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Haacke, Hans
Hans Haacke (Colónia, Alemanha, 1936)Narrow White Flow, 1967 - 1968- Narrow White flow, 1967 - 1968
- Fabric, metal, wood, fan. Ed. 1/3
- 67 x 147 x 1170 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2003
- 'Narrow White Flow' consists of a long and narrow strip of white silk kept hovering in continuous movement by the blowing air of an electric fan. Rather than a fixed form, the silk fabric is constantly changing shape, floating and undulating, depending on the interaction between gravity, cycling air currents, and changes in the environment to remain in perpetual movement. The work belongs to a group of early pieces by the artist that isolate and recreate natural phenomena, such as wind and condensation, through self-generating systems whose form or outcome cannot be precisely determined. Haacke’s interest in these kinds of transformations or procedures enacted by a ‘system’ links these early works to his overtly political or sociological pieces, in which social systems such as real estate markets and the relationship between the world of business, art and power, are examined and critiqued. Several of his works, for example, research, represent and reveal connections between the institutional arts system (museums, collectors and sponsors) and forms of economic and political domination. ‘From the beginning the concept of change has been the ideological basis of my work,’ he explains. ‘All the way down there’s absolutely nothing static? nothing that does not change, or instigate real change.’ Indeterminate, with an ever-changing and unpredictable form, 'Narrow White Flow' allows the viewer to experience this change, giving form to the flow of air, through a work ‘which lives in time and makes the "viewer" experience time.’
Hains, Raymond
Raymond Hains (Saint-Brieuc, França, 1926 - Paris, França, 2005)Sem título, 1976- Untitled, 1976
- Acrylic paint and paper mounted on metallic plate (4 elements)
- Dimensions variables
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2000
- Raymond Hains’ ‘affiches lacerées’ [torn posters] are perhaps the work most immediately associated with this artist, who produced them throughout his whole career. From 1949 onwards, Hains began collecting political and advertising posters from Parisian walls, especially those that were torn or juxtaposed to form several layers, gluing them on canvases or metallic plates. The unexpected visual and verbal associations evoke the Surrealist décollages of the 1930s, while the act of wandering city streets searching for posters anticipates the sense of discovery proposed by the Situationist drift, and the usage of urban daily life resonates in the fascination with reality developed by Nouveau réalisme after 1960.
Hatherly, Ana
Ana Hatherly (Porto, Portugal, 1929 - Lisboa, Portugal, 2015)Desenho (Ideograma Estrutural), 1966- Indian ink on paper
- 25 x 19 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 1999
- This drawing uses a mathematical logic to sort characters from the ‘structural alphabet’ invented by Hatherly. Reflecting her self-proclaimed proximity to the ideogram (a set of graphic symbols used to represent a word or concept), the drawings of this series may convey semantic and conceptual values. However, they are first and foremost an exercise in creative autonomy, generating alternative meanings in relation to conventional language codes and their processes.Lying at the intersection between the visual arts and the visuality of writing, Ana Hatherly’s work is marked by an experimentation with poetry, drawing, performance and painting. Focused on the visual and gestural possibilities of the word, her work is influenced by her interest in Chinese ideograms, baroque anagrams and graffiti. Considered to be the creator of the first Portuguese visual poem, Hatherly has framed her work within the context of Experimental Poetry - a movement linked to the practices of a group of artists who, from the late 1960s onwards, sought to explore the limits and visual and spatial possibilities of their texts, on the basis of a morphological, phonetic, syntactic and semiological investigation that requires diligent participation from the reader.
Ana Hatherly (Porto, Portugal, 1929 - Lisboa, Portugal, 2015)Desenho, 1970- Drawing, 1970
- Indian ink on paper
- 65 x 50 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 1999
- Pursuing a formal exploration based on an anagrammatic construction, ‘Desenho’ weaves the word in the visual space, summoning the ‘intelligent hand’ - an expression used by Hatherly to refer to the rigorous discipline of the hand when learning the order of the strokes of archaic, anagrammatic and ideographic writing systems. Manifesting the act of writing, this work strips words of their meaning, and presents them solely as forms, image-words that don’t enunciate anyhing and therefore project possible meanings.Lying at the intersection between the visual arts and the visuality of writing, Ana Hatherly’s work is marked by an experimentation with poetry, drawing, performance and painting. Focused on the visual and gestural possibilities of the word, her work is influenced by her interest in Chinese ideograms, baroque anagrams and graffiti. Considered to be the creator of the first Portuguese visual poem, Hatherly has framed her work within the context of Experimental Poetry - a movement linked to the practices of a group of artists who, from the late 1960s onwards, sought to explore the limits and visual and spatial possibilities of their texts, on the basis of a morphological, phonetic, syntactic and semiological investigation that requires diligent participation from the reader.
