Domingo Martinez
Domingo recently received his PhD from the Faculty of Fine Arts of Valencia, Spain, with the thesis "The Artwork as Countermonument. Representation of Antiheroic Memory in Contemporary Art Practice" (Cum laude and International Mention), that explores the conceptual and aesthetic resonances in contemporary art dealing with the current cultural and political concern with memory.
Domingo is a researcher and visual artist whose art practice is based on issues related to cultural memory and the representation of the past. His artworks are developed from ‘memory material’: family snapshots, everyday objects and home videos, many of them anonymous, which he manipulates in order to build up interdisciplinary works that include paintings, photography, video or installation. All are integrated into an artistic discourse that questions the current complexity of personal identity and the role of memory in our socio-cultural life.
Domingo has obtained several grants and art awards such as Grant Francisco de Zurbarán, Government of Extremadura, Spain (2008), Residency Grant at the Antonio Gala Foundation for Young Artists, Córdoba, Spain (2007), IV Artistic residency Terra de Sanxenxo, Pontevedra, Spain (2006). Solo exhibitions include 'Hipmnema Visual', Málaga, Spain (2012) ,'Visual Archaeologies', Badajoz, Spain (2007), and 'Images of Memory', University of Salamanca, Spain (2007). His work has also been included in group exhibitions nationally and internationally.
www.domingomartinez.es
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Domingo Martínez es Doctor en Bellas Artes por la Universidad Politécnica de Valencia (2013), titulación con la que ha obtenido la calificación de Cum Laude y la Mención Internacional. Previamente realizó la Licenciatura en Bellas Artes por la Universidad de Salamanca (2006) y un Máster en
Producción Artística en la Universidad Politécnica de Valencia (2007). Entre su formación académica destaca además la Beca Erasmus en la Academia de Bellas Artes de Roma y una estancia de investigación en la Escuela de Estudios Avanzados de la Universidad de Londres.
En el transcurso de sus estudios ha disfrutado de varias becas de arte, como son la ayuda “Francisco de Zurbarán” a artistas plásticos (Junta de Extremadura, 2008), la beca de residencia en la “Fundación Antonio Gala para Jóvenes Creadores” (Córdoba, 2007), o la participación en la “IV Convivencia
Artística Terra de Sanxenxo” (Pontevedra, 2006).
Entre los numerosos premios de arte que ha recibido, se pueden destacar el Primer Premio II Certamen de Arte Contemporáneo, Premio Manolete 2008 (Villa del Río, Córdoba), el Primer premio VII edición del concurso de pintura al aire libre Pinart 2008 (Villaviciosa, Córdoba), el Premio adquisición para joven extremeño menor de 35 años en el “XXVI Premio Internacional de Pintura Eugenio Hermoso” (Fregenal de la Sierra, Badajoz, 2008) o el Tercer Premio en el XXXVI Concurso Internacional de Pintura Homenaje a Rafael Zabaleta, Ayuntamiento de Quesada (Jaén, 2006).
La investigación temática y práctica en sus obras se ha materializado en tres exposiciones individuales: Hipmnema visual, en el Colectivo Imagen (Fuengirola, Málaga. Mayo, 2012), Arqueologías visuales, en la Sala Europa (Badajoz. Organizada por la Consejería de Cultura y Turismo de la Junta de Extremadura. Diciembre 2009), e Imágenes de la memoria en el Espacio Permanente de Arte Experimental de la Universidad de Salamanca (2007), así como en la participación en exposiciones colectivas en el territorio nacional e internacional.
www.domingomartinez.es
Domingo is a researcher and visual artist whose art practice is based on issues related to cultural memory and the representation of the past. His artworks are developed from ‘memory material’: family snapshots, everyday objects and home videos, many of them anonymous, which he manipulates in order to build up interdisciplinary works that include paintings, photography, video or installation. All are integrated into an artistic discourse that questions the current complexity of personal identity and the role of memory in our socio-cultural life.
