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Roman Signer

Roman Signer is one of the most important Swiss microdermabrasion machine artist of the present generation though he says that “As an artist, I hope I’m not completely out of date”. Roman Signer was born on 1938 in Appenzell, Switzerland. He currently resides at St. Gallen. His exhibition schedule includes several of the most essential art museums and events such as Documenta in Kassel, Venice Biennale, Ozone Generator, Walker Art Center and Hamburger Kunsthalle. His art work viewer said that he looks like a magician’s apprentice in each of his videos and installation; he takes the artistic act as predominantly experimental, involving ideas of contingency and unpredictable outcome.  His piece was an image that ranges from the feeling of ridiculousness, violence, and melancholy but which in turn displays ozone air purifier energy and amazing innocent humor and with confusing simplicity. He was said to be a little wild man lives outside all moved by action and freedom. He lived in part of Europe which he had a devastating observations from long hikes through the mountains with his father. They had games with different metal objects that were given to him by his grandfather, the explosives of his uncle which he tried to discover. He has always been curious and a dreamer, he’s unconscious when facing risk. According to the artist when he starts with filming when he was a child, he doesn’t know anything about cinema he just bought a super 8 and a projector, the first things he have recorded ware the exploding ozone generators which for him had a sculptural value. He considers the silence after an explosion an art, something huge and scary. His background is a sculptor but he considers himself as a scientist and adventurer. The positive energy in elements such as water, air, and fire are atmosphere, force, and energy is the center of their work. He wanted stuffs with multiple functions, the possibilities that offered much although not in the sense of found art of Duchamp. When he’s done with his art work he doesn’t present the object to public and say that it is an art. In his way, objects have always been functional and have a close relationship with him. The 10 films in 16mm also have special relationship with him and it’s a new operation in the space of Matadero Madrid. His previous works with large facility that dealt with fire, rockets and explosions that was his 10 previous works, it was the fact that the space of Matadero Madrid burned in fire that led him thinking of it. This variety have focused on jobs that are related to fire, which must be appreciated as an artist’s reaction to the uniqueness of the works, that is the occurrence of traces of a fire that takes place in the past.

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Matadero Madrid

Matadero Madrid, the project promoted by the City Council of Madrid’s Department of the Arts is managed by the Directorate General for Cultural Projects track slider through Matadero Madrid’s coordination team in cooperation with other private and public organizations. The name is taken from the space; Matadero Madrid is based in an old slaughterhouse in Madrid’s Arganzuela district. It has been converted into an arts center and is an active, ever-changing space at the service of the creative processes, participatory artistic training and discourse between the video camera dolly tracks arts. Its purpose is to further consideration on the contemporary sociocultural environment and support processes to create the culture of today and tomorrow. It is a unique laboratory for experimentation and furthering new cross-disciplinary glide gear formulae. The namesake and the home of the Matadero Madrid was built on the 21st of June 1911. The construction of the slaughterhouse or the “matadero” in Spanish and livestock market, marked one of the most singular industrial hand held camera stabilizer establishments in 20th century Madrileño architecture. The structure was designed around a complex of pavilions typified by functionality, constructive sensibility, and simplicity of concept. It however, also features a certain historic element, certain Neo-Mudéjar characteristics, such as tiles with abstract designs. Until 1996, the complex was used as a slaughterhouse. The Madrid City Council decide to convert the steadicam stabilizer space into what it is today at the turn of the new century. In accord with its experimental purpose, the renovation work has been established through a newly added, adaptable, and reversible architecture that employs industrial materials that blends easily with the site’s character. In doing so, Matadero itself has become a chance to experiment with the city of Madrid’s changing architecture. Matadero Madrid has accepted the task of integrating restoration work with cultural activity and public access in a pledge to getting the public involved in its development. This commitment has been kept up and extended, while always holding fast to the main lines of the project, including artistic production and experimentation, dissemination and exhibition, and training and research. Matadero Madrid embarks on this work with the highest respect for the inherited industrial legacy and with its attention focused on the surrounding neighborhoods and the city of Madrid without losing sight of the international scene. The incentive of contemporary artistic creation is an essential part of Matadero Madrid’s mission, and this continuously comes with a multi-disciplinary, hybridized, and revolutionary perspective which leaves room for all modes of artistic expression: the visual arts, reading and literature, the performing arts, film, music, design, architecture, urban planning, and landscaping. From this perspective, the participation of the city’s main agents and institutions that work in diverse fields of cultural creation has been, and goes on to be, fundamental. This commitment has helped us to produce a model of institutional, public, and private cooperation that makes possible society’s involvement in the project and assures the project’s plurality, autonomy, and feasibility.