Guide to the Maria Lind Manifesta Papers MSS.005 Finding Aid Prepared by Ann Butler; Collection Processed by Lydia Aikenhead in Summer 2011
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ART HISTORY NATURE FOOD & DRINK CINEMA PHOTOGRAPHY HOBBY SPORT HISTORY OF ART 28 History and Figures of the Church 35 The Contemporary Mosaic 45 Contents The First Civilizations 28 Techniques and Materials Bulgari 45 The Classical World 28 of the Arts 35 Gucci 45 The Early Middle Ages 28 The Romanesque 29 DICTIONARIES OF CIVILIZATION 36 SCRIPTS & ALPHABETS 46 Still Life 21 Goya 24 The Gothic 29 Arabic Alphabet 46 ART The Portrait 21 Leonardo 24 The 1400s 29 Oceania 37 Chinese Script 46 Islamic Art 28 Hieroglyphs 46 Art and Eroticism 21 Manet 24 Africa 38 The Painting of the Serenissima 10 Byzantine and Russian Art 28 Mayan Script 46 Landscape in Art 21 Mantegna 24 Celts, Vikings and Germans 38 The Renaissance 29 Japanese Alphabet 46 The Galleria Farnese Michelangelo 25 China 38 The Late 1500s 29 Hebrew Alphabet 46 of Annibale Carracci 11 GREAT MONOGRAPHS 22 Monet 25 Egypt 38 The Baroque 28 Musée d’Orsay 11 Bosch 22 Perugino 24 Etruscans 38 The Early 1700s 28 CULTURE GUIDES 47 Correggio. The Frescoes in Parma 11 Caravaggio 22 Piero della Francesca 24 Japan 38 The Age of the Revolutions 28 Archaeology 47 Botticelli 11 Cézanne 22 Raphael 25 Greece 38 Romanticism 28 Art 47 Goya 11 Gauguin 22 Rembrandt 24 India 38 The Age of Impressionism 28 Artistic Prints 47 Museum of Museums 11 Giotto 22 Renoir 24 Islam 38 American Art 28 Design 47 Goya 22 Tiepolo 24 Maya and Aztec 38 Nicolas Poussin Ethnic Art 47 Leonardo da Vinci 22 Tintoretto 24 The Avant-Gardes 29 Mesopotamy 38 Catalogue raisonné of the Paintings 12 Graphic Design 47 Michelangelo 22 Titian 25 Contemporary Art 28 Rome 38 Photography, Cinema, Design 28 Impressionism 47 Palladio. -
VANESSA BEECROFT Biographical
VANESSA BEECROFT Biographical Information 1969 Born in Genoa, Italy Education 1983–87 Civico Liceo Artistico Nicolo' Barabino; Genoa, Italy 1987–88 Accademia Ligustica Di Belle Arti; Genoa, Italy 1988–93 Accademia Di Belle Arti Di Brera; Milan, Italy Solo Exhibitions & Performances 2010 “VB67;” Studio Nicoli; Carrara, Italy “VB66;” Mercato Ittico; Naples, Italy 2009 “VB65;” PAC Padiglione d'Arte Contemporanea; Milan, Italy “VB64;” Deitch Projects; Long Island City, New York 2008 “VBKW (VB63);” ACE Gallery; Los Angeles, California “VB62;” Spasimo; Palermo, Italy 2007 “VB61;” Pescheria Di Rialto; Venice, Italy “Pitture e disegni;” GAMeC; Bergamo, Italy “VB Retrospective;” Ghana Art Gallery; Seoul, South Korea “VB60;” Shinsegae; Seoul, South Korea 2006 “VBLV;” 11th Art Forum; Berlin, Germany “VBSS;” Galleria Lia Rumma; Milan, Italy “VB59;” National Gallery; London, England “VBLV;” Espace Louis Vuitton; Paris, France 2005 “VB53;” CAC; Malaga, Spain “VB58;” Push Button House, Collins Park, Art Basel; Miami, Florida “VB57;” Louis Vuitton Champs-Elysée; Paris, France 150 Yamato Road • Boca Raton, FL 33431 T: 561.994.9180 • www.rosenbaumcontemporary.com Solo Exhibitions & Performances (continued) 2005 “VB56;” Louis Vuitton, Petit Palais; Paris, France “VB55;” Neue Nationalgalerie; Berlin, Germany “VB53;” Galleria Massimo Minini; Brescia, Italy “VB52;” Galleria Lia Rumma; Naples, Italy 2004 “VB54;” TWA Terminal Five, JFK airport; New York “VB53;” Tepidarium, Giardino dell'Orticultura; Florence, Italy “Retrospective Exhibition;” Kunsthalle Bielefeld; -
