Those bastard in caps come to have fun and relax by the seaside instead of continuing to work in the factory

Exposición / Tent Rotterdam / Witte de Withstraat, 50 - 3012BR / Rotterdam, Zuid-Holland, Holanda
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Cuándo:
01 may de 2015 - 05 jul de 2015

Inauguración:
01 may de 2015 / 18:00

Organizada por:
Tent Rotterdam

Artistas participantes:
Priscila Fernandes

ENLACES OFICIALES
Web 

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Etiquetas
Arte contemporáneo  Arte contemporáneo en Zuid-Holland  Instalacion  Instalacion en Zuid-Holland  Pintura  Pintura en Zuid-Holland 

       

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Descripción de la Exposición

This solo exhibition of Priscila Fernandes brings together a selection of her most recent installations and newly developed work. Fernandes (b. 1981, Portugal, based in Rotterdam) questions the influence of artistic processes such as creativity and non-conformism in education, labor and play and how these are used for both practical and ideological purposes. For The Book of Aesthetic Education of the Modern School (2014), Fernandes transforms TENT’s main room into an installation with a double function: it is both an artwork and a temporary classroom. The installation, inspired by the radical ideas of the Escuela Moderna (Modern School, Barcelona 1901–06), features Fernandes’s book ¿Y El Arte?, which sheds light on the different debates that could have formed part of the Escuela Moderna pedagogical doctrine in relation to art. The book raises questions about art and education, and the role of art in shaping a new society. In collaboration with Fernandes, Piet Zwart Institute’s Master of Education in Arts will use the facilities for workshops, student meetings and a number of public lectures in order to map the field in which educators, curators and artists move. The title of Fernandes’s solo exhibition refers to a French newspaper article from 1936 and to Fernandes’s interest in questions pertaining to the relationship between labor and leisure time in our highly productive society. Fascinated by the rational painting technique of French pointillists derived from their anarchist ideals, Fernandes dissects the foundations of their visual language in a series of photographs and paintings. The themes in the work of the Neo-Impressionists changed gradually from the depiction of urban social issues to painting idyllic landscapes in the coastal towns of the Mediterranean. This development anticipates the rise of mass tourism and changing notions of labor and leisure. What is the position of art and the artist in shaping society, and how do society and its values influence the works of artists?

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