Ecovention Europe Art to Transform Ecologies, 1957-2017
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Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 Eiko and Koma: Dance Philosophy and Aesthetic Shoko Yamahata Letton Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF VISUAL ARTS, THEATRE AND DANCE EIKO AND KOMA: DANCE PHILOSOPHY AND AESTHETIC By SHOKO YAMAHATA LETTON A Thesis submitted to the Department of Dance in partial fulfillment of the Requirements for the degree of Master of Arts Degree Awarded: Summer Semester, 2009 The members of the Committee approve the Thesis of Shoko Yamahata Letton defended on October 18, 2007. ____________________________________ Sally R. Sommer Professor Directing Thesis ____________________________________ Tricia H. Young Committee Member ____________________________________ John O. Perpener III Committee Member Approved: ___________________________________________ Patricia Phillips, Co-Chair, Department of Dance ___________________________________________ Russell Sandifer, Co-Chair, Department of Dance ___________________________________________ Sally E. McRorie, Dean, College of Visual Arts, Theatre and Dance The Graduate School has verified and approved the above named committee members. ii Dedicated to all the people who love Eiko and Koma. iii ACKNOWLEDGEMENTS This thesis would not have been completed without the following people. I thank Eiko and Koma for my life-changing experiences, access to all the resources they have, interviews, wonderful conversations and delicious meals. I appreciate Dr. Sally Sommer’s enormous assistance, encouragement and advice when finishing this thesis. I sincerely respect her vast knowledge in dance and her careful and strict editing which comes from her career as dance critic, and, her wonderful personality. Dr. William Sommer’s kindness and hospitality also allowed me to work extensively with his wife. -
With Jan Hoet
The history of exhibitions: beyond the white cube ideology (second part) Course on Contemporary Art and Culture MACBA, Autumn 2010 “““Chambres“Chambres d’amisd’amis”””” (1986) Jan Hoet November 15 ththth 2010, 19 h MACBA Auditorium “““Chambres“Chambres d’amisd’amis”””” Museum van Hedendaagse Kunst, Ghent, but hosted in 58 pprivaterivate houses in Ghent 21th June ––– 21th September, 1986 Curator: Jan Hoet Artists: Carla Accardi, Christian Boltanski, Raf Buedts, Daniel Buren, Michael Buthe, Jacques Charlier, Nicola de Maria, Luciano Fabro, Günther Förg, Jef Geys, Dan Graham, Milan Grygar, François Hers, Kazuo Katase, Niek Kemps, Joseph Kosuth, Jannis Kounellis, Bertrand Lavier, Sol Lewitt, Danny Matthys, Gerhard Merz, Mario Merz, Marisa Merz, Helmut Middendorf, Juan Muñoz, Hidetoshi Nagasawa, Bruce Nauman, Maria Nordman, Oswald Oberhuber, Heike Pallanca, Panamarenko, Giulio Paolini, Royden Rabinowitch, Norbert Radermacher, Roger Raveel, Wolfgang Robbe, Claude Rutault, Reiner Ruthenbeck, Remo Salvadori, Rob Scholte, Ettore Spalletti, Paul Thek, Niele Toroni, Charles Vandenhove, Philip Van Isacker, Jan Vercruysse, Jean-Luc Vilmouth, Martin Walde, Lawrence Weiner, Robin Winters, Gilberto Zorio. A few statements on “Chambres d’amis” 1.1.1. “Intriguingly titled ‘Chambres d’Amis’ –-‘guest rooms’,” or, literally, ‘friends’ rooms’-– the show places art in 58 houses belonging to everyday townspeople, carrying the work outside the separate universe, the total institution, of the museum, to bring it within the private zone of the private home, an asocial place insofar as it is removed from the public arena. (...) His [Hoet’s] project takes the exhibition structure off its hinges, goes beyond the limits of the frame and spills over, whole, into an interior. -
Floriade , Verleden, Heden En Toekomst. Een Analyse Van Het Grootste Evenement Van Nederland
