PRESSESPIEGEL DELETE Auswahl 6
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
A Kind of Webcam Art Nicolas Thély
A kind of webcam art Nicolas Thély To cite this version: Nicolas Thély. A kind of webcam art. Les presses du réel. Vu à la webcam (essai sur la web-intimité), Les presses du réel, pp.10, 2002, Documents sur l’art. hal-00637088 HAL Id: hal-00637088 https://hal.archives-ouvertes.fr/hal-00637088 Submitted on 30 Oct 2011 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. A kind of webcam art Extrait de Vu à la webcam (essai sur la web-intimité), Les Presses du réel, Dijon, 2002. Présentation Si à la fin des années 1990, l’utilisation domestique de la webcam était devenue un phénomène de société, il s’agissait dans ce chapitre de montrer de quelles manières les artistes contemporains appréhendaient ce nouveau régime de visibilité et de circulation des images. Une anecdote En consultant le journal de Corrie à la date du 3 février 2001, le jour de ses 28 ans, un paragraphe retient l'attention, il est illustré par une image qui porte le titre « webcam art ». Elle représente la sculpture d'un Bouddha posée sur un socle blanc faisant face à un poste de télévision. -
PIER 34 Something Possible Everywhere Something Possible
NYC 1983–84 NYC PIER 34 Something Possible Everywhere Something Possible PIER 34 Something Possible Everywhere NYC 1983–84 PIER 34 Something Possible Everywhere NYC 1983–84 Jane Bauman PIER 34 Mike Bidlo Something Possible Everywhere Paolo Buggiani NYC 1983–84 Keith Davis Steve Doughton John Fekner David Finn Jean Foos Luis Frangella Valeriy Gerlovin Judy Glantzman Peter Hujar Alain Jacquet Kim Jones Rob Jones Stephen Lack September 30–November 20 Marisela La Grave Opening reception: September 29, 7–9pm Liz-N-Val Curated by Jonathan Weinberg Bill Mutter Featuring photographs by Andreas Sterzing Michael Ottersen Organized by the Hunter College Art Galleries Rick Prol Dirk Rowntree Russell Sharon Kiki Smith Huck Snyder 205 Hudson Street Andreas Sterzing New York, New York Betty Tompkins Hours: Wednesday–Sunday, 1–6pm Peter White David Wojnarowicz Teres Wylder Rhonda Zwillinger Andreas Sterzing, Pier 34 & Pier 32, View from Hudson River, 1983 FOREWORD This exhibition catalogue celebrates the moment, thirty-three This exhibition would not have been made possible without years ago, when a group of artists trespassed on a city-owned the generous support provided by Carol and Arthur Goldberg, Joan building on Pier 34 and turned it into an illicit museum and and Charles Lazarus, Dorothy Lichtenstein, and an anonymous incubator for new art. It is particularly fitting that the 205 donor. Furthermore, we could not have realized the show without Hudson Gallery hosts this show given its proximity to where the the collaboration of its many generous lenders: Allan Bealy and terminal building once stood, just four blocks from 205 Hudson Sheila Keenan of Benzene Magazine; Hal Bromm Gallery and Hal Street. -
Karen Moss Curriculum Vitae Page 1
KAREN MOSS CURRICULUM VITAE PAGE 1 PROFESSIONAL EXPERIENCE OTIS COLLEGE OF ART AND DESIGN Ø Interim Director of Exhibitions anD Galleries (as of July 2014) Overseeing operations and programs for the Ben Maltz Gallery including Jorge and Lucy Orta’s Art / Life / Water exhibition and artists’ residency, Talking to Action: Decolonizing Experiments in Art from the Americas, an exhibition/symposium for the Getty’s PST Los Angeles/Latin America and other upcoming projects. Ø Senior Lecturer (2008 - Present) Teach courses in the Graduate Public Practice MFA program including Histories and Strategies of Public Art and Production Studio Critique Seminars. Conduct regular studio visits and advise on final MFA exhibition. While Chair Suzanne Lacy was on sabbatical, served as Acting Chair for the GPP MFA program. ORANGE COUNTY MUSEUM OF ART, 2003 - 2012 Ø Adjunct Curator (August 2010 - December 2012) Curated State of Mind: New California Art Circa 1970, an exhibition of conceptual art and other new genres in conjunction with the Getty’s Pacific Standard Time Initiative. Wrote successful proposals for a $175,000 research grant and a $225,000 implementation grant for presentations of the exhibition at Orange County Museum of Art and the UC Berkeley Art Museum and Pacific Film Archive, 2011-2012, followed by a 2-year tour to the Belkin Art Gallery, University of British Columbia, Vancouver; SITE Santa Fe; Bronx Museum of the Arts and the Smart Museum of Art, University of Chicago. The accompanying fully illustrated scholarly book was published by the University of California Press. Also curated 50 Years Forward, a photographic exhibition of OCMA’s institutional, exhibition and collection history in conjunction with the museum’s 50th anniversary. -