Domingo has obtained several grants and art awards such as Grant Francisco de Zurbarán, Government of Extremadura, Spain (2008), Residency Grant at the Antonio Gala Foundation for Young Artists, Córdoba, Spain (2007), IV Artistic residency Terra de Sanxenxo, Pontevedra, Spain (2006). Solo exhibitions include 'Hipmnema Visual', Málaga, Spain (2012) ,'Visual Archaeologies', Badajoz, Spain (2007), and 'Images of Memory', University of Salamanca, Spain (2007). His work has also been included in group exhibitions nationally and internationally.
www.domingomartinez.es
//////////////////////////////////////////////////
Domingo Martínez es Doctor en Bellas Artes por la Universidad Politécnica de Valencia (2013), titulación con la que ha obtenido la calificación de Cum Laude y la Mención Internacional. Previamente realizó la Licenciatura en Bellas Artes por la Universidad de Salamanca (2006) y un Máster en
Producción Artística en la Universidad Politécnica de Valencia (2007). Entre su formación académica destaca además la Beca Erasmus en la Academia de Bellas Artes de Roma y una estancia de investigación en la Escuela de Estudios Avanzados de la Universidad de Londres.
En el transcurso de sus estudios ha disfrutado de varias becas de arte, como son la ayuda “Francisco de Zurbarán” a artistas plásticos (Junta de Extremadura, 2008), la beca de residencia en la “Fundación Antonio Gala para Jóvenes Creadores” (Córdoba, 2007), o la participación en la “IV Convivencia
Artística Terra de Sanxenxo” (Pontevedra, 2006).
Entre los numerosos premios de arte que ha recibido, se pueden destacar el Primer Premio II Certamen de Arte Contemporáneo, Premio Manolete 2008 (Villa del Río, Córdoba), el Primer premio VII edición del concurso de pintura al aire libre Pinart 2008 (Villaviciosa, Córdoba), el Premio adquisición para joven extremeño menor de 35 años en el “XXVI Premio Internacional de Pintura Eugenio Hermoso” (Fregenal de la Sierra, Badajoz, 2008) o el Tercer Premio en el XXXVI Concurso Internacional de Pintura Homenaje a Rafael Zabaleta, Ayuntamiento de Quesada (Jaén, 2006).
La investigación temática y práctica en sus obras se ha materializado en tres exposiciones individuales: Hipmnema visual, en el Colectivo Imagen (Fuengirola, Málaga. Mayo, 2012), Arqueologías visuales, en la Sala Europa (Badajoz. Organizada por la Consejería de Cultura y Turismo de la Junta de Extremadura. Diciembre 2009), e Imágenes de la memoria en el Espacio Permanente de Arte Experimental de la Universidad de Salamanca (2007), así como en la participación en exposiciones colectivas en el territorio nacional e internacional.
www.domingomartinez.es
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Papers by Domingo Martinez
James Young defines the counter-monument as the display of new monuments, initially in Germany, which ascribe to a range of patterns and characteristics, both formal and conceptual, that challenge the iconography of the traditional monument.
In this paper I will present some counter-monuments and identify three such patterns; the first related to the concept of dematerialisation and banal, seen in the work of artists who use discarded objects to evoke the absence left by victims of traumatic historical events. The second feature related to reconstructing history, where the counter-memory and counter-histories of victims serve to question the official and hegemonic versions of history. The third aspect I will consider is the artists’ approach to temporality, often used as an agent to activate memory in the viewer.
The works of Christian Boltanski, Rachel Whiteread, Krzysztof Wodiczko, Shimon Attie or Miroswla Balka are just some examples of contemporary artists working in this field and will be used to explore the counter-monument in this paper.
A formal and conceptual analysis concluding in an iconographic examination of these artworks will enable me to assess their social, cultural and aesthetic value, and the role and function of contemporary art regarding history, memory and the commemoration of the German wartime.
Conference: Memory, Nostalgia, Melancholy. Re-imagining home in a time of mobility. School of Arts and Humanities, Nottingham Trent University. Rovinj, Croatia. September 2015.
Abstract:
This paper is situated in the context of Contemporary Art practice and its links with Cultural memory. In it I will explain the way in which Contemporary Art has become a medium within which to hold current discussions and debates surrounding issues related to memory, paying particular attention to the relevance and role of nostalgia and melancholy.
