Kate Gilmore

Total Page:16

File Type:pdf, Size:1020Kb

Kate Gilmore Kate Gilmore VIDEO CONTAINER: TOUCH CINEMA KNIGHT EXHIBITION SERIES Ursula Mayer, Gonda, 2012, Film still On May 15, 2014, Museum of Contemporary Art, North Miami (MOCA) presents “Video Container: Touch Cinema,” a presentation of single-channel video work by contemporary artists who investigate the material and metaphysical presence of the body as it relates to issues of identity and sexuality. The second edition of a new MOCA video series exploring topical issues in contemporary art making, “Video Container” reflects the museum’s ongoing commitment to presenting and contextualizing experimental and critical practices, and to providing a platform for interdisciplinary media and discursive content. The program series is made possible by an endowment to the museum by the John S. and James L. Knight Foundation. “Video Container: Touch Cinema” features videos by leading contemporary artists including: Vito Acconci, Bas Jan Ader, Sadie Benning, Shezad Dawood, Harry Dodge, Kate Gilmore, Maryam Jafri, Mike Kelley & Paul McCarthy, Ursula Mayer, Alix Pearlstein, Pipilotti Rist, Carolee Schneemann, Frances Stark, VALIE EXPORT, and Hannah Wilke, among others. The exhibition borrows its title from an iconic recording of a 1968 guerrilla performance by VALIE EXPORT, in which the artist attached a miniature curtained “movie theater” to her bare chest and invited passersby on the street to reach in. Conflating the space of the theater with her own body, EXPORT’s performance emphasized the powerful and contested nature of viewership and interaction. Ranging from performance documentation to abstract shorts and long-form narratives, the artists in “Video Container: Touch Cinema” expand upon themes related to VALIE EXPORT’s seminal piece. Videos will rotate each day to address various questions, ranging from the relationship between the artist’s body and studio environment to how narratives of gender and performance have been interpreted through media. Admission to “Video Container” is free and open to the public thanks to the support of the Knight Foundation. “Video Container: Touch Cinema” is organized by Sarah Sulistio, Curatorial Assistant, and Janice Angel, Public Programs Director, under the supervision of Alex Gartenfeld, Interim Director and Chief Curator. Catharine Clark Gallery www.cclarkgallery.com 2 .
Recommended publications
  • All These Post-1965 Movements Under the “Conceptual Art” Umbrella
    All these post-1965 movements under the “conceptual art” umbrella- Postminimalism or process art, Site Specific works, Conceptual art movement proper, Performance art, Body Art and all combinations thereof- move the practice of art away from art-as-autonomous object, and art-as-commodification, and towards art-as-experience, where subject becomes object, hierarchy between subject and object is critiqued and intersubjectivity of artist, viewer and artwork abounds! Bruce Nauman, Live-Taped Video Corridor, 1970, Conceptual Body art, Postmodern beginning “As opposed to being viewers of the work, once again they are viewers in it.” (“Subject as Object,” p. 199) http://www.youtube.com/watch?v=9IrqXiqgQBo A Postmodern beginning: Body art and Performance art as critique of art-as-object recap: -Bruce Nauman -Vito Acconci focus on: -Chris Burden -Richard Serra -Carolee Schneemann - Hannah Wilke Chapter 3, pp. 114-132 (Carolee Schneemann and Hannah Wilke, First Generation Feminism) Bruce Nauman, Bouncing Two Balls Between the Floor and Ceiling with Changing Rhythms, 1967-1968. 16mm film transferred to video (black and white, sound), 10 min. Body art/Performance art, Postmodern beginning- performed elementary gestures in the privacy of his studio and documented them in a variety of media Vito Acconci, Following Piece, 1969, Body art, Performance art- outside the studio, Postmodern beginning Video documentation of the event Print made from bite mark Vito Acconci, Trademarks, 1970, Body art, Performance art, Postmodern beginning Video and Print documentation
    [Show full text]
  • New Museum Presents the First New York Survey of the Work of Pioneering Swiss Artist Pipilotti Rist
    TEL +1 212.219.1222 FAX +1 212.431.5326 newmuseum.org FOR IMMEDIATE RELEASE PRESS CONTACTS: October 19, 2016 Gabriel Einsohn, Senior Communications Director Allison Underwood, Press & Social Media Manager [email protected] 212.219.1222 x209 Andrea Schwan, Andrea Schwan Inc. [email protected] 917.371.5023 New Museum Presents the First New York Survey of the Work of Pioneering Swiss Artist Pipilotti Rist October 26, 2016–January 15, 2017 , 2013/15. Gnade Donau (Mercy Danube Mercy) Pipilotti Rist, Installation view: “Komm Schatz, wir stellen die Medien um & fangen Austria, 2015. Courtesy the nochmals von vorne an,” Kunsthalle Krems, Augustine. Photo: Lisa Rastl artist, Hauser & Wirth, and Luhring New York, NY…The New Museum is pleased to present the first New York survey of the work of Swiss artist Pipilotti Rist (b.1962). Over the past thirty years, Rist has achieved international renown as a pioneer of video art and multimedia installations. Her mesmerizing works envelop viewers in sensual, vibrantly colored kaleidoscopic projections that fuse the natural world with the technological sublime. Referring to her art as a “glorification of the wonder of evolution,” Rist maintains a deep sense of curiosity that pervades her explorations of physical and psychological experiences. Her works bring viewers into unexpected, all-consuming encounters with the textures, forms, and functions of the living universe around us. Occupying the three main floors of the New Museum, “Pipilotti Rist: Pixel Forest” is the most comprehensive presentation of Rist’s work in New York to date. It includes work spanning the artist’s entire career, from her early single-channel videos of the 1980s, which explore the representation of the female body in popular culture, to her recent expansive video installations, which transform architectural spaces into massive dreamlike environments enhanced by hypnotic musical scores.
