Guide intervention-Documenta (13)

Projects

BUTTES SELVÁTICO / JUNGLE BUTTES

Colour chromogenic print

70 X 100 cm

2008

Mitterrand FOREST

Colour chromogenic print

70 X 100 cm

2008

IN THE JARDIN DES PLANTES

Colour chromogenic print

70 X 100 cm

2008

BUTTES CHAUMONT

Colour chromogenic print

70 X 100 cm

2008

FLORES EN PÈRE LACHAISE

Colour chromogenic print

70 X 100 cm

2008

FRENCH PATRIOTIC POSTCARD

Anonymous

10 x 15 cm

World War

MAP FRANCE HISTORIQUE

Old map

61 X 49 cm

S. XVII

CATACOMBS

Colour sketch photo

15 x 20 cm

2003

LOUVRE FEET II

Colour chromogenic print

80 X 60 cm

2003

LOUVRE FEET IV

Colour chromogenic print

80 X 60 cm

2003

ABOUT NAPOLEON I

Colour chromogenic print. Diptych

70 x 200 cm (70 x 100 each one)

2003

ABOUT NAPOLEON II

Colour chromogenic print. Diptych

70 x 200 cm (70 x 100 each one)

2003

Stalingrad Verdun

Colour chromogenic print

70 X 100 cm

2008

MAP PARIS-SEINE

Old map

40 X 48 cm

S. XVII

Concession à PERPETUITÉ I

Ink print on dibond from slide

135 X 200 cm

2008

Concession à PERPETUITÉ II

Ink print on dibond from slide

135 X 200 cm

2008

POUBELLES EN LA VILLETTE

Colour chromogenic print

30 X 50 cm

2003-2008

THE TUBE I (diptych)

Colour chromogenic print

70 X 100 cm

2003

THE TUBE II (diptych)

Colour chromogenic print

70 X 100 cm

2003

GEORGES MÉLIÈS

Colour chromogenic print

40 X 60 cm

2008

...

MOLESKINE

Técnicas mixtas - 14 x 9 cm

PARIS RED BOOK. Mixed media 50 x 50 cm – 2003

Demande de consultation

Poetic concessions about Paris

Rosell Meseguer

Demande de consultation, comes from the short title in the cards which were filled by the researchers at the Kandinsky library, Centre Georges Pompidou, Paris, in order to get into the documentary sources.Ask for a book, open it, look at it… We could maybe find there the answers to the research voyage.

In order to talk about France, I had to start from these Demande de consultation cards. Reach the centre of the Hexagone, reach Paris, where I could break the traditional schema and the typical ideas shown at images and stories of the French capital. So, where is the other city? as an answer we have the outskirts, la banlieue, with its problems and its discomfort feelings, le malaise des banlieues. Other unknown centres, not usually related to the capital, where other cities are living: the subterranean ones, as the underground and the sewer system; the artificial nature ones, les Buttes Chaumont, the romantic park, built from nowhere by Napoleon III´s engineers; La Défense, the business city with its leaving rooms for yuppies; the unknown one, which remains us about another one and so on.

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Since alchemy to nowadays science, we have become land surgeons. While analogue photography is losing its space gained by the digital, our old industries as mining are not longer economic; what was a mine is becoming a new theme park or a tourism center...

MONTAIN 1

Colour chromogenic print. Triptych

120 x 80 cm c / u

2007

MOUNTAIN II

Colour chromogenic print. Triptych

120 x 80 cm c / u

2007

MOUNTAIN III

Colour chromogenic print. Triptych

120 x 80 cm c / u

2007

VOLVO IN THE DESERT

Colour chromogenic print

80 X 120 cm

2007

FRESH AIR BASE DETAIL DIN-A4

Cyanotype on paper

DIN-A4

2008

DRAG AREA AND BASE OF FRESH AIR

Installation, 135 x 200 & 30 x 550 cm

Espacio AV, Murcia

2008

SEWELL INDUSTRIAL

Ink print on dibond from slide

100 X 150 cm

2007

WHALE SKELETON

Ink print on dibond from slide

135 X 400 cm

2007

SHIP FOR CUTTING

Ink print on dibond from slide

135 X 200 cm

2007

GOLD WASHING SITE

Ink print on dibond from slide

80 x 120 cm

2007

EYE

Ink print on dibond from slide

40 x 50 cm

2008

SEWELL

Colour chromogenic print

100 X 150 cm

2003

WINDOW I

Ink print on dibond from slide. Diptych

70 X 100 cm each one

2007

WINDOW II

Ink print on dibond from slide. Diptych

70 X 100 cm each one

2007

STRUCTURES ON THE COAST I-II

Ink print on dibond from slide. Diptych

135 X 200 cm each one

2008

INSTALLATION STRUCTURES ON THE COAST

Installation of three pieces of Structures on the coast,

the piece Drag Zone and the piece Fresh

Espacio AV, Murcia

2008

STRUCTURES ON THE COAST III

Ink print on dibond from slide

135 X 200 cm

2008

TRANSITOS Archive Installation

Dimensions variable

Espacio AV, Murcia, Spain

2008

Archive Installation

Dimensions variable

Jardín Botánico UCM, Madrid

2008

DOCUMENT CHUQUICAMATA

Documents found B&N Photography unidentified

No date

DOCUMENT SOUTH AMERICA MAP

Print on paper

DOCUMENT SALICHE

Print on paper

1924

TROLLEY

Documents found

B&N Photography unidentified

1906 (?)

