polem

 

Polenphonia

With the use of a nose goggle created to alter the body and extend the nose, 8 flute players played the perfumen of the flora of the Botanical Garden of Buenos Aires creating a synesthetic experience.
Art Basel Cities 2018
Curated by Cecilia Alemani
Buenos Aires
Argentina

love me computer

galactic playground

galactic playground

Galactic Playground

Concrete, pain, text, sunlight
SITE Santa Fe Commission
Special thanks to the Santa Fe Railcard Art Projects

Galactic Playground is a large-scale interactive game board based on the cycles of the sun. Like a brightly colored spaceship that has landed in Santa Fe for a six-month vist, Navarro´s work is activated by the cosmos. Like a sundial, the shadow of the needle moves through as a sequence of instructions written on its surface as the sun appears to move across the sky. The instructions, then, vary according to the time of the day and the season. Some trigger a physical action, others conceptual considerations, and all connect the player with the sun as well as with other living entities.

This artwork is part of Casa tomada, Site Santa Fe´s current biennial exhibition now on view at SITE through early January 2019

Curated By: Ruba Katrib, José Luis Blondet, Candice Hopkins

Please click here to read the instructions

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into ourselves

drawing center

Into Ourselves

The Drawing Center’s Eduardo Navarro: Into Ourselves presents a new series of edible drawings, inspired by quantum physics––specifically the Holographic Principle, which describes how information in the universe can only be scrambled but never destroyed. During the course of the exhibition, a soup will be made that will dissolve the drawings to make them digestible.

Tom Banks joins Eduardo Navarro to discuss the Holographic Principle and its interpretation of the things we experience with our senses. Drawing upon theoretical principles informed by quantum physics, Navarro created the series of drawings Into Ourselves in response to these ideas. During the course of the conversation, Navarro will do some simple drawings to illustrate the concepts.

Please click here to see the pdf of the talk

Tom Banks is a Professor at Rutgers University in the Department of Physics and Astronomy. Prior to his position at Rutgers, he taught at Tel Aviv University in Israel, and the University of California, Santa Cruz. His research, which concentrates on particle physics and cosmology, drove him to develop with his collaborator W. Fischler of the University of Texas at Austin, the theory of Holographic Space Time (HST).

Drawing Center
The Lab
New York, US
Curated by Brett Littman and Rosario Guiraldes

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a large abacus made from bread

a large abacus made from bread

Celestial Numbers

Bread abacus, 4 meters x 4 meters
Installation view Metamorphoses - Let everything happen to you,
Castello di Rivoli Museo d’Arte Contemporanea, Rivoli-Torino
2018Photo Renato Ghiazza

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photo from the expo FUTURO in ARCO MADRID 2018

metabolic drawings

Metabolic Drawings

56 Edible drawings.
These were eaten in a soup I prepared my self every day during the fair.

FUTURO
ARCO Madrid 2018
Curated by Chus Martinex, Elise Lammer, Rosa Lleo

Click here to see the drawings

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Five Invsible Haikus

This project was developed at InSite/Casa Gallina in the neighbourhood of Santa Maria de la Riviera in Mexico City. For a period of 2 and a half years I collaborated with Ian Pasaran, a 33 year old blind man who worked, back then, in Pro-ciegos, an Institute for visually impaired people in Mexico City. This public institute provides all sorts of workshops and simultaneously acts as a meeting place. Back then Ian, worked in the store of Pro-ciegos were I met him. Ian, also works (now and then) in a company that hires him to evaluate food. He is a sensorial evaluator. The company he works at, trained him so he could taste and evaluate food products before they reach a mass market. Knowing this, I invited Ian to translate 5 abstract sensations into flavours. These 5 abstractions were: light, distance, space, time and affection. He agreed to collaborate with me (after a 2 years of working together we have become close friends)

