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João Fernandes
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Member type
Artist
If you're an artist, what kind of art do you make?
Conceptual, Digital, Drawing, Event, Film, Installation, Painting, Photography, Video
Centre of the artworld:
New York, Berlin, online

KIDing® label

At the end of 1999 (more precisely on December), the exhibition "I LOVE STEREOART project" was presented to the public at Galeria André Viana, in Oporto, Portugal.
This event marked the first display to the public of the identifying logotype of a trade-mark defining itself as being "a project for a cultural company, which under logotype would take on the normalised features of the market rules, thus suppressing personalized signature and inserting the group label: KIDing®”.
In spite of having escaped fairly to notice, KIDing® trade-mark kept on activity and continued developing projects in different areas, such as advertisement, visual arts, video, photography and graphic design, taking nowadays upon itself fully as a multi-disciplinary project. Its internal structure can be summed up in two people, who thus are a central core, in charge of the basis conception to any intervention project: Edgar Silva (graphic designer) and João Marques Fernandes ( visual artist).
Strategy used consists on inviting other creators of different areas according to the project's features to be developed, to co-operate with KIDing®. From this cooperation it expected the claimed efficacy, always shielding the idea of group responsibility inherent to this project. This process of working has brought excellent results due to a permanent debate on artistic and social activity. Personal displays are avoided , not because they are regarded as disallowed, rather because it is believed that thought and discussion in group are urgent for individual reassertion.
The decision of submitting every participants to the same trade-mark KIDing® designation is explained by trading logic, that is to say there is the concern of withdrawing the solo author's worth in a general way, referring him to a liable identifying technical data. Consequently it gives occasions to the trade-mark identified by the logotype, which like a bar-code allows an ironically massified optical reading.
Those are the basic principles of KIDing® project, with its fixed basis structure and its scope enougth open to allow variety and freedom of challenging and stimulating options, being able to act social and aesthetically.

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“The works of the team KIDing® - Angolan-born artist João Marques Fernandes (b.1969) and Portuguese graphic designer Edgar Coelho Silva (b.1975) – cross the boundaries between art and advertising with their concept of an ‘art agency’ and frequently satirize the aesthetics of advertising and branding. Their series I Love Calpe (1999) consists of out-of-focus images that, through colour and form (and the series’ title), suggest ‘holiday’, in this case the tourist resort Calpe on the Spanish Costa Blanca. While the blurry images themselves can function only as vague carriers of meaning, their signification is immediately defined by the small corporate and advertising logos that are overlaid as thumbnails. The creation of meaning in these works reverses the language of advertising by erasing the suggestive power of the image and foregrounding the ‘label’. The overlaid and inserted information does not seamlessly blend but deliberately disrupts the creation of the perfectly constructed image and its message.”

Christiane Paul in DIGITAL ART, Thames&Hudson world of art, 2003, pag.34

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“KIDing® is a team formed in December 1999 by graphic designer Edgar Silva and visual artist João Marques Fernandes. Their aim was to set themselves up as an art agency or cultural management firm governed by the rules of the market, with the idea of developing projects in different fields such as advertising, the visual arts, video, photography and graphic design. They would move beyond the individual ‘signature’ and bring in other creative talents to contribute to specific projects. The whole approach thus emphasizes a multidisciplinary, collective working process, and equates the conditions of personal, creative work with those of professional assignments. Embracing these premises, their projects range across, and feed from, the whole of the iconographic universe, from large-format paintings to tourist postcards, from advertising brochures to passport photos, from publicity flyers to family albums. Thus in The farmer’s manual collection (2000), a series of photographs parodies Edouard Manet’s famous Déjeuner sur l’herbe. Inevitably the scene has been given a far more contemporary setting; the construction of the image in turn exploits certain formal structures of the print media and the aesthetics and semantics of modern advertising (for example, the emphasis on such values as ‘nature’, ‘family’, ‘the outdoor life’, and so on).
In another work of equally corrosive irony, the poor photographic quality of various out-of-focus images just allows us to make out holiday scenes, but the shorts are mutilated by the sharply defined presence of the sponsor’s logos. The political and institutional mechanism comes into dialectical conflict with the situation it is supposed to favour and the image of that situation. Conceptual and aesthetic diversity and a conscious absence of style are the guerrilla artistic strategies with which KIDing® short-circuit the established visual order.”

Joan Fontcuberta in BLINK: 100 photographers, 10 curators, 10 writers, Phaidon Press Limited, 2002, pag.164/167

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At 17:49 on October 29, 2012, Amelia said…

Hello dear,I am Amelia by name,this is important,
please email me back at[amelia.herbert23@hotmail.com].
I will be waiting to hear from you soon.

 
 
 

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