Glasstress 2019...
4:14 p.m.
09/09/19 - Curated by Vik Muniz and housed in an abandoned glass factory in the island of Murano, Glasstress 2019 is the largest art-in-glass exhibition and it's currently opened as a side-show to the 58th Venice Biennial.
Carroña, by Javier Pérez (2011)
Materials: glass chandelier, stuffed birds / Variable measures
The exhibition does not have a curatorial link: the artworks on display only have in common the material used which, malleable and colorful, offers infinite creative possibilities. The artists come from all corners of the world and each artwork is interesting in itself.
Joana Vasconcelos (France, 1971) repeats her shapes of fabric but adding ornaments in glass, which render the pieces rather stiff.
Rubbra, by Joana Vasconcelos (2016)
Materials: Murano glass, handmade woollen crochet, ornaments, LEDs, poliester and iron.
Shitting doves of Peace and flying rats, by Jan Fabre
Material: glass / Measures: 20 cm x 19 cm x 20 cm each one.
Jan Fabre (Belgium, 1958), already acquainted with the material, present his glass doves or “flying rats” (as he calls them), perfectly adapted to this abandoned space. The same happens with Laure Prouvost (France, 1978), whose installation can even go unnoticed due to how well it adapts to this antique warehouse. Prouvost repeat her usual breasts, but now in a stone fountain.
GDM Drinking Fountain (For Grandad to come back), by Laure Prouvost
Material: glass and stone / Measures: 80 x 72 x 47 cm
Massi, by Artur Lescher (2019)
Material: glass / Measures: 204 cm x 14 cm of diameter
Things that fly and beatles, by Rose Wylie (2019)
Material: glass / Variable measures
The traditional glassblowing technique is reborn in this association with Contemporary Art. The exhibition has no explaining signs, so we don't really know the experience each artist had in manipulating the material, although they were surely helped by the master artisans of the Island of Murano. They all created works that reveal the feelings and emotions of our time, although subjected to the use of such an unusual material for them. We can not help buy wonder: Must an artist accept these work propositions? How much of their own creation is manipulated to achieve those intentions? And finally, must we leave behind traditional stereotypes and accept that exhibitions like this one expand the boundaries of Art?
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