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MAY the Bridges I BURN Light the WAY EXILE X Summer Camp
M ay the brid G es I burn L I G ht the way EXILE X summer camp June 13 - 17, 2018 Curated by María Inés Plaza Lazo In collaboration with Alina Kolar, Dalia Maini & Christian Siekmeier PARTICI PANTS in 2008. Within the last 10 years EXILE Del Vecchio is an artist and co-curator of Narine Arakelyan is a performance artist concluded an MA at Goldsmiths, University has operated out of five distinctly different flip project space, a collaborative project for that works in conjunction with a Moscow of London. Graduated in Psychology, her Albrecht Pischel is interested in the definition spaces in Berlin. In 2011 EXILE became critical experimentation. He attended the based group of producers known as laboratory ongoing research unveils post-historical identity, of a new internationality and its ghosts. Most a professionally operating gallery. Until Städelschule in Frankfurt am Main and a abc. Together they aim to unite progressive hospitality and intergenerational transmission as of his works behave as representing signifiers today, EXILE has hosted over 80 solo and Masters in Fine Art at The Glasgow School artists, musicians and curators. The group a means to inhabit but also perform/transform of the medium of the art exhibition itself, group exhibitions which have been reviewed of Art. He recently took part of CuratorLab is committed to promote new ideas and to history. In her work she reflects on human oscillating between the disarming of symbols extensively in relevant publications around at Konstfack Stockholm, a curatorial course develop the values of the cultural heritage. relationships and how to create and re-create of colonialism and alienation. -
Folder RINK-SCHLEGEL Print Rz-2
cçäÇÉ ê ofkhJp`eibdbiPWi~óçìí=N==ORKMTKOMNO==QWNN=rÜê==pÉáíÉ=O ALMUT RINK born 1971 in Erfurt, Germany Almut Rink’s practice is dealing with the artificiality of nature. Her work presents how the notion oflandscape reflects our national, social and political identities. Projects/Exhibitions (Selection) 2012 TOPOPHOBIA ‒ Danielle Arnaud Gallery, London; Bluecoat, Liverpool; Spacex, Exeter 2011 gugler forum melk, Melk (solo); ZONEN_PREKÄR ‒ Kunstsaele Berlin 2010 FOAMYWATER‒das weisse haus, Wien (solo); DA BAO ‒ Anni Art Space, 798, Beijing 2008 FOAMYWATER‒Austrian Cultural Forum, London (solo); CONTACT ZONE ‒ Foamywater, 2008, Austrian Cultural Forum SOLID GROWTH Galeria Miroslav Kralevic, Zagreb (solo); REVERSE ENGINEERING‒Galerie Eboran, Salzburg London, Almut Rink (solo); URBAN GALLERIES ‒ Kunsthalle Wien Project Space, Wien; IST DIESE STADT EIN FERNER PLANET? ‒ Knoll Galerie, Budapest 2006 UNDO, NEW PATH ‒ mit /with Barbara Eichhorn, Galerie Christine König, Wien RAIFFEISEN-KALEIDOSKOP, Kunst am Bau, Raiffeisen Wien-Niederösterreich, with Christof Schlegel und Christine Gloggengiesser Almut Rink 2005 NO ORDINARY ‒ Skulpturens Huis, Stockholm 2004 HÖHENLUFT ‒ mit/with Barbara Eichhorn, Galerie Christine König, Wien; ES IST SCHWER, Christof Schlegel DAS REALE ZU BERÜHREN‒Kunstverein München 2003 MISSING ELSEWHERE‒mit /with Christof Schlegel, experimental intermedia, Gent HAPPY VALLEY ‒ ACC-Galerie, Weimar (solo) 2002 SECTOR NO LIMITS ‒ Galerie 5020, Salzburg (solo) 2001 RAIN OR SHINE‒offspace, Wien (solo); REBOUND, Yokohama Museum of Art, -
Karl-Heinz Klopf
