IRREVERSIBLE PROJECTS Art Mónaco’14, French Riviera booth I3-I4


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Sneak Preview Art Monaco 2014

SAVE THE DATE – APRIL 24 – 27

Art Monaco ’14 will be the spot for many artists to sell and showcase their works, some of which will be showing pieces for the first time. A gathering place for lovers of art, from the critics to the curators, people will be able to socialize and speak with one another in a peaceful setting at Art Monaco ’14, where individuals will be visited by artistic visionaries of today, as well as have an opportunity to pay tribute to those that we’ve lost yet still find inspiring.

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Johnessco Rodriguez, the creative master mind behind Art Monaco, expresses the specific goal of Art Monaco: 

“There are more than 300 art shows worldwide. The concept and idea was already out there. The only input and modifications we have done is that the participation at our event is by invitation only and instead of receiving 40,000 visitors or more, we only receive about  10,000 but all of them with interest in art and with buying power.”

 

Monaco, the world’s second smallest country, is best known for its royal opulence and the twentieth century reign of Prince Rainier and his son Prince Albert II. But for four days annually, the constitutional monarchy becomes the site of an international event called Art Monaco. The world’s richest people flock to the country to take in the colorful sights and sounds of a vibrant event in a spectacular locale. Embedded in the French Riviera between Nice and Menton and 15 minutes from the Italian border, the principality of Monaco has built its reputation and appeal on its luxurious, royal lifestyle and stylish surroundings. Even though the country is roughly the same size as New York’s Central Park and can be traversed entirely in under an hour, it has become a major financial and artistic mecca.

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Art Monaco focuses on quality rather than quantity and showcases a diverse mix of art, including paintings, sculptures, mixed media, and jewelry. Fine contemporary art remains a staple of the entire show; recognizable names like Roy Lichtenstein, Kotchar, Andy Warhol, Picasso and Lempika can be both viewed and bought off the walls of the fair. Other more classical art pieces from Margritte, Monet and Salvador Dali are equally on display.

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The featured art runs the gamut from masterpieces worth over €30 million to emerging pieces that can be purchased for €3,000. Johnessco Rodriguez, the creative master mind behind Art Monaco, expresses the specific goal of Art Monaco: “There are more than 300 art shows worldwide. The concept and idea was already out there. The only input and modifications we have done is that the participation at our event is by invitation only and instead of receiving 40,000 visitors or more, we only receive about 10,000 but all of them with interest in art and with buying power.” 

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IRREVERSIBLE PROJECTS USA
Norelkys Blazekovic Special Projects Curator

booth I4
 
Alejandro Mendoza
Deborah Shelton Tynes
Amanda Madrigal
Jonathan Baez
Benedicte Blanc-Fontenille
 
 

Norelkys Blazekovic Special Projects  Curator
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Dirk Janssens
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ME AND MY EVER CHANGING MOODS (2013) 
Polished Bronze 100 cm x 100 cm (40” x 40” inches)

IRREVERSIBLE Art Mónaco’14, French Riviera
April 24 – April 27 2014
Dirk Janssens (meet the artist here)

Dirk Janssens lives and works in Leuven, Belgium. During his childhood, he worked in the studio of his father, sculptor and artist Freddy Janssens. That is where he learned how to sketch, paint, use and understand materials and techniques. He painted portraits, abstract works, worldly wisdoms and quotes…

BE THANKFUL (2010)

Art and Text, as the name might suggest, takes an in-depth look at the use of text in modern and contemporary fine art – “one of the most defining developments in visual art of the twentieth century” – and examines the way in which text has introduced a new mode of thought to artistic practices.

During the 1960s, it became common practice for modernist critics to attribute a meaning or explanation to a piece of work, but with text now playing such a prominent role, the justification for the artwork’s existence seemed to already be there, written clearly in front of the viewer. In actual fact, many artists such as Dadaist René Magritte used it as an anti-art or an “anti-aesthetic sentiment”, rejecting conventional artistic standards or even questioning whether or not “art” actually exists.

 

 Today, artists are still developing and expanding this prominent artistic medium’s possibilities; Dirk Janssens uses text as a means of directly confronting the viewer and provoking an immediate response that takes an in-depth look at the use of text in art. When language is used in the artistic domain, the letter, the word or the sentence are seen and experienced. The language is freed from the page as well as from its received meanings, habitual forms.

