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Venice's Giardini Della Biennale and the Geopolitics of Architecture
FOLKLORIC MODERNISM: VENICE’S GIARDINI DELLA BIENNALE AND THE GEOPOLITICS OF ARCHITECTURE Joel Robinson This paper considers the national pavilions of the Venice Biennale, the largest and longest running exposition of contemporary art. It begins with an investigation of the post-fascist landscape of Venice’s Giardini della Biennale, whose built environment continued to evolve in the decades after 1945 with the construction of several new pavilions. With a view to exploring the architectural infrastructure of an event that has always billed itself as ‘international’, the paper asks how the mapping of national pavilions in this context might have changed to reflect the supposedly post-colonial and democratic aspirations of the West after the Second World War. Homing in on the nations that gained representation here in the 1950s and 60s, it looks at three of the more interesting architectural additions to the gardens: the pavilions for Israel, Canada and Brazil. These raise questions about how national pavilions are mobilised ideologically, and form/provide the basis for a broader exploration of the geopolitical superstructure of the Biennale as an institution. Keywords: pavilion, Venice Biennale, modernism, nationalism, geopolitics, postcolonialist. Joel Robinson, The Open University Joel Robinson is a Research Affiliate in the Department of Art History at the Open University and an Associate Lecturer for the Open University in the East of England. His main interests are modern and contemporary art, architecture and landscape studies. He is the author of Life in Ruins: Architectural Culture and the Question of Death in the Twentieth Century (2007), which stemmed from his doctoral work in art history at the University of Essex, and he is co-editor of a new anthology in art history titled Art and Visual Culture: A Reader (2012). -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Shifting Perspectives in the Venice Biennale's Hungarian Exhibition
17 Looking Forwards or Back? Shifting Perspectives in the Venice Biennale’s Hungarian Exhibition: 1928 and 1948 KINGA BÓDI 268 Kinga Bódi Kinga Bódi, PhD, is curator at the Museum of Fine Arts, Budapest. As a doctoral fellow at the Swiss Institute for Art Research (SIK–ISEA) she investigated the cultural representation of Hungary at the Venice Biennale from its beginnings until 1948. In her present essay, Bódi jointly discusses the frst contemporary avant-garde Hungarian show in Venice in 1928 and the Biennale edition of 1948, which she interprets as a counterpoint of sorts to the one twenty years earlier, defned by conservative ideological principles and neo-Classicism. Her study examines the historical, social, cultural, political, artistic, professional, and personal background of these two specifc years of Hungarian participation in Venice. At the same time, her essay contributes to current international dialogues on the changing role of international exhibitions, curatorial activities, and (museum) collections. (BH) Looking Forwards or Back? Shifting Perspectives in the Venice Biennale’s Hungarian Exhibition: 1928 and 19481 From 1895 to 1948, it was self-evident that Hungary would take part in the Venice Biennale. During this period, the country too kept in step, more or less, with the artistic and conceptual changes that governed the Biennale, virtually the sole major international exhibition opportunity for Hungarian artists then and now. Tis is perhaps why, for the 124 years since the frst participation, the question of the Hungarian Pavilion has remained at the centre of domestic art-scene debates. Comparing nations has always been a facet of the Venice Biennale. -
MUSEUMS AS CULTURAL HUBS the FUTURE of TRADITION MUSEUMS AS CULTURAL HUBS the Future of Tradition