1/5 KARL-HEINZ KLOPF Born in Linz (1956), studied there at the University for Artistic and Industrial Design. Lives in Vienna, Austria. Artist in residence, CCA/Centro Cultural Andratx, Mallorca (2019) Stipend, artist in residence in Yogyakarta (2014) Stipend, artist in residence in Beijing (2010) Artist in residence in Liverpool, Urban Interventions , Liverpool Biennial (2009/10) State studio Davidgasse, Vienna (2000/06) Stipend, artist in residence in Tokyo (1995/96) State scholarship for fine art (1987) Talent development grant of the Province of Upper Austria (1986) Art development stipend of the City of Linz (1985) Honorable mentions for Tower House and A Tropical House , Society of Architectural Historians (SAH) Award for Film and Video (2017) Special mention for Honorable mention for T ower House , 38th Duisburg Film Week (2014) Award for They, best short documentary at Diagonale 11, Graz (2011) Cultural award for Interdisciplinary Art Forms of the Province of Upper Austria (2011) Award for By Way of Display in the category Urban Research, 6th Media and Architecture Biennial Graz (2003) First price, European competition for a roundabout in Vilvoorde, Senneberg Foundation, Belgium (1998) First Römerquelle price for drawings, Vienna (1987) Second price of the International Triennial of Drawings, Nürnberg (1985) 2/5 Solo exhibitions and film presentations (selection) Screening, Belvedere 21/Blickle Kino, Vienna (2019) Property Liberty , Kunsthandel Gril & Neffe, Vienna (2018) Karl-Heinz Klopf Foco , BAFICI, Buenos Aires Festival International -
Austrian Federalism in Comparative Perspective
CONTEMPORARY AUSTRIAN STUDIES | VOLUME 24 Bischof, Karlhofer (Eds.), Williamson (Guest Ed.) • 1914: Aus tria-Hungary, the Origins, and the First Year of World War I War of World the Origins, and First Year tria-Hungary, Austrian Federalism in Comparative Perspective Günter Bischof AustrianFerdinand Federalism Karlhofer (Eds.) in Comparative Perspective Günter Bischof, Ferdinand Karlhofer (Eds.) UNO UNO PRESS innsbruck university press UNO PRESS innsbruck university press Austrian Federalism in ŽŵƉĂƌĂƟǀĞWĞƌƐƉĞĐƟǀĞ Günter Bischof, Ferdinand Karlhofer (Eds.) CONTEMPORARY AUSTRIAN STUDIES | VOLUME 24 UNO PRESS innsbruck university press Copyright © 2015 by University of New Orleans Press All rights reserved under International and Pan-American Copyright Conventions. No part of this book may be reproduced or transmitted in any form, or by any means, electronic or mechanical, including photocopy, recording, or any information storage nd retrieval system, without prior permission in writing from the publisher. All inquiries should be addressed to UNO Press, University of New Orleans, LA 138, 2000 Lakeshore Drive. New Orleans, LA, 70148, USA. www.unopress.org. Printed in the United States of America Book design by Allison Reu and Alex Dimeff Cover photo © Parlamentsdirektion Published in the United States by Published and distributed in Europe University of New Orleans Press by Innsbruck University Press ISBN: 9781608011124 ISBN: 9783902936691 UNO PRESS Publication of this volume has been made possible through generous grants from the the Federal Ministry for Europe, Integration, and Foreign Affairs in Vienna through the Austrian Cultural Forum in New York, as well as the Federal Ministry of Economics, Science, and Research through the Austrian Academic Exchange Service (ÖAAD). The Austrian Marshall Plan Anniversary Foundation in Vienna has been very generous in supporting Center Austria: The Austrian Marshall Plan Center for European Studies at the University of New Orleans and its publications series. -
Wonnerth Dejaco
