DAS MAGISCHE THEATER
Art exhibition at Chateau Papillion des Arts
26 - 30 December Via Foppas 15 – St. Moritz Dorf - Switzerland
Curated by AD.Ibiza
Man Ray / Deborah Feingold / David del Bosque / Álvaro Laiz / Margherita Chiarva / Sergio de Arrola / Daniel Meuli / Deisho Shito / Kesang Lamdark / Macoto Murayama / Burkhard von Harder / Giorgios Vogiatzakis / Frau Tutsberger / Oliver Conrad / Fred Evans / Thomas Jost / Beny Steiner / Enrico Giacometti / Lorenzo Polin / Johann Feuerstein / Noemi Manser / Toni Castells
MONDO GALERIA and ChAI ShOP in collaboration with PRIMO PIANO presents for the first time in St. Moritz “Das Magisches Theater” an art exhibition curated by AD.IBIZA studio as a tribute to the novel “Steppenwolf” by the Swiss Nobel Price winner Hermann Hesse.
This immersive exhibition present more than 30 artworks by 25 local and international artist from emerging talent to old masters working in different media, from photography and sculpture to video and audio installations.
This show references an invitation that Steppenwolf's Harry Haller receives to attend an “Anarchist Evening at The Magic Theatre. For Madmen Only. Price of Admission Your Mind”. The exhibition takes us onto an interpretation of life as a performance, reality and fiction, where art acts as a mirror to us spectators, on a path to discover the self and its pluralities as an inherent condition of mankind.
The exhibition will take place at Chateau Papillion des Arts at a walking distance from the famous Dracula Club in St. Moritz Dorf from 26th to 30th December as part of the KunstKantine PRIMO PIANO.
Das Magische Theater by Diego Alonso
In a strange twist of events, the human mind was first dethroned and banished from the center of creation only to reawaken in the fabric of existence.
“Information - Consciousness - Reality” (2019) James B. Glattfelder
In eternity there is no time, only an instant long enough for a joke.
“Steppenwolf” (1927) Hermann Hesse
Once you are into this magic dance of life nothing will be again as ever. Out of your comfortable numbness you will encounter extraordinary sensations that will build up your ideas muscle by muscle.
From now on the curtain is open and you will jump spontaneously to your public.
Life as a performance.
Margherita Chiarva "The space in between #1" Platinum Palladium Print 120 x 80cm
Memory is a Snow ball avalanche pushing you through life as a spontaneous chain of orgasms.
Easy apocalyptic predictions obscuring relevant brilliant futures feed garbage into angelical mouths.
Engines pumping testosterone on a scaling road to nowhere. Genital transformation of an emotional soul. Oedipus or Electra running through the veins of an uprising stallion. Everything set to gallop towards an open field of velocity.
Time is a matter of consciousness with Hyperthymestic syndrome.
Nostalgia of unforgotten youth.
Álvaro Laiz "Transmongolia" Pigment Print 120 x 80cm
First steps in adult life takes us to a definition of boundaries which are there to be destroyed through an ascension into freedom of time and space. A walk through a narrowed social path that contains a pulsing adolescent appetite for destruction. Adrenaline track pumping steroidal anxiety in volcanic muscle fiber. Octopusian mind of substantial awakening.
Kill your parents. Kill your God. Kill your teachers.
Small town enormous inferno.
Art separates us from other species. Artificial Intelligence pervading over organic masturbation. Conscious empiric accusation to what hides beneath society's aspirational freedom.
There is no time for mass produced cheap trash. It's time for high-end custom particles of subatomic intelligence proliferating through spiritual friendly markets. Time to create a chorus reality where space is understood as an eternal multiplayground for existence divers.
… Being as air.
Deceptive perfect future.
A guide in the desert.
Frau Tutsberger "Nightjar" Oil on canvas 160 x 160cm
Nobody seems to need nothing in their own perception of perfection. But deserts need rain as light seeks darkness to attain a balanced mental physic emotion where just pure soul remains, if any of all these vibrations are transcendental. Past. Passed.
Breath. Decelerate. Enjoy.
