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To the Ends of the Earth: Art and Environment | Tate
Research Online research publications RESEARCH PAPER To the Ends of the Earth: Art and Environment Art & Environment By Nicholas Alfrey, Stephen Daniels, Joy Sleeman 11 May 2012 Introducing the group of articles devoted to the theme of ‘Art & Environment’ in issue 17 of Tate Papers, this essay reflects on changing perceptions of the term ‘environment’ in relation to artistic practices and describes the context for a series of case studies of sites, spaces and processes that extend from the immediate locality to the most remote boundaries of knowledge and experience. The group of articles devoted to the theme of art and environment in issue 17 of Tate Papers aims to explore new research frontiers between visual art and the material environment. The papers arise from a conference held at Tate Britain in June 2010 at which a range of practitioners and scholars – artists, writers, curators, theorists, historians and geographers – presented case studies of artworks addressing specific sites, spaces, places and landscapes in a variety of media, including film, photography, painting, sculpture and installation. The conference considered relations between artistic approaches to the environment and other forms of knowledge and practice, including scientific knowledge and social activism. The papers addressed cultural questions of weather and climate, ruin and waste, dwelling and movement, boundary and journey, and reflected on the way the environment is experienced and imagined and on the place of art in the material world. Held at a time when the emergent effects of economic crisis were intersecting with a more established sense of ecological crisis, the conference offered an opportunity to rethink the relations between art and environment, which had become central to a number of art exhibitions and publications. -
Yona Friedman
YONA FRIEDMAN FRANCESCA MININI VIA MASSIMIANO, 25 20134 MILANO T +39 02 26924671 [email protected] WWW.FRANCESCAMININI.IT Budapest, Hungary, 1923 Paris, 2020 YONA FRIEDMAN Budapest, Hungary, 1923 2020, Paris Yona Friedman studied at the Technical University in Budapest, before Yona Friedman ha studiato alla Technical University di Budapest, continuing his training from 1945 to 1948 at the Technion in Haifa, prima di continuare la sua formazione dal 1945 al 1948 al Technion di Israel, where he worked as an architect until 1957. In 1953-54, he met Haifa, in Israele, dove ha lavorato come architetto fino al 1957. Nel Konrad Wachsmann, whose studies on prefabrication techniques and 1953-54 incontrò Konrad Wachsmann, i cui studi sulle tecniche di three-dimensional structures had a considerable influence on him. In prefabbricazione e le strutture tridimensionali furono di notevole 1954, together with some inhabitants of Haifa, Friedman embarked influenza per Friedman. Nel 1954, insieme ad alcuni abitanti di Haifa, upon an initial experiment involving housing designed by the occupant, Friedman iniziò un esperimento che prevedeva alloggi progettati but this project never reached completion. In 1956, at the 10th dall'occupante, ma questo progetto non raggiunse mai il International Congress of Modern Architecture (ICMA) in Dubrovnik, completamento. Nel 1956, al decimo Congresso Internazionale di modernism was called into question by his universalist approach and Architettura Moderna (ICMA) a Dubrovnik, il modernismo fu messo in his belief in progress. At the Congress, when people were taking discussione per il suo approccio universalista e per la sua convinzione "mobile architecture "to mean the mobility of the dwelling" the nel progresso. -
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Collaborative Relationshipsaid & Abet
