RL: Since we’re talking about drawings, in general, is it not true that the ideas that you realize as sculpture have their origin in your drawings?
AA: Yes.
MC: Sometimes.
DR: What? How?
The Object as Protagonist: an Interview with Los Carpinteros Alexandre Arrechea, Marco Castillo, and Dagoberto Rodriguez by Rosa Lowinger. Sculpture Magazine, December 1999 - Vol.18, No. 10.
" ; OF ADAM MCEWEN; INTERRUTTORE And BAIT" ; According to the joint definition, " ; you leave and switch" ; it is a form of fraud in which left qu' it proposes the fraud attracted the potential customers by making publicity at product or a service at a price not profitable meanly, therefore it reveals to them that produced promised n' but qu' is not available; a little substitute is. Adam McEwen' ; " ; of S; Interruttore and Bait" ; it turns the strategy on the relative one tests in the legal document thus like the name, carrying the hosts with a modest suspicious space of the former part of with varnished on the windows and a " ; FOR RENT" ; you signs, one of little to flee the mass-gentrification of preceding clear industrial park in broad spaces and white which Chelsea are aujourd' today. It has one twentieth it in west 520 spaces there which waits to arrive or un' ; missing occasion? Thirty years it in Walter of Marie installed there exactly the kilometer broken in Heiner Friedrich' ; precedent Soho gallery of S with 393 Broadway in west (interesting compared to McEwen' ; description of S, followed Andy Warhol' ; installation of paintings dell' ; shade, a " ; vast S of d' access; environmental" ; functions in much of parts based on a negative reflexion.) The broken kilometer composed of 500 is highly polished, of retinal cones d' ; brass solids, each thirty-nine inches of measuring length and laid out on the floor in five equal parallel files. The lights of the stage clarify work, generating a d' effect; a field d' ; wavelet (even if) of frumento artificial I matured, a perfect incorporamento of the theatricality which Michael fried described in her treaty seminal on the " ; performative" ; nature of the sculpture minimalista. The broken kilometer lies indisturbato in relative glorious permanence in one moment when nothing will seem permanent more. With its typically caustic position, McEwen took the common model and the conventional strategy of Minimalists - installations on large scales with the abstract units and in the repeated series, their gravity given value I supplements even in the intervals along the floor - and, literally, endorsed to him opposite, by emptying it d' call teatrale obvious. In l' space in I ceasing d' use, forty-five industrial assemblies of the fluorescent light, each one which measures the soixante-douze standard inches, fallen from the ceiling in the uniformly embraced file and longitudinal, combining l' together De Maria' ; the geometry impegnativa of S with daN Flavin' ; loan minimalista of S, during qu' by evoking the rigid work conditions d' labour saving d' ; hesitation. Each I modulate measurement with " ; two; tubes, " ; will simulacra perfectly and perverso returned of their controparti of the luminescenti out of graphite dark, dense, light-absorbent. The " ; circuit - circuit-breaker" ; or the punchline is presented in a smaller contiguous space which, beyond with d' assistant of the gallery perched behind a scrittorio, does not contain anything but in a solitary plinth sculpture. While drawing near, one perceives a very subtle paper that lever in feet on the relative edge. It results American Express being cards, tantalizingly all' ; interior of the range. But sull' ; examination of neat closer, the paper of credit is un' ; you leave useless, a version in the best of the cases with worked precision of the graphite of l' relative essential car - j' equip d' illustration. In a d' midas-Effect; ; inversion, McEwen answered the triumph luccicante d' art with minimalista by generating a contemporary work which is eerily without weight however transported with melancholy plumbea. Like meditation running on many durations and dead d' art, it generated a space for the life dell' ; beyond d' one powerful moment and d' a polemico in l' history d' art, as its necrologio they tell future-perfect rich person, celebrates it, the beautiful one and in the rinomato. But while its predecessori Warhol and Of Marie generated the transcendent mediums which pointed out the reflexions d' a nature more spiritosa, McEwen' ; the zone j' S damages confronts them, literally and metaphysics, with the " ; lucre" ; ripugnante; of our material dilemma running.
ReplyDelete