Krisdy Shindler |
b 1977 based in Vancouver Canada Contact: ydsirk@yahoo.com |
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When a Painting Moves.... Something Must be Rotten When does a painting stop being a painting? How can we contruct a painting that informs itself through analogue and digital realms? These are among the questions that are raised in this exhibition. Participating artists: Monika Bravo, Alexey Buldakov, Ivan Candeo, Myritza Castillo, Raúl Cordero, Raphael DiLuzio, Chus García-Fraile, Ori Gersht, José Maçãs de Carvalho, Fabián Marcaccio, Enrique Marty, Krisdy Shindler, Sam Taylor-Wood, Mariana Vassileva, Bill Viola, Tim White Sobieski, AK Dolven og Crispin Gurholt.
The video exhibition, Patria o Libertad!, is a critical exploration of nationalism and patriotism at a time when national identity is strongly questioned by some and passionately defended by others. The combined forces of immigration, globalization and economic recession are generating problems around the world. Neoconservativism brings new meaning to the concepts of ‘belonging’, ‘motherland’ and ‘nation’ as immigration causes tensions between resident and immigrant populations. Patriotism is a key word for those trying to follow a difficult debate in all its vicissitudes. In contemporary art, it is a current theme.. In Patria o Libertad!, 20 international artists present their visions. Exhibitions 2010 Description: ANIMATIONS by Krisdy Shindler If you have difficulty viewing the animations, you can also watch on Vimeo, click HERE +++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++++ KRISDY SHINDLER THROUGH PLAYING WITH TRADITIONAL ARCHETYPES IN PAINTING--SUCH AS ICONOGRAPHY, AND THE RECORDING OF LIGHT AND MOVEMENT--KRISDY SHINDLER’S WORK CRITIQUES THE ABILITY OF THE MEDIUM TO STAY CURRENT, WHILE SUGGESTING ALTERNATIVE WAYS TO VIEW THE PRACTICE. INSTEAD OF CONVENTIONALLY WORKING ON CANVAS, SHINDLER HAS SHIFTED TO PAINTING ON VELLUM--A TRANSLUCENT MATERIAL OFTEN USED IN COMBINATION WITH A LIGHT BOX. THE POTENTIAL AND RELATIVE EASE IN WHICH THE VELLUM CAN FILTER LIGHT AND BECOME ILLUMINATED WHEN BACK LIT, CONTRASTS SHARPLY WITH THE SKILLED AND DIFFICULT TALENT OF THE PAINTER NEEDED TO RENDER LUMINOSITY ONTO CANVAS. THE EASE OF THE VELLUM PAINTINGS TO BE BACK LIT IS THUS TELLING OF THE COMPETITION PAINTING HAS BETWEEN OTHER MEDIUMS WHICH—TECHNICALLY SPEAKING—MAY SHINE MUCH BRIGHTER. IN OTHER WORKS SUCH AS A RECIPROCAL PROCESS OF BECOMING, SHINDLER HAS CREATED A SIMPLE STOP MOTION ANIMATION THAT CHARTS THE PROCESS AND DECISION MAKING THAT GOES INTO THE PRODUCTION OF A PAINTING. THE FILMS ARE PRESENTED AS PAINTINGS AND ESTABLISH A HISTORICAL NARRATIVE BETWEEN THE TWO MEDIUMS. STARTING AT THE BEGINNING OF THE 20TH CENTURY PAINTERS—INFLUENCED BY CINEMA—ATTEMPTED TO REPRESENT MOVEMENT WITHIN THE STATIC MEDIUM. SHINDLER PARODIES THIS STRUGGLE TO RENDER MOTION THROUGH EDITING TOGETHER THE PHOTOGRAPHS WHICH DOCUMENT THE PROCESS OF MAKING AN IMAGE—INHERENTLY EVERY PAINTING IS THE END RESULT OF THE ACTIONS TOOK TO MOVE PAINT ACROSS A SURFACE. SHINDLER’S WORK SEEMS SKEPTICAL OF PAINTING'S ABILITY TO CREATE NEW SYMBOLS AS THE DISCIPLINE HAS HISTORICALLY DONE. ALTHOUGH THE IMAGERY IN HER PAINTINGS MAY HAVE AT ONE POINT HELD GREATER MEANING, THEY NOW BORDER ON KITSCH STATUS. ONCE POLITICALLY CHARGED SYMBOLS SUCH AS RIOTS AND RAINBOWS HAVE BEEN MADE NEUTRAL BY THEIR OVER USE AND SATURATION INTO MAIN STREAM MEDIA. THIS IS DRASTICALLY DIFFERENT FROM HOW PAINTINGS USED TO BE VIEWED, BUT PARTICULARLY TELLING OF OUR TIME WHICH HAS SEEN A GREAT INFLUX IN EXPOSURE TO IMAGES BUT A GENERAL DEVALUATION IN THEIR MEANING. FOR EXAMPLE SLOGANS SUCH AS RIOT2010 WERE COMMON PLACE ON VANCOUVER STREETS PRE-OLYMPICS BUT THE EFFECT WAS MARGINAL—THERE WERE NO SIGNIFICANT RIOTS. SHINDLER HAS THUS REDUCED THESE WOULD BE RHETORICAL IMAGES TO MERE FORMAL COMPOSITIONAL ELEMENTS. WITHIN THIS CRITIQUE HOWEVER IS THE NOTION THAT LIKE THE VELLUM THE PAINTINGS ARE PAINTED ON, THE USE OF A PROPER SUPPORTING DEVICE MAY TO HAVE THE POTENTIAL TO ILLUMINATE THESE DORMANT SYMBOLS ONCE AGAIN. JUST AS CERTAIN MOMENTS ALLOW FOR THE SYMBOL OF THE "RAINBOW" TO BECOME SIGNIFICANT POTENTIALLY IN THE FUTURE AND IN THE RIGHT CONTEXT, IT COULD BECOME SIGNIFICANT AGAIN. KRISDY SHINDLER HOLDS A BFA FROM EMILY CARR UNIVERSITY AND A MFA FROM GLASGOW SCHOOL OF ART, HER WORK HAS BEEN EXHIBITED IN CANADA, ISRAEL, DENMARK, SWEDEN, SPAIN, NEW YORK, AND ACROSS THE UK, WALES, AND SCOTLAND. Listening to Silent Propaganda is a series of new works created by Krisdy Shindler while on a two month residency in Stockholm (May-June 2008) at the Nordic guset studio at Malongen (NKF- Nordic Art Association), by invitation from Candyland gallery. |
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