    [Show full text]
  • Discovering the Contemporary
    of formalist distance upon which modernists had relied for understanding the world. Critics increasingly pointed to a correspondence between the formal properties of 1960s art and the nature of the radically changing world that sur- rounded them. In fact formalism, the commitment to prior- itizing formal qualities of a work of art over its content, was being transformed in these years into a means of discovering content. Leo Steinberg described Rauschenberg’s work as “flat- bed painting,” one of the lasting critical metaphors invented 1 in response to the art of the immediate post-World War II Discovering the Contemporary period.5 The collisions across the surface of Rosenquist’s painting and the collection of materials on Rauschenberg’s surfaces were being viewed as models for a new form of realism, one that captured the relationships between people and things in the world outside the studio. The lesson that formal analysis could lead back into, rather than away from, content, often with very specific social significance, would be central to the creation and reception of late-twentieth- century art. 1.2 Roy Lichtenstein, Golf Ball, 1962. Oil on canvas, 32 32" (81.3 1.1 James Rosenquist, F-111, 1964–65. Oil on canvas with aluminum, 10 86' (3.04 26.21 m). The Museum of Modern Art, New York. 81.3 cm). Courtesy The Estate of Roy Lichtenstein. New Movements and New Metaphors Purchase Gift of Mr. and Mrs. Alex L. Hillman and Lillie P. Bliss Bequest (both by exchange). Acc. n.: 473.1996.a-w. Artists all over the world shared U.S.
    [Show full text]
  • The New York Times, Who Is Valie Export
    http://nyti.ms/299CwWZ ART & DESIGN Who Is Valie Export? Just Look, and Please Touch By RANDY KENNEDY JUNE 29, 2016 In 1967, the Austrian artist Waltraud Hollinger jettisoned her family name and the last name her husband had given her and became Valie Export, a nom de guerre inspired by a popular brand of cigarettes. But late last week, at a hotel in the West Village where she was supposed to be staying, the front desk could find no record of a Valie Export having checked in. Marieluise Hessel, the art collector and benefactor of the Hessel Museum of Art at Bard College in Annandale-on-Hudson, N.Y. — which has just opened a show built around Ms. Export’s highly influential work — stared worriedly into the screen on her phone. “I checked her Wikipedia page,” she said. “I asked under her maiden name and her married name. She must be somewhere else.” But just then, Ms. Export, wearing a long translucent white jacket and fashionable tennis shoes, her hair dyed copper red, emerged from the elevator. Explaining her spectral existence, at least as far as hotel registers were concerned, she rolled her eyes. “I used to have Valie Export on my passport — for years,” she said. “Now I have to use my name with my second husband. Something about security, I guess. Can you believe it?” The comedy of the situation was not lost on her. Ms. Export’s performances and films were among the most radical feminist statements in Europe in the 1960s and 1970s, and her work, through feminism, delved deeply into systems of control that have become omnipresent in the 21st century: surveillance, information as power, unseen political machinations.
