Best Salsa Club

Best of SA 2013: 4/24/2013
Chris Pérez, Selena’s Husband, Faces His Past and Looks Forward, Musically

Chris Pérez, Selena’s Husband, Faces His Past and Looks Forward, Musically

Music: Chris Pérez never saw it coming. “All I ever wanted to do was play guitar,” he told the Current. “I never thought I’d be the subject of an interview... By Enrique Lopetegui 8/28/2013
Beaches Be Trippin\': Five Texas Coast Spots Worth the Drive

Beaches Be Trippin': Five Texas Coast Spots Worth the Drive

Arts & Culture: Let’s face it, most of us Lone Stars view the Texas coast as a poor man’s Waikiki. Hell, maybe just a poor man’s Panama Beach — only to be used... By Callie Enlow 7/10/2013
Chris Perez, husband of slain Tejana icon Selena, tells of romance, suffering

Chris Perez, husband of slain Tejana icon Selena, tells of romance, suffering

Arts & Culture: In one of the final chapters of his book To Selena, With Love (out March 6), Selena's widower Chris Perez mentions that Abraham Quintanilla, his former father-in-law, once... By Enrique Lopetegui 3/7/2012
A Look Back at SA\'s Homebrew History

A Look Back at SA's Homebrew History

The Beer Issue: Homebrewing is a foundational American virtue. Not just Sam Adams smiling back from the bottle that bears his name—virtually all the... By Lance Higdon 10/15/2014

Search hundreds of restaurants in our database.

Search hundreds of clubs in our database.

Follow us on Instagram @sacurrent

Print Email

Arts & Culture

In and out of place at Artpace IAIR 12.2



Jacco Olivier, Cycle, 2012. Installation view.

Photo: , License: N/A

Leslie Hewitt, Where Paths Meet, Turn Away, Then Align Again, 2012. Installation view.

Related stories

All three shows in Artpace's second 2012 International Artists-in-Residence Exhibition use, or make comment on, photography. But that wasn't an intent in choosing the artists, says IAIR 12.2 curator Sarah Lewis. Though the overlap in the projects by Leslie Hewitt (New York), Mike Osborne (Austin), and Jacco Olivier (Amsterdam) may be happenstance, it gives this edition of exhibitions from the acclaimed residency program a seeming continuity. But the real punch lies in the (many) contrasts.

Jacco Olivier's three-screen projection Cycle — made by photographing progressive stages of his lush expressionist paintings on panel, then stringing the images together in much the way that early Walt Disney animations were created — is a painterly blend of gestural depiction that rushes and blends into vibrant displays of abstraction. It glories in paint. Fat, striated brush strokes construct a city; a river appears, and flows into a roiling, mountainous countryside. Blobs of bright reds, yellows, and blues (inspired, says Olivier, by the handmade signs found in San Antonio neighborhoods) float over the quickly changing scenes, ending in an exaltation of color. This isn't a literal depiction of the Alamo City and environs (the soaring mountains seem pulled from memories of cowboy movies), but instead traces the impact of this sun-seared place on the artist, who usually lives among the somber tones of the Netherlands. Projected on three screens totaling over 36 feet in length, Cycle is much larger than Olivier's previous works (which range from 12 inches to 12 feet in length); the sudden growth is a response, perhaps, to the famous out-sized scale of Texas. Bright and dancing, this massive, ebullient video may be dismissed as eye candy by some. But caution is warranted: it shows us a vision through beginner's eyes, offering relief to numbing habit.

Floating Island, the installation and book by Mike Osborne, continues work he began at the Center for Land Use Interpretation. Working at their Great Basin Desert location in Wendover, Utah, and West Wendover, Nevada, he has constructed a series of photo-stories that depict traces of the area's past prominence as a military base (the pilots who dropped the atomic bombs on Hiroshima and Nagasaki in WWII were trained at Wendover Airfield) and its current dependence on casinos. Bringing the desert into the western towns are shots of obscure mining slag heaps and of the nearby Bonneville Salt Flats, famed for attempts at ever-increasing land speed records and site of countless car commercials. The book contains over 70 photographs, but no text besides titles and chapter headings. No matter, the stories of sparse buildings and open spaces are cinematic, expansive, and hint at an exaggeration in the service of truth, exemplified in the paintings of Paul Gauguin and films of Wernor Herzog, one of Osborne's favorite directors. A photo on the wall, White Plane, Port San Antonio, was shot off-location, at an SA airplane interiors firm. Bits from the narratives are found in the few photographs of the installation that line the walls; a table is set in the middle of the room, provided with copies of the book and newspapers from the desert towns. It's haunting stuff, revealing little usable information, but much about atopia, the nowhere within the American West.

Recently in Arts & Culture
We welcome user discussion on our site, under the following guidelines:

To comment you must first create a profile and sign-in with a verified DISQUS account or social network ID. Sign up here.

Comments in violation of the rules will be denied, and repeat violators will be banned. Please help police the community by flagging offensive comments for our moderators to review. By posting a comment, you agree to our full terms and conditions. Click here to read terms and conditions.
comments powered by Disqus