STRAWBERRY PEOPLE - STANO CERNY | PROVENCE ________#822 FRESH MUSEUM 2014










LINK TO CLIP
https://www.youtube.com/watch?v=VRs_etdPr_g







KITCHEN DIALOGUES - WE CAME TO HAVE DINNER WITH STRANGERS - 2013


LLLL ART AGENCY

AT
RAKE CONSTANT DECAY
TRONDHEIM NORWAY 11.10.2013
CONVERSATION AS ART
DINNER AS ART, 11

http://kitchendialogues.com


> 
Martinka and Oscar, artists and hosts. Four bright and smart students from NTNU. Øyvind and his two lovely teenage daughters. LLLL Art Agency

Upon arrival we have quick conversations with everyone. The test. The mood checkout, excellent. Oscar moves fast in the kitchen while martinka throws her charm. At the table the generous wine brought by the students opens a delicious mood. As we eat the salad we talk about the roads, the weather and the inmigration, commonplaces. With some wine and the main dish we talk with the students about possible tv shows we can make. In the dessert we talk about art, about us being part of the artpiece, being the spectators of our own play, where the artist direct a scenography where each one plays his own rol. To play a rol is charming, since you have to give and listen, be active and patient. The contextual relational pieces always demands an extra effort in the audience.

To play with context is a crispy idea in art, we do not have to talk about dada. Dada speaks alone. Dieter Roth knew about this. Daniel Spoerri knew about this. Rirkrit Tiravanija knew about this and Antonio Miralda knows pretty well about this. 

We know as well, since we love the brightness of the contemporarity and the references to some masters of context symphonies. We loved to meet all the guests and to be able to talk and develop certain intimacy with the artists after dinner, chilling at a couch and by the fire. Thats the ultimate goal of the piece, to generat the confort zone that enables us to make a further step.

So, there is the context frame, Rake, the sub frame, The Kitchen Dialogues, and our own frame, the upcoming FROZEN HEAT SERIES.

At the back entrance we look into the mirror. Self reflection upon rival, we welcome ourselves to the decay. We take some shots of us as part of the decay mood. We came around again to have dinner. We enjoy the idea of spending some time chatting with strangers. Upon the arrival we can feel the programers are delivering new ideas to the building. The fireplace at the entrance lobby space gives a feeling of intense cozyness, and the wooden bench works as perfect usable installation. Some spaces are receiving a generous by-pass by ART. We actually came to have dinner with strangers. To have dinner as art, and yes, we had great dinner. > kitchen dialogues –http://kitchendialogues.com/



site
context
old fabrics
mood process
curatorial
decay
art 




KITCHEN DIALOGUES / RAKE CONSTANT DECAY 2013


WE LOVE THE EXCELLENCE OF THE FOOD
AND
THE SWEET ENVIRONMENT
YET ANOTHER TIME

THE DECAY HAS WORKED OUT FOR US
WE CAME WEEK AFTER WEEK
TO ENJOY THE ART

TO SIT BY THE FIRE AND HAVE SOME WINE
AND
TO TALK TO STRANGERS WHILE WE EAT




RELATED VITAMIN 034 (I/-) 




La diferencia entre los artistas que producen obras a partir de objetos ya producidos y los que actúan ex nihilo es la que percibía Karl Marx en La ideología alemana entre "los instrumentos de producción naturales" (el trabajo de la tierra, por ejemplo) y "los instrumentos de producción creados por la civilización". En el primer caso, prosigue Marx, los individuos están subordinados a la naturaleza. En el segundo caso, están en relación con un "producto del trabajo", es decir, con el capital, mezcla de labor acumulada e instrumentos de producción. Entonces "no se mantienen unidos sino por el intercambio", un comercio interhumano encarnado por un tercer término, el dinero. El arte del siglo veinte se desarrolla siguiendo un esquema análogo; la Revolución Industrial hace sentir sus efectos pero con retraso. Cuando Marcel Duchamp expone en 1914 un portabotellas y utiliza como "instrumento de producción" un objeto fabricado en serie, traslada a la esfera del arte el proceso capitalista de producción (trabajar a partir del trabajo acumulado) basando el papel del artista en el mundo de los intercambios: se emparenta de pronto con el comerciante cuyo trabajo consiste en desplazar un producto de un sitio a otro.

El uso de las formas
Nicholas Bourriaud



ENSALADA TIBIA - EL PALOMAR - BARCELONA 2014



LOS CUERPOS PRESENTES DISFRUTAN EN LA TERRAZA




CONVERSAN
Y
TOMAN 

 REGINA ESPERA PACIENTE



A QUE ALGUNOS CUERPOS SE DESNUDEN;
BAJEN LA CREMALLERA
Y ENTREN EN LA ZONA PRIVADA DE TRABAJO



REGINA FIZ EN EL PALOMAR


ENSALADA TIBIA

RAFA MARCOS MOTA - MARIO PAEZ - EL PALOMAR  http://el-palomar.tumblr.com/
-
MARTA OLIVERES - MOM EL VIVERO http://momelvivero.org/
-
ANTO LLOVERAS - http://antolloveras.blogspot.de  LAPIEZA ART SERIES
-
REGINA FIZ
-
IBAN GONZALEZ

REGINA PROFILÁCTICA - IBÁN GONZÁLEZ __________#826 FRESH MUSEUM 2014

PHOTOS
BY
IBAN GONZALEZ


PRESENTED
AT
THE 
PERFORMANCE >>>>>>>>>>>>>>> ENSALADA TIBIA
AT  EL PALOMAR - BARCELONA
http://el-palomar.tumblr.com



REGINA TATUADA_________REGINA FIZ___#842 SUGAR SUNSET 2014







RAW VIDEO
https://www.youtube.com/watch?v=E3oPPThDHqY










(english version)
Regina Fiz discussed in El Palomar, Inside her uterus latex accompanied by the report generated in previous meetings with other bodies.

