Ed eccoci arrivati alla seconda parte, se le cose erano cominciate molto bene, ora si fanno notevolmente interessanti.
La folgorazione, almeno per me, è avvenuta con quanto segue.
Tauba Auerbach prosegue il suo studio tra spazialità e colore, tridimensionalità su bidimensionalità e implosione di contenuti.
Non nego la continua difficoltà a reperire materiale più o meno informativo, divulgativo, spiegativo e soprattutto a comprenderlo effettivamente, ma si fa quel che si può :-P
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"RGB Colorspace Altas" - 2011- Digital offset print on paper, case bound book, airbrushed cloth cover and page edges.
Binding co-designed by Daniel E. Kelm and Tauba Auerbach.
The books were bound by Daniel E. Kelm assisted by Leah Hughes at the Wide Awake Garage. |
RGB Colorspace Altas è già di per sé qualcosa di monolitico, enigmatico, surreale, ma lo diventa ancora di più se mi soffermo a pensare che questo bellissimo mattone colorato, composto da 1670 pagine, è stato stampato in offset digitale su carta, dove per ogni pagina lo spettro di colore è leggermente diverso dalla precedente e dalla successiva: una vera complessità equilibrata, dove il vero scopo sta nella ricerca, nell'ispezione e nella riflessione.
Non c'è quindi un pezzo finito o un oggetto, è più un prelevare un frame dal processo creativo e dare una prova di quello che realmente avviene o può avvenire.
Questo aspetto si percepisce molto più chiaramente in una serie di opere che Tauba ha realizzato presso il Paulson Bott Press studio sempre nel 2011.
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| Embossment Paintings 2011 |
Tauba Auerbach does not accept the obvious. She likes to experiment, even to invert. During her recent visit to the press, she created a series of monoprints in which she focused on what the press does, on its power, rather than on how it fuses ink with paper. Her goal with the monoprints, as with much of her work, is to capture evidence of process.
Tauba began by embossing paper. She wasn’t trying to mimic her fold paintings or any other work. She visited a hardware store and purchased a number of ordinary items, including a wire grid, a rubber mat, textured plexiglass, and chicken wire. She then ran sheets of paper through the press over these objects to create grids, parallel lines and patterns.
The raking color seen in the prints is the result of using an airbrush at an oblique angle against the ridges created by the embossment. She would spray a few layers of paint, wait for them to dry, and then proceed. In some cases when the paper got wet, it began to undulate. Auerbach wanted to record that change, which resulted in a topological record.
Eventually the paper was gently flattened. Similar to her fold paintings, the undulations disappear as physical forms and remain recorded in the paint.
As she commented in the interview in OKTP, she often destroys a large number of pieces before finding one that works. In the case of these monoprints, she kept only 14 of 30.
In these new works, Auerbach is not trying to exert control over certain elements. The joy is in the experiment. She is comfortable with the idea of the piece, and she either accepts or rejects the finished work. The absence contributes to those that remain.
The title of the exhibition draws on the notion of ‘tetrachromatic’ vision. People typically perceive the world around them trichromatically (in varying ratios of three colours). Humans have three types of receptor for the perception of colour with varying sensitivities: red, green and blue. Assigning one axis to the colour perceived by each receptor, the human’s ”colourspace” can be thought of as three-dimensional. A new theory exists that a small percentage of people (for genetic reasons, only women) have a fourth colour receptor, which makes them ‘tetrachromatic’. In order to play on the idea of a fourth component, which, if it could be proven, would radically change our view of the world, Auerbach employs an analogy in this exhibition between the spatial fourth dimension and the spectral fourth dimension.
Since 2009, Auerbach has created a body of work she calls “fold paintings”. By working to efface the boundary between two and three dimensions, these paintings can be understood as an analogy that implies that the same erosion could be possible of the boundary between three dimensions and four. Even if the fourth spatial dimension remains physically inaccessible, the work might be a tool to help better imagine it. In the “fold paintings” Auerbach twists and folds the canvas, ironing or pressing it so that creases are left in the material. The canvas is then spread out and spraypainted, after which it is stretched tight and flat. The result is an almost perfect registration of the previous three-dimensional form of the surface. The canvas takes on a trompe l’oeil appearance, yet it departs from the trompe l’oeil tradition in that the realistic image is achieved by mechanical strategy rather than painterly virtuosity.
Qui potete trovare maggiori informazioni e finire di consultare il testo di presentazione alla mostra.
Ed ora la chicca finale, qualcosa di più musicale ma sempre altamente artistico.
Un'opera di Tauba suonata in compagnia di Cameron Mesirow (GLASSER), notate e apprezzate l'apertura sul dettaglio scarpa!
:)
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