WONNERTH DEJACO Axel Koschier *1980 in Vienna, AT Lives and works in Vienna, AT Education 2011 Academy of Fine Arts Vienna, AT (textual sculpture) 2007 University of Technology Vienna, AT (architecture) 2005 University of Applied Arts Vienna, AT (media arts) 2005 University of the Arts Berlin, DE (sculpture) Solo and duo exhibitions 2021 Solo exhibition, WONNERTH DEJACO, Vienna, AT 2020 Material Art Fair (New Jörg Wien), Mexico City, MX 2019 Sculpture (in collaboration with Stefan Reiterer), Rubin & Chapelle, New York, NY, US Chill Out (in collaboration with Stefan Reiterer), Black Ball Projects, New York, NY, US Tud Cool (in collaboration with Stefan Reiterer), Fidalga, Sao Paulo, BR 2018 Axel Koschier, VinVin, Vienna, AT No Bonus (in collaboration with Stefan Reiterer), Galerie SPZ, Prague, CZ 2017 Artist Statement, Parallel Vienna 2017 art fair, Vienna, AT Axel Koschier, Leslie, Berlin, DE 2014 Axel Koschier & Robert Müller, Ve.sch, Vienna, AT 2011 oT. (Use Your Head In Tennis), Galeria ADM, Mexico City, MX 2008 Horst Skoff und die Denkarbeit, Bell Street Project Space, Vienna, AT 2007 Raumvermessungsobjekt Wittgensteinhaus, Wittgenstein House, Vienna, AT [email protected] wonnerthdejaco.com 1/4 WONNERTH DEJACO Selected group exhibitions 2020 Open Stage, PFERD, Wien CEREBRO CON HUEVO, Biquini Wax EPS, Mexico City, MX 2019 Demolished Beauty, Spouse Vienna, Palma de Mallorca, ES Fauxthenticity, Austrian Cultural Forum, Prague, CZ Finite Projections – the Deal of all Sapience, Gottrekorder, Graz, AT Wiener Salon #1, Rue Maes 87, -
The International Cultural Relations at the Federal Ministry of European and International Affairs (Bmeia)
THE INTERNATIONAL CULTURAL RELATIONS AT THE FEDERAL MINISTRY OF EUROPEAN AND INTERNATIONAL AFFAIRS (BMEIA) Basic Principles, Key Areas and Programmes 1 2 THE INTERNATIONAL CULTURAL RELATIONS AT THE FEDERAL MINISTRY OF EUROPEAN AND INTERNATIONAL AFFAIRS (BMEIA) Basic Principles, Key Areas and Programmes 4 INTRODUCTORY REMARKS AUSLANDSKULTURKONZEPT On the basis of its experiences with the key areas and programmes to date, and with a view to the future, the Directorate-General for International Cultural Affairs at the Federal Ministry of European and International Affairs has further developed the basic principles, key areas and programmes for Austrian international cultural policy. These principles align with the joint efforts of our partners at federal, provincial, and mu- nicipality level, as well as many other individuals and institutions working in the fields of art, culture, the sciences and dialogue and their valuable and constructive contributions to our country and its international relations. The initial outline of this document was completed before the outbreak of the Covid-19 pandemic, and its focus is on the future. Some new insights and experiences from the pandemic period are however reflected in this document, which summarises the efforts of Austrian International Cultural Relations in its areas of activity and thematic fields to date. Two new areas are defined which must play a role in future international cultural policy: ecology and new forms of sustainable economy, as well as the issue of the impact of digi- talisation on life and work in the future. The document was developed by staff at the Directorate-General for International Cul- tural Affairs, under the supervision of Teresa Indjein, Peter Mikl and Christian Autengru- ber with contributions by Ulla Krauss-Nussbaumer, Marcus Bergmann, Stephan Vavrik, Waltraud Dennhardt-Herzog, Ingrid Köhn-Dursy, Sonja Reiser-Weinzettl, Karin Cervenka, Valerie Hagg, Martin Pammer, Denise Quistorp-Rejc and Martin Rauchbauer. -
