OVNI Archive

SYMPHONIE ST 00036435

Installation of 9 round pieces with a 30 cm diameter, spy camera, display, led lights and copper wiring

Variable dimensions

Antonio Saura Foundation, Cuenca

2011

OVNI GLOBO Reflex Blue LPP61-BB

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 100 X 15 cm 2010

SUBMARINO PERAL

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 100 X 150 cm 2010

OVNI F66 Mittel Shwarz

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 100 X 150 cm 2010

PLATA Y CAÑON

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 100 X 150 cms 2010

OVNI BF 01-00031178

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 100 X 150 cm 2010

OVNI PBK9

Fotograbado en plancha de cobre sobre papel blanco 76 X 90 cm P/A 2010

OVNI INSTALACIÓN

Instalación de varias piezas en dibujo, fotograbado, fotopolímero, cianotipia, Marrón Van Dycke y fotografía color. Formatos diversos PHE, Galería Magda Bellotti, Madrid 2010

OVNI I

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 40 x 60 cm 2007

OVNI II

Impresión de tintas pictóricas a partir de diapositiva sobre dibond 40 x 60 cm 2007

VITRINAS

Documentación del proyecto en mesas-vitrinas y Tríptico OVNI detrás Galería Magda Bellotti, Madrid, 2010

Dibujo preparatorio

Para piezas

de la instalación Symphonie

Estudio StereoPrint 2009-2010

Dibujo preparatorio

para piezas de la instalación Symphonie

Estudio StereoPrint 2009-2010

OVNI TORCA BUS

Proyecto Ingráfica 2009. Arte en Movimiento. Autobuses de Cuenca

OVNI TORCA BUS 2

Proyecto Ingráfica 2009. Arte en Movimiento. Autobuses de Cuenca

DOCUMENTACIÓN OVNI ARCHIVE

Galerie im Taxispalais, Innsbruck Fotografía de Rainer Iglar 2011

DOCUMENTACIÓN OVNI ARCHIVE

Galerie im Taxispalais, Innsbruck Fotografía de Rainer Iglar 2011

 

In OVNI Archive (UFO Archive, 2007-2013), Rosell Meseguer devotes herself to the thought processes, as dark as they are phantasmatic, that shape the world of espionage. Here she links up, according to her own cognitive criteria, the period of the Second World War and the Cold War with the secret service world of the present day. The archive consists of a collection assembled by Meseguer of photographs, newspaper cuttings, books and similar materials that lead like clues into an unfathomable world of political thought. The archive´s branching groupings and connections are reminiscent of Aby Warburg´s Mnemosyne Atlas, with Meseguer following the mysterious traces of the secret service underground like a psycho-historian.

Jürgen Tabor

Curator of the Vergangenes Begehren/Past Desire show, text taken from the catalogue of the show. Galerie im Taxispalais, Innsbruck, Austria, 15-10-2011/04-12-2011

SIGHTING/ AVISTAMIENTO

Color slide

2007

 

 

Reflex Blue LPP61 UFO BALLOON

Ink print on dibond from slide

100 X 150 cm

2010

 

WHITE UFO

Ink print on dibond from slide

100 X 150 cm

2010

 

 

 

 

PERAL SUBMARINE

Ink print on dibond from slide

100 X 150 cm

2010

 

UFO F66 Mittel Shwarz

Ink print on dibond from slide

100 X 150 cm

2010

 

SILVER AND CANYON

 Ink print on dibond from slide

100 X 150 cm

 2010

 

TEUFELSBERG

Ink print on dibond from slide

100 X 150 cms

2012

UFO BF 01-00031178

Ink print on dibond from slide

100 X 150 cm

2010

 

UFO PBK9

Photogravure on copper plate

on white paper

76 X 90 cm

2010

 

 

UFO

Installation of several UFO pieces: drawing, photopolymer, cyanotype, kallitype, and colour photography.

PHotoEspaña 2010 Galería Magda Bellotti

Madrid

2010

 

OVNI I

Ink print on dibond from slide

40 X 60 cm

2010

 

OVNI II

Ink print on dibond from slide

40 x 60 cm

2007

OVNI III

Ink print on dibond from slide

40 x 60 cm

2007

SHOWCASES

Project documentation in showcases; behind: UFO Triptych.

Gallery Magda Bellotti,

Madrid

2010

 

 

Preparatory drawing for Symphonie

Studio StereoPrint

2009-2010

 

 

Preparatory drawing for Symphonie

Studio StereoPrint

2009-2010

 

SYMPHONIE ST 00036435

Installation of 9 round pieces with a 30 cm diameter, spy camera, display, led lights and copper wiring

Variable dimensions

Antonio Saura Foundation, Cuenca

2011

SYMPHONIE ST 00036435 (detail)

Installation of 9 round pieces with a 30 cm diameter, spy camera, display, led lights and copper wiring

Variable dimensions

Antonio Saura Foundation, Cuenca

2011

SYMPHONIE ST 00036435 (detail)

Round piece with a 30 cm diameter, spy camera, display, led lights and copper wiring

La Naval, Cartagena

2012

SYMPHONIE ST 00036435

Round piece with a 30 cm diameter, spy camera, display, led lights and copper wiring

La Naval, Cartagena

2012

UFO TORCA BUS

Ingráfica Project. Art in Motion.

