Sean Snyder la MNAC
6.09 - 6.12.2007
vernisaj/ opening: 6.09, 19.00
curatori/ curators: Florin Tudor, Mihnea Mircan
MNAC, Calea 13 Septembrie, Bucuresti
In instalatii care integreaza fotografie, video si text, Sean Snyder analizeaza rolul si procesele reprezentarii ideologice in constructia spatiului urban sau medial. Dupa proiecte in care a investigat arhitectura si urbanismul, trasind legaturi intre orase indepartate, dar asemanatoare prin programele lor de "modernizare", lucrarile recente ale Sean Snyder articuleaza un discurs care urmareste simptome ale reprezentarii ideologice si, de cealalta parte, contrapuncte subversive fata de sursele de informatie dominante.
Artistul a comparat programele de transformare urbana din Bucuresti si Phenian, ale caror ambitii sugereaza un soi de "sublim politic", fictiunea ranch-ului Southfork din serialul "Dallas" cu fictiunea "Southfork Slobozia", unde magnatul local Ilie Alexandru a construit o copie fara original, planurile lui Kenzo Tange pentru reconstruirea orasului Skopje dupa cutremur si estetica exuberanta a blocurilor de la periferiile Parisului. In proiecte ulterioare, Snyder propune o critica a reprezentarii ideologice, care izoleaza disparitatile, voluntare sau nu, vehiculate de mass media, si analizeaza diferentele dintre modurile in care este relatat acelasi eveniment pe fundalul unei tesaturi de aliante politice nebuloase, corelatii suspecte si calcule populiste. Guvernele si corporatiile emit enunturi cu scopul de a motiva sau linisti, de a vinde sau de a face adepti. Proiectele lui Sean Snyder nu raspund cu intentia utopica de a restabili adevarul, ci cu programul, aproape la fel de anevoios, de a arhiva fisurile retorice din comunicarea publica si jumatatile de adevar, actele ratate colective si aliantele secrete. Lucrarile ne invita sa ne imaginam o harta a lumii compusa din acte de manipulare si intelesuri suspendate, un fel de "agenda ascunsa" globala.
"Arhivele" pe care le construiesc sint un fel de sub-indexuri imprumutate din surse existente de informatie: biblioteci, internet, mass media etc. Nu incerc sa stabilesc vreo ierarhie intre resursele existente si fotografiile ori materialul video pe care il produc eu insumi. Tot ceea ce string sau produc face parte dintr-un proces de refacere a verigilor lipsa. Intelesul se materializeaza prin reconfigurari si juxtapuneri care pun in legatura elemente disparate, fara a oferi o concluzie definitiva. Una dintre posibilitatile discursului artistic este sa reevalueze reziduurile trecutului imediat, politic sau cultural. Sean Snyder, in dialog cu Charles Esche.
Sean Snyder s-a nascut in 1972, la Virginia Beach, SUA. Traieste si lucreaza la Berlin si Kiev. Expozitiile sale personale recente au fost gazduite de Stedelijk Museum CS (Amsterdam), Secession (Viena), Portikus (Frankfurt), De Appel (Amsterdam), Neue Kunsthalle (St. Gallen), si Lisson Gallery (Londra).
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Parteneri MNAC: HP, BRD
Sponsor: Peroni
Partneri media: 24 Fun, Re:PUBLIK, Igloo, Arhitectura, Rfi, Time Out Bucuresti
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The National Museum of Contemporary Art
2-4, Str. Izvor, aripa E4, Bucharest (RO), 050563
tel: +40 21 318 91 37/ fax: +40 21 318 91 38, www.mnac.ro
In instalatii care integreaza fotografie, video si text, Sean Snyder analizeaza rolul si procesele reprezentarii ideologice in constructia spatiului urban sau medial. Dupa proiecte in care a investigat arhitectura si urbanismul, trasind legaturi intre orase indepartate, dar asemanatoare prin programele lor de "modernizare", lucrarile recente ale Sean Snyder articuleaza un discurs care urmareste simptome ale reprezentarii ideologice si, de cealalta parte, contrapuncte subversive fata de sursele de informatie dominante.
Artistul a comparat programele de transformare urbana din Bucuresti si Phenian, ale caror ambitii sugereaza un soi de "sublim politic", fictiunea ranch-ului Southfork din serialul "Dallas" cu fictiunea "Southfork Slobozia", unde magnatul local Ilie Alexandru a construit o copie fara original, planurile lui Kenzo Tange pentru reconstruirea orasului Skopje dupa cutremur si estetica exuberanta a blocurilor de la periferiile Parisului. In proiecte ulterioare, Snyder propune o critica a reprezentarii ideologice, care izoleaza disparitatile, voluntare sau nu, vehiculate de mass media, si analizeaza diferentele dintre modurile in care este relatat acelasi eveniment pe fundalul unei tesaturi de aliante politice nebuloase, corelatii suspecte si calcule populiste. Guvernele si corporatiile emit enunturi cu scopul de a motiva sau linisti, de a vinde sau de a face adepti. Proiectele lui Sean Snyder nu raspund cu intentia utopica de a restabili adevarul, ci cu programul, aproape la fel de anevoios, de a arhiva fisurile retorice din comunicarea publica si jumatatile de adevar, actele ratate colective si aliantele secrete. Lucrarile ne invita sa ne imaginam o harta a lumii compusa din acte de manipulare si intelesuri suspendate, un fel de "agenda ascunsa" globala.
