Filippos Tsitsopoulos
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Interviste E Conversazioni
Interviews with Michelangelo Pistoletto Marcello Venturoli, Dialogo con Pistoletto, in “Tutti gli uomini dell’arte”, Milano, 1968 Guido Boursier, Far scattare nella gente meccanismi di liberazione, in “Sipario”, n. 276, Milano, April 1969 Germano Celant, Intervista con Michelangelo Pistoletto, Genova, February 1971, in Germano Celant, “Michelangelo Pistoletto”, catalogue of the exhibition, Palazzo Grassi, Venezia, 1976 (Ed. Electa) Achille Bonito Oliva, Michelangelo Pistoletto, Torino 1972, in “Enciclopedia della parola. Dialoghi d'artista. 1968-2008”, ed. Skira, Milano 2008 Mirella Bandini, Torino 1960-73, in “Nac”, n. 3, Bari, March 1973, re- published in Mirella Bandini, “1972 - Arte Povera a Torino”, Allemandi Editore, Torino, 2002 Mirella Bandini, Il significato di Gallizio per la nuova generazione, in “Pinot Gallizio e il laboratorio sperimentale d’Alba”, catalogue of the exhibition, Galleria Civica d’Arte Moderna, Torino 1974 Umberto Allemandi, Specchio delle mie brame, in “Bolaffi Arte”, anno VII, n. 57, Milano, February - March 1976 Francesco Prestipino, Viaggio nelle stanze di Michelangelo Pistoletto, in “Le Arti”, anno XXVI, n. 4, Milano, April 1976 l.k.. Un palcoscenico tutto bianco, in “La Repubblica”, Roma, 10 June 1977 Giuseppe Risso, Pistoletto. Datemi uno specchio, in “Gazzetta del Popolo”, Torino, 4 May 1978 no author (the name of the author of the interview is not mentioned in the publication, henceforth abbreviated n.a.), Pistoletto an 14 Orten in Berlin, transcript of the conference/debate with Pistoletto at Hochschule der Künste, 3 November 1978, in “Kunstmagazin”, n. 4, Mainz, 1978 Anne Livet, An Interview with Maynard Jackson and Michelangelo Pistoletto, in “Contemporary Art/Southeast, Volume II, n. 2, Michelangelo Pistoletto in the South”, Atlanta 1979 Michael Auping, Venus of the rags, 18 December 1979, Berkeley, in 30 years interviews and outtakes, ed. -
CV Photo/Ciel Variable, Montreal, No
A N G E L A G R A U E R H O L Z Recognition and Awards (Visual Arts) 2018 Honorary Doctorate Emily Carr University of Art + Design, Vancouver 2017 150 Years of Photography / Canada 150 Commemorative Collection, 2017 Canada Post, Ottawa 2015 Recipient of the Scotiabank Photography Award, Toronto 2014 Recipient of the Governor General Award in Visual and Media Arts, Canada Council for the Arts, Ottawa 2013 Shortlisted for the Scotiabank Photography Award, Toronto 2006 Awarded the Prix Paul-Émile Borduas, Government of Quebec, Quebec Solo exhibitions 2019 The Empty S(h)elf – First iteration, Artexte, Montreal The Book is the Book, installation at the Madras Literary Society (library), 2019 Chennai Photo Biennale, Chennai Angela Grauerholz: Écrins, écrans, McIntosh Gallery, Western University, London, ON 2018 Scotiabank Contact Festival / Olga Korper Gallery, Toronto Art 45, Montréal 2016 Angela Grauerholz (Scotiabank Photography Award), Ryerson Image Centre, Toronto Angela Grauerholz/Écrins, écrans, Canadian Cultural Centre/Centre culturel canadien, Paris 2014 Olga Korper Gallery, Toronto 2012 Art 45, Montreal 2011 Olga Korper Gallery, Toronto Angela Grauerholz: The inexhaustible image…épuiser l’image, University of Toronto Art Centre (UTAC), Toronto 2010 Angela Grauerholz: The inexhaustible image…épuiser l’image, National Gallery of Canada/Musée des beaux-arts du Canada, Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine (CMCP), Ottawa (book/catalogue) McMaster Museum of Art, McMaster University, -
Switzerland's Performance Network
