Aïda Gómez is using urban space as her stage and her laboratory with her recently directed public performance in Porto, Portugal. A matter of daily city life and self-governance, our reliance upon the presumably reliable mechanized interchanging of the illuminated figure symbol is unquestioned.
Here he/she is telling us to go and to stop; our obeyance is so ingrained in us as a patterned behavior that it doesn’t reach the upper region of consciousness most days.
A simple personification of the figures here on a crosswalk jolts people out of their pattern, and the minimalistic approach is without reproach. Here is this red mime in sneakers gesturing with a full range of body signals delivered in the spirit of mimicry, cautiously enacting hesitation, a suspense of action, pensive waiting.
The red figure is suddenly replaced by the green one; drolly sauntering, strolling, skipping, rolling across the walkway – a fully formed figurative performance of the various expectable and acceptable mechanics involved for propelling a human forward through space.
Our weekly focus on the moving image and art in the streets. And other oddities.
Now screening :
1. OLEK: Keep Going
2. Aïda Gómez: Ladies First
3. A Look at the Worlds First Museum of Urban Contemporary Art
4. MurOne // 12 + 1 Project
5. Obey Giant – The Documentary
BSA Special Feature: OLEK: Keep Going
During the opening weekend of the Urban Nation Museum for Urban Contemporary Art (UN), BSA and the other curators invited 150 artists to exhibit indoors and about 35 to do site specific installations and performances in the 5 block radius of the museum. Polish/Brooklyn Street Artist OLEK created and performed along with a team of assistants a three hour meditative crocheting event under the elevated train line between Bülowstraße and Nollendorfplatz stations.
Entitled “Keep Going,” one can imagine a number of interpretations of what is intended by the artist. Is it to reflect the unstopping, unstoppable traffic of people on the street who saunter blithely by despite your unique and meaningful actions, née, existence? Is it a poetic and literal illustration of the cyclic nature of construction/destruction exhaustion/renewal that are earmarks of the life and death process we are all engaged in? Perhaps it is a commentary on the workers who toil day after night after day in this world, never able to get ahead, never meriting more than a curious look or consideration. Or is it an exhortation to fully live ones’ life regardless of obstacles, fears, or the senseless chaotic behavior of the world around us?
Director/cinematographer Ulle Hadding gently observes the scene, examining the performers’ body language and capturing facial expressions as they quietly perform their work amidst the currents of a human river flowing in around and through them.
Also Martha C. is there among the re-assembling assembled, bless her and bless us.
Aïda Gómez: Ladies First
While doing an artists residency in Iceland recently with ART Attack Neskaupstaður, Aïda Gómez noticed the signs around her. “The plaque shows a man followed by a woman and I asked myself, why is this signal like this? Why the feminine figure is following the masculine figure?” Indeed.
A look in the WORLD’S FIRST MUSEUM OF URBAN CONTEMPORARY ART
Doug at Fifth Wall TV puts himself in the middle of the UN inaugural events and uses his astute powers of observation about its move into contemporary art, with a stop along the way to wonder about gentrification.
MurOne // 12 + 1 Project. Contorno Urbano
The latest from the 12 + 1 Project, the artist MurOne bringing some mechanically inspired eye candy to enjoy.
Obey Giant – The Documentary
Finally it all comes together and we get a balanced insight into the art and dissent of Shepard Fairey.
“A padlock on a bridge is considered as a proof of love in many cultures, but we all know that the key to a successful relationship is freedom,” says conceptual artist and Street Artist Aïda Gomez when talking about her simple text installation below. Just in time for Valentine’s day, a Berlin bridge gets this subtle addition, much like the underplayed interventions Aïda has done elsewhere, requiring an observant eye and a serene sense of humor.
Love is Freedom. On a padlock with a shackle passed through and opening and secured, grounded, anchored, unmoving. Rather an iron irony, don’t you think?
Aïda Gomez Love Is Freedom in Berlin. Follow her on FB @aidagomezinfo