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2008. Alicia Framis + Michael Lin. PASSAGE GARDEN

In MNAC foundation (Cadiz) + Dinner Event in the Carmelitas restaurant (Barcelona)

In collaboration with Montemedio Contemporary Art Foundation (Cadiz), and Nogueras Blanchard Gallery (Barcelona) this project evolves from a permanent intervention in a renewed bunker’s architecture that today holds the Foundation’s offices.

Four panels were made to divide the reception the Foundation’s barrack hut in five spaces. Each panel has a round door and the back wall was substituted by glass to see the exterior garden. In this way, “Passage Garden” plays with the concept of reuse and transformation of space due to the recreation of a Chinese garden in the barrack hut. These gardens’ philosophy is centred on the relation between interior and exterior, the power to model the vision of a landscape at will, creating segments and frame the image in a play of perspectives between the different places inside the garden itself.

From the Montenmedio interventions we designed some painted wooden tables that were used as furniture for a dinner in the Carmelitas restaurant in Barcelona. In accordance with my artistic work these pieces were conceived for collective spaces and suggest a different ways of experimentation with space through painting and the view of art as a social event.

Space is used as a means where “the piece becomes part of space rather than an object in space”. Paintings invade and transform architectural space in an explosion of colour and create a transgression by inviting people to step on them or, as with the tables, to have dinner on them without any precaution at all.

The decorative patterns, that are the nucleus of the piece, are inspired by traditional Taiwanese fabric. The creation process reflects the industrial manufacture of the fabric and traditional decorative arts. Groups of assistants are hired and adjust to mass production methods, working in between classic tradition and modernity. These motives are used due to their familiarity and sensuality, rather than for traditional, iconographic or symbolic connotations. By them we suggest a self-interrogation on exhibition halls, the limit between private and public spheres and the relation between “noble arts” and “decorative arts”.

 

 

 

 

 

 

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2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (technical data)

DESCRIPTION OF ASSEMBLY SYSTEM AND TECHNICAL REQUIREMENTS

The architecture and decoration will be done in situ, creating a collapsible structure for travelling purposes.

It will be necessary to hire carpenters to build it.

Materials: wood and tools to work on it.

Acrylic paint DELUX and materials to paint.

 

 

 

 

 

 

 

 

 

 

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2008. Alicia Framis + Michael Lin. NOT FOR SALE (2007.10 / project rectification / theoretical data)

OCTOBER 2007

 

Alicia Framis presents her most recent work, the majority of which was prepared in Shanghai, where she currently lives and works. As in the case ofNot For Sale(2007) for Madrid Abierto, Framis' projects are always related to society and directly influenced by the reality that surrounds her and her immediate environment. Using elements of fashion design, popular culture and architecture,Not For Sale(2007) reflects that reality.

 

Not For Saleis awork in progressthat analyses the situation of children who are sold all over the world. The project began in the city of Bangkok, Thailand, where Framis produced a first   portrait of a naked chets child but a necklace that read "not for sale."

 

At first glance, the images are gentle and sweet. The children are smiling and appear healthy and happy. It is only on close inspection that what Framis seeks to emphasise comes to light: the reality of the fragile and dangerous situation that many children currently find themselves in. From the moment we are born, a price tag is placed on us, and many children face the real risk of becoming just another product of the global market.

 

Since living in China, Framis is interested in the idea of the portrait as a propaganda tool, such as the posters ofMao Sedongor Thailand's king,Bhumibol Adulyadej, both normally exhibited throughout the city.Not For Saleemploys the same methods of propaganda portraits, maintaining the same measurements but changing the subject of the leader for a more domestic version. These posters always come across as optimistic and encouraging and contain certain details and attributes that suggest the message, only shown discreetly at the bottom, otherwise through the flag or a multitude depicting the power of the leader. Framis shows a smiling child in an ideal scene just bearing a small attribute - the small necklace that reveals the child's possible destiny.

 

For Madrid Abierto 2008 the artist proposes a grandperformancenight:a cultural event.The initiative will consist of a production in which sixty children of different ages will wear necklaces or pendants bearing the message "Not For Sale",as in the above-mentioned portraits. However, this time with the peculiarity that each necklace will have a special and different design, as each will have been designed by different Spanish jewellers, gold and silversmiths and designers of accessories who have been invited to participate in the project, namely, Chus Burés, Marta Miguel, Alberto Leonardo, Carol Salazar, Uovo, Paz Sintes, Oscar León, Jorge Masanet, Nim Art Gallery, Alicia Framis and different jewellers from Thailandia and Shangai. The children will just be wearing trousers, with their naked chests revealing their necklaces as the main attraction piece.

 

Likewise, Framis presents this work together with the artist Michael Lin, who will be responsible for designing a special architectural structure or platform made from fabric, on which the performance will take place.

 

The striking prints that characterise Michael Lin's painting are taken from traditional Asian fabrics. The prints, the culture, the industrial manufacture of the fabrics and the traditional decorative art are extremely important concepts in his work. The fabric is thus transformed into architectural structures on which the children will parade, generating a mutually complementing dialogue between both projects.

 

 

Thus, the architectural structure with oriental fabric prints will become the perfect scene for the children's parade, wearing theNot For Salenecklaces.

 

On the other hand, we intend to close the fashion show with the intervention of some famous singer that might be interested in participating in an artistic proposal that involves great social criticism.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3691

2008. DISCUSSION PANELS PROGRAMME

Place: La Casa Encendida (Ronda de Valencia No. 2, Madrid)Date: 7th and 8th FebruaryTime: From 17.00 to 21.00 h.

Continuing the practice established in the last editions, this year the debate tables are organised once again in collaboration with La Casa Encendida.  As in previous editions, on the one hand, the debate tables will present the projects produced for Madrid Abierto and, on the other, they will introduce different initiatives developed within the sphere of art in the public space.

The round tables will include the active participation of the commission set up last year to debate the model of Madrid Abierto.  The commission's co-ordinator, Rocío Gracia, and its members, Cecilia Anderson, Guillaume Désanges, Jorge Díez, Ramón Parramon, María Inés Rodríguez and Fito Rodríguez, together with this edition's organisers, the collective DEMOCRACIA.

