Jelena Andžić y Louise Franklin Wiberg: Muffled 5-6/10

Jelena Andžić y Louise Franklin Wiberg: Muffled 5-6/10

Jelena Andžić y Louise Franklin Wiberg

Muffled

5 de octubre 18-21h

6 de octubre 17-20h

Cuando se les pidió que imaginaran qué tipo de sonido podrían tener sus cuadros, tanto Jelena como Louise coincidieron en que sus cuadros tendrían un sonido “amortiguado” (muffled). Amortiguado como algo distinto de silencioso, una distinción importante ya que un sonido amortiguado sería fuerte, si no fuera por algún tipo de obstrucción: Algo está interfiriendo para que escuchemos el sonido correctamente. Creo que es esta idea de interferencia la que vincula sus cuadros, quieren transmitirnos una imagen, al espectador, o tal vez contarnos una historia. Pero primero esta imagen-historia debe pasar por el filtro que es la pintura. Un filtro que somete y distorsiona esta imagen-historia, de modo que cuando nos encontramos con el cuadro, vemos lo que queda; un recuerdo de lo que había, o un recuerdo de una sensación de lo que había; nunca podemos estar seguros, así que tenemos que juzgar el cuadro por lo que hay, por lo que queda, por lo que estamos viendo.

Michael Lawton

Jelena Andžić (Belgrado, 1993) nació y creció en Belgrado, Serbia, donde se licenció en la Facultad de Artes Aplicadas, tras lo cual obtuvo un máster en escenografía en la Universidad de Tennessee, Estados Unidos. Actualmente reside en Barcelona, donde cursa el Diploma en Artes de Estudio, el último año del programa Metàfora Studio Arts.

Louise Franklin Wiberg (1985, Dinamarca) vive y trabaja en Barcelona. Es licenciada en Literatura Comparada por la Universidad de Copenhague y realizó un máster en Cultura Moderna y Difusión Cultural en la Universidad de Copenhague y la Universidad de Liubliana. Actualmente está terminando su Diploma en Metàfora Studio Arts, Barcelona, y está trabajando en un libro de escritura (casi) invisible.

_ENG_

When asked to imagine what kind of sound their paintings might have, both Jelena and Louise agreed that their paintings would have a “muffled” sound. Muffled as distinct from quiet, an important distinction as a muffled sound would be loud, were it not for some sort of obstruction: Something is interfering with us hearing the sound properly. I think it is this idea of interference that links their paintings, they want to pass an image onto us, the viewer, or maybe tell us a story. But first this image-story must pass through the filter that is painting. A filter that both subdues and distorts this image-story so when we encounter the painting, we see what is left; a memory of what was there, or a memory of a sensation of what was there; we can never be sure so we have to judge the painting on what is there, what is left, what we are looking at.

Michael Lawton

Jelena Andžić (Belgrade, 1993) was born and raised in Belgrade, Serbia where she received her BA at the Faculty of Applied Arts, after which she obtained her MFA in Set Design at the University of Tennessee, USA. She is currently based in Barcelona where she is attending The Diploma in Studio Arts course – the final year at The Metàfora Studio Arts program.

Louise Franklin Wiberg (1985, Denmark) lives and works in Barcelona. She has a BA in Comparative Literature from The University of Copenhagen and did her MA-studies in Modern Culture and Cultural Dissemination at The University of Copenhagen and The University of Ljubljana. She is currently finishing her Diploma in Studio Arts at Metàfora, Barcelona, and is working on a book of (almost) invisible writing.

EN COLABORACIÓN CON METAFORA STUDIO ARTS PROGRAM

Exposición Jeanne Varaldi: URBAN TRACKS, 27.07

Exposición Jeanne Varaldi: URBAN TRACKS, 27.07

URBAN TRACKS

Jeanne Varaldi

27/07/2021 _ 18-21H

Urban Tracks

Urban lines are curved, straight, sinuous, perpendicular. They structure the plan and organize the space. They frame the itinerary. They measure, calculate and regulate. Urban exploration opens up a completely different path: when the city takes shape in front of our eyes, the itinerary is deviated and the experience is sensitive. The city comes to life and the plan is distorted. From these sensitive uses, new lines and paths are emerging.

A reflection on the map as well as a tribute to construction zones, Jeanne Varaldi’s installation reflects her urban exploration during her residency at Homesession. The materials used echo construction sites: tarp, spray paint and fiberglass. On the floor, pieces of walls that were collected directly from the city give an archaeological tone to the room. The installation plays on different scales: the macro scale of the map, which is hand-drawn on the tarp, and the scale of the construction site, which is one of continuous transformation. The fixed and organized image of the map is dropped to show a city in perpetual transformation.

Jeanne Varaldi, a visual artist based in Paris, is the artist seleccionated for a 1 month residency during July 2021. She uses construction materials to challenge the urban fabric: pieces of plaster, granite, concrete or wood are collected and reassembled with pigmented cement, straps or coloured ropes. These installations enhance the texture and uneven shapes of urban fragments. The city becomes a playground for experimentation and regeneration. The viewer is confronted with new landscapes, in which construction materials become precious and secret resources. Jeanne Varaldi also creates murals that transform the public space through abstract patterns and pastel colors.