JAIME MIRANDA


TO SEE THE SCULPTURES VISIT WHEN THE THAMES IS AT LOW TIDE.

TIDE FOR LONDON BRIDGE

LINK


LOCATION: 51° 29’ 38.60 ”N 0° 0’ 5.00 ”E

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THE PILLARS OF THE EMPIRE from Jaime Miranda on Vimeo.



"JAIME MIRANDA BAMBARÉN
The Pillars of the Empire
2011
Video. 3'09"
Colección MICROMUSEO ("al fondo hay sitio")

Los pilares del Imperio es una intervención en los restos arqueológicos de un antiguo muelle naviero en Greenwich, sobre el río Támesis, en lo que fuera la zona portuaria de Londres. Mientras tallaba ese esqueleto de madera sentí que descubría un mensaje de la naturaleza. Era como un chamán jugando con los huesos del Imperio Británico y los símbolos de poder material ubicados alrededor de estas nuevas esculturas. La Old Royal Naval College, el centro financiero Canary Wharf. Y el propio meridiano de Greenwich: el Primer Meridiano.

Para ver las esculturas, es necesario recorrer esos muelles cuando el Támesis se encuentra en marea baja.

Ubicación: 51° 29’ 38.60”N 0° 0’ 5.00”E

(Jaime Miranda Bambarén)

The Pillars of the Empire, is an intervention on the archaeological remains of an old pier in Greenwich, over the river Thames, in what used to be the port area of London. While I was carving that wooden skeleton I felt I was uncovering a message from nature. I was like a shaman playing with the British Empire’s bones and the symbols of material power located in the surroundings of these new sculptures. The Old Royal Naval College, the Canary Wharf financial district. And the Greenwich meridian line itself: the Prime Meridian.

To see the sculptures it is necessary to walk through those piers when the Thames is at low tide.

Location: 51° 29’ 38.60”N 0° 0’ 5.00”E

(Jaime Miranda Bambarén)

(http://www.micromuseo.org.pe/rutas/cargocult/thepillars.html)"



“His sense of place is dramatic and potent, from the Thames to the Amazon. He heroically wants to couple his physical strength and vision to sites of power and summons up images that stand in between. There is no doubt in his outlook, but a strong critical questioning lives at the core of his most original perception.”

B.C.




“He sets up a narrative whereby our relationship to the natural world has changed. He asks us to look at how we live, at our concept of time, at our concept of nature and he questions how we arrived there.”

Kate Neave –Art Kick, London




 Art Kick

             Kate Neave


Jaime Miranda at Chelsea College of Art and Design, PgDip Fine Art Interim Exhibition

In this interim exhibition of work by post-graduate students of Chelsea College of Art and Design, Peruvian artist Jaime Miranda’s photographs stand out for their direct engagement with our city and the powerful challenge they make to our belief systems.

Miranda photographs a project space he has created for himself in a secret location under a pier on the banks of the river Thames. Working with the space as his studio, Miranda carves into the wooden remains of a pier, which stand out of the ground like reminders of a past civilisation. Working at low tide he makes himself at home, being pushed out by the river itself when the water rises to cover his creations. With the business centre of Canary Wharf towering over him as a backdrop Miranda, in his carvings, seeks to reignite a connection with the city around us by working directly on its features.

Using the traditional tools of a chisel and hammer Miranda carves into the wood, to reveal its hidden personality and spirit. He peels back the accumulated moss and chisels away at the structures as though he is only intervening to set free a face that always existed within it. It is as though Miranda serves only to uncover the hidden energy and personality beneath the surface of the structure, revealing a spirit that has in recent years become obscured.

Miranda taps into a different, perhaps more primitive, more direct relationship with nature and a society’s deeper connection with its surroundings. In these photographs nature emerges with its own force and the wooden structure becomes a totem to a lost society and belief system. Miranda highlights our contemporary disconnection with nature and our ignorance of its power and personality.

Floating above Miranda, working at his sculptures, is that powerful British emblem of business and the capitalist agenda, Canary Wharf. In the business world there is no space for Miranda’s excavations. Time itself has become a commodity and capitalist priorities surpass concerns with the natural environment around us. The buildings float above Miranda’s head almost as a threat and we are made aware of their controlling power in our world.

Miranda comes from Peru where capitalism has had a huge impact on the local way of life and environment seen in particular in the commodification and loss of large sections of the Amazon rainforest. In these photographs Miranda addresses one of the centres of that ideology and seeks to question its dominance. He sets up a narrative whereby our relationship to the natural world has changed. He asks us to look at how we live, at our concept of time, at our concept of nature and he questions how we arrived there.