For the artists’ presentations, the event's organisers have established three groups, although aware that the groups may be pervious and that one same project may meet several of the established premises. On the one hand, we will have the projects that make the contemporary class conflict visible, as well as a temporary suspension of the exclusions generated by this conflict, on another hand, those that employ elements or the propagandistic language of the urban scene, and lastly, those more closely associated with forms of urban culture.

The artistic experience developed in the public space faces the complex task of intervening in a saturated and hyper-aesthetized space with few fissures. The temporary and ephemeral nature of these artistic practices often places obstacles in the way of the dissemination and development possibilities of many interesting proposals that would require more time, with respect to the prior investigation and the subsequent production of the interventions as well as the desirable convergence with other projects and other social and cultural agents. In light of this, the opening of new spaces is needed to encourage other forms of production and dissemination, as well as the creation of networks of information and collaboration between this kind of artistic practices. For this reason, every year Madrid Abierto aims to give exposure to other similar experiences. In this edition, Nelson Brissac and Vit Havranek will be responsible for presenting invited projects, offering their experience in the debate on the strategies applied to the city and the territory from an artistic perspective, with more or less emphasis on experimentation, multi-discipline, the process and interaction with the public.

THURSDAY 7TH FEBRUARY

17:00-18:15 Presentation of Madrid Abierto projects

Hell is coming/World ends today. Andreas Templin

Not for sale/No se vende. Alicia Framis

Welcome On Board. Guillaume Ségur

Gran Sur. Fernando Prats

Chaired by: Cecilia Andersson; Democracia

18:15-19:30 Presentation of Madrid Abierto video projects

Arturo-Fito Rodríguez introduced by Rocío Gracia

20:00-21:00 Vít Havránek, introduced by Guillaume Désanges

 

FRIDAY 8TH FEBRUARY

17:00-18:15 Presentation Madrid Abierto projects

Speculator + Empty World. Todo por la praxis

Construye tu casa en una azotea. Santiago Cirugeda

Explorando Usera. La Hostia Fine Arts

Videointervenciones móviles en contextos urbanos específicos. Fernando Llanos

Moderan: María Inés Rodríguez y Democracia

18:30-19:30 Presentation Madrid Abierto projects

Estado de excepción. Noaz/Dier

Proposal Nr. 19 + Gift. Anno Dijkstra

No more no less + La hucha de los Incas. Jota Castro

La guerra es nuestra. Immi Lee/Annamarie Ho

Moderan: Ramon Parramon y Democracia

20:00-21:00 Nelsson Brissac, introduced by Jorge Díez

 

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Cecilia Andersson is curator and director of Werk Ltd., a curatorial agency established in Stockholm. Werk collaborates internationally in the organisation, production, promotion and publication of contemporary art.

Her recent projects include SuperSocial, social events set up in different cities; a series of conferences and seminars in collaboration with Francesco Jodice; On Cities, an exhibition organised in Stockholm’s Museum of Architecture and an itinerant programme of Chinese video.

Cecilia is an independent consultant for Disonancias, an interchange platform between artists and companies in San Sebastián and is part of the Madrid Abierto Commission.

 

Nelson Brissac is a philosopher whose works is related to art and urban-planning issues. Since 1994, he is organiser and curator of Arte/Cidade www.artecidade.org.br, an urban interventions project in São Paulo.

 

Guillaume Desange, is curator, art-critic and co-founder of Work Method, an agency based in Paris dedicated to the production of artistic projects. As member of the Trouble publishing committee, he regularly collaborates with the magazines Exit Express and Exit Book (Madrid). From 2001 to 2007 he co-ordinated the artistic projects of Laboratoires d'Aubervilliers. He organised the exhibitions Pick-Up en Public>, Paris 2004, Untouchable, The transparency Ideal in Villa Arson, Nice and the Patio Herreriano Museum, Valladolid, in 2006-2007, Jiri Kovanda Vs rest of the World in the agency gallery gb, Paris; De Appel, Asmterdam; Centre d'Art Santa Monica, Barcelona, and has worked with Thomas Hirschhorn in the projects The 24h Foucault project and Musée Précaire Albinet. In 2007-2008 he is an invited curator at Centre d'Art Contemporain La Tôlerie. He is a lecturer at Ecole des Beaux-Arts de Clermont-Ferrand and is part of the Madrid Abierto Commission.

 

Vit Havranek is a theorist and a producer established in Prague. Since 2002 he works as Project Manager for the contemporary art initiative tranzit /www.tranzit.org/ sponsored by the Erste Bank Group. He has worked as curator in Prague’s Municipal Gallery and National Gallery. He is a lecturer at the Prague College of Applied Arts. His most recent projects, some of which in collaboration with others, include A CDEFGHIJK MNOP  STUV   Z, part of Societe Anonyme, Le Plateau, Paris, 2007; tranzit – Auditorium, Stage Backstage, Frankfurter Kunstverein, Frankfurt 2006; I, series of exhibitions in three acts: Secession Vienna; Futura Prague; tranzit workshops Bratislava, 2006. He has written articles for several magazines, such as, among others, Springerin, Artist and Flash Art.

 

Ramon Parramon, directs and manages projects within the area of contemporary art and creation. Since 1998, he directs the art project IDENSITAT. In addition, he has organised several projects, such as Territorios Ocupados, 2000; Barcelonas, 1999 and Visiones Periféricas, 1994-97. He has given conferences and seminars at the Polytechnic University of Valencia, the Polytechnic of Milan, the University of Vigo, the University of Granada, the International University of Seville, the University of Barcelona and the Barcelona Higher College of Architecture. His work evolves with a marked interest towards interdisciplinary projects and the roles that art can play in specific socio-political contexts. He is part of the Madrid Abierto Commission.

