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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 -
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. -
Reading, Because of Love by Andrea Pagnes (Vestandpage) This
Reading, Because of Love By Andrea Pagnes (VestAndPage) This is not exactly a book review, but my humble thoughts skewed one after the other— a visceral empathic response to Franko’s life story, one of the artists who most inspired my journey through art. When someone tells you of his/her life, exposing his/her heart, every moment assumes its importance, even the most apparently banal. As we get to know a person better, there is a natural process that acts on our affective sphere. It is a mechanism mostly responsible for building friendship and respect. At least metaphorically, it can be said that the people we know and value inhabit a part of our brain. We have a copy of them stored in our memory: not an exact reproduction but series of images valid enough to stimulate our intellect and emotional intelligence. Some books offer very concentrated social information. They are to our social interests like fresh water is to the part of our brain when we are thirsty. For readers who are concerned with anything that has social and causal implications, those books are there to satisfy these interests. They stimulate reflection. Not all books, of course, but above all good essays and novels, and those with the focus on a single character, biographies and autobiographies. I always feel a certain fascination when an author of a book unlocks the doors of his/her world through an uncompromised way of writing. It is like receiving an open invitation to enter inside a place once kept secret and share what is there to be found, and so to imagine, mirror, recognise. -
THE UN-HEROIC ACT Representations of Rape in Contemporary Women’S Art in the U.S
PRESS KIT, SEPTEMBER 1 30, 2018 THE UN-HEROIC ACT Representations of Rape in Contemporary Women’s Art in the U.S. curated by Monika Fabijanska exhibition accompanied by a fully-illustrated catalog September 4 – November 2, 2018 Anya and Andrew Shiva Gallery John Jay College of Criminal Justice City University of New York New York City The following material contains 1/ press release 2/ public programming 3/ the outline of the exhibition structure, with all artworks accompanied by an image, caption, and description 4/ artists’ biographies Public programming details will be announced at the press preview Captions must be used as provided in this document. For website and print quality images, please contact [email protected] Please contact the gallery at [email protected], 212.237.1439 for inquiries, images and interview requests. You may also direct questions to the curator, [email protected] For more information, visit www.shivagallery.org, detailed updates at www.monikafabijanska.com ARTISTS IN THE EXHIBITION (in the chronological order of the work creation): Yoko Ono Natalie Frank Ana Mendieta Jennifer Karady Senga Nengudi Sonya Kelliher-Combs Suzanne Lacy Andrea Bowers Lynn Hershman Leeson Ada Trillo Carolee Thea Kara Walker Guerrilla Girls Roya Amigh Jenny Holzer Naima Ramos-Chapman Kathleen Gilje Bang Geul Han Angela Fraleigh Guerilla Girls BroadBand 1 FOR IMMEDIATE RELEASE THE UN-HEROIC ACT: Representations of Rape in Contemporary Women's Art in the U.S. curated by Monika Fabijanska September 4 – November 2, 2018 opening reception: September 12, 5:30-8:30 PM symposium: October 3, 5-9 PM tours & artists talks: September 26, 6-8 PM, October 24, 6-8 PM gallery hours: Monday-Friday 10-6 Suzanne Lacy, Three Weeks in May, 1977, paper, ink ©1977. -
Leman Sevda Darıcıoğlu
