COP25 Museo Thyssen-Bornemisza
Francesca Thyssen-Bornemisza hosts this conversation that departs from her and José Luis de Vicente’s report on their participation on the Read more…
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COP25 Fundación La Caixa
At Caixa Forum the Panel Art for Change suppoted by Schneider Electric Foundation organized by Alice Audouin, the president of Read more…
Francesca Thyssen-Bornemisza hosts this conversation that departs from her and José Luis de Vicente’s report on their participation on the official working sessions at COP25. This conversation addresses how art is an active tool for fighting climate change.
Participants: Francesca Thyssen-Bornemisza, Founder and Chairwoman TBA21; José Luis de Vicente, curator and researcher; Alexandra Daisy Ginsberg, artist; and John Gerrard, artist.
During the weather conference COP25 Alice @alice.audouin invited Michael Pinsky @michael_pinsky , John Gerrard @johngerrard.inst , Fernando García Dory @fer_dory, Cédric Carles and other friends all aware that in a finite world we cannot grow indefinitely
On the occasion of the Climate Change Conference @cop25_madrid from December 2 to 13, 2019, artists explore the impact of climate change. Ten years ago, in 2009, Darya von Berner created in Madrid “Universal Cloud Flag” a white flag of minute water drops, like the clouds that nourish and sustain life. Shortly after she carried out this idea that she patented, manufactured, and installed it in front of The Peace Palace in The Hague in 2012. The cloud flag was emitted from the top of a steel mast, using fog pressure to spray water in suspension into the atmosphere.
Unique Multiples @unique.multiples is pleased to present The Last Illusion, a new sculptural edition made from one kilo of pure gold by Madrid-based conceptual artist Darya von Berner. This holographic, mixed media work features a cast sculpture of golden shit displayed within a custom holographic vitrine, which through its own visual alchemy renders the precious heavy metal into a hovering, ghostly apparition.
Following in the tradition of ‘épater le bourgeois,’ or abject works of art such as Maurizio Cattelan’s America (2016), an 18-karat gold toilet, and Piero Manzoni’s seminal work Artist’s Shit (1961), The Last Illusion continues this line of inquiry, questioning how the value of art is derived, and juxtaposing the symbolic with the tangible, the abstract with the real.
Lupus Viator, 1994 – Madrid, Spain⠀
Darya von Berner⠀
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Museo de Arte Contemporáneo⠀
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Wall painting⠀
Foto: Joaquín Cortes⠀
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In the context of the group show “Confrontaciones (los entornos de la imagen)”, the ephemeral painting Lupus Viator, acquired monumental proprtions and covered the entirety of a wall at the museum of Anthropology in Madrid.⠀
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Curators: Martín Bartolomé and Félix Guisasola⠀
Sponsor: Ministerio de Asuntos Sociales⠀
In collaboration with Ministerio de Cultura⠀
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The project Lupus Viator (latin: wolf walking) began as a series of monumental painted installations of an ephemeral nature and realised in situ. Later the project continued to evolve over a period of 7 years. It travelled to 7 different countries worldwide. ⠀
Taking into consideration its extensive duration, as well as its territorial movements, from country to country, Lupus Viator can be understood almost like a mythical pilgrimage, which covers the trails and places, where wolves have formerly roamed in abundance, before the species has widely become extinct.
Lupus Viator, 1994 – Zaragoza, Spain⠀
Darya von Berner⠀
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Galería Antonia Puyó⠀
@antoniapuyo⠀
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Wall painting⠀
Photo: Pedro Avellaned⠀
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In the “Galería de Arte Antonia Puyo” (Zaragoza), Lupus Viator once more took on monumental dimensions, covering the entirety of this enormous wall.⠀
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The project Lupus Viator (latin: wolf walking) began as a series of monumental painted installations of an ephemeral nature and realised in situ. Later the project continued to evolve over a period of 7 years. It travelled to 7 different countries worldwide. ⠀
Taking into consideration its extensive duration, as well as its territorial movements, from country to country, Lupus Viator can be understood almost like a mythical pilgrimage, which covers the trails and places, where wolves have formerly roamed in abundance, before the species has widely become extinct.⠀
Marchas de Elefantes, 1998 – Madrid⠀
Video, Darya von Berner⠀
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Mercado de Fuencarral⠀
Madrid, 1998⠀
Duration: 0:44, loop⠀
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At the Mercado de Fuencarral (Madrid), Marcha de Elefantes was shown in the format of a multi-media installation. On several monitors, in and outside of the market, the video of an elegant couple walking in front of a homeless, was shown on a loop. Again, the work emphasized the notion of habitat loss and its problematic in the context of a city.⠀
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Curated by: Eugenio Ampudia⠀
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Production: Laagencia (Vicente Matallana)⠀
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The project Marcha de Elefantes, is a metaphor of walking: the walk of all the wild animals and people which have lost their habitat and homes, uprooted and forced to leave their place of origin.⠀
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The work began as a series of large-scale murals, but later the wall-based work was complemented by sculptures, videos and also performances.⠀
@elephantlisteningproject
Series November Boughs , Photography
NB2 03º 40´w, 40º07´ , Darya von Berner
The photographic series November Boughs, comments on the controversial urbanization project in Seseña. 2006 is the year in which the European parliament requests to reconsider the volatility of the housing market, and the effect it has on business cycles, creating potential systemic risks.
#artistbook #madrid #art #contemporaryart #daryavonberner #culture #artist #daryavonberner #arco19 #madridart #arcomadrid #photography #photos #seseña #spain #critica #artecritica #system #systemrisks