TANIA BRUGUERA Curriculum Vitae
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Laurent Haug Connecting People and Ideas [email protected]
Laurent Haug Connecting people and ideas [email protected] Summary As an observer, strategist, investor and creative matchmaker I guide industry leaders, start-ups and policy makers through the intricacies of emerging technologies and the larger social and economic changes that shape them. I work on projects in different domains - entrepreneurship, innovation, finance - and facilitate the sharing of ideas, experience and knowledge that lead to innovative action and new collaborative projects. I am currently working on three separate book projects. My first book, "How Innovators Think" is due for release in 2016. Experience Author at 200ideas January 2015 - Present (1 year 7 months) Currently working on three separate book projects: How Innovators Think An inside look at the qualities that drive an innovator to make change, featuring interviews and contributions from Alan Kay (Xerox PARX), Toni Schneider (Automattic), Jacques De Saussure (Pictet), Christian Wanner (LeShop), Tim O'Reilly (O'Reilly Media), Bernard Sabrier (Unigestion), Juliana Rotich (Ushahidi). Due for publication in 2016. More information on http://how-innovators-think.com Come Together An exploration of the delightful art of inspiring and connecting people, featuring interviews and contributions of Tim O'Reilly (O'Reilly Media), Vint Cert (Google), Suzy Menkes (Conde Nast Luxury Conference), André Schneider (World Economic Forum), Boris Veldhuijzen Van Zanten (The Next Web), David Rowan (Wired UK), Bruno Giussani (TED), Frédéric Mazella (CEO Blablacar), Jeremiah Owyang -
Participatory Art
ENCYCLOPEDIA OF AESTHETICS, Michael Kelly, Editor-in-Chief (Oxford University Press, 2014) Participatory Art. In recent decades, contemporary visual and performance art created through a participatory process has drawn increasing attention. Its value is the subject of considerable debate, including a lively conversation around the ethics and aesthetics of the practice as well as the vocabulary best suited to describe and critique it. Participatory art exists under a variety of overlapping headings, including interactive, relational, cooperative, activist, dialogical, and community-based art. In some cases, participation by a range of people creates an artwork, in others the participatory action is itself described as the art. So the conceptual photographer Wendy Ewald gave cameras and photography training to a group of children in a village in India, who, in turn, depicted their community, and the resulting photography show was considered participatory art. On the other hand, the multimedia visual artist Pedro Lasch collaborated with a group of “Sonidero” DJ’s on a party at an art center in Mexico City, and he called the social interactions leading to, and including, the public event an artwork co-authored by a range of participants—including the people who simply showed up for the event. Click to view larger Tatlin’s Whisper #5, 2008 (mounted police, crowd control techniques, audience), Tania Bruguera. Photo by Sheila Burnett. courtesy of tate modern Of course participation in the collective creation of art is not new. Across the globe, throughout recorded history people have participated in the creation of art—from traditional music and dance to community festivals to mural arts. -
Tania Bruguera: Beyond the Political, Towards Collective Decoloniality By
Tania Bruguera: Beyond the Political, Towards Collective Decoloniality By Rodrigo Barriuso González-Mora Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in CONTEMPORARY ART, DESIGN AND NEW MEDIA ART HISTORIES Toronto, Ontario, Canada, December 2017 © Rodrigo Barriuso González-Mora, 2017 I hereby declare that I am the sole author of the MRP. This is a true copy of the MRP, including any required final revisions, as accepted by my examiners. I authorize OCAD University to lend this MRP to other institutions or individuals for the purpose of scholarly research. I understand that my MRP may be made electronically available to the public. I further authorize OCAD University to