“Metal de sacrifício”, 2011

Video/Installation , Metal Zincor, copper and water , vinil text and 40 acrylic boxes.

FFCT- University of Sience and Tecnology Foundation, Monte da Caparica.

Ir(Reversible Systems) , 2008/11
Double side version
Marseille 2011

Susana Anagua travaille sur les «formes industrielles». Decontextualisées, ses images évoquent beaucoup de choses et notamment une sculpture cinétique abstraite. Dans son installation (IR)reversible Systems, elle joue avec des fils de coton tendus entre chaque vidéo. Les fils prolongent l’image dans l’espace et créent un trouble entre ce qui est image et ce qui est réel. Ils impliquent aussi une déambulation particulière pour appréhender l’oeuvre. L’image dédoublée dont on ne saisit pas véritablement ce qu’elle représente, se résume en une roue que l’on présume faire partie d’une machine. Ce que le son diffusé
dans la salle nous confirme.
L’installation joue donc avec nos perceptions et tous nos sens. Elle implique l’image et la sculpture (l’espace) dans un mouvement rotatif, visuel et sonore, Là encore le mouvement peut être réel ou virtuel. L’oeuvre joue également avec notre corps, celu-ci est contraint par les éléments de la pièce à un déplacement latéral.

Martine

” Polar “, 2008

1.80×2.75cm 2600 compasses, motor and magnetic fields

Labirintos
OBRAS DA COLECÇÃO DO CAM
De 29 Set 2011 a 17 Nov 2011
Das 10:00 às 18:00
Terça a Domingo
Galeria de Exposições da Sede, piso 01

Associada ao Fórum Gulbenkian Saúde 2011 (dias 25 e 26 Outubro), a exposição propõe um espaço alternativo de reflexão: aquele que as obras de arte induzem e dinamizam, de um modo diferente do de qualquer outra actividade humana, acrescentando-lhe preciosas mais-valias.

O enigma do sentido a atribuir à existência e a forma como é perseguido ou abandonado na adolescência, os caminhos e o desnorte, a perturbação, a fantasia e o excesso ou os sinais de ancoragem pontuam tematicamente o percurso pelas obras aqui proposto.

Questões como a da identidade, e a da sua determinação neurobiológica, cultural e psíquica, entendidas num âmbito alargado, definem também os quadros de referência da sua leitura.

Curadoria: Leonor Nazaré

Obra publicada por ocasião da exposição organizada e patente no Centro de Arte Moderna José de Azeredo Perdigão da Fundação Calouste Gulbenkian, Lisboa, de 29 Setembro de 2011 a 17 Novembro de 2011; catálogo colectivo de artistas portugueses e estrangeiros; ed. bilíngue, em português e inglês; contém referências bibliográficas.

Cal Viva e Polén

Com Cristina Ataíde

A casa Encarnada

Com Cristina Ataíde

Even if the all installation was initially planed to work in a dark space to provide that in between the videos presentation the bottles filed with luminescent paint could glow, the fact is that in the black out parts of the video the projector bulb  still does illuminate the room enabling the see the paint glow in its full energy.

still , I don´t know yet if is better for the work to remove the bottles or not. They seam to have a lot of other connections with the videos, and their presence works with the initial intend of having a relation in between the light of the projector and the projection wall itself.

 The video was edited with 30 seconds of a black plan to provide a time to observe the botles glowing in the space.

Becouse this situation is not working in the full intetion , doesn´t make sense anymore to keep dark in the room for such a long period of time.

Im ajusting the black out time for the maximum of 15 seconds . The observer can see part of the luminuscence botles but not in the full energy.

1- Sagres wheel  2- Piccadilly Circus  3- Sagres botlles  4- IMArabic lifts

This is the first set of the four video presentation. 

This washing machine from Sagres Insdustry is one of the two connections in betwen the botles instalation. 

The Machines works to wash and recycle botles from used beers . 

In this second video , I m presenting a plan of Piccadilly Circus where the people actions shows the peculiar existence of this non-place. People came and go , or use this round about as a meeting point. In order to visualize the patterns created by peoples actions I decided to change the of the video image to 500%. Also when this Islamic women is crossing the image and the space I felt really like an interruption of the entire hole of action and I decided to slow down the image rate to 25%, and add music. The music change the moment and creates an interference showing this particular moment as an Noise. 

