{"id":90705,"date":"2025-01-13T13:52:11","date_gmt":"2025-01-13T13:52:11","guid":{"rendered":"https:\/\/www.emst.gr\/?p=90705"},"modified":"2025-03-11T06:28:25","modified_gmt":"2025-03-11T06:28:25","slug":"karla-black-tracey-moffatt-spotlight","status":"publish","type":"post","link":"https:\/\/www.emst.gr\/en\/exhibitions-en\/karla-black-tracey-moffatt-spotlight","title":{"rendered":"KARLA BLACK. TRACEY MOFFATT. SPOTLIGHT"},"content":{"rendered":"

\u0399n the context of SPOTLIGHT programme, \u00a0which highlights works from the collection of EM\u03a3T, the museum is pleased to unveil two important works from the D.Daskalopoulos Collection Gift, a large-scale installation by Scottish artist Karla Black (b. 1972) and a series of photographs by indigenous Australian artist Tracey Moffatt (b. 1960), allowing audiences to gain a better understanding of these two artists\u2019 practice. Both artists are also included in the current collection exhibition Women, together<\/em>, on the 3rd<\/sup> floor of the Museum.<\/p>\n

The installation Stop counting <\/em>(2013) by Scottish artist Karla Black is shown in Project Room 1, also on the 3rd<\/sup> floor. Karla Black uses unconventional and unexpected materials – such as cosmetics, sugar, and cellophane – in her artistic practice to create monumental installations, challenging established ideas about art’s permanence or longevity. Her sculptures initially appear fragile yet possess an imposing presence, inviting viewers to explore the tension between fragility and durability, encouraging reflection on life’s transience. Black challenges the hierarchy of art materials, elevating the everyday to the realm of the extraordinary. Her large-installation Stop Counting<\/em> which takes over almost the entire space, consists of hundreds of strips of transparent adhesive tapes hanging vertically between the ceiling and floor that have been altered only by paint-stained fingerprints. The title of the work itself suggests a critique of quantification and the way we often measure art in numerical terms, inviting viewers to engage with the work on a more intuitive level. The artist’s approach to colour is equally mesmerizing; she incorporates pastel hues and muted tones around the area where the tapes touch the ground, creating a dreamlike and almost ethereal atmosphere. Karla Black’s art sparks wonder, urging viewers to embrace their senses and emotions.<\/p>\n

Tracey Moffatt\u2019s series of 25 photographs Up in the Sky<\/em> (1997), exhibited in Project Room 2, is linked to Australia, raising difficult issues regarding social exclusion, assimilation policies, unequal relationships and the oppression of Aboriginal people by white settler colonialists. The images resemble stills from black and white film, whose script is not bound by the rules of linear narrative. They make reference to two films: the post-apocalyptic action film Mad Max<\/em> (1979) and the world in which its lone vigilante protagonist wanders, and Pier Paolo Pasolini’s Accattone <\/em>(1961), a tough film about the underworld of Rome and life on the streets. Moffatt’s protagonists \u2013 disparate in terms of age, race, social background \u2013 who inhabit a menacing setting of a poverty and violence ravaged Australian country town, infer chronically problematic situations; the Aboriginal baby, alone or in the white woman’s arms, for example, is seen as a direct reference to the trauma of the \u201cStolen Generations\u201d, the name given to the practice of forcibly removing Aboriginal children from their families by state and church missions.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u0399n the context of SPOTLIGHT programme, \u00a0which highlights works from the collection of EM\u03a3T, the museum is pleased to unveil two important works from the D.Daskalopoulos Collection Gift, a large-scale installation by Scottish artist Karla Black (b. 1972) and a series of photographs by indigenous Australian artist Tracey Moffatt (b. 1960), allowing audiences to gain […]<\/p>\n","protected":false},"author":8,"featured_media":90431,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"single-exhibition-post.php","format":"standard","meta":{"footnotes":""},"categories":[35,34],"tags":[201,197,198,199,200],"acf":[],"_links":{"self":[{"href":"https:\/\/www.emst.gr\/en\/wp-json\/wp\/v2\/posts\/90705"}],"collection":[{"href":"https:\/\/www.emst.gr\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.emst.gr\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.emst.gr\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/www.emst.gr\/en\/wp-json\/wp\/v2\/comments?post=90705"}],"version-history":[{"count":9,"href":"https:\/\/www.emst.gr\/en\/wp-json\/wp\/v2\/posts\/90705\/revisions"}],"predecessor-version":[{"id":91434,"href":"https:\/\/www.emst.gr\/en\/wp-json\/wp\/v2\/posts\/90705\/revisions\/91434"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.emst.gr\/en\/wp-json\/wp\/v2\/media\/90431"}],"wp:attachment":[{"href":"https:\/\/www.emst.gr\/en\/wp-json\/wp\/v2\/media?parent=90705"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.emst.gr\/en\/wp-json\/wp\/v2\/categories?post=90705"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.emst.gr\/en\/wp-json\/wp\/v2\/tags?post=90705"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}