reproduce this MRP by photocopying or by other means, in total or in part, at the request of other institutions or individuals for the purpose of scholarly research. Signature ____________________________________________ ii Abstract The theoretical discussion of how the decolonization of knowledge and being can become a tangible reality has gained notable prominence since the 1990s. The abstractness of theory, however, poses a challenge to the analysis of concrete paths of decolonization. Through the examination of the work of the Cuban installation and performance artist Tania Bruguera, this paper explores how art serves to bridge the gap between theory and praxis in relation to the goal of decolonization. Specifically, the paper addresses how the individual and collective manifestations of Bruguera’s artistic practice function as a decolonial site of political and social engagement in her home country of Cuba, as well as internationally. To this end, the paper traces the evolution of Bruguera’s performances that address power structures in post-revolutionary Cuba and the ways in which she negotiates the power dynamics of the international art world in order to ensure that her work is not co-opted by the Western colonial framework that she seeks to challenge. -
General Interest
GENERAL INTEREST GeneralInterest 4 FALL HIGHLIGHTS Art 60 ArtHistory 66 Art 72 Photography 88 Writings&GroupExhibitions 104 Architecture&Design 116 Journals&Annuals 124 MORE NEW BOOKS ON ART & CULTURE Art 130 Writings&GroupExhibitions 153 Photography 160 Architecture&Design 168 Catalogue Editor Thomas Evans Art Direction Stacy Wakefield Forte Image Production BacklistHighlights 170 Nicole Lee Index 175 Data Production Alexa Forosty Copy Writing Cameron Shaw Printing R.R. Donnelley Front cover image: Marcel Broodthaers,“Picture Alphabet,” used as material for the projection “ABC-ABC Image” (1974). Photo: Philippe De Gobert. From Marcel Broodthaers: Works and Collected Writings, published by Poligrafa. See page 62. Back cover image: Allan McCollum,“Visible Markers,” 1997–2002. Photo © Andrea Hopf. From Allan McCollum, published by JRP|Ringier. See page 84. Maurizio Cattelan and Pierpaolo Ferrari, “TP 35.” See Toilet Paper issue 2, page 127. GENERAL INTEREST THE MUSEUM OF MODERN ART,NEW YORK De Kooning: A Retrospective Edited and with text by John Elderfield. Text by Jim Coddington, Jennifer Field, Delphine Huisinga, Susan Lake. Published in conjunction with the first large-scale, multi-medium, posthumous retrospective of Willem de Kooning’s career, this publication offers an unparalleled opportunity to appreciate the development of the artist’s work as it unfolded over nearly seven decades, beginning with his early academic works, made in Holland before he moved to the United States in 1926, and concluding with his final, sparely abstract paintings of the late 1980s. The volume presents approximately 200 paintings, sculptures, drawings and prints, covering the full diversity of de Kooning’s art and placing his many masterpieces in the context of a complex and fascinating pictorial practice. -
YAMA KOWA the Multimedia Artist Was Born Into the World of Art, As The
YAMA KOWA The multimedia artist was born into the world of art, as the daughter of the curator and art historian Wieland Schmied. Seeking distance and identity, she initially focused primarily on theater acting and found her true love in live art performance. She founded ACT.ART.OUT. performance theater in 2013 and is focusing fully on life-art ever since. Painting, video, collage or installations are only appearing as elements of her performative work. A speciality of her artistic practise is the work in performance cycles. So she brings the spontaneous and ephemere of live art performance in alignment with a kontinuity in time that might examine a topic over a dozen years or longer, and since the six weeks ongoing durational 2018 she developed an almost addictive preference to this sort of excessively meditative encounters. Studies 1993-1997 ERNST BUSCH academy for performing arts and theater Berlin (Diploma) 1994-1998 studies with Nan Hoover, Valie Export and Ellen Cantor video and performance summer academy Salzburg, Austria (Diploma) 2007 Producers seminar at the bavarian academy for Film BAF Munich (Diploma) Assistance 1998 artistic assistant at the Wooster Group Performing Garage New York Scholarship 2009 the studio Hollywood/LA Awards 2010 best feature film for DREAMING MALI at the TBFF Dallas, USA Presented in collaboration with the Dallas Museum of Art 2011 best feature nominations at the ÉCU fest Paris and New Jersey filmfest Theater 1996-1999 actress at the Renaissance Theater Berlin 1999 Maria in "the proof of the soul" by -