    [Show full text]
  • Pipilotti Rist's I'm a Victim of This Song: the Rupture of Masculine
    Politische Ikonographie 4/2015 - 1 Lorena Morales Aparicio Pipilotti Rist’s I’m a Victim of This Song : The Rupture of Masculine (Swiss) Neutrality In her 1995 video I’m a Victim of This Song , Swiss of Switzerland as a self-formed haven of authentic, contemporary video and installation artist Pipilotti Rist natural democracy communicates Switzerland and re-situates the absolute neutrality — the reified, uni- her political ideation as a natural, thus incorruptible, versal value of neutrality understood as non-bias, or power where the figuration of the individual is a paral- as a purely non-quantitative and thus non-hierarchical lel image to that of Switzerland herself. value — of Swissness. Rist interrogates the image The Swiss, thus political icons imaging and communi- and power of Swissness through the staging of her cating natural neutrality — of an unbiased political neutrality, naturalized as absolute by its routinized and social consideration of Switzerland’s individual iconography correlating Switzerland’s constructed and cultural life rooted in nature, whose elements, or political association with the Alps and her incorrupti- qualities, and processes exist independently and in ble bucolic topology with a Rousseauian notion of na- spite of corruptible subjectivity (the subjectivity is the tural, organic unity and identity. Popular imagination process of individual or subjective interpretation of and normative rhetoric processes iconographically fi- factual reality through cognition nuanced by conti- gure Switzerland as a coherent
    [Show full text]
  • VITO ACCONCI Born 1940 Bronx, New York
    GRIEDER CONTEMPORARY VITO ACCONCI born 1940 Bronx, New York. Lives and works in Brooklyn, NY. 1962 Bachelor of Arts, Holy Cross College, Worcester, Massachusetts, US 1964 Master of Fine Arts, University of Iowa, Iowa City, Iowa, US Solo Exhibitions (selected) 2014 Vito Acconci: Now and Then, Grieder Contemporary, Zurich, CH 2012 Vito Acconci: Vito Acconci, Rhona Hoffman Gallery, Chicago, US 2011 Vito Acconi, Galleria Fumagalli, Bergamo, IT 2010 AAA Talk Vito Acconci + Ai Weiwei: Artist in Conversation, Agnès b. Cinema, Wanchai, HK Early Works – Vito Acconci, Basis Frankfurt, Frankfurt/Main, DE Coinvolgimenti – Castello di Rivoli Museo d'Arte Contemporanea, Turin, IT Lobby-For-The-Time-Being, Bronx Museum of the Arts (BxMA), New York City, NY Le Corps Comme Sculpture – Vito Acconci, Musée Auguste Rodin, Paris, FR 2009 Vito Acconci: Language Works – Video, audio and poetry, Argos, Brussels, BE 2008 Vigilancia y control, Centro de Arte La regenta, las Palmas de Gran Canaria, ES Power Fields: Explorations in the Work of Vito Acconci, Slought Foundation, Philadelphia, PA, US 2005 Self/Sound/City, Foundation for Art and Creative Technology (FACT), Liverpool, UK Vito Hannibal Acconci Studio, Museu d’Art Contemporani de Barcelona, ES; Centro Atlantico de Arte Moderno, Las Palmas, Gran Canaria, ES; Stedelijk, Amsterdam, NL 2004 Diary of a Body, Gladstone Gallery, New York, NY Vito Hannibal Acconci Studio, Musee des Beaux Artes, Nantes, FR; MACBA, Barcelona, ES 2003 Rehearsals for Architecture, Kenny Schachter Rove, Perry St., New York, NY, US Acconci Studio – Slipping into the 21st Century, Pratt–Manhattan Gallery, New York, NY, US 2002 Vito Acconci/Acconci Studio: Acts Of Architecture, Milwaukee Museum of Art (Traveled to Aspen Art Museum, Miami Museum of Art 2001,Contemporary Art Museum Houston 2001) 2001 Vito Acconci, 11 Duke Street, London, UK Vito Acconci / Acconci Studio, Architectural Models, The Institute for the Cooperatic Research, New York, US, and Paris, FR Built, Unbuilt, Unbuildable.