Burkhard von Harder "Mirage" Photograph on paper 160 x 110cm
Your satisfaction is not your responsibility it is part of a vibrational reality created as the same field of all of us. You can expect. You can demand, but nothing will be the same from now on, you will experience the emptiness that will help you grow.
Close your eyes and relax.
Welcome to Das Magische Theater.
Johann Feuerstein "Portrait" 30 x 40 cm Photograph / Macoto Murayama "Botech Composition" Video
TULIPANES Y YONKIS
un libro de Sergio de Arrola
TEXTOS de JUAN TOSINA
PRESENTACIÓN Jueves 19 de Diciembre 2019 de las 14hs a las 21hs
"Él se preguntaba si ella se preguntaría si él la la estaba mirando." Raymond Carver - ¿Quieres hacer el favor de callarte, por favor?
MONDO GALERIA te invita a conocer “Tulipanes y Yonkis” el nuevo libro de Sergio de Arrola centrado en los Países Bajos. Como en sus anteriores libros (Rolling Habits USA y Africa) el artista recorre documentando desde su punto de vista la Holanda profunda. Un universo inventado donde la belleza de las cartas postales se pierde detrás de una realidad poética diferente. En un “encuentro” que sin ser hostil genera una repulsión atrayente, como la de un yonki a su droga. La aparente pulcritud se quiebra en una cotidianidad menos limpia y enaltecida por las palabras heroico-refulgentes que vomita con su Olivetti el poeta Juan Tosina sobre los pliegos color Raymond Carver de este libro. Poesía y fotografía se unen en un diálogo triunfal hacia una nada contundente, misteriosa y distante a la que nos lleva esta narrativa onírica plasmando en dípticos una sociedad tan real que parece no existir.
Alberto Echegaray Guevara
LA BIENNALE DI VENEZIA 2019
Global Lie & Money Talks
Saturday 11th May to 24th November 2019 - Palazzo Mora - Venice
MONDO GALERIA and the European Cultural Center present for the first time the work of Alberto Echegaray Guevara at LA BIENNALE DI VENEZIA.
Invited by the GAA Foundation, Diego Alonso, director of MONDO GALERIA, selected "GLOBAL LIE & MONEY TALKS", both projects by the Argentinean artist Alberto Echegaray Guevara for the exhibition "Personal Structures" taking place at Palazzo Mora, Giardini Marinaressa and the Palazzo Bembo during the 58th edition of La Biennale.
One Million Dollar Sphere, 2016
$1,000,000 Authentic US Dollars, destroyed
Blown Glass Sphere
50 x 50 x 60 cms
GLOBAL LIE is the latest project of the multi-faceted Echegaray Guevara. A metallic Pinocchio, 3mtrs hight, using the figure of the Italian puppet and the allegory of the novel by Carlo Collodi to focus our attention on global corruption today. The sculpture created in polished stainless steel was presented for the first time in the city of Buenos Aires during the last G-20 Summit in front of the venue where the dignitaries of the participating countries met.
The sculpture installed at the entrance garden of Palazzo Mora opens the exhibition "Personal Structures". On the first floor other three works by Alberto Echegaray Guevara make the installation MONEY TALKS: One Million Dollar Sphere, One Million Euro Sphere and One Million Crypto Sphere.
The first two works made in blown Murano glass contain one million dollars and one million euros, respectively, crushed to support the artist's prophecy about the disappearance of paper money as we know it today.
The third one is technologically more complicated. It presents an electronic capsule containing 1,000,000 US dollars in Bitcoins and a digital screen connected to the 4G frequency with the real-time quotation of the crypto-currency.
It is very important the relationship between each project to understand the importance of an artist that goes beyond the limits of art to comment on the socioeconomic reality we are living. A sudden change of paradigm in the distribution of wealth and in the way that it is accumulated and traded.
Crypto Sphere, 2018
Flexible HD Screen, Internet connected. Acrylic Sphere
Titanium capsule containing private keys of 250 Bitcoins.
Application development software. Live online ticker connected to the internet and 4G network.
One meter diameter sphere.
"What is demonstrably good in the sphere of economics may be far from good for men and women as voters or even as human beings." A. Huxley - Brave New World. 1958
Money is energy. Sphere is perfection.