Floriade , verleden, heden en toekomst. Een analyse van het grootste evenement van Nederland 5-10-2015 International Destination Strategies Floriade , verleden, heden en toekomst. Inleiding Pagina 2 1. Floriade 1960 Rotterdam 3 2. Floriade 1972 Amsterdam 3-4 3. Floriade 1982 Amsterdam 5-6 4. Floriade 1992 Zoetermeer 7-9 5. Floriade 2002 Hoofddorp 10-13 6. Floriade 2012 Venlo 14-17 7. De bouw kosten van het tentoonstelling platform voor een Floriade 18-20 8. De Floriade en de begrippen “omzet, verlies en winst” 21-23 9. De oorzaken van dalende bezoekersaantallen van Floriade’s sinds 1992 24-31 10. De economische motivatie om een Floriade te organiseren 32-34 11. Financiële en organisatorische evaluaties van Floriades 35-37 12. De NTR 38-40 13. De kandidaten Floriade 2022 41 14. De politieke motivatie om een Floriade te organiseren 42 15. De Floriade 2022 Almere 43-49 16. De toekomst van de Floriade 50 Slotopmerkingen 51 Uitgave 4, Oktober 2015 Pagina 1 Floriade , verleden, heden en toekomst. Inleiding De Floriade is het grootste evenement met betalende bezoekers van Nederland en tevens de enige door de BIE (Bureau International des Exposition, Paris) erkende wereldtentoonstelling, welke elke 10 jaar in ons land plaats vindt. De afgelopen 34 jaar is ondergetekende in diverse functies betrokken geweest bij de Floriades 1982, 1992, 2002 en 2012. Mede op basis van deze ervaring is dit document opgesteld. Het doel van het document is een beter inzicht te geven in de problematieken welke spelen met betrekking tot de organisatie van een Floriade en hoe deze worden veroorzaakt. -
Floriade. Verleden, Heden En Toekomst. Een Casestudie Van Een Nederlandse Wereld Tuinbouw Tentoonstelling
Floriade. Verleden, heden en toekomst. Een casestudie van een Nederlandse Wereld Tuinbouw Tentoonstelling. 1-6-2016 FLORIADE. VERLEDEN, HEDEN EN TOEKOMST. INHOUD 1. Inleiding ......................................................................................................................................................... 3 2. Samenvatting. ................................................................................................................................................ 4 3. De Internationale Bloemententoonstellingen Flora. .................................................................................... 12 4. De Floriade 1960. ......................................................................................................................................... 13 5. Floriade 1972 Amsterdam ............................................................................................................................ 14 6. Floriade 1982 Amsterdam ............................................................................................................................ 16 7. Floriade 1992 Zoetermeer ............................................................................................................................ 19 8. “Lessons learned” van Floriade 1992 ........................................................................................................... 24 9. Floriade 2002 Hoofddorp ............................................................................................................................ -
G Er T Ja Nv an R Oo Ij
28.9.2019–5.4.2020 JOHAN TAHON REFUGE / SILENCE Photographie : Gert Jan van Rooij Press Kit 16 September 2019 Johan Tahon REFUGE/SILENCE Musée Ariana, 28 September 2019 – 5 April 2020 Press visits on request only Exhibition preview Friday 27 September 2019 at 6pm Musée Ariana Swiss Museum for Ceramics and Glass 10, avenue de la Paix 1202 Geneva - Switzerland Press kit available at “Presse”: www.ariana-geneve.ch Visuals, photos on request: [email protected] Un musée Ville de Genève www.ariana-geneve.ch Johan Tahon REFUGE/SILENCE Musée Ariana, 28 September 2019 – 5 April 2020 CONTENTS Johan Tahon. REFUGE/SILENCE p. 3 Biography of Johan Tahon p. 4 Events p. 8 Practical information p. 9 2 Johan Tahon REFUGE/SILENCE Musée Ariana, 28 September 2019 – 5 April 2020 J OHAN T AHON. REFUGE/SILENCE The Musée Ariana is proud to present Johan Tahon. REFUGE/SILENCE, in partnership with the Kunstforum gallery in Solothurn, from 28 September 2019 to 5 April 2020 in the space dedicated to contemporary creation. Johan Tahon, internationally renowned Belgian artist, is exhibiting a strong and committed body of work that reveals his deep connection with the ceramic medium. In the space devoted to contemporary creation, visitors enter a mystical world inhabited by hieratic monks, leading them into a second gallery where, in addition to the figures, pharmacy jars or albarelli are displayed. A direct reference to the history of faience, the ointments, powders and medicines contained in such vessels were intended to heal both body and soul. A sensitive oeuvre reflecting the human condition Johan Tahon’s oeuvre evolves in an original and individual way. -