THE NATIONAL COMMITTEE MAGAZINE NO 9 | JUNE 2019 | ISSN 2683-5282 MUSEUMS AS CULTURAL HUBS THE FUTURE OF TRADITION MUSEUMS AS CULTURAL HUBS The Future of Tradition May 13-19, 2019 FOR MUSEUMS MUSEUMS OF SERBIA International Museum Day - European Night of Museums - National Museum Week Free Admission 2 ICOM SRBIJA A WORD FROM PRESIDENT Jubilee Year From content This year, museum pro- fessionals will gather at the jubilee, 25th ICOM General Conference in magical Kyoto. There is plenty of symbol- 4 ism in the fact that the ICOM 25th General Conference - Kyoto 2019 Land of the Rising Sun is hosting 3,000 partic- Redefined Future of Tradition ipants who are going to discuss important is- sues of concern to the international museum 6 Interview community. This will be the right opportunity for Suay Aksoy, the new museum defi- nition to “rise” so as to ICOM President reflect the changed role of museums which have developed a closer bond 16 with the audience and New Museums become a more active part of the community The Largest Serbian Museum they belong to. Abroad The central theme of this year’s Conference, Museums as Cultural Hubs: The Future of Tradition, was exactly the thread that bonded 26 museums all over Serbia during the event Museums for 10, coor- International Cooperation dinated by ICOM Serbia. For the fifth time, the largest museum ini- Museum Connections tiative in Serbia presented museums as places where creativity and On The Silk Road knowledge unite, and visitors take an active part in creating and -ex changing ideas, and interact with each other, prioritizing the quality of knowledge exchange and development of critical awareness of major issues. -
Antonio Prieto; » Julio Aè Pared 30 a Craftsman5 Ipko^Otonmh^
Until you see and feel Troy Weaving Yarns . you'll find it hard to believe you can buy such quality, beauty and variety at such low prices. So please send for your sample collection today. and Textile Company $ 1.00 brings you a generous selection of the latest and loveliest Troy quality controlled yarns. You'll find new 603 Mineral Spring Avenue, Pawtucket, R. I. 02860 pleasure and achieve more beautiful results when you weave with Troy yarns. »««Él Mm m^mmrn IS Dialogue .n a « 23 Antonio Prieto; » Julio Aè Pared 30 A Craftsman5 ipKO^OtONMH^ IS«« MI 5-up^jf à^stoneware "iactogram" vv.i is a pòìnt of discussion in Fred-Schwartz's &. Countercues A SHOPPING CENTER FOR JEWELRY CRAFTSMEN at your fingertips! complete catalog of... TOOLS AND SUPPLIES We've spent one year working, compiling and publishing our new 244-page Catalog 1065 ... now it is available. In the fall of 1965, the Poor People's Corporation, a project of the We're mighty proud of this new one... because we've incor- SNCC (Student Nonviolent Coordinating Committee), sought skilled porated brand new never-before sections on casting equipment, volunteer craftsmen for training programs in the South. At that electroplating equipment and precious metals... time, the idea behind the program was to train local people so that they could organize cooperative workshops or industries that We spent literally months redesigning the metals section . would help give them economic self-sufficiency. giving it clarity ... yet making it concise and with lots of Today, PPC provides financial and technical assistance to fifteen information.. -
El Anatsui CV
El Anatsui b. 1944, Anyako, Ghana Lives and works between Ghana and Nigeria EDUCATION 1969 Postgraduate Diploma, Art Education, University of Science and Technology, Kumasi, Ghana 1994 B.A. College of Art, University of Science and Technology, Kumasi, Ghana SELECTED SOLO SHOW 2019 El Anatsui: Triumphant Scale, Mathaf: Arab Museum of Modern Art, Doha, Qatar El Anatsui: Triumphant Scale, Haus Der Kunst Munich, Munich, Germany 2018 El Anatsui: Meyina, Iziko South African National Gallery, Cape Town, South Africa 2017 El Anatsui: Topology of Generosity, Barakat Contemporary, Seoul, Korea. 