http://www.clarissatossin.net Clarissa Tossin Tue, 12 Apr 2011 03:29:05 +0000 http://www.clarissatossin.net en http://www.clarissatossin.net/Ladrao-de-Tenis http://www.clarissatossin.net/following/clarissatossin.net/Ladrao-de-Tenis Tue, 12 Apr 2011 03:29:05 +0000 Clarissa Tossin 1297292 <img src="http://payload.cargocollective.com/1/2/81536/1297292/Clarissa_Tossin_Thief1.jpg" border="0" width="670" height="393" width_o="670" height_o="393" src_o="http://payload.cargocollective.com/1/2/81536/1297292/Clarissa_Tossin_Thief1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297292/Clarissa_Tossin_Thief2.jpg" border="0" width="670" height="468" width_o="670" height_o="468" src_o="http://payload.cargocollective.com/1/2/81536/1297292/Clarissa_Tossin_Thief2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297292/Clarissa_Tossin_Thief3.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/2/81536/1297292/Clarissa_Tossin_Thief3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297292/Clarissa_Tossin_Thief4.jpg" border="0" width="670" height="447" width_o="670" height_o="447" src_o="http://payload.cargocollective.com/1/2/81536/1297292/Clarissa_Tossin_Thief4_o.jpg" align="left" /> Ladrão de Tênis / Sneaker Thief, 2009 hydrocal and acrylic shelves dimensions variable Plaster casts of the interior of used sneakers. The wear and tear of each sneaker is merged with brand signifiers such as subtly recognizable stitch patterns and rivets. The mash-up of brands and bodies exposes the logic of the construction of the self in consumer culture. While the title, ‘Ladrao de Tenis’ (Sneaker Thief), points to the complexities of class conflit and the exploitation of desire in capitalist developing economies. In Brazil, the unsettling killing of people over their sneakers has become a recurrent topic in the sensationalist press leading to the creation of that term. http://www.clarissatossin.net/Vogais-Portuguesas http://www.clarissatossin.net/following/clarissatossin.net/Vogais-Portuguesas Tue, 12 Apr 2011 03:28:07 +0000 Clarissa Tossin 1297290 <img src="http://payload.cargocollective.com/1/2/81536/1297290/Clarissa_Tossin_Vogais2.jpg" border="0" width="670" height="417" width_o="670" height_o="417" src_o="http://payload.cargocollective.com/1/2/81536/1297290/Clarissa_Tossin_Vogais2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297290/Clarissa_Tossin_Vogais1.jpg" border="0" width="670" height="503" width_o="670" height_o="503" src_o="http://payload.cargocollective.com/1/2/81536/1297290/Clarissa_Tossin_Vogais1_o.jpg" align="left" /> Vogais Portuguesas / Portuguese Vowels, 2008 sugar 3" x 4" x 3” (approx., each) image 2: detail, letter U http://www.clarissatossin.net/By-foot http://www.clarissatossin.net/following/clarissatossin.net/By-foot Tue, 12 Apr 2011 03:27:28 +0000 Clarissa Tossin 1297288 <img src="http://payload.cargocollective.com/1/2/81536/1297288/Clarissa_Tossin_ByFoot1.jpg" border="0" width="364" height="500" width_o="364" height_o="500" src_o="http://payload.cargocollective.com/1/2/81536/1297288/Clarissa_Tossin_ByFoot1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297288/Clarissa_Tossin_ByFoot2.jpg" border="0" width="364" height="500" width_o="364" height_o="500" src_o="http://payload.cargocollective.com/1/2/81536/1297288/Clarissa_Tossin_ByFoot2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297288/Clarissa_Tossin_ByFoot3.jpg" border="0" width="670" height="178" width_o="1430" height_o="380" src_o="http://payload.cargocollective.com/1/2/81536/1297288/Clarissa_Tossin_ByFoot3_o.jpg" align="left" /> By Foot, 2009-2011 series of walks, digital print and etchings Beaten pathways in one of Brasília’s gigantic grass areas are used as a map for walks. Each drawing depicts a different route and is titled after the number of steps taken to complete the course. The ink used for the prints is custom-made with soil from Brasília used as pigment. http://www.clarissatossin.net/Spent http://www.clarissatossin.net/following/clarissatossin.net/Spent Tue, 12 Apr 2011 03:26:55 +0000 Clarissa Tossin 1297286 <img