Its also very interesting for me that now this moment connects to the last and 4th video presented. The lifts situation were filmed inside the Institute of the Arabic World in Paris. 

The connection with the bottles continues as they are metaphor for the Human individuality inside a circle as Society. Also the formal connection in between the shapes of the round about and the circle in the room . 

This 3rd video is filmed inside the Sagres Beer Industry and the reason i edited after the Piccadilly video is becouse I felt was a connection in betwen crowed places , mechanical actions related to Human movements .

This is the final and 4th video . 

The moving images were send to Paulo Sousa that uses de images to creat the composition . 

Normally I explain the context of the images , my intention behind them and how could work with a sound .

For the 4th video , Paulo did a relation with the movement of 6 lifts running (even if you only can see just 4 of them in the image) up and down inside the building . So every sound is connect with the scheme of the image divided in up and down by tree lifts each . Every time one of them moves the sound comes as a character for each of them . 

http://anagua.wordpress.com/final-show/

The space is ready and I set up all the 113 Little bottles of glass . I used a fishing wire very thinner in order to create more lighting visual effect . The bottles were previously filled with a small amount of Photoluminuscence paint.

For the final show I had this space to exibhit my work . 

Its was very good for my work that I had the possibility of having a independent room . Not sharing the room with other pears work was profitable because I could plan a hole dark room.

Being part of the curating team gave me the notion of the all works inside the space and how the display of then could work with my room and work also .

So I started thinking in the demands of my installation  and a dark room came as a solution .

The walls are painted in dark grey as the floor and in the front wall projection I ll make an exactly rectangle painted in white for the 4:3 projection.

still in room 506-F . A view from my window

Just now that I’m moving out to another place , realise the importance of this view and in particular of the Elephant and Castle environment. 

I can say that this is my MA Tutor (Andy Stiff) influence to as he in his personal work is also very interest in this particular area. Made me look with more attention to the environment I was living in.

I’m challenge myself to do some practical work in a different method that i was doing previously . 

So as my attention was attracted for the view of my window I intend to explore the history of it.

in this case the view is a particular case of interest because next to the new Strata building is the “Old Modernist” one . At the time , I guess in the 70s when was built , this structure was the highest one with the better view and functional spaces . Now Strata is reaching just side by side a new size to the area . To compare in between then it seams a irony of Man’s dissatisfaction . And the new becomes old so quick . This dissatisfation makes the disappearance of the concept of New. 

In a previously post i already captured some moments of Srata construction, showing already an attraction for that image that was growing up in my room. Its amazing  seeing, everyday the  frame of the window as a screen with a real life moving images changing 

http://anagua.wordpress.com/2009/03/25/lift-constructing-building/

About STRATA

“At 147.9 metres, Strata is now SE1′s tallest building a title previously held by Guy’s Tower (143 metres). Strata is likely to keep the title until the Shard at London Bridge is built.

Developers Brookfield Europe also boast that the development – which will include 408 new homes –

will be central London’s tallest residential building when it is completed in April 2010″

From Elephant and Castle website.

B
Strata Tower – Top end of Walworth Road
Developers – Brookfield Multiplex
Architect – Hamilton
Old Castle House site. 43 storeys, 408 homes (30% affordable) and a pavilion with a limited amount of small business space at the bottom. On site Feb 2007. Est. completion 2010
http://www.brookfieldeurope.com/assets

I intend to make a video with a single plan image , representing the size of the frame of my window and the angle of my vision inside . 

I ll collect some statements about the place , some sounds on the street and most import there is a particular programme on British TV that I intend to record some voices talking about regeneration areas and houses . 

Still is a working in progress , waiting to see if there is potential for a final work . 

Elephant and Castle has witnessed dramatic changes in recent times. Three hundred years ago the area was sparsely populated. The villages of Walworth and Newington were set among market gardens, fields and open marshland. 18th century Walworth was a prosperous suburb, but by Victorian times slums had swallowed up the commons. The 19th century saw an eightfold increase in the population.

Elephant and Castle has always been an important traffic junction and was once known as “the Piccadilly of South London”Once known as south London’ 

Began its decline following extensive bomb damage during the Second World War.

The redevelopment of Elephant and Castle is an ambitious programme of change that will culminate in one of the largest regeneration programmes ever seen in Europe.

The £1.5 billion, 70-acre programme includes the creation of a new pedestrianised town centre, market square, green spaces and thousands of new homes and jobs.