A perfect sphere is a symbol of totality, uniformity, concurrency, and sacred geometry. It is eternal, cyclic, it has no beginning and no end.
In times of Krypto blooming as hibiscuses in spring, vanishing of currency as we know seems imminent (is it? Considering the intriguing relationship, we have developed with notes and coins).
Beneath the prophetic “One Million Dollar Sphere” by Alberto Echegaray Guevara lies a theoretical graphic of a cycle: from the origin to the end of monetary simbology.
The dollar sign created as a seal of property for Spanish conquerors slave trade, will return as an implanted microchip in a not too far future. Made by an S (spirito) and two crossed nails (clavo - nail in Spanish) this sign made it into coins, coins became cheques and cheques notes, later credit cards and mobile handsets. Next step: The implanted chip as a tattoo. A new property mark for the love mammal, as seen on daily basis production of implants for pets.
In this renewed world order, fed by fear and epidemic shopping, the algorithm becomes a paradigm. The hidden influence of the global monetary system, and the effect of consumerism on spiritual values questions the future of currencies and modern society’s obsession with material wealth.
At a glance, an (apparent) micro-division of power arises. The dollar sign takes a new perspective losing hegemony on the markets. Sign of the times (are changing). Through a process of decentralization, if possible. Investors are flying as migratory birds to new centres of accumulation: formerly free of trace; today integrated by financial regulators (Banks). Chamber beneath. Lies.
Globally Pinocchio is a sign, an allegory of corruption. A humanoid who lies to be loved. How does an epic created to educate children of an Industrial Era adapt to a Bit Generation? The Ch´I, the Prana, LOVE.
From wood to a post-Space-Era alloy, Pinocchio represents the greed in Humanity. The moral beneath this tale also alerts us of artificial intelligence and the drama behind it as portrayed by later Maestros from Aldous Huxley to Stanley Kubrick. An extremely centralized power transvestite as a soft-social revolution based on individualization(?). Mechanic prototypes of a refreshed mythology.
You decide, lies or love.
Diego Alonso - Ibiza, December 2018.
POWER & CORRUPTION PINOCCHIO, 2018
ESculpture, Polished Stainless Steel
3mts High. Base 1,5 mts. 180 Kgs
Exhibited during G20 Meetings in Argentina
“When an artist sells art for millions of dollars, you can’t see art anymore...the only thing you see is money. The strength of Alberto’s concept is how he captured the commoditization of art with an incredible simplicity...”
Marina Abramovic, performance artist, New York, 2015.
About the Artist
He is an emerging artist working in the fields of site-specific, immersive installations and parametric sculptures and his works explore ancient symbolism, monetary systems and the future of transactional platforms through creating a hybrid relationship between money, new media and architecture.
He holds a Master of Arts from Georgetown University in Public Administration, a Graduate Diploma in Management from Harvard Business School as well as a Bachelor of Arts degree in international relations from West Point and Argentina’s Military Academy. He is a former cavalry officer in the Argentinian army.
As a media artist, designer and spatial thinker, Alberto Echegaray Guevara is intrigued by the ways in which the evolution of contemporary culture requires us to create a new aesthetic, technique and dynamic perception of monetary systems and human values. Cayman builds his works on the nomadic subject’s reaction to and interactions with unconventional materials and spatial orientations. Embedding money (symbols of power) into media arts and architecture, he explores the possibility of a post-digital, architectural future in which there are no more nondigital realities.
He invites viewers of his pieces to visualize disruptive realities by presenting them with the possibility of redefining the functionalities of both the interior and exterior architectures of the socio-economic systems that rule our world. Privileging difference rather than singularity and movement rather than stasis, Alberto Echegaray Guevara faces all the new challenges that the gradual development of an enriched, immersive environment and ubiquitous technology impose on media artists, engineers and architects. How is our interaction with space changing now that digital objects ranging from smart phones, human microchips and new transportation systems have all but colonized our everyday lives?
How have media and new technologies changed our con- ceptualization of moral values and space, and how has art embraced these shifting conceptualizations? These are the main questions that Cayman tackles by not only`` integrating media into built forms, but also translating the logic of a new media technology into spatial design and immersive installations.