Syndicat and Matthieu Laurette Present MATTHIEU: Une Rétrospective Dérivée, 1993-2015 Chaumont Design Graphique, 26Th Festiva
Syndicat and Matthieu Laurette present MATTHIEU: Une rétrospective dérivée, 1993-2015 Chaumont design graphique, 26th Festival, 27th May – 14th June 2015 The artist Matthieu Laurette (b.1970) operates like a Buren stripe. perversely even photographs taken from very low-resolution Since the start of his career in 1993 he has inserted himself into TV images - but on the goods created for the exhibition they pre-existing situations with the aim of raising questions about their are reduced to a minimal numbers of pixels. Also, although not premises and exposing their mechanisms. While still a student, deliberately so, some of the designers’ choices ran against the usual Matthieu took part in a show titled Tournez Manège (The Dating hierarchy of images of the artist’s work. For example, a widely Game) on which he introduced himself as ‘a multimedia artist’. reproduced photograph of The Freebie King, a wax sculpture of He has been using TV formats as ready-mades ever since and calls Matthieu pushing a laden supermarket trolley that was exhibited his appearances ‘Apparitions’. Among them is a session on Je passe by Harald Szeemann at the Venice Biennial in 2001, is reprinted on à la télé (I am on TV), a talent show in which both the aim and the the least imposing objects in the exhibition, a small metal military prize are avoiding being voted off by a live audience. Alongside his dogtag on a stainless steel ball-chain (Matthieu himself think of work on screen during the 1990s, Matthieu undertook several long- this image as something of an icon). -
Dossier Laurette
MATTHIEU LAURETTE SELECTED WORKS (1993-2003) WWW.LAURETTE.NET Represented by YVON LAMBERT, Paris/New York http://www.yvon-lambert.com DEWEER ART GALLERY, Otegem http://www.deweerartgallery.com BLOW de la BARRA, London http://www.blowdelabarra.com Matthieu Laurette was born in 1970 (Villeneuve St Georges, France). lives and works in Paris and New York. Matthieu Laurette recent selected exhibitions and projects include Let's Make Lots of Money, Blow de la Barra, London (2006) [Solo]; Notre Histoire, Palais de Tokyo, Paris (2006); Day Labor, PS1/MoMA, N.Y (2005) ; Populism, CAC, Vilnius, Lithuania; Kunstverein, Frankfurt, Germany; Stedelijk Museum, Amsterdam, Netherlands, (2005); The Today Show, Yvon Lambert Gallery, Paris (2005) [Solo]; Comodities, Deweer Art Gallery, Otegem (2004) [Solo]; Biennale de Pontevedra, Pontevedra (2004); Matthieu Laurette : Prix Ricard S.A. 2003, MNAM-Centre Pompidou, Paris, (2004) [Solo]; Publicness, ICA, London; GNS (GLOBAL NAVIGATION SYSTEM), Palais de Tokyo, Paris; Propaganda, Espace Paul Ricard, Paris (2003); Less Ordinary, Artsonje Center, Seoul; La vie au fond se rit du vrai, CAPC Musée d'Art Contemporain, Bordeaux; Art and Economy, Deichtorhallen, Hamburg (2002); Form Follows Fiction, Castello di Rivoli, Torino; Plateau of Humankind, 49th Venice Biennale (2001); Voilà, Arc-Musée d'Art Moderne de la Ville, Paris, El Gran Trueque, Consonni, Bilbao (Solo); Plan B, De Appel, Amsterdam; Au dela du Spectacle (Let’s Entertain), Centre Pompidou, Paris (2000); Patchwork in Progress, Mamco-Musée d'Art Moderne et Contemporain, Geneva [Solo]; Crash !, ICA, London (1999); Applaus, Casco Projects [Solo], Utrecht; Premisses, Salomon R. Guggenheim Museum Soho, New York (1998). He received in 2003 the RICARD S.A. -
Mise En Page 1