2019 ANNUAL REPORT 62Nd YEAR of ACTIVITY
PKB PRIVATBANK SA 2019 ANNUAL REPORT 62nd YEAR OF ACTIVITY CONTENTS Governing bodies of PKB SA 4 Board of Directors’ Report 8 Highlights 9 Consolidated Financial Statements Comments on the consolidated balance sheet 12 Comments on the consolidated income statement 13 Consolidated balance sheet 14 Consolidated income statement 16 Consolidated cash flow statement 17 Statement of changes to shareholders' equity 18 Notes to the consolidated annual financial statements 19 Auditors' report 38 Parent Company Financial Statements Comments on the balance sheet 43 Comments on the income statement 45 Balance sheet 46 Income Statement 48 Appropriation of profits 49 Statement of changes to shareholders' equity 49 Notes to the annual financial statements 50 Auditors' report 61 GOVERNING BODIES OF PKB SA Board of Directors Edio Delcò 1) 3) 5) Taverne - Torricella (TI) Chairman Massimo Trabaldo Togna 1) 3) Milano (I) Vice-Chairman Umberto Trabaldo Togna 6) 7) Zug (ZG) Francesco Bellini Cavalletti 1) 4) Milano (I) Jean-Blaise Conne 2) 4) Lutry (VD) Giovanni Leonardi 2) 4) Bodio (TI) Pierre Poncet 3) 4) Vésenaz (GE) Giovanni Vergani 2) 4) Ruvigliana (TI) Secretary Federico Trabaldo Togna Conches (GE) Internal Audit Mirko Angelini Lead Auditor Diego Pecorone Internal Auditor Farah Vanoni Internal Auditor External Auditor Deloitte SA Executive Board Umberto Trabaldo Togna 8) Chief Executive Officer Luca Venturini 9) 10) Managing Director Ettore Bonsignore 11) Executive Vice President Michele Balice Executive Vice President Fabrizio Cerutti Executive Vice -
Tony Oursler CV
Tony Oursler Lives and works in New York, NY, USA 1979 BFA, California Institute for the Arts, Valencia, CA, USA 1957 Born in New York, NY, USA Selected Solo Exhibitions 2021 ‘Tony Oursler: Black Box’, Kaohsiung Museum of Fine Arts, Kaohsiung City, Taiwan 2020 ‘Hypnose’, Musée d’arts de Nantes, Nantes, France Lisson Gallery, East Hampton, NY, USA 2019 ‘电流 (Current)’, Nanjing Eye Pedestrian Bridge, Nanjing, China ‘Tony Oursler: Water Memory’, Guild Hall, East Hampton, NY, USA ‘The Volcano & Poetics Tattoo’, Dep Art Gallery, Milan, Italy 2018 ‘predictive empath’, Baldwin Gallery, Aspen, CO, USA ‘Tear of the Cloud’, Public Art Fund, Riverside Park South, New York, NY, USA ‘TC: the most interesting man alive’, Lisson Gallery, New York, NY, USA 2017 ‘Paranormal: Tony Oursler vs. Gustavo Rol’, Pinacoteca Giovanni e Marella Agnelli, Turin, Italy ‘Sound Digressions: Spectrum’, Galerie Mitterand, Paris, France ‘Tony Oursler: b0t / flOw - ch@rt’, Galerie Forsblom, Stockholm, Sweden ‘Tony Oursler: L7-L5 / Imponderable’, CaixaForum, Barcelona, Spain ‘Unidentified’, Redling Fine Art, Los Angeles, CA, USA 2016 ‘Tony Oursler: The Influence Machine’, University of Edinburgh, Edinburgh, United Kingdom ‘A*gR_3’, Galería Moisés Pérez De Albéniz, Madrid ‘M*r>0r’, Magasin III Museum & Foundation for Contemporary Art, Stockholm, Sweden ‘Tony Oursler: The Imponderable Archive’ Hessel Museum of Art, Bard College, Annandale-On-Hudson, NY, USA ‘Imponderable’, Museum of Modern Art, New York, NY, USA ‘TC: The Most Interesting Man Alive’ Chrysler Museum, Norfolk, -
1 History That Disturbs the Present
