Clare Ann Matz goes Video

“I have  always explored the relationship between music, the spoken word and video art with collaborations between poets and musicians and filmmakers. Having worked on various multimedia productions I have acquired a sensitivity towards the alchemy of combining these elements: the volumes and textures, the colours and forms. The rhythm and of course meaning of the lyrics all contribute in creating a message which reaches the viewer/listener on different levels and touches their unconscious world.”

Clare Ann Matz about her art.

clare profile with name

I met Clare some years ago in Thailand. I was impressed by her creativity and her way of life. She wrote an article on sl4artglobal. You find it here. Now she goes into video production and I was stunned to learn about her newest projects, which will be described in the following text.

Clare Ann Matz is a journalist, writer, performance artist, musician, painter and film director.  Born in New York City she has travelled the world extensively. She  has lived and worked in Italy since the early 1980s.

portrait clare tim tour 2002 (Large)

She won the 1° prize “Città di Commacchio” at the Palazzo dei Diamanti of Ferrara with „Energy“ (1984). In 1987 she worked in New York City with the Japanese Butoh group Poppo and later that year she was a performance artist at the  Festival Kassel Documenta 8 with Italian dance/theatre group Kripton.

Clare hosted television shows for VideoMusic Italy and SuperChanel London from 1989 to 1995 and directed from 2000 to 2002 the TV show “Bande Sonore”  for Italia 1.
She performed at the Biennale in Venice in 1999 with the Progetto Oreste and again in 2006 with the Retrò project presenting „Le Città invisibili“ by Italo Calvino.

Currently she collaborates with The CAM Art Co. in New York City and poets and artists in Italy.

Recently, having studied music at the Venice conservatory of Music as a child and using modern electronic programs, she has composed a number of songs and wants to experiment with the extraordinary world of „Alice in Wonderland“ by Lewis Carroll. Jabberwocky is the first of this series of video/poems she is now working on.

Frontiere1

It is based on Lewis Carroll’s „Through the Looking-Glass and What Alice Found There“ (1872). She sang it backwards as if reading it through a mirror and enjoyed the freedom that using sounds rather than words.

The animated graphic designs are made by artist Adam Pizurny. „Our collaboration was possible thanks to the internet, which offers exceptional information and opportunities. The possibility of exchanging files rapidly and elaborating them on line is a whole new experience in comparison with the pioneering days when all technical equipment was big and bulky and the results were often rough and unpolished“, states Clare.

If you or any other artist would like to collaborate with Clare for the next videos, please feel free to contact her.

www.clareannmatz.com

 

 

Patti Smith: Higher Learning, Parma

Patti Smith, Slippers of Pope Benedict XV, New York City, 2007, 10 X 8 in (25.4 X 20.3 cm) (Large)

Patti Smith, Slippers of Pope Benedict XV, New York City, 2007.

A review by guest author Clare Ann Matz.

 PATTI SMITH „Higher Learning“

120 photographs by Patti Smith and THE NY SCENE „Art, culture and the new avant-garde movement in the 70s – 80s“
150 works of art by Galella, Ginsberg, Gorgoni, Makos, Warhol …

Palazzo del Governatore
Parma, Italy
Until July 16, 2017.

Patti Smith, Auto Portrait 2, 2003, 10 X 8 in (25.4 X 20.3 cm) (Large)

Patti Smith, Auto Portrait 2, 2003.

Higher Learning is a meditative journey on creativity and the passage of time, presenting 120 black and white Polaroid photographs taken by Patti Smith during her travels around the world, its title comes from the record Land, published in 2002.

Gianfranco Gorgoni, Jean Michael Basquiat, NYC, 1983, Lambda print mounted on aluminum, 180x130cm, -®Gianfranco Gorgoni _ Courtesy Photology.jpeg

Gianfranco Gorgoni, Jean Michael Basquiat, NYC, 1983, Lambda print mounted on aluminum, 180x130cm, ©Gianfranco Gorgoni _ Courtesy Photology.

The exhibition, organized by the University of Parma, the City of Parma and produced by International Music and Arts, celebrates the work of Patti Smith in occasion of  the honorary doctorate in classic and modern literature awarded her by the University of Parma on May 3rd, 2017.