In recent decades, memory and the reappraisal of the past have become essential tools to denounce human rights abuses and uncover victims’ experiences of traumatic events in history. Visual Art, oral testimonies, nostalgia, melancholia and acts of commemoration have been fused together in many contemporary artworks across a wide range of western countries. Artists working in this field and addressing these issues include Christian Boltanski, Miroslaw Balka, Krzysztof Wodiczko, Tacita Dean, Louise Bourgeois, Rachel Whiteread, Jane & Louise Wilson or Kara Walker.
This paper will focus on the different ways in which nostalgia and melancholia has been used for creating contemporary artworks dealing with memory. I will identify a range of common patterns employed by artists in their works, such as the ways in which the ‘absent’ and ‘void’ is represented, be that by way of the reappropiation of discarded objects or their collection, such as historical amateur photographs. This paper will consider the work of British artist Tacita Dean, in particular her collection of old family photograph albums purchased in flea markets, her use of audio visual technology and how these encourage an engagement with the analogue past, the subjects’ personalities and events, which are no longer present in our digital era.
This paper will also address the melancholic approach of artists such as Louise Bourgeois, who confronts traumatic events of the past, in particular her memories of humiliation inflicted upon Bourgeois by her chauvinist father. Bourgeois recounts her memories repeatedly; her aim to control her fears in the present and find its restatement. Bourgeois’ artworks are abstract objects inspired by body shapes and domestic items that work as both a reality and a metaphor of the unnamed and melancholy.
Contemporary artworks dealing with memory assert that memory keeps us in contact with the past through affect, melancholy, sensations and nostalgia. The representation of memory in art reinforces itself as a continuous and necessary activity in human life and behaviour. Therefore, it allows us to place ourselves in a specific time and place. That is, it enables individuals with no real sense of home or belonging to situate themselves in a particular time and place.
Conference: Changing Platforms of Memory Practices. Technologies, User Generations and Amateur Media Dispositives. Faculty of Arts, History department, University of Groningen, Groningen, The Netherlands. September 2015.
Abstract:
This paper is situated in the context of Contemporary Art practice and its links with cultural memory. In it I will explain how Contemporary Art has become a medium within which to hold current discussions and debates about memory, paying particular attention to the changes in platforms of memory and how they resonate with artistic practice.
Traditional storage mediums of memory, for example analogue amateur photograph and home video, have become important resources for contemporary artists working with memory. Such approaches can be used to revise or reassert historical events, epochs of social change and the way in which people record and pass on their memories. This process often involves the digitisation of analogue mediums and results in final artworks comprising videos, photographs, video installations, images projections or online archives.
This paper will explore the work of Tacita Dean, Kristov Wodizcko and Shimon Attie, predominantly focusing on those of Walid Raad, in particular his online archive of photographs, videos and artworks which merge old and new ways of recording, retrieving and broadcasting memory from the private realm to the public life.
Raad’s work confronts the atrocities of the recent Lebanese conflict. Although his exhibitions feature present his work in different disciplines, together online they constitute one virtual archive. The action of curating and online archive of work creates a reflexive space for the contemplation on how history is constructed, with the archive’s artwork commonality being human affect and the capturing of everyday events. In the case of the Lebanese conflict, this is recorded in notebooks, oral testimony, amateur photography and home videos. Due to this, the archive is situated in both the private and the public, occupying a liminal space as every piece of the project has been created from fragments of personal archives that, eventually, become public the moment they are uploaded.
The contrast between analogue and digital platforms of memory in contemporary artworks make the viewer be aware of the ever evolving ways in which we record and document our everyday life, as well as the huge impact that the digital and the virtual have on it.
James Young defines the counter-monument as the display of new monuments, initially in Germany, which ascribe to a range of patterns and characteristics, both formal and conceptual, that challenge the iconography of the traditional monument.
In this paper I will present some counter-monuments and identify three such patterns; the first related to the concept of dematerialisation and banal, seen in the work of artists who use discarded objects to evoke the absence left by victims of traumatic historical events. The second feature related to reconstructing history, where the counter-memory and counter-histories of victims serve to question the official and hegemonic versions of history. The third aspect I will consider is the artists’ approach to temporality, often used as an agent to activate memory in the viewer.
The works of Christian Boltanski, Rachel Whiteread, Krzysztof Wodiczko, Shimon Attie or Miroswla Balka are just some examples of contemporary artists working in this field and will be used to explore the counter-monument in this paper.