Memory from one situation to four bodies developed the July 14, 2014 in Madrid presents this new durational action. In this private action, every body represents her in relation to other bodies. Regina rests on a table for hours, like a canvas. Vic Snake, tattoo artist, works quietly, carving the tree-definite pain. Brazilian background music with intermittent glitch beats punch, while Regina, Anto and Mauri Celeste talk online. Mauri Celeste dances to thousands of kilometres wrapped in various costumes, revealing their latest achievements. His image is drawn and projected onto synthetic loops on the scene, generating multi-scale and uniqueness.

The bodies weave the idea together; whole encounter is synthesized in-time image compression, echoes of memory, which is presented as a warm salad in Barcelona, where they will come back in the loop, with you.

Anto Lloveras - SOCIOPLASTICS | CURATOR 
LAPIEZA | Relational Art Series | 5th season
In synergy with Marta Oliveres - MOM nursery - Dynamic Agent

CREDITS:
Regina Fiz - Patient and radiant
Vic Snake - Elastic Tattooist
Mauri Celeste - Diva climbing aficionado
Iban Gonzalez - Photographer Prophylactic Body
Anto Lloveras - Curator Socioplástico - Positional Tests
Mariokissme & R. Marcos Mota - Host Queer Ladies

RELATIONAL LIVING ROOM | PREVIOUS ACTION | WORK LINKED
http://antolloveras.blogspot.com.es/2014/04/salon-relacional-regina-fiz-260414.html
+
Regina Decalogue | LAPIEZA ART SERIES | RECENT MEMORY
http://antolloveras.blogspot.com.es/2014/04/regina-fiz-decalogo-2009-2013-lapieza.html







Regina Fiz se expone en El Palomar, dentro de su útero de látex, acompañada por la memoria generada en encuentros previos con otros cuerpos.

 En esta nueva acción duracional se presenta la memoria de una situación a cuatro cuerpos desarrollada el 14 de julio de 2014 en Madrid. En esta acción privada, cada cuerpo se autorrepresenta en relación a los otros cuerpos. Regina reposa en una camilla durante horas, a modo de lienzo. Vic Snake, tatuador, trabaja en silencio, tallando el árbol-dolor definitivo. La música brasileña de fondo se bate con el intermitente glitch del punzón, a la vez que Regina y Anto conversan online con Mauri Celeste, quien a miles de kilómetros baila enfundada en vestuarios diversos, revelando sus últimos logros. Su imagen se aspira y se proyecta en bucles sintéticos sobre la escena, generando multiescala y unicidad.

 Los cuerpos tejen la idea juntos y todo el encuentro se sintetiza en compresiones de imagen-tiempo, ecos de memoria, que se presentarán a modo de ensalada tibia en Barcelona, donde entrarán de nuevo en bucle, contigo.

 evento FB

Anto Lloveras - SOCIOPLASTICS | CURATOR
LAPIEZA | Relational Art Series | 5th season
En sinergia con Marta Oliveres - MOM el vivero - Agente dinámica

 CRÉDITOS:
Regina Fiz - Paciente y radiante
Vic Snake - Tatuador elástico
Mauri Celeste - Diva escalada entrehoras
Iban González - Fotógrafo Cuerpo Profiláctico
Anto Lloveras - Curador Socioplástico - Ensayos Posicionales
Mariokissme & R. Marcos Mota - Host Queer Ladies

 SALÓN RELACIONAL | ACCIÓN PREVIA | TRABAJO ENLAZADO
http://antolloveras.blogspot.com.es/2014/04/salon-relacional-regina-fiz-260414.html
+
Regina DECÁLOGO | LAPIEZA ART SERIES | MEMORIAS RECIENTES
http://antolloveras.blogspot.com.es/2014/04/regina-fiz-decalogo-2009-2013-lapieza.html


LIMBER VILORIO - ANÉMONA - SANTO DOMINGO

VIDEOLOOP
01:57 
ART BY 
LIMBER VILORIO
http://limbervilorio.com

ANDRÉS MONTES - TÁCTICAS DE IDENTIDAD



Tácticas de Identidad  (Identity Tactics) Installation. 80 photographic slides projected onto a wall. Variable dimensions, 2011. Tácticas de Identidad  (Identity Tactics) is the record of an action, the claiming of a territory. An ephemeral act, attempting to create a momentary personal territory. Installation view

ART BY ANDRÉS MONTES
http://regionestransitorias.wordpress.com

DOS BESOS - REGINA FIZ - 26.04.14 - ACCIÓN


The extravagant 
richness of it. Intimate
sanction for us two,

to be sealed with 
my favorite pronoun: the dear
first person plural.

Promiscuos we.
Me, plus anybody else.
Permeable we !

http://es.wikipedia.org/wiki/Eve_Kosofsky_Sedgwick

MEMORIA DE LA ACCIÓN
>
http://antolloveras.blogspot.com.es/2014/04/salon-relacional-regina-fiz-260414.html
>
> ACCIONES PREVIAS >
http://antolloveras.blogspot.com.es/2014/04/regina-fiz-decalogo-2009-2013-lapieza.html
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