Leman Sevda Darıcıoğlu (1985, Izmir – living & working in Berlin – Istanbul) concentrates on investigating / exploring the physical / emotional limits anD bounDaries of the human boDy through performance art. Taking this corporal research as a core, Darıcıoğlu deals with hegemonic political/societal concepts and norms through her* artistic practice which radiates from performance art to, more widely, time and space based disciplines like video, installation anD public interventions. If anD when she* needs to define herself as an artist, she* chooses to use the ‘queer artist’ title. Her* take of ‘queer’ does not only refer to an area beyond heterosexuality and binary sex, but also to a platform beyond normativity as such. Between 2012-2019, the artist was in the advisory team of a queer theory books collection called Queer Düş’ün [Queer Fantasy/Thought] released by Sel Publishing House. She* is also the translator of numerous books in this collection. Besides, she* edited and compiled a book on queer theory called Queer Temaşa [Queer Contemplation/Spectacle] (2016), also published by Sel Publishing House, as a part of the same collection. Between 2014 – 2017 Leman S. Darıcıoğlu was a member of Istanbul Queer Art Collective and performed in the following art events anD venues; Zürcher Theater Spektakel, Zurich, CH; II. SounD acts Festival, athens, GR; Les Belles De Nuit Festival, Photobastei, Zurich, CH; Porn Ball by Pornceptual, Prince Charles, Berlin, DE. Since 2017, Darıcıoğlu is represented by Performistanbul international performance art platform. In collaboration with GLADT e.V, she* co-curated an online festival on the topic of queer heritage titled Madi Ancestors with Yener Bayramoğlu (2021) anD a queer art exhibition titleD Dream Pavillion with Yekhan Pınarlıgil anD Murat Alat within Unexpected Territories at 26th Tüyap Istanbul art Fair, artist (2016). -
Spaced, Art out of Place
Page 97 / June 2014 SPACED, ART OUT OF PLACE The experiences of the Free University of Liverpool and the CyberMohalla project as examples of alternative education Andrea Pagnes (VestAndPage) Don’t think they prefer the drudgery of the desk and the slavery to their circulation and to the business manager to the joy of writing. They have tried to write, and they have failed. And right there is the cursed paradox of it.1 ( Jack London, 1909) Preamble In the decades of the 1980s and the 1990s, alienation was described as a cognitive space overcharged with nervous and conditioning incentives to act, frequently de- riving from external forces to select and exclude individuals who fail to meet often badly regulated specific requirements. The dramatic economical crisis of the recent years has contributed to making individual and household debt a post post-modern form of slavery, due to the toxic effects of unscrupulous financial policies. Within this context, higher education has also become an issue linked almost exclusively to the economic status of the student and his/her family, or his/her pos- sibility of contracting a considerable loan at a certain interest to be able to complete his/her studies. This has created a form of non-meritocratic selection and unjust exclusion, evidencing another discrepancy in the idea of globalization, whose great promise now lies in ruins. The relentless pressure of production aimed at satisfy- ing the constrictive logic of the capitalistic markets and their financial oligarchies, weakening the individual’s will and his/her decision-making capacity to act dif- ferently, paints the picture of a dystopian future. -
Ana Mendieta.Pdf
Osterweil/Mendieta SOMETHING IS AMISS in the first shot of Ana Mendieta’s film Moffitt Building and then take it out again. Although she kept her films short and silent, she Piece, 1973. The image is of an ordinary white Midwestern exterior with a glass learned to maintain her poker face by eliminating the subjective perspective of door and a storefront window, both blinkered by venetian blinds. Neither the the camera and ceding to a more neutral viewpoint. And though she jettisoned address number (230) nor the old-fashioned lettering (h. f. moffitt) provides the kind of visual mediation and distance provided in Moffitt Building Piece by much of a clue. But after a few moments, the camera tilts down to what looks the car’s windowpane, Mendieta remained ambivalent about direct encounters like a bloodstain on the sidewalk in front of the adjoining door. The blot seems with the body. Over the next decade, she continued to question the imperfect out of place, for nothing else in the scene portends violence. Before we have a evidence of being. chance to figure out what has happened, the camera zooms impatiently into the Much of the attention given to Mendieta’s art has focused on the photographs spill, insisting that we bear witness even as passersby do not. There isn’t just of her earth-body works. With a few notable exceptions—including the 2013 trav- liquid saturating the threshold, but grisly matter. eling exhibition “Ana Mendieta: Traces,” which opened at the Hayward Gallery This is the doorway to Mendieta’s apartment building in Iowa City, 1973. -