    [Show full text]
  • Universalmuseum Joanneum Press Office Media.Art.Collecting
    Universalmuseum Joanneum Press office Universalmuseum Joanneum [email protected] Mariahilferstraße 4, 8020 Graz, Austria Telephone +43-316/8017-9211 www.museum-joanneum.at media.art.collecting Perspectives of a collection Kunsthaus Graz, Space 02, Lendkai 1, 8020 Graz Opening: 15.06.2012, 7pm Duration: 15.06.2012-02.06.2013 Curators: Günther Holler-Schuster, Katrin Bucher Trantow, Katia Huemer Information: +43-316/8017-9200, [email protected] How does media art define itself in the course of an almost 40-year-old collection? What changes, what comes to form a whole, what was overlooked and where does it go from here? Audiovisual Messages – the 1973 edition of the trigon Biennal – placed a major emphasis on media art, putting local artists in direct relation to international developments. This exhibition marked the beginning of a dynamic that made Graz appear a special place for media art. With influential works by artists such as Nam June Paik, Keith Sonnier, Gottfried Bechtold, Trisha Brown and Bruce Naumann, what emerges is a web of topics that have captivated media art from the beginning, including space-time penetration, media discussion and -reflection or the painterly/musical qualities of new media – topics showing a clearly traceable development in relation to more recent work. Thus the exhibition media art collecting deals with collecting activities at the Neue Galerie Graz in the area of media art, the essence of which becomes evident in the spectrum of exhibitions held over the past 40 years. Building on the 2009 exhibition Rewind/Fast Forward at the Neue Galerie Graz and its first-ever survey of the institution’s video art collection, the current exhibition media.art.collecting.
    [Show full text]
  • Art and Vinyl — Artist Covers and Records Komposition René Pulfer Kuratoren: Søren Grammel, Philipp Selzer 17
    Art and Vinyl — Artist Covers and Records Komposition René Pulfer Kuratoren: Søren Grammel, Philipp Selzer 17. November 2018 – 03. Februar 2019 Ausstellungsinformation Raumplan Wand 3 Wand 7 Wand 2 Wand 6 Wand 5 Wand 4 Wand 2 Wand 1 ARTIST WORKS for 33 1/3 and 45 rpm (revolutions per minute) Komposition René Pulfer Der Basler Künstler René Pulfer, einer der Pioniere der Schweizer Videokunst und Hochschulprofessor an der HGK Basel /FHNW bis 2015, hat sich seit den späten 1970 Jahren auch intensiv mit Sound Art, Kunst im Kontext von Musik (Covers, Booklets, Artist Editions in Mu- sic) interessiert und exemplarische Arbeiten von Künstlerinnen und Künstlern gesammelt. Die Ausstellung konzentriert sich auf Covers und Objekte, bei denen das künstlerische Bild in Form von Zeichnung, Malerei oder Fotografie im Vordergrund steht. Durch die eigenständige Präsenz der Bildwerke treten die üblichen Angaben zur musikalischen und künstlerischen Autorschaft in den Hintergrund. Die Sammlung umfasst historische und aktuelle Beispiele aus einem Zeitraum von über 50 Jahren mit geschichtlich unterschiedlich gewachsenen Kooperationsformen zwischen Kunst und Musik bis zu aktuellen Formen der Multimedialität mit fliessenden Grenzen, so wie bei Rodney Graham mit der offenen Fragestellung: „Am I a musician trapped in an artist's mind or an artist trapped in a musician's body?" ARTIST WORKS for 33 1/3 and 45 rpm (revolutions per minute) Composition René Pulfer The Basel-based artist René Pulfer, one of the pioneers of Swiss video- art and a university professor at the HGK Basel / FHNW until 2015, has been intensively involved with sound art in the context of music since the late 1970s (covers, booklets, artist editions in music ) and coll- ected exemplary works by artists.
    [Show full text]
  • I – Introduction
    QUEERING PERFORMATIVITY: THROUGH THE WORKS OF ANDY WARHOL AND PERFORMANCE ART by Claudia Martins Submitted to Central European University Department of Gender Studies In partial fulfillment for the degree of Master of Arts in Gender Studies CEU eTD Collection Budapest, Hungary 2008 I never fall apart, because I never fall together. Andy Warhol The Philosophy of Andy Warhol: From A to B and Back again CEU eTD Collection CONTENTS ILLUSTRATIONS..........................................................................................................iv ACKNOWLEDGMENTS.................................................................................................v ABSTRACT...................................................................................................................vi CHAPTER 1 - Introduction .............................................................................................7 CHAPTER 2 - Bringing the body into focus...................................................................13 CHAPTER 3 - XXI century: Era of (dis)embodiment......................................................17 Disembodiment in Virtual Spaces ..........................................................18 Embodiment Through Body Modification................................................19 CHAPTER 4 - Subculture: Resisting Ajustment ............................................................22 CHAPTER 5 - Sexually Deviant Bodies........................................................................24 CHAPTER 6 - Performing gender.................................................................................29
    [Show full text]
  • Labyrinthine Variations 12.09.11 → 05.03.12
    WANDER LABYRINTHINE VARIATIONS PRESS PACK 12.09.11 > 05.03.12 centrepompidou-metz.fr PRESS PACK - WANDER, LABYRINTHINE VARIATIONS TABLE OF CONTENTS 1. INTRODUCTION TO THE EXHIBITION .................................................... 02 2. THE EXHIBITION E I TH LAByRINTH AS ARCHITECTURE ....................................................................... 03 II SpACE / TImE .......................................................................................................... 03 III THE mENTAL LAByRINTH ........................................................................................ 04 IV mETROpOLIS .......................................................................................................... 05 V KINETIC DISLOCATION ............................................................................................ 06 VI CApTIVE .................................................................................................................. 07 VII INITIATION / ENLIgHTENmENT ................................................................................ 08 VIII ART AS LAByRINTH ................................................................................................ 09 3. LIST OF EXHIBITED ARTISTS ..................................................................... 10 4. LINEAgES, LAByRINTHINE DETOURS - WORKS, HISTORICAL AND ARCHAEOLOgICAL ARTEFACTS .................... 12 5.Om C m ISSIONED WORKS ............................................................................. 13 6. EXHIBITION DESIgN .......................................................................................
