Author Archives: manuel

Documentation of Body Media II Exhibition

I just received a couple of pictures from China and I was well impressed with the installation. I said to the curator I was worried about the reflections on the artwork as the images were mounted on perspex and they constructed a lit ceiling…

The credit of the images: ” Photograph by Jiang Wenyi, Power Station of Art ”

Manuel Vason web

The credit of the images: ” Photograph by Jiang Wenyi, Power Station of Art ”

Manuel Vason-2web

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THE ETHICAL DOCUMENT – Tate Liverpool – Look Festival

Thu 11 May  2:00pm – 3:30pmTate Exchange Space, Level 1, Tate Liverpool, Albert Dockbrazil-Capture-026

I’m really looking forward to share some ideas and example of my work around a topic so complex and poignant as The Ethical Document.

Take part in a discussion exploring photography and performance:

This event is aimed at artists, photographers, curators and those interested in socially engaged practice, the event will be chaired by Sarah Fisher; Executive Director of Open Eye Gallery.

Join Jennifer Verson, Manuel Vason and Tara Fatehi Irani of the DARC collective for talks and presentations on the practices, aesthetics and ethics of co-creating performance documentation, performance photography and photo performances.

Last summer Manuel Vason was in residence with the multi-faith women’s group and choir Migrant Artists Mutual Aid (MaMa) and the transmutable voices team: performer/director Jennifer Verson, artist/psychotherapist Lorena Rivero de Beer and and social psychologist Pamella Mastrilli and co-created a series of photo performances exploring new aesthetics of citizenship.

Manuel Vason returns to Liverpool on May 11th with Tara Fatehi Irani to discuss the theories, processes and challenges of creating the ethical document.

DARC are a collective of artists who believe that the documentation of other artists work is not just preservation but a creative act. This event is programmed by Open Eye Gallery in association with LOOK/17 and is part of the week long event LOOK/17: UK/China Cultural Exchange II.

Here the weblink to the event:

http://www.tate.org.uk/whats-on/tate-liverpool/talk/ethical-document

http://www.lookphotofestival.com/programme/events/

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Body Media II Exhibition Shanghai

I’m very excited to participate on this group exhibition at the Power Station Gallery in Shanghai China.

web

Body Media II will first incorporate PSA’s industrial space as a cold body and a segment of modernity. This cold body will use hot language and hot narration to guide visitors around internally like the circulation of blood, to test if space, artworks, and visitors can achieve uniformity in terms of languages and actions. 

Body Media II continues the theme of Body Media, which took place at the Red Town Sculpture Center in 2007 and was mainland’s earliest international interactive media exhibition. 10 years ago, Body Media took place in two totally enclosed black boxes, and the sense of space was intentionally taken away, with bodies of visitors becoming keys to open projects in the sense of time. After a decade, when we re-look at “body” and “media”, they have gone beyond the relations of mirror or cooperation, and are leading to interesting performativity as they are now substitutes to each other.

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Selection 1

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The Art of Pain

I want to introduce the concept of pain as a companion.

Since we are born we feel pain and from day one we need to deal with pains. Our organism is constantly producing energy and alimenting cells that live and die. A lot of our daily energy is use against the forces of nature that push us toward the ground, that change our body temperature, that blow against us, etc.

Since we are born we experience a number of different pains and different level of pain. We also learn to manifest our pains and to search for remedy. We immediately understand pain as something against us, as something external to us with a clear negative connotation. When we grow we associate the idea of pain with medicinal (pain relief), hospitals, treatments. More recently we also connect the idea of pain with inefficiency and unproductivity. While I’m writing these words I’m also aware that pain is growing as a sort of taboo… it is such a bad thing that it is better not to speak about it… unless it is necessary. Well it has become really necessary to share some thoughts on pain and most of all to change mine/our relationship with the idea of pain.

