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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 -
Beat Streuli Living Room
Beat Streuli Living Room September 3 to October 8, 2014 Yumiko Chiba Associates viewing room shinjuku Gallery Talk & Opening Reception: Saturday, September 6 (Gallery Talk will be held in HILLSIDE TERRACE café at Daikanyama Hillside Terrace.) ©Beat Streuli, Courtesy of Yumiko Chiba Associates Yumiko Chiba Associates viewing room shinjuku is pleased to present a solo exhibition by Beat Streuli, ‘Living Room’, from September 3 to October 8, 2014. Beat Streuli, a Swiss photographer who started working in the 1980s, has presented his works in cities around the globe. Presently based in Zurich and Brussels, he has been actively working all over Europe and in many other parts of the world. He first received attention for his series from the early 1990s; some of this work was photographed in Rome, Paris, and New York. Streuli takes photographs of local people in public places, often with a telephoto lens, focusing on them and their ordinary lives. He has begun to work more outside of Europe and the United States, in both Western and non-Western countries. Recently, his work has started to include more non-figurative, almost abstract elements. At the beginning of his career, Streuli produced and presented his works as small format and black and white photographs, but in the early 1990s, he developed new forms of presentation, working with floor to ceiling, multi-screen slide and video projections. He also started working with large scale images installed on the façades of public buildings in various cities, and with monumental billboard installations. For the past twenty years, Streuli's work has been frequently exhibited around the world; he has also realized many temporary and permanent projects in public spaces. -
Elisabeth Epstein: Moscow–Munich–Paris–Geneva, Waystations of a Painter and Mediator of the French-German Cultural Transfer
chapter 12 Elisabeth Epstein: Moscow–Munich–Paris–Geneva, Waystations of a Painter and Mediator of the French-German Cultural Transfer Hildegard Reinhardt Abstract The artist Elisabeth Epstein is usually mentioned as a participant in the first Blaue Reiter exhibition in 1911 and the Erster Deutscher Herbstsalon in 1913. Living in Munich after 1898, Epstein studied with Anton Ažbe, Wassily Kandinsky, and Alexei Jawlensky and participated in Werefkin’s salon. She had already begun exhibiting her work in Paris in 1906 and, after her move there in 1908, she became the main facilitator of the artistic exchange between the Blue Rider artists and Sonia and Robert Delaunay. In the 1920s and 1930s she was active both in Geneva and Paris. This essay discusses the life and work of this Russian-Swiss painter who has remained a peripheral figure despite her crucial role as a mediator of the French-German cultural transfer. Moscow and Munich (1895–1908) The special attraction that Munich and Paris exerted at the beginning of the twentieth century on female Russian painters such as Alexandra Exter, Sonia Delaunay, Natalia Goncharova, and Olga Meerson likewise characterizes the biography of the artist Elisabeth Epstein née Hefter, the daughter of a doc- tor, born in Zhytomir/Ukraine on February 27, 1879. After the family’s move to Moscow, she began her studies, which continued from 1895 to 1897, with the then highly esteemed impressionist figure painter Leonid Pasternak.1 Hefter’s marriage, in April 1898, to the Russian doctor Miezyslaw (Max) Epstein, who had a practice in Munich, and the birth of her only child, Alex- ander, in March 1899, are the most significant personal events of her ten-year period in Bavaria’s capital. -
New Digital Art Space Revealed in the Santa Fe Railyard Art Vault at the Thoma Foundation Opens April 30 •••••••••••••••••••••••••••••••••••••••• •
