Sergio Gravier

domingo, 30 de diciembre de 2012

http://sergiogravier.tumblr.com/

miércoles, 26 de diciembre de 2012

SALMO 55 (56)

Actualizado Hace 8 horas · Tomadas en Berlín

If God is with me who can be against me? Sex and religion, the naked body and the biblical psalms together in “If God is with me, who can be against me,” a joint exhibition of Argentine artists Sergio Gravier and Rö Barragan and which had a very special preview a few weeks ago: an urban preview which exceeded the country’s borders , with stickers and posters announcing a sort of good news, but this time it was not Jesus who was announced, but men and women free of clothing and prejudices, all with biblical text as visual backgrounds. The new prophecy was preached by Barragan and Gravier who were not looking for faithful followers, but quite the opposite. They are pursuing those with self awareness, who think outside the dictates of government big or small, civil and religious authorities. But this urban art show was only the preview, the true taste of the exhibition, featuring digital photo montages composed by friends of the artists themselves. Apostles without fear or shame, whose nakedness front, back, partial or complete, contrast the verses, but only in appearance at first glance: the fact is that the images are merged without violence into a single whole, in a clear message but that each viewer must read, even write. We must not forget that the Holy Scriptures are full of blood, sweat and semen, but that Catholicism has made these elements into sins, punishable by Hell. The Church as an institution has used these teachings as a means to stall the advancement of modern
society, where families should no longer be mom + dad + children, but rather all combinations possible, if affection accompanies union. The Church, more mediocre rulers and cowardly artists insist on not seeing the reality: that the human body, with or without clothes, is beautiful. That should not cause any controversy, negative or incendiary reviews. Hopefully the exposure of Barragan and Gravier’s exhibition, scheduled to open this Winter in Berlin, will help others think about sexual identities and how we relate to each other. Religious and Atheists; heterosexual, homosexual, bisexual and transsexual; right or left; left or right handed; All are people at the end of the day. Texto: Antonio Heras Translated by Brad Crothers.
this is my latest serie of work start as a st art intervention, over the citys of Buenos Aires, Paris, New York, Madrid,Jean, Miami, San Francisco, La Rioja (Argentina) Cordoba (Argentina) and Berlin, ending in an expo in the city of Berlin and a serial of urban intslation.THANKS SO MUCH FOR THE SUPPORT AND HELPING HAND TO ALL MY FRIENDS!! having same good press coments in Berlin and Spain. Thank a Lot!!

http://kunstjetzt-blog.blogspot.com.ar/

cada cuerpo no es de manera caprichosmente elegida, dialoga con cada salmo de la biblia, el texto de la biblia tiene una estrecha e irónica relación con la imagen!
each body wasn´t chose randomly, they dialogue with each salmon from the biblie, wich text has a close and ironic relation with the image.
AMEN!!!

Si Dios conmigo, ¿quién contra mí? (Wenn Gott mit mir ist, wer ist gegen mich?)

jueves, 28 de junio de 2012

{GAYUMBOS}: GAYUMBOS MAN II: the Edge of glory

viernes, 23 de diciembre de 2011

Artist Sergio Gravier made a statement at arteBA (Buenos Aires, Argentina) with his incredible installation/performance titled "Poncho Intervenido Y Feria Interferida". With the swine fever being relegated, the installation/performance main purpose is to let us be prepared for another type of fever..politics, from which we do not have a cure. photographs from the arteBA 2009:

viernes, 20 de mayo de 2011

http://www.facebook.com/media/set/?set=a.1720873059792.2088366.1177261016

Proyecto Lisboa

Proyecto Lisboa

1 – Sendo novo nesta cidade das sete colinas e fácil perder-me... com a singularidade das casas, dos bairros, das ruas!
As calçadas – Observando a riqueza da calçada Portuguesa, na sua tradição, vejo os espaços imperfeitos, vazios, resultante do corte manual do paralelepípedo granítico, e também das agruras do tempo…
Imaginei as ruas da cidade redecoradas nos seus vazios e falhas. E, como num conto de Hansel e Grethel, deixo uma história romântica, semeada em migalhas de pão. Um percurso para não nos perdermos e encontrarmos o caminho de volta a casa.
O desafio será cobrir algumas destas calçadas de cada colina (uma rua ou várias), com pérolas entre cada um dos espaços vazios. Destacando a área intervencionada e atribuindo assim um efeito artístico perfeito.

jueves, 19 de mayo de 2011

“QUE EN PAZ DESCANSEN” intervención del Artista

domingo, 14 de marzo de 2010

Trabajos Recientes / Recent Work - 2010

PROLOG

One is overcome by various sensations when viewing one of Sergio Gravier’s works, and this is because Sergio plays with different planes of our consciousness, engaging both them and us, in the manner of an alchemist who first puts them all in a situation of conflict that is finally resolved with an amalgam of powerful delicacy that embraces the whole situation, leaving us, ultimately, somewhere between confusion and ecstasy.

For purposes of comparison, the experience that Sergio provides us is something like “to be with the gods and the myths (all of them, both pagan and Christian) in a beautiful little doll house full of candies and chocolates,” where, in addition, one would have a sense of them so palpable and real that we feel we could sit with the dolls and have tea served in beautiful porcelain china, and that they are in a disguise so flawless it stands up to the closest scrutiny; they are so similar to ourselves and are with us here and now, just a second after breakfast, and then our perception shifts violently to the exquisite situation in the frame, a contemplative glance of admiration ensues, a sense of being in two places at once, we see the brillance that makes them immaculate again, and they are beyond our reach forever.

The beauty that this series of Sergio Gravier’s works examines is a perfect toy-like beauty that makes us laugh at ourselves and at our most sacred things, but not in a degrading way; it becomes more beautiful in the transformation, more specific and particular in detail, more fragile and divine in its diminutive size and its golden low-budget ancestry.

Because Sergio Gravier treats everyone and everything (Jesus, Marilyn, the Adonis, the Virgin Mary, the little cowboy Gil) from a popular perspective, or “pop” culture, if you will, they are for all of us, taking off their sacred clothing on the one side, and becoming singularly beautiful on the other.

And Sergio has done this very well, playing with them and with us. How? By adorning them with beautiful baubles, returning a brilliance to them that is within reach of us all, surrounding them with a majestic richness, albeit a false one.

Costume pearls, glitter, splashes of gold, scraps of lamé, glue, innocent petals of plastic roses: these are the tools Sergio uses to play with our senses, transporting us to a dream world where beauty is queen and none of the protagonists lose their royalty for an instant, although by a strange magic spell they seem different, renewed, and authentic in an unexpected and surprising seat of honor.

A golden Virgin Mary on a bed of confetti roses named “Flower of Stupidity,” an exotic General Otomano dressed to the nines who suspiciously declares “I didn’t do it,” our lord Jesus giving us his burning heart in a glittery shower of fantasy rain drops, the omnipotent gay Adonis, flexed muscles squandering the power of his homosexuality from a shiny plate of pearls, Betty Boop ready to mount a motorcycle and begin her journey but just now parked on smooth orange velvet, and all-knowing Shiva, counseling and illuminating us from what seems to be an exaggerated version of our grandmother’s old cameo.

They all invite us to this game, pleasantly manipulating our enjoyment of all that is beautiful, telling us to come and play, and see if you can take your eyes off of us for an instant, we challenge you, since the cards are spread all over green baize, where sweet vanity trumps the luck of all these aces.

Augusto Lasalvia Carlone.

translation by Blaise Wrenn

La-Merelo Corazon Dolido

Imagen Intervenida

1 x 70

2010