 

María Inés Rodríguez is an exhibitions curator. She has organised exhibitions and research projects on the public space appropriation strategies in different contemporary art spaces which relate art, design, architecture and urban-planning. In 2004, she created Tropical paper editions to develop the editorial projects of artists. In 2007, she developed the projects Habitat/Variations, BAC Geneva, La Casa Encendida, Madrid, Bermuda Triangle, Êcole de Beaux Arts de París, and was co-curator of MDE 07 Encuentro de Medellín. She is part of the Madrid Abierto Commission.

 

Arturo-Fito Rodríguez,member of Fundación Rodríguez, an artistic production collective that organises and co-ordinates projects associated with contemporary culture and new media, such as Tester and Intervenciones TV. He is part of the Madrid Abierto Commission.

 

Rocío Gracia is an art historian, member of RMS La Asociación, an agency established in 1998 in Madrid dedicated to organising, producing, promoting and disseminating contemporary art projects, and which has recently developed such projects as MadridProcesosRedes and ON SITE TOUR/TALK. The agency will shortly present a preview of Archivo VEO within the project Old News of CGAC and is preparing the exhibition Sur le dandysme for the Centro Huarte de Arte Contemporáneo.

 

Jorge Díez, director of Madrid Abierto and co-director of the MBA in Cultural Management, Santillana/Salamanca University. In 2007 he has co-curated with José Roca (Colombia) Cart[ajena] public art project promoted by SEACEX, developed within the IV Congress of Spanish at Cartagena de Indias, Colombia. He has lectured in the Spain-Japon Forum at Nagasaki, Actual experience in Public Art at the 16º Arts Symposium at Porto Alegre, Brasil and, Contexts and projects in Public Art. Ephemera models of intervention, at the MARCO. 

 

 

 

 

 

 

 

 

08mdtb1765

2008. ARTISTS / INTERVENTIONS / LINKS

Alicia Framis + Michael Lin    Not for sale/No se vende    www.aliciaframis.com Andreas Templin    Hell is coming/World ends today    www.andreas-templin.blogspot.com    www.worldendstoday.wordpress.com

Dier + Noaz    Estado de excepción    www.vdier.com www.noazmadrid.blogspot.comwww,flirck.com/photos/noazmadrid/

Anno Dijkstra    Proposal Nr. 19 + Gift    www.annodijkstra.nl

Fernando Llanos    Videointervenciones móviles en contextos urbanos específicos    www.fllanos.com

Guillaume Ségur    Welcome On Board

Fernando Prats    Gran Sur    www.fernandoprats.cl

Jota Castro No more no less + La hucha de los Incashttp://www.jotacastro.eu/

LaHostiaFineArts (LHFA)    Explorando Usera    www.lahostiafinearts.es

Santiago Cirugeda    Construye tu casa en una azotea    www.recetasurbanas.net

Todo por la Praxis    Speculator + Empty World    www.todoporlapraxis.com

Santiago Sierra    Bandera negra de la república españolawww.santiago-sierra.com

Annamarie Ho + Inmi Lee    La guerra es nuestra    www.annamariecho.comwww.inmilee.net

 

 

 

 

 

 

08prta1766

2008. Alicia Framis + Michael Lin. NOT FOR SALE (2007.10 / project rectification / technical data)

 DESCRIPTION ASSEMBLY SYSTEM AND PROJECT’S TECHNICAL BASICS

LOGISTIC AND TECHNICAL BASICS

1. As the location is already known (LA CASA ENCENDIDA) it’s necessary to obtain maps of the building’s patio.2. Assembly of a lighting and sound system.3. Video camera and big scale screen. To make the pendants visible there will be a camera that, at one point, shall focus on them and project them on the screen. 4. We intend to work with children (only boys) from 4 to 17. The ideal would be children that are used to perform and work in public. The artist suggests the Real Madrid children. As the performance is on Saturday they wouldn’t have classes the next day.5. We will need a room to use as Backstage or dressing room, for the children as for the artist that will probably close the show.6. Alicia Framis’ crew will take care of transporting the necklaces and dressing the kids up.

TECHNICAL ELEMENTS FOR ARCHITECTURAL STRUCTURE

1. The assembly system for the architectural structure is being designed by Michel, as soon as we have the technical details we will send them to Madrid Abierto.

 (OCTOBER 2007)

 

 

 

 

 

 

 

 

08intb3543

2008. DISCUSSION PANELS / 07 y 08 feb (images)

2008. DISCUSSION PANELS / 07 y 08 feb (images)

 

       

Fito Rodríguez, Rocío Gracia     Rafael Tunes, Diego Peris   María inés Rodríguez, Pablo España, Rafael Burillo    Diez, Noaz

Fito Rodríguez, Rocío Gracia    Fernando Llanos    Annamarie Ho, Inmi Lee    Dier, Noaz

           

Fernando Baena    Jota Castro    Dier     Anno Dijkstra   

Annamarie Ho    Inmi Lee  

 

 

 

 

 

 

 

 

08mdic1736

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (theoretical data)

 Alicia has been living for 3 months in Shanghai preparing the project, which consists of the creation of a collection of dresses made out of the Chinese flag, which will be used for a great parade-performance in Madrid. The dresses will be made by a group of Spanish and Chinese designers. Bearing in mind the woman’s situation in China, each designer will give his vision on the subject through the dress.

For this performance I plan to create a special architectonic platform to be used as catwalk in the fashion show. We plan the event to be itinerant and travel to different cities, so the platform will be collapsible.

My collaboration with Alicia on this project has to do with our common interest in the subject, as well as the complementary nature of both proposals. The architectonic structures are a fundamental part of my work. My installations are architectonic processes where I suggest a different way of experimentation with painting in space. I use space (public or private) as an element where “the piece becomes part of space rather than an object in space”. The painting of its installations surrounds and transforms an environment with a clearly aesthetic intention, but, at the same time, with the suggestion of stepping on it, for people to manipulate it, defying the autonomy of art forms and starting work processes on location, with the direct participation of the audience. My work fits the realm of relational practices that define aesthetic values as social relations where communication, interaction and vital experience of the audience within the space conforms the basis of the artistic project. It is important to de-contextualize the piece and integrate it in the sphere of immediate reality, design interiors, furniture, coffee-cups, a tennis court, or, in this case, a catwalk for a fashion show.