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THROUGH THE BARRICADES DECEMBER 3RD 20I5 > JANUARY I0TH 20I6 FABBRICA DEL VAPORE, MILAN Promoted by BJCEM, Biennale des jeunes créateurs 2 de l’Europe et de la Méditerranée Municipality of Milan Board of Directors Helen Andreou, Selim Birsel, Keith Borg, Isabelle Bourgeois, Rita Canarezza, Miguel Cascales Tarazona, Petros Dymiotis, Claudio Grillone, Paulo Gouveia, France Irrmann, BJCEM - BIENNALE DES JEUNES CRÉATEURS Maria del Gozo Merino Sanchez, Nina Mudrinic Milovanovic, Said Murad, Abdo Nawar, Ksenija Orelj, Leonardo Punginelli, DE L’EUROPE ET DE LA MÉDITERRANÉE Mohamed Rafik Khalil, Raphael Sage, Ana Savjak, Jernej Skof, Ibrahim Spahić, Carlo Testini, Eleni Tsevekidou, Luis Verde Godoy BJCEM Members Arci Bari (Italy), Arci Emilia Romagna (Italy), Arci Lazio (Italy), Arci President Milano (Italy), Arci Nazionale (Italy), Arci Pescara (Italy), Arci Regionale Emilia Romagna (Italy), Arci Regionale Liguria (Italy), Arci Regionale Dora Bei Puglia (Italy), Arci Regionale Sardegna (Italy), Arci Regionale Sicilia (Italy), Arci Torino (Italy), Atelier d’Alexandrie (Egypt), Ayuntamiento de General Secretary Madrid (Spain), Ayuntamiento de Malaga (Spain), Ayuntamiento de Murcia (Spain), Ayuntamiento de Salamanca (Spain), Ayuntamiento de Sevilla Federica Candelaresi (Spain), Ayuntamiento de Valencia (Spain), Centar za Savremenu Umetnost Strategie Art (Serbia), Città di Torino (Italy), Città di Venezia (Italy), City Treasurer of Thessaloniki (Greece), Clube Português de Artes e Ideias (Portugal), Helen Andreou Comune di Ancona (Italy), Comune -
Participatory Art and Creative Audience Engagement
University of Calgary PRISM: University of Calgary's Digital Repository Graduate Studies Legacy Theses 2011 Practices of Fluid Authority: Participatory Art and Creative Audience Engagement Smolinski, Richard Smolinski, R. (2011). Practices of Fluid Authority: Participatory Art and Creative Audience Engagement (Unpublished doctoral thesis). University of Calgary, Calgary, AB. doi:10.11575/PRISM/22585 http://hdl.handle.net/1880/48892 doctoral thesis University of Calgary graduate students retain copyright ownership and moral rights for their thesis. You may use this material in any way that is permitted by the Copyright Act or through licensing that has been assigned to the document. For uses that are not allowable under copyright legislation or licensing, you are required to seek permission. Downloaded from PRISM: https://prism.ucalgary.ca UNIVERSITY OF CALGARY Practices of Fluid Authority: Participatory Art and Creative Audience Engagement by Richard Smolinski A THESIS SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ART CALGARY, ALBERTA DECEMBER 2011 Richard Smolinski 2011 i The author of this thesis has granted the University of Calgary a non-exclusive license to reproduce and distribute copies of this thesis to users of the University of Calgary Archives. Copyright remains with the author. Theses and dissertations available in the University of Calgary Institutional Repository are solely for the purpose of private study and research. They may not be copied or reproduced, except as permitted by copyright laws, without written authority of the copyright owner. Any commercial use or re-publication is strictly prohibited. The original Partial Copyright License attesting to these terms and signed by the author of this thesis may be found in the original print version of the thesis, held by the University of Calgary Archives. -
Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
Press Pierre Huyghe Purple Diary, 2011
MARIAN GOODMAN GALLERY Pierre Huyghe By Oliver Zahm and Ari Marcopoulos (2011) Pierre Huyghe is one of the most important artists to emerge out of the French scene of the ’90s. Back then his agenda was to introduce the vocabulary of cinema — casting, acting, production, editing — into an art context. Combining public performance and video projections, Huyghe presents a multifaceted visual experience that creates an existential tension between reality and fiction. I met him in New York to talk about his film, The Host and the Cloud, his 20 years of experimenting with different art forms, and his collaborations with other artists. OLIVIER ZAHM — Here we are in New York City. What’s your history with this city, Pierre? pierre huyghe — I first came here in the early ’80s, when I was 21, for an exhibition with the Ripoulin Brothers at Tony