The small photographs, taken with a vintage Land 250 Polaroid camera, are a visual diary showing the locations, the furniture, the statues, tombstones, and other objects which belonged to artists who contributed in developing Patti Smith’s cultural heritage, including Herman Hesse’s typewriter, Frida Kahlo’s bed, corset, crutches and medicine bottles, Paul Verlaine’s revolver, Margot Fonteyn’s ballet slippers and other relics.

Printed with gelatin silver process in limited 10 copy editions the photos defy the modern concept of digital photography, most images are out of focus and badly exposed, as if on a nostalgic quest, a longing for artistic masters and mementos from the past.

Patti Smith, Hermann Hesses's typewriter, Lugano, Switzerland, 2003, Gelatin silver print, edition of 10, 14 X 11 in (35.6 X 27.9 cm)

Patti Smith, Hermann Hesses’s typewriter, Lugano, Switzerland, 2003.

A yearning which has been at the heart of Patti Smith’s visual work from the very beginning, and whose embryo can be found in the book Babel published by G.P. Putnam’s Sons in New York in 1974.

Patti Smith, Pier Paolo Pasolini's grave, Giulia, Italy, 2015, Gelatin silver print, edition of 10, 8 X 10 in (20.3 X 25.4 cm)

Patti Smith, Pier Paolo Pasolini’s grave, Giulia, Italy, 2015.

Speaking about the honor of receiving a Laurea honoris causa Patti Smith comments:

„When I was young I dreamed of going to a big university. It is an honor to receive  the  Laurea honoris causa from Parma University, one of the oldest and most prestigious universities of Europe. I have always believed in the importance of education, and receiving this award from this eminent institution for higher education both embarrasses and stimulates me. This exhibition is a homage to another form of education. The university of life, of travelling, of books, artists, poets and teachers.

The images are visual representations of the pilgrimages and of gratitude, an ongoing love and respect for our cultural voices, for their great works and the humility of their instruments. A brush, a typewriter, the beds on which they dreamed. The places of their eternal peace.“

Patti Smith, gods hand rome, 2007, gelatin silver print, 20.32 X 25.4 cm

Patti Smith, God’s hand, Rome, 2007.

Gianfranco Gorgoni, Keith Haring in Front of Queens Bridge_, NYC, 1985, Vintage Gelatin Silver Print, 35,6x28cm, -®Gianfranco Gorgoni _ Courtesy Photology

Gianfranco Gorgoni, Keith Haring in Front of Queens Bridge, New York City, 1985.

The THE NY SCENE „Art, culture and the new avant-garde movement in the 70s – 80s“, produced by Photology in collaboration with the City of Parma, exhibits 150 images linked to the artistic environment which developed in New York City between the 70s and the 80s, when the city became the world capital of contemporary art and launched the Pop Art  movement and the Beat Generation.

The photographs exhibited illustrate a cauldron of art, sex, drugs, pop culture and literary avant-garde through the eyes of the artists that contributed in the creation of these movements: Galella, Ginsberg, Goldin, Gorgoni, Makos, Mapplethorpe and Warhol and others.

Christopher Makos, Altered Image-Portrait of Andy Warhol, NYC, 1981_82, 50x40cm, Installation of 9 digital pigment print, -®Christopher Makos _ Courtesy Photology

Christopher Makos, Altered Image-Portrait of Andy Warhol, NYC, 1981_82, 50x40cm, Installation of 9 digital pigment print, ©Christopher Makos _ Courtesy Photology.

However the alembic container of the Palazzo del Governatore purges them of the nitty-gritty, grubby, noisy reality of the Big Apple, distilling an essence of refined photographs, carefully enclosed in sober frames, which defy the very purpose of the exhibition, which is to illustrate the energy in the Big Apple in the 70s and 80s.

photology 102

Ron Galella, Mick Jagger, NYC, 08_09_1983, Vintage Gelatin Silver Print, 25,2×16,3cm, ©Ron Galella _Courtesy Photology.

The exhibition is divided in two sections „The East Side“ with Allen Ginsberg’s „Beat+Pieces“ portraying the poets of the Beat Generation with refined gelatin silver prints, including John Giorno, Gregory Corso, Julius Orlovsky and other interesting players of the scene such as Annie Leibovitz, John Cage and Judith Malina.

