Abramović, Marina
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Are We There Yet?
ARE WE THERE YET? Study Room Guide on Live Art and Feminism Live Art Development Agency INDEX 1. Introduction 2. Lois interviews Lois 3. Why Bodies? 4. How We Did It 5. Mapping Feminism 6. Resources 7. Acknowledgements INTRODUCTION Welcome to this Study Guide on Live Art and Feminism curated by Lois Weaver in collaboration with PhD candidate Eleanor Roberts and the Live Art Development Agency. Existing both in printed form and as an online resource, this multi-layered, multi-voiced Guide is a key component of LADA’s Restock Rethink Reflect project on Live Art and Feminism. Restock, Rethink, Reflect is an ongoing series of initiatives for, and about, artists who working with issues of identity politics and cultural difference in radical ways, and which aims to map and mark the impact of art to these issues, whilst supporting future generations of artists through specialized professional development, resources, events and publications. Following the first two Restock, Rethink, Reflect projects on Race (2006-08) and Disability (2009- 12), Restock, Rethink, Reflect Three (2013-15) is on Feminism – on the role of performance in feminist histories and the contribution of artists to discourses around contemporary gender politics. Restock, Rethink, Reflect Three has involved collaborations with UK and European partners on programming, publishing and archival projects, including a LADA curated programme, Just Like a Woman, for City of Women Festival, Slovenia in 2013, the co-publication of re.act.feminism – a performing archive in 2014, and the Fem Fresh platform for emerging feminist practices with Queen Mary University of London. Central to Restock, Rethink, Reflect Three has been a research, dialogue and mapping project led by Lois Weaver and supported by a CreativeWorks grant. -
Heiser, Jörg. “Do It Again,” Frieze, Issue 94, October 2005
Heiser, Jörg. “Do it Again,” Frieze, Issue 94, October 2005. In conversation with Marina Abramovic Marina Abramovic: Monica, I really like your piece Hausfrau Swinging [1997] – a video that combines sculpture and performance. Have you ever performed this piece yourself? Monica Bonvicini: No, although my mother said, ‘you have to do it, Monica – you have to stand there naked wearing this house’. I replied, ‘I don’t think so’. In the piece a woman has a model of a house on her head and bangs it against a dry-wall corner; it’s related to a Louise Bourgeois drawing from the ‘Femme Maison’ series [Woman House, 1946–7], which I had a copy of in my studio for a long time. I actually first shot a video of myself doing the banging, but I didn’t like the result at all: I was too afraid of getting hurt. So I thought of a friend of mine who is an actor: she has a great, strong body – a little like the woman in the Louise Bourgeois drawing that inspired it – and I knew she would be able to do it the right way. Jörg Heiser: Monica, after you first showed Wall Fuckin’ in 1995 – a video installation that includes a static shot of a naked woman embracing a wall, with her head outside the picture frame – you told me one critic didn’t talk to you for two years because he was upset it wasn’t you. It’s an odd assumption that female artists should only use their own bodies. -
Documenta 8 (Küssende Fernseher) Von Ralph Hammerthaler
documenta 8 (Küssende Fernseher) von Ralph Hammerthaler Ende Oktober 1981 war das proT erstmals in einer großen Ausstellung zu sehen. Für ein Theater mag das ungewöhnlich erscheinen, nicht so aber für das proT, denn Sagerer fühlte sich bildenden Künstlern oft enger verbunden als Theatermachern. Schon sein früher Komplize von Hündeberg war Maler. Nikolai Nothof und Karl Aichinger, beide als Schauspieler im Ensemble, fingen in den 1970er Jahren an zu malen und stellten ihre Bilder im Kellertheater aus. Bei Aktionsabenden des proT lösten sich die Grenzen der Genres ohnehin auf. Dafür, dass sich die Kontakte zur Kunstszene vertieften, sorgte nun Brigitte Niklas. In der Künstlerwerkstatt Lothringer Straße 13 zeigten zwölf Münchner Künstler Videoinstallationen, darunter auch Barbara Hamann und Wolfgang Flatz. Die Installation des proT erwies sich als aufwändig, denn sie konnten nicht anders, als mit dem ganzen Theater anzurücken. Ihr Kunst-Video hing an der Produktion Münchner Volkstheater oder umgekehrt: Das Theater hing am Kunst-Video, umso mehr, als es davon seine Einsätze bezog. Wie oben erwähnt, führte bei diesem Stück das Video Regie. Im Gespräch mit dem Magazin Videokontakt antwortete Sagerer auf die Frage nach der Grenze zwischen den Genres: „Alles, was ich mache, fällt unter den Begriff ‚Theater‘. Das Theater ist die einzige unbegrenzte Kunst, vom Material her eigentlich überhaupt nicht definierbar. Alles, was unter dem Namen ‚Theater‘ passiert, wird Theater. Wenn man Film im Theater einsetzt, ist es kein Film mehr, sondern Theater. Wenn man Theater filmt, wird es immer ein Film. Die Erfahrung ‚Theater‘ kann der Film nicht vermitteln, während Film, Fernsehen und Musik Bestandteile der Erfahrung ‚Theater‘ sein können.“ Und befragt nach seinen Plänen mit Video im Theater, sagte er: „Wir wollen in Zukunft mehr Monitore einsetzen, die von jedem Punkt des Raums aus sichtbar sind. -
Note to the Secretary-General Tonight You and Mrs. Annan Have
Note to the Secretary-General Tonight you and Mrs. Annan have agreed to drop by (from 6:35-6:45 p.m.) the reception in the West Terrace hosted by Yoko Ono wherein she will present grants to an Israeli and a Palestinian artist in her own Middle East humanitarian arts initiative. When Mrs. Annan and you arrive David Finn, Philippa Polskin and Holly Peppe of Ruder-Finn, will greet you. You will then be accompanied into the center of the room where two easels will display the work of the two artist recipients of the LennonOno Grants, Khalil Rabah and Zvi Goldstein. The following people will greet you and stand with you for a brief photo-op: > Yoko Ono > Zvi Goldstein, Israeli artist, grant recipient > Khalil Rabah, Palestinian artist, grant recipient > Jack Persekian, Founder & Director, Anadiel Gallery, Jerusalem > Suzanne Landau, Chief Curator, The Israel Museum, Jerusalem > Shlomit Shaked, Independent Curator, Israel. At 6:45 p.m. you will proceed to the Macalester Reception and dinner, in Private Dining Room #8. Kevin S.: 9 October 2002 Copy to: Ms. S. Burnheim ROUTING SLIP FICHE DE TRANSMISSION TO: A A: OJ *Mt* FROM: / /" DE: /64< ^*^/^^~^ Room No. — No de bureau Extension — Poste Date / G&W aiLbfo^ FOR ACTION POUR SUITE A DONNER FOR APPROVAL POUR APPROBATION FOR SIGNATURE POUR SIGNATURE FOR COMMENTS POUR OBSERVATIONS MAY WE DISCUSS? POURRIONS-NOUS EN PARLER ? YOUR ATTENTION VOTRE ATTENTION AS DISCUSSED COMME CONVENU AS REQUESTED SUITE A VOTRE DEMANDS NOTE AND RETURN NOTER ET RETOURNER FOR INFORMATION POUR INFORMATION COM.6 12-78) ZVI GOLDSTEIN Artist Recipient of the LennonOno Grant for Peace Born in Transylvania, Romania in 1947, artist Zvi Goldstein immigrated to Israel in 1958. -
U.S. Pavilion Fact Sheet
U.S. PAVILION FACT SHEET The U.S. Pavilion at the Venice Biennale is a Palladian-style structure built in 1930 by the architects William Adams Delano and Chester Holmes Aldrich. The pavilion is situated within the Castello Gardens that house all the national pavilions of the Venice Biennale. In 1986, the Solomon R. Guggenheim Foundation purchased the U.S. Pavilion from The Museum of Modern Art, New York with funds provided by the Peggy Guggenheim Collection Advisory Board. Beginning in 1986 the Peggy Guggenheim Collection worked with the United States Information Agency (USIA) (1986-1999), the Fund for U.S. Artists at International Festivals and Exhibitions (1986-2003) and the U.S. Department of State (2000- present) in the organization of the visual arts and architecture exhibitions at the U.S. Pavilion. The official U.S. representation at the 52nd Venice Biennale has been organized by the Solomon R. Guggenheim Museum and is presented by the Bureau of Educational and Cultural Affairs of the U.S. Department of State. U.S. PAVILION COMMISSIONS 1986 - 2007 1986 42nd International Exhibition of Art Isamu Noguchi What is Sculpture? Organized by P.S.1, The Institute for Art and Urban Resources, Inc., Long Island City, New York Commissioner: Henry Geldzahler 1988 43rd International Exhibition of Art Jasper Johns Work since 1974 Organized by the Philadelphia Museum of Art Commissioner: Mark Rosenthal 1990 44th International Exhibition of Art Jenny Holzer The Venice Installation Organized by the Albright-Knox Art Gallery, Buffalo, New York Commissioner: -
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. -
ULAY in GENEVA Invisible Opponent
