{"id":65314,"date":"2017-08-15T00:04:57","date_gmt":"2017-08-14T22:04:57","guid":{"rendered":"http:\/\/veredes.es\/blog\/?p=65314"},"modified":"2019-12-03T19:55:25","modified_gmt":"2019-12-03T18:55:25","slug":"bill-viola-retrospectiva","status":"publish","type":"post","link":"https:\/\/veredes.es\/blog\/bill-viola-retrospectiva\/","title":{"rendered":"[:es]Bill Viola: retrospectiva[:gl]Bill Viola: retrospectiva[:en]Bill Viola: a retrospective[:]"},"content":{"rendered":"

[:es]

\"CHOTT
CHOTT EL-DJERID (A PORTRAIT IN LIGHT AND HEAT)<\/span><\/figcaption><\/figure><\/p>\n

A Bill Viola (Nueva York, 1951), uno de los artistas actuales m\u00e1s destacados, se le reconoce internacionalmente por su car\u00e1cter pionero en el desarrollo del videoarte, medio que descubri\u00f3 a principios de la d\u00e9cada de 1970 a ra\u00edz de su participaci\u00f3n en el programa de Estudios Experimentales de la Universidad de Siracusa (Nueva York). Ya en sus primeros v\u00eddeos dejar\u00e1 constancia de su permanente inter\u00e9s en el autoconocimiento, una exploraci\u00f3n que se ir\u00e1 enriqueciendo a partir de sus lecturas de textos m\u00edsticos y espirituales de tradici\u00f3n oriental y occidental. Su obra evoluciona en paralelo a la tecnolog\u00eda del v\u00eddeo, y cada nueva herramienta le permitir\u00e1 explorar la condici\u00f3n humana, en relaci\u00f3n con cuestiones como el nacimiento, la muerte, la transformaci\u00f3n, el renacimiento y la transfiguraci\u00f3n, temas clave en su producci\u00f3n, que se extiende a lo largo de cuarenta a\u00f1os.<\/p>\n

Bill Viola: retrospectiva<\/em>\u00a0constituye un recorrido tem\u00e1tico y cronol\u00f3gico por la trayectoria del artista, comenzando con sus tempranas cintas monocanal, entre las que se incluyen obras tan representativas como\u00a0El estanque reflejante<\/em>\u00a0(1977\u201379) y\u00a0Cuatro canciones<\/em>\u00a0(1976), un \u00e1lbum en el que recopil\u00f3 varias piezas. Estas creaciones tienen un contenido sumamente po\u00e9tico y ya abordan aspectos tan importantes en la producci\u00f3n de Viola como la noci\u00f3n del tiempo y su deconstrucci\u00f3n, la indagaci\u00f3n acerca de la existencia, la experimentaci\u00f3n con la grabaci\u00f3n y manipulaci\u00f3n de sonidos procedentes del medioambiente y de la naturaleza.<\/p>\n

La d\u00e9cada de 1980 se inicia con obras como\u00a0Chott el-Djerid (Un retrato de luz y calor)<\/em>(1979), donde la c\u00e1mara captura el deslumbrante paisaje del desierto mediante teleobjetivos que permiten grabar espejismos y revelar as\u00ed im\u00e1genes que normalmente escapan a nuestra percepci\u00f3n. Esta etapa, en la que Kira Perov (su esposa y colaboradora durante largo tiempo) comienza a colaborar con Viola, est\u00e1 marcada por proyectos destinados a ser emitidos por televisi\u00f3n, pero tambi\u00e9n sirve como periodo de transici\u00f3n entre su producci\u00f3n temprana y las instalaciones que se desplegar\u00e1n en salas enteras, envolviendo al observador en im\u00e1genes y sonido. El artista empieza a incorporar en su trabajo elementos f\u00edsicos (algo que estar\u00e1 presente durante los a\u00f1os noventa); sus estudios sobre la percepci\u00f3n y temas espirituales se plasman en objetos escult\u00f3ricos, como se aprecia en los despojados monitores de\u00a0Cielo y Tierra<\/em>\u00a0(1992) y en obras de grandes dimensiones, como\u00a0Una historia que gira lentamente<\/em>\u00a0(1992), con su colosal pantalla giratoria.<\/p>\n