Shafrazi’s gallery. Warhol was there. I was hanging around with Keith Haring. I met Jean Michel Basquiat. It was a pretty big deal, coming into the art world this way, through this door, but it wasn’t mine yet. OLIVIER ZAHM — You’re one of the few French artists of your generation who have moved across the Atlantic. What’s kept you in New York? PIERRE HUYGHE — In the beginning it was because I was invited to do shows here. I stayed because I love this city and I found the situation in France limiting. I’ve always liked the idea of being able to lose myself, and I could no longer do that in Paris, physically, intellectually, or emotionally. -
Nicolas Bourriaud Postproduction Culture As Screenplay: How Art Reprograms the World 11 Has & Sternberg, New York
NICOLAS BOURRIAUD POSTPRODUCTION CULTURE AS SCREENPLAY: HOW ART REPROGRAMS THE WORLD 11 HAS & STERNBERG, NEW YORK CONTENTS Nicolas Bourriaud PREFACE TO THE SECOND EDITION Postproduction Publisher: Lukas & Sternberg, New York INTRODUCTION © 2002 Nicolas Bourriaud, Lukas & Sternberg All rights reserved, including the right of reproduction in whole or in part in any form. THE USE OF OBJECTS THE USE OF THE PRODUCT FROM MARCEL DUCHAMP First published 2002 (0-9711193-0-9) TO JEFF KOONS Reprinted with new preface 2005 THE FLEA MARKET: THE DOMINANT ART FORM OF THE NINETIES - -,.- •-••.• Editor: Caroline Schneider Translation: Jeanine Herman THE USE OF FORMS Copy Editors: Tatjana Giinthner, Radhika Jones, John Kelsey DEEJAYING AND CONTEMPORARY ART: SIMILAR Design: Sandra Kastl, Markus Weisbeck, surface, Berlin /Frankfurt CONFIGURATIONS Printing and binding: Medialis, Berlin WHEN SCREENPLAYS BECOME FORM: A USER'S GUIDE ISBN 0-9745688-9-9 TO THE WORLD . THE USE OF THE WORLD 69 Lukas & Sternberg PLAYING THE WORLD: REPROGRAMMING SOCIAL FORMS 69 Caroline Schneider HACKING, WORK, AND FREE TIME 1182 Broadway #1602, New York NY 10001 LinienstraBe 159, D-10115 Berlin HOW TO INHABIT GLOBAL CULTURE [email protected], www.lukas-sternberg.com (AESTHETICS AFTER MP3) I PREFACE TO THE SECOND EDITION Since its initial publication in 2001, Postproduction has been trans- lated into five languages; depending on the translation schedules in various countries, publication either overlapped with or preceded that of another of my books, Esthetique relationnelle (Relational Aesthetics), written five years earlier. The relationship between these two theoret- ical essays has often been the source of a certain misunderstanding, if not malevolence, on the part of a critical generation that knows itself to be slowing down and counters my theories with recitations from "The Perfect American Soft Marxist Handbook" and a few vestiges of Greenbergian catechism. -
Gianni Motti
TRANSFERT Publisher TRANSFERT Editor MARC-OLIVIER WAHLER ART DANS L’ESPACE URBAIN KUNST IM URBANEN RAUM ART IN URBAN SPACE No 10 ESS Biel-Bienne CH 17 06 - 31 08 2000 «I LOOKEDATTHE CITY AND I SAW NOTHING» -F DE 8 INTRODUCTION (F) 28 MARC-OLIVIER WAHLER 176 MARC-OLIVIER WAHLER 320 MARC-OLIVIER WAHLER 14 EINFÜHRUNG (D) “J’AI REGARDÉ VERS LA VILLE “ICH SCHAUTE AUF DIE STADT “I LOOKED AT THE CITY AND ET JE N’AI RIEN VU” UND SAH NICHTS” I SAW NOTHING” 20 INTRODUCTION (E) 36 JOSHUA DECTER 184 JOSHUA DECTER 328 JOSHUA DECTER COMMUNICATION-VILLE KOMMUNIKATION STADT COMMUNICATION CITY 46 JEAN-CHARLES MASSÉRA 194 JEAN-CHARLES MASSÉRA 338 JEAN-CHARLES MASSÉRA PUISSE LE PROCESSUS GLOBAL MÖGE DER GLOBALE AKKUMULATIONS- MAY THE GLOBAL PROCESS OF D’ACCUMULATION TREMBLER PROZESS VOR EINER REVOLUTION DER ACCUMULATION TREMBLE AT THE À L’IDÉE D’UNE RÉVOLUTION DES BENUTZER ERZITTERN (MANIFEST FÜR IDEA OF A USERS’ REVOLUTION USAGERS (MANIFESTE POUR DIE (MANIFESTO FOR CONSCIOUSNESS LA CONSCIENTISATION DE LA BEWUSSTMACHUNG DES DEVELOPMENT ABOUT THE USER CONDITION USAGÈRE) BENUTZERDASEINS) CONDITION) 60 OLIVIER MOSSET 208 OLIVIER MOSSET 350 OLIVIER MOSSET INFORMATION TRANSFER INFORMATION TRANSFER INFORMATION TRANSFER 66 MARTIN CONRADS 214 MARTIN CONRADS 356 MARTIN CONRADS COLORIS GLOCAL “GLOKALKOLORIT” GLOCAL COLOR 74 FRANK PERRIN 222 FRANK PERRIN 364 FRANK PERRIN LE JOGGER, HÉROS DE LA VIE DER JOGGER, HELD DES THE JOGGER, HERO OF POSTMODERNE POSTMODERNEN LEBENS POSTMODERN LIFE 82 LORI HERSBERGER 230 OLIVIER BLANCKART 372 PETER LAND 88 OLIVIER MOSSET 236 JONATHAN -