ULAY IN GENEVA Invisible Opponent A PROJECT BY ART FOR THE WORLD MUSÉE D ’ART ET D ’HISTOIRE , GENÈVE PRESS RELEASE ULAY in Geneva February 2016 - ULAY, performance and body art pioneer, gave a historic performance alongside Marina Abramovi ć at the Musée d’art et d’histoire of Geneva in 1977, in support of the creation of a modern art museum in Geneva. Today, the German artist is returning to the Musée d’art et d’histoire, invited by the curator Adelina von Fürstenberg, in the context of the 20 th anniversary of ART for The World. On 5 April, the day after the screening of his documentary film Performing Life , ULAY will offer a new performance titled Invisible Opponent in the exact same space he performed 39 years ago. 4 April – Film screening Performing Life At the Musée d’art et d’histoire’s Auditorium, ULAY will introduce his documentary film Performing Life . After being diagnosed with cancer in 2011, Ulay decided to turn the movie he was working on into a documentary on his life and his battle against the disease. A montage of fragments of ancient performances, interviews and conversations about art, the result is a touching voyage through artistic life and personal memories. The documentary was shown in several venues throughout the world such as the Centre Pompidou in Paris, the Stedelijk Museum in Amsterdam and the Neue Galerie in Berlin. The screening will be followed by a Q+A with the artist. 5 April - Performance Invisible Opponent The Musée d’art et d’histoire of Geneva and ART for The World present a new world premiere performance by ULAY. -
Urban Landscapes Human Codes
via dufour 1 - 6900 lugano (CH) +41 (0)91 921 17 17 [email protected] PRESS RELEASE [dip] contemporary art is delighted to present I pag. 1 URBAN LANDSCAPES HUMAN CODES Opening: wednesday 22.01.2020 h. 18.00 - 20.30 Visits: 23.01 - 22.02.2020 A group show with Geraldo de Barros (Brazil), Paolo Canevari (Italy), Olga Kisseleva (France/Russia), Wang Tong (China), Avinash Veeraraghavan (India) A selection of works by three generations of artists, spanning four different continents. Different historical, political and artistic periods. Different social and urban contexts. Through their works, these artists depicts expressions of a visual vocabulary that refers to continuous interconnections between art and society: gathering strong inputs, eager to find a synergy between past and future, oscillating between different contexts. In this different explorations, the landscape, especially the urban one, becomes a metaphor for the incessant metamorphosis of society. PRESS RELEASE Geraldo De Barros (Sao Paulo, 1923 – 1998), was a Brazilian painter, I pag. 2 photographer and designer, who also worked in engraving, graphic arts, and industrial design. He was a leader of the concrete art movement in Brazil, cofounding Grupo Ruptura and was known for his trailblazing work in experimental abstract photography and modernism. Geraldo de Barros began his investigations into photography in the mid-1940s in São Paulo. He built a small photo studio and bought a 1939 Rolleiflex and, in According to The Guardian, 1949, he joined the Foto Cine Club Bandeirante, which was one of the few forums De Barros was "one of the most influential Brazilian artists of the for the city’s photography enthusiasts. -
Adelina Cüberyan V. Fürstenberg
Adelina Cüberyan v. Fürstenberg Founder of ART for The World, curator and film producer Member of the advisory board (ARTPORT_making waves) Website: www.artfortheworld.net Adelina Cüberyan v. Fürstenberg, Swiss citizen, Armenian origin, is a renowned international art curator and independent film producer. A pioneer in the field, she is known for broadening contemporary art and cinema to include a multicultural approach. Founder and the first Director of the Centre d’Art Contemporain of Geneva and Director of Le Magasin at the Centre National d’Art Contemporain of Grenoble, and its School of Curators awarded by the Jury of the Biennale of Venice in 1993. In 1995 she founded ART for The World – an NGO associated to UNDPI (the UN Department of Public Information) and partner of SESC Regional Direction Sao Paulo, Brazil. The NGO was created in the context of the 50th anniversary of the UN and the art exhibition Dialogues of Peace. Its goals are the dissemination of projects and links between contemporary culture and Human Rights. During the past years, she has been invited to organize numerous large-scale art projecte around the world for the UN and its agencies, among them : In 1998-99 The Edge of Awarenss, to mark the 50th anniversary if WHO in Geneva, NY, Sao Paulo and New delhi and Milan ; in 2000 P&T the 50t annovesary of HCR. In 2008 she was appointed by UNHCR and the European Commission to produce « Stories on Human Rights », 22 short fiction films for the 60th Anniversary of the Universal Declaration of Human Rights, in 2010 followed by with the series of seven other short films « Then And Now, Beyond Borders and Differences », commissioned by the UN Alliance of the Civilizations and the Council of Europe. -