2016 El Anatsui: New Works, October Gallery, London, UK El Anatsui: Five Decades, Carriage works, Sydney Festival 2016, Sydney, Australia 2015 El Anatsui, October Gallery, London, UK El Anatsui: Five Decades, Jack Shainman Gallery, New York, USA El Anatsui of Dzi, Kunstbanken Hedmark Kunstsenter, Hamar, Norway 2014 El Anatsui – Theory of Se, Axel Vervoordt Gallery, Hong Kong El Anatsui: Playing with Chance, Centre for Contemporary Art, Lagos, Nigeria El Anatsui: New Worlds, Mount Holyoke College, South Hadley, Massachusetts, USA El Anatsui: Trains of Thought, Jack Shainman Gallery, New York, USA El Anatsui, Mnuchin Gallery, New York, USA 2012-15 Gravity and Grace: Monumental Works by El Anatsui, Akron Art Museum, Akron, Ohio; Brooklyn Museum, New York; Des Moines Art Center, Iowa; Bass Museum of Art, Miami, USA Museum of Contemporary Art, San Diego, USA 2012-13 Broken Bridge II, the High Line, New York, USA 2012 Pot of Wisdom, Jack Shainman Gallery, New -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia Presents
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia presents The Disquieted Muses. When La Biennale di Venezia Meets History in collaboration with Istituto Luce-Cinecittà e Rai Teche and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern La Biennale di Venezia President Roberto Cicutto Board Luigi Brugnaro Vicepresidente Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como Director General Andrea Del Mercato THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
On Productive Shame, Reconciliation, and Agency Suzana
Publication Series of the Academy of Fine Arts Vienna VOLUME 16 On Productive Shame, Reconciliation, and Agency Reconciliation, Shame, On Productive On Productive Shame, Reconciliation, and Agency Suzana Milevska (Ed.) On Productive Shame, Reconciliation, and Agency On Productive Shame, Reconciliation, and Agency Suzana Milevska (Ed.) Publication Series of the Academy of Fine Arts Vienna Eva Blimlinger, Andrea B. Braidt, Karin Riegler (Series Eds.) Volume 16 On the Publication Series We are pleased to present this new volume in the publication series of the Acad- emy of Fine Arts Vienna. The series, published in cooperation with our highly committed partner Sternberg Press, is devoted to central themes of contempo- rary thought about art practices and art theories. The volumes in the series are composed of collected contributions on subjects that form the focus of dis- course in terms of art theory, cultural studies, art history, and research at the Academy of Fine Arts Vienna, and represent the quintessence of international study and discussion taking place in the respective fields. Each volume is pub- lished in the form of an anthology, edited by staff members of the Academy of Fine Arts Vienna. Authors of high international repute are invited to write contri- butions dealing with the respective areas of emphasis. Research activities, such as international conferences, lecture series, institute-specific research focuses, or research projects, serve as points of departure for the individual volumes. With On Productive Shame, Reconciliation, and Agency we are launching volume sixteen of the series. Suzana Milevska, the editor of this publication, was Endowed Professor for Central and South Eastern Art Histories at the Academy from 2013 until 2015. -
Downloading Content Or Performing Intensive Calculations
Introduction: The Biennial Condition Joasia Krysa Lara Favaretto, Momentary Monument – The Stone, 2016. Installation view at Welsh Streets, Liverpool Biennial 2016. Photo: Mark McNulty. Liverpool, April 2017 This issue presents the proceedings from Liverpool Biennial’s 2016 conference The Biennial Condition: On Contemporaneity and the Episodic that took place in Liverpool in October 2016.[1] Drawing directly on the conference, it brings together the curatorial thinking behind the 2016 Biennial with ideas from Aarhus University’s research project The Contemporary Condition.