Look at me! Portraits and Other Fiction from La Caixa Contemporary Art Collection

I got a chance to go out of business in Long Cauldron Portraits and Other Fiction Exhibitions from the Contemporary Art Collection La Caixa in my view at Pera Museum. While we have no way of catching up on almost any of the weekly exhibitions, Pera Museum adds a new addition to our reasons to love Friday’s, offering long-Friday and Friday’s tours to the museum until 22.00.

Look at me! La Caixa Contemporary Art Collection Portraits and Other Fiction When we first encounter with the exhibition, we focus on different aspects of the person, and this issue is handled with different kinds of artistic works such as paintings, sculptures and photographs of different artists around the portrait.

When I first entered the exhibition area, two male statues standing side by side on the right side look very much like each other. The artist took his 1932 date, the year he was born, at the focal point. (His father was 31 years old when he was born.) This is the father and son of two male figure artists. Which is hard to distinguish between father and grandfather. Because both sculptures are 31 years old. The artist makes it possible to create a situation in which his father (1962) and his grandfather (1929) are not able to exist at the same time by creating the images of the 31-year-old from the photographs in almost one dimension.

When you enter the exhibition space, this serialist artist, Roni Horn’s decklaser, consisting of 36 images consisting of fuzzy clown photographs in the exact opposite wall, caught the decliner. The artist captures the different gestures of his red clown lips and is at the forefront of two aspects of human nature with these photographic squares.

The lines of Janine Antine’s brown and white lines, named Yala and Sabun, are faded and some of the missing bust sculptures have been taken from actions expressed by the name. After concentrating on the subject of identity construction, after completing these works, he took a piece of sculpture made from the soap and washed, and the artwork made of chocolate was licked.

The next piece is two of twelve photographs created by Cindy Sherman for the Artforum magazine, inspired by erotic female pictures of the magazines like Playboy, but abandoned from being published last in fear of misunderstanding. Right next to it is the work of artist Sue Williams, composed of inscribed and extended sexual titles on the Green, criticizing the woman as a sexual object.

In video work by Esther Ferrer, the video shows a wide range of gestures with gestures in a wide range of fascination, arrogance, arrogance, suffering and vesaire. In this work the artist wants to express the changing and contemporary state of emotions.

Günther Förg intends to demolish the confidential tension created by this destruction by destroying the confidentiality of the photographer in his gigantic Eva-named work.

Pedro Mora wants to emphasize that the mosaic work created by Amber Smoot, a Afro Japanese young New York girl, created with stones in different colors that create a sense of digital, separated by a computer pixel on the computer screen, is a direct result of contemporary identities in big cities.

It makes it easy for us to realize that we are not seeing in the depths of the forest through the map on the wall in Curro Gonzalez’s Milk Forest’s work, reminiscent of a magical forest, where the wise.

At the end of the first floor is Oscar Munoz’s portrait video work on Portrait. In this work the artist works on a portrait which can never be completed. The material of the artist is asphalt and water. Every time he returns to the same spot, the artist reminds the audience of the intrinsic nature of identities by taking this concept and the concept of timelessness into focus.

Juan Navarro expresses that one of the series of figures that Baldeweg depicts masks is a threshold between visibility and invisibility, allowing the invisible ones to appear while making the invisible masters of the bust, black, and silver titles invisible.

Sharon Lockhart’s lunch break is a 4-large-scale photograph consisting of different moments in the same environment. Carefully, you understand that only 2 of the 4 figures in the photo are living people. The artist who transforms these people who are museum officials who put Duane Hanson’s works into living sculptures, we are watching the attention of the audience.

Gillian Wearing In the album named works, the artist takes the photographs of the family members into the identities of the close family members. The artist wants to express that family members are different characters with different stories that have a partnership through genetic and psychological traces. We all depend on each other, but at the same time, they express with different words.

The exhibition consists of the works of artists who first saw a person and expressed it with different perspectives by focusing on different characteristics of the characters. Enjoyable tours …


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