Jon Mikel Euba
28 Apr - 04 Jun 2011
© Jon Mikel Euba
Escultura Para Desnivel De 59 cm, 2011
Construcción madera. (Integrada)
380 x 198 x 59 cm.
Escultura Para Desnivel De 59 cm, 2011
Construcción madera. (Integrada)
380 x 198 x 59 cm.
JON MIKEL EUBA
How to explain Re:horse to a live horse
28 April - 4 June, 2011
From April 28th to June 4th the Soledad Lorenzo gallery will be presenting the exhibition “Cómo explicar Re:horse a un caballo vivo” (How to explain Re: horse to a live horse) by Jon Mikel Euba.
Re: horse:
The performance Re:horse was first created in 2006, in Genk, and has had several different editions (in IICD in Utrecht in 2007, in the Stedlijk Museum Bureau Amsterdam and in the MUSAC in Leon in 2010). This performance involves the staging of a number of real elements (a person holding a horse, an audience, the artist and his assistants) and how that reality is converted into images. This transformation takes place through a process of translation using the video camera as the tool, the camera-persons as performers and the film The Velvet Underground and Nico by Warhol as the score.
Notas para la persona-cámara en Re:horse (Notes for the camera-person in Re:horse)
The need to communicate to different people in different countries what the camera-performer’s activity was to be during the course of the performance-shoot, gave rise during 2006-2010 to a series of visual designs and sketches that attempted to communicate and explain in non-verbal terms the job they were to carry out. As well as contributing to its execution, this material provides an autonomous tool with which to represent the performance Re:horse in conceptual terms. Each of the sketches that make up the score “Notas para la persona-cámara en Re:horse” is composed of two different parts: one on the top with an image taken from the Warhol’s film, and one on the lower part, from a visual document of Beuys’s performance Titus/Ifigenia. Each part is divided into nine sectors where each sector can be filled individually forming either full images or fragments. The game of equivalences between the top and bottom sectors define the possibilities and options for the camera-person during the live action Re:horse.
Cómo explicar Re: horse a un caballo vivo. (How to explain Re: horse to a live horse)
The exhibition is articulated around two elements:
On the one hand the series Notas para la persona-cámara en Re:horse. This involves a display composed by 13 panels, where a new type of relationship is established with the sketches by transferring them from a purely mental medium (where they are generated) to a plastic one, from a virtual medium to a physical one. Each of the panels comes from the application of a sculptural process applied to a two-dimensional material –the flat medium of the images is manipulated applying multiple folds until they become a body that is affixed to a new support.
On the other hand a series of interventions in the architecture transforms the space of the gallery normally open to the public, allowing for the hypothetical access and transit of a horse through the different spaces of the three levels. The alteration proposes a dynamic perception of the space. According to Edward T. Hall the “perception of space is dynamic because it is related to action—what can be done in a give space—rather than what is seen by passive viewing.”
Moreover, also as a result of Notas para la persona-cámara en Re:horse, the installation Un retrato conceptual en seis partes, The Velvet Underground and Nico (A conceptual portrait in six parts, The Velvet Underground and Nico) is also included in the exhibition. Historically, the portrait has responded to different strategies of relationship between the subject portrayed and its representation. From the “intentional” portrait –a simple attribution of a name to an image-, the “”physiognomic” one –due to the incorporation of physical or psychological traits of the subject portrayed- to that of “reconstruction” –when the executor does not know the subject and has to be guided by characteristics stated by others, such as in a police case, etc. In this installation, each of the “conceptual” portraits of the members of the band is a spatial representation involving time matters in which each portrait is a summary of the different parts that make up each “conceptual body”.
Apart from the works exhibited, Re:horse has generated over the years different projects such as Lecture on Re:horse,, a performance presented in 2008 in De Appel, Amsterdam, in Project Arts Centre Dublin in 2009 and in Valparaiso Intervenciones 2010; the archive Notes for a Direction/ Model for a Storage System presented for the first time in the context of Primer Proforma 2010; or a new performance Transcoding Re:horse, recently carried out in the Van Abbe Museum in Eindhoven as part of the event If I Can’t Dance III Edition –Masquerade, Episode 4: From Dusk Till Dawn. In current show at Soledad Lorenzo gallery 13 panels that were present on that event will be shown.
Jon Mikel Euba. Amorebieta. 1967. Among his latest exhibitions is PRIMER PROFORMA 2010, a project co-curated with the artists Txomin Badiola and Sergio Prego for MUSAC, León (primerproforma2010.org). His work is present in collections such as the Reina Sofía Museum in Madrid, or that of MACBA in Barcelona, the MUSAC in León, the MUDAM in Luxemburg, etc. His artworks include performances, installations, video and photography.