news venice biennale, international relations features artists and curators talking: issues and outcomes, arts funding: canadian comparison, open studios, postgraduate focus debate believe in film JUNE 2011 collaborative relationships aid & abet £5.95/ 8.55 11 MAY–26 JUN 13 JUL–28 AUG 7 MAY– 26 JUN JVA at Jerwood Space, JVA at Jerwood Space, JVA on tour London London DLI Museum & Art Gallery, Durham An exhibition of new works by Selected artists Farah the inaugural Jerwood Painting Bandookwala, Emmanuel Final chance to see the 2010 Fellows; Clare Mitten, Cara Boos, Heike Brachlow exhibition selected by Charles Nahaul and Corinna Till. and Keith Harrison exhibit Darwent, Jenni Lomax and newly commissioned work. Emma Talbot. Curated by mentors; Paul Bonaventura, The 2011 selectors are durham.gov.uk/dli Stephen Farthing RA Emmanuel Cooper, Siobhan Twitter: #JDP2010 and Chantal Joffe. Davis and Jonathan Watkins. jerwoodvisualarts.org jerwoodvisualarts.org CALL FOR ENTRIES 2011 Twitter: #JPF2011 Twitter: #JMO2011 Deadline: Mon 20 June at 5pm The 2011 selectors are Iwona Blazwick, Tim Marlow and Rachel Whiteread. Apply online at jerwoodvisualarts.org Twitter: #JDP2011 Artist Associates: Beyond The Commission Saturday 16 July 2011, 10.30am – 4pm The Arts University College at Bournemouth | £30 / £20 concessions Artist Associates: Beyond the Commission focuses on the practice of supporting artists within the contemporary visual arts beyond the traditional curatorial, exhibition and commissioning role of the public sector, including this mentoring, advice, advocacy, and training. Confirmed Speakers: Simon Faithfull, (Artist and ArtSway Associate) Alistair Gentry (Artist and Writer, Market Project) Donna Lynas (Director, Wysing Arts Centre) Dida Tait (Head of Membership & Market Development, Contemporary Art Society) Chaired by Mark Segal (Director, ArtSway). -
Ne W Forest Pavilion 52Nd International Art Exhibition La Bi Ennale Di Venezia
NE W FOREST PAVILION 52ND INTERNATIONAL ART EXHIBITION LA BI ENNALE DI VENEZIA ESSAYS MARTIN COOMER on SIMON FAITHFULL ANNA-CATHARINA GEBBERS on BEATE GÜTSCHOW JOHN SLYCE on ANNE HARDY COLM LALLY & CECILIA WEE on IGLOO DAVID THORP on MELANIE MANCHOT CHARLOTTE FROST on STANZA New Forest Pavilion published by ArtSway and The Arts Institute at Bournemouth on the occasion of the exhibitions: NEW FOREST PAVILION 52nd International Art Exhibition - la Biennale di Venezia Palazzo Zenobio 10 June - 1 July 2007 and NEW FOREST PAVILION - LOCAL ArtSway 26 May - 15 July 2007 ArtSway, Station Road, Sway, Hampshire, SO41 6BA The Arts Institute at Bournemouth, Wallisdown, Poole, Dorset, BH12 5HH Editors: Peter Bonnell, Laura McLean-Ferris and Josepha Sanna English Translation from German: R. Jay Magill & Tanja Maka (text by Anna-Catharina Gebbers) All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted at any time or by any means electronic, mechanical, photocopying, recording or otherwise without the prior permission of the copyright holders. Set in Nilland and Soho. Printed by Printwise, Lymington, England © the artists and the authors ISBN: 0-9543930-9-0 [ArtSway] ISBN: 978-0-901196-20-0 [The Arts Institute at Bournemouth] Introduction New Forest Pavilion is an ArtSway international project that presents the work of six artists to a global audience within the framework of ArtSway’s innovative artist support scheme and residency programme. Five of the exhibiting artists are former ArtSway artists-in-residence, with Stanza being curated by SCAN (Southern Collaborative Arts Network). The overarching theme that unites all six within the context of New Forest Pavilion is their treatment of how one experiences transformation, modi!cation and change. -
A Brief History of the Arts Catalyst