SEXTANT ET PLUS, associée à IKSV et CULTURESFRANCE, présente EMPLOI SAISONNIER "Emploi saisonnier" est un projet proposé par Celenk Bafra et Véronique Collard Bovy, basé sur un en - semble de recherches et d’échanges initié en 2008 dans les villes d’Istanbul, Izmir, Antakya, Diyarbakir, Paris et Marseille. Le point de départ était de rendre compte de manière précise des questions urbaines, sociales et culturelles des villes du pourtour Méditerranéen, et plus particulièrement de Turquie. Ces recherches se sont concentrées sur les différentes problématiques socio-culturelles de ces cités et sur les modalités de production collectives comme autant de solutions pour les artistes d’exister ensemble en inventant des systèmes d’échanges et de solidarité. De ces recherches découle l’élaboration de trois propositions artistiques, trois expositions présentées à la Friche Belle de Mai, à Marseille. Il était crucial, concernant le programme de résidence, d’y intégrer des artistes de Turquie familliers avec la dimension collective, le vivre et travailler ensemble. Venus d’Izmir, une des grandes villes de Turquie et un des plus important port de la côte asiatique, quatre artistes, par ailleurs figures emblématiques d’une des plus importantes initiatives d’artistes contemporains à Izmir, nommée K2, ont mené leurs résidences à Marseille. Bien que leurs propositions artistiques se soient formalisées de manière individuelle, une approche commune et une filiation spirituelle existe par ce passé partagé. Le processus de leur résidence jusqu'à la production de leur travaux, traitant des questions du quotidien et des modes de vie, a contribué au contenu de l'exposition "Arrangements" au même titre que les oeuvres des autres artistes invités qui, par leurs positions et leurs approches des questions du quotidien, viennent la nourrir et l'enrichir. -
War Expected Prior to Japanese Played to Gain Time
_ . ! ’ . -, 4 , ■ ■ ■' \ ^ . llAfiiliQESIXiBiV' . WEPNESDAT^, itUVEMBER 21, 1945' ^ Arerage Daily Circulation The Weather Manchester Evening Herald For the MoatV of October* lf40 Forornrt of 1'. S. Weather Bareno — r - ------------ ----------------—T Cloudy and continued cold to- Arthur A. KnofUa. local real es the deaperate conditions' in post ; 8,995 -siifht with snow flurries; Saturday tate and insurance dealer, ia con Aiiiiual Social Poles to Mark war Poland. partly cloudy with scattered snow About T om 11 valescing with a fractured left N o Heral<| Mrs. Bernice Sendrowski will 31®inb®r ot th® Andlt flurries, considerably colder shoulder suffered on the course at give a short lecture on Ouiintc.sa ■Bnrenn of Ctrenlntlon® Fmillia Platter, reknowned hero the Manchester Country club. He At Lcjsioii Hall T o m o r r o w Pamous.Date RANGE AND FUEL OIL Manchester-— A City of Village Charm OocpenU Joatph C. Cwikit, son was in the crowd watching a match ine of that Poliah- uprialng. St. 9t Jtr. and Mrs. Oeorfre Cwlkis. of a week ago Sunday when he slip Cecilia and Lutnia cboirs are to (E i g h t e e n p a g e s ) PRICE THREE CENI-S IM Woodbridge strset, is st Camp ped on an incline and fell sharply sing well known patriotic songs. Wholesale Gasoline VOL. LXV., NO. 46 (CISMtHed Advertlalag on 16) MANCHESTER. CONN., FRIDAY* NOVEMBER 23, 1945 Cooks, CaUfomls, where he will be to the ground. He was taken home I'lirliPv, Gobsp aiul Pi" There will he no i.s.sue of S|»ecial Ohservaiice on Children of the parish will recite -i— releas^ from ser\'ice within 10 and a doctor callcil. -
Matthieu Laurette: Yvon Lambert
Matthieu Laurette: Yvon Lambert ArtForum, Summer, 2005 by Jean-Max Colard More than video, photography, or any other medium, Matthieu Laurette's favored mode of appearance is, precisely, the appearance. This tautology says a good deal about his art of endless refraction, a self-reflective oeuvre that nevertheless takes on, perhaps not the lowest forms, but in any case the least reputable ones in the realm of television and media, from talk shows to celebrity gossip. It's not surprising to have seen his appearance--excuse me, exhibition--at Yvon Lambert open with some man-in-the-street interviews: Made with a team from NOATV, the local cable access network in New Orleans, The Louisiana Repo-Purchase, 2003-2004, shows passersby being asked to sign a petition to keep France from buying back the Louisiana territories: "That's ridiculous!" "We don't like Louisiana, so sell