Southwark Council is leading this programme so that by 2020, local people can benefit from a dramatically improved physical environment with tree lined streets, high quality open spaces and a largely traffic free environment. They will also enjoy access to more local jobs and training opportunities, and new cultural and leisure facilities such as a cinema and swimming pool.

History of Tilbury Industrial Park

In 1973 approximately 726 acres were purchased along the south shore of the Fraser River in North Delta, B.C.  With the growing demand for industrial zoned property close to 402 acres were removed from the Agriculture Land Reserve and zoned Industrial (I-1 and I-2).

In the summer of 1976, dredging commenced, to fill the 120 acres designated as Phase I of the Tilbury Industrial Park, to the 7-foot elevation. Shortly after, in the Autumn of 1976, the servicing and engineering commenced.

September 1977 the installation of water mains and sewer lines took place and preparation was made for roads, curbs and street lighting, which were scheduled for completion in the Spring of ’78. A lead rail track was provided through Phase I, and in March ’78, hydro commenced servicing Phase I with electricity and natural gas was installed in the fall. 

In November 1977, a ‘Sod –Turning Ceremony’ was performed on site to commemorate the official opening of Tilbury Industrial Park – Phase I, with the Honourable Don Phillips presiding. The Subdivision Plan of Phase I was registered in the land Registry Office in December 1977 and land sales began in January 1978. It took one year to complete and by the end of 1978 the total acreage sold or leased amounted to 23.93 acres.

In 1979 the sales momentum increased to the point where first years sales were achieved by May by the end of 1979 over 65 acres were sold or under intern agreement. In view of this fact, the urgency to bring Phase II on stream without further delay became paramount. The Development Corporation had previously undertook to fill a further 120 acres to the West of Phase I to the 7-foot elevation in anticipation of this requirement and in May 1979, negotiations began with the Corporation of Delta.

Thursday 28th May
2pm
Room RLS 714
Red Lion Square, Central Saint Martins

Susana Anagua, Camberwell
Sarah Tremlett, Chelsea

Steven Ball and Cate Elwes, (CSM & Camberwell), will show three short videos on the theme of Narrative and Landscape.

www.arteportugal.pt

Friday 15 May

John Cale spoke about his new project for the Venice biennale . The video related to a journey brought me back the notions

This symposium took place at the Stephen Lawrence Gallery in relation to current exhibition. The issues of noise in a digital environment were the theme discussed in both situations. The exhibition brings a body of work all processed by a miss understanding in a communication field.

In the symposium, Jonathan Kearney, brought the history of the interpretation of the idea of noise. When we hear about noise normally, in a common sense, we identify as a bad sound or interference of some communication that went wrong. The noise comes as an error and a mistake, something to annulated and correct. In other hand in the in the 40s a man named Claude Shannon came up with the interpretation that a noise in a process of communication represents the world itself getting interferer with it. A new vision understands noise as an external ad as integrating the world environment to participate in the process. Jonathan in is own research brought the main question: is that the Noise the Human being? That question staid in my mind but not related to the Human but instead the attitude, the Free Will. Is it possible to consider the Noise as the Free will of a determinate system? Even in machinery environment?

This constitutes a turning point to recycle information and recover same expontaniety that has being lost in the ages of machinery perfection.  A space to accept Free will. Henri Bergson (or even Kant in earlier times) already did initiate in the latest 19^th century the interpretation of the beginning of acceptation of the free will and we can apply to as many environments as we want.

I bought this book in that symposium day at the University library shop.

“The problem which I have chosen is one which is common to metaphysics and psychology, the problem of free will. What I attempt to prove is that all discussion between the determinists and their opponents implies a previous confusion of duration with extensity, of succession with simultaneity, of quality with quantity: this confusion once dispelled, we may perhaps witness the disappearance of the objections raised against free will, of the definitions given of it, and, in a certain sense, of the problem of free will itself. To prove this is the object of the third part of the present volume: the first two chapters, which treat of the conceptions of intensity and duration, have been written as an introduction of the third.” February, 1888. H. Bergson

“Like Evolution is a simple case of survival”

The bottles seams to struggle to run, in metaphorical way as society does , with some destiny that we don’t  know . Like crowed places, people creates in a macroscopically view some patterns. The constant move and circulation of people/bottles creates a very ephemeral pattern that when our brain tries to identify a shape that one is already changing to a new one . 

Too see more of this project see Sagres page