DOCSLIB.ORG

Monika Weiss, Nirbhaya 1 Cover Diagram 1 of 1

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Monika Weiss, Nirbhaya 1 Cover Diagram 1 of 1 Folded 9.25 x 11.25 in (235 mm x 286mm) Flat 9.25 in / 235 mm Outside Monika Weiss Monika Weiss 11.25 in 286 mm Spine Front 156 mm 235 mm + 235 mm + 156 mm TBD Inside Back 2 Monika Weiss, Nirbhaya 3 Interior Spreads Diagram 1 of 2 1 — 1 color 4 — 4 color 4 4 1 1 1 4 1 1 1 2 3 4 MACIEJ ALEKSANDROWICZ 5 MACIEJ ALEKSANDROWICZ 6 ŁUK TRYUMFALNY — ŁUK GODNOŚCI, PAMIĘCI JYOTI SINGH: NIRBHAYA A TRIUMPHAL ARCH – AN ARCH OF DIGNITY 7 5 MACIEJ ALEKSANDROWICZ 5 MACIEJ ALEKSANDROWICZ polegających na swobodnym i równoprawnym dostępie do prze- on the victims of such crimes, or on those people living in fear Na koniec powrócę do pierwotnego apelu o konieczności monument project in the Sculpture Park: Sam Fox School of Monika Weiss ŁUK TRYUMFALNY — ŁUK GODNOŚCI, PAMIĘCI A TRIUMPHAL ARCH — AN ARCH OF DIGNITY strzeni publicznej. Równość jest bowiem podstawą wszelkich praw of such crimes. These would represent new foundations of umieszczenia Nirbhayi w przestrzeni publicznej i naszej Design & Visual Arts, Washington University in St. Louis, EMA JYOTI SINGH: NIRBHAYA JYOTI SINGH: NIRBHAYA dotyczących takiej przestrzeni, podobnie wolność każdej osoby change, based on free and equal access to public space. Equality publicznej świadomości. Experimental Media Arts at the University of Arkansas, Lamar do przebywania tam, bezpieczeństwa i realizacji swoich potrzeb. is the foundation of all rights related to such space, just like Johnson Collaborative, St. Louis/Chicago, and Streaming Monika Weiss upamiętnia Jyoti Singh, Nirbhayę, której the freedom of each person to to inhabit public space, safety, Museum, New York, as well as New York Foundation for the Arts 9 MONIKA WEISS 9 MONIKA WEISS bestialsko i zbiorowo odebrano życie, godność i wszystkie prawa. and realization of their needs. (NYFA) for their support in the fundraising campaign. PODZIĘKOWANIA ACKNOWLEDGMENTS Zbiorowy gwałt, zbiorowe morderstwo, zbiorowy czyn kryminalny Monika Weiss commemorates Jyoti Singh, Nirbhaya, whose Finally, I would like to return to my original appeal about the nie jest tylko wynikiem osobistych inklinacji do zła, lecz czynem life, dignity and all rights have been brutally taken away. Gang necessity of one day locating Nirbahya in both the public space and WSTĘP INTRODUCTION publicznym, a jego ofi ara utożsamia każdego posiadającego prawo murder, and gang criminal act are not manifestations of personal the public consciousness. do bezpieczeństwa godności i pokoju. Co ważne artystka uwypukla inclinations towards evil, but a public act, and its victim is there- 13 GRISELDA POLLOCK ŁUK TRYUMFALNY — ŁUK GODNOŚCI, A TRIUMPHAL ARCH — AN ARCH OF DIGNITY 13 GRISELDA POLLOCK przedziwny paradoks. Zbiorowe czyny kryminalne są domeną fore an embodiment of all people who assert the right to live their WIERNOŚĆ PAMIĘCI JAKO NIEUSTAJĄCY LAMENT THE FIDELITY OF MEMORY IN AN ENDLESS LAMENT PAMIĘCI JYOTI SINGH — NIRBHAYA NIRBHAYA — IN MEMORY OF JYOTI SINGH czasów zawieszenia norm społecznych podczas wojen, czyli czasów, lives free of violence and molestation. Importantly, the artist których dotyczy pierwotne upamiętnienie monumentu Brama Indii. emphasizes a remarkable paradox. Collective criminal acts are Projekt jest symptomem czasu – zmiany paradygmatów dotyczących the domains of times when social norms are suspended, during posiadania przestrzeni poprzez statuaryczne formy. Weiss nie obala wars i.e. the times referred to by the original commemoration of 55 MARK MCDONALD 55 MARK MCDONALD jednak monumentu, ona nadaje mu nową moc […] pomnik to ciągle the India Gate monument. The project is a symptom of its time— RYSUNKI AKTYWUJĄCE ŚWIADOMOŚĆ: DRAWING CONSCIOUSNESS: MONIKA WEISS jeszcze możliwość przemiany, która jest połączeniem odzapomnienia a change of paradigms regarding the ownership of space by stat- MONIKA WEISS i poezji—mówi w rozmowie z Weroniką Elertowską. Artystka uary forms. However, Weiss does not abolish the monument Wystawa Moniki Weiss oraz multimedialna praca artystki, która Monika Weiss’ exhibition and the forthcoming multi-media ujmująca się za godnością ofi ary w oczywisty sposób bierze w obronę but she gives it a new power ‘[…] the monument is still a possibility wzbogaci kolekcję Centrum Rzeźby Polskiej w Orońsku, pomimo permanent project, which will enrich the collection of the Centre wszystkich, którzy boją się chodzić ulicami, którzy kamufl ują się for transformation which is a combination of unforgetting and 79 DWA LAMENTY: ROZMOWA: MEENA ALEXANDER 79 TWO LAMENTS: MEENA ALEXANDER & MONIKA usytuowania w galerii i Parku Rzeźby skierowana jest do znacznie of Polish Sculpture in Orońsko have been created for the gallery w obawie przed agresją we wspólnych miejscach. Dopiero gdy nikt poetry’, she