VANESSA BEECROFT Born in Genoa, Italy, in 1969. Lives in Los Angeles
VANESSA BEECROFT Born in Genoa, Italy, in 1969. Lives in Los Angeles, CA. Vanessa Beecroft’s work has been shown internationally since 1993, and has shaped performance art, the representation of the female body, and the sociopolitical discussions of art. Her performances (titled VB, followed by the number) have been an ongoing practice for over twenty-five years. Presented across some of the world’s preeminent museums and major contemporary events, Beecroft’s performances highlight the tensions between nakedness and clothing, constraint and freedom, the collective and the individual, and human strength and weakness. Vanessa Beecroft was one of the first artists to collaborate with fashion brands, starting in the 1990s, and since 2009 has collaborated extensively with musician and producer Kanye West. Now belonging to popular culture as well as the contemporary art canon, her work also manifests a deep dialogue with the history of art and representations across the traditions of Europe and of many of the world’s cultures. She is also a keen practitioner of photography, drawing, painting, and sculpture, using each medium to present perspectives on the body, as she brings Renaissance influences together with modern representation. Her art is a passionate field of experimentation, rooted in history, unraveling according to its own rules, and expanding into the world where it takes on many philosophical and political tones to in order to question the significance of our existence as human beings. Selected Exhibitions and Performances: Mary Opera, collaboration with Kanye West, Lincoln Center, New York (2019); Mary Opera, collaboration with Kanye West, Art Basel, Miami (2019); Vanessa Beecroft, Illustrated Editorial, Vogue Italia (2019); Nebuchadnezzar Opera, collaboration with Kanye West, Hollywood Bowl, Los Angeles (2019); VB88, Kappa, Lot 11 Skatepark, Miami (2019); VB87, Moncler, Galleria Vittorio Emanuele, Milan (2019); Vanessa Beecorft, Pio Pico, Los Angeles (2019); Fundacion de artistas, Merida, Mexico (2019); People, Jeffrey Deitch, Los Angeles. -
Actualisation of Space: the Case of Oda Projesi
10 2004 Actualisation of Space: The Case of Oda Projesi Maria Lind A long, highceilinged room with small trees in boxes in the middle. The walls are punctuated by doors and windows, on all three storeys of the building. Here and there shoes are outside the doors and you glimpse curtains through the windows. One or two pushchairs are parked beside the shoes. Daylight floods the space through a glass ceiling and also filters it through the glass on the short sides of the room. If it weren't for the shoes and the pushchairs you might think of a hospital, or even an Americanstyle prison. In the middle of the room a group of men play Turkish music on instruments, others dance. A little girl, dressed in yellow, attracts attention to herself as she dances an elegant solo. Tinkles of laughter. Suddenly a roll of paper is dropped from a balcony, winding down like a great snake, and some children begin to draw on it. The location is a passage and a gathering place in Galeriahaus, a block of flats in Messestadt Riem in the outskirts of Munich. The occasion is one of many modest events that Oda Projesi organised during their visit there in spring 2003. Just as the name indicates ('oda' means room/space and 'projesi' project in Turkish), the point of departure of Oda Projesi's work is space; how one can create and recreate different places and spatial situations through using them in a number of different ways. For example, how, together with various groups of people, can you find new functions for a public space such as a square? Or an empty space in a flat? Or an architectdesigned passage like the atrium in Galeriahaus, which was closed by the authorities to nonresidents and forbidden as a play area? The three artists, Özge Acikkol, Gunes Savas and Secil Yersel, have been working together since 1997. -