History that disturbs the present: An interview about REPOhistory with Greg Sholette Interviewed by Dipti Desai on April 26, 2007 Greg Sholette’s work as artist, writer, activist, and organizer has been extremely influential in opening dialogue about the relationship between history, current issues and art. Drawing on an array of art mediums such as sculpture, photography, drawings, film, and texts his work as a socially engaged artist forces us to question our commonsense understanding of art as an individual endeavor that is not connected to society. Instead he calls into question the role of art in a democratic society by challenging the idea of an autonomous art objects and its commodification by the art world. His multi-media art works ask us to think about how art perpetuates the often hidden social structures in our society and how aesthetic practices can become more part of our daily lives. As a cultural producer whose work is grounded in history his art making practice is part of a tradition of artists, cultural theorists, historians, and philosophers that understands art as a mode of production that is deeply connected to the material conditions of society. He was the founding member of two innovative artist collectives: Political Art Documentation/Distribution (1980-1988) and REPOhistory (1989-2000). Since he is interested in collaborative artistic practices that opens dialogue about issues of concern to people his work is mainly designed for the public sphere and engages many modes of dissemination, such as signs, posters, performances, public installations, educational activities, flyers, and postcards. I met with Greg on a beautiful spring day in 2007 at Cooper Union, his alma mater and where he was an adjunct instructor prior to being hired full-time by the Art Department at Queens College. -
ZERO ERA Mack and His Artist Friends
PRESS RELEASE: for immediate publication ZERO ERA Mack and his artist friends 5th September until 31st October 2014 left: Heinz Mack, Dynamische Struktur schwarz-weiß, resin on canvas, 1961, 130 x 110 cm right: Otto Piene, Es brennt, Öl, oil, fire and smoke on linen, 1966, 79,6 x 99,8 cm Beck & Eggeling presents at the start of the autumn season the exhibition „ZERO ERA. Mack and his artist friends“ - works from the Zero movement from 1957 until 1966. The opening will take place on Friday, 5th September 2014 at 6 pm at Bilker Strasse 5 and 4-6 in Duesseldorf, on the occasion of the gallery weekend 'DC Open 2014'. Heinz Mack will be present. After ten years of intense and successful cooperation between the gallery and Heinz Mack, culminating in the monumental installation project „The Sky Over Nine Columns“ in Venice, the artist now opens up his private archives exclusively for Beck & Eggeling. This presents the opportunity to delve into the ZERO period, with a focus on the oeuvre of Heinz Mack and his relationship with his artist friends of this movement. Important artworks as well as documents, photographs, designs for invitations and letters bear testimony to the radical and vanguard ideas of this period. To the circle of Heinz Mack's artist friends belong founding members Otto Piene and Günther Uecker, as well as the artists Bernard Aubertin, Hermann Bartels, Enrico Castellani, Piero BECK & EGGELING BILKER STRASSE 5 | D 40213 DÜSSELDORF | T +49 211 49 15 890 | [email protected] Dorazio, Lucio Fontana, Hermann Goepfert, Gotthard Graubner, Oskar Holweck, Yves Klein, Yayoi Kusama, Walter Leblanc, Piero Manzoni, Almir da Silva Mavignier, Christian Megert, George Rickey, Jan Schoonhoven, Jesús Rafael Soto, Jean Tinguely and Jef Verheyen, who will also be represented in this exhibition. -
Detchon Thesis
Copyright by Julia Watt Detchon 2016 The Thesis Committee for Julia Watt Detchon Certifies that this is the approved version of the following thesis: Latin American Conceptualism and the Problem of Ideology: The Centro de Arte y Comunicación at the São Paulo Bienal, 1977 APPROVED BY SUPERVISING COMMITTEE: Supervisor: George Flaherty Ann Reynolds Latin American Conceptualism and the Problem of Ideology: The Centro de Arte y Comunicación at the São Paulo Bienal, 1977 by Julia Watt Detchon, B.A. Thesis Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Master of Arts The University of Texas at Austin May 2016 Acknowledgements This thesis, like the art it discusses, is embedded in many contexts. One of them