An Interview with Kuratorisk Aktion
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LIAF-A5-Guidebook-NODE-Final.Pdf
Lofoten International Art Festival | LIAF.no Curated by Heidi Ballet and Milena Høgsberg Henningsvær LIAF is organized by the North Norwegian Art Centre 1.sep – 1.okt 2017 Kuratert av Heidi Ballet og Milena Høgsberg LIAF er organisert av Nordnorsk Kunstnersenter MAP | KART 5 TREVAREfabRIKKEN 13 FOREWORD | FORORD 6 Youmna Chlala CURATORS’ INTRODUCTIOn | 8 Elin Már Øyen Vister KURATORENES INTRODUKSJON Mondo Books Ann Lislegaard Pia Arke & Anders Jørgensen Eglė Budvytytė Fabrizio Terranova Sondra Perry Adam Linder NORDBRYGGA 33 Ho Tzu Nyen Marysia Lewandowska & Neil Cummings Silje Figenschou Thoresen FREDRIKSENBRUKET 41 Lili Reynaud-Dewar Filip Van Dingenen Jimmie Durham Michala Paludan Lisa Rave HENNINGSVÆR STADION 53 Daisuke Kosugi FESTIVITETEN HENNINGSVÆR 57 People’s Kitchen Tromsø / Tromsø Folkekjøkken LIST OF WORKS | VERKSLISTE 60 BIOGRAPHIES | BIOGRAFIER 64 PROGRAM 72 ABOUT LIAF | OM LIAF 76 HENNINGSVÆR 77 ACKNOWLEDGEMENTS | Takk TIL 78 COLOPHOn | KOLOFON 80 Trevarefabrikken is the starting point of the festival værveien Trevarefabrikken er startpunkt Hennings A TREVAREfabRIKKEN Dreyers gate 72 B NORDBRYGGA Dreyers gate 15 C FREDRIKSENBRUKET Henningsværveien Saltværingsveien 45 Misværveinen Nordtjønveien D FESTIVITETEN HENNINGSVÆR B Dreyers gate 110 E HENNINGSVÆR STADION reyers gate Løktveien D A Hellandsgata Bahnharramen 8312 Henningsvær Opening hours | Åpningstider: Kirkeveien Tuesday–Sunday: 11:00–18:00 D Saltværings Mondays closed Tirsdag–søndag: 11:00–18:00 veien D mandager stengt reyers gate C Løktveien E 4 5 future. As such, the fishing village et pittoresk bakteppe, men et sted isn’t just a picturesque backdrop, å skape kunst fra, og et sted som but also a place for creating art and gir oss perspektiver. Jeg vil takke gaining perspectives on the world ku ratorene Heidi Ballet og Milena and ourselves. -
Autoethnographic Approach in Art Experience*
New Trends and Issues Proceedings on Humanities and Social Sciences Volume 8, Issue 1 (2021) 87-96 www.prosoc.eu Selected Paper of 9th World Conference on Design and Arts (WCDA 2020) Nov 29 - Dec 1, 2020, National Kapodistrian University of Athens (ONLINE VIRTUAL CONFERENCE) Autoethnographic approach in art experience* Mehtap Morkoç † Erciyes University, Faculty of Fine Arts, Department of Ceramics and Glass Design, Talas / Kayseri, Turkey https://orcid.org/0000-0002-6386-1137 Funda Susamoğlu Ertürk, Hacettepe University, Faculty of Fine Arts, Department of Ceramics and Glass Des., Ankara, Turkey https://orcid.org/0000-0002-7828-5574 Suggested Citation: Pascu, N. E., Adir, V., & Adir, G. (2021). Art and logo design. New Trends and Issues Proceedings on Humanities and Social Sciences. [Online]. 8(1), pp 81-86. Available from: www.prosoc.eu Received from December 15, 2020; revised from January 28, 2021; accepted from March 20, 2021. Selection and peer review under responsibility of Prof.Dr. Ayse Cakir Ilhan, Ankara University, Ankara, Turkey. ©2021 Birlesik Dunya Yenilik Arastirma ve Yayincilik Merkezi. All rights reserved. Abstract This study is on production as the experience of art and how this production is conceptualised with the autoethnography. Even though it was formed by the qualitative research method and comes from the background of writing, in time, autoethnography crossed paths with the practice of visual expression. The reasons for this intersection are the variety of representations in the 1990s when the processes of literary and visual research went hand in hand. The fact that artists, through the concept of autoethnography, turned into researchers who describe their own forms of production has enabled the concept to be discussed in a variety of fields. -
Office for Contemporary Art Norway
