Archiviato in: artisti in residenza | Tag: Heldi Pema, Line Bruntse, O'Air, O'Artoteca
I am arranging the information I received and some material I found regarding the two artists I am going to work with in the next weeks.
Since the first meeting I had with them some kind of inspiration has been driving me through Line’s and Heldi’s works. It goes towards an idea of interpreting contemporary spaces.
Today, daily space to most means build areas. Whether or not talking about small cities or megalopolis, it is a fact that we live in “built surroundings”. Our Western world is architecturised, and we cannot bur relate every day with structured/constructed, and urbanised spaces.
Considering the relation to architecture (or better say the daily lived spaces) a sense of beauty (in Line’s work) and a peculiar energy (in Heldi’s ones) emerging from how the two approach their surrounding environment.
Yesterday at Hayward Gallery in London opened a show titled “Psycho Buildings: Artist Take on Architecture” (here the show’s official website and the Guardian review published today). The artists’ sensibility has been let loose, and in many cases the usual concept of human architecture (in the broad sense of made by and house to human beings) is questioned, ironically used, ridiculed, destroyed, and even turned upside-down. The spectator has the fundamental role of exploring “atmospheric, spatially dynamic constructions.” Interestingly the exhibition’s press release underlines how the works on show “trigger profound visceral responses that heighten their (the spectators) attention to the relationship between the individual and their surroundings.”
In some ways Line Bruntse’s and Heldi Pema’s creations arrive to similar results. The works they signed in the past show a natural approach to architecture and – consequently – to urban spaces. This in some way remarks how the buildings that surround us, and create our environment have become elements of which we are often unconscious (even if we know them structurally or we have emotional memories of them). They, though, still influence us particularly when something happened to make us more aware of their presence (ie: an artistic or restorative intervention, or a new structure being built).
There are a couple of passages in Brunste’s statements that are particularly intriguing for the work I am going to develop during this 7th O’A.I.R.. They represent interesting starting point for my investigation towards the artist sensibility. Line, in fact, underlines her interest in
“the state of mind represented and enveloped by my installations.”
And, further on, in the integration of the local detail is integral to her work and how the sources of her exploration are those
“available in a particular place: Landscape, architecture, history, detritus of culture, recurring visuals in the surroundings, and the installation site itself.”
Starting from this point I am going to experiment a conscious perception of spaces, architectures, and places. Throughout the direct and aware experience of my surroundings I would try to sketch a personal selection of feelings to compare and restructure in the process of creating this 2008 Milan Artist in Residence.