it!" "Yes, I want to sign that. We live here now, and we're here to stay." The video turns into a documentary on the difficulty of French-American relations in the wake of the war in Iraq: "It's sometimes easier to talk about real issues in a playful way," the artist himself has said. "People can listen more easily because you don't frighten them with ideologies." If Laurette places trust in television--something rather unexpected these days--it's because he has been able to make it his tool and his workplace. The proof comes with his recent Apparition: The Today Show, NBC, December 31, 2004. That day, in front of Rockefeller Plaza, where the network has an outdoor set and -
Bik Van Der Pol* – 301
THE ADDITION BIK VAN DER POL* – 301 REPLACING A MOON ROCK WITH A PIECE OF PETRIFIED WOOD AND HOW THIS CHANGED OUR PERCEPTION OF THE WORLD [excerpts from press release, links are examined from various perspectives. Through September 2006] this object, the artists address issues such as the exploration of the unknown, colonisation, and authenticity, as well as FLY ME TO THE MOON questions concerning the public, public interest and the Moon rock from Rijksmuseum significance of a public collection. collection on display as part Fly Me To The Moon consists of guided tours— of art project following a so-called “dynamic script”—to the exhibition October 6–November 17, 2006 in one of the empty and now fully stripped towers of the Rijksmuseum in Amsterdam. The project also manifests In connection with the renovation of the Rijksmuseum itself in the public realm of Amsterdam with posters in Amsterdam, the art project Fly me to the Moon will be 100 public lightboxes. Part of the project is the publication opened on Friday October 6. Artists Bik Van der Pol took Fly Me To The Moon, designed by Ben Laloua/Didier as core item of the project one of the oldest objects in the col- Pascal, published by Sternberg Press, containing texts by lection of the Rijksmuseum: a moon rock. The crew of the Jennifer Allen, Bik Van der Pol, Wouter Davidts, Frans first manned lunar landing mission, Apollo 11, brought von der Dunk and Jane Rendell, reflecting on the presence this rock back to earth in 1969. That same year the three and potential significance of the moon rock in the collec- astronauts Neil Armstrong, Edwin Aldrin and Michael tion of the Rijksmuseum. -
Newcastle University Eprints
Newcastle University ePrints Smith JN. 'Making Culture Matter': Symbolic, Spatial, and Social Boundaries between Uyghurs and Han Chinese. Asian Ethnicity 2002, 3(2), 153-174. Copyright: © Taylor and Francis, 2002 ‘[Authors retain] the right to post on a non-commercial basis your "Author's Accepted Manuscript"…as a digital file on your… institution's network or intranet or website, or in a subject repository that does not offer content for commercial sale or for any systematic external distribution by a third party, provided that you do not use the PDF version of the article prepared by us and that you include any amendments or deletions or warnings relating to the article issued or published by us; in compliance with the embargo periods detailed below; and only with this acknowledgement:’ "This is an Author's Accepted Manuscript of an article published in [include the complete citation information for the final version of the article as published in the Asian Ethnicity 2002, © Taylor & Francis, available online at: http://www.tandfonline.com/10.1080/14631360220132718." The definitive version of this article is available at: http://dx.doi.org/10.1080/14631360220132718 Always use the definitive version when citing. Further information on publisher website: Date deposited: Version of file: Author final This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License ePrints – Newcastle University ePrints http://eprint.ncl.ac.uk 1 ‘MAKING CULTURE MATTER’: SYMBOLIC, SPATIAL, AND SOCIAL BOUNDARIES BETWEEN UYGHUR AND HAN CHINESE. Joanne N. Smith Introduction In 1989-1990, Justin Rudelson carried out the first prolonged anthropological fieldwork ever to be conducted among the Uyghur1 of Xinjiang. -
Street Art: Lesson What Is Street Art? 9 How Is It Diferent from Grafti? Why Can It Be Perceived As Controversial?