The striking patterns that distinguish my paintings are inspired by traditional Asian textiles. These patterns, as well as their industrial fabrication and traditional decorative arts are of major importance in my work; fabric turns into architectonic structures, and dresses are shown on these structures, creating a dialogue between both projects which complement each other. Thus, the architectonic structure with oriental patterns will be the perfect frame for the Chinese flag fashion show.

 

 

 

 

08prtc3509

2008. Alicia Framis + Michael Lin. NOT FOR SALE (location)

La Casa Encendida. Ronda de Valencia, 2. 28012 Madrid. 8th of February, 21:30 pm.

 

 

 

 

 

 

 

 

 

 

 

08intd2055

2008. Alicia Framis. ANTI_DOG, 2002-03

 

Como una táctica para la protesta innovadora, Anti_dog es una etiqueta de moda iniciada por Alicia Framis para levantar la conciencia en cuanto a la seguridad, la vulnerabilidad, la violencia y el racismo hacia las mujeres. Framis muestra a través de este proyecto artístico su preocupación por la seguridad personal en un mundo globalizado y se supone siempre vigilado. La artista describe su propia experiencia individual como la inspiración para dirigir cuestiones universales en una serie de funcionamiento comprendido a través de Europa.

Viviendo en Berlín, como una mujer inmigrante, Framis fue advertida contra el paseo por un área particular de la ciudad ocupada por cuadrillas racistas con perros agresivos. Anti_dog es una declaración contra la violencia hacia mujeres y un medio para dirigir cuestiones personales en un foro público.

Luego de una larga investigación ella y su equipo encontraron un nuevo tejido, adecuado para la realización de vestidos con los que ella quería vestir a diferentes mujeres: el Twaron: dorado, ignifugo, antibalas, y muy importante a prueba de mordidas de perro; una defensa contra las agresiones que padecen las mujeres maltratadas y las minoras.

En la colección Anti-dog, que formaba parte de un proyecto llamado La belleza vence a la Violencia, en el que participaron modistos de prestigio como Jean Paul Gaultier, Hussein Chalayan o el español David Delfín, así como escuelas de diseñadores de moda de diversas ciudades del continente europeo.

Anti_dog  ha sucedido como exposición, como una performance, como exposición y como un vídeo. Ha involucrado mujeres de cada ciudad que ha visitado como: Helsinsborg (2002), Ámsterdam, Madrid, Paris, Barcelona, Birmingham, Venecia (2003). En cada una de estas ciudades las mujeres exponían sus preocupaciones, y según éstas se iban diseñando nuevos vestidos con características que se adaptaban a la situación en cada contexto. Por ejemplo,  en Helsinsborg las mujeres demandaban mejor iluminación en ciertas zonas de la ciudad en las que le daba miedo transitar, dada la oscuridad y el nivel de peligrosidad, razón por la cual se diseñaron vestidos iluminados con neones  y bombillas; era la mujer la que iluminaba su propio camino. En Birmingham, las mujeres llevaron inmensos vestidos, que cubrían toda una plaza, y en los cuales llevaban bordadas frases registradas como “This is not your country” (este no es tu país), oraciones que estas mujeres detestaban escuchar y no deseaban seguir haciendolo. En Paris, la colección principalmente inspirada en los diseñadores famosos como Dior y Chanel, fue mostrada, siempre con un guiño irónico, en una pasarela dentro de la semana de la moda parisina.

Anti_dog  analiza ante todo la inutilidad de las medidas de seguridad  que hemos tomado para protegernos a nosotros mismos a nivel social. La incómoda vigilancia en espacios públicos que va en contra de  la libertad individual, y la auto encarcelación que nos confina encerrarnos en grandes edificios protegidos.

“Su trabajo nos hace conscientes del hecho que el camino por el cual protestamos contra la violencia y el racismo carecen de originalidad. La estética de manifestación parece no haber cambiado desde la primera vez que un grupo de la gente marchó a las calles para expresar su desacuerdo. Con su contribución, Framis hace el acto de protestar atractivo y poderoso al mismo tiempo”Lilet Breddel

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3658

2008. Alicia Framis + Michael Lin (Cv)

ALICIA FRAMIS MATARÓ, BARCELONA, 1967 LIVES AND WORKS IN SHANGHAI WWW.ALICIAFRAMIS.COM

MICHAEL LIN TOKYO, JAPAN, 1964 LIVES AND WORKS AMONG BRUXELLES, SHANGHAI, TAIPEI

WORK EXPOSED IN MADRID ABIERTO: NOT FOR SALE/NO SE VENDE

 

ALICIA FRAMIS MATARÓEDUCATION·    Fine Arts degree from the Faculty of Sant Jordi, Universidad de Barcelona and Ecole de Beaux Arts, Paris·    Post-graduate course at Institut d'Hautes Etudes, Paris.·    Post-graduate course at Rijksakademie van beelde Kunstende, Amsterdam·    Currently works as Concept Director at MOCA (Museum of Contemporary Art)  Shanghai, under the management of Samuel Kung.

INDIVIDUAL EXHIBITIONS2007·    Desde China con amor, Galería Horach Moya, Palma de Mallorca·    From China with Love, Annet Gelink Gallery, Amsterdam, The Netherlands·    Alicia Framis, PYO Gallery, Seoul, Korea·    Alicia Framis, PYO Gallery, Beijing, China·    CHINA *****, Zendai Museum, Shanghai, China

2006·    Shanghai Duolun Museum of Modern Art, Shanghai, China·    Acciones secretas, Galería Helga de Alvear, Madrid, Spain·    Alicia Framis. Secret Strike, Mireille Mosler, Ltd, New York, USA·    Secret Strike. Archivo momentos, Centro Galego de Arte Contemporáneo·    CGAC, Santiago de Compostela, Spain·    Partages, Musée d'Art Contemporain de Bordeaux CACP, Bordeaux, France