(Review by Kate Pantling, May 19th, 2011:  https://kateneave.squarespace.com/articles/jaime-miranda-at-chelsea-college-of-art-and)


艺术狂热

凯特·潘特岭


海梅·米兰达在切尔西艺术与设计学院,研究生文凭 美术中期展览


在这一届切尔西艺术与设计学院研究生中期作品展,秘鲁艺术家海梅·米兰达的摄影作品脱颖而出,照片跟我们城市有直接的接触,以及对我们的信念系统提出强而有力的挑战。


米兰达拍摄他为自己创设的一个企划空间,在泰晤士河岸码头下的一个秘密地点。这个空间就好似他的工作室,米兰达雕刻码头残留的木柱,竖立在地面上就好似过往文明的提醒物。趁着低潮时工作,把那里当成自己的家一样,当水面上升直到淹没他的作品时,他也跟着河水随波逐流。金丝雀码头的金融中心如同背景幕矗立在他面前,米兰达在他的雕刻中试图重新激活连接我们周遭的城市,从它的特点直接下工夫。


米兰达用一个凿子和一个锤子如此般的传统工具,在木头上雕刻着,以揭示其隐藏的性格和精神。他削去表面上积累的苔,凿成结构,仿佛他只是为了解放一个一直以来都存在内部的面孔而干预着。仿佛米兰达只是为了发掘隐藏在结构表面下的能量和性格而活着,揭露出在最近几年才变得黑暗的灵魂。


米兰达敲进一个与大自然另类的关系,也许更加原始、直接,以及一个社会与其周遭更深层的连接。在这些照片中,大自然靠自己的力量一涌而出,这些木制结构成为失落的社会和信仰体系的一个图腾。米兰达彰显了现今我们与大自然的分离,以及我们对它的力量和性质有多么无知。


一边打造着他的雕塑作品,漂浮在米兰达上方的是那英国商业和资本主义的议程强大的象征:金丝雀码头。在商业世界里,并没有米兰达雕塑的空间,时间本身已经成为一种商品和资本主义优先考虑的事,更胜于我们周遭自然环境。漂浮在米兰达头部上方的建筑物几乎是一个威胁,我们都很清楚它们控制我们世界的力量。


 米兰达来自秘鲁,资本主义已经在他的国家,对当地生活方式以及环境产生了巨大的影响,特别是看到亚马逊雨林大量的流失并且被商品化。在这些照片中,米兰达提出此思想形态的中心之一,同时寻找方法质疑资本主义的支配地位。藉由他的叙述,我们与自然世界的关系发生了变化,他让我们看到我们如何生活,我们的时间概念,我们对大自然的概念,同时他也探索我们如何到达那里。


(评论 凯特·潘特岭,2011年5月19日:https://kateneave.squarespace.com/articles/jaime-miranda-at-chelsea-college-of-art-and)































































 







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35mm film photography






...Five Years Later... This video was filmed during the night of the 21st July 2016.



"JAIME MIRANDA BAMBARÉN
Five Years Later / The Pillars of the Empire
2016
Video. 3'51"
Colección MICROMUSEO ("al fondo hay sitio")
Cinco años después de la intervención realizada en los restos arqueológicos de los antiguos muelles navieros de Londres, en Greenwich, sobre el río Támesis, peregriné otra vez a Los pilares del Imperio. Esa noche del 21 de julio del 2016 descubrí que los nuevos ídolos tenían ahora una pátina milenaria que la luz de mi linterna mitificaba. Habían sido reclamados por la densa psicogeografía del lugar: una capa de lectura sobre la otra, materializada en las superficies verde neón interrumpidas por huesos desparramados de animales muertos. Y por herrajes de siglos anteriores que podrían interpretarse como símbolos arcaicos. O eternos.
(Jaime Miranda Bambarén
con colaboraciones de Gustavo Buntinx)

Five years after the intervention on the archaeological remains of the old piers of London, in Greenwich, over the river Thames, I again made a pilgrimage to The Pillars of the Empire. That night of the 2ist of July, 2016, I discovered that the new idols now had a millenary patina, mythified by the light of my lantern. They had been reclaimed by the dense psychogeography of the site: one layer of reading over another, materialized by the neon-green surfaces interrupted by scattered bones of dead animals. And by ironworks from past centuries that could be interpreted as symbols. Archaic or eternal.
(Jaime Miranda Bambarén
with collaborations by Gustavo Buntinx)











Jaime Miranda

Jaime Miranda Bambarén

www.jaimemiranda.com

海梅·米兰达·班牧巴任