music:2007, video 2008
music: 2007, video: 2008
Fundação EDP, Museu da Electricidade
exhibited work: leon night
Miguel Soares: Present States of Siege
Lisbon-based artist Miguel Soares’ signature 3D animations render virtual realms in which landscapes, characters and objects provoke myriad futuristic fantasies. In ‘Time Zones’ (2003), sequences of collaged images that evoke the Cold War accompany experimental band Negativland’s track by the same title. An engaging allusion to the post-war world order, this work connects what was seen as a permanent state of siege with our current time. Recently, Soares has utilized different technologies to develop his practice, making it less politically charged and more metaphorical. On view until the end of last week at Lisbon’s Museum of Electricity was the installation ‘Do Robots Dream of Electric Art?’ (2007), that consisted of three robots, all equipped with moving heads, tracing red laser beams on the gallery wall in the rough outlines of human bodies. Bringing together Philip K. Dick’s science fiction best-seller ‘Do Androids Dream of Electric Sheep?,’ in which the main character is an android, with the imagery of cave painting, Soares combines representations of the past and the future into an allegory for present society. Another notable work is ‘Jumping Nauman’ (2006), that is currently featured in the group show ‘Stream,’ presented by New York’s White Box. Using the Google Earth software, this video compiles the exhibition spaces in which Bruce Nauman work was shown in 2006– from New York’s Andrea Rosen Gallery to the Berlin Biennale–thus illustrating the global economy of today’s art scene. A sort of digital appropriation artist ‘fascinated by things that do not exist’–as he once put it–Soares’ output is one of the most significant in the contemporary expanded field of new media, in which concept is taking the place of the once prevailing high-tech fetishism.
November 30, 2007 > Jamuary 05, 2008
exhibited works: Jumping Nauman
related links: Stream on whiteboxny.org
September 28th > November 25th, 2007
Three moving-head robots are aparently carving a drawing on the wall with red laser beams.
scroll down for portuguese version
Disco Wall Painting
Three “disco” robots (of the “moving heads” variety) trace upon the grey wall the precarious outline of a human
On the other hand, the robots are equally beings of a new kind which seem to collaborate here in a remake: in a joint
The role played by these robots takes the form of a transferred regression: they are not evoking what they themselves were, but what the men who designed them were once. This piece by Miguel Soares fictionalises the appropriation, by robots, of a founding memory of humankind. That memory does not belong to them: have the beings that created them inserted it, inadvertently or unconsciously, into their programming? We do not know.
The title of this piece by Miguel Soares evokes one of the most effective projections of mankind’s fear regarding their own creations, from its Romantic incarnation as Frankenstein’s Monster to the post-modern androids of Philip K. Dick (Do Androids Dream of Electric Sheep?, 1968, where Miguel Soares found his title) and Ridley Scott (Blade Runner, 1982).
This artist’s vast body of work, which comprises installation and video along with the construction of mechanical and electronic objects, not forgetting the composition of digital images or synthesised sounds, culminates here in the most extreme of metaphors: the automata’s possibility of autonomous action and awareness has led them to resume the evolutionary cultural line of mankind, their original creators. Returning to a logic of caves as iconographic sanctuaries,
Lisbon, 12 September 2007
Versão Portuguesa / Portuguese Version
A peça de Miguel Soares ficciona a apropriação, pelos robots, de uma memória matricial da humanidade. Essa
Pintura Mural de Discoteca
Três robots “de discoteca” (do tipo moving heads) desenham na parede cinzenta a silhueta precária de um ser
Por outro lado, os robots são seres também de um novo tipo que igualmente parecem participar aqui num remake:
O título desta obra de Miguel Soares remete para uma das mais eficazes projecções dos receios da humanidade em relação às suas próprias criações. Tal receio vem do Frankenstein romântico e passa pelos andróides pós-modernos de Philip K. Dick (”Do Androids Dream of Electric Sheep?”, 1968, de onde Miguel Soares retira o seu título)/Ridley Scott (”Blade Runner”, 1982).
A vasta obra do artista, utilizando a instalação e o vídeo, a construção de objectos, mecânicos e electrónicos, a composição de imagens digitais ou sons electrónicos culmina aqui na mais extrema metáfora: a possibilidade de autonomia de acção e consciência dos autómatos leva-os a retomar a linha cultural evolutiva da própria humanidade que os criou.
Lisboa, 12 de Setembro de 2007
September 28 > November 03, 2007
exhibited works: untitled (playing with Gould playing Bach)
related links: Remote Control at Artecapital.net
03′00”, 2007, video
when i throw away data cd’s that i’m converting to dvd, i scratch their surface with a x-cutter, so that the data cannot be retreaved.
MIGUEL SOARES 2007
Galeria Graça Brandão Lisboa
list of works:
A to B in c
measure of a given distance (a wall) in light-years (commonly represented as c).
(02′18” excerpt from part 1 of 4)
Limousines without the “mous”.
I removed the middle section on some limousines,
images of craters are inverted horizontal and vertically in order to create the ilusion of a plateau receiving sun light from left to right.
boeing, shuttle, boeing, shuttle
misspelled neon light.