PDF/EPUB Alfredo Jaar The way it is Eine Ästhetik des Widerstands ✓ cekhargaproduk.co

The artist trained as architect and filmmaker works with urban spaces and spaces of the museum He dissects surfaces and structures producing artistic statements related to spatiality and society The main focuses of the show is the artist’s observation of the language and programme of the image as well as its deconstruction what the artist has called the politics of the image They address the artistic strategy of refusing images present Jaar’s research work and display his considerations on the presentation and accessibility of various public spheres Investigations of the visualisation of political and social events and the treatment of the resulting images demonstrate Alfredo Jaar’s critical approach to the media and media publicityThe point of departure and reference point of Alfredo Jaar’s art is formedinformed by the careful methodology of the architect a systematic and thorough analysis of the backgrounds and effects of concrete events and situations His early works from the 1970s already deal with forms of resistance in public and semi public spaces thus criticising the conditions in Chile without becoming subjected to state censorship After Jaar moved to New York City which was followed by an international artistic career he continued to apply the poetic methods developed and tested in ChileAlfredo Jaar The way it is An Aesthetics of Resistance – the title of the show on view in the spaces of NGBK Berlinische Galerie and Alte Nationalgalerie – refers to two projects that Alfredo Jaar realised in Berlin in the early 1990s It makes reference to the artistic intervention “Eine Ästhetik zum Widerstand” “The Aethetics of Resistance” that Jaar presented at the Pergamonmuseum in 199293 organised by NGBK in cooperation with DAAD It also alludes to another intervention titled “The Way It Was” that the artist created in 1991 in an empty ground floor flat in Berlin in the frame of the show “Heimat” organised by Galerie Wewerka & Weiss Both projects can be regarded as brilliant examples of Alfredo Jaar’s interest in contemporary history and the possibilities and limitations of image and text systems In his practice Jaar highlights the discrepancy between real and reflected spaceThe path that visitors now have to take between the three exhibition venues and the time that passes before the next encounter with Jaar’s works sharpen the art goers’ ability to relate the artists pictorial solutions and themes to their own present This allows experiencing in a reflected manner the seriousness idiosyncrasy and determination of Alfredo Jaar’s worksThe artist trained as architect and filmmaker works with urban spaces and spaces of the museum He dissects surfaces and structures producing artistic statements related to spatiality and society The main focuses of the show is the artist’s observation of the language and programme of the image as well as its deconstruction what the artist has called the politics of the image They address the artistic strategy of refusing images present Jaar’s research work and display his considerations on the presentation and accessibility of various public spheres Investigations of the visualisation of political and social events and the treatment of the resulting images demonstrate Alfredo Jaar’s critical approach to the media and media publicityThe point of departure and reference point of Alfredo Jaar’s art is formedinformed by the careful methodology of the architect a systematic and thorough analysis of the backgrounds and effects of concrete events and situations His early works from the 1970s already deal with forms of resistance in public and semi public spaces thus criticising the conditions in Chile without becoming subjected to state censorship After Jaar moved to New York City which was followed by an international artistic career he continued to apply the poetic methods developed and tested in ChileAlfredo Jaar The way it is An Aesthetics of Resistance – the title of the show on view in the spaces of NGBK Berlinische Galerie and Alte Nationalgalerie – refers to two projects that Alfredo Jaar realised in Berlin in the early 1990s It makes reference to the artistic intervention “Eine Ästhetik zum Widerstand” “The Aethetics of Resistance” that Jaar presented at the Pergamonmuseum in 199293 organised by NGBK in cooperation with DAAD It also alludes to another intervention titled “The Way It Was” that the artist created in 1991 in an empty ground floor flat in Berlin in the frame of the show “Heimat” organised by Galerie Wewerka & Weiss Both projects can be regarded as brilliant examples of Alfredo Jaar’s interest in contemporary history and the possibilities and limitations of image and text systems In his practice Jaar highlights the discrepancy between real and reflected spaceThe path that visitors now have to take between the three exhibition venues and the time that passes before the next encounter with Jaar’s works sharpen the art goers’ ability to relate the artists pictorial solutions and themes to their own present This allows experiencing in a reflected manner the seriousness idiosyncrasy and determination of Alfredo Jaar’s worksThe artist trained as architect and filmmaker works with urban spaces and spaces of the museum He dissects surfaces and structures producing artistic statements related to spatiality and society The main focuses of the show is the artist’s observation of the language and programme of the image as well as its deconstruction what the artist has called the politics of the image They address the artistic strategy of refusing images present Jaar’s research work and display his considerations on the presentation and accessibility of various public spheres Investigations of the visualisation of political and social events and the treatment of the resulting images demonstrate Alfredo Jaar’s critical approach to the media and media publicityThe point of departure and reference point of Alfredo Jaar’s art is formedinformed by the careful methodology of the architect a systematic and thorough analysis of the backgrounds and effects of concrete events and situations His early works from the 1970s already deal with forms of resistance in public and semi public spaces thus criticising the conditions in Chile without becoming subjected to state censorship After Jaar moved to New York City which was followed by an international artistic career he continued to apply the poetic methods developed and tested in ChileAlfredo Jaar The way it is An Aesthetics of Resistance – the title of the show on view in the spaces of NGBK Berlinische Galerie and Alte Nationalgalerie – refers to two projects that Alfredo Jaar realised in Berlin in the early 1990s It makes reference to the artistic intervention “Eine Ästhetik zum Widerstand” “The Aethetics of Resistance” that Jaar presented at the Pergamonmuseum in 199293 organised by NGBK in cooperation with DAAD It also alludes to another intervention titled “The Way It Was” that the artist created in 1991 in an empty ground floor flat in Berlin in the frame of the show “Heimat” organised by Galerie Wewerka & Weiss Both projects can be regarded as brilliant examples of Alfredo Jaar’s interest in contemporary history and the possibilities and limitations of image and text systems In his practice Jaar highlights the discrepancy between real and reflected spaceThe path that visitors now have to take between the three exhibition venues and the time that passes before the next encounter with Jaar’s works sharpen the art goers’ ability to relate the artists pictorial solutions and themes to their own present This allows experiencing in a reflected manner the seriousness idiosyncrasy and determination of Alfredo Jaar’s works