Office for Contemporary Art Norway AR2012_inside_final.indd 1 13-09-2013 14:36 Annual Report 2012 AR2012_inside_final.indd 2 13-09-2013 14:36 Annual Report 2012 AR2012_inside_final.indd 3 13-09-2013 14:36 4 AR2012_inside_final.indd 4 13-09-2013 14:36 HANNAH RYGGEN Jul Kvale, 1956 Installation view at the Museum Friedericianum as part of dOCUMENTA (13), Kassel, Germany / 9 June–16 September 2012. Courtesy of Nordenfjeldske5 Kunstindustriemuseum, Trondheim. Photo: Rosa Maria Rühling AR2012_inside_final.indd 5 13-09-2013 14:36 Director’s Foreword HANNAH RYGGEN Variuos Artworks Installation view at the Museum Friedericianum as part of dOCUMENTA (13), Kassel, Germany / 9 June–16 September 2012. Photo: Roman März AR2012_inside_final.indd 6 13-09-2013 14:36 Director’s Carolyn Christov-Bakargiev pre- sented dOCUMENTA (13) in her statement as ‘a belief in the poten- Foreword tial of re-enactment, in the hope that by allowing more layers of meaning to be added, a form of closure can be avoided’. Hannah Ryggen, the composer Arne Nordheim, Matias Faldbakken, Toril Johannessen, and Aase Texmon Rygh were selected by Christov-Bakargiev to be included within the dOCUMENTA (13) exhibi- tion. The production and projects of these individual artists folded into Christov-Bakargiev’s curato- HANNAH RYGGEN rial thinking around the documenta Gru. Fra borgerkrigen I Spania (Horror. From the Civil War in exhibition, a project that, since its Spain), 1936 inception – according to Ian Wal- Installation view at the Museum lace – ‘had become a focal point for Friedericianum as part of ideological as well as aesthetic dis- dOCUMENTA (13), Kassel, Germany / 9 June–16 September 2012. -
Collectively Annotated Bibliography
Collectively Alternative Economies Annotated Community- based Bibliography Decolonial Narratives On Artistic Practices in the Expanded Field Environmental Issues of Public Art Feminisms Impacting Mediascapes research by Visible Project Indigenous Rights Cittadellarte – Fondazione Pistoletto Fondazione Zegna Labour Fights and Public Art Agency Sweden Legal Loopholing Making Assemblies edited by Judith Wielander and Matteo Lucchetti Migrant Movements New Archives Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Preamble Alternative Economies Community- based by Rebecka Katz Thor, Public Art Agency Sweden Decolonial Narratives Environmental Issues At this moment, in the autumn of 2020, our shared public space is as contested as ever. As a consequence of the pandemic, citizens around Feminisms the world are asked to keep a safe distance from each other, which alters our movements in the public sphere. And even more pressing, the passing Impacting Mediascapes of the summer bears with it a great responsibility to reflect on the demands made by the Black Lives Matter movement, questioning whether statues of Indigenous Rights former slave traders and colonisers should remain in the public domain. Art in the public sphere will, and should always, be discussed, assessed Labour Fights and reassessed. This publication and digital platform are the Legal Loopholing result of a longstanding commitment by the Public Art Agency Sweden, as a governmental agency, to matters of knowledge production in terms Making Assemblies of collective and critical work in the expanded Migrant Movements New Archives Sustainable Social Rural Racial Queer Publishing Protest Performing Pedagogical Urbanisation Design Politics Struggles Cultures Matters Forms Communities Platforms Alternative Alternative Economies field of public art. -
Press Release Contact: Hyo Gyoung Jeon (Curator)
Press materials: https://bit.ly/31R6nwk Press Release Contact: Hyo Gyoung Jeon (curator) [email protected] October 30, 2020 T. +82-2-733-8944 Dust Clay Stone Pia Arke, Theresa Hak Kyung Cha, Bouchra Khalili, Alexander Ugay October 30 – December 20, 2020 Art Sonje Center, 3F Curated by Haeju Kim (Deputy Director, Art Sonje Center) Production Management by Heehyun Cho (Curator, Art Sonje Center) Organized by Art Sonje Center Supported by Arts Council Korea, Danish Arts Foundation, Institut français de Corée du Sud Pia Arke, Untitled (Toying with national costume). C. 1993 (reproduction 2010), 120 x 130 cm, Contact sheet and b/w inkjet print in the collection of Søren Arke Petersen. Photo: Kuratorisk Aktion. Art