Anthropocene or physiceen.
Let's assume that we don't live in the antopoceen but in the physiceen.
We assume that the earth's climate is set not mainly by humans but mainly by nature.
The human controls the climate with the CO2 emission, the depletion of the soil, the killing of animals and in other ways. Suppose we don’t have a crisis due the extinction of plants and animals, the temperature rise, the melting of polar ice caps.
Suppose that the crisis is caused by nature. The nature controls the climate due the intensive co-existence of plants and animals, due the large quantities plants and animals on a per area, due the exchange of the food and fertilizer, due the lack of opportunities that humans are given. This is a crisis only for humans; these cannot live because of plants or animals.
The physiceen looks like Casa Dos Leoes by Henrique Oliveira. The trees take possession of the houses, so there is no residence for humans. How dangerous is this for the human race?
Now we go back to our temporary crisis; the crisis for our planet because of humans. Casa Dos Leoes by Henrique Oliveira makes tangible how threatening the anthropocene is for our planet.
By Theo, www.artatsite.com
Vertaling
Antropoceen of physiceen.
Stel we leven niet in het antopoceen maar in het physiceen.
We nemen aan dat het klimaat op aarde niet vooral door de mens maar vooral door de natuur bepaald is.
De mens bepaalt het klimaat door CO2 uitstoot, het uitputten van gronden, het doden van dieren en op andere manieren. Stel dat wij geen crisis hebben vanwege het uitsterven van dieren en planten, temperatuurstijging, smelting van ijskappen.
Stel dat de crisis is veroorzaakt door de natuur. De natuur bepaalt het klimaat door het intensieve samenleven van planten en dieren, door de grote aantallen planten en dieren per oppervlakte, door de uitwisseling van voedsel en bemesting, door het gebrek aan mogelijkheden die de mens krijgt. Dit is alleen een crisis voor de mensheid; die wordt het leven onmogelijk gemaakt door planten en dieren.
Het physiceen ziet eruit als Casa Dos Leoes van Henrique Oliveira. De bomen nemen bezit van de woningen, zodat er geen woonplaats voor de mens is. Hoe bedreigend is dit voor de mensheid?
Nu gaan we terug naar onze hedendaagse crisis; de crisis van de aarde vanwege de mens. Casa Dos Leoes van Henrique Oliveira maakt ons voelbaar hoe bedreigend het antropoceen voor onze aarde is.
Door Theo, www.artatsite.com
www.instituteforpublicart.org:
The piece raised a citywide discussion about the value of public artworks''and served as a commentary on social decay.
www.instituteforpublicart.org:
The sculptural works of artist Henrique Oliveira are built from scraps of deconstructed plywood glued into vaguely organic forms. In museum installations, his works achieve a life-like form that contrasts with the '˜white box' sterility of the gallery. For Sào Paulo, Brazil's VII Bienal do Mercosul, Oliveira took over an abandoned two-story dwelling and built a sculptural form that seemed to bulge out of the structure's windows and doors and leak into the public street.
Unlike Oliveira's gallery works, this installation near a busy thoroughfare in the city drew immediate public attention''and not all of it positive. The interest began during construction, according to the artist, when crowds began to gather and comment on the work. Many of these passersby were excited that the long-abandoned properteceiving some attention. Their curiosity focused on what use the building would be put to. As the work progressed, however, the piece raised a larger, citywide discussion about the value of public artworks''and served as a commentary on social decay.
The process of construction is an important aspect of this larger conversation, according to Oliveira. The artist gathers scraps of plywood fencing from dumpsters and other trash sites. The layers of plywood are peeled apart and then re-glued into his distinctive organic forms. Oliveira describes this as a process of 'returning the material to its original place''the street.' Instead of the 'aseptic environment of galleries and museums,' he says, 'in this project, the materials had a harmonic integration with the building's aged walls,' which supported the illusion that the sculpture 'grew from its interior.
An added layer of meaning came from the fact that this abandoned property had been boarded up with the very same materials''the ubng''that Oliveira repurposed in the sculpture. 'This work was then made of the same kind of material that was already there. It was the same fence, but with its '˜flesh' modified,' he says.
The impact of the piece far exceeded Oliveira's expectations. 'The work was never conceived as an interactive public project,' he says. 'It was never directed for this or that local community, never pretended to help people, nor to teach anyone, nor to be beautiful nor ugly''but just to be a presence.' In spite of these lack of pretensions, the piece became a magnet for a larger discussion about public art and the Bienal. This conversation reached its peak when a prominent, conservative philosopher focused his ire on 'the monster house' as an example of bad public art left in the wake of the Bienal.
This public debate helped raise critical issues, not only about public art, but also about blight, urban renewal, and aesthetics generally, the artist says. The form of his sculpture was based on mors. The piece drew a parallel between 'the human body disorders and social disorders common in the big cities of Brazil,' says the artist. 'The work gave vision to the way Brazilian society has treated the problem of poverty and marginalized populations. Taking the term '˜social tissue' to its literal significance, the layers of aged and rotten wood, commonly seen in the construction of shanty towns, play in this work the role of degenerated organs and diseased skin.'