"Arhivele" pe care le construiesc sint un fel de sub-indexuri imprumutate din surse existente de informatie: biblioteci, internet, mass media etc. Nu incerc sa stabilesc vreo ierarhie intre resursele existente si fotografiile ori materialul video pe care il produc eu insumi. Tot ceea ce string sau produc face parte dintr-un proces de refacere a verigilor lipsa. Intelesul se materializeaza prin reconfigurari si juxtapuneri care pun in legatura elemente disparate, fara a oferi o concluzie definitiva. Una dintre posibilitatile discursului artistic este sa reevalueze reziduurile trecutului imediat, politic sau cultural. Sean Snyder, in dialog cu Charles Esche.
Sean Snyder s-a nascut in 1972, la Virginia Beach, SUA. Traieste si lucreaza la Berlin si Kiev. Expozitiile sale personale recente au fost gazduite de Stedelijk Museum CS (Amsterdam), Secession (Viena), Portikus (Frankfurt), De Appel (Amsterdam), Neue Kunsthalle (St. Gallen), si Lisson Gallery (Londra).
.....................................................................
Working with photography, video and text, Sean Snyder dissects the role and processes of ideological representation in the construction of the urban and media space. After extensive research into notions and forms of architecture or urban planning, tracing connections between distant cities and their similar "modernization" programs, Sean Snyder has articulated more recently a discourse that uncovers symptoms of ideological representation and subversive counterpoints to dominant knowledge.
Snyder's projects have followed the comparable ambitions “ pertaining to a sort of political sublime “ that propelled the communist remodeling of Pyongyang and Bucharest, a comparison between the fiction of the Southfork ranch in the TV series "Dallas" and the fiction of Southfork Slobozia, where a copy without an original has been built by local magnate Ilie Alexandru, the plans of Kenzo Tange to rebuild Skopje following an earthquake and the exuberant aesthetics of housing blocks in the peripheries of Paris. In later projects, Snyder undertook a critique of ideological representation, pinning down the disparities, deliberate or not, being trafficked by mass media, analyzing the capacity of news events and the different manners they are reported to reveal a web of dependencies, partisanships and populist calculation. Governments and corporations emit sentences designed to motivate or reassure, to sell or win over. Sean Snyder's projects do not respond with an utopian effort to re-establish truth, but with a quixotic program to archive rhetorical glitches and premeditated half-truths, collective Freudian slips and baffling misalliances, engendering a world map of acts of manipulation and suspended meanings, prefiguring in a sense a global hidden agenda.
The "archives" I construct are sort of sub-indexes borrowed from existing sources of knowledge; libraries, the Internet, media sources, etc. I don't make much of a hierarchy between the existing resources from which I borrow and the photos or video material I produce myself. Whatever I accumulate or produce is part of a process to fill in the missing links. The meaning materializes through re-configurations and juxtapositions that cross-reference a number of disparate points without offering an end conclusion. I see one of the possibilities of art to reassess the debris of the immediate political or cultural past. - Sean Snyder, in discussion with Charles Esche
Sean Snyder was born in Virginia Beach, USA in 1972. He lives and works in Berlin and Kiev. Recent solo exhibitions include the Stedelijk Museum CS (Amsterdam), Secession (Vienna), Portikus (Frankfurt), De Appel (Amsterdam), Neue Kunsthalle (St. Gallen), and Lisson Gallery (London).
.....................................................Snyder's projects have followed the comparable ambitions “ pertaining to a sort of political sublime “ that propelled the communist remodeling of Pyongyang and Bucharest, a comparison between the fiction of the Southfork ranch in the TV series "Dallas" and the fiction of Southfork Slobozia, where a copy without an original has been built by local magnate Ilie Alexandru, the plans of Kenzo Tange to rebuild Skopje following an earthquake and the exuberant aesthetics of housing blocks in the peripheries of Paris. In later projects, Snyder undertook a critique of ideological representation, pinning down the disparities, deliberate or not, being trafficked by mass media, analyzing the capacity of news events and the different manners they are reported to reveal a web of dependencies, partisanships and populist calculation. Governments and corporations emit sentences designed to motivate or reassure, to sell or win over. Sean Snyder's projects do not respond with an utopian effort to re-establish truth, but with a quixotic program to archive rhetorical glitches and premeditated half-truths, collective Freudian slips and baffling misalliances, engendering a world map of acts of manipulation and suspended meanings, prefiguring in a sense a global hidden agenda.
The "archives" I construct are sort of sub-indexes borrowed from existing sources of knowledge; libraries, the Internet, media sources, etc. I don't make much of a hierarchy between the existing resources from which I borrow and the photos or video material I produce myself. Whatever I accumulate or produce is part of a process to fill in the missing links. The meaning materializes through re-configurations and juxtapositions that cross-reference a number of disparate points without offering an end conclusion. I see one of the possibilities of art to reassess the debris of the immediate political or cultural past. - Sean Snyder, in discussion with Charles Esche
Sean Snyder was born in Virginia Beach, USA in 1972. He lives and works in Berlin and Kiev. Recent solo exhibitions include the Stedelijk Museum CS (Amsterdam), Secession (Vienna), Portikus (Frankfurt), De Appel (Amsterdam), Neue Kunsthalle (St. Gallen), and Lisson Gallery (London).
Parteneri MNAC: HP, BRD
Sponsor: Peroni
Partneri media: 24 Fun, Re:PUBLIK, Igloo, Arhitectura, Rfi, Time Out Bucuresti
...................................................................................
The National Museum of Contemporary Art
2-4, Str. Izvor, aripa E4, Bucharest (RO), 050563
tel: +40 21 318 91 37/ fax: +40 21 318 91 38, www.mnac.ro
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