Allen Ginsberg, Francesco Clemente, Greenwich Village, N.Y.C., June 1992, Gelatin Silver Print, 30x40cm, -®Allen Ginsberg Estate, New York_ Courtesy Photology.jpg (Large)

Allen Ginsberg, Francesco Clemente, Greenwich Village, N.Y.C., June 1992, Gelatin Silver Print, 30x40cm, ©Allen Ginsberg Estate, New York_ Courtesy Photology.

Gianfranco Gorgoni who focuses more on visual artists with both b/w as well as striking, large Lambda color prints depicting Richard Serra, Francesco Clemente, Claes Oldenburg, Jean-Michel Basquiat, Roy Lichtenstein, Andy Warhol and Keith Haring.

Nan Goldin’s Cibacrome „Everyday“ photographs recall the more familiar atmospheres of those years.

There are also two films: A documentary by Gianfranco Gorgoni about the owner of renowned art gallery Leo Castelli and the work of Swiss filmmaker Albert Schepflin shot in Sandy Daley’s room at the Chelsea Hotel with a soundtrack by Patti Smith chanting the poem „Thief“.

Patti Smith, Winged Cherubim, San Severino Marche, 2009, 14 X 11 in (35.6 X 27.9 cm) (Large)

Patti Smith, Winged Cherubim, San Severino, Marche, 2009.

The second section „The West Side“ begins with Andy Warhol’s „Instant Polaroids“ of artists and the jet set which gravitated around each other including Jane Fonda, Ryan and Tatum O’Neal, John McEnroe, Joan Collins, John Denver and artists Jasper Jones and Roy Lichtenstein. „Altered Images“  by Christopher Makos is a series of stark portraits of Andy Warhol in normal clothes, but heavy facial make up. „Not a drag act but 8 wigs, 2 days and 349 shots“, as Makos recalls, to capture the king of Pop Art in his multiple facets. At last Ron Galella’s „Disco years“ are just that, Polaroid pictures of celebrities at the Studio 54.

Patti Smith, Gabriele D'Annunzio's bed, Brescia, 2015, Gelatin silver print, edition of 10, 10 X 8 in (25.4 X 20.3 cm)

Patti Smith, Gabriele D’Annunzio’s bed, Brescia, 2015.

A small room with just one large photograph of a skull is dedicated to Robert Mapplethorpe yet one can spend a good hour there (they have placed comfortable benches) watching a clever 2016 HBO documentary film by Randy Barbato and Fenton Bailey. „Look at the pictures“ depicts the extra-ordinary life of the controversial photographer through interviews with friends, school mates, colleagues, clients and gallery owners, plus historic footage, drawings made as a child, multimedia experiments at Pratt Institute and of course many exceptional photographs. Especially touching is the extensive interview with Robert Mapplethorpe’s brother Edward and the trial during which the Cincinnati Contemporary Arts Center was charged of obscenity twenty-five years ago.

Patti Smith, Michelangelo, David, Florence, 2007, Stampa su gelatina al bronuro d'argento, 35.56 X 27.94 cm (Large)

Patti Smith, Michelangelo, David, Florence, 2007.

As one exits the gallery a final room houses the double screening of Andy Warhol’s 1967 film „Chelsea Girls“, maybe an interesting experiment for the time, but quite insignificant after the overwhelming experience of a full immersion in Robert Mapplethorpe’s world.

Patti Smith, Columns (Gabriele D'Annunzio's garden), 2003, Gelatin silver print, edition of 10, 10 X 8 in (25.4 X 20.3 cm) (Large)

Patti Smith, Columns (Gabriele D’Annunzio’s garden), 2003.

 

 

Venice – Biennale di Arte 2015: Mexican Pavilion

L1170948 (Large)Possessing Nature is a single, site-specific installation, conceptualized collaboratively by artists Tania Candiani and Luis Felipe Ortega. The work not only integrates, but also discerns each of their artistic practices, while interweaving their research interests and aesthetic discourses with the curatorial concept and the discussion proposed by Okwui Enwezor for the 56th edition of the Art Biennale 2015. The resulting work of the trace addresses modernizing technological remedies and their pervading effects.

Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: French Pavilion

L1170982 (Large)Céleste Boursier-Mougenot transforms the French Pavilion in the Giardini from a vast, vaulted space to a kinetic forested oasis intended for reflection and retreat. The French artist presents “revolutions” as an experimental ecosystem that reveals the constantly evolving state of nature through sound, light and motion. The exhibition transports viewers to an otherworldly oasis of vegetation, where trees have been liberated from their original place of habitation and their roots revealed outside the pavilion and on the gallery floor. A low-voltage electrical current makes the trees move around inside the pavilion, producing an electric rustling sound environment, where visitors can find a place to relax on the semicircle of surrounding steps.

Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: Nordic Pavilion

L1170980 (Large)This year Norway will be solely responsible for the Nordic Pavilion in the Giardini at the Venice Biennale for the first time in its history. For this unprecedented occasion, the Office for Contemporary Art Norway (OCA) has commissioned artist Camille Norment (born 1970) to develop the project.

Norment’s „Rapture“ is a site-specific, sculptural and sonic installation in the Nordic Pavilion, for which the American-born, Oslo-based artist has composed new music on the glass armonica – a legendary 18th-century instrument that creates ethereal music from glass and water.

Invented by Benjamin Franklin and once played by Mozart and Marie Antoinette, the glass armonica was at first celebrated for curing people with its entrancing music, but later it was banned because it was thought to induce states of ecstasy and arouse sexual excitement in women. If it had the power to cure, so the logic went, this bewitching instrument might also have the power to kill through over-exciting its listeners.

In a contemporary context, Norment explores the tensions this music raises today by creating a multi-sensory space, which reflects upon the history of sound, contemporary concepts of consonance and dissonance, and the water, glass and light of Venice.

The artist composes a chorus of voices that correspond to the unresolved notes of the much censored „devils’s“ tritone and of the glass armonica, and this chorus immerses visitors to „Rapture“.

„Rapture“ explores the relationship between the human body and sound, through visual, sonic, sculptural and architectural stimuli. Today the sonic realm can be both a space of misuse, as we have seen in the militaristic use of sound to abuse the body, and of affirmation, as in the performative utterance of free speech to affirm the right of the body’s very existence. The body can be stimulated and moved by sound, and in Norment’s work, the Nordic Pavilion itself becomes a body in rapture and rupture, consonance and dissonance.L1170981 (Large)Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: Russian Pavilion

L1170976 (Large)The Russian Pavilion in the Giardini at the 56th Venice Biennale presents Irina Nakhova’s The Green Pavilion. Since the mid-1970s, Nakhova (born 1955) has made a significant contribution to the development of Moscow Conceptualism, infusing its logocentric model with visual intensity and a critical edge. In the early 1980s, using one of the rooms in her Moscow apartment, Nakhova embarked on a series of environments entitled „Rooms“. The series anticipated Ilya Kabakov’s iconic Moscow installation „The Man Who Flew into the Cosmos from His Room“. The Russian Pavilion is painted green, a color deliberately chosen to evoke the original appearance of the building, designed by Aleksei Shchusev in 1914.L1170975 (Large) L1170978 (Large) L1170977 (Large)Biennale di Venezia, Italy till November 22, 2015

Venice – Biennale di Arte 2015: German Pavilion

L1180005 (Large) L1170997 (Large)The German Pavilion has often acted as an artistic echo chamber for German history and identity. This year in the Giardini, the Pavilion’s large, quiet interior with its great height and accompanying sense of volume is a resonant space in which the productive sound of a globalized world can be heard. Starting from their varied reflections on the notions of „work“, „migration“, and „revolt“, the four artistic positions transform the building into a factory, into a vanished, virtual factory of the imagination, into a factory for political narratives and for analysing our visual culture.

The actors who populate the works by Olaf Nicolai, Hito Steyerl, Tobias Zielony, and Jasmina Metwaly/Philip Rizk are figures of revolt. We are confronted by these figures in all four works – be they theatrical, photographic, filmic, virtual, and/or physical in nature. The interpretation of the building’s verticality provides a number of different stages for this pavilion with its inherent spirit of resistance: Ranging from a basement area all the way up to the roof. It is important too that the roof appears as a heterotope, as „another place“, in which freedom is evoked.L1170998 (Large) L1170999 (Large) L1180001 (Large)Biennale di Venezia, Italy till November 22, 2015