A Brief History of The Arts Catalyst 1 Introduction This small publication marks the 20th anniversary year of The Arts Catalyst. It celebrates some of the 120 artists’ projects that we have commissioned over those two decades. Based in London, The Arts Catalyst is one of Our new commissions, exhibitions the UK’s most distinctive arts organisations, and events in 2013 attracted over distinguished by ambitious artists’ projects that engage with the ideas and impact of science. We 57,000 UK visitors. are acknowledged internationally as a pioneer in this field and a leader in experimental art, known In 2013 our previous commissions for our curatorial flair, scale of ambition, and were internationally presented to a critical acuity. For most of our 20 years, the reach of around 30,000 people. programme has been curated and produced by the (founding) director with curator Rob La Frenais, We have facilitated projects and producer Gillean Dickie, and The Arts Catalyst staff presented our commissions in 27 team and associates. countries and all continents, including at major art events such as Our primary focus is new artists’ commissions, Venice Biennale and dOCUMEntA. presented as exhibitions, events and participatory projects, that are accessible, stimulating and artistically relevant. We aim to produce provocative, Our projects receive widespread playful, risk-taking projects that spark dynamic national and international media conversations about our changing world. This is coverage, reaching millions of people. underpinned by research and dialogue between In the last year we had features in The artists and world-class scientists and researchers. Guardian, The Times, Financial Times, Time Out, Wall Street Journal, Wired, The Arts Catalyst has a deep commitment to artists New Scientist, Art Monthly, Blueprint, and artistic process. -
Press Release 2009,12,03
Press Release 2009,12,03 AICHI TRIENNALE OFFICE Aichi Arts Center 6F, 1-13-2 Higashi-sakura, Higashi-ku, Nagoya, Aichi, 461-8525 JAPAN TEL:81-52-971-6111 FAX:81-52-971-6115 E-mail:[email protected] http://aichitriennale.jp/ New International Art Festival Aichi Triennale is opening in August and will run until October 2010! The “Aichi Triennale”, a new large-scale international art festival, opens its doors in August 2010. Inspired by the idea to transmit new art and culture from the heart of Aichi, the festival’s “Arts and Cities” themed first installment will focus on the latest trends in the international art circus by way of various shows of contemporary art and performing arts. One predominant feature of the “Aichi Triennale 2010”, in addition to a core of contemporary art exhibitions, will be the event’s additional focus on cutting-edge performing arts. An international lineup of artists that keep crossing the boundaries between dance, theater, music and art, present their works at the Aichi Arts Center, a cultural-arts complex that houses a museum and event halls, while making best use of the venue’s characteristics. In order to attract a large number of local citizens and visiting tourists next to dedicated art fans, various places in the city, including a number of symbolic spots representative for the Aichi region will function as backdrops for a fascinating art spectacle that will make this Triennale an absolutely unique experience. Contemporary art exhibitions and performances in Choja-machi, one of the three biggest textile wholesale districts in Japan, and other locations in central Nagoya are sure to charge the atmosphere with a “city festival” kind of mood. -
Clapping with Stones: Art and Acts of Resistance” Organized by Guest Curator Sara Raza Opens at the Rubin Museum, August 16
For Immediate Release “CLAPPING WITH STONES: ART AND ACTS OF RESISTANCE” ORGANIZED BY GUEST CURATOR SARA RAZA OPENS AT THE RUBIN MUSEUM, AUGUST 16 Featuring works by Lida Abdul; Kader Attia; Nadia Kaabi-Linke; Naiza Khan; Kimsooja; Pallavi Paul; Shahpour Pouyan; Ibrahim Quraishi; Nari Ward; and Hank Willis Thomas Press Preview: August 15, 9:30–11:00 AM Public Opening: August 16, 6:00–11:00 PM For more information: [email protected] July 9, 2019, New York, NY — This August the Rubin Museum of Art is pleased to present the third exhibition in its Year of Power programming, “Clapping with Stones: Art and Acts of Resistance.” Organized by guest curator Sara Raza, the exhibition brings together 10 contemporary artists living and working in the United States and internationally whose works poetically employ non-conformity and resistance as tools to