Sonje Center is pleased to present a thematic exhibition, Dust Clay Stone, curated by Haeju Kim (Deputy Director, Art Sonje Center) with Pia Arke, Theresa Hak Kyung Cha, Bouchra Khalili and Alexander Ugay. Dust Clay Stone focuses on works that represent the complex issues of identity faced 03062 03062 9 by individuals experiencing situations of migration, as well as the perceptions that are formed or lost in the course of such experiences. The four participating artists, Pia Arke, Theresa Hak Kyung Cha, Bouchra Khalili and Alexander Ugay reveal their interests in the complex identity, the individual and collective memories, post-colonialism and allyship, the works are inter-connected in their methods of creating works such as their deep exploration of the structure of languages, the representation of images, and approaches to the archival references. The exhibition focuses on the languages as an indicator of perception generated from the situation of migration and looks into the way in which words and texts are operated within the works. -
Press Information
PRESS INFORMATION Press Enquiries: Bolton & Quinn Jane Quinn, [email protected] Sim Eldem, [email protected] +44 (0) 20 7221 5000 1 2 CONTENTS: Director’s introduction – Bige Örer 4 Curatorial statement – Nicolas Bourriaud 5 Artists’ biographies 6 Director and Curator biographies 20 Biennial venues 21 About the Istanbul Biennial 23 3 INTRODUCTION BY BIGE ÖRER, DIRECTOR OF THE ISTANBUL BIENNIAL The Istanbul Biennial, launched in 1987 by the Istanbul Foundation for Culture and Arts, has become a fixture on the international contemporary art map and gained a reputation for its experimental and unique character. The Biennial formed a platform of interaction involving the Biennial itself, the contemporary art scene in Istanbul, and the international art community. The Biennial has served as a dynamic plane of interaction, a meeting point, and a critical site for the development of new aesthetic and political visions. In a period of increasingly rapid communication and sharing of experiences, the Biennial has become the main hub in Istanbul for the introduction, debate, and assessment of current paradigms in both the theory and practice of local, international, and transnational contemporary art. The Biennials have functioned as the trigger for transformational changes in contemporary art in Istanbul and Turkey. The Biennial has turned the lack of a permanent venue for its two-yearly exhibitions to advantage. The Biennial has made a point of selecting buildings – of curatorial significance – that make reference to certain social, historical, or urban issues and/or have special meaning in relation to the conceptual framework of the exhibition. Creating awareness for the potentiality of such spaces have led to their integration for diverse purposes of art. -
THE END of the CURATOR-Repository
THE END OF THE CURATOR: ON CURATORIAL ACTS AS COLLECTIVE PRODUCTION OF KNOWLEDGE Corina Oprea Doctoral Studies and Research in Philosophy Loughborough University – School of the Arts, English & Drama, England June 14, 2016 Supervisors: Dr. Gillian Whiteley and Melanie Jordan (2011-2013) ABSTRACT The End of The Curator: On Curatorial Acts as Collective Production of Knowledge explores the convoluted liaison between knowledge production, collectivity and curating, through practices that have been neglected by mainstream curatorial platforms and art history. Bearing in mind the extensive usage of the notion ‘knowledge production’, my practice–based research is guided by the question what forms of collective knowledge can curatorial practice produce? This PhD submission comprises practical and theoretical parts, as follows: 1. An investigative part, that contextualizes and problematizes theoretical notions in relation to curatorial practice, as well as formulating statements for the practices and potentials of curatorial acts. 2. Practice-based curatorial research, in the form of four projects realized in the course of this research, which are used as test sites for the ideas examined