He has been awarded numerous honors, awards and resi- dencies and has served as a guest lecturer. He is a frequent guest commentator on global media outlets like CNN, Univision, Voice of America, Al Jazeera and Telemundo, and has been noted for his defense of human rights and democracy in Latin America. He is currently the Director of the biotech firm Control Micro, which has developed biopolymers with applications for water purification and the sterilization of critical public environments at minimal cost for the developing world. During a decade spent living in Washington, DC, Echegaray Guevara served as the Latin American Director of Ashoka, where he was in charge of projects related to topics such as human rights, the environ- ment, health, and education in more than 40 countries.
“During the last year I have been looking for something that surprised me ...your concept and your art is unique... You really surprised me... Congratulations...”
Rebecca Taylor. communications director at MOMA PS1, New York
Brandingfobia | MONO Grinbaum
"La resistencia de la tinta"(The Resistance of Ink)
Exhibition / 14th March 2017 // LIMA, Perú.
Euroidiomas Foundation, in collaboration with MONDO GALERIA - Madrid, are pleased to present, for the first time in Peru,“La resistencia de la tinta” | Mono Grinbaum (Brandingfobia), a probject by Brandingfobia, the alter ego of Mono Grinbaum, an artist born in Argentina who has been working in the city of Lima for many years now.
Brandingfobia is a project with which the artist establishes a repellent nexus between the world of consumption and mainstream seduction, with the stroke of his ink and the verbiage of his drawing.
More than 20 images and a site-specific installation will take over the headquarters of the Fundacion Euroidiomas in Miraflores for a month. It will be an unrivalled walk towards an international look at the latest trends in drawing, design and battle culture, paying tribute to that which vanishes in its path; from the vernacular Peruvian ‘chicha’ to the work of the most acclaimed warriors of the “tinta limeña” such as Elliot Tupac or Cherman Kino Ganoza.
In order to not become beasts, they get drunk
Of space and light, and of skies burned;
The ice that bites them, the suns that tan them,
They slowly erase the imprints of the kisses..
Baudelaire, El Viaje, Las Flores del mal. 1861
David Bowie (1992) by Terry O´Neill ©Terry O´Neill - Iconic Images / Pablo Picasso (1933) by MAN RAY ©Man Ray Trust-ADAGP-VEGAP
AVAILABLE at MONDO GALERIA
Dos para el tango.
Dicen que la fotografía rescató a la pintura de una esclavitud impuesta por la realidad. De esta manera, la fotografía se adueña del poder de perpetuar las personalidades, caracteres y signos de los tiempos. En concreto, le cede el poder de conquistar el Olimpo llenándolo de dioses y semidioses, o como hoy los llamamos iconos. Rasgos personales independientes de cualquier ambiente u objeto personal. Una mirada, una pose una actitud.
Esa cosmogonía debe, y deberá seguir creciendo. Alimentada de aquellos seres que han decidido perder su seguridad por dejarse caer en brazos de otros como en un rito chamánico, sin alejarse ni por un instante de su individualidad. Un túnel en el que se entra sin saber si existe salida. Un despojarse de lo preconcebido sabiendo reinventarse en la vorágine de esa caída sin punto de referencia.
Y dicen que la fotografía rescató a la pintura de su atadura a la realidad, regalándole entonces el poder de crearla. ¿De qué realidad hablarían? ¿De una realidad táctil? ¿Onírica? ¿Lisérgica?
Un universo cotidiano atado a lo bidimensional, mas obcecado en recrear lo tridimensional. Alimentado a diario por información referente a esos dioses que nos regaló la pintura. Deshechos de tiranías monárquicas entramos en la idolatría de caracteres que se adulan y enaltecen. En un principio, escapando al poder; luego, enarbolándolo.
Entonces, quien domina el retrato domina el poder, se hace imprescindible a sus garras. Pensemos en los grandes de la pintura, pensemos la escultura helénica. El paso del tiempo no afecta al Cosmos, el paso del tiempo afecta sólo a la vanidad. Ni veinte años, ni quince minutos son nada, cuando hay una auténtica mirada.
Madrid, 25 de Enero 2017
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