L'illuminazione è il filo conduttore che alcuni artisti emergenti hanno seguito per una riflessione sulla spiritualità e sui luoghi, gli oggetti e i gesti che la esprimono, in cinque frammenti di vita quotidiana.
Come Crossroad di Dan Acostioaei , in cui una telecamera riprende la partecipazione individuale a un rito quotidiano, quello del segno della croce, di fronte ad un luogo sacro nella città di Iasi, in Romania. Le persone riprese camminano velocemente o passano in bicicletta, alcune rivolgono uno sguardo all’immagine sacra, e si segnano; altre appena un’occhiata e meccanicamente accompagnano il gesto. La domanda che sorge è ancora una time: the outward signs of faith as they represent, in all, an intimate deep religious feeling and how much are flattened to a mere sign of belonging to the community?
A different form of religion is taken by the two artists Caraballo-Farman in Contours of Staying where Falun Gong practitioners sit in meditation in front of the Chinese consulate in New York in a snowstorm. Theirs is a protest against the Chinese state, which since 1999 has outlawed this form of qigong, and perpetrated a vicious persecution of their followers. In these images and imperturbable expressions of their faces there is a strong sense of religiosity, both in the individual meditation, is manifold as a protest of a religious group.
Sanford Biggers known as the sense of community participation is particularly strong in both African Americans and in the Buddhist world. That is why his Hip Hop Ni Sasagu (In Fond Memory Of Hip Hop) is set in a Zen temple in Ibaraki, in an impromptu gathering of bell-ringing, whose singing bells were created from the fusion of hip-hop jewelry Biggers found that in Japan.
Dieu of Valerie Mrejen is instead a collection of short stories of lives made by eight women and men who have abandoned religious orthodoxy Jewish. The focus of Mrejen however is not directed to the exaltation of secularism, but in those moments of illumination of everyday life, in those moments that trigger something inside, and turn aside from the road traveled so far.
Come Crossroad di Dan Acostioaei , in cui una telecamera riprende la partecipazione individuale a un rito quotidiano, quello del segno della croce, di fronte ad un luogo sacro nella città di Iasi, in Romania. Le persone riprese camminano velocemente o passano in bicicletta, alcune rivolgono uno sguardo all’immagine sacra, e si segnano; altre appena un’occhiata e meccanicamente accompagnano il gesto. La domanda che sorge è ancora una time: the outward signs of faith as they represent, in all, an intimate deep religious feeling and how much are flattened to a mere sign of belonging to the community?
A different form of religion is taken by the two artists Caraballo-Farman in Contours of Staying where Falun Gong practitioners sit in meditation in front of the Chinese consulate in New York in a snowstorm. Theirs is a protest against the Chinese state, which since 1999 has outlawed this form of qigong, and perpetrated a vicious persecution of their followers. In these images and imperturbable expressions of their faces there is a strong sense of religiosity, both in the individual meditation, is manifold as a protest of a religious group.
Sanford Biggers known as the sense of community participation is particularly strong in both African Americans and in the Buddhist world. That is why his Hip Hop Ni Sasagu (In Fond Memory Of Hip Hop) is set in a Zen temple in Ibaraki, in an impromptu gathering of bell-ringing, whose singing bells were created from the fusion of hip-hop jewelry Biggers found that in Japan.
Dieu of Valerie Mrejen is instead a collection of short stories of lives made by eight women and men who have abandoned religious orthodoxy Jewish. The focus of Mrejen however is not directed to the exaltation of secularism, but in those moments of illumination of everyday life, in those moments that trigger something inside, and turn aside from the road traveled so far.
The idea of \u200b\u200bchange is also present in the work of Lida Abdul , Dome. At first glance it seems the video set in a Roman archaeological site, but it only takes a few moments to realize that it is not past history, but present. The ruins of a building to store the Kabul headquarters of the Afghan National Museum, now destroyed. A child turns on himself looking up, bombs from the roof torn open on the blue sky. Wheels like a dervish, and seems to sum up in his eyes in disbelief and sad sense of desolation that war has generated, and that reflects the architecture around him.
Illuminations is the second of four exhibitions dedicated to the Tate Modern viewed from contemporary artists. The work focused sulI'idea view of citizenship in various ways: the economy, spirituality, the state and the individual. The first exhibition of the cycle was The Irresistible Force.
Illuminations is the second of four exhibitions dedicated to the Tate Modern viewed from contemporary artists. The work focused sulI'idea view of citizenship in various ways: the economy, spirituality, the state and the individual. The first exhibition of the cycle was The Irresistible Force.
Tate Modern
Tube: Blackfriars Station, Mansion House
Opening
Sunday to Thursday from 10 to 18
Friday and Saturday from 10 to 22
Ticket Free admission
Tube: Blackfriars Station, Mansion House
Opening
Sunday to Thursday from 10 to 18
Friday and Saturday from 10 to 22
Ticket Free admission