COLLECTIVE EXHIBITIONS2007·    Rightfully Yours, Justina M. Barnicke Gallery University of Toronto, Canada ·    Wouldn't it be nice... wishful thinking in art and design, Centre d'Art Contemporain de Genève, Geneva·    Pensa-Piensa-Think, Centro de Arte Santa Mónica, Barcelona·    Artist Pension Trust, Today Art Museum, Beijing, China, organiser: Dan Cameron·    Montevideo program: Acciona, Observatori-festival, Valencia, Spain·    After the News, BankART1929, Yokohama, Japan·    MOCA Museum, Shanghai, China·    Entreprise du lieu, Pommery, Reims, France, organiser: Daniel Buren

2006·    Big City Lab, Art Forum Berlin, Berlin, organiser: Friederike Nymphius·    On Mobility, CAC, Vilnius, Lithuania·    59º Festival Internazionale del Film Locarno, Locarno, Switzerland ·    Dresscode, Historisches und Voelkerkundemuseum (Borrower), St. Gallen, Switzerland·    Femmes d'Europe, Saint Tropez, France·    Alicia Framis. 8 de junio, las modelos libran. A Life in a Bag, Loewe 160 Years Anniversary, Círculo de Bellas Artes, Madrid, Spain·    Fusión: Aspectos de la Cultura Asiática en la Colección MUSAC, MUSAC, León·    INVIDEO, Milan, Italy·    Victime de la mode-Fashion Victim, CRAC, Alsace, France·    FASHIONS, Center of Contemporary Art in Leipzig, Germany·    Secret Strike Tate Modern, Art Unlimited, Art 38 Basel, Basel, Switzerland

PROJECTS 2008·    Not  For Sale, Rio de Janeiro, Brazil ·    Nenes Amb Sort, Barcelona, Spain·    Secret Strikes Rockeffeler Center, New York, USA·    Woman Solo Shop, London, England

 

..................................................................................................................................................................................................................................................MICHAEL LIN TOKYOEDUCATION1993·    MFA College of Design, Pasadena, USA.1990·    BFA Parsons School of Design, Los Angeles, USA.

SOLO EXHIBITIONS2007·    Nogueras Blanchard, Barcelona, Spain

2006·    Eslite Gallery-Taipei, Taiwan

2005·    Nogueras Blanchard, Barcelona, Spain·    Kunsthalle Wien, Vienna, Austria·    O2 ART 2, The Contemporary Museum, Honolulu, Hawai, USA.

2004·    Eslite Gallery-Taipei, Taiwan·    Asian Art Museum, San Francisco, USA.·    Contemporary Art Museum St. Louis, USA.·    PS1 Contemporary Art Center-Long Island City, USA.

2003·    Palais de Tokyo, Site de Creation Contemporaine, Paris·    Moroso Showroom, Milan·    Galerie Urs Meile, Lucerne, Switzerland

2002·    Galerie Tanit, Munich, Germany·    Den Hagg, City Hall, Stroom, The Hague, The Netherlands·    Galerie Ghislaine Hussenot, Paris·    Palais de Tokyo, Site de Creation Contemporaine, Paris, Contemporaine

2000·    Private Collection, Arstyl.com, Paris

1999·    Here, It Park Gallery, Taipei, Taiwan

1998·    Complimentary, Dimension Endowment of Art, Taipei, Taiwan

1996·    Interior, It Park Gallery, Taipei, Taiwan

1994·    Huh (Meander), It Park Gallery, Taipei, Taiwan

1993·    After, Art Center College of Design, Pasadena, USA.

GRUOP EXHIBITIONS2007·    Through the painting, Special Projects, 2nd Moscow Biennale, Russia·    Schaurausch, O.K.Centrum, Linz, Austria

2006·    Collettiva, Galleria Cesare Manzo, Rome, Italy·    Notre histoire..., Palais de Tokyo, Site de Creation Contemporaine, Paris, France, organisers: Nicolas Bourriaud and Jérôme Sans·    Parcours de Saint Germain-Café de Flore, Paris, France·    Surplus Value, Tang Contemporary Art Center, Beijing, China·    New Space, Pinchuk Art Centre, Kiev, Ukraine·    Once Upon a Time..., Contemporary Fairytale-ARCOS Museum, Benevento, Italy

2005·    8th Lyon Biennale, France, organisers: Nicolas Bourriaud and Jérôme Sans·    About Beauty, Haus der Kulturen der Welt, Berlin, Germany·    The Elegance of Silence, Mori Art Museum, Tokyo, Japan

2004·    The 21st Century Museum of Contemporary Art, Kanazawa, Japan·    Floral Habitat, Bury St. Edmunds Art Gallery, Suffolk, England·    Odyssey, Shanghai Gallery of Art, Shanghai, China

2003·    Flower Power, Lille 2004, Palais des Beaux Art, Lille, France·    The Fifth System, Shenzhen, China·    Tiger´s Eye, Proud Gallery, London·    Painting4, The Rose Art Museum, Waltham, MA, USA.·    Cruzados, CCCB, Barcelona, Spain·    Fundación NMAC, Cádiz, Spain·    Chinese Contemporary Art/Subversion and Poetry, Culturgest, Lisbon, Portugal·    Bibliotherapy (con Remy Markowitsch), Kuntsmuseum, Lucerne, Switzerland

2002·    Urgent Painting, ARC Musée d'Art Moderne de la Ville de París, France·    Synthetic, Gallery Zurcher, Paris, France·    How Big Is The World?, OK Center for Contemporary Art, Linz, Austria·    Gwangju Biennale 2002: Project 1: Pause, Conception, Korea·    Asian Art Triennial, Queensland Art Gallery, Brisbane, Australia·    International 2002, Liverpool Biennial, Liverpool·    The Gravity of the Immaterial, Total Museum, Seoul, Korea·    Asian Vibe, Espai d'Art Contemporani de Castelló, Spain