[2] It aims to reflect on biennials both as the privileged site for the production of contemporaneity in art and exhibition making, and as episodic instances of contemporary art on a global scale. Liverpool Biennial 2016 was curated as a story in several episodes, with various fictional worlds sited in galleries, public spaces, disused buildings and online, taking the idea of simultaneity as opposed to linear narration as the grounding principle of the exhibition structure. Assembled by a Curatorial Faculty comprising Sally Tallant, Dominic Willsdon, Francesco Manacorda, Raimundas Malasauskas, Joasia Krysa, Rosie Cooper, Polly Brannan, Francesca Bertolotti-Bailey, Ying Tan, Sandeep Parmar and Steven Cairns, the exhibition took viewers on a series of expeditions through time and space, drawing on Liverpool’s past, present and future. These journeys took the form of six ‘episodes’ presented simultaneously across multiple sites in Liverpool: Ancient Greece, Chinatown, Children’s -
The Visitor As a Commercial Partner: Notes on the 58Th Venice Biennale
Daniel Birnbaum: Seventy-nine artists is a relatively limited number. Ralph Rugoff: How many did you have in yours? Daniel Birnbaum: I can’t remember. – Artforum, May 20191 01/09 The test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise. Claire Fontaine – F. Scott Fitzgerald, The Crack-Up, 1936 In his statement inaugurating the 58th Venice The Visitor as a Biennale, Paolo Baratta, its president, felt compelled to address the image of the event. Commercial Entitled “The Visitor as a Partner,” the statement Partner: Notes reads in part: A partial vision of the Exhibition might consider it a high-society inauguration on the 58th followed by a line six months long for “the rest of the world.” Others might consider Venice Biennale the six-month-long Exhibition the main event and the inauguration a by-product. It would be so useful if journalists would e l a come at another moment and not during n n e the “three-day event” of the “society” i B inauguration, which can only give them a e c i 2 n very partial image of the Biennale! e V e h n t i 8 a It would be useful, indeed, but it won’t happen. t 5 n e o ÊÊÊÊÊÊÊÊÊÊ“Our visitors have become our main h F t e n partner,” Baratta candidly adds (meaning r i o a s l “commercial partner”), to such an extent that e C t Ê o during the overcrowded opening days, many 9 N 1 : 0 r artworks were at risk of being damaged, and 2 e r n t e basic health and safety standards weren’t r b a m P followed. -
Jack Shainman Gallery
JACK SHAINMAN GALLERY EL ANATSUI Born in 1944, Ghana Lives and works in Nigeria EDUCATION 1969 Postgraduate Diploma, Art Education, University of Science and Technology, Kumasi, Ghana 1965–1969 BA (Art) College of Art, University of Science and Technology, Kumasi, Ghana SELECTED ONE-ARTIST EXHIBITIONS 2019 – 2020 El Anatsui: Triumphant Scale, Mathaf: Arab Museum of Modern Art, Doha, Qatar, October 1, 2019 – January 31, 2020. Traveling to: Kunstmuseum Bern, Switzerland, March 13 – Fall 2020 and Guggenheim Bilbao, Spain. 2019 El Anatsui: Triumphant Scale, Haus Der Kunst, Munich, Germany, March 8 – July 28, 2019. 2018 El Anatsui: Meyina, Iziko South African National Gallery, Cape Town, South Africa, March 7 – April 29, 2018. 2017 – 2018 El Anatsui: Proximately, Axel Vervoordt Gallery, Antwerp, Belgium, October 10, 2017 – January 13, 2018. Prints, Royal Academy, London, September 3, 2017 – April 20, 2018. 2017 El Anatsui, Barakat Gallery, Seoul, 26 September – 19 November 2017. 2016 – 2017 El Anatsui, Prince Claus Fund Gallery, Amsterdam, Netherlands, November 24, 2016 – April 28, 2017. 2016 El Anatsui: New Works, October Gallery, London, 4 February – April 2, 2016. Afrikas stjerne - Monumentale værker af El Anatsui (Star of Africa - Monumental works by El Anatsui), Trapholt Museum for Moderne Kunst, South Jutland, Denmark, March 17 – October 23, 2016. El Anatsui: Five Decades, Carriageworks (in association with Sydney Festival), Sydney, Australia, January 7 – March 6, 2016. 2015 El Anatsui, Le Fenil Gallery, The Domain of Chaumont-sur-Loire, France, April 24 – November 1, 2015. El Anatsui: Five Decades, The School, Kinderhook, New York, May 17 – August 29, 2015. El Anatsui, Kunstbanken Hedmark Kunstsenter, Hamar, Norway, May 23 – August 9, 2015. -
Independent Study Program : 40 Years : Whitney Museum of American Art, 1968-2008
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