Mark Raidpere
Mark Raidpere Born in 1975 in Tallinn, Estonia. Lives and works in Tallinn. EDUCATION 2000 / 2003 Tallinn Pedagogical University, film studies 1993 / 1994 Tallinn School of Communications PUBLIC COLLECTIONS Museu d'Art Contemporani de Barcelona (MACBA), Spain La Gaia, Italy Fonds National d'Art Contemporain, Paris, France Domaine départemental de Chamarande, Essonne, France Musée d'Art Moderne de la Ville de Paris (MAMVP), France Art Museum, Tartu, Estonia Art Museum of Estonia, Tallinn, Estonia Städtischen Galerie im Lenbachhaus und Kunstbau, München, Germany Fondation Neuflize Vie, France SOLO SHOWS 2016 A WAY (cur. Eugenio Viola), Galerie Michel Rein Paris, France 2015 Short-Term, Vaba Lava, Tallinn, Estonia Fashion 100. Firm Frames, Architecture and Design Gallery, Tallinn, Estonia (together with professors of EAA Fashion Department) 2013 Damage (cur. Anders Härm & Eugenio Viola), EKKM, Tallinn, Estonia* I'll come back later (cur. Eugenio Viola), Galerie Michel Rein, Paris, France 2012 Napoli.OK (cur. Eugenio Viola), Fondazione Morra Greco, Naples, Italy 42 rue de Turenne F-75003 Paris 51A Washington street B-1050 Brussels P. +33 (0)1 42 72 68 13 P. +32 (0)2 640 26 40 michelrein.com 2009 Dedication. Art Agents Gallery, Hamburg, Germany Mark Raidpere, Espace Croisé, Roubaix, France* 2008 Sven Johne / Mark Raidpere, Fondazione Morra Greco, Naples, Italy International, Galerie Michel Rein, Paris, France Andrey / Andris, Galeria Potocka, Krakow, Poland Alles, City Gallery Art Hall, Parnu, Estonia 2006 Videos, Galerie Michel Rein, Paris, France Videos, Tramway, Glasgow, Scotland Videos, Platform Garanti, Istanbul, Turkey Hansabank Art Award, Gallery Noass, Riga, Latvia; Contemporary Art Center, Vilnius, Lithuania; Kumu Museum, Tallinn, Estonia 2005 Videos, City Gallery, Tallinn, Estonia Ene-Liis Semper / Mark Raidpere. -
Exist-Ence Catalogue 2011
exist-ence a festival of live art, performance art and action art 13 – 16 October, 2011 Brisbane Powerhouse Queensland, Australia http://existenceperformanceart.wordpress.com THANK YOU This event would not be possible without the generosity of each and every participant. You have given your time and your work for free for us to experience your art. Thank You. CURATED, PRODUCED & PRESENTED BY [2011 crew] Thomas Quirk & Rebecca Cunningham PRESENTED BY SUPPORTED BY ARTISTS HAVE HAD ASSISTANCE FROM CONTENTS about exist-ence about exist schedule overview about the program artist’s information writing on performance/ writers in residence 2 day project websites related to this event exist acknowledges the traditional owners of the land on which it is situated, and is committed to fostering a culture of remembrance and respect for Indigenous people. The contents of this catalogue is printed in good faith; any errors within are the curators alone. Opinions expressed by exist-ence participants are theirs alone and not necessarily the opinions of the curators of exist-ence. exist-ence: a festival of live art, performance art and action art presented by exist and the Brisbane Powerhouse Venue: Brisbane Powerhouse, 119 Lamington St. New Farm Admission: $10/8 day pass $30/25 festival pass Presenting work by artists from Australia, Canada, Germany, Italy, The Netherlands, Poland, Portugal, Singapore, Spain, Sweden, UK, USA About exist-ence: a festival of live art, performance art and action art Following the success of exist in 08, exist presents the fourth annual exist-ence festival, bringing the best, the bold and the brave to Brisbane Powerhouse. -
Ana Mendieta and Carolee Schneemann Selected Works 1966 – 1983