2001·    Bibliotherapy (with Remy Markowitsch), Villa Merkel, Esslingen, Germany·    Casino 2001, 1st Quadrennial of Contemporary Art, Stedelijk Museum voor·    Actuele Kunst, Gent, Belgium·    ARS 01: Unfolding Perspectives, Museum of Contemporary Art Kiasma, Helsinki, Finland·    Egofugal: Fugue from Ego for the Next Emergence, 7th International Istanbul·    Biennale, Turkey·    49th Biennale di Venezia, Italy·    The Gravity of the Immaterial, Institute of Contemporary Art, Taipei, Taiwan·    Festival of Vision: Berlin in Hong Kong, Tamar Site, Hong Kong·    Sister Space Project, Southern Exposure, San Francisco, USA.·    Very Fun Park: Contemporary Art From Taiwan, It Park Gallery, Taipei, Taiwan·    The Sky is the Limit, 2000 Taipei Biennial, Taipei Fine Arts Museum, Taipei, Taiwan

1999·    Visions of Pluralism: Contemporary Art in Taiwan 1988-1999, China Art Museum, Beijing, China·    Magnet Writing/Marching Ideas, It Park Gallery, Taipei, Taiwan·    1st Fukuoka Asian Art Triennial 1999, Fukuoka Asian Art Museum, Japan·    KHOJ '99: International Artists' Workshop', The British Council Gallery, New Delhi, India

1998·    Tu Parles/J'Ecoute, La Ferme de Buisson Art Centre, Paris; Taiwan·    Back from Home, Bamboo Curtain Studio, Taipei, Taiwan

1997·    It Park Group Exhibition, Taipei Fine Arts Museum, Taiwan·    Allegory and Simulacra, Gallery Pierre, Taichung, Taipei

1996·    Perimeter 4, Gallery 456, New York, USA.

1995·    Transitional Site, It Park Gallery, Taipei, Taiwan

1994·    Conceptual Art Action Under Post-Martial Law, Gate Gallery, Taipei, Taiwan·    Art and Text, National Normal College, Taipei, Taiwan·    The Undescribable Unknown, It Park Gallery, Taipei, Taiwan

1993·    Zuzuglich, Merz Akademie, Stuttgart, Germany·    The 8th Annual Manifesto Night, Baroque Literary Arts Centre, Venice, USA.

1992·    Sharon Lockhart/Michael Lin, Art Center, College of Design, Pasadena, USA.

1991·    Earth, Scott Hanson Gallery, Los Angeles, USA.

1990·    Law of Desire, Future Perfect Gallery, Los Angeles, USA.·    Provisional Proof, Opus Gallery, Los Angeles, USA.·    Oltre il Muro, Accademia di Belle Arti de Brera, Milan, Italy

BIBLIOGRAPHY·    Eugene Tang and Jason Wong, Island Life, Eslite Gallery, Taipei, Taiwan, 2007 ·    Mino Yutaka, Encounters in the 21st Century: Polyphony - Emerging Resonances, 21st, Century Museum of Contemporary Art, Kanazawa, 2005·    Sabine Folie and Matt Gerald, Michael Lin, Kunsthalle Wien, Vienna, Austria, 2005·    Lin Hong-John, Michael Lin, Eslite Gallery, Taipei, Taiwan, 2004·    Shannon Fitzgerald and Frances Stark, Michael Lin, Contemporary Art Museum, St. Louis, USA, 2004·    Pauline J. Yao, Spaces Within, Installations by Michael Lin and Wu Mali, Asian Art·    Museum, San Francisco, USA.·    Jérôme Sans and Vivian Rehberg, Michael Lin's, Palais de Tokyo, Site de Creation Contemporaine, Paris, France, 2003·    Rhana Davenport, Asia Pacific Triennial, Queensland Art Gallery, Brisbane, Australia, 2002, p.70-73·    Hou Hanru, Asian Vibe, Espai d'Art Contemporani de Castelló, Spain, 2002·    Manray Hsu, Urgent Painting, Musée d'Art Moderne de la Ville de París, p.86-89, 2002·    Hou Hanru, ARS 01, Museum of Contemporary Art Kiasma, Helsinki, Finland, p.142-143, 2001·    Mahoney Bronwyn, Egofugal, Istanbul Biennial, Turkey, p.128-129, 2001·    Kao Cien-huí, Living CEI, Venice Biennale, Pabellón de Taiwán, 2001·    Frances Stark, Complimentary, Dimension Endowment of Art, Taipei, Taiwan, 1998

ARTICLES (SELECTION)·    Kanae Hasegawa, "Couleur Locale", Frame, Nº 52, September/October, 2006, p.70·    Christophe Maout, "Lyon Grand Angle", Le Monde 2, Nº 84, September, 2005, p.58·    Hanru Hou, Yishu_Journal of Contemporary Chinese Art, spring, 2005, p.55-62·    James Westcott, Nyartsmagazine, 22 December, 2004·    David Spalding, FlashArt, October, 2004, p.126·    "Michael Lin", Art Asia Pacific, nº 41, summer, 2004·    Annette Tietenberg," Wallflowers", Form,197, July/August, 2004, p.36-43·    Hughes, Jeffrey, Contemporary, Nº65, 2004, p.67·    Lily Van Ginneken, "Made in Taiwan", Bloom, nº11, 2004, p.20-23·    "L'image du mois", Beaux Arts Magazine, November, 2003·    Judicael Lavrador, "Les Artistes s'etalent", Beaux Arts Magazine, 231, August 2003, p.82-89·    Marie-Claire Maison, August, 2003·    Bronwyn Mahoney, "Patterns of Thought: The Installation of Michael Lin", Yishu_Journal Of Contemporary Chinese Art, spring, 2003, p.82-85·    Eugene Tan, "Liverpool Biennial, Pleasant Street Board School", Contemporary, nº 10, October, 2002, p.94·    Sarah S. King, Art in America, June, 2002·    ML, "The art of deco", Art Review, Vol.LIII, February, 2002, pp.50-51·    Rhana Devenport, "The sky is the limit: Taipei Biennale 2000", Art AsiaPacific, nº 30, 2001, p.20-22·    Barbara Casavecchia, "Taipei Biennale", Flash Art, vol. 33, nº 215, November/December, 2000, p.103·    Ann Wilson Lloyd, "Reorienting: Japan rediscovers Asia", Art in America, vol.87, nº 10, October, 1999, p.104-111·    Cecile Bourne, "Reviews: Taipei (Taiwan), Michael Lin", IT Park, Flash Art, vol.30, nº 194, May/June, 1997, p.124·    Sophie McIntyre and Chia Chi Jason Wang, "Taipei in entropy", Flash Art, vol.29, nº 187, March/April, 1996, p.57-60