Street Art: Lesson What is Street Art? 9 How is it diferent from Grafti? Why can it be perceived as controversial? LESSON OVERVIEW/OBJECTIVES Students will learn about Street Art, its history and evolution. They will explore the differences between Street Art and Graffti and talk about why Street Art can be controversial. Students will learn about a well known street artist named Banksy and his work and style as well as look at samples of street art from aroud the world. Students will use stencils, paints and pens to create their own personal brand in the form of street art. KEY IDEAS THAT CONNECT TO VISUAL ARTS CORE CURRICULUM: Based on Utah State Visual Arts Core Curriculum Requirements (3rd Grade) Standard 1 (Making): The student will explore and refne the application of media, techniques, and artistic processes. Objective 1: Explore a variety of art materials while learning new techniques and processes. b. Use simplifed forms, such as cones, spheres, and cubes, to begin drawing more complex forms. d. Make one color dominant in a painting. e. Create the appearance of depth by drawing distant objects smaller and with less detail than objects in the foreground. Objective 3: Handle art materials in a safe and responsible manner. a. Ventilate the room to avoid inhaling fumes from art materials. b. Dispose and/or recycle waste art materials properly. c. Clean and put back to order art making areas after projects. d. Respect other students’ artworks as well as one’s own. Standard 2 (Perceiving): The student will analyze, refect on, and apply the structures of art. -
DESIRE and SELFHOOD GLOBAL CHINESE RELIGIOUS HEALING in PENANG, MALAYSIA a Dissertation Presented to the Faculty of the Gradua
DESIRE AND SELFHOOD GLOBAL CHINESE RELIGIOUS HEALING IN PENANG, MALAYSIA A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by I-Fan Wu December 2018 © 2018 I-Fan Wu DESIRE AND SELFHOOD GLOBAL CHINESE RELIGIOUS HEALING IN PENANG, MALAYSIA I-Fan Wu, Ph. D. Cornell University 2018 This dissertation is an ethnographic examination of Chinese meditators who, propelled by their suffering, pursue alternative religious healing education to harmonize their conflicts with social others and to answer their existential questions. Using Lacan’s analysis of desire as an analytic with which to understand two religious healing schools—Bodhi Heart Sanctuary in Penang with global lecturers, and Wise Qigong centers in Penang, Hong Kong, and Shenzhen—this dissertation delineates and explains how, in the Chinese diaspora, unconscious desires are expressed through alternative religious healing systems. The doctrines of Bodhi Heart Sanctuary and Wise Qigong follow a similar internal logic: they teach their disciples to submit themselves to a new alterity that resembles Confucianism, requiring self-submission if not asceticism. In so doing, practitioners, misrecognizing the source of their self-making, claim to transcend their suffering by overcoming their desires with the guidance of the new alterity, which represents a new form of ego-ideal. By attaching themselves to the best object—Buddha’s Right View, or hunyuan qi, the “primordial energy”—practitioners believe that they revitalize themselves as they address and work through the existential dilemmas involved in everyday interactions. This dissertation explicates the process through which Chinese forms of “self-help” therapy make sense to people as a manifestation of cross-cultural human existential concerns while these concerns take distinctively Chinese forms.