question and upend power in society. Using a range of media — including installation, painting, photography, sculpture, video, and textile — the artists confront history, identity, heritage, and ways of understanding the world at a time when truth is censored, borders reconfigured, mobility impeded, and civil liberties challenged. Bringing together myriad voices, the exhibition presents a meditation on the spirit of defiance expressed through art. “Clapping with Stones: Art and Acts of Resistance” will be on view from August 16, 2019, to January 6, 2020, and will feature works by Lida Abdul, Kader Attia, Nadia Kaabi-Linke, Naiza Khan, Kimsooja, Pallavi Paul, Shahpour Pouyan, Ibrahim Quraishi, Nari Ward, and Hank Willis Thomas. Installed on the sixth floor of the Museum, the exhibition unfolds around Kimsooja’s site- specific installation “Lotus: Zone of Zero” (2019). -
Lida Abdul Biography
ANNA SCHWARTZ GALLERY LIDA ABDUL BIOGRAPHY 1973 Born Kabul, Afghanistan Lives and works in Kabul and Los Angeles EDUCATION 2000 M.F.A., University of California, Irvine 1998 B.A., Philosophy, California State University Fullerton 1997 B.A., Political Science, California State University, Fullerton SOLO EXHIBITIONS 2018 Lida Abdul, Time, Love and the Workings of Anti-Love II, Giorgio Persano Gallery, Progetto Fo.To, Turin, Italy 2015 Lida Adbul, Cap Centre, Lyon 2014 Dhaka Art Summit, Samdani Art Foundation, Bangladesh Lida Abdul, Foundation Calouste|Gulbenkian, Paris 2013 Lida Abdul, CAC Málaga, Spain Videotank #7: Lida Abdul, Foreman Art Gallery, Bishop’s University, Quebec Lida Abdul, What we have overlooked, Galleria Giorgio Persano, Turin, Italy Lida Abdul, Calouste Gulbenkian Foundation, Lisbon 2010 Lida Abdul, Calouste Gulbenkian Foundation, Lisbon Lida Abdul, MADRE Museum of Contemporary Art, Naples Lida Abdul, Krannert Art Museum, University of Illinois, Urbana-Champaign, Illinois The Individual and the War, Ausstellungshalle zeitgenössische Kunst Münster, Münster, Germany Ruins: Stories of Awakening, Anna Schwartz Gallery, Melbourne 2009 Moving Perspectives, Sackler Gallery, Smithsonian Institute, Washington 2008 Lida Abdul, Galleria Alessandra Bonomo, Rome Lida Abdul, Centre A (Vancouver International Centre for Contemporary Asian Art) and The Western Front, Vancouver Intimacies of Distant War, Samuel Dorsky Museum of Art, State University of New York, New York Lida Abdul, Indianapolis Museum of Art, Indianapolis, USA Memory, -
An Archaeology of the Future 4 Yona Friedman 10 Cini Boeri 36 Renée Gailhoustet 54 Dante Bini 82 Hans Walter Müller 114 Claude
Contents 3 AN ARCHAEOLOGY OF THE FUTURE 4 YONA FRIEDMAN 10 CINI BOERI 36 RENÉE GAILHOUSTET 54 DANTE BINI 82 HANS WALTER MÜLLER 114 CLAUDE PARENT 136 ANTTI LOVAG 158 List of works Johanna Diehl 188 Biographies 190 Selected bibliography 191 Imprint/Photo credits/Acknowledgments 192 1074_17_EUROTOPIANS - PageNr: 3 INT_3.pdf -- UK - Sheet: -- A INSIDE 17-08-17 - 11:51:01 - dario.zanella PDF_FAX_VETTORIALE Yona Friedman It was on a cold January afternoon in 2004 when the idea suddenly came to him, in his small fat crammed full of architectural models, drawings, packaging waste, and fetishes in an old apartment building on Boulevard Garibaldi in Paris. The apartment itself looked like the enlarged brain of an architect. There were models stacked along shelves; souvenirs hanging from the ceiling like half-baked ideas; thousands of objects lying around that Yona Friedman had brought back from his travels: a brightly coloured elephant, an old stool, Indian fetishes, African masks, a glittering chain, a wooden crocodile, foam packaging, sketches, photographs, pictures, snippets of theories jotted down on sheets of paper affxed to the walls with drawing pins. Even the windows were papered over with drawings that obscured the milky light of a Parisian winter while, down below, the Métro Aérien rattled past on its way from Montparnasse to the elegant 16th arrondissement. We had spoken about Paris and about Berlin while Balkis, his antediluvian dog, crossed his paws and Florentine, his ante- diluvian cat, padded across the desk trying to catch the lines that Yona Friedman was sketching on his notepad. We had asked him what he liked about the new Berlin; he replied: “Oh well.” Things could have been done differently. -