says in a conversation with Weronika Elertowska. & MONIKA WEISS WEISS IN CONVERSATION szerszej przestrzeni publicznej. Wierzę, że wkrótce Nirbhaya and for the Sculpture Park; yet ultimately the whole is directed nie będzie się bał, przestrzeń będzie publiczna, będzie gotowa „nosić” Standing up for the victims’ dignity, the artist defends everybody MODERATOR BUZZ SPECTOR MODERATED BY BUZZ SPECTOR znajdzie i stworzy własne nowe miejsce publiczne. Powodów do toward a much wider public space. Indeed, I believe that soon wspólną pamięć. Nie jest możliwe redukowanie potrzeb społe- who is afraid of walking down the street; and who fears aggres- umieszczania sztuki w miastach jest wiele, lecz w tym przypadku Nirbhaya will forge its own public space. There are many reasons cznych, kulturowych poszczególnych grup i jednostek uczestniczą- sion in shared spaces. Only when nobody is afraid, will the space na pierwszy plan wysuwa się konieczność zmian w świadomości for situating art in urban areas, but in this case what comes to cych w public space do minimalistycznej wersji „zero”. Stąd prze- be truly public, will it be ready to ‘carry’ a shared memory. It is 95 KALLIOPI MINIOUDAKI 95 KALLIOPI MINIOUDAKI społecznej. Artystka poświęca swe dzieło fundamentalnie ważnym the fore is the need for a change in public awareness and attitudes. PODWÓJNY LAMENT NIRBHAYI: NIRBHAYA(S)’S DOUBLE LAMENT IN myślana strategia artystki posługiwania się cytatem z form istnie- not possible to reduce the social and cultural needs of particular wartościom i ma świadomość, że tylko dzięki zmasowanym naci- To this end, the artist devotes her work to fundamentally crucial BY ODZAPOMNIEĆ I ZAPROTESTOWAĆ UNFORGETTING AND PROTEST jących pomników i monumentów. Zapewnia to potrzebną ciągłość groups and individuals participating the public space to the skom opinii publicznej można w tym zakresie dokonać przeobrażeń. values and is aware that only thanks to massive pressure on the tożsamości takich miejsc. minimalist ‘zero’ version. Hence, the artist’s deliberate strategy Wymaga to cierpliwej pracy nad społeczeństwem i tu widzę part of public opinion can a transformative outlook be a ected. Wystawa oraz niniejsza publikacja monografi czna są począt- of using a quotation of the existing forms of monuments. It ogromną rolę sztuki Moniki Weiss. Such transformation requires patient reworking of the society. 109 BUZZ SPECTOR 109 BUZZ SPECTOR kiem budowania horyzontalnego pomnika, który Monika Weiss provides the necessary continuity of the identities of such sites. MONIKA WEISS. ANATOMIA RYSUNKU MONIKA WEISS: BODY OF DRAWING Przestrzeń publiczna to niezliczone archipelagi miejsc o różnym Here I see an enormous importance of Monika Weiss’ art. dedykuje ofi arom codziennej i nieustającej przemocy. To zapocząt- The exhibition and this monograph publication form a begin- statusie, które wciąż ewoluują. Jeśli miejsca mają się nazywać The public space involves countless archipelagoes of sites of kowanie rozmowy o możliwości przemiany przestrzeni publicznej ning of the building of a horizontal monument, which Monika publicznymi, znaczy to, że muszą zapewniać równy i nieograniczony various status, which continually evolve. If these sites are to poprzez przemianę przestrzeni pamięci, pierwsza wersja Nirbhayi Weiss dedicates to the victims of daily and continuous violence. do nich dostęp. Monika Weiss, tworząc wielopoziomową wypo- named public, it means they need to ensure an equal and unlimi- jest planowana w Parku Rzeźby w Orońsku. Ciszy kamiennej rzeźby It marks also the beginning of a conversation about the possibility 117 EULALIA DOMANOWSKA 117 EULALIA DOMANOWSKA wiedź artystyczną, dostrzega dwa procesy emancypacji do równości, ted access. Creating her multi-level artistic statement, Monika z wodą i obrazem fi lmowym towarzyszy sekwencja kompozycji of the transformation of the public space through the transfor- DUCHOWY FEMINIZM A SPIRITUAL FEMINISM feministyczny i kolonialny. W obu przypadkach nie ma mowy Weiss perceives two processes of emancipation, feminist and dźwiękowych zainstalowanych w innej części założenia parkowego, mation of the space of memory; the fi rst version of Nirbhaya is o pokojowej ewolucji, ale o szeregu utarczek i zmagań zmierzających colonial. In both cases we cannot speak about a peaceful evolution w której swoje improwizacje fortepianowe artystka zamienia planned at the Sculpture Park in Orońsko. The silence of the stone do wyrwania coraz większej płaszczyzny „bycia równym i god- but about a sequence of disputes and struggles aimed at gaining w polifoniczną i ambisoniczną (trójwymiarową) rzeźbę dźwiękową sculpture with water and fi lm image is accompanied by a sequence nym”. Oba te procesy wykazują funkcjonalną niegotowość dopusz- an ever-larger platform of ‘being
Recommended publications
  • Political Visions and Historical Scores