FOR IMMEDIATE RELEASE: April 21, 2021 Media Contact: Nicole Danti [email protected] New Digital Art Space Revealed in the Santa Fe Railyard Art Vault at the Thoma Foundation opens April 30 •••••••••••••••••••••••••••••••••••••••• • Santa Fe, New Mexico: The Carl & Marilynn Thoma Foundation announces the opening of a new 3,500 square-foot space for experiencing contemporary art in the Santa Fe Railyard District. Art Vault is dedicated to sharing the Foundation’s world-class collection of digital, electronic, virtual, and new media artworks, curated in thematic exhibitions. Art Vault at 540 South Guadalupe Street is the only digital art collection open to the public in the Southwest, and one of very few in the United States. Artworks from the Thoma Foundation collection are on view year-round, rotating seasonally. There is no admission fee, and school and group tours are available by appointment. Featured exhibitions will include emerging and mid-career artists alongside internationally renowned pioneers of video sculpture, self-taught computer artists, and influential digital time- based media artists. Large-scale digital and video installations invite viewers to broaden their understanding of technology with innovative perspectives on the human experience. Art Vault will take the place of The Thoma Foundation’s Art House, at 231 Delgado Street in Santa Fe, which will transition to the Foundation’s main office location. Founder Carl Thoma’s vision to bring larger, more accessible works of digital and media art to the international art hub of Santa Fe has been realized. “We are thrilled to increase our cultural contribution to the vibrant visual arts scene in Santa Fe. -
Verlag Der Buchhandlung Walther Und Franz König Sommer 2021
Verlag der Buchhandlung Walther und Franz König Sommer 2021 Verlag der Buchhandlung Walther und Franz König, Köln Sommer 2021 F21_Umschlag.P528U_final.indd 1 02.06.21 16:49 Hessen, Baden-Württemberg, Outside Europe Saarland,Michael Rheinland-Pfalz, Hagner. Bayern und Österreich D.A.P. / Distributed Art Publishers, Inc. Foucaults Pendel und wir.75 AnlässlichBroad Street, Suite einer 630 MichaelInstallation Klein von GerhardUSA Richter New York, NY 10004 c/o Vertreterbüro Würzburg T +1 (0) 212 627 1999 Huebergasse 1, D 97070 Würzburg [email protected] T +49 (0) 931 174 05 F +49 (0) 931 174 10 [email protected] Verlag der Buchhandlung Michael Hagner, * 1960, Professor für Walther und Franz König, Köln Wissenschaftsforschung an der UKETH & Zürich. Eire Für seine Arbeit wurde Leitung Vertrieb und Presse / er u. a. mit dem SigmundFreudPreis Head of Distribution and Press Cornerhousefür wissen schaft Publications liche Prosa der Eva Möller HOME Deutschen Akademie für Sprache und 2Dichtung Tony Wilson sowie Place der Martin Warnke- Ehrenstraße 4, D 50672 Köln UKMedaille Manchester und dem M15 Wissenschaftspreis 4FN T +49 (0) 221 205 96 53 Tder +44Aby (0)161Warburg 212 Stiftung34 66 aus F +49 (0) 221 205 96 60 [email protected]. [email protected] Als der Pariser Physiker Léon Foucault Allezivilisatorischen Preise inkl. MwSt. Fortschritt freibleibend durch die 16 × 24 cm, 396 Seiten/pages Belgium,1851 die ErdrotationNetherlands mit einem Pendel Wissenschaften prägte die öffentliche 92 Abbildungen/illustrations nachweisen konnte, musste niemand Geschichte des Pendels, bis Umberto Hardcover mit Schutzumschlag Exhibitionsmehr von der International Richtigkeit des Heliozen Eco es in einem postmodernen Welt Arttrismus & Illustrated überzeugt Books werden. -
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. -
High Performance Magazine Records
http://oac.cdlib.org/findaid/ark:/13030/kt5p30369v Online items available Finding aid for the magazine records, 1953-2005 Finding aid for the magazine 2006.M.8 1 records, 1953-2005 Descriptive Summary Title: High Performance magazine records Date (inclusive): 1953-2005 Number: 2006.M.8 Creator/Collector: High Performance Physical Description: 216.1 Linear Feet(318 boxes, 29 flatfile folders, 1 roll) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles 90049-1688 [email protected] URL: http://hdl.handle.net/10020/askref (310) 440-7390 Abstract: High Performance magazine records document the publication's content, editorial process and administrative history during its quarterly run from 1978-1997. Founded as a magazine covering performance art, the publication gradually shifted editorial focus first to include all new and experimental art, and then to activism and community-based art. Due to its extensive compilation of artist files, the archive provides comprehensive documentation of the progressive art world from the late 1970s to the late 1990s. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical/Historical Note Linda Burnham, a public relations officer at University of California, Irvine, borrowed $2,000 from the university credit union in 1977, and in a move she described as "impulsive," started High -