Towards a Politics of (Relational) Aesthetics by Anthony Downey
This article was downloaded by: [Swets Content Distribution] On: 8 February 2009 Access details: Access Details: [subscription number 902276281] Publisher Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK Third Text Publication details, including instructions for authors and subscription information: http://www.informaworld.com/smpp/title~content=t713448411 Towards a Politics of (Relational) Aesthetics Anthony Downey Online Publication Date: 01 May 2007 To cite this Article Downey, Anthony(2007)'Towards a Politics of (Relational) Aesthetics',Third Text,21:3,267 — 275 To link to this Article: DOI: 10.1080/09528820701360534 URL: http://dx.doi.org/10.1080/09528820701360534 PLEASE SCROLL DOWN FOR ARTICLE Full terms and conditions of use: http://www.informaworld.com/terms-and-conditions-of-access.pdf This article may be used for research, teaching and private study purposes. Any substantial or systematic reproduction, re-distribution, re-selling, loan or sub-licensing, systematic supply or distribution in any form to anyone is expressly forbidden. The publisher does not give any warranty express or implied or make any representation that the contents will be complete or accurate or up to date. The accuracy of any instructions, formulae and drug doses should be independently verified with primary sources. The publisher shall not be liable for any loss, actions, claims, proceedings, demand or costs or damages whatsoever or howsoever caused arising directly or indirectly in connection with or arising out of the use of this material. Third Text, Vol. 21, Issue 3, May, 2007, 267–275 Towards a Politics of (Relational) Aesthetics Anthony Downey 1 The subject of aesthetics The aesthetic criteria used to interpret art as a practice have changed and art criticism has been radically since the 1960s. -
The Soviet Woman in Estonian Art Jürgen Habermas
1 2010 1 Let’s refuse to be what we are (supposed to be)! Let’s Refuse to Be What We Are (Supposed to Be)! Airi Triisberg 5 Eva gives birth to earth Airi Triisberg Johannes Saar 7 Around the Golden Soldier Agne Narusyte 10 An artist and his double Anu Allas Based on the title Let’s Talk About Nationalism!, of identity is almost exclusively addressed as an it would be tempting to look at this exhibition* instrument for engendering normativity rather 13 Work-based solidarity is killed Interview with Eiki Nestor in relation to theories of public space, as it than a potential tool of empowerment that I is precisely the medium of talk that consti- find problematic in this context. At the same 16 Forum Marge Monko tutes a core notion in the liberal concept of time, it should also be noted that even the the public sphere, most notably elaborated by Habermasian definition of the public sphere 18 Art and Identity: The Soviet Woman in Estonian Art Jürgen Habermas. The curatorial statement by appears to be quite operative, insofar as it Michael Schwab Rael Artel seems to support the parallel with allows a conceptual distinction from the state 21 The queue as a social statement Habermas, insofar as it stresses the importance which has effectively been put to use in the Maria-Kristiina Soomre of contemporary art as a site for holding public framework of Let’s Talk About Nationalism! in 24 Five pictures of Flo Kasearu discussions. Nevertheless, the curator’s preoc- order to criticize the ideological and institu- Kaido Ole cupation with conflict actually indicates a dif- tional manifestations of the state.