    [Show full text]
  • A Master's Exhibition of Sculpture Presented to The
    TRANSPORTRAIT ____________ A Master’s Exhibition of Sculpture Presented to the Faculty of California State University, Chico ____________ In Partial Fulfillment of the Requirement for the Degree Master of Fine Arts in Art ____________ by Trevor Earl Lalaguna Spring 2011 TRANSPORTRAIT A Master’s Exhibition by Trevor Earl Lalaguna Spring 2011 APPROVED BY THE DEAN OF GRADUATE STUDIES AND VICE PROVOST FOR RESEARCH: Katie Milo, Ed.D. APPROVED BY THE GRADUATE ADVISORY COMMITTEE: _________________________________ _________________________________ Cameron G. Crawford, M.F.A. Sheri D. Simons, M.F.A., Chair Graduate Coordinator _________________________________ James A. Kuiper, M.F.A. DEDICATION This project is inspired by and dedicated to my fiancé and my family; I would also like to extend my dedication to the twelve adopting parents who allowed my project to live on and of course my babies. iii ACKNOWLEDGMENTS I would like to thank the amazing faculty at CSU Chico for opening my eyes to the art world beyond my sketchbook. I thank my committee chair and good friend Sheri Simons, for always pushing my thoughts and creations to the edge. My committee members Elise Archias for bringing a love for art history into my life and giving me a sense of belonging, James Kuiper for being playful, intelligent and fresh thinking, Michael Bishop for his support in and out of school and giving me the opportunity and guidance to achieve this degree. iv TABLE OF CONTENTS PAGE Dedication..................................................................................................................
    [Show full text]
  • Pipilotti Rist
    PIPILOTTI RIST BORN 1962 in Grabs, Switzerland. Lives and works in Zürich, Switzerland EDUCATION 1982-86 Studies of commercial art, illustration and photography at the Institute of Applied Arts in Vienna, Austria 1986-88 Studies of audio visual communications (video) at the School of Design in Basel, Switzerland , Professor René Pulfer Institute of Applied Arts in Vienna, Austria FREELANCE Since 1986 Freestyle video/audio works and installations 1987-94 Grafic computer operator in different industrial videostudios 1988-94 Member of the music band Les Reines Prochaines, concerts, performances and LP/CD‟s AWARDS & GRANTS 2013 Zurich Festival Prize, Switzerland 2009 Joan Miró Prize, Fundació Caixa Girona, Spain 2004 Universität der Künste, 01award, Berlin, Germany 2001 Zürcher Kunstpreis, Stadt Zürich, Switzerland 1999 Wolfgang Hahn Preis, Museum Ludwig, Köln, Germany 1997 Premio 2000 of the Venice Biennal for ‟Ever Is Over All‟ Kwangiu Biennale Award for „Sip my Ocean‟ (choosen by the other artists) Prenta Preis der Kunsthalle Nürnberg 1996 DAAD, Berlin (D) 1994 Manor-Kunstpreis, St. Gallen Video-Kunstpreis des Schweizerischen Bankvereins Prix d‟art contemporain de la BC Genève 1993 Förderungspreis der Jubiläumstiftung der SBG Eidgenössisches Kunststipendium 1992 Züricher Filmpreis for „Pickelporno‟, Video and Film 1991 Eidgenössisches Kunststipendium 1989 VIPER Luzern for „Die Tempodrosslerin saust‟, video and installation 1988 Feminale Köln for „Japsen‟, video 1987 Film und Videotage Basel, for „I‟m Not The Girl Who Misses Much‟, video
    [Show full text]