DIGITAL ART and FEMINISM: a SURREAL RELATIONSHIP Anne Swartz
DIGITAL ART AND FEMINISM: A SURREAL RELATIONSHIP Anne Swartz 10 DIGITAL ART AND FEMINISM: A SURREAL RELATIONSHIP Anne Swartz Many of the images in this exhibition reveal similar interests, themes, and aesthetics to those seen in feminist Art.1 The artists— (PLOLD)RUVWUHXWHU-HQQLIHU+DOO&ODXGLD+DUW<DHO.DQDUHN-HDQHWWH/RXLH5DQX0XNKHUMHH0DU\%DWHV1HXEDXHU0DULH Sivak, Camille Utterback, Adrianne Wortzel, and Janet Zweig—rely on technology as a tool to explore geopolitics, geological phenomenon, obsolete media, data streams and sets, illusion, shifting identities, phantasmagorias, eroticism, bodies, landscapes, geography, and memory. They are not afraid to confront assumptions or propaganda, even challenging conventions and traditions. They show us diverse, alternate domains and generate narratives of augmented worlds. Common to their artworks is the surreal, employed innovatively and underscored by the radical politics of feminism to change society in order to advance it. It is a kind of new romanticism where the real is meshed with fantasy so that the boundaries between the two dissolve. These artists have created pieces that require the viewer’s time; scanning and experiencing the entirety of their respective works over time transports one to their wild and imagined realms. It is easy to lose one’s bearings with these works because they rely upon mysterious disorientation to the viewer’s prosaic and commonplace experiences. It is a situation that is wholly based on the personal, which has been one of the cornerstone themes of feminist art. Digital art has an inherent feminist issues to it. Artist Mary Bates Neubauer termed the “new macho challenge for this generation RIZRPHQ>LV@GLJLWDOWHFKQRORJ\>EHFDXVH@WKH¿HOGLVVWLOOGRPLQDWHGE\PHQ´2 Utilizing technology to make art is, interestingly enough, one of the aspects of the programming world’s fascination with digital art.3 For the artists in this exhibition, digital technologies are ways to express content that is gender related. -
BEAP Stillness 2007.Pdf
THE 3RD BIENNALE OF ELECTRONIC ARTS PERTH PERTH, WESTERN AUSTralia 10 – 23 SEPTEMBER 2007 For the 3rd Biennale of Electronic Arts Perth, works by over sixty artists are presented across three ‘showcase’ and four ‘satellite’ exhibitions. This catalogue is a record of the exhibitions and the participating artists. 4 THEMATIC ESSAY Humans have a right to stillness: Stillness as being Stillness as inertia Stillness as simplicity Stillness Stillness as smallness CONTEMPLATION AND PATTERN RECOGNITION Dr Paul Thomas Founder and former Director of Stillness as culture The Biennale of Electronic Arts Perth Stillness as contemplation Stillness as deception Stillness as perception The theme for BEAP 2007 has been chosen and contextualised around receives and transmits. Paul Virilio, in discussing the contemporary nature of concepts of Stillness. The irony of a festival of electronic arts being modern traffic, states that ‘we oppose from the beginning the caricature of themed Stillness initially jars our preconceptions and clichés regarding global society being hatched for us by big multinational corporations throwing the technological possibilities of the future. With the development of themselves at a breakneck pace on the information superhighways.’ (Virilio 1995) emergent and convergent technologies, we are heading towards a Today the artists’ antennae face the maelstrom of contemporary data traffic, point in time where the concepts of what constitutes stillness will overloaded with the speed and density of the information superhighway. need to be confronted. The Haussmannism2 of cyberspace is constructing ever-efficient flows of BEAP has drawn together significant works that will be exposed to the ubiquitous data that present a concept of immersion. -