A formal and conceptual analysis concluding in an iconographic examination of these artworks will enable me to assess their social, cultural and aesthetic value, and the role and function of contemporary art regarding history, memory and the commemoration of the German wartime.
Conference: Memory, Nostalgia, Melancholy. Re-imagining home in a time of mobility. School of Arts and Humanities, Nottingham Trent University. Rovinj, Croatia. September 2015.
Abstract:
This paper is situated in the context of Contemporary Art practice and its links with Cultural memory. In it I will explain the way in which Contemporary Art has become a medium within which to hold current discussions and debates surrounding issues related to memory, paying particular attention to the relevance and role of nostalgia and melancholy.
In recent decades, memory and the reappraisal of the past have become essential tools to denounce human rights abuses and uncover victims’ experiences of traumatic events in history. Visual Art, oral testimonies, nostalgia, melancholia and acts of commemoration have been fused together in many contemporary artworks across a wide range of western countries. Artists working in this field and addressing these issues include Christian Boltanski, Miroslaw Balka, Krzysztof Wodiczko, Tacita Dean, Louise Bourgeois, Rachel Whiteread, Jane & Louise Wilson or Kara Walker.
This paper will focus on the different ways in which nostalgia and melancholia has been used for creating contemporary artworks dealing with memory. I will identify a range of common patterns employed by artists in their works, such as the ways in which the ‘absent’ and ‘void’ is represented, be that by way of the reappropiation of discarded objects or their collection, such as historical amateur photographs. This paper will consider the work of British artist Tacita Dean, in particular her collection of old family photograph albums purchased in flea markets, her use of audio visual technology and how these encourage an engagement with the analogue past, the subjects’ personalities and events, which are no longer present in our digital era.
This paper will also address the melancholic approach of artists such as Louise Bourgeois, who confronts traumatic events of the past, in particular her memories of humiliation inflicted upon Bourgeois by her chauvinist father. Bourgeois recounts her memories repeatedly; her aim to control her fears in the present and find its restatement. Bourgeois’ artworks are abstract objects inspired by body shapes and domestic items that work as both a reality and a metaphor of the unnamed and melancholy.
Contemporary artworks dealing with memory assert that memory keeps us in contact with the past through affect, melancholy, sensations and nostalgia. The representation of memory in art reinforces itself as a continuous and necessary activity in human life and behaviour. Therefore, it allows us to place ourselves in a specific time and place. That is, it enables individuals with no real sense of home or belonging to situate themselves in a particular time and place.
Conference: Changing Platforms of Memory Practices. Technologies, User Generations and Amateur Media Dispositives. Faculty of Arts, History department, University of Groningen, Groningen, The Netherlands. September 2015.
Abstract:
This paper is situated in the context of Contemporary Art practice and its links with cultural memory. In it I will explain how Contemporary Art has become a medium within which to hold current discussions and debates about memory, paying particular attention to the changes in platforms of memory and how they resonate with artistic practice.
Traditional storage mediums of memory, for example analogue amateur photograph and home video, have become important resources for contemporary artists working with memory. Such approaches can be used to revise or reassert historical events, epochs of social change and the way in which people record and pass on their memories. This process often involves the digitisation of analogue mediums and results in final artworks comprising videos, photographs, video installations, images projections or online archives.
This paper will explore the work of Tacita Dean, Kristov Wodizcko and Shimon Attie, predominantly focusing on those of Walid Raad, in particular his online archive of photographs, videos and artworks which merge old and new ways of recording, retrieving and broadcasting memory from the private realm to the public life.
Raad’s work confronts the atrocities of the recent Lebanese conflict. Although his exhibitions feature present his work in different disciplines, together online they constitute one virtual archive. The action of curating and online archive of work creates a reflexive space for the contemplation on how history is constructed, with the archive’s artwork commonality being human affect and the capturing of everyday events. In the case of the Lebanese conflict, this is recorded in notebooks, oral testimony, amateur photography and home videos. Due to this, the archive is situated in both the private and the public, occupying a liminal space as every piece of the project has been created from fragments of personal archives that, eventually, become public the moment they are uploaded.
The contrast between analogue and digital platforms of memory in contemporary artworks make the viewer be aware of the ever evolving ways in which we record and document our everyday life, as well as the huge impact that the digital and the virtual have on it.