We contacted a company called Bell that specialises in creating flavours to help us in the task. Ian meet with Bell´s team numerous times until the 5 flavours were created. This 5 flavours were made into candies. Once the candies were ready, Ian and I decided it could be interesting to created sculptures inspired by these five candies. The idea gave us possibility of playing with clay and making shapes as we tasted the candy and spend time together. We were not sure were this was going, but, since we really liked the result, we decided to make this abstract shapes into bronze. The 5 candies had a shape now. I was really interested in erasing the visual image out of these shapes by creating a horizontal experience equal to all audiences. So I decided to create boxes were only the one hand could reach the bronce shapes and touch them. Fingers are eyes too. The tongue is an eye too.

We showed the boxes with a little bag filled with the candy that inspired the shape. These 5 boxes were showed at Pro-ciegos patio for a week at regular hours. Everyone from the neighbourhood was invited to try them out. We had 3 blind volunteers that guided visitors to these boxes explaining the genesis of the work and why the candy and the shape inside the boxes. Visitors were free to make their own conclusion regarding which of the 5 concepts belonged to each of the boxes. The shapes inside will never be seen or photographed.

click here to see the more images

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Into Ourselves

Der TANK
Art Institute FHNW Academy of Art and Design
CH-4002 Basel
Switzerland 

Click here to see full exhibition

I love the first lines of Gustav Metzger’s manifesto Auto-Destructive Art (1960):
 
Man In Regent Street is auto-destructive.
Rockets, nuclear weapons, are auto-destructive.
Auto-destructive art.
The drop drop dropping of HH bombs.
Not interested in ruins, (the picturesque)
Auto-destructive art re-enacts the obsession with destruction, the pummeling to which individuals and masses are subjected.

I really think Gustav Metzger already knew about the holographic principle, a very complex theory that, in a radical simplification, states that the cosmos does not destroy its own information. As far as quantum mechanics is concerned, information about states is never destroyed. According to Leonard Susskind, “all we know about physics would fall apart if information is lost.”  So, no destruction is possible. This can be read in so many non-quantum ways, but we could claim it as very good news, since it is an invitation to stop trying to destroy, and this invitation does not come from a well-intended soul, but from the universe! However, we all know that the ways things go are far more complex in the precarious minds of humans. Therefore, Eduardo Navarro begins his opening with a soup, a soup for all those attending the opening on Friday, the November 10, from 6pm on. In the soup there is art: because he has been making edible art, and some of it will end up in the soup. Since destruction is not an option, transformation, digestion, and joy are at stake in this new project consisting of a large series of edible drawings. This very simple gesture of drawing on material that is compatible with our guts completely challenges any cry for immaterial art. Thinking about the power of the market, and the aggressiveness against complex thinking, art, and artists, the idea of not destroying but metabolizing art seems like an important proposal. It already expresses the end of the sweet years of bourgeois culture. We are now in a post-capital stage that makes it impossible, or very difficult, to know what can challenge the current situation, what can create a possible difference-to-capital. So eating art, making it part of our system, is a way to address the importance of radically transforming ourselves and of being ready to do, to name, to imagine a space for a different connectivity among humans and non-humans and politics all together. Once in our stomach, art may do the part and help us. 

Curated by Chus Martínez
Curatorial assistance Simon Würsten

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Letters to earth

Bronce walnuts with walnut meat inside. 60 1:1 replicates of real walnuts.
A group of 60 of these (time) capsules will be laying on the grass of Skulpture Park Cologne for 2 years.
Once the exhibition is over they will be buried deep in the park beginning their journey in time.
These anonymous letters will eventually last up to 2000 years on earth.