 

 

 

 

 

 

08prtb1768, 08prtb1770

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / technical data)

OCTOBER 2007

 

DESCRIPCIÓN DEL SISTEMA DE MONTAJE Y NECESIDADES TÉCNICA DEL PROYECTO

NECESIDADES TÉCNICAS Y LOGÍSTICAS

1.    La locación para la performance debe ser cerrado preferiblemente, pues será en época de invierno. 2.    Será necesario iluminación y sonido (todavía por definir características específicas)3.    Las Modelos serán contratadas previamente a través de agencias de modelos madrileñas. 4.    El peinado y maquillaje de las modelos será organizado por parte del Alicia Framis Studio.5.    El equipo de Alicia Framis Studio se encargará de todas las contracciones. Así como del traslado de los vestidos si fuera necesario.

NECESIDADES TÉCNICAS DE ESTRUCTURA ARQUITECTÓNICA

1.    El sistema de montaje de la estructura arquitectónico estará descrito y detallado en el Dossier presentado por Michael Lin.2.    El sistema de Iluminación y sonido se hará por parte del personal contratado para este fin.

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3659

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / visual data)

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / visual data)

OCTOBER 2007

 

 

 

Ingrid Pastor

 

 Roberto Piqueras

 

   

Copies of Chinese designers designs

 

 

 

 

 

 

 

 

 

 

 

 

 

08inib3657

2008. Alicia Framis + Michael Lin. 100 WAYS TO WEAR A FLAG (2007.10 / project review / theoretical data)

OCTOBER 2007

 

100 MANERAS DE VESTIR UNA BANDERA

Desde hace tres meses se está preparando en la ciudad de Shangai 100 WAYS TO WEAR A FLAG, un proyecto que consiste en crear  una colección de cien vestidos  utilizando como material principal o único la bandera China. Estos vestidos, realizados por diseñadores españoles y chinos, servirán para una gran performance que pretendemos realizar en la ciudad de Madrid. Digo queremos por que aunque nos presentemos por separado, Michael Lin y yo pretendemos trabajar juntos en este proyecto.

He invitado a los diseñadores de modas David Delfín, Hugo Gallego, Ingrid Pastor, Roberto Piqueras, El Delgado Buil. (Anna Figuera Delgado y Macarena Ramos Buil), y a todos los miembros de ADÑ Asociación Artística de Diseñadores Nacionales de Moda de España: Locking Shocking (Oscar Oscar y Ana González) Carmen March, Carlos Diez-Diez, Ion Fiz, Juanjo Oliva y  La Casita de Wendy, Antonio Alvarado; Y se les ha propuesto que cada uno diseñe y elabore un vestido con la bandera China, siempre teniendo en cuenta la situación de la mujer en ese país.

Como es de conocimiento común, la populación china, desde hace varias generaciones, es más numerosa en hombres que en mujeres, ya que a cada pareja sólo se le permite tener un hijo, y la preferencia se inclina a tener un varón. Esta situación hace que la posición de la mujer sea inferior, y el papel en la sociedad sea similar. Es por ello que cada diseñador invitado ha dado su versión del tema a través de su vestido.

En el proyecto inicial también participaban diseñadores de moda chinos. Sin embargo, en el proceso de investigación salió a relucir que la ley castiga, con un mes de cárcel y doce mil  euros, a la persona que intervenga o utilice la bandera China de cualquier manera. Aunque en el mundo de la moda se hagan diseños con muchas banderas del occidente como los innumerables diseños que se han realizado con la bandera inglesa, americana, etc. incluso ropa interior; esto en el régimen chino es imposible. Así que después de esta decepción he decidido copiar a los diseñadores chinos: ellos no tocarán la prenda, pero de cualquier modo estarán presentes en este trabajo

Por otra parte, para la realización de la performance Michael Lin creará una plataforma arquitectónica especial echa en material textil, que estará en concordancia con las banderas. También, existe la intención de que esta parte de la obra sea portátil para poder mostrarla en diferentes ciudades, junto a los vestidos. El trabajo de Lin es imprescindible en este proyecto porque el hace del tejido estructuras arquitectónicas, que se armará y pintará In-situ.

Para  MADRID ABIERTO propongo una noche de gran perfomance. Diecisiete modelos de procedencia asiática, preferiblemente chinas,  que llevarán los cien vestidos y los desfilarán por esta estructura arquitectura única, convirtiendo todo en una sola acción.

Es importante destacar, que de este proyecto ya se está editando un catálogo que recogerá todo el proceso de trabajo, desde dónde se compraron las banderas en Shangai, hasta cómo cada diseñador corta la bandera, hasta que la convierte en vestido y el uso de el mismo.

También se está planteando la posibilidad de cómo hacer para que esta acción que conjuga el arte, la moda y la arquitectura, dure más que una noche, aún nos queda tiempo…

Alicia Framis, in collaboration with Michael Lin

 

 

 

 

 

 

 

 

 

 

 

 

 

 

08intb3654

2008. Alicia Framis + Michael Lin. PAINT ON TENNIS COURT, 2005

2008. Alicia Framis + Michael Lin. PAINT ON TENNIS COURT, 2005

 

Paint on tennis court.View of installation, Contemporary Museum, Honolulu, Hawaii.

 

 

 

 

 

 

 

 

08inme3506

2008. Alicia Framis + Michael Lin. PALAIS DE TOKYO, 2002

2008. Alicia Framis + Michael Lin. PALAIS DE TOKYO, 2002

 

 

 Painted wooden panels and cushions with patterns.View of installation in Palais de Tokyo, Paris.