Irrigation Veins: Ana Mendieta and Carolee Schneemann Selected Works 1966 – 1983 On view April 30 – May 30, 2020 Ana Mendieta. Volcán, 1979, color photograph Carolee Schneemann, Study for Up to and Including Her Limits, 1973, color © The Estate of Ana Mendieta Collection, LLC photograph, photo credit: Antony McCall Courtesy Galerie Lelong & Co., New York Courtesy of the Estate of Carolee Schneemann, Galerie Lelong & Co., and Licensed by Artists Rights Society (ARS), New York P·P·O·W, New York “These obsessive acts of re-asserting my ties with the earth are really a manifestation of my thirst for being.” Ana Mendieta Galerie Lelong & Co. and P·P·O·W present Irrigation Veins: Ana Mendieta and Carolee Schneemann, Selected Works 1966 – 1983, an online exhibition exploring the artists’ parallel histories, iconographies, and shared affinities for ancient forms and the natural world. Galerie Lelong and P·P·O·W have a history of collaboration and have co-represented Carolee Schneemann since 2017. This will be the first time the two artists are shown together in direct dialogue, an exhibition Schneemann proposed during the last year of her life. In works such as Mendieta’s Volcán (1979) and Schneemann’s Study for Up To and Including Her Limits (1973), both artists harnessed physical action to root themselves into the earth, establishing their ties to the earth and asserting bodily agency in the face of societal restraints and repression. Both artists identified as painters prior to activating their bodies as material; Mendieta received a MA in painting from the University of Iowa in 1972, and Schneemann received an MFA from the University of Illinois in 1961. -
Fresh Meat Rituals: Confronting the Flesh in Performance Art
FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART A THESIS IN Art History Presented to the Faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree MASTER OF ARTS By MILICA ACAMOVIC B.A., Saint Louis University, 2012 Kansas City, Missouri 2016 © 2016 MILICA ACAMOVIC ALL RIGHTS RESERVED FRESH MEAT RITUALS: CONFRONTING THE FLESH IN PERFORMANCE ART Milica Acamovic, Candidate for the Master of Arts Degree University of Missouri-Kansas City, 2003 ABSTRACT Meat entails a contradictory bundle of associations. In its cooked form, it is inoffensive, a normal everyday staple for most of the population. Yet in its raw, freshly butchered state, meat and its handling provoke feelings of disgust for even the most avid of meat-eaters. Its status as a once-living, now dismembered body is a viscerally disturbing reminder of our own vulnerable bodies. Since Carolee Schneeman's performance Meat Joy (1964), which explored the taboo nature of enjoying flesh as Schneeman and her co- performers enthusiastically danced and wriggled in meat, many other performance artists have followed suit and used raw meat in abject performances that focus on bodily tensions, especially the state of the body in contemporary society. I will examine two contemporary performances in which a ritual involving the use of raw meat, an abject and disgusting material, is undertaken in order to address the violence, dismemberment and guilt that the body undergoes from political and societal forces. In Balkan Baroque (1997), Marina Abramović spent three days cleansing 1,500 beef bones of their blood and gristle amidst an installation that addressed both the Serbo-Croatian civil war and her personal life. -
The Unpublished Works of Ana Mendieta Olga Viso
rl-001-076_Mendieta_Lay.qxd:Layout 1 15.07.2008 16:08 Uhr Seite 1 rl-001-076_Mendieta_Lay.qxd:Layout 1 15.07.2008 16:08 Uhr Seite 2 2 rl-001-076_Mendieta_Lay.qxd:Layout 1 15.07.2008 16:09 Uhr Seite 3 UNSEEN MENDIETA THE UNPUBLISHED WORKS OF ANA MENDIETA OLGA VISO PRESTEL MUNICH BERLIN LONDON NEW YORK rl-001-076_Mendieta_Lay.qxd:Layout 1 15.07.2008 16:09 Uhr Seite 4 Cover: Documentation of Feathers on Woman, 1972 (Iowa). Detail of 35 mm color slide Back cover: Documentation of an untitled performance with flowers, ca. 1973 (Intermedia studio, University of Iowa). Detail of 35 mm black-and-white photo negatives Page 1: Untitled (detail), c. 1978. Blank book burnt with branding iron, 13 3⁄16 x111⁄4 in. overall. Collection Des Moines Art