    Political Visions and Historical Scores

    Founded in 1944, the Institute for Western Affairs is an interdis- Political visions ciplinary research centre carrying out research in history, political and historical scores science, sociology, and economics. The Institute’s projects are typi- cally related to German studies and international relations, focusing Political transformations on Polish-German and European issues and transatlantic relations. in the European Union by 2025 The Institute’s history and achievements make it one of the most German response to reform important Polish research institution well-known internationally. in the euro area Since the 1990s, the watchwords of research have been Poland– Ger- many – Europe and the main themes are: Crisis or a search for a new formula • political, social, economic and cultural changes in Germany; for the Humboldtian university • international role of the Federal Republic of Germany; The end of the Great War and Stanisław • past, present, and future of Polish-German relations; Hubert’s concept of postliminum • EU international relations (including transatlantic cooperation); American press reports on anti-Jewish • security policy; incidents in reborn Poland • borderlands: social, political and economic issues. The Institute’s research is both interdisciplinary and multidimension- Anthony J. Drexel Biddle on Poland’s al. Its multidimensionality can be seen in published papers and books situation in 1937-1939 on history, analyses of contemporary events, comparative studies, Memoirs Nasza Podróż (Our Journey) and the use of theoretical models to verify research results. by Ewelina Zaleska On the dispute over the status The Institute houses and participates in international research of the camp in occupied Konstantynów projects, symposia and conferences exploring key European questions and cooperates with many universities and academic research centres.
  • DORIS SALCEDO Education Solo Exhibitions