Cuenca Bus

Spain

2009

UFO TORCA BUS 2

Ingráfica Project 2009. Art in Motion.

Cuenca Bus, Spain

UFO DOCUMENTS ARCHIVE

Photography Courtesy of Intermediae and Santi Burgos

Intermediae Matadero

Madrid

2010-2011

UFO DOCUMENTS ARCHIVE

Photography Courtesy of Intermediae and Santi Burgos

Intermediae Matadero

Madrid

2010-2011

UFO DOCUMENTS ARCHIVE

Galerie im Taxispalais, Innsbruck

Photography by Rainer Iglar

2011

UFO DOCUMENTS ARCHIVE

Galerie im Taxispalais, Innsbruck

Photography by Rainer Iglar

2011

UFO DOCUMENTS ARCHIVE

Galerie im Taxispalais, Innsbruck

Photography by Rainer Iglar

2011

UFO Sketches. Watercolour on cotton paper, 21X47 cm, 2010.

UFO ARCHIVE

Rosell Meseguer


 

Sightings of unusual aerial phenomena date back to antiquity, but the term UFO Unidentified Flying Object, was popularized in 1947 when an U.S.A. pilot flying watched several saucer-shaped objects.

Recent events such as the poisoning and death of Litvinenko spy, and the first conviction for treason and espionage in Spain in the XXI century, brought back to mind the Cold War espionage era. The current espionage, little related to the confrontation between capitalism and communism, happens in a context of criticism of the capitalist system after the recent economic collapse and financial crisis, as well as in a race for control of the technologies and the resurgence of discussions on the use of nuclear energy.

The UFO Archive project develops a metaphorical espionage dialogue between two times: a past and hidden time behind the Iron Curtain and our present time. The term Unidentified Flying Object, the acronym U.F.O. is used here as a metaphor for the impossibility of making public or disclosing documents pertaining to the security-privacy-of a nation. The project displays documents, photographs of peculiar objects and other files related to the world of espionage, taking into account the impossibility of these to be completely legible, for in them is hidden an essential part of the information.

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Nine pie pans for a myth. Rosell Meseguer’s Ovni Archive

Olga Fernández López


 

Ovnis [Ufos] are an unmistakable imaginary product, with a function that is purely allegorical, contrary to submarines, rockets, bombs and other aerospatial, naval or arm industry elements. During the Second World War, sightings were usually referred to as foo-fighters, a term indicative of the influence that popular culture was to have in the construction of the new modern imaginary. The non-sense of the word “foo”, transformed into a graphic signifier in the Smokey Stover comic strip, (a process characteristic of the 1930s), underwent a visual translation to nominate the bright balls of fire that pilots started to see in the aerial battlefield and that were considered Nazi potential secret arms. However, the most disconcerting fact was the sighting of unclassifiable artifacts in the U.S. sky, converted from war weapons into everyday objects. In this regard, it is significant the popularization of the term “flying saucer” after the report by businessman Kenneth Arnold, when he tried to describe what he had seen from the plane he was piloting in June 1947.

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Fictions of a past present

Pedro Medina


 

""There is a very strange animal called man who needs a type of fiction that calls truth"

(Nietzsche)

What is the story of our time?, to which narrative can we give real credit?... those are questions that, in sum, we refer to the eternal question about the reality from Plato to Matrix, through Descartes or Orson Welles, among many others.

The latter told the history of those 22 paintings with nudes of Oja Kodar, paintings that were celebrated in Paris by critics shouting "Picasso has returned to birth", while the artist from Malaga was furious at his studio in Toussaint, he didn´w recognize as his own works, those pictures could have been painted by the dying grandfather of Oja, a great counterfeiter able to create a new period of Picasso. This is the farce that concluded F for Fake, the mockumentary carried out by the conjurer Welles on one of history's best-known counterfeiters: Elmyr d'Hory, and also on the false biography of Howard Hughes by Clifford Irving, who in turn discovered d'Hory.

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LOTTE DINSE

Securing the Evidence


 

In her photographic work, Spanish artist Rosell Meseguer repeatedly deals with the transformation of places and architectures shaped by history, which have lost their original function during the social, political and technological developments since the mid 20th century. On elaborate research trips, Meseguer visits former bunkers, military fortifications on the coast, closed-down mines, coal pits and whale hunting stations in order to document such abandoned scenarios. Meseguer always supplements her photographic series with found, anonymous historical images so that a reference, a dialogue evolves between the ages. The techniques that Meseguer employs – in addition to digital photography – include numerous historical photographic processes such as calotype (brown printing), cyanotype (blue printing), and rubber printing. The noticeably long periods of time over which the artist realises her individual projects give some indication of the methodical approach employed. Considerable collections of material are made in the case of many works, which reflects the artist’s extremely time-consuming research, documenting and arranging activity. Her scientific-artistic gathering and securing of clues serves a reconstruction of collectively remembered historical events and conditions as well as their individual recounting and repetition.

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