Performistanbul.Org [email protected]
Leman S. Darıcıoğlu Currently living and working in Berlin (July – December 2020), as a fellow of the Istanbul-Berlin stipend of the Senate Department for Culture and Europe in cooperation with the neue Gesellschaft für bildende Kunst (nGbK) and the ZK/U – Zentrum für Kunst und Urbanistik in Berlin as well as DEPO in Istanbul. Leman S. Darıcıoğlu is an artist working mostly in the field of performance art. Darıcıoğlu mainly makes long-durational live performances but also videos and installations. In her* performances, she* concentrates on investigating / exploring the physical / emotional limits and boundaries of the human body. Taking this corporal research as a core, she* deals with hegemonic political/societal concepts and norms by her* artistic practice which radiates from performance art to, more widely, time and space based disciplines like video, installation and public interventions. Between 2012-2019, she* was in the advisory team of a queer theory books collection called Queer Düş’ün [Queer Fantasy/Thought] released by Sel Publishing House. She* is also the translator of numerous books in this collection. Besides, she* edited and compiled a book on queer theory called Queer Temaşa [Queer Contemplation/Spectacle] (2016), also published by Sel Publishing House, as a part of the same collection. Between 2014-2017 Leman S. Darıcıoğlu was a member of Istanbul Queer Art Collective. Since 2017, Darıcıoğlu has been represented by Performistanbul international performance art platform. Education 2009 - … Mimar Sinan Fine Arts University – MA in Sociology [Unwritten thesis] 2003 - 2007 Istanbul University Faculty of Educational Sciences –French teaching BA Curated exhibitions 2020 Berlin Remembers Turkey's Queer Idols Co-curating with Yener Bayramoğlu and with the moderation of Gizem Oruç (aka 6zm), Oy'oun, Berlin, Germany [7 November 2020] 2016 Dream Pavilion with Yekhan Pınarlıgil and Murat Alat; as part of Unexpected Territories, 26. -
Sigalit Landau
Sigalit Landau Born in Jerusalem 1969, lives and works in Tel Aviv Biography: Sigalit Landau, an interdisciplinary artist who works with installation, video, painting, photography, and sculpture. She graduated from the Bezalel Academy of Arts and Design in Jerusalem in 1994. Landau’s work has been exhibited in leading venues around the world. Her one-person shows include: Temple Mount, The Israel Museum, Jerusalem (1995); VoorWerk 5, Witte de With Center for Contemporary Art, Rotterdam (1996); Resident Alien I, Documenta X, Kassel (1997); The Country, Alon Segev Gallery, Tel Aviv (2002); Carcel de Amor, Museo Reina Sofia, Madrid (2005); Bauchaus 04 (performance), The Armory Show, New York City (2005); The Endless Solution, Tel Aviv Museum of Art, Tel Aviv (2005); The Dining Hall, KW Institute for Contemporary Art, Berlin (2007); Projects 87: Sigalit Landau, The Museum of Modern Art, New York City (2008); Salt Sails + Sugar Knots, Kamel Mennour Gallery, Paris (2008); One Man’s Floor Is Another Man’s Feelings, The Israeli Pavilion, 54th International Art Exhibition—la Biennale di Venezia (2011); Caryatid, The Negev Museum of Art, Beersheba (2012); Infinite Games, Solyanka State Gallery, Moscow (2012); Margin, Műcsarnok Kunsthalle, Budapest (2013); The Ram in the Thicket, Ginza Maison Hermès, Tokyo (2013); Phoenician Sand Dance, MACBA, Barcelona (2014); Moving to Stand Still, Koffler Centre of Fine Arts, Toronto (2014); Better Place, cellule516, Marseille (2015); The Experience of Auschwitz, MOCAK, Krakow (2015); Shelter, Place des Arts, Musée d’art contemporain de Montréal, Montreal (2015); Miqlat, Musée d’art et d’histoire du Judaïsme, Paris (2016); Sorrow Grove, Wiener Festwochen, Vienna (2016); Growth and Change: Sigalit Landau, Jewish Federation, Cleveland, Ohio (2019); Sea Stains, Mishkenot Sha’ananim, Jerusalem (2019); Salt Years, Museum der Moderne Salzburg (2019).