    DORIS SALCEDO Education Solo Exhibitions

    DORIS SALCEDO 1958 Born in Bogotá, Colombia Lives and works in Bogotá Education 1984 MA, New York University 1980 BFA, Universidad de Bogotá Jorge Tadeo Lozano Solo exhibitions 2019 Doris Salcedo: Tabula Rasa, Kunsthalle St. Annen, Lubbeck, Germany Doris Salcedo: Acts of Mourning, IMMA, Dublin 2018 Fragmentos, Bogota Palimpsest, White Cube, London Prints 2003 – 2009, Alexander Bonin, New York 2017 Palimpsest, Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofía, Madrid 2016 The Materiality of Mourning, Harvard Art Museum, Boston, Massachusetts Nasher Sculpture Center, Dallas, Texas 2015 Doris Salcedo, Museum of Contemporary Art Chicago; Solomon R. Guggenheim Museum, New York; Perez Art Museum, Miami, 2016 2014 Hiroshima Art Prize: Doris Salcedo, Hiroshima City Museum of Contemporary Art, Japan FLORA arts+natura, Bogotá 2013 Robert Kinmont/Doris Salcedo, Alexander and Bonin, New York 2011 Plegaria Muda, Museo Universitario Arte Contemporáneo, Mexico; Moderna Museet Malmö, Sweden; Gulbenkian, Centro de Art Moderna, Lisbon; Museo nazionale delle arti del XXI secolo, Rome, 2012; White Cube, London, 2012; Pinacoteca, São Paulo, 2012 2008 Alexander and Bonin, New York 2007 Shibboleth, Turbine Hall, Tate Modern, London White Cube, London 2004 Neither, White Cube, London 2001 Camden Arts Centre, London 2000 Tenebrae: Noviembre 7, 1985, Alexander and Bonin, New York 1998 Doris Salcedo: Unland, New Museum of Contemporary Art, New York; SITE Santa Fe, New Mexico; San Francisco Museum of Modern Art, 1999; Tate Gallery, London, 1999 1997
  • Memories of Europe in the Art from Elsewhere Andreas Huyssen

    Memories of Europe in the Art from Elsewhere Andreas Huyssen

    Memories of Europe in the Art From Elsewhere Andreas Huyssen At a time when the boundaries of European citizenship are challenged from both the inside and the outside, those boundaries cannot be equated with the imaginary boundaries of European memory. The rights to citizenship are usually defined administratively and politically. European memory cannot be. It cannot be culturally fortressed. For what is European memory if it does not include memories of Europe’s role in the world at large? It must reciprocally acknowledge the memories of Europe as they circulate elsewhere, and now even inside Europe itself. Some years ago, conference titles such as “Europe and its others” abounded—still fundamentally Eurocentric in spirit, with its possessive pronoun and the globalizing discourse of othering. Then the language changed, acknowledging the implicit problem and turning to phrases such as “Europe in other cultures.” The altered phrasing recognizes counterstrategies of writing back to Empire: Europe itself was being othered by “its” others, or as Dipesh Chakrabarty has called it, provincialized.1 From my point of view both perspectives are inadequate today in capturing how the imaginary relationship between Europe and non-European parts of the world is structured in the work of contemporary artists. It is particularly the transnational and by now globally extant discourse of political memories of violence, state terror, and genocide that has produced artistic memory practices in which the European and the non-European are indissolubly folded into each other. Neither the discourse of othering nor that of provincializing makes much sense any longer. Of course the national has never lost its hold in the world of politics and cultural imaginaries.
  • Doris Salcedo CV 2018