Con la llegada del nuevo milenio y la aparici\u00f3n de la pantalla plana de alta definici\u00f3n, Viola comienza a realizar piezas de peque\u00f1o y mediano formato, que se integrar\u00e1n en la serie\u00a0Pasiones<\/em>; entre ellas, un estudio a c\u00e1mara lenta de las emociones,\u00a0Rendici\u00f3n<\/em>, y trabajos que reflejan el paso del tiempo y la sucesi\u00f3n de las generaciones, como\u00a0La habitaci\u00f3n de Catalina<\/em>\u00a0y\u00a0Cuatro manos<\/em>, todas de 2001.\u00a0<\/em>A estas creaciones \u00edntimas\u00a0<\/em>sigui\u00f3 la instalaci\u00f3n monumental\u00a0Avanzando cada d\u00eda\u00a0<\/em>(2002), en la que cinco grandes proyecciones murales que comparten un espacio com\u00fan invitan al espectador a adentrarse literalmente en la luz y reflexionar acerca de sus vidas y la existencia humana. La cuesti\u00f3n de la trascendencia tambi\u00e9n se halla presente en su trabajo para la \u00f3pera wagneriana\u00a0Trist\u00e1n e Isolda<\/em>\u00a0(2004\u201305), una obra mayor de la que se derivan dos instalaciones,\u00a0La ascensi\u00f3n de Trist\u00e1n (el sonido de una monta\u00f1a bajo una cascada)<\/em>\u00a0y\u00a0Mujer fuego<\/em>, ambas de 2005.<\/p>\n

Durante la \u00faltima d\u00e9cada, Viola ha continuado representando la experiencia fundamental de la vida a trav\u00e9s de los medios y soportes m\u00e1s diversos. Buen ejemplo de ello es su empleo del agua en obras como\u00a0Los inocentes<\/em>\u00a0(2007),\u00a0Tres mujeres\u00a0<\/em>(2008) y\u00a0Los so\u00f1adores\u00a0<\/em>(2013)\u2014,\u00a0<\/em>y su recorrido por el ciclo de la vida, que se inicia en esta exposici\u00f3n con\u00a0Cielo y Tierra<\/em>\u00a0(1992) y se \u201crebobina\u201d literalmente en la pieza final,\u00a0Nacimiento invertido<\/em>\u00a0(2014).<\/p>\n

Bill Viola: retrospectiva<\/strong><\/a>
\n30 DE JUNIO, 2017 – 9 DE NOVIEMBRE, 2017<\/p>\n

[:gl]

\"CHOTT
CHOTT EL-DJERID (A PORTRAIT IN LIGHT AND HEAT)<\/span><\/figcaption><\/figure><\/p>\n

A Bill Viola (Nova York, 1951), un dos artistas actuais m\u00e1is destacados, reco\u00f1\u00e9ceselle internacionalmente polo seu car\u00e1cter pioneiro no desenvolvemento do videoarte, medio que descubriu a principios da d\u00e9cada de 1970 por mor da s\u00faa participaci\u00f3n no programa de Estudos Experimentais da Universidade de Siracusa (Nova York). Xa nos seus primeiros v\u00eddeos deixar\u00e1 constancia do seu permanente interese no autoconocimiento, unha exploraci\u00f3n que se ir\u00e1 enriquecendo a partir das s\u00faas lecturas de textos m\u00edsticos e espirituais de tradici\u00f3n oriental e occidental. A s\u00faa obra evoluciona en paralelo \u00e1 tecnolox\u00eda do v\u00eddeo, e cada nova ferramenta permitiralle explorar a condici\u00f3n humana, en relaci\u00f3n con cuesti\u00f3ns como o nacemento, a morte, a transformaci\u00f3n, o renacemento e a transfiguraci\u00f3n, temas clave na s\u00faa produci\u00f3n, que se estende ao longo de corenta anos.<\/p>\n

