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1 Pavilion of Greece at the 58Th International Art Exhibition ― La
Press Release Pavilion of Greece at the 58th International Art Exhibition ― La Biennale di Venezia Artists Panos Charalambous, Eva Stefani, and Zafos Xagoraris represent Greece at the Biennale Arte 2019 in an exhibition titled Mr. Stigl curated by Katerina Tselou May 11–November 24, 2019 Pre-opening: May 8–10, 2019 Inauguration: May 10, 2019, 2 p.m. Giardini, Venice Artists Panos Charalambous, Eva Stefani, and Zafos Xagoraris represent Greece at the 58th International Art Exhibition―La Biennale di Venezia (May11–November 24, 2019) with new works and in situ installations, curated by Katerina Tselou. Lining the Greek Pavilion in Venice―both inside and outside―with installations, images, In the environment they create, there is an constant transposition occurring from grand narratives to