CHARLES  ROOD

(Amsterdam, 1946)

Exhibitions: Amsterdam / Brussels / Oporto a.o.

VIDEO-FESTIVAL displays:       OUTVIDEO :  Ekaterinburg (Russia)

                                                HERZOCÓPIO :  Lisboa (Port.)

                                                        VORTICE:   Buenas Aires (Arg.)                                                            

preferred to study linguistics and philosophy instead of artcrafts to lay the foundation of this idiosyncratic artform. Working from 1972 onwards by creating "sculptures"  in / with language; his material consists in grafico-conventional language, confined chromatically to black & white, sometimes combined with minimal esthetic tools like the black Line and Arrow. During the ninetees, soundtracks and installations were incorporated as well. Since 2002 short  video-clips, still with Language as principal subject, are being realized. Throughout these linguistic experiments; undermining old and generating new meanings, his work manifests itself  firmly within the post-modern tradition, between materialism and the metaphysics of the Erroneous Sign.

Won first price at the Bienal 2003 in Cerveira, Portugal; category "Artes Digitais".

For Ch. Rood, the history of Art (and its derived esthetic norms) has been marked by the representation of human being through its urge for identification. Compelled by this drive, the Image or Reflexion as Man's effigy functions as the hallmark of his creation. Art has been contaminated by the history of iconography as the self-projection of the gender through which the world was mesured, made and eventually artistically consumed and converted. Eventually, in the "painting of Painting" (Mondrian c.s.), as major 'vertical' momentum in lineair artistic continuity, Man's auto-idolatry was radically effaced. Rood's "Worx" attempts to be meta-descriptive as well:  generating re -scriptions in a "hyper" language; strategic meta-tags in a falsified, represented world, including its art and its history, in order to dissolve iconological truths. Language as the 'conditio sine qua non' of Art can only be  de -scribed through anthropo-fugal means.

                           In his own formula:

                              "The existence of Art means the presence of Language while the signification
                                of Art means the absence of Language."


(We're seeking literary remnants among esthetical debris.)

http://www.youtube.com/ : metropolitain 1939    (search-name: "charroxa")    

e-mail: charro@kpnmail.nl