HOMESESSION Art Space & Residencies

To content | To menu | To search

ART SPACE - ARTIST IN RESIDENCE PROGRAM
- - - - -

Newsletter

Sign up here to receive our newsletter and updates about exhibitions, residencies and activities!

SubscribeUnsubscribe


On Facebook



Support the project!

Anyone can help our independent project to go on offering opportunities to artists and the audience. In which way? It's just one click away!

They support us

Adam Davis will present his work on Sunday August 22th

Adam Davis will present his work on Sunday August 22th @ homesession (7 PM Barcelona).

Los Angeles based artist Adam Davis explores a variety of themes that goes from body politics to metaphysics. Part of his work tackles with the notion of manifest masculinity, with accepted and expected male behavior or expressions thereof, relating cultural symbolic system and the assets it sustains. The link between masculinity-in-context and social representations has led Adam Davis to deal with the question of structural dominations in the social relations: comparing both cultural and economic domination’s schemes of internalized rejections and fantasies, the artist focuses on the way different kinds of narrations get interwoven and interact mutually.
. Would metaphysics be a better field for universality and permanence? Adam Davis’ recent works question the representations, aspirations and values given to a possible experience beyond the physical universe. With this new perspectives that certainly enlighten the most melancholic features of his works, Adam Davis goes on working and language and its structures as well as the most ethereal aspects of our fantasies.

Adam Davis, 12th resident at homesession, will present the guidelines of his works as well as the recent developments he’s been working on at Makan Project Residency (Amman, Jordan) and homesession.

Please confirm assistance by email, due to limited space.

You shouldn't explain that! A conversation with Daniel Nevers

This is the transcription of a conversation we had with Daniel Nevers after the presentation of his work at homesession, on June 27th. Talking about the "minutiae" installation Daniel Nevers realized at homesession, it introduces the main outlines of Daniel Nevers' process and creations. .



Homesession: this work is going to be dismantled, but we would like to keep it a while...
Daniel Nevers: That's funny, because, for me, it's done, so it could be dismantled now.

HS: Of course, because you were in the process, during one month.
DN: Actually that was very interesting, working in your house, you know. It's like when I made this residency in Southern Exposure in San Francisco, they were going to work everyday and they had to cross my installation, thoses bunches of cable, I was feeling so bad for them. They had to put their bikes there, I was so sorry... And I feel a bit the same way about this, just because it's not the prettiest thing to live with, I guess. I don't think it's ugly, but that doesn't mean everyone would like to live with it... So it's interesting that you want to keep it a while, it's an interesting part of the whole experience. I make it and then I leave... because it definitely changes the whole space!... Actually, at the beginning, I was wondering what I was going to do, you know, I wanted to work with papers and so on, and a friend answered to one of my mails, just saying "well you could put the furnitures outside and say that's your project, leave it out so that they can't move it anymore..." (laughs)... I didn't do that, but finally we had to move all the furnitures. We even put some of them outside for the opening so...

HS: You said this work may constitute a new step in your creations.
DN: I have to figure out a new way to talk about my work, because I think it's not the same anymore. It's changing. I think I have to talk about it in a much more formal way and not that much about the meaning of it.

HS: But wouldn't you have to mix both approaches?
DN: No, I don't think so. For example Jessica Stockholder, who is one of my big influences... She's very interesting, she mixes a lot of very ugly works (laughs), not ugly but well she works with furnitures, products from a lot of stores, Ikea or other places, christmas trees' decorations, it's very interesting. She's also a painter... She only talks about her work formally. She's been around for twenty or twenty-five years and I keep reading about her work. Her work is also about psychological stuff: she said enough for us to know that, but...

HS: ... but she doesn't really explain it...
DN:... No... Her tales gives a little bit of information about it, so you can tell from materials, that there are some personal references, she tells about her father and so on...



HS: Well there's more than a psychological and personal meaning in your work, you're also referring to massive consumption...
DN: The opening was very interesting tonight because people, more than any other time, were saying "oh it's like recycling, but it's all new" or "oh it's like the materials they bring back to the beach in the nets, but it's brand new", and it's really interesting that people get it at first sight.

HS: Maybe because recycling with second-hand materials is very common in Barcelona, it's an industry, everywhere, and in the art world too...
DN: I was happy that people were paying attention to that. People were trying to understand, you know... "What is this about?"... That's always a question but it's not really interesting to me. I always ask people "well, what do you think it means?" and they hate to answer because they don't want to look stupid. But I would like to tell them that they can't look stupid, I don't care about their opinion... Whatever they think it means... They can't be wrong about their own opinion! But they want to know what I think it means, my own interpretation about my work.

HS: And you wouldn't say it?
DN: Of course I would, but it's not interesting to me. When I am in a gallery, I don't care so much about the artist's interpretation. Well of course, sometimes you have to read to know what the artist is talking about, but if I think it's about something and they tell me it's about something else, I will think well... that's stupid (laugh).



HS: Some people said that this installation works like a painting, you can sit on the coach and you have this perfect frontal view of the painting, this very nice composition, but when they saw the other side, they really saw the connection between this installation and your other works... And also, they were confronted to this frustration, you know, not to be able to see the other composition on the backside, not to be able to enjoy another nice point of view, to see what's happening...
DN: Yes, it makes perfect sense to me, the presentation to the outside world. The composition is very nice, it all looks very perfect. But when you go to the other side, you cant get close to it or you get so close to, that you can't see it. And then it's very much about personality, identity and...

HS: ... Oh! you shouldn't explain that! (laughs)
DN: Well, it's very clear to me that it's all there, even though I'm not consciously intending to make that. Actually, I was not thinking about it when I was working on the piece, but it became very obvious to me once it was finished: it's about all those things, the backside is the piece and the frontside is just a mask. You know, I think of the Franz Fanon's "Black Skin, White Mask". That's what it is. Of course, it seems very obvious to me, because I know my work. But I would understand it's not obvious to other people.

HS: You're not so used to develop a work that's almost flat...
DN: I think that what it is very exciting about this work, about the presentation, the concept of presentation. And also the idea of pattern is very interesting to me, because pattern has this double meaning, these visual and psychological meanings. How we follow into patterns or how we use patterns of behaviours. And there are those containers, the idea of containing emotions, it's all very litteral, almost. It's nearly too obvious to me! That's why it's very fun to me, because we could ask people to formally think about the idea of containers, colors, light and dark, panel, front and back, the connection between all those formal things. That's why I try to talk about it more formally, so people can make this connection more spontaneaously.

homesession opens a blog, which replaces, from now on, the "news' page"

We've added a blog feature to the homesession website. It replaces the news' page, wich has been used since the launching of the site on summer 2007. Thanks to the blog, we'll offer quicker updates for news, events and any artists' actualities. It will also allow us to present more media and documents in the news, as well as the possibility to comment, search, categorize and tag any content we add on this page.

It will allow visitors to get the whole content referring to an artist, an event, a work etc. We also offer from now on RSS feeds on each post as well as on comments.

The 2007-2008 news remain available of course: to get access to the older content (from July 2007 to October 2008), please go to this page.