src="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto1.jpg" border="0" width="670" height="445" width_o="670" height_o="445" src_o="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto2.jpg" border="0" width="670" height="445" width_o="670" height_o="445" src_o="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto3.jpg" border="0" width="670" height="445" width_o="670" height_o="445" src_o="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto4.jpg" border="0" width="670" height="445" width_o="670" height_o="445" src_o="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto4_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto5.jpg" border="0" width="670" height="445" width_o="670" height_o="445" src_o="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto5_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto6.jpg" border="0" width="445" height="670" width_o="445" height_o="670" src_o="http://payload.cargocollective.com/1/2/81536/1297286/Clarissa_Tossin_Gasto6_o.jpg" align="left" /> Spent / Gasto, 2009-2011 porcelain and trash dimensions variable For about two months I collected my domestic waste and fossilized it into porcelain pieces. Each object in the room is a discarded item dipped in porcelain slip and subsequently fired in a kiln. Due to the high temperature, paper, cotton, rags, seeds, coffee cups and other materials turn to ashes, while the original form remains as a hollow porcelain shell. Installation view - Galeria Luisa Strina photos: Edouard Fraipont http://www.clarissatossin.net/Unmapping-the-World http://www.clarissatossin.net/following/clarissatossin.net/Unmapping-the-World Tue, 12 Apr 2011 03:25:57 +0000 Clarissa Tossin 1297282 <img src="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping1.jpg" border="0" width="670" height="480" width_o="670" height_o="480" src_o="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping2.jpg" border="0" width="670" height="480" width_o="670" height_o="480" src_o="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping3.jpg" border="0" width="450" height="483" width_o="450" height_o="483" src_o="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping4.jpg" border="0" width="670" height="480" width_o="670" height_o="480" src_o="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping4_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping5.jpg" border="0" width="670" height="480" width_o="670" height_o="480" src_o="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping5_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping6.jpg" border="0" width="670" height="480" width_o="670" height_o="480" src_o="http://payload.cargocollective.com/1/2/81536/1297282/Clarissa_Tossin_Unmapping6_o.jpg" align="left" /> Unmapping the World, 2011 ink on tracing paper 29” x 19” Series of world-map drawings made by balling up blank sheets of tracing paper and drawing on the resulting three-dimensional surface. Some drawings were flattened back into the original two-dimensional form resulting in fragmented maps. Some other drawings were left balled-up, but even in this form, the globe contours are disrupted as the creases loosen over time. This work reflects on the ideological implications of mapping. The unmaking is presented as a counter force to the position of power implied in the act of mapping. http://www.clarissatossin.net/Matter-of-Belief http://www.clarissatossin.net/following/clarissatossin.net/Matter-of-Belief Tue, 12 Apr 2011 03:19:27 +0000 Clarissa Tossin 1297229 <img src="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief1.jpg" border="0" width="450" height="536" width_o="450" height_o="536" src_o="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief2.jpg" border="0" width="670" height="393" width_o="670" height_o="393" src_o="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief3.jpg" border="0" width="670" height="393" width_o="670" height_o="393" src_o="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief3_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief4.jpg" border="0" width="670" height="393" width_o="670" height_o="393" src_o="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief4_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief5.jpg" border="0" width="670" height="449" width_o="670" height_o="449" src_o="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief5_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief6.jpg" border="0" width="670" height="393" width_o="670" height_o="393" src_o="http://payload.cargocollective.com/1/2/81536/1297229/Clarissa_Tossin_Belief6_o.jpg" align="left" /> Matter of Belief, 2010 inkjet prints and table 6” x 2.5” Keeping an American dollar bill in one's wallet as a talisman to attract money is an old Brazilian tradition. Although the present-day currency of Brazil, the Real, is credited for with the containment of decades of rampant inflation, the tradition perdures. In this work, a hybrid banknote -that combines the American Dollar on one side and the Brazilian Real on the other- was created to comment on the loss of symbolic power the