 

www.dirkjanssens.eu

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Dream Home 46×46 Ink and acrylic on polyurethane polished clear. 2014

IRREVERSIBLE Art Mónaco’14, French Riviera
April 24 – April 27 2014
Alejandro Mendoza


It is fitting that a contemporary Cuban-American sculptor, Alejandro Mendoza (who is also known for his mixed-media drawings), should be so focused on the theme of the city, in Miami, a place not yet a polis but slouching toward this eventual destiny, despite itself. Indeed, Miami is obsessed with this yearning, culling to its freshly painted shores international this and that, fairs and glamour events, all the trappings of an age whose unspoken belief in celebrity magic embraces the dogma of a fatal equation between notoriety and fame, to bypass those labored centuries of glory and epic from which, once upon a time, true cities and their civilizations rose—and when they crumbled, they lingered in something known as history.

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Little wonder Miami calls itself the Magic City. Mendoza, after all, comes from Havana, the only cosmopolis of the Caribbean which its Miami doppelganger has tried to replace, an opportunism which owes its smoke-and-mirror plausibility to Cuba’s half century of progressive totalitarian ruin. But to his credit, Mendoza has cultivated a complex approach to the failures and triumphs of accelerated urbanity—the central theme of much of his work, embodied in Miami, the add-water-and-stir version of instant citea. Alejandro Mendoza is an archeologist of the living mixed with an acerbic commentator on what does not yet know its fossil self. Ricardo Pau-Llosa has published six books of poetry, the last four with Carnegie Mellon University Press. He is also a widely published art critic and curator

www.alejandromendoza.net

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“To be continued…” Found and Donated Materials 27 ft x 27 ft 2014

IRREVERSIBLE Art Mónaco’14, Riviera Francesa
April 24 – April 27 2014
Amanda Madrigal

I began working on this piece from the inside out, both literally and figuratively. It is a circular object, created using a single element crochet technique, beginning in the center and working outward. The form is reminiscent of a polar grid, the same basic structure used to create a doily, but in this case, on a huge scale. I think about this piece as both a release of energy and collection of time. A way for me to transfigure the energy inside of me into something outside myself, and tangible; evidence. The piece was created using mostly donated and found materials that I would cut up and rip into long strips which I then crocheted into the final product, a large circular net. The simple and repetitive actions felt so necessary to me, they became a way to capture the fleeting time. The net is a physical construct made to collect my thoughts, ideas, feelings, and memories. Formulated from thousands of stitches, I would tear things apart and put them back together, stronger and united as a whole.

As the piece grew larger, it would consume the surrounding space so that I was no longer working around the net, but it was working around me. Forming a sort of back and forth between me and this extension of myself, constantly growing with every knot. Each layer of color that was added would transform the piece into something completely different, and watching this object spill effortlessly from my body I felt connected to the space around me. This idea began to provide a deep feeling of release.
The work became a mirror of the energy and time I put in to it. I saw a place to observe and experience abundance, flexibility, expansiveness and endless possibilities.

www.amandamadrigal.com

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“Night at the Mausoleum” Mixed media on canvas 32” x 44”

IRREVERSIBLE Art Mónaco’14, French Riviera
April 24 – April 27 2014

Jonathan Baez

I try not getting in the way of my work. To allow something else to appear, to show me the way… I recognize the presence of something else that works through me at the time of the creation. This can only happen when I surrender the illusion of control and become receptive.

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IRREVERSIBLE Art Mónaco’14, French Riviera
April 24 – April 27 2014

Deborah Shelton Tynes
Create by Capture: Through my lens I capture the IMPACT of Humanity, Climate Change and the evolution of natural and unnatural processes on a daily basis. Asymmetries in community structure and urban scapes are greed generated by-products of heat, particulate matter, chemicals and excess nutrients. I invite you to reflect on our future of humanity which can be measured in ecological evolutionary time. Hopefully we spectators will leave with a better understanding of how science echoes in conservation and in the political arena. Conservation is today’s most misunderstood political view. Conservatives are absolutely not conservationists, and are far to the polar opposite. We artists have become archivists who capture images on metal as a last full measure of devotion to our endangered planet’s habitats

 

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IRREVERSIBLE Art Mónaco’14, French Riviera
April 24 – April 27 2014

Benedicte Blanc-Fontenille

Bénédicte Blanc-Fontenille is a french artist living and working in Miami. She draws her inspiration from a reflexion on the fragility of the human being and his culture:Fragility appears to me as an energy, an engine which propels the human being and generate the movement,  life is nothing else but movement. There is the buried element and the visible one, the demolition that calls the reconstruction, the fold that needs to be unfolded to access the knowledge, to acquire achievement.There is nothing definitive, or permanent, rather the pursuit for renewal, revival, revision.  This movement represent a succession of moments. In the own words of G. Bachelard wae “Time has only one reality, that one of the moment”

 Following that trend, each of her pieces  could be called  «passage» or «snapshot» with all the vulnerability contained in those words. In her work, lines, colors, rocks, architecture or silhouettes of humans become the witnesses of the fugacity of each present moment in wich lurks the projection of the future.’

CoverArtMona14catalog

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