Ana Hatherly (Porto, Portugal, 1929 - Lisboa, Portugal, 2015)Caixa Alfabeto, 1970- Alphabet Box, 1970
- Wood, plastic, string wire
- 5.7 x 13.8 x 10 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2014
- The object-letters of ‘Caixa alfabeto’ constitute an alphabet that generates meanings and multiple readings. By offering themselves up for manipulation, they combine art, play, and performance, as a significant act in its own right.Lying at the intersection between the visual arts and the visuality of writing, Ana Hatherly’s work is marked by an experimentation with poetry, drawing, performance and painting. Focused on the visual and gestural possibilities of the word, her work is influenced by her interest in Chinese ideograms, baroque anagrams and graffiti. Considered to be the creator of the first Portuguese visual poem, Hatherly has framed her work within the context of Experimental Poetry - a movement linked to the practices of a group of artists who, from the late 1960s onwards, sought to explore the limits and visual and spatial possibilities of their texts, on the basis of a morphological, phonetic, syntactic and semiological investigation that requires diligent participation from the reader.
Havekost, Eberhard
Eberhard Havekost (Dresden, Alemanha, 1967 - Berlim, Alemanha, 2019)Superstar, 2005- Oil on canvas
- 160 x 300 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2007
- Eberhard Havekost works with different photographic sources, from images shot by the artist, to television, video and magazine and catalogue images, that are altered and manipulated in a subtle way so that their essential formal elements are left untouched. 'Superstar' depicts the image of a wooden house. It is a flat image, with a flat meaning, a superficial, depthless referent. Similar to other works by Havekost, the flatness of the painting reinforces its relationship to the photographic image. Through painting Havekost reflects on the role of representation in our image saturated present.
Henriques, Pedro
Sem título (da série "Sidewinder"), 2014- 70 x 53 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2016
- Pedro Henriques (Porto, 1985) composes his photographic images using a variety of digital tools and a genuine process of intuitive and random collage. Surfaces, volumes and details are recombined in order to create new compositions - imaginary and speculative landscapes that simultaneously relate to the physical world while rendering it abstract.Henriques belongs to a new generation of Portuguese artists. Using a wide variety of media - photography, video, sculpture - he confronts the viewer with visual distortions that complicate the immediate recognition of the motifs and encourage a reflection on the current status of the image, in an era of its endless circulation and mutability.
Sem título (da série "Sidewinder"), 2014- 70 x 53 cm
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Acquisition 2016
- Pedro Henriques (Porto, 1985) composes his photographic images using a variety of digital tools and a genuine process of intuitive and random collage. Surfaces, volumes and details are recombined in order to create new compositions - imaginary and speculative landscapes that simultaneously relate to the physical world while rendering it abstract.Henriques belongs to a new generation of Portuguese artists. Using a wide variety of media - photography, video, sculpture - he confronts the viewer with visual distortions that complicate the immediate recognition of the motifs and encourage a reflection on the current status of the image, in an era of its endless circulation and mutability.
Hiller, Susan
Susan Hiller (Tallahassee, EUA, 1940 - 2019)Die Gedanken sind frei, 2012- Thoughts are free, 2012
- Interactive mixed media installation. Ed. 3/5 + 2 A.P.
- Variable dimensions
- Coll. Fundação de Serralves - Museu de Arte Contemporânea, Porto, Portugal. Artist's donation 2013
- 'Die Gedanken sind frei' [Thoughts are free], of 2012, is an interactive installation by Susan Hiller, conceived for Documenta 13, in that same year. Using a jukebox and sitting on seats designed by the artist, audiences can listen - in whatever order they choose - to 100 songs with political content, collected by her. The songs come from many different parts of the world and cultures, ranging from the 1524-25 Peasants' War in Germany to the 2011 Arab Spring. The songs’ lyrics can be found on the walls that surround the jukebox and in the songbooks designed by Hiller (Mousse Publishing, 2012), that also include texts and images selected by the artist.Since the beginning of her practice, dating back to the 1970s, Susan Hiller collected this kind of material of anthropological nature that she called "cultural artifacts" and through which she intended to awaken the historical and social conscience of the audience. In her own words: "Popular music is a counterpoint to the rhythms of contemporary life, an omnipresent, atmospheric condition of public space everywhere, in cafes, shops, nightclubs and buses, from radio, the internet and various recording and listening devices. Songs can get people talking and thinking. I’m reminded that popular music has been and remains a dangerous art?"
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