Film Culture in Transition
FILM CULTURE IN TRANSITION Exhibiting Cinema in Contemporary Art ERIKA BALSOM Amsterdam University Press Exhibiting Cinema in Contemporary Art Exhibiting Cinema in Contemporary Art Erika Balsom This book is published in print and online through the online OAPEN library (www.oapen.org) OAPEN (Open Access Publishing in European Networks) is a collaborative in- itiative to develop and implement a sustainable Open Access publication model for academic books in the Humanities and Social Sciences. The OAPEN Library aims to improve the visibility and usability of high quality academic research by aggregating peer reviewed Open Access publications from across Europe. Sections of chapter one have previously appeared as a part of “Screening Rooms: The Movie Theatre in/and the Gallery,” in Public: Art/Culture/Ideas (), -. Sections of chapter two have previously appeared as “A Cinema in the Gallery, A Cinema in Ruins,” Screen : (December ), -. Cover illustration (front): Pierre Bismuth, Following the Right Hand of Louise Brooks in Beauty Contest, . Marker pen on Plexiglas with c-print, x inches. Courtesy of the artist and Team Gallery, New York. Cover illustration (back): Simon Starling, Wilhelm Noack oHG, . Installation view at neugerriemschneider, Berlin, . Photo: Jens Ziehe, courtesy of the artist, neugerriemschneider, Berlin, and Casey Kaplan, New York. Cover design: Kok Korpershoek, Amsterdam Lay-out: JAPES, Amsterdam isbn e-isbn (pdf) e-isbn (ePub) nur / © E. Balsom / Amsterdam University Press, Amsterdam All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, mechanical, photocopying, recording or otherwise) without the written permission of both the copyright owner and the author of the book. -
MA-2013 07 the New Yorker
Allen, Emma. “The Rapper is Present,” The New Yorker, July 11, 2013 JULY 11, 2013 THE RAPPER IS PRESENT POSTED BY EMMA ALLEN Three years ago, when the performance artist Marina Abramović sat in the atrium of the Museum of Modern Art for seven hundred and fifty hours, many of the people who had waited in long lines to sit across from her melted down in her presence. Abramović remained silent and still, enduring thirst, hunger, and back pain (and speculation as to how, exactly, she was or was not peeing), while visitors, confronted with her placid gaze, variously wept, vomited, stripped naked, and proposed marriage. But the other day, at the Pace Gallery in Chelsea, where Jay-Z was presenting his own take on Abramović’s piece—rapping for six hours in front of a rotating cast of art-world V.I.P.s—viewers’ primary response was to get up and dance. Jay-Z (or Shawn Carter, or Hova, as he’s alternately known) was continuously performing “Picasso Baby,” the second song on his new album, “Magna Carta… Holy Grail,” to a succession of visual artists, museum directors, gallerists, Hollywood folk, and Pablo’s granddaughter Diana Widmaier Picasso. These guests took turns on or near a wooden bench positioned across from a low platform on which the rapper stood, except when he was prowling around. A crowd of less famous art-world denizens and cool-looking people (some of whom had been specially cast) loitered along the walls of the gallery, except when they were invited to scurry right up to Jay-Z. -
Unpacking My Collection
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Unpacking My Collection Newell Marcel Harry University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Harry, Newell Marcel, Unpacking My Collection, Doctor of Creative Arts thesis, School of the Arts, English & Media, University of Wollongong, 2019. https://ro.uow.edu.au/theses1/794 Research Online is the open access institutional repository for the University of Wollongong.