Sinking Skins :: Ernesto Neto
“…it is important to Neto that the viewer should actively interact with and physically experience his work by feeling, smelling, and touching it.” - Malmö Konsthall exhibition
He has described his work as an extension and exploration of the body. Much of what he creates appears as a representation of the body where new relationships are formed depending on the interaction with the viewer. Ernesto’s work is sensuous + playful yet retains the ability to continuously generate new meaning with its users. Had I known this prior to seeing his work, cinnamon would’ve had a whole new meaning to Valentine’s Day.
*pics (http://www.konsthall.malmo.se/o.o.i.s/2741) except far left (me!)
Valentines Day is for lovers & last year’s was named Paris.
Upon my arrival at the Centre Pompidou I was immediately torn. Observing the architecture of the building was as much a priority as the artwork which was contained within the space itself. Yet after a few short minutes of navigating through the labyrinth-like galleries, I quickly noticed how I began to lose myself amongst the overwhelming variety of international contemporary artwork.
After wiping the drool from my chin I continued to make my way through the museum. Enticed by an unusual scent, I inquisitively turned the corner and was confronted by the belly of an amorphic object hung by the ceiling. This was the genius of Brazilian artist Ernesto Neto. This particular piece consisted of translucent, nylon-type fabric that was shaped into numerous flagella-like extensions that were filled with heavy masses of spice. Each extension remained in careful balance hovering just above the ground. Its only movement was revealed in the small patches of spice which passed through the material and reformed on the ground below. Unaware as to whether I was supposed to interact with the art; I left it untouched in fear of having the piece explode and hearing some awful security guard tell me: “you broke it you buy it” while standing covered in foot-thick puddles of spice.
I later learned that much of Neto’s work had been created with the intention that it would be touched and inhabited by its users. Inspired by the ideology of neo-concretism, Neto rejects modernism’s ideas of autonomous geometric abstraction in replacement of an interactive and organic artistic experience.
Upon my arrival at the Centre Pompidou I was immediately torn. Observing the architecture of the building was as much a priority as the artwork which was contained within the space itself. Yet after a few short minutes of navigating through the labyrinth-like galleries, I quickly noticed how I began to lose myself amongst the overwhelming variety of international contemporary artwork.
After wiping the drool from my chin I continued to make my way through the museum. Enticed by an unusual scent, I inquisitively turned the corner and was confronted by the belly of an amorphic object hung by the ceiling. This was the genius of Brazilian artist Ernesto Neto. This particular piece consisted of translucent, nylon-type fabric that was shaped into numerous flagella-like extensions that were filled with heavy masses of spice. Each extension remained in careful balance hovering just above the ground. Its only movement was revealed in the small patches of spice which passed through the material and reformed on the ground below. Unaware as to whether I was supposed to interact with the art; I left it untouched in fear of having the piece explode and hearing some awful security guard tell me: “you broke it you buy it” while standing covered in foot-thick puddles of spice.
I later learned that much of Neto’s work had been created with the intention that it would be touched and inhabited by its users. Inspired by the ideology of neo-concretism, Neto rejects modernism’s ideas of autonomous geometric abstraction in replacement of an interactive and organic artistic experience.
“…it is important to Neto that the viewer should actively interact with and physically experience his work by feeling, smelling, and touching it.” - Malmö Konsthall exhibition
He has described his work as an extension and exploration of the body. Much of what he creates appears as a representation of the body where new relationships are formed depending on the interaction with the viewer. Ernesto’s work is sensuous + playful yet retains the ability to continuously generate new meaning with its users. Had I known this prior to seeing his work, cinnamon would’ve had a whole new meaning to Valentine’s Day.
ReadMORE! :: websites about Ernesto Neto
posted by Ravalette at Wednesday, April 05, 2006
2 Comments:
"flagella-like extensions" eh? Hmm... sounds interesting. A little playful and a little icky all melded into one. wonderful
It's the pic on the far left! twas cool!
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