DOC. CHIMENEA

Documents found B&N

Photography unidentified

No date

HERBAL INDUSTRIAL PLANTS - Cyanotypes 80 x 61 cm - 2008

TRANSITOS. FROM THE MEDITERRANEAN TO THE PACIFIC

Rosell Meseguer

The proyect: Transits from the Mediterranean to the Pacific, is formed from three parts:

QUINTAY

LUNA CORNATA; Silver nitrate versus Chilean nitrate: The Saltpetre

THE MOUNTAIN WHO EATS ALIVE MEN, dictionary mines, alive mines

Since alchemy to nowadays science, we have become land surgeons. While analogue photography is losing its space gained by the digital, our old industries as mining are not longer economic; what was a mine is becoming a new theme park or a tourism center. This project, talks about the artificial landscapes brought by the science, industry and technology cuttings. Its materialization uses old photographic techniques (XIX Century) as blueprint, used in mining books and a mix of analogue and digital procedures, combining the audiovisual arts.

Quintay from the project Transits: from the Mediterranean to the Pacific

Drain somewhere the rivers -make a hole somewhere-. Empty in the Southern Seas, upon the waves of salt and water: the Pacific, the end and beginning of the earth. The Cape Finisterre, which some believed it: the deepness of the darkness. It changed the plane into the sphere, their South in our North; full stop in the whaling industry and its decay in a place called during a long time: nowhere. Quintay is an old whaling industry situated close to the Valparaiso coast, Chile.

Luna Cornata; Silver nitrate versus Chilean nitrate: The Saltpetre from the project: Transits: from the Mediterranean to the Pacific

Term used by the alchemist of the Middle Age for the Silver chloride Photosensitive salt used by Joseph-Nicéphore Niépce for making his first photographic prints Project related to the left saltpetre industry cities and the actual situation of the salt industries at the Mediterranean and Bolivia.

The mountain who eats alive men, dictionary mines, alive mines from the project Transits: from the Mediterranean to the Pacific

The mountain who eats alive men, is how is called Cerro Rico in Potosí, Bolivia, still a mine in use with old exploitation systems, so different from the technological mines in Chile. The first makes us think about the mining of the Spanish Mediterranean coast, Cartagena and Almeria fields, nowadays dictionary mines that have become sites for researchers, curious and tourists.

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LA MEMORIA IMAGINADA

Francisco Carpio

Fragment from he original text, written for the show at EAV, Space of Visual Arts, in Murcia, Spain, April-May 2008-

Neurones, milliseconds, obsolescence and things in use

(...)

I go back to the origin of the past, which is equally to go back to the present, and also to the future. I go back to an intimate and universal geography, mapped by these images, by these objects, by these documents, that is on both sides of the body of whoever conquers and constructs it, of whoever feels and perceives it: inside and at the same time, outside

Quintay

There is not the least doubt: when our individual consciousness begins to process, through its rough wet cerebral circuitry, any type of information which contains the idea-word “whale”, that it immediately establishes an analogy, a mental and memory link with our collective unconscious, which takes it irremediably to the literary ideaword “Moby Dick”.

The myth of the great white whale, ferocious, free and unattainable, has now become part of our imaginative world. Immortalized in the highly well known, book of the same title by the North American writer Herman Melville, it is nevertheless much less well known that the genesis of this novel took its historical reference from the story published in 1839 by the New York magazine “Knickerbocker. Written by an official of the US navy, Jeremiah Reynolds, it tells the real story of a clash between whalers and an albino sperm whale known as Mocha Dick near the isle of Mocha in Lebu, Chile, opposite the river and present-day town of Tirúa. Like Moby Dick, he escaped numerous times from his hunters over more than forty years, with the result that he carried various encrusted harpoons in his back. The whalers told that he used to attack furiously, with such puffs that formed a cloud around him; he charged at the boats, holing them and capsizing them, killing the sailors that dared to confront him. According to the mariner who told the tale published in the magazine, it required an alliance of several whaling boats from different nationalities before they got to kill Mocha Dick.

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ROSELL MESEGUER DE UN TIEMPO COMÚN

Javier Hontoria

Looking at Rosell Meseguer´s work, one might think if photographic language is the leitmotif or the tool for creation, maybe it is the final purpose. Her way of watching, uses the increasing posibilities that photography offers, taking out from gelatins, blueprints and Kallitypes a rich narrative universe. In most of her lately works, the story motif and the way it is presented, go together, giving shape to the concept.

At her first public show in Madrid, Centro de Arte Joven de Avenida de América, a dialogue between the photographic image and the document was already showed; small fragments of time, founded here and there, helped the viewer to rebuild the memory of the place. These remnant documents are present today, becoming part of the art pieces themselves. Those first images were war ruins, bent spaces forgotten afther the battle. In one of the most beautiful photographies from this first sequence, the artist, from the inside of several narrow bunkers, set the camara in the places belonging to the cannons, getting from the small concrete hollow, the image of the maritime horizon. We could have the sensation, that Rosell Meseguer was looking in that distant horizont the posible bellicose fire´s target one. Having a benevolent intention, she stretches bridges between both sides, purpose still present in her work today.

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