Hackerspaces
d WP4 | CASE STUDY Report: Hackerspaces Theme [ssh.2013.3.2-1][Social Innovation- Empowering People, changing societies] Project Full Title: “Transformative Social Innovation Theory project” Grant Agreement n. 613169 This project has received funding from the European Union’s Seventh Framework Programme for research, technological development and demonstration under grant agreement no 613169 Suggested citation: Sabine Hielscher, Adrian Smith, Mariano Fressoli (2015) WP4 Case Study Report: Hackerspaces, Report For the TRANSIT FP7 Project, SPRU, University oF Sussex, Brighton. Acknowledgements: We wish to thank everyone in the Hackerspace scene who helped us with our research, whether through interviews, welcoming us to Hackerspaces and events, or putting us in touch with others. We also thank our colleagues in the TRANSIT project, at SPRU, at UNQ and Fundación Cenit For their help and encouragement with the research. Finally, we thank the European Commission and their FP7 research programme For Funding the TRANSIT project. Date: 14 January 2015 Authors: Sabine Hielscher, Adrian Smith, Mariano Fressoli Contact person: Adrian Smith Table of contents 1 Introduction to Hackerspaces 2 Methodology 2.1 Researcher relations to the case 2.2 Methods 3 Analysis of transnational network(ing) 3.1 Transnational networking: Hackerspaces 3.2 Aspects of ‘innovation’ and ‘change’ of the transnational network(ing) 3.3 Aspects of empowerment and disempowerment of the transnational network(ing) 3.4 Other issues about the transnational networking 4 Local initiative -
Survival Research Laboratories: a Dystopian Industrial Performance Art
arts Article Survival Research Laboratories: A Dystopian Industrial Performance Art Nicolas Ballet ED441 Histoire de l’art, Université Paris 1 Panthéon-Sorbonne, Galerie Colbert, 2 rue Vivienne, 75002 Paris, France; [email protected] Received: 27 November 2018; Accepted: 8 January 2019; Published: 29 January 2019 Abstract: This paper examines the leading role played by the American mechanical performance group Survival Research Laboratories (SRL) within the field of machine art during the late 1970s and early 1980s, and as organized under the headings of (a) destruction/survival; (b) the cyborg as a symbol of human/machine interpenetration; and (c) biomechanical sexuality. As a manifestation of the era’s “industrial” culture, moreover, the work of SRL artists Mark Pauline and Eric Werner was often conceived in collaboration with industrial musicians like Monte Cazazza and Graeme Revell, and all of whom shared a common interest in the same influences. One such influence was the novel Crash by English author J. G. Ballard, and which in turn revealed the ultimate direction in which all of these artists sensed society to be heading: towards a world in which sex itself has fallen under the mechanical demiurge. Keywords: biomechanical sexuality; contemporary art; destruction art; industrial music; industrial culture; J. G. Ballard; machine art; mechanical performance; Survival Research Laboratories; SRL 1. Introduction If the apparent excesses of Dada have now been recognized as a life-affirming response to the horrors of the First World War, it should never be forgotten that society of the 1960s, 70s, and 80s was laboring under another ominous shadow, and one that was profoundly technological in nature: the threat of nuclear annihilation. -
Mehr Mode Rn E Fü R D As Le N Ba Ch Ha Us Die
IHR LENBACHHAUS.DE KUNSTMUSEUM IN MÜNCHEN MEHR MEHR FÜR DAS MODERNE LENBACHHAUS LENBACHHAUS DIE NEUERWERBUNGEN IN DER SAMMLUNG BLAUER REITER 13 OKT 2020 BIS 7 FEB 2021 Die Neuerwerbungen in der Sammlung Blauer Reiter 13. Oktober 2020 bis 7. Februar 2021 MEHR MODERNE FÜR DAS LENBACHHAUS ie weltweit größte Sammlung zur Kunst des Blauen Reiter, die das Lenbachhaus sein Eigen nennen darf, verdankt das Museum in erster Linie der großzügigen Stiftung von Gabriele Münter. 