 

 

 

 

 

 

 

 

08inme3505

2008. Alicia Framis + Michael Lin. GRIND, 2004

2008. Alicia Framis + Michael Lin. GRIND, 2004

 

Painted wooden floor and wallView of installation in PS1 Contemporary Art Centre, New York

 

 

 

 

 

 

 

08inme1817

2008. Alicia Framis + Michael Lin. ATRIUM STADHUIS, 2002

2008. Alicia Framis + Michael Lin. ATRIUM STADHUIS, 2002

 

 

View of the intervention  in the City Hall of The Hague, Netherlands

 

 

 

 

 

 

 

 

 

08inme1816, 08inme3503

2008. Alicia Framis + Michael Lin. NOT FOR SALE (2007.11-2008.01 / visual data)

2008. Alicia Framis + Michael Lin. NOT FOR SALE  (2007.11-2008.01 / visual data)

 

Designed by Jorge Masanet 

 

Designed by Chus Burés      Designed by Chus Burés

 

        

On the Helga de Alvear Galery

(November 2007 - January 2008) 

 

 

 

 

 

 

 

 

 

 

08inib1932

2008. Alicia Framis + Michael Lin. NOT FOR SALE (2008.01 / technical data)

2008. Alicia Framis + Michael Lin. NOT FOR SALE  (2008.01 / technical data)

 

TECHNICAL REQUIREMENTS

- LIGHTING (spotlights are necessary to lighten 10 meters of catwalk. No filters or movable lights are needed. Just one light focused on the catwalk.)- Camera and tripod to record the performance.- Screen.- Projector.- SOUND: A double CD with sound mixer and amplifier attached to the speakers (at least 2 speakers).

 

 (January 2008) 

 

 

 

 

 

 

 

 

 

 

 

08inib1931, 08intb3541

2008. Alicia Framis + Michael Lin. NOT FOR SALE / NO SE VENDE (published texts)

NEWSPAPER

NOT FOR SALE (2007)is a work in progress which analyses the situation of children sold all over the world.

The project began in the city of Bangkok, Thailand, where Alicia Framis produced the first portrait of a naked boy wearing nothing but a collar that read “Not for Sale.” This image gave rise to a series of photographs which, at first glance, seem light but nevertheless reflect the reality of the fragile and dangerous situation in which many children find themselves, threatened by the real risk of becoming just another market commodity.

In NOT FOR SALE MADRID ABIERTO 2008, Framis continues to expand on the same idea together with the artist, Michael Lin, although in another format: this time, they present a grand performance, a parade staged by sixty children of different ages wearing collars with the inscription “Not For Sale”, although with the peculiarity that each collar is specially designed by different Spanish jewellers, gold and silversmiths and designers who have collaborated in the project.

Michael Lin is responsible for the architectural structure on which the performance unfolds, designed in a textile painted with the bright prints that characterise all his work and that serve as the platform for the action.

.............................................................................................................................................................................................................................................BOOK (MADRID ABIERTO 2004-2008) + WEB 

NOT FOR SALE. A project by Alicia Framis and Michael Lin

Alicia Framis presents her most recent work, the majority of which was prepared in Shanghai, where she currently lives and works. As in the case of Not For Sale (2007) for Madrid Abierto, Framis’ projects are always related to society and directly influenced by the reality that surrounds her and her immediate environment.  Using elements of fashion design, popular culture and architecture, Not For Sale (2007) reflects that reality.

Not For Sale is a work in progress that analyses the situation of children who are sold all over the world. The project began in the city of Bangkok, Thailand, where Framis produced a first portrait of a naked chets child but a necklace that read “not for sale.”

At first glance, the images are gentle and sweet. The children are smiling and appear healthy and happy. It is only on close inspection that what Framis seeks to emphasise comes to light: the reality of the fragile and dangerous situation that many children currently find themselves in. From the moment we are born, a price tag is placed on us, and many children face the real risk of becoming just another product of the global market.

Since living in China, Framis is interested in the idea of the portrait as a propaganda tool, such as the posters of Mao Sedong or Thailand’s king, Bhumibol Adulyadej, both normally exhibited throughout the city. Not For Sale employs the same methods of propaganda portraits, maintaining the same measurements but changing the subject of the leader for a more domestic version. These posters always come across as optimistic and encouraging and contain certain details and attributes that suggest the message, only shown discreetly at the bottom, otherwise through the flag or a multitude depicting the power of the leader. Framis shows a smiling child in an ideal scene just bearing a small attribute - the small necklace that reveals the child’s possible destiny.

For Madrid Abierto 2008 the artist proposes a grand performance night: a cultural event. The initiative will consist of a production in which sixty children of different ages will wear necklaces or pendants bearing the message “Not For Sale”, as in the above-mentioned portraits. However, this time with the peculiarity that each necklace will have a special and different design, as each will have been designed by different Spanish jewellers, gold and silversmiths and designers of accessories who have been invited to participate in the project, namely, Chus Burés, Marta Miguel, Alberto Leonardo, Carol Salazar, Uovo, Paz Sintes, Oscar León, Jorge Masanet, Nim Art Gallery, Alicia Framis and different jewellers from Thailandia and Shangai. The children will just be wearing trousers, with their naked chests revealing their necklaces as the main attraction piece.

Likewise, Framis presents this work together with the artist Michael Lin, who will be responsible for designing a special architectural structure or platform made from fabric, on which the performance will take place.

The striking prints that characterise Michael Lin’s painting are taken from traditional Asian fabrics. The prints, the culture, the industrial manufacture of the fabrics and the traditional decorative art are extremely important concepts in his work.  The fabric is thus transformed into architectural structures on which the children will parade, generating a mutually complementing dialogue between both projects.

Thus, the architectural structure with oriental fabric prints will become the perfect scene for the children’s parade, wearing the Not For Sale necklaces.

 

 

 

 

 

 

 

 

08intc1968, 08intc1970

2008. Alicia Framis + Michael Lin. NOT FOR SALE / NO SE VENDE (images)

2008. Alicia Framis + Michael Lin. NOT FOR SALE / NO SE VENDE (images)

 

    

         

         

           

           

                 

        

 

 

 

 

 

 

 

 

 

 

 

08inic1965