American currency has suffered since the recent global financial crisis. The audience is invited to take one bill to replicate the tradition, and through this gesture, the hybrid nature of the banknote is revealed. The double-faced bill ultimately protects the believer from exchange rate fluctuations since it covers both currencies. Beyond this pragmatic operation, the piece pairs superstitious belief with the very idea of money. http://www.clarissatossin.net/White-Marble-Everyday http://www.clarissatossin.net/following/clarissatossin.net/White-Marble-Everyday Tue, 12 Apr 2011 03:14:03 +0000 Clarissa Tossin 1297184 <img src="http://payload.cargocollective.com/1/2/81536/1297184/Clarissa_Tossin_WhiteMarbleB.jpg" border="0" width="500" height="433" width_o="500" height_o="433" src_o="http://payload.cargocollective.com/1/2/81536/1297184/Clarissa_Tossin_WhiteMarbleB_o.jpg" align="left" /> White Marble Everyday, 2009 two-channel HD video, 5’42” (loop) Two-channel video installation that captures workers cleaning the Brazilian Supreme Court building, one of Brasília’s landmarks designed by Oscar Niemeyer in 1957 and located in the city’s main square. The vast white marble floors are washed Monday through Saturday for four hours. The cleaning routine starts at six in the morning and ends at ten when tourists and civil servants, who work in the building, start arriving in the plaza. While Niemeyer’s monumental building stands for ideas of progress, maintenance routine operates in the oppostive direction, in which it is usually invisible and its required circular endless repetition prevents development to happen. http://www.clarissatossin.net/Faive-Estar http://www.clarissatossin.net/following/clarissatossin.net/Faive-Estar Thu, 07 Apr 2011 23:49:37 +0000 Clarissa Tossin 1280267 <img src="http://payload.cargocollective.com/1/2/81536/1280267/Clarissa_Tossin_FaiveEstar1.jpg" border="0" width="670" height="524" width_o="670" height_o="524" src_o="http://payload.cargocollective.com/1/2/81536/1280267/Clarissa_Tossin_FaiveEstar1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1280267/Clarissa_Tossin_FaiveEstar2.jpg" border="0" width="670" height="524" width_o="670" height_o="524" src_o="http://payload.cargocollective.com/1/2/81536/1280267/Clarissa_Tossin_FaiveEstar2_o.jpg" align="left" /> Faive Estar, 2010 18" x 14" engraved brass plaque Façade brass plaque based on a vernacular sign where the English phrase, five stars, has been phonetically spelled according to Portuguese. http://www.clarissatossin.net/Monument-to-Sacolandia http://www.clarissatossin.net/following/clarissatossin.net/Monument-to-Sacolandia Sat, 05 Feb 2011 00:05:13 +0000 Clarissa Tossin 1020288 <img src="http://payload.cargocollective.com/1/2/81536/1020288/Clarissa_Tossin_Sacolandia1.jpg" border="0" width="670" height="519" width_o="670" height_o="519" src_o="http://payload.cargocollective.com/1/2/81536/1020288/Clarissa_Tossin_Sacolandia1_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1020288/Clarissa_Tossin_Sacolandia2.jpg" border="0" width="670" height="305" width_o="670" height_o="305" src_o="http://payload.cargocollective.com/1/2/81536/1020288/Clarissa_Tossin_Sacolandia2_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1020288/Clarissa_Tossin_Sacolandia3B.jpg" border="0" width="670" height="408" width_o="800" height_o="488" src_o="http://payload.cargocollective.com/1/2/81536/1020288/Clarissa_Tossin_Sacolandia3B_o.jpg" align="left" /> <img src="http://payload.cargocollective.com/1/2/81536/1020288/Clarissa_Tossin_Sacolandia4.jpg" border="0" width="670" height="223" width_o="670" height_o="223" src_o="http://payload.cargocollective.com/1/2/81536/1020288/Clarissa_Tossin_Sacolandia4_o.jpg" align="left" /> Monument to Sacolândia Brasília, 2010 photo-documentation of an action, 11”x14” single-channel HD video, 3’15” (color & sound) postcards - unlimited edition The presidential palace, Palácio da Alvorada, was the first Oscar Niemeyer building built in Brasília, Brazil's planned capital. Workers’ camps near the palace were typically constructed from leftover cement bags, which earned the settlement its name: Sacolândia or Bagland. Located on terrain designated for an artificial lake named Paranoá, the camp was flooded in 1959 and its population relocated to the outskirts of the planned city. For Monument to Sacolândia, a cement-bag model of the palace, sitting atop a raft, was released on the Paranoá lake with the palace's gardens as backdrop. In addition, postcards detailing Sacolândia's fate were inserted into postcard stands in Brasilia.