1957 machte die einzigartige Schenkung anlässlich des 80. Geburtstags der D Künstlerin die Städtische Galerie zu einem Museum von Weltrang. Das herausragende Geschenk umfasste zahlreiche Werke von Wassily Kandinsky bis 1914, von Münter selbst sowie Arbeiten von Künstlerkolleg*innen aus dem erweiterten Kreis des Blauen Reiter. Es folgten bedeutende Ankäufe und Schen- kungen wie 1965 die ebenfalls außerordentlich großzügige Stiftung von Elly und Bernhard Koehler jun., dem Sohn des wichtigen Mäzens und Sammlers, mit Werken von Franz Marc und August Macke. Damit wurde das Lenbachhaus zum zentralen Ort der Erfor- schung und Vermittlung der Kunst des Blauen Reiter und nimmt diesen Auftrag seit über sechs Jahrzehnten insbesondere mit seiner August Macke Ausstellungstätigkeit wahr. Treibende Kraft Reiter ist keinesfalls abgeschlossen, ganz im KINDER AM BRUNNEN II, hinter dieser Entwicklung war Hans Konrad Gegenteil: Je weniger Leerstellen verbleiben, CHILDREN AT THE FOUNTAIN II Roethel, Direktor des Lenbachhauses von desto schwieriger gestaltet sich die Erwer- 1956 bis 1971. Nach seiner Amtszeit haben bungstätigkeit. In den vergangenen Jahren hat 1910 sich auch Armin Zweite und Helmut Friedel sich das Lenbachhaus bemüht, die Sammlung Öl auf Leinwand / oil on canvas 80,5 x 60 cm erfolgreich für die Erweiterung der Sammlung um diese besonderen, selten aufzufindenden FVL 43 engagiert. -
The Fibreculture Journal Issue 18 2011
The Fibreculture Journal DIGITAL MEDIA + NETWORKS + TRANSDISCIPLINARY CRITIQUE Issue 18 : Trans edited by Andrew Murphie, Adrian Mackenzie and Mitchell Whitelaw The Fibreculture Journal is an Open Humanities Press Journal. The LOCKSS System has the permission to collect, preserve and serve this open access Archival Unit. The Fibreculture Journal is published under a Creative Commons, By Attribution-Non Commercial-No Derivative License. ISSN: 1449 – 1443 , Published in Sydney, Australia Fibreculture Publications/The Open Humanities Press 2011 The journal is peer reviewed as per section 4.3.4 of the Australian HERDC Specifications. About the Fibreculture Journal The Fibreculture Journal is a peer reviewed international journal, first published in 2003 to explore the issues and ideas of concern to the Fibreculture network. The Fibreculture Journal now serves wider social formations across the international community of those thinking critically about, and working with, contemporary digital and networked media. The Fibreculture Journal has an international Editorial Board and Committee. In 2008, the Fibreculture Journal became a part of the Open Humanities Press , a key initiative in the development of the Open Access journal community. The journal encourages critical and speculative interventions in the debate and discussions concern- ing a wide range of topics of interest. These include the social and cultural contexts, philosophy and politics of contemporary media technologies and events, with a special emphasis on the ongoing social, technical -
Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue Published by WCA ● Gallery Guide
1 Wexner Center for the Arts Exhibition History Key: * Organized by the Wexner Center + New Work Commissions/Residencies ♦ Catalogue published by WCA ● Gallery Guide ●LaToya Ruby Frazier: The Last Cruze February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Sadie Benning: Pain Thing February 1 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●Stanya Kahn: No Go Backs January 22 – August 16, 2020 (END DATE TO BE MODIFIED DUE TO COVID-19) *+●HERE: Ann Hamilton, Jenny Holzer, Maya Lin September 21 – December 29, 2019 *+●Barbara Hammer: In This Body (F/V Residency Award) June 1 – August 11, 2019 *Cecilia Vicuña: Lo Precario/The Precarious June 1 – August 11, 2019 Jason Moran June 1 – August 11, 2019 *+●Alicia McCarthy: No Straight Lines February 2 – August 1, 2019 John Waters: Indecent Exposure February 2 – April 28, 2019 Peter Hujar: Speed of Life February 2 – April 28, 2019 *+♦Mickalene Thomas: I Can’t See You Without Me (Visual Arts Residency Award) September 14 –December 30, 2018 *● Inherent Structure May 19 – August 12, 2018 Richard Aldrich Zachary Armstrong Key: * Organized by the Wexner Center ♦ Catalogue published by WCA + New Work Commissions/Residencies ● Gallery Guide Updated July 2, 2020 2 Kevin Beasley Sam Moyer Sam Gilliam Angel Otero Channing Hansen Laura Owens Arturo Herrera Ruth Root Eric N. Mack Thomas Scheibitz Rebecca Morris Amy Sillman Carrie Moyer Stanley Whitney *+●Anita Witek: Clip February 3-May 6, 2018 *●William Kentridge: The Refusal of Time February 3-April 15, 2018 All of Everything: Todd Oldham Fashion February 3-April 15, 2018 Cindy Sherman: Imitation of Life September 16-December 31, 2017 *+●Gray Matters May 20, 2017–July 30 2017 Tauba Auerbach Cristina Iglesias Erin Shirreff Carol Bove Jennie C.