27 3 The Body as a Medium: Switzerland’s Performance Network It is meanwhile perfectly natural to team up the word “per- formance” with sports, banks, cars, high-energy soft drinks and the stock market.The inflationary use of the term is un- questionably a function of a society that is out for ever great- er productivity and growth in every sector. The entertainment and events sector uses performativity as a communicative factor: DJ, disco and pop culture all in- corporate performative elements, and even classical live-art (dance, music, theatre) brings us “performances”.These few examples are enough to demonstrate that, when it comes to the term “performance”, confusion reigns. How problematic the definition of “performance art” is, and how very differ- ently it can be applied, continues to be substantiated by the difficulties encountered by applicants for and recipients of funds from grant-making bodies, which usually have no specific division devoted to performance art.What is it that you do? Do you dance? Make theatre? Recite texts? Make music? What exactly is performance art in the context of the visual arts. The essential starting point of performance art is the body – as a home to the soul, a means of conveying and ex- pressing identity,and a personal or social construct.This dir- ect confrontation with the essential nature of the human being has evolved over the last forty years in accordance with the social trends and influences of the day.It has always been inherent to performance art to break taboos and challenge established norms. Performance art as social sculpture The present-day understanding of performance art goes back to the early work of the Futurists, Dadaists and Situ- ationists.The appearances of the internationally ramified, in- terdisciplinary Fluxus group in the Fifties had an enduring effect on the political actions and happenings that took place in the United States and Europe in the Sixties and Seventies. -
E.Jappe版action Art in Germany and Neighbouring
Action Art in Germany and Neighbouring Countries Elisabeth JAPPE First of all I will give you an idea of the context and the conditions in which Action Art started to evolve in the Germanic countries, in Germany, Austria, Holland and Switzerland. The end of the forties and the beginning of the fifties were marked by the disaster of the Second World War. Germany and Austria were licking their wounds after losing the war. Holland had just lost its colonies in Indonesia. Everything was to be rebuilt and this required an incredible amount of physical and mental discipline. It was not a time for new experiences. This attitude resulted in an extremely conservative spirit, even in the spiritual world. Many things were forgotten: Futurism, Surrealism, Dada. While John CAGE was crossing the conventional borders between disciplines, creating a kind of living Gesamtkunstwerk, with a group of musicians, painters and choreographers at the Black Mountain College, Yves KLEIN exposed Le Vide (The Void) in France and claimed "to be able to fly". Artists in Germany - who for the most part had resisted the laws of Nazi aesthetics - were rediscovering abstraction and the free gesture in informal painting. It was only at the beginning of the sixties that things began to move on. Initially, there was a general feeling of malaise. Young people, and also artists, no longer wanted to accept the constraints of a society with only one idea in its head: its consolidation according to the economic laws of the market (taken to the extreme). At the same time, they rejected the concept of education extolled by preceding generations, particularly in Austria where the reactionary Church exerted a strong influence. -
The Work of Giorgos Kontis (B.1981 Athens) Focuses on Abstract Painting and on Its Function As an Image
The work of Giorgos Kontis (b.1981 Athens) focuses on abstract painting and on its function as an image. It becomes a contemplation on the autonom! the painted image gains, triggering #uestions on authenticity and the artistic agency. Giorgos studied at the Athens $chool of %ine Arts, at the Academ! of &isual Arts (Ad'K) in Munich and at the Uni*ersity of Arts (UdK) in 'erlin. +e did a (%A at $t.Joost Academ! in 'reda" -etherlands, and he holds a practice based .h/ in Painting" from the 0oya 1ollege of Art in 2ondon" on the notion of Authenticity. +e li*es and works in 'erlin and Athens. $o o $hows 3419 Mother Tongue" 1ru5 Galerie" Athens, Greece. 1urated b! Katerina -ikou The Threatening Image" Ph/ &i*a 65hibition" +ockne! Galler!" 