Center Permanent Collections, purchased with funds from Rose F. Rosenfield and the Edmundson Art Foundation, Inc. Frontispiece: Ana Mendieta (foreground) and Hans Breder in a field of flowers, Old Man’s Creek, Sharon Center, Iowa, 1977. Detail of 35 mm color slide © Prestel Verlag, Munich · Berlin · London · New York, 2008 © for the text, © Olga M. Viso, 2008 © for the illustrations, © Estate of Ana Mendieta, 2008 All photographs of works by Ana Mendieta are courtesy of Galerie Lelong, New York, unless otherwise indicated. Prestel Verlag, Königinstrasse 9, D-80539 Munich Tel. +49 (89) 242908-300, Fax +49 (89) 242908-335 Prestel Publishing Ltd. 4, Bloomsbury Place, London WC1A 2QA Tel. +44 (020) 7323-5004, Fax +44 (020) 7636-8004 Prestel Publishing, 900 Broadway, Suite 603, New York, N.Y. -
ART in the TWENTY-FIRST CENTURY Screening Guides to the Seventh Season
ART IN THE TWENTY-FIRST CENTURY Screening Guides to the Seventh Season © ART21 2014. All Rights Reserved. pbs.org/art21 | art21.org season seven GETTING STARTED ABOUT THIS SCREENING GUIDE product—behind some of today’s most thought- provoking art. These artists represent the breadth This screening guide is designed to help you plan of artistic practices across the country and the an event using Season Seven of ART21 Art in world and reveal the depth of intergenerational the Twenty-First Century. This guide includes an and multicultural talent. episode synopsis, artist biographies, discussion questions, group activities, and links to additional Educators’ Guide The 32-page color manual resources online. ABOUT ART21, INC. includes information on the ART21 is a nonprofit contemporary art organization artists, before-viewing and after-viewing questions, and ABOUT ART21 SCREENING EVENTS serving students, teachers, and the general public. curriculum connections. ART21’s mission is to increase knowledge of Public screenings of the Art in the Twenty-First FREE | art21.org/teach contemporary art, ignite discussion, and empower Century series illuminate the creative process viewers to articulate their own ideas and interpre- of today’s visual artists by stimulating critical tations about contemporary art. ART21 seeks to reflection as well as conversation in order to achieve this goal by using diverse media to present deepen audience’s appreciation and understanding an independent, behind-the scenes perspective on of contemporary art and ideas. Organizations and contemporary art and artists at work and in their individuals are welcome to host their own ART21 own words. Beyond the Art in the Twenty-First events year-round. -
Library U Našem Fontu
HESTIA Library LATIN AMERICA Art, city ant the public sphere in Chile, Ignacio Symulewicz R., Ediciones/Met- ales Pesados, Santiago de Chile, 2013 Cartografías líquidas, Museo de Arte Carillo, Mexico City, 2017 El cubo de Rubik, arte mexicano en los años 90, Daniel Montero, La Colección Académica, Mexico City, 2013 Frames and Documents: Conceptualist Practices (selections from the Ella Fonta- nals - Cisneros Collection), CIFO, Miami, 2011. Géométries Sud, du Mexique à la Terre de Feu, Fondation Cartier pour l'art contemporain, Paris, 2018 How do we want to be governed? (Figure and Ground), edited by Roger M. Buergel, Ruth Noack, Miami Art Central, Miami, 2004 No-History’s Library (Biblioteca de la No-Historia), Jarpa Voluspa, Santiago de Chile, 2010 Márgenes e Instituciones: Arte en Chile desde 1973, Nelly Richard, Ediciones/ Metales Pesados, Santiago de Chile, 2014 Memoria y Amnesia-Sobre la Historia Reciente del arte en Chile 1976-2006., Luz Maria Williamson, Polígrafa, Santiago de Chile, 2017 Radical Women: Latin American Art 1960-1985, Cecilia Fajardo-Hill and Andrea Giunta, Hammer Museum, Del Monico Books / Prestel, New York & London, 2017 ——————————————————————————————————————————— FRANCE Bourse revelations emerige 2017: En forme de vertiges, Paris, 2017 (exhibition catalogue) Bourse revelations emerige 2018: Outside our, Paris, 2018 (exhibition cata- logue) Collection Laurent Dumas, Communic'Art, Paris, 2018 Re/productions, Cyril Zarcone, Galerie Eric Mouchet, Paris, 2017 Cookbook : L'art et le processus culinaire, Nicolas Bourriaud,