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Elena Bajo
Elena Bajo is a visual artist. Elena Bajo's concept-generated and research based practice is concerned with the social and political dimensions of everyday spaces, the strategies to conceptualize resistance, the poetics of ideologies, and the relationship between temporalities and subjectivities. She works individually and collectively across installation, sculpture, painting, performance, participatory events, film, text and writing. She uses exhibition spaces as studios or laboratories, where an experimental, itinerant, sitespecific performed sculpture unfolds, improvised actions and choreographed movements. Having as a point of departure art production processes, working with places as they are given to her and limited by the materials available around them, she rearranges these found elements into a new composition, juxtaposing the identities of prefigured social and political spaces and dimensions, creating a sometimes cryptic but always revealing new code of signifiers. A restaging of a space and time, of the past, into future events that uses chance, contingency and ambiguity of the moment. She has recently participated in projects at La Salle de Bains, Lyon; Solyst Skulpturen Park, Copenhagen; Galleria Umberto di Marino, Naples; The Woodmill London; White Columns, New York (2009); City Gallery, Prague (2009); Sculpture Center, LIC (2009); ISCP, New York (2009); Kunstlerhaus Bethanien, Berlin (2008), co-editor of issue 2, INPUT Journal and was one of the founders of the temporary art project EXHIBITION, New York (2009). Bajo holds an MFA from Central Saint Martins School of Art in London and a MA in Architecture from ESARQ, Barcelona, in 2006 she was granted a Fellowship to Skowhegan School of Painting and Sculpture, Maine. Elena Bajo artist workand practice. How one maneuvers in the systems, determines what size and kind of space we work and live in
Gordon Matta-Clark. My practice is informed by architecture and explore ideas and concepts that deal with objects, structures and spatial situations generated by re-contextualizing cultural artifacts. Following a ‘Situationist” approach, the urban context generates the material I work with. I am interested in the cultural unconscious and the theatre in which the social imagined is played. The work can be manifested in several mediums, installation, sculpture, painting, performance, video or text.
I explore the city by walking, using an approach followed in the past by the Situationist International, such as Debord and his ‘derive’. I am interested in areas of formal discontinuity, such as construction and demolition sites or areas where a diversity of leftover material accumulates. I am interested in exploring these gaps and interruptions. I mix found debris and formal architectural elements into outdoor and indoors installations, re-enacting the memory of the city as a fragmented landscape of dislocated images and unfinished structures. These discontinuities, now unfolded into a series of spatial arrangements may reveal alternative social systems. These spatial constructions, become prototypes of what I call
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