01A, 2ondon" UK 3417 Ian Kiaer Presents Giorgos Kontis" Ian Kiaer8s studio, 'ow Arts 2ondon" UK 3419 0" Galerie Kunstbuero, &ienna Art %oundation (with Just :uist)" &ienna" Austria 341; Winter Kept Us Warm" 6urocontrol +ead#uarters, 'russels, 'elgium Let Gooo project" 0uimte 1aesuur" Middelburg" -etherlands. 1urated b! Just :uist 3414 Kaplanon < Galler!" Athens, Greece Group $hows 3434 The Space of Emplacement (works from the 1hristos 1hristofis 1ollection)" $tudio53 Galler!" Athens, Greece Art-Athina !"nline E#ition$" 1ru5 Galerie" Athens" Greece -ationa Theatre of -orthern Greece" 65hibition accompan!ing the pla! =The 'irds” %uarantine E&hi'ition !"nline$" $tudio53 Galler!" Athens, Greece. 1urated b! /ionisis 1hristophilogiannis, $otirios 'ahtsetzis, 2!dia Pribisova" -icolas &am*ouklis In Praise of Sha#ows" Ione and Mann Galler!" 'elgra*ia 2ondon" UK Someone Else)s *ostalgia" 1ru5 Galerie" Athens" Greece. -
Nigel Rolfe -.: JHB Gallery
NIGEL ROLFE EDUCATION Farnham School of Art, 1969 - 1971 Bath Academy of Art, 1971 - 1974 ONE PERSON EXHIBITIONS 2012 The Dark End of the Street: Works from Contested Ground, Green on Red Gallery, Dublin, Ireland 2010 European Dream, Green on Red Gallery, Dublin, Ireland, Green on Red Gallery, Dublin, Ireland Unseen, 10 Works 1982 and 2010, Burren College of Art Gallery, Ireland 2009 Notes on a Return – The Rope, Laing Art Gallery, Newcastle, England Inversion, University College Dublin, Permanent Video Installation, Dublin, Ireland 2008 The Milk of Human Kindness / Video 2008 and selected videoworks 1983 - 2008 / Galerie Polaris, Paris, France Dust Breeding, Green on Red Gallery, Dublin, Ireland 2006 Momento Mori, West Cork Arts Centre, Skibbereen, Co. Cork Flowers-Momento Mori, Graphic Studio Gallery, Temple Bar, Dublin, Ireland 2005 The Book of Signs, Polaris Gallery, Paris, France Many Silver Things, Green on Red Gallery, Dublin, Ireland 2003 From Darkness to Annihilation, Crawford Municipal Art Gallery, Cork, Ireland 2002 Between the Devil and the Deep Blue Sea, Galerie Polaris, Paris, France Absence and Loss, Butler Gallery, Kilkenny, Ireland 2001 Performances, fotografias y videos Centro de Fotografia, Universidad de Salamanca, Spain Ghost, Museo de Arte Moderno de Buenos Aires, Argentina 2000 Life Without Life (installation), Royal Pump Rooms, The Parade, Learnington Spa, Warwickshire, England Corps, Galerie Polaris, Paris, France Introduction 1, Centre Culturel Condorcet, Chateau Chinon, France Lament, site specific installation on River Foyle, Derry, Northern Ireland The River The Path, Orchard Gallery, Derry, N. Ireland Joy, Temple Bar Gallery, Dublin, Ireland 1999 Life Without Life, Green on Red Gallery, Dublin, Ireland. -
Performance Art Context R
Literature: Literature: (...continued) Literature: Literature: Literature: (... continued) Literature: Literature: (... continued) Literature: Kunstf. Bd.137 / Atlas der Künstlerreisen Literature: (...continued) Literature: (... continued) Richard Kostelnatz / The Theater of Crossings (catalogue) E. Jappe / Performance Ritual Prozeß Walking through society (yearbook) ! Judith Butler !! / Bodies That Matter Victoria Best & Peter Collier (Ed.) / article: Kultur als Handlung Kunstf. Bd.136 / Ästhetik des Reisens Butoh – Die Rebellion des Körpers PERFORMANCE ART CONTEXT R. Shusterman / Kunst leben – Die Ästhetik Mixed Means. An Introduction to Zeitspielräume. Performance Musik On Ritual (Performance Research) Eugenio Barber (anthropological view) Performative Acts and Gender Constitution Powerful Bodies – Performance in French Gertrude Koch Zeit – Die vierte Dimension in der (Kazuo Ohno, Carlotta Ikeda, Tatsumi des Pragmatismus Happenings, Kinetic Environments ... ! Ästhetik / Daniel Charles Richard Schechner / Future of Ritual Camille Camillieri (athropolog. view; (article 1988!) / Judith Butler Cultural Studies !! Mieke Bal (lecture) / Performance and Mary Ann Doane / Film and the bildenden Kunst Hijikata, Min Tanaka, Anzu Furukawa, Performative Approaches in Art and Science Using the Example of "Performance Art" R. Koberg / Die Kunst des Gehens Mitsutaka Ishi, Testuro Tamura, Musical Performance (book) Stan Godlovitch Kunstforum Bd. 34 / Plastik als important for Patrice Pavis) Performativity and Performance (book) ! Geoffrey Leech / Principles -