Bill Viola: retrospectiva<\/em> constit\u00fae un percorrido tem\u00e1tico e cronol\u00f3xico pola traxectoria do artista, comezando coas s\u00faas temper\u00e1s cintas monocanal, entre as que se incl\u00faen obras tan representativas como O estanque reflexante<\/em> (1977?79) e Catro canci\u00f3ns (1976), un \u00e1lbum no que recompilou varias pezas. Estas creaci\u00f3ns te\u00f1en un contido sumamente po\u00e9tico e xa abordan aspectos tan importantes na produci\u00f3n de Viola como a noci\u00f3n do tempo e o seu deconstrucci\u00f3n, a indagaci\u00f3n acerca da existencia, a experimentaci\u00f3n coa gravaci\u00f3n e manipulaci\u00f3n de sons procedentes do medioambiente e da natureza.<\/p>\n

A d\u00e9cada de 1980 in\u00edciase con obras como Chott o-Djerid (Un retrato de luz e calor)<\/em>(1979), onde a c\u00e1mara captura a cegadora paisaxe do deserto mediante teleobjetivos que permiten gravar espellismos e revelar as\u00ed imaxes que normalmente escapan \u00e1 nosa percepci\u00f3n. Esta etapa, na que Kira Perov (a s\u00faa esposa e colaboradora durante longo tempo) comeza a colaborar con Viola, est\u00e1 marcada por proxectos destinados a ser emitidos por televisi\u00f3n, pero tam\u00e9n serve como per\u00edodo de transici\u00f3n entre a s\u00faa produci\u00f3n temper\u00e1 e as instalaci\u00f3ns que se despregar\u00e1n en salas enteiras, envolvendo ao observador en imaxes e son. O artista empeza a incorporar no seu traballo elementos f\u00edsicos (algo que estar\u00e1 presente durante os anos noventa); os seus estudos sobre a percepci\u00f3n e temas espirituais pl\u00e1smanse en obxectos escult\u00f3ricos, como se aprecia nos desposu\u00eddos monitores de Ceo e Terra (1992) e en obras de grandes dimensi\u00f3ns, como Unha historia que vira lentamente<\/em> (1992), coa s\u00faa colosal pantalla giratoria.<\/p>\n

Coa chegada do novo milenio e a aparici\u00f3n da pantalla plana de alta definici\u00f3n, Viola comeza a realizar pezas de pequeno e mediano formato, que se integrar\u00e1n en s\u00e9riea Paix\u00f3ns<\/em>; entre elas, un estudo a c\u00e1mara lenta das emoci\u00f3ns, Rendici\u00f3n, e traballos que reflicten o paso do tempo e a sucesi\u00f3n das xeraci\u00f3ns, como A habitaci\u00f3n de Catalina<\/em> e Catro mans<\/em>, todas de 2001. A estas creaci\u00f3ns \u00edntimas seguiu a instalaci\u00f3n monumental Avanzando cada d\u00eda<\/em> (2002), na que cinco grandes proxecci\u00f3ns murais que comparten un espazo com\u00fan convidan o espectador a penetrarse literalmente na luz e reflexionar acerca das s\u00faas vidas e a existencia humana. A cuesti\u00f3n da transcendencia tam\u00e9n se acha presente no seu traballo para a \u00f3pera wagneriana Trist\u00e1n e Isolda (2004?05), unha obra maior da que se derivan d\u00faas instalaci\u00f3ns, A ascensi\u00f3n de Trist\u00e1n<\/em> (o son dunha monta\u00f1a baixo unha fervenza)<\/em> e Muller lume<\/em>, ambas as de 2005.<\/p>\n

Durante a \u00faltima d\u00e9cada, Viola continuou representando a experiencia fundamental da vida a trav\u00e9s dos medios e soportes m\u00e1is diversos. Bo exemplo diso \u00e9 o seu emprego da auga en obras como Os inocentes<\/em> (2007), Tres mulleres<\/em> (2008) e Os so\u00f1adores<\/em> (2013), e o seu percorrido polo ciclo da vida, que se inicia nesta exposici\u00f3n con Ceo e Terra (1992) e se \u201crebobina\u201d\u00a0literalmente na peza final, Nacemento investido<\/em> (2014).<\/p>\n

Bill Viola: retrospectiva<\/strong><\/a>
\n30 DE XU\u00d1O, 2017 – 9 DE NOVEMBRO, 2017<\/p>\n

[:en]