    Doris Salcedo CV 2018

    DORIS SALCEDO 1958 Born in Bogotá, Colombia Lives and works in Bogotá Education 1984 MA, New York University 1980 BFA, Universidad de Bogotá Jorge Tadeo Lozano Solo Exhibitions 2018 Prints 2003 – 2009: Doris Salcedo , Alexander Bonin, New York 2017 Palimpsest , Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofía, Madrid 2016 The Materiality of Mourning , Harvard Art Museum, Boston, Massachusetts Perez Museum of Modern Art, Miami 2015 Solomon R. Guggenheim Museum, New York Museum of Contemporary Art, Chicago 2014 Hiroshima Art Prize: Doris Salcedo , Hiroshima City Museum of Contemporary Art, Japan 2013 Robert Kinmont/Doris Salcedo , Alexander and Bonin, New York 2011 Plegaria Muda , MUAC, Mexico; Moderna Museet Malmö, Sweedem; Gulbenkian, Centro de Art Moderna (CAM), Lisbon; MAXXI, Rome, 2012; White Cube, London, 2012; Pinacoteca, São Paulo, 2012; FLORA arts+natura, Bogotá, 2014; Nasher Sculpture Center, Dallas, Texas, 2016; as Doris Salcedo: Silent Prayer , Museo Universitario de Arte Contemporaneo, Mexico City 2008 Alexander and Bonin, New York 2007 Shibboleth , Turbine Hall, Tate Modern, London White Cube, London 2004 Neither , White Cube, London; Inhotim, Belo Horizonte, Brazil, 2008 2001 Camden Arts Centre, London 2000 Tenebrae: Noviembre 7, 1985 , Alexander and Bonin, New York 1998 Doris Salcedo: Unland , The New Museum of Contemporary Art, New York; SITE Santa Fe, New Mexico; San Francisco Museum of Modern Art; Tate Gallery, London, 1999 1996 Atrabiliarios , LA Louver Gallery, Los Angeles Le Creux de L'Enfer, Thiers, France
  • Visitor Figures 2016 Exhibition & Museum Attendance Survey

    Visitor Figures 2016 Exhibition & Museum Attendance Survey

    2 THE ART NEWSPAPER REVIEW Number 289, April 2017 SPECIAL REPORT VISITOR FIGURES 2016 EXHIBITION & MUSEUM ATTENDANCE SURVEY Christo helps 1.2 million people to walk on water While the Whitney breaks the hold of New York’s big two hristo’s triumph in Italy, a space in New York to five artists, including Steve Children admiring Louise Bourgeois at Tate Modern: ravenous appetite for French art McQueen, Lucy Dodd and Michael Heizer, for the institution has hung on to its spot as the world’s abroad and a shake-up in New several weeks at a time. On average, more than most popular Modern and contemporary art museum York are the big stories of The 4,000 visitors saw each of the five presentations, Art Newspaper’s 2016 attend- roughly equivalent to the number that visited the FEMALE ARTISTS DRAW BIG CROWDS ance survey. museum’s Frank Stella retrospective. Christo’s Floating Piers (2016) Despite the Whitney’s rapid rise, MoMA and Female artists feature prominently in our survey. on Lake Iseo—the New York-based artist’s first the Met continue to lead the league in New York. At the Guggenheim Bilbao, Louise Bourgeois’s Cells Coutdoor installation since 2005—was the world’s MoMA remains at the top, thanks to staffers who attracted around 4,600 visitors a day. The Japanese most-visited work of art last year. Christo erected performed each afternoon over a long weekend artist Yayoi Kusama, who in 2014 proved a phenom- 3km of fabric-covered pontoons between an island last October in a production directed by the enon in South America and Asia, continued to pull and the shore and invited the public to walk on French choreographer Jérôme Bel.
  • Artist and Institution: a Painful Encounter