By making explicit these 'degenerated organs,' Oliveira contributed to an important discussion about the fairness and aesthetics of our increasingly urbanized world.
Source: Shanghai Academy of Fine Arts.
www.inhabitat.com:
Henrique Oliveira's recycled wood tumor Casa Dos Leões
Brazilian artist Henrique Oliveira creates sculptures, paintings and large-scale installations with violent organic aesthetics. For Casa dos Leões, a work created for the VII Bienal do Mercosul in Porto Alegre, he turned an entiulpture with growing tumor-like blobs popping out. The 'tapumes' peeled wood installation is made from old recycled plywood and it draws inspiration from medical textbooks and physical pathologies.
Henrique Oliveira holds a degree in painting but his work comprises an exploration of three-dimensional constructions and temporary installations.
He was a student in Sào Paulo when he spotted the plywood fence outside his window beginning to peel and fading into different layers creating beautiful shades and patterns.
That acted as a source of inspiration for his whole work, which is characterized by organic and peeled shapes that seem to grow in a violent way.
The use of recycled, locally-sourced materials is Oliveira's trademark. He uses old plywood, recycled fencing and other woods found in dumpsters and landfills near his home in Sào Paulo, onto (toxic) PVC as a support.
The undulating shapes are taken from medical textbooks, and are especially reminiscent of physical pathologies such as mors.
www.cargocollective.com:
The project was created for the VII Bienal do Mercosul, in Porto Alegre, Brazil, in 2009.
www.cargocollective.com:
Henrique Oliveira: (Ourinhos / SP, 1973) Holding a degree in painting, the artist explores three-dimensional constructions in the form of temporary installations and sculptures, in addition to work on canvases. Oliveira was the winner of the third edition of the CNI SESI Marcantonio Vilaça Award. He took part in the 29th Sào Paulo Biennial (SP) in 2010 with a sculpture of architectural dimensions whose interior space was possible to walk through. His works are included in such collections as the Sào Paulo Municipal Pinacotheca (SP) and the Itaú Cultural Institute. In 2011, he displayed works in the Smithsonian National Museum of African Art and the Boulder Museum of Contemporary Art (USA). In 2009, he constructed a large three-dimensional painting at the Rice Gallery in Houston (USA) and participated in the Monterrey Biennial (Mexico) and the Mercosul Biennial in Porto Alegre(RS).
Let's assume that we don't live in the antopoceen but in the physiceen.
We assume that the earth's climate is set not mainly by humans but mainly by nature.
The human controls the climate with the CO2 emission, the depletion of the soil, the killing of animals and in other ways. Suppose we don’t have a crisis due the extinction of plants and animals, the temperature rise, the melting of polar ice caps.
Suppose that the crisis is caused by nature. The nature controls the climate due the intensive co-existence of plants and animals, due the large quantities plants and animals on a per area, due the exchange of the food and fertilizer, due the lack of opportunities that humans are given. This is a crisis only for humans; these cannot live because of plants or animals.
The physiceen looks like Casa Dos Leoes by Henrique Oliveira. The trees take possession of the houses, so there is no residence for humans. How dangerous is this for the human race?
Now we go back to our temporary crisis; the crisis for our planet because of humans. Casa Dos Leoes by Henrique Oliveira makes tangible how threatening the anthropocene is for our planet.
By Theo, www.artatsite.com
Vertaling
Antropoceen of physiceen.
Stel we leven niet in het antopoceen maar in het physiceen.
We nemen aan dat het klimaat op aarde niet vooral door de mens maar vooral door de natuur bepaald is.
De mens bepaalt het klimaat door CO2 uitstoot, het uitputten van gronden, het doden van dieren en op andere manieren. Stel dat wij geen crisis hebben vanwege het uitsterven van dieren en planten, temperatuurstijging, smelting van ijskappen.
Stel dat de crisis is veroorzaakt door de natuur. De natuur bepaalt het klimaat door het intensieve samenleven van planten en dieren, door de grote aantallen planten en dieren per oppervlakte, door de uitwisseling van voedsel en bemesting, door het gebrek aan mogelijkheden die de mens krijgt. Dit is alleen een crisis voor de mensheid; die wordt het leven onmogelijk gemaakt door planten en dieren.
Het physiceen ziet eruit als Casa Dos Leoes van Henrique Oliveira. De bomen nemen bezit van de woningen, zodat er geen woonplaats voor de mens is. Hoe bedreigend is dit voor de mensheid?
Nu gaan we terug naar onze hedendaagse crisis; de crisis van de aarde vanwege de mens. Casa Dos Leoes van Henrique Oliveira maakt ons voelbaar hoe bedreigend het antropoceen voor onze aarde is.