\"CHOTT
CHOTT EL-DJERID (A PORTRAIT IN LIGHT AND HEAT)<\/span><\/figcaption><\/figure><\/p>\n

Bill Viola (b. New York, 1951) is one of the leading artists of our time who is widely recognized as a pioneer in the development of video art, a medium he discovered in the early 1970s while enrolled in the \u201cExperimental Studios\u201d program at Syracuse University, New York. Even in his early video works it is evident that Viola\u2019s life\u2019s focus would be the search for self-knowledge as he became more influenced by his readings of Eastern and Western mystics and spiritual texts. His work developed in parallel with the advancements of video technology, and he used each new tool to explore the human condition of birth, death, transformation, rebirth, and transfiguration\u2014pivotal subjects in his body of work that spans 40 years.<\/p>\n

Bill Viola: A Retrospective<\/em>\u00a0is a thematic and chronological survey of the artist’s career that begins with his early single-channel videotapes, including such iconic works as\u00a0The Reflecting Pool<\/em>\u00a0(1977\u201379) and the compilation album\u00a0Four Songs<\/em>\u00a0(1976). These highly poetic creations address some of the most important themes in Viola’s output: the notion of time and its deconstruction, investigations into human existence, and experimentation with the recordings and manipulation of ambient and natural sounds.<\/p>\n

Viola welcomed the 1980s with works like\u00a0Chott el-Djerid (A Portrait in Light and Heat)<\/em>(1979), where his camera captured the shimmering desert landscape using telephoto lenses to record mirages, revealing images normally beyond our perception. This period, in which Kira Perov (his wife and long time collaborator) began to work with Viola, was marked with projects for broadcast television, but it was also a phase of transition from his earlier work into the development of whole room installations that immerse the viewer in images and sound. He began adding physical elements which he continued during the 1990s, his studies of perception and spiritual issues materializing in the form of sculptural objects, as can be seen in the stripped down monitors in\u00a0Heaven and Earth<\/em>\u00a0(1992), and large works such as\u00a0Slowly Turning Narrative<\/em>\u00a0(1992) with its huge rotating screen.<\/p>\n

With the arrival of the new millennium and the advent of high-definition flat screens, Viola began producing small and medium-format pieces in a series he titled the Passions, a study of the emotions in slow motion, such as\u00a0Surrender<\/em>, or that depict the passage of time and generations, as in\u00a0Catherine’s Room<\/em>, and\u00a0Four Hands<\/em>\u00a0(all 2001). These intimate works were followed by the monumental installation\u00a0Going Forth By Day<\/em>\u00a0(2002), in which five huge wall projections share a single space, inviting viewers to literally step into the light and reflect on their own lives and our human existence. The theme of transcendence is present in his video for the Wagnerian opera\u00a0Tristan und Isolde<\/em>\u00a0(2004\u201305), expressed in the two installations derived from the larger work,\u00a0Tristan\u2019s Ascension (The Sound of a Mountain Under a Waterfall)<\/em>, and\u00a0Fire Woman<\/em>(both 2005).<\/p>\n

Over the last decade, through a wide variety of media and formats, Viola has continued in his work to depict the fundamental experience of life. This is eloquently illustrated by his use of water in works such as\u00a0The Innocents<\/em>\u00a0(2007),\u00a0Three Women<\/em>(2008), and\u00a0The Dreamers<\/em>\u00a0(2013)\u2014and his journey through the cycle of life, which begins in this exhibition with\u00a0Heaven and Earth<\/em>\u00a0(1992) and literally \u00abrewinds\u00bb in the final work\u00a0Inverted Birth<\/em>\u00a0(2014).<\/p>\n

\n

Bill Viola: A Retrospective<\/strong><\/a>
\nJUNE 30, 2017 \u2013 NOVEMBER 9, 2017[:]<\/p>\n","protected":false},"excerpt":{"rendered":"

[:es] A Bill Viola (Nueva York, 1951), uno de los artistas actuales m\u00e1s destacados, se le reconoce internacionalmente por su car\u00e1cter pionero en el desarrollo del videoarte, medio que descubri\u00f3 a principios de la d\u00e9cada de 1970 a ra\u00edz de su participaci\u00f3n en el programa de Estudios Experimentales de la Universidad de Siracusa (Nueva York). 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