Editions 1986 - 2021 1986 Editions
EDITIONS 1986 - 2021 1986 EDITIONS IAN ANÜLL Pile-Face Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’800.- MARC CAMILLE CHAIMOWICZ Haunted * Sometimes * Regrets * Perhaps Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. Sold out Les soeurs folles Edition du Centre genevois de gravure contemporaine, Genève, 1986. CHF. 3’000.- the two prints La grande fenêtre Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’200.– per print Les jardins botaniques d’Adelaide I Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’500.– per print Les jardins botaniques d’Adelaide II Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’500.– per print Les enfants prodigues I Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 900.– per print Les enfants prodigues II Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 900.– per print Après Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 900.– per print Cuivre-Zinc Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’200.– per print La première des deux sœurs Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’000.– per print La deuxième des deux sœurs Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 1’000.– per print Pour Balthazar Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 800.– per print A Search Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. CHF 800.– per print La première aquatinte Edition of the Centre genevois de gravure contemporaine, Geneva, 1986. -
The Challenge of Black Market International
The Challenge of Black Market International The National Review of Live Art 2007, Tramway, Glasgow From Wednesday 7th February to Sunday 11th February 2007, Black Market International (BMI) artists achieved a new challenge. Invited by Nikki Milican, Director of the National Review of Live Art in Glasgow, who put together 80 live art artists and where BMI would perform for five consecutive days. As such, over these five days, the various stakeholders (among whom we can quote guests such as Brian Connolly, Esther Ferrer, Jamie McMurry, Alexander Del Re, Monica Klinger, and regretting non-attendance of Norbert Klassen and Marco Teubner) would take over the vast space of Tramway 2. The programme also included an all-day workshop for twenty students, as well as to documentaries and solo readings. These five days managed to mobilise a great audience, mostly young, to follow the actions of Jürgen Fritz (D), Myriam Laplante (It/Qu), Alastair MacLennan (Northern Ireland), Helge Meyer (D), Boris Nieslony (D), Elvira Santamaria (Mx), Julie- Andrée Tremblay (Québec), Roi Vaara (Fi), Jacques Van Poppel (NL), Lee Wen (Si/J). ACT 1: Becoming Aware of the Territory On the first night, Black Market drags us into extremely poetic actions and proves to us the power of that open system. Little by little, they appropriate the space. The artists demonstrate how very little things end up being the central idea of an important work of art. They do not make art, they are art. Various objects lie in the massive room and accessories which will be used by performers are aligned on a big table. -
Part 3: Rebirth Partner
28 HUO: Normally I ask two last questions but you already Hans-Ulrich Obrist, answered one of them when we did the talk at the Ser- Michelangelo Pistoletto pentine gallery. It was the question about the future. You said: ‘The future for me is not about the possession of the world; it is about making love with the world. It is our Part 3: Rebirth partner. If you make love with the world, you have to love humanity. If you love humanity, you love yourself.’ But the question you have not answered yet is my recurrent ques- tion about unrealized projects, projects that were too big to realize, or too small to realize. When I asked you this question for the last time, in 1996, you answered with a very empty space you wanted to insert into a city. It was a cage—you wanted an empty cage in a city. That was your as yet unrealized project. MP: I did realise it. It was exhibited, and it is called Free Space. It is free for everybody and can be everybody’s space. It was good as the work was carried out by the occupants of a prison in Milan. I said: I want to do a work with you that brings you out of the prison. But this ‘outside of prison’ was in the centre of the prison. It was a free cage for everybody, because your mind should be free. And this is the cage that opens your mind. And they understood. They were very happy to do it. -