Download the "Yona Friedman" Guide Booklet
SELF- GUIDING ENGLISHBOOKLET VERSION YONA FRIEDMAN – THE MOBILE 0EXHIBITION DUNKIRKYONA FRIEDMAN / MAUBEUGE / BEAUVAIS– THE MOBILE AND AMIENS EXHIBITION CNEAI Collection = on deposit at the Frac Grand Large — Hauts-de-France. Based on an idea by: Sylvie Boulanger, Keren Detton, Lucy Hofbauer “At the present time we build too much. Earth is over built, earth is over planned, earth is over farmed. This does not mean that we don’t need architects, planners and farmers but we have to change rules.” Yona Friedman Life and Work in Movement The architecture of survival provides food for thought to Yona Friedman on our fundamental needs in an ecosystem subjected to the rarefaction of resources. Born in 1923 in Hungary, he had started studying architecture in Budapest when WWII erupted. As a refugee in Romania, he lived in camps for the displaced before finally settling in Israel where he lived in a kibbutz and returned to architecture. It was in these conditions that he developed his original approach to habitat based on user experiences. In 1957, he founded the Mobile Architecture Study Group (Groupe d’Étude d’Architecture Mobile - GEAM) and promoted the use of flexible structures made of prefabricated elements. His ideas caught the attention of leading figures including Le Corbusier and Jean Prouvé, who invited him to move to France. From then on, he relentlessly transmitted his ideas throughout the most renowned universities in both Europe and the United States and wrote profusely, publishing over 500 articles and books. The Mobile Exhibition, Architecture and Life in Common The title of this exhibition pays tribute to his major work L’Architecture mobile (Mobile Architecture, 1958), in which Friedman develops his Spatial-City ideas. -
Savage Mind to Savage Machine
Savage Mind to Savage Machine: Techniques and Disciplines of Creativity, c. 1880-1985 Ginger Nolan Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy under the Executive Committee of the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2015 ©2015 Ginger Nolan All rights reserved ABSTRACT Savage Mind to Savage Machine: Techniques and Disciplines of Creativity, c. 1880-1985 Ginger Nolan This dissertation explores how the imagined semiotic mode of the unconscious, illiterate “savage” was instrumental to twentieth-century technologies of production in two respects: firstly, in the context of a global division of labor, as a way to disqualify certain groups’ intellectual products from the category of intellectual property; and, secondly, in disciplines of aesthetic production, as an imaginary model on which to base new technologies of design and communication. In my dissertation, Savage Mind to Savage Machine: Techniques and Disciplines of Creativity (1870-1985), I argue that class inequalities under capitalism have been linked to the ongoing formulation of two distinct—albeit tacit—categories of epistemic subjectivity: one whose creative intellectual processes are believed to constitute personal property, and one whose creative intellectual processes—because these are deemed rote or unconscious—are not regarded as the property of those who wield them. This epistemic apartheid exists despite the fact that the unconscious psyche or, as I call it, the “Savage Mind,” was, at the same time, repeatedly invoked by modernist designers in their efforts to formulate creative technologies, ones that tended increasingly towards digital modes of production. The history I examine in the dissertation reveals how modernist design has implicitly constituted itself as the process through which unconscious, magical creativity becomes consciously systematized and reified as technological, scientific forms of production.