25 Years of Ars Electronica
Literature: Winners in the film section – Computer Animation – Visual Effects Literature: Literature : Literature: Literature (2) : Literature: Literature (2) : Blick, Stimme und (k)ein Körper – Der Einsatz 1987: John Lasseter, Mario Canali, Rolf Herken Cyber Society – Mythos und Realität der Maschinen, Medien, Performances – Theater an Future cinema !! / Jeffrey Shaw, Peter Weibel Ed. Gary Hill / Selected Works Soundcultures – Über elektronische und digitale Kunst als Sendung – Von der Telegrafie zum der elektronischen Medien im Theater und in 1988: John Lasseter, Peter Weibel, Mario Canali and Honorary Mentions (right) Informationsgesellschaft / Achim Bühl der Schnittstelle zu digitalen Welten / Kunst und Video / Bettina Gruber, Maria Vedder Intermedialität – Das System Peter Greenaway Musik / Ed. Marcus S. Kleiner, A. Szepanski 25 years of ars electronica Internet / Dieter Daniels VideoKunst / Gerda Lampalzer interaktiven Installationen / Mona Sarkis Tausend Welten – Die Auflösung der Gesellschaft Martina Leeker (Ed.) Yvonne Spielmann Resonanzen – Aspekte der Klangkunst / 1989: Joan Staveley, Amkraut & Girard, Simon Wachsmuth, Zdzislaw Pokutycki, Flavia Alman, Mario Canali, Interferenzen IV (on radio art) Liveness / Philip Auslander im digitalen Zeitalter / Uwe Jean Heuser Perform or else – from discipline to performance Videokunst in Deutschland 1963 – 1982 Arquitecturanimación / F. Massad, A.G. Yeste Ed. Bernd Schulz John Lasseter, Peter Conn, Eihachiro Nakamae, Edward Zajec, Franc Curk, Jasdan Joerges, Xavier Nicolas, TRANSIT #2 -
Maria Koshenkova CV Was Born in 1981 St.Petersburg
Maria Koshenkova CV Was born in 1981 St.Petersburg. Russia. Based in Copenhagen. Denmark Education 1998 – 2004 State Academy of Art and Design in St. Petersburg – MA degree, Russia 2003 – 2004 Glassblowing course, Bornholm, Denmark 2004 Glass Design Program at Kalmar University, Sweden 2005 – 2006 Royal Danish Academy of Fine Art, Copenhagen. Denmark Teaching and Lectures 2018 Speaker at 6th International Shanghai Intangible Cultural Heritage Protection Forum.China 2018 Aichi University of Education. Visiting lecturer. Japan 2013 Sotheby's Institute of Art, London, Visiting lecturer , UK 2011 Engelsholm folk high school, Guest lecturer, Denmark Selected Solo exhibitions 2019 Clara Scremini gallery. Paris, France 2018 Glass Museum Ebeltoft. STUDY exhibition. “Restrain&Release”. Denmark 2018 Art & Minde Center. Nagoya. Resrain&Release”. Japan 2017 Aasiaat Katersugaasiviat / Aasiaat Museum, Greenland. 2016 Gallery Inner Voice. St.Petersburg. Russia 2016 Hempel Glasmusem. Hempel Glass Prize. Denmark 2015 S12 Gallery and workshop. Bergen Norway “ Familiar Structures “ 2014 Clara Scremini gallery, Paris, France Selected group exhibitions 2019 Musverre. Museum of Contemorary Gasss. “ Glass in Movement”. France 2018 Toyama Glass Art Museum.Toyama International Glass Exhibition 2018. Japan. MINDCRAFT18. Curated by Ditte Hammerstøm organised by Danish Art Foundation exhibition Milan Design Week 2018: the ‘Fuorisalone’ Milan. Italy Shanghai Art Collection Museum. The 8th International Exhibition of Traditional Fine Arts. China A. Petersen .Collection&Craft. Japan Re-Tur. Denmark 2017 “Scandinavian Glass Starting All Over” Glass Museum Ebeltoft. Denmark, The Glass Factory, Boda. Sweden, The Finnish Glass Museum Riichimaki. Finland. Notojima Glass Art Museum”The International Exhibition of Glass Kanazawa”, Ishikawa. Japan Sophienholm,“Glasur”, Lyngby, Denmark “The Glass Project” Berlin. -