How to explain Re:horse to a live horse
28 April - 4 June, 2011
From April 28th to June 4th the Soledad Lorenzo gallery will be presenting the exhibition “Cómo explicar Re:horse a un caballo vivo” (How to explain Re: horse to a live horse) by Jon Mikel Euba.
Re: horse:
The performance Re:horse was first created in 2006, in Genk, and has had several different editions (in IICD in Utrecht in 2007, in the Stedlijk Museum Bureau Amsterdam and in the MUSAC in Leon in 2010). This performance involves the staging of a number of real elements (a person holding a horse, an audience, the artist and his assistants) and how that reality is converted into images. This transformation takes place through a process of translation using the video camera as the tool, the camera-persons as performers and the film The Velvet Underground and Nico by Warhol as the score.
Notas para la persona-cámara en Re:horse (Notes for the camera-person in Re:horse)
The need to communicate to different people in different countries what the camera-performer’s activity was to be during the course of the performance-shoot, gave rise during 2006-2010 to a series of visual designs and sketches that attempted to communicate and explain in non-verbal terms the job they were to carry out. As well as contributing to its execution, this material provides an autonomous tool with which to represent the performance Re:horse in conceptual terms. Each of the sketches that make up the score “Notas para la persona-cámara en Re:horse” is composed of two different parts: one on the top with an image taken from the Warhol’s film, and one on the lower part, from a visual document of Beuys’s performance Titus/Ifigenia. Each part is divided into nine sectors where each sector can be filled individually forming either full images or fragments. The game of equivalences between the top and bottom sectors define the possibilities and options for the camera-person during the live action Re:horse.
Cómo explicar Re: horse a un caballo vivo. (How to explain Re: horse to a live horse)
The exhibition is articulated around two elements:
On the one hand the series Notas para la persona-cámara en Re:horse. This involves a display composed by 13 panels, where a new type of relationship is established with the sketches by transferring them from a purely mental medium (where they are generated) to a plastic one, from a virtual medium to a physical one. Each of the panels comes from the application of a sculptural process applied to a two-dimensional material –the flat medium of the images is manipulated applying multiple folds until they become a body that is affixed to a new support.
On the other hand a series of interventions in the architecture transforms the space of the gallery normally open to the public, allowing for the hypothetical access and transit of a horse through the different spaces of the three levels. The alteration proposes a dynamic perception of the space. According to Edward T. Hall the “perception of space is dynamic because it is related to action—what can be done in a give space—rather than what is seen by passive viewing.”
Moreover, also as a result of Notas para la persona-cámara en Re:horse, the installation Un retrato conceptual en seis partes, The Velvet Underground and Nico (A conceptual portrait in six parts, The Velvet Underground and Nico) is also included in the exhibition. Historically, the portrait has responded to different strategies of relationship between the subject portrayed and its representation. From the “intentional” portrait –a simple attribution of a name to an image-, the “”physiognomic” one –due to the incorporation of physical or psychological traits of the subject portrayed- to that of “reconstruction” –when the executor does not know the subject and has to be guided by characteristics stated by others, such as in a police case, etc. In this installation, each of the “conceptual” portraits of the members of the band is a spatial representation involving time matters in which each portrait is a summary of the different parts that make up each “conceptual body”.
Apart from the works exhibited, Re:horse has generated over the years different projects such as Lecture on Re:horse,, a performance presented in 2008 in De Appel, Amsterdam, in Project Arts Centre Dublin in 2009 and in Valparaiso Intervenciones 2010; the archive Notes for a Direction/ Model for a Storage System presented for the first time in the context of Primer Proforma 2010; or a new performance Transcoding Re:horse, recently carried out in the Van Abbe Museum in Eindhoven as part of the event If I Can’t Dance III Edition –Masquerade, Episode 4: From Dusk Till Dawn. In current show at Soledad Lorenzo gallery 13 panels that were present on that event will be shown.
Jon Mikel Euba. Amorebieta. 1967. Among his latest exhibitions is PRIMER PROFORMA 2010, a project co-curated with the artists Txomin Badiola and Sergio Prego for MUSAC, León (primerproforma2010.org). His work is present in collections such as the Reina Sofía Museum in Madrid, or that of MACBA in Barcelona, the MUSAC in León, the MUDAM in Luxemburg, etc. His artworks include performances, installations, video and photography.