I remember recently watching a documentary on flamenco and listening the experts of the art saying that the dance, the music and the singing can manifest only if in connection with pain… without the real suffering we can not connect emotionally in what we all share and battle every day of our existence. For the first time I linked the relationship between art and pain: art being a manifestation of pain and in a way the celebration of one of our most innate companion. To be in pain it means to live. It mans to be, to sustain, to inhabit life, to inhabit our body, to breath. If we focus for a second to our most functional activity of breathing we realize that breathing means exhaling (empting our body of oxygen) and inhaling (filling our body of oxygen). This repetitive action is a sort of daily therapy, a procedure of self-cure. To cure it also means to empty or to destroy so to build or to rebuild, to strengthen. More we are connected with our pains and more we can activate our systems of self-cure and of protection. If we distance each other from our daily pain we allow the pain to grow and develop forms that are harder to cure. In my society of pain-taboo is very easy to create a separation with the pain. Most of all, I have been educated to see the pain as some already anonymous and alien to my system which remedy is a another alien substance. Basically I have been educated to see my pain as a ‘transaction’ of anonymous viruses exchanged for artificially created ones. I have been educated to be a tourist of my body and to understand the richest tourists owning the healthier bodies. I have been educated to keep my pains as secret as obstacles toward my success. This culture is a culture of pain expansion. While we are constantly reminded of the prosperous result of the application of technology and the innovative progress of our research, we are battling against new forms of pain. We have definitely learned to prolong our life and sedate the pain but we have not learned to live with it and share our life with it. The acceptance of pain in our life it means the creation of a deeper connection with the tissues of our existence. It is not to job of the doctor to encourage a deeper relationship with our body and the pains of our bodies but it is the job of the educator and the artist. In this case I see the educator and the artist sharing the same role and practicing the Art of Caring. The real remedy to the pain is a stronger connection, the dialogue and the coexistence. We need to start understanding the pain as a partner that needs a lot of daily care and the result of this marriage is a more peaceful life. To cure our own body it also means to cure our social body, our family, our community, our country, our world. It means to allocate a larger quantity of our activities and energies toward practices of correspondence and acknowledgment with the pains of our world.

In a society where we learn to hide our pains and to overcome our deep pain decorating the surface, where we learn to reward our anxiety practicing the insignificant Art of Shopping, where we learn to direct all our energy to fuel the market and celebrate the profit as the Art of Happiness… we need to re-establish the ‘respect’ for the forces of nature and reconnect with our essence. We have distanced ourselves from the other living species because we can imagine and create, well, we went a bit too far and it is time to use our creative energy to bridge back with our origin and perpetrate co-existence instead of uncontrolled individualism and artificial dominion.

The Art of Caring must become a new shared ideology that informs our conscience and drives our behavior.

The Art of Caring is not addressing a radical battle against the market and the use of technology. The Art of Caring is calling for an urgent action toward solidarity and respect. Directing a bigger part of our energy and time toward the connection with our pains it means automatically to reduce our time spent to produce and consume, it means to re-establish a moderate use of technology, it means to re-gain our control toward the market and not allow the market to control us.

We, artists and educators of this world need to start first practicing the Art of Caring so to share our discoveries, our actions, our exercises of connections. We need to become the example, the models upon which the rest of our community can confront with. Like children of this world we can only apprehend by imitating and repeating. The new children of this world need to have the possibility to practice the Art of Caring.

Manuel Vason (Mexico City 2016)

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Exhibition/collaboration at Coleman Project Gallery

After one year collaboration with artist Anne Bean, I’m very excited to see the images exhibited.

Exhibition/collaboration at Coleman Project Gallery

EMIT a dialogue through time
Preview:             Friday 17 March 6-9.30 pm

Dates:                 March 18 – April 9 2017

Times:                12-6 pm Fri, Sat, Sun. & by appt.

Performance:    3 pm  Sunday 9 April

Talk:                   4 pm Sunday 9 April

Coleman Project Space is pleased to present an exhibition of new works by Anne Bean that have grown out of her film-performance project ‘Night Chant’ – originally conceived for the Whitechapel gallery’s 2015 symposium ‘Performance and Politics in 1970s’. Bean is interested in the different ways artists have been influenced over the years by the permissive space that performance art has provided. ‘Night Chant’ is a short film that explores her personal connections with five artists who sadly, and suddenly, died a few years ago. Two of them – Alexis Hunter and Rita Harris – were based next door, or very near, to Coleman Project Space during the seventies. In a recent Art Monthly interview, Bean said of these relationships: ‘We are each other’s archives and legacies’.