    Artist and Institution: a Painful Encounter

    Fernanda Albuquerque Doris Salcedo Artist and institution: a painful encounter Quote: ALBUQUERQUE. Fernanda; SALCEDO, Doris. Artist and institution: a This interview was held at the artist’s Bogotá studio in painful encounter. Porto Arte: Revista de Artes Visuais. Porto Alegre: PPGAV- November 2013. It is part of the PhD thesis Artistic practices UFRGS, v. 22, n. 37, p.163-166, jul.-dez. 2017. ISSN 0103-7269 | e-ISSN 2179- 8001. DOI: http://dx.doi.org/10.22456/2179-8001.80123 oriented to context and criticism in the institutional sphere, developed at the PPGAV-UFRGS with Prof. Mônica Zielinsky as its advisor. ² Translated by Roberto Cataldo Costa Abstract: This interview is about the work process of Colombian Fernanda Albuquerque: artist Doris Salcedo regarding her work Shibboleth, developed How was the research process around Turbine Hall and Tate for Turbine Hall, at London’s Tate Modern (2007) as part of the Modern for proposing Shibboleth? Unilever Series. Keywords: Artist. Contemporary art. Context. Institution. Criti- Doris Salcedo: cism. Doris Salcedo. I get the impression that for the Western world, Tate is like Shibboleth is Colombian artist Doris Salcedo’s 2007 work the cultural heart of Europe. It is really a place that managed made for Turbine Hall – the grand entrance hall of London’s to become a public space in the deepest sense of the term. Tate Modern.¹ The work features a huge crack in the museum’s There people think and reflect on highly important aspects of gigantic lobby. A slit, a crack, a rupture, a cut, a fault. It is part of life.
  • Whole Dissertation Hajkova 3

    Whole Dissertation Hajkova 3

    Abstract This dissertation explores the prisoner society in Terezín (Theresienstadt) ghetto, a transit ghetto in the Protectorate Bohemia and Moravia. Nazis deported here over 140, 000 Czech, German, Austrian, Dutch, Danish, Slovak, and Hungarian Jews. It was the only ghetto to last until the end of Second World War. A microhistorical approach reveals the dynamics of the inmate community, shedding light on broader issues of ethnicity, stratification, gender, and the political dimension of the “little people” shortly before they were killed. Rather than relegating Terezín to a footnote in narratives of the Holocaust or the Second World War, my work connects it to Central European, gender, and modern Jewish histories. A history of victims but also a study of an enforced Central European society in extremis, instead of defining them by the view of the perpetrators, this dissertation studies Terezín as an autarkic society. This approach is possible because the SS largely kept out of the ghetto. Terezín represents the largest sustained transnational encounter in the history of Central Europe, albeit an enforced one. Although the Nazis deported all the inmates on the basis of their alleged Jewishness, Terezín did not produce a common sense of Jewishness: the inmates were shaped by the countries they had considered home. Ethnicity defined culturally was a particularly salient means of differentiation. The dynamics connected to ethnic categorization and class formation allow a deeper understanding of cultural and national processes in Central and Western Europe in the twentieth century. The society in Terezín was simultaneously interconnected and stratified. There were no stark contradictions between the wealthy and majority of extremely poor prisoners.
  • Exhibition Guide