KölnSkulptur 9
La Fin de Babylone. Mich wundert, dass ich so fröhlich bin!
October 16, 2017–June 16, 2019
Curator Chus Martinez

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In collaboration with the Sun 

continues Navarro’s interest in the conversation between celestial and terrestrial worlds. For this work, Navarro has constructed seven golden suits with mirrored masks and  geometrical mirrors for the hands to operate. They are worn by  dancers who will reflect the sunlight into the surrounding space, using the movements of their bodies as human sundials. Activations will take place towards the end of the day as the sun descends, and on a clear day, typically sets Reykjavik aglow—directly hitting the city on an angle as the earth spins away from its rays. As the exhibition takes place in the autumn-to-winter months, the duration of daylight will change dramatically from the beginning to end of the exhibition—from nearly eleven hours at the start of the show to a mere four hours twenty minutes at the end. While the movements of the performers are choreographed by the sun, the suits will also guide the sun’s movements as they reflect its light into the exhibition space and also confuse the boundaries between inside and outside, daylight and artificial light, our earthly bodies and solar forms.

Click here to see more

Work: In collaboration with the Sun (2017).
Seven mirrored suits and solar synchronization; duration and dimensions variable. 
Venue: Kling & Bang Gallery, Reykjavík, Iceland
Sequences VIII Elastic Hours

Curated by Margot Norton

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hydro exagrams

Hydrohexagrams (for Tahuata), 2017

Bronze coins, drawings (pastel, pencil on paper), single-channel video projection
Coins: ø 65 cm x 3 cm; drawings: dimensions variable; video: 20 min; overall dimensions variable
Commissioned by TBA21–Academy
Thyssen-Bornemisza Art Contemporary Collection
Video still: Courtesy the artist | TBA21

“Eduardo Navarro’s work Hydrohexagrams (for Tahuata) (2017) emerges from a set of serendipitous constellations and encounters during the TBA21–Academy expedition to the Marquesas. Searching for a logic that comes from the oceans and a framework for thinking and being defined by the waters, Navarro created an oceanic version of the traditional Chinese divination method I Ching. The ancient script upon which the divinatory prophecies are read originated during the Western Zhou period (1000–750 BC), and is interpreted by casting a set of three coins six times to create a hexagram pointing to the revelatory text passages in the book. For this project, Navarro produced two sets of three bronze I Ching coins enlarged to a diameter of 65 cm and embossed with oceanic symbols and drawings the artist created during the expedition. The coins were made in Navarro’s hometown of Buenos Aires and brought back with him on his plane trip to the island of Tahuata in the Marquesas. Here, in the town of Hapatoni, where the idea for the work originated, the artist collaborated closely with the inhabitants, proposing they could use the coins and I Ching book to pose a communal question to the ocean. After the village formulated a question, the three coins were thrown into waves six times successively and retrieved by divers, leaving the resulting divination hexagram to be defined by the force of the waves. Realized with the help of local collaborators, like the fishermen who took Navarro out to the waves and helped him find the coins on the ocean floor, the action was also filmed. The village decided to create a song based on their interpretation of the text indicated by the I Ching book, laying it over the oldest chant of Hapatoni, whose melody is inspired by the waves of the sea.

The three coins that were cast into the ocean were brought to Vienna and are shown in the exhibition, while the other I Ching set stayed behind in Hapatoni, as a public artwork that will be displayed in the Artisan Museum and could be used by the different villages of Tahuata. With this project, Navarro realizes a system that emerges from the oceans themselves, placing them at the center of divinatory fate and destiny.” – Stefanie Hessler (curator)

Please click here to the video

Work comissioned by TBA21 for the exhibition Tidalectics
Curated by Stefanie Hessler. 2017
June 2–November 19, 2017

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Seventh Window

Seventh window is inspired by the Buddhist principle that the body has nine holes from which energy, matter and information travel inside and outside of it. These windows allow us to establish a connection with our surrounding world, transforming the body into a metaphoric temple. This optical gymnastics device allows the exploration of our own body, specifically the anus, the only place our human anatomy does not permit us to  observe. By using it, our own contemplation cycle becomes completes in a uroboro ritual were observer and the unobserved become one. 

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manos

loving things with out touching them