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Installation Archive: A Capsule Aesthetic

All Videos Related to Works in "We Are Family"

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Dirigida perFrancesco Bonamii amb obres, entre altres, deThomas BayrleGlenn BrownTacita DeanEllen GallagherBerlinde de BruyckereCeal FloyerGiuseppe GabelloneFelix GmelinDan GrahamDamien HirstPiotr JanasKerry James MarshallLucy McKenzieJennifer PastorRichard PrinceCharles RayRudolf StingelAlessandro AriattiPatricia PiccininiBruno GironcoliBeatriz MilhazesMotohiko OdaniChris OfiliAthanasia KyriakakosDimitris RotsiosR�r�Vladimir DubossarskyAleksandr VinogradovConstantin ZvezdochotovSantiago SierraFred WilsonPablo Atchugarry
Australian citizen and resident artist Patricia Piccinini (Freetown-Sierra Leone, 1965) makes drawings, sculptures, photographs and videos that examine the border between the artificial and the natural. Attract and repel, they are unknown creatures, bodies that appear in the flesh, but presented as a mutation, a hybrid or a distortion of what we recognize as normal. In a world determined to humanize technology and homogenizing the human body to eliminate any uncomfortable difference, the works challenge the viewer with a look that is far from the ideal of perfection. The Carrier (Carrier), a work in glass-reinforced plastic, silicone, human hair and fabric has an old unconventionally transported by a being with human hominid features and look. It combines his fascination with medical science and biotechnology with the fears and concerns of modern society such as the appearance, aging and disease-related nature but unnaturally treated. The application of animal characteristics, the absence of face, atrophied limbs and flabby muscles are a personification of disgust generated malformation and physical decline. Strange scenes refer to the universal instinct to apply our own emotions species of animals and things. Piccinini wonders with that series of surrealist works between science fiction and how technology is changing our understanding of what it means to be human and also changes our relationships with others.To see the video on Jose Garcia Cordero: https://youtu.be/Cb12HmBrYW4To see the video on Urban Art: https://youtu.be/z8bRds5Pqw
The Leather Landscape exhibited in �We Are Family� at the Venice Biennale involved a colony of humanoid, transgenic African meerkat-like beings. �What arrests me in this more than natural colony,� Haraway continues, �is not the pink-suited blond human toddler face-to-face with a fabulated playmate living on soft white leather in the museum space. Rather, I am struck by the four-breasted female sitting peaceably on the next level up of the pyramidal habitat, with her milk-lust babies nestled between her legs ready to attach to her alluring array of ventral teats� (Haraway 2014: 249-250).
Game Boys Advanced, 2 002, silicone, polyurethane, clothing, human hair.The two boys are cloned twins. On close inspection alarming signs of premature aging can be seen. The source for this idea was Dolly the sheep. Dolly was a ewe (5 July, 1 996 � 1 4 February, 2 003) famous for being the first mammal to be cloned from a cell. Dolly�s death at the premature age of six years prompted debate about the biological and ethical consequences of cloning.