in the analytical part. Introducing the inquiry in a wider historical, social and political context, the first chapter of the dissertation traces the background of curatorial history and the social and political context of the past decade in relation to collective acts in the form of exhibitions and pedagogical platforms. The main case studies are the practices of Martha Rosler, Marion von Osten and Kuratorisk Aktion. The second chapter focuses on the epistemology of the concepts of knowledge, collectivity, participation and dissensus through theoretical references. Assuming the character of practice-based research, the third chapter of the thesis reflects on interrogations associated with participatory research within the curatorial projects. -
Oak Foundation and Its Partners
Annual Report 2o1o Disclaimer The editors have tried to ensure the accuracy of this report but cannot accept responsibility for any errors or omissions. The names of all children mentioned in this publication have been changed. LETTER FROM THE TRUSTEES 2010 was a year of great opportunities – and formidable challenges – for Oak Foundation and its partners. During the course of the year, we granted USD 116.72 million (up from USD 111.83 in 2009) and supported 271 organisations around the world both to reflect and take action on some of the most perplexing global issues of our time. While these efforts differ in scope, scale and geographic coverage, they all demonstrate commitment to the fundamental values of Oak Foundation: broad and equitable access to services; positive changes in policy at all levels; strengthening the confidence and “voice” of low income and marginalised groups; empowering women to live lives free from violence and discrimination; promoting universal respect for and access to human rights; supporting more effective child protection systems, particularly at community level; and ensuring that all students have the opportunity to reach their learning potential. For example, during the last year Oak Foundation has supported partners to: Safeguard the environment, by securing a ban on trawl fishing in Belize and a moratorium on oil and gas development in key areas of the Arctic, launching a donor collaborative to protect the world’s oceans, fostering stronger action against fisheries subsidies worldwide, strengthening climate action at state and local levels in North America and in emerging economies and containing tar sands development. -
Tensta Konsthall T R a C E S in an ART COLLEC TION
Migration: Traces in an Art Collection 14.5–22.9 2019 MIGRATION: konsthall Tensta T R A C E S IN AN ART COLLEC TION 2 2 översätt Konica Minolta 1 Migration: Traces in an Art Collection Xet Erixson, reflecting the scene as it 14.5–22.9 2019 occurred in his mind’s eye. But those who found accommodation in the How have artists over the past 150 museum left behind drawings, as well, years related to the concepts of exile which remain in the collection. Many and migration? By following their were small works on paper, depicting traces in a museum’s collection, in this life in concentration camps, including, case that of Malmö Konstmuseum, we among other things, portraits of other discover compelling answers to this prisoners, a strong testimony of an question. This exhibition focuses on abominable period in history. various experiences of migration and displacement from the perspective of Another group of works recalls art, and on the museum as a source of relations between Sweden and knowledge. the Baltic countries before and after World War II. In 1939 Malmö Malmö Konstmuseum originated as Museum received a private donation a study collection at a private school slated for the establishment of a in Malmö in the 1840s. There were Latvian collection in the museum. A archaeological finds, stuffed birds, rare selection of forty-five artworks was coins, minerals and artworks that the purchased as a greeting, or a gesture teachers would use in their teaching. In of solidarity, to the young Latvian the 1880s, the collection had become nation.