    Exhibition Guide

    Doris Salcedo Exhibition Guide Lead support for Doris Salcedo is provided by the Harris Family Foundation in memory Doris Salcedo of Bette and Neison Harris: Caryn and King Harris, Katherine Harris, Toni and Ron Paul, Pam and Joe Szokol, Linda and Bill Friend, Feb 21–May 24, 2015 and Stephanie and John Harris. mcachicago.org Additional lead support is provided by Stefan Edlis and Gael Neeson, The The exhibition is organized by Curator Julie Bluhm Family Foundation, Anne Kaplan, Rodrigues Widholm and Pritzker Director Howard and Donna Stone, The Andy Madeleine Grynsztejn, with the support of Warhol Foundation for the Visual Arts, Curatorial Assistant Steven L. Bridges. and Helen and Sam Zell. The exhibition travels to the Solomon R. Untitled Unland Thou-less Dis- La Casa Major support is provided by The Chicago Guggenheim Museum, June 26–October Works remembered Viuda Community Trust; Ministry of Foreign 12, 2015, and the Pérez Art Museum Miami, Affairs of Colombia, Ministry of Culture summer 2016. of Colombia and Embassy of Colombia in Washington, DC; Barbara Bluhm-Kaul and Don Kaul; Paula and Jim Crown; Video and Nancy and Steve Crown; Walter and Karla Reading Goldschmidt Foundation; Liz and Eric Room Lefkofsky; Susana and Ricardo Steinbruch; and Kristin and Stanley Stevens. A Flor de Piel Atrabiliarios Untitled Works Untitled Works Additional generous support is provided by the National Endowment for the Arts, Marilyn and Larry Fields, the Diane and Bruce Halle Foundation, Agnes Gund, the Kovler Family Foundation, Nancy and Plegaria Muda David Frej, Mary E. Ittelson, Lilly Scarpetta, Jennifer Aubrey, the Dedalus Foundation, Jacques and Natasha Gelman Trust, Ashlee and Martin Modahl, Lois and Steve Eisen and the Eisen Family Foundation, the North Shore Affiliate of the MCA, Carla Emil and Rich Silverstein, Jeanne and Michael Klein, Lisa and John Miller, Elizabeth Firestone Graham Foundation, the Graham Foundation for Advanced Studies in the Fine Arts, Emily Rauh Pulitzer, Maria C.
  • Fondation Beyeler

    Fondation Beyeler

    FONDATION BEYELER Press release Daros Latinamerica Collection 21 February to 27 April 2014 With Daros Latinamerica one of the leading international collections of contemporary Latin American art will be a guest at the Fondation Beyeler. The exhibition will present a concentrated selection of works by renowned contemporary artists from various countries in Latin America. In his work, the Argentinian painter Guillermo Kuitca repeatedly concerns himself with the representation of architectonic spaces and geographical places to which he gives his own poetic interpretation. This includes measurements on all scales that range from maps and city plans to outlines and plans of venerable buildings. “For me the map was the instrument for getting lost, not for finding myself.” (Guillermo Kuitca, 2006). Through his choice of colour and the use he makes of contrasts, overpainting and blurring, Kuitca succeeds in making a map seem like a woven textile or an arterial network. He heightens that ambivalence of location and imagination in a series of paintings in which mattresses provide the pictorial support. In that way, he recognises the bed, or to be more precise the mattress, as the immediate territory that he occupies and inhabits. The interaction between places, things and human beings is also a theme in the sculptures of the Colombian artist Doris Salcedo. Chairs, cupboards and tables are torn from the context in which they were originally used and formed into new sculptural structures by being placed inside or stacked on top of one another or even by being filled with concrete. Despite or perhaps because of this loss of function, these hybrid furniture objects are particularly evocative of lost or destroyed homes and homelands.
  • Doris Salcedo Acts of Mourning

    Doris Salcedo Acts of Mourning

    Artist Biography IMMA would like to thank our valuable Members, Patrons and Partners, all of whom have IMMA Doris Salcedo was born in Bogotá, Colombia, in 1958, where she continues to live and made this exhibition possible. work. Selected solo exhibitions include Fragmentos, Bogotá; White Cube London (2018); MAIN GALLERIES, EAST WING Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofía, Madrid (2017); Harvard Doris Salcedo, Acts of Mourning is co-curated by Rachel Thomas, Senior Curator: Head 26 APRIL – 21 JULY 2019 Art Museums, Massachusetts; Nasher Sculpture Centre, Dallas, Texas (2016); Museum of Exhibitions, and Claire Power, Temporary Head of Exhibitions, and assisted by Karen of Contemporary Art Chicago, touring to Solomon R. Guggenheim Museum, New York and Sweeney, Assistant Curator: Exhibitions, Curatorial and Partnerships and Georgie Thompson, Pérez Art Museum, Miami (2015-16); Hiroshima City Museum of Contemporary Art, Japan Assistant Curator: Exhibitions, Curatorial and Artist Liaison. (2014); Museum Universitario Arte Contemporáneo, Mexico, touring to Moderna Museet Malmö, Sweden, Calouste Gulbenkian Museum, Lisbon, Museo Nazionale delle Arti de XXI Have a question about an artwork? Want to know more? Ask any member of our Visitor Doris Salcedo secolo, Rome; White Cube, London and Pinacoteca do Estado de Aso Paulo (2011-2013); Engagement Team, easily identifiable through their blue lanyards. Tate Modern, London (2007); Camden Arts Centre, London (2001); Tate Britain, London (1999) and New Museum, New York (1998). Acts Of Mourning Recent group exhibitions include Fondation Beyeler, Basel (2014); Solomon R. Guggenheim Museum, New York (2013); Hayward Gallery, London (2010); MoMA PS1 Contemporary Art Centre, New York (2008); 8th International Istanbul Biennial (2003); Untitled Documenta 11, Kassel, Germany (2002) and 24th Bienal de São Paulo (1998).
  • Nomura Presents US$1 Million Nomura Art Award to Renowned Colombian Artist Doris Salcedo

