Multimedijski roman, pseudo-znanstvena fantastika, skulpture "znanja".
RITA SOBRAL CAMPOS, Neon Medieval
The exhibition “Neon Medieval,” which can be seen at the Galerie Andreas Huber starting on March 14, shows new works by the young artist Rita Sobral Campos.
The films and sculptures, prepared especially for “Neon Medieval,” represent a moment in the narrative that Sobral Campos has conceived around Frederik: that moment in which Frederik enlists the advice of five mutually conflicting heresies. Each of these heresies, as well as Frederik himself, is presented in animations using short texts, and given visual form by various shapes and symbols. Wooden sculptures, so-called foot soldiers, serve to represent and characterize each teaching.
Inspired and enthused by the figures of Friedrich II and medieval culture, Sobral Campos spins a new story. She transforms the historical, transferring it into a fiction with no defined time frame. Like most of her works, the work exhibited here is based on a complex narrative that draws on a broad philosophical and historical context. Current discussion plays a role as well, such as references to physics or the neurosciences. The six 16mm films and four wooden sculptures in the exhibition “Neon Medieval” are a manifestation of one step of this narration. The work will be developed further and in its next presentation will end up at another point and in another form.
Installations, sculptures, drawings, animations, texts, books: in her multimedia projects and obsessive research, Rita Sobral Campos finds the possibilities to present her work in various media. The exhibits here, accompanied by short texts and glossaries, are reminiscent of science fiction or pseudo-scientific fantasy.
In her last project, “For the Madman the Neighbor is Himself,” which was two years in the making, she charted the “Cephalic Wars” and their protagonist Mr. Leader. Newsreels and short documentaries, a journal by Mr. Leader, and academic studies are simultaneously both the invention and the analysis of the same event. “In some ways it is a meditation on fate and free will,” writes the editor of the project’s book. “For the Madman the Neighbor is Himself,” which is the culmination of these examinations, has been published by Sputnik Press.
Full of references to current political developments, philosophical strains, and historical and mythological characters, Sobral Campos’s works take on the appearance of a multi-branched network–in which humorous details are revealed to attentive viewers.
Rita Sobral Campos, born in 1982, lives and works in New York City.www.galerieandreashuber.at- artnews.org/andreashuber/?exi=38158&Rita_Sobral_Campos
Rita Sobral Campos: Frederik: A story in film, sculpture, and works on paper.
As the story goes in this ongoing project, the (female) character of Frederik is presented with five orthodoxies (“heresies” in the language of the work, echoing the religious/mystical undertone of the project itself and the historical period that inspires it) trying to spell out the cosmos. The five advisors communicate their versions to Frederik in the form of films, sculptures, and drawings which all include texts that loosely narrate these reports. Frederik—the artwork, not the fictional character—repurposes ideas taken from philosophy, literature, and science to construct a new version of knowledge. Synthesizing these together flattens the rift between fiction and nonfiction, making it clear that it isn’t nonbelief that leads these accounts: it’s a long tradition of more and less futile attempts to explain the world. —Orit Gat
Frederik is an ongoing project that follows the dealings of Frederik and the five Heresies that present themselves to her. Each of these Heresies seeks to defend their view of the Universe to its most minute detail.
The project started with Neon Medieval, an exhibition at Andreas Huber Gallery, where a series of sculptures, drawings and 16mm films represented the moment in the narrative in which Frederik enlists the advice of the five mutually conflicting heresies.
Inspired and enthused by the figures of Friedrich II and medieval culture, Frederik spins a new story. She transforms the historical, transferring it into a fiction with no defined time frame. The narratives that unfold in a labyrinth of plots and shapes draw on broad philosophical and historical context, mixed with references to physics, neuroscience and comedy.
For the Madman the Neighbor Is Himself