Magiciens De La Terre and Multiple Histories of Curating Global Art in Paris
Magiciens de la Terre and Multiple Histories of Curating Global Art in Paris by Caitlin Elizabeth Duerler A thesis submitted to the School of Art, Kathrine G. McGovern College of the Arts in partial fulfillment of the requirements for the degree of MASTER OF ARTS in Art History Chair of Committee: Sandra Zalman Co-Chair of Committee: Rex Koontz Committee Member: Alison de Lima Greene University of Houston May 2020 Copyright 2020, Caitlin Elizabeth Duerler DEDICATION This thesis is dedicated to my two blessings, Miguel and Pappas Chávez. iii ACKNOWLEDGEMENTS I would like to extend gratitude to individuals and institutions which support me during my thesis project. First and foremost, I would like to thank my thesis advisor Dr. Zalman for her valuable guidance and compassion. I also must thank Dr. Koontz and Alison de Lima Greene for serving on my committee and providing indispensable advice. Other individuals who supported me during this time include my graduate cohort, Hector Garcia, Tori Nerey and Sheila Scoville and honorary grad student Gilbert Baca. I am also grateful for the art history faculty in the School of Art, the Art and Architecture library, the archives at the Centre Pompidou and the Hirsch Library at the Museum of Fine Arts, Houston. Lastly, I am thankful for the support from my family. iv ABSTRACT Curator Jean-Hubert Martin’s 1989 exhibition Magiciens de la terre is considered the first exhibition of global contemporary art, displaying recent works by 50 Western and 50 Nonwestern artists. Most of the scholarship concerning Magiciens focuses on its legacy, including critiques of the exhibition model in addition to the show serving as a springboard for subsequent exhibitions of global contemporary art. -
Neuhaus, Drawings, Max Hutchinson Gallery, New York
Max Neuhaus b. 1939, Beaumont, Texas, USA Biography 1955-57 Studied percussion at the Manhattan School of Music 1961 Diploma in music 1964 Recitals at the Carnegie Hall, New York 1967 First sound installation List of Sound Works 1966/76 Listen, 15 sound walks, various locations in USA and Canada 1966 Public Supply I, WBAI, New York Max-Feed, New York 1966/67 American Can, New York By-Product, New York 1967/68 Drive-in Music, Lincoln Parkway, Buffalo, New York 1968 Fan Music, rooftops of 137-141 Bowery, New York Southwest Stairwell, Ryerson University, Toronto Telephone Access, New York Public Supply II, CJRT, Toronto 1970 Public Supply III, WBAI, New York 1971 Water Whistle I, New York University, New York Water Whistle II, Newark State College, Newark 1972 Water Whistle III, Walker Arts Center, Minneapolis Water Whistle IV, California Institute for the Arts, Newhall Water Whistle V, University of California, La Jolla Water Whistle VI, State University of New York, Buffalo Water Whistle VII, Jewish Community Center, Buffalo Water Whistle VIII, University of South Florida, Tampa Water Whistle IX, Central Michigan University, Mount Pleasant Water Whistle X, Michigan State University, East Lansing 1973 Water Whistle XI, York University, Toronto Water Whistle XII, Everson Museum, Syracuse Water Whistle XIII, University of Southern California, Los Angeles Public Supply IV, WFMT, Chicago Water Whistle XIV, Rochester Institute of Technology, Rochester 1973-77 Walkthrough, Jay Street subway station, New York 1974 Water Whistle XV, Leo Castelli Gallery, New York Water Whistle XVI, John Weber Gallery, New York Water Whistle XVII, Sonnabend Gallery, New York Listen, Editorial New York Times 1975 Drive-in Music, Lewiston State Arts Park, New York 1976 Round, Old U.