    Nomura Presents US$1 Million Nomura Art Award to Renowned Colombian Artist Doris Salcedo

    News Release Nomura Presents US$1 Million Nomura Art Award to Renowned Colombian Artist Doris Salcedo – Largest Cash Prize in Contemporary Visual Arts, Announced at a Gala Ceremony in Shanghai, Will Support Doris Salcedo in Undertaking Her Next Major Project – Tokyo/Shanghai, October 31, 2019—At a gala dinner and ceremony held this evening in Shanghai, China, Nomura announced that the winner of the first annual Nomura Art Award is the renowned Colombian artist Doris Salcedo. The largest cash prize in contemporary visual arts, the US$1 million Nomura Art Award is given by the decision of an independent, international jury to an artist who has created a body of work of major cultural significance. To help this artist take on new challenges and embrace change, the prize money is used in whole or in part to support an ambitious new project that the winner did not previously have the means to realize. Nomura’s heritage of engagement with the arts dates to the company’s founding in 1925 by Tokushichi Nomura II, an avid practitioner of the tea ceremony and supporter of Noh theater. The company today connects markets in the East and West through an integrated global network spanning more than 30 countries. In the spirit of its long legacy of encouraging and nurturing creativity, Nomura established the annual Nomura Art Award in 2019. In announcing the award, Hajime Ikeda, Senior Managing Director of Nomura, said: “We offer this Award to Doris Salcedo in recognition of the deeply meaningful and formally inventive body of work she has created over the past quarter of a century.
  • Monika Weiss 'S Language of Lament: History, Memory, and the Body

    Monika Weiss 'S Language of Lament: History, Memory, and the Body

    Monika Weiss 's Language of Lament: History, Memory, and the Body Julia P. Herzberg, Ph.D. Monika Weiss is a transdisciplinary artist whose multifaceted works include drawing, performing, video, sound compositions, photography, and objects. In the broadest sense, the artist’s intermedia work executed in either private or public spaces addresses official and unofficial histories, time, memory, and the body. Phlegethon-Milczenie (2005), Leukos (2005), Drawing Lethe (2006), and Sustenazo (Lament II) (2010-2012), discussed in this essay, are constructed as nonlinear narratives in which the existential expression of lament or lamentation is central to the visual, sensorial, and physical discourse of each work. Music is a primary language for the artist who listened daily to the piano as a child and then studied at the Warsaw Conservatory, where silence and listening were an obligatory part of her training. And, as soon noted, silence, which is also a language, became a core element in her performative process.i Weiss composes all the sound compositions in her work. Her body, a vehicle for expression and (silent) narration, stands for existence: its markings, absence—both are part of life. In an attempt to impart a sense of the complexity of Weiss’s thinking, performance, and practice, I will consider the various layers of her “unique fusion of media”ii wherein memory, language, recorded sound, the moving image, the body, time, and contingency are embedded. In 2004 the Intergalerie Potsdam in Potsdam, Germany invited Weiss to propose an exhibition