Door Theo, www.artatsite.com
www.instituteforpublicart.org:
The piece raised a citywide discussion about the value of public artworks''and served as a commentary on social decay.
www.instituteforpublicart.org:
The sculptural works of artist Henrique Oliveira are built from scraps of deconstructed plywood glued into vaguely organic forms. In museum installations, his works achieve a life-like form that contrasts with the '˜white box' sterility of the gallery. For Sào Paulo, Brazil's VII Bienal do Mercosul, Oliveira took over an abandoned two-story dwelling and built a sculptural form that seemed to bulge out of the structure's windows and doors and leak into the public street.
Unlike Oliveira's gallery works, this installation near a busy thoroughfare in the city drew immediate public attention''and not all of it positive. The interest began during construction, according to the artist, when crowds began to gather and comment on the work. Many of these passersby were excited that the long-abandoned properteceiving some attention. Their curiosity focused on what use the building would be put to. As the work progressed, however, the piece raised a larger, citywide discussion about the value of public artworks''and served as a commentary on social decay.
The process of construction is an important aspect of this larger conversation, according to Oliveira. The artist gathers scraps of plywood fencing from dumpsters and other trash sites. The layers of plywood are peeled apart and then re-glued into his distinctive organic forms. Oliveira describes this as a process of 'returning the material to its original place''the street.' Instead of the 'aseptic environment of galleries and museums,' he says, 'in this project, the materials had a harmonic integration with the building's aged walls,' which supported the illusion that the sculpture 'grew from its interior.
An added layer of meaning came from the fact that this abandoned property had been boarded up with the very same materials''the ubng''that Oliveira repurposed in the sculpture. 'This work was then made of the same kind of material that was already there. It was the same fence, but with its '˜flesh' modified,' he says.
The impact of the piece far exceeded Oliveira's expectations. 'The work was never conceived as an interactive public project,' he says. 'It was never directed for this or that local community, never pretended to help people, nor to teach anyone, nor to be beautiful nor ugly''but just to be a presence.' In spite of these lack of pretensions, the piece became a magnet for a larger discussion about public art and the Bienal. This conversation reached its peak when a prominent, conservative philosopher focused his ire on 'the monster house' as an example of bad public art left in the wake of the Bienal.
This public debate helped raise critical issues, not only about public art, but also about blight, urban renewal, and aesthetics generally, the artist says. The form of his sculpture was based on mors. The piece drew a parallel between 'the human body disorders and social disorders common in the big cities of Brazil,' says the artist. 'The work gave vision to the way Brazilian society has treated the problem of poverty and marginalized populations. Taking the term '˜social tissue' to its literal significance, the layers of aged and rotten wood, commonly seen in the construction of shanty towns, play in this work the role of degenerated organs and diseased skin.'
By making explicit these 'degenerated organs,' Oliveira contributed to an important discussion about the fairness and aesthetics of our increasingly urbanized world.
Source: Shanghai Academy of Fine Arts.
www.inhabitat.com:
Henrique Oliveira's recycled wood tumor Casa Dos Leões
Brazilian artist Henrique Oliveira creates sculptures, paintings and large-scale installations with violent organic aesthetics. For Casa dos Leões, a work created for the VII Bienal do Mercosul in Porto Alegre, he turned an entiulpture with growing tumor-like blobs popping out. The 'tapumes' peeled wood installation is made from old recycled plywood and it draws inspiration from medical textbooks and physical pathologies.
Henrique Oliveira holds a degree in painting but his work comprises an exploration of three-dimensional constructions and temporary installations.
He was a student in Sào Paulo when he spotted the plywood fence outside his window beginning to peel and fading into different layers creating beautiful shades and patterns.
That acted as a source of inspiration for his whole work, which is characterized by organic and peeled shapes that seem to grow in a violent way.
The use of recycled, locally-sourced materials is Oliveira's trademark. He uses old plywood, recycled fencing and other woods found in dumpsters and landfills near his home in Sào Paulo, onto (toxic) PVC as a support.
The undulating shapes are taken from medical textbooks, and are especially reminiscent of physical pathologies such as mors.
www.cargocollective.com:
The project was created for the VII Bienal do Mercosul, in Porto Alegre, Brazil, in 2009.
www.cargocollective.com:
Henrique Oliveira: (Ourinhos / SP, 1973) Holding a degree in painting, the artist explores three-dimensional constructions in the form of temporary installations and sculptures, in addition to work on canvases. Oliveira was the winner of the third edition of the CNI SESI Marcantonio Vilaça Award. He took part in the 29th Sào Paulo Biennial (SP) in 2010 with a sculpture of architectural dimensions whose interior space was possible to walk through. His works are included in such collections as the Sào Paulo Municipal Pinacotheca (SP) and the Itaú Cultural Institute. In 2011, he displayed works in the Smithsonian National Museum of African Art and the Boulder Museum of Contemporary Art (USA). In 2009, he constructed a large three-dimensional painting at the Rice Gallery in Houston (USA) and participated in the Monterrey Biennial (Mexico) and the Mercosul Biennial in Porto Alegre(RS).