Nycemf 2021 Program Book
NEW YORK CITY ELECTROACOUSTIC MUSIC FESTIVAL __ VIRTUAL ONLINE FESTIVAL __ www.nycemf.org CONTENTS DIRECTOR’S WELCOME 3 STEERING COMMITTEE 3 REVIEWING 6 PAPERS 7 WORKSHOPS 9 CONCERTS 10 INSTALLATIONS 51 BIOGRAPHIES 53 DIRECTOR’S NYCEMF 2021 WELCOME STEERING COMMITTEE Welcome to NYCEMF 2021. After a year of having Ioannis Andriotis, composer and audio engineer. virtually all live music in New York City and elsewhere https://www.andriotismusic.com/ completely shut down due to the coronavirus pandemic, we decided that we still wanted to provide an outlet to all Angelo Bello, composer. https://angelobello.net the composers who have continued to write music during this time. That is why we decided to plan another virtual Nathan Bowen, composer, Professor at Moorpark electroacoustic music festival for this year. Last year, College (http://nb23.com/blog/) after having planned a live festival, we had to cancel it and put on everything virtually; this year, we planned to George Brunner, composer, Director of Music go virtual from the start. We hope to be able to resume Technology, Brooklyn College C.U.N.Y. our live concerts in 2022. Daniel Fine, composer, New York City The limitations of a virtual festival meant that we could plan only to do events that could be done through the Travis Garrison, composer, Music Technology faculty at internet. Only stereo music could be played, and only the University of Central Missouri online installations could work. Paper sessions and (http://www.travisgarrison.com) workshops could be done through applications like zoom. We hope to be able to do all of these things in Doug Geers, composer, Professor of Music at Brooklyn person next year, and to resume concerts in full surround College sound. -
Ellen Harvey
ELLEN HARVEY Education 1998-9 Whitney Museum of American Art, New York, NY, Independent Study Program 1993 Yale Law School, New Haven, CT, J.D. 1990 Hochschule der Künste, Berlin, Germany, no degree 1989 Harvard College, Cambridge, MA, A.B. Selected Solo Exhibtions 2020 Locks Gallery, Philadelphia, PA Ellen Harvey & J.M.W. Turner: The Disappointed Tourist, Turner Contemporary, Margate, U.K. 2019 The Disappointed Tourist, The Suburban, Milwaukee, WI 2017 Ornaments and other Refrigerator Magnets, The Children’s Museum of the Arts, New York, NY Nostalgia, Danese / Corey, New York 2016 Metal Painting, The Barnes Foundation, Philadelhpia, PA 2015 The Museum of Ornamental Leaves and Other Monochromatic Collections, Locks Gallery, Philadelphia, PA 2014 Open Depot, Groeninge Museum, Bruges, Belgium 2013 Collapse, Meessen De Clercq, Brussels, Belgium 2012 Arcade/Arcadia, Locks Gallery, Philadelphia, PA The Nudist Museum Giftshop, Dodge Gallery, New York, NY 2010 The Nudist Museum, Bass Museum of Art, Miami, Fl Picturesque Pictures, Galerie Gebr. Lehmann, Berlin, Germany The Doppleganger Collections, MagnusMüller, Berlin, Germany The Room of Sublime Wallpaper, APF Lab, New York, NY 2009 Empty Collections, Meessen De Clercq, Brussels, Belgium Ruins are More Beautiful, Center for Contemporary Art, Warsaw, Poland 2008 Private Collections, Locks Gallery, Philadelphia, PA 2007 The Museum of Failure, Luxe Gallery, New York, NY 2006 Beautiful / Ugly, MagnusMüller, Berlin, Germany Mirror, The Peddie School, Hightstown, NJ Broken Mirror, Galerie Gebr.