Hunter used photography to powerfully buck sexual, social and gender stereotypes, while Harris became a recognised master of t’ai chi, using her art as a healing tool – such as leading a ritual ceremony as part of Bean’s ‘365 dresses’, a CGP London commission performed locally in Southwark Park in 2005.

For the exhibition at Coleman Project Space, Bean has worked with performance photographer Manuel Vason, to create a series of images for the main gallery depicting sites of significance to the work and lives of Harris and Hunter. These include the room where Hunter made her most radical feminist works, such as ‘Domestic Warfare,’ 1975, and the park where Rita worked and taught t’ai chi. ‘Night Chant’ will be projected in the shed space, which will also become the site for Bean’s new performance work: ‘Secret conversations we didn’t know we were having’.

 

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Double Exposures at Arnolfini Gallery

Part of a program of short films curated by the Live Art Development Agency, Double Exposures images have be projected on the walls of the first floor gallery for 5 days.Double Exposures at Arnolfini Gallery

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El PhotoPerformer, Permanent Actions – Disposable Images.- Exhibition at the Museum of Queretaro (Mexico)

‘El PhotoPerformer, Permanent Actions – Disposable Images’ marked  the first exhibition of my alter-ego and its philosophy.

E-Flyer

All the work exhibited was produced in Mexico during the period from October 2016 till January 2017. One of the themes of El PhotoPerformer exhibition was recycling: most of the material used for the exhibition was recycled and even the images were printed of recycled laser paper. The agreement with the curator and director of the museum Gabriel Hörner García, was that at the end of the exhibition all the materials would be recycle for future projects.

For this exhibition the PhotoPerformer manifested herself through the PhotoTotem, large sculptural objects containing images. The photographs in them function like memories of the object.  The PhotoTotems incorporate many actions and as I said before they are destined to be dismantle and recycled.

As I stated on a text presented at the exhibition: “it is by creating, destructing and recreating that I can reconcile with photography”.

Here the Poster of the Exhibition:

Postcard-Queretaro

If you can read spanish and would like to read some articles and reviews on the exhibition here few links:

Ser photoperformer, un trabajo colaborativo

La performance como alter ego de la fotografía

https://medium.com/@museodelaciudad/el-fotógrafo-más-allá-de-la-cámara-f18717f5d42b

EL PHOTOPERFORMER

 

 

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The PhotoPerformer: Permanent Actions – Disposable Images Exhibition

This is the first exhibition of the PhotoPerformer in Mexico!

The PhotoPerformer : Permanent Actions – Disposable Images

“Perhaps all anxiety might derive from a fixation on moments — an inability to accept life as ongoing.

The camera lens has become the supreme focal point of that existential anxiety, through which we exorcise the ultimate fixation on freezing the flow of existence.  

Sarah Manguso

 

In the exhibition Permanent Actions – Disposable Images, The PhotoPerformer proposes to see photographs as actions, as unfixed images, in constant search of meaning, in constant deterioration.

The action of taking a photograph here becomes a poetic act of transformation: before taking somebody else image, the PhotoPerformer becomes an image.

The images created are not a self-portraits but the documentation of his/her relationship with photography.

These images are not asking to be explained or decoded; they resist to get neutralized.

In a world translated in pictures we need to blur the photographic evidence and sharpen our imagination.

The PhotoPerformer: Permanent Actions - Disposable Images Exhibition

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Workshop of Photography and Performance in Queretaro

In preparation of the upcoming exhibition at the Museum of the city of Queretaro I will be working with a group of 16 local artists selected through an open call.

I see this workshop as a great opportunity to share the PhotoPerformer philosophy and spend five days of training practicing and exchanging skills.

My ambition is to include some of the work produce during the workshop on the exhibition.

Workshop of Photography and Performance in Queretaro

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