is my early stabs at original scholarship, and the thoughtful guidance of people among whom I am lucky to be able to test my ideas. I am indebted to those who have been important to the formation of this project, but – since I see this project only as a beginning – also to the formation of me as a scholar. First among them is my advisor, George Flaherty, who has been generous with his time, candid with his thoughts, and challenging but encouraging at every juncture. This project has benefited enormously from careful readings by him and Professor Ann Reynolds. They have been intellectual models and, along with other faculty including Cherise Smith, Andrea Giunta, Linda Henderson, and Jacqueline Barnitz, instrumental in identifying the big questions that animate my thinking and writing about art. -
Otto Piene: Lichtballett
Otto Piene: Lichtballett a complete rewiring of the piece, removal of surface damage and dents, and team of artists for documenta 6, was later exhibited on the National Mall in replacement of the light fixtures and bulbs to exact specifications. Washington, DC. For the closing ceremony of the 1972 Munich Olympics, The MIT List Visual Arts Center is pleased to present an exhibition of the Piene created Olympic Rainbow, a “sky art” piece comprised of five helium- light-based sculptural work of Otto Piene (b. 1928, Bad Laasphe, Germany). The exhibition also showcases several other significant early works filled tubes that flew over the stadium. Piene received the Sculpture Prize Piene is a pioneering figure in multimedia and technology-based art. alongside new sculptures. The two interior lamps of Light Ballet on Wheels of the American Academy of Arts and Letters in 1996. He lives and works in Known for his smoke and fire paintings and environmental “sky art,” Piene (1965) continuously project light through a revolving disk. The sculpture Groton, Massachusetts, and Düsseldorf, Germany. formed the influential Düsseldorf-based Group Zero with Heinz Mack in Electric Anaconda (1965) is composed of seven black globes of decreasing the late 1950s. Zero included artists such as Piero Manzoni, Yves Klein, Jean diameter stacked in a column, the light climbing up until completely lit. Tinguely, and Lucio Fontana. Piene was the first fellow of the MIT Center Piene’s new works produced specifically for the exhibition, Lichtballett for Advanced Visual Studies (CAVS) in 1968, succeeding its founder György (2011), a site-specific wall sculpture, and One Cubic Meter of Light Black Kepes as director until retiring in 1994. -
Kusama 2 1 Zero Gutai Kusama
ZERO GUTAI KUSAMA 2 1 ZERO GUTAI KUSAMA VIEWING Bonhams 101 New Bond Street London, W1S 1SR Sunday 11 October 11.00 - 17.00 Monday 12 October 9.00 - 18.00 Tuesday 13 October 9.00 - 18.00 Wednesday 14 October 9.00 - 18.00 Thursday 15 October 9.00 - 18.00 Friday 16 October 9.00 - 18.00 Monday 19 October 9.00 - 17.00 Tuesday 20 October 9.00 - 17.00 EXHIBITION CATALOGUE £25.00 ENQUIRIES Ralph Taylor +44 (0) 20 7447 7403 [email protected] Giacomo Balsamo +44 (0) 20 7468 5837 [email protected] PRESS ENQUIRIES +44 (0) 20 7468 5871 [email protected] 2 1 INTRODUCTION The history of art in the 20th Century is punctuated by moments of pure inspiration, moments where the traditions of artistic practice shifted on their foundations for ever. The 1960s were rife with such moments and as such it is with pleasure that we are able to showcase the collision of three such bodies of energy in one setting for the first time since their inception anywhere in the world with ‘ZERO Gutai Kusama’. The ZERO and Gutai Groups have undergone a radical reappraisal over the past six years largely as a result of recent exhibitions at the New York Guggenheim Museum, Berlin Martin Gropius Bau and Amsterdam Stedelijk Museum amongst others. This escalation of interest is entirely understandable coming at a time where experts and collectors alike look to the influences behind the rapacious creativity we are seeing in the Contemporary Art World right now and in light of a consistently strong appetite for seminal works.