is a Portuguese word that refers to artisanal mining, which is a form of marginal extractivist practice that searches through manual methods for different minerals, precious stones and mainly the gold. This practice has produced an environmental impact in the Amazon Forest of Brazil and Venezuela. The Garimpeiros are those people who look for gold using different techniques among which they use mercury as a means to extract gold. Ironically from the gay scene, the Golden Shower experience is associated with sexual pleasure and fetish, just as the search for gold; it’s a constant search for comfort and pleasure. My proposal is to establish a connection between both realities that are part of my world through a metaphor, a representation through materials and actions. As a migrant from Venezuela, being outside my country I worry about the social, economic, political and environmental problems that are part of the country’s crisis. As a gay man I equally seek to satisfy my needs and pleasure, as well as the search for gold as a form of satisfaction. The golden confetti is a symbol of goldness and it will be covering all my body. The idea is to uncover the body with the help of the audience using a portable vacuum machine, this action is a way of body- archeology that will be discovered by the audience, the content in the vacuum machine will be used to create slides as a part of an archive of all the process. Golden Confetti represents celebration/joy and will be covering my body as a way to show that this search of comfort  covers our minds in many opportunities of our lives.

Photos Anna Maskava

Video Documentation 

18062023 
Riga Performance Festival
K2 corridor

Latvijas Mākslas Akadēmija

entangle[e]elements

 

entangle[e]elements

Between science and art, the body can be relocated as a support, producing images that migrate from one medium to another. Entangl[e]lements is an installation of intertwined slides, videos, polaroids, photos and performances; exploring the shifts between digital and analog formats. There is a cycle with the deployment of projections, in which the body is used as a connector for patterns that are reflected in static and moving images.

MAx Provenzano presents his most recent individual project at galerie21 located in Hamburg, Germany. The exhibition is an installation made up of recurring elements in the artist’s work, such as found objects, postcards, polaroids, photographs, slides, and videos. Through his actions, the artist produces a framework in which his body is a connecting element in the process of migration from one medium to another. entangl[e]lements is a play on words that combines entangled and elements, which are assumed to be elements of entanglement, having as a reference to quantum entanglement in which it is stated that a set of “entangled particles’’ can not be defined as individual particles with defined states, but as a system with a single wave function for the entire system. This results in the existence of propagations between these systems despite their distances.

There is a clear autobiographical referentiality of the artist, emphasizing his journey through different latitudes, establishing connection points between different layers of meaning assumed as a system. The installation proposes a transit through a diversity of media ranging from digital to analog. Works such as ProvenSanto and Inventario de Máscaras de Lucha in Polaroids show the appropriation of elements of Mexican culture and their resonance in the construction of identity fictions, among the projections on the body are Kueka Stationnaire, El Golfo Triste, Wiendto, La Quema and Alexander in which there is an interposition of the body as a support; and metaphors based on geopolitics and the historical context are formulated. A selection of slides made with different materials and others found in second-hand sales in Lisbon markets, which outlines an approach to his archive (2017) that can be seen in the room through viewers, projectors​ or in projection- polaroids over his body. Ornament andMAximiliano David are examples of photographic pieces in which the mise-en-scène is used as an activating mechanism to describe their infiltration processes in social networks and the circulation of images of his body through different media.

The exhibition will be inaugurated with the live performance YoPAd-Verschränkunst on Friday, May 5 at 7:00 p.m. (CEST) at galerie 21 at Vowerkstr 21 20357, under the coordination of Elena Pastor.

website: https://entanglelements.wordpress.com 

ProvenSanto

ProvenSanto is a fictional character who emerges as a result of my migratory process, combining my last name with the wrestler figure from Mexico. As a result of being an importation in Mexico after leaving Venezuela. The narrative is a mix between El Santo´s Wiki-biography and some elements related to performance art, using the google translator as a basic AI to read in Portuguese a text in Spanish, generating the Portunhol as a result: a linking point between cultures. As an immigrant in Portugal (Spanish speaker- Latin American) Portunhol represents a way to communicate about my story providing a performative way. 

                   entangl[e]lements 

entangl[e]lements

 

[EN]

Between science and art the body can be relocated as a bearer, producing images that are migrating from one medium to another. Entangl[e]lements is an installation of entangled slides, videos, polaroids, photos and performances; exploring the shifts between digital and analog formats. There is a cycle with the deployment of projections, in which the body is used as a connector for patterns that are reflected in static and moving images.

[ES]

Entre la ciencia y el arte el cuerpo puede reubicarse como un soporte, produciendo imágenes que van migrando de un medio a otro. Entangl[e]lements es una instalación de diapositivas, videos, polaroids, fotos y performances que se encuentran entrelazados; explorando los cambios entre los formatos digital y analógico. Hay un ciclo con el despliegue de las proyecciones, en las que se utiliza al cuerpo como un conector de patrones que se reflejan en imágenes estáticas y en movimiento.

[PT]

Entre a ciência e a arte, o corpo pode ser recolocado como portador, produzindo imagens que migram de um meio para outro. Entangl[e]lements é uma instalação de slides, vídeos, polaroids, fotos e performances emaranhados; explorando as mudanças entre os formatos digital e analógico. Há um ciclo com o desdobramento das projeções, em que o corpo é utilizado como conector de padrões que se refletem em imagens estáticas e em movimento.

[DE]

Zwischen Wissenschaft und Kunst kann der Körper als Träger verlagert werden und Bilder produzieren, die von einem Medium ins andere wandern. Entangl[e]lements ist eine Installation aus verschlungenen Dias, Videos, Polaroids, Fotos und Performances; Erforschung der Verschiebungen zwischen digitalen und analogen Formaten. Es gibt einen Kreislauf mit dem Einsatz von Projektionen, in denen der Körper als Bindeglied für Muster dient, die sich in statischen und bewegten Bildern widerspiegeln.

[CN]

在科學和藝術之間，身體可以作為承載者重新定位，產生從一種媒介遷移到另一種媒介的圖像。 糾纏[e]元素是糾纏幻燈片、視頻、寶麗來、照片和表演的裝置； 探索數字和模擬格式之間的轉換。 投影的部署有一個循環，在這個循環中，身體被用作靜態和移動圖像中反映的模式的連接器。

Reductos Insospechados de las Cosas

📆 Apertura:

Jueves 02 de febrero

🕒 19:00 hrs

📍 Calle Arenales 315 (entre Aroma y Quijarro)

El uso del lenguaje de las cosas nos lleva tan velozmente, que olvidamos los intersticios, los reductos de como suceden y se comportan las cosas, su valor orgánico o gestual. Estos intersticios pueden conformar una vez juntados, faunas utópicas. Lecturas estéticas en diferentes posibilidades expresivas y conceptuales. El tiempo no tiene dueño, se pierden las cosas en la deriva, la vegetación arropa las cosas y los mobiliarios, hasta los recuerdos. Y la memoria no es una garantía. Microhistorias para el olvido, ofrendas para el cansancio y la velocidad, los vestigios del tiempo señalan el estado y las superficies de las cosas.

-Curaduría: Macjob Parabavis

 

 

| Pó |

Dust particles are dispersed in the atmosphere having different origins. According to the classification of matter in the solid state, these particles have a diameter of less than 500 micrometers. Finding these particles accumulated in different spaces of the city as an object of study, is a fact that captures my interest, a metaphor in which a description of a complex system is formulated from the minuscule and residual. The dispersion and agglomeration of dust is part of a daily cycle present in any type of space, from urban, domestic to outdoor space; a heterogeneous distribution, governed by chaos and weather conditions. I assume these remains from the city of Lisbon as a micro sample of its different dynamics and politics. Pó (dust in Portuguese) represents an approximation to the waste from Rua Fernandes da Fonseca street located in Martim Moniz, one of the areas that concentrates the largest migrant population in the city. These particles have been collected by a portable household vacuum cleaner on the rails of the route 28E of a trolley car, a public transport of the area. Subsequently, they were stored in slides (SlideDust), which were scanned and processed as a digital image file.

The work is the result of different psychogeographic tours carried out in the city of Lisbon, it arises as a need to de-confine mechanisms of action and execution of performative pieces within my artistic research, using the city as a work object, exploring its potential. I propose a media migration with the transfer of slides to digital media for observation and analysis, similar to study methods used in the scientific method. This piece contains a direct reference to Antonieta Sosa's work "El Polvo de mi Cuarto", this relationship represents for me a link with my country of origin and I propose a migration from domestic space to outer space. The collection of the samples corresponds to a performative action carried out in the public space, in which the cleaning of dust with a vacuum cleaner assumed as a daily routine is decontextualized. In view of the chaotic nature of the dust as a residual portion, using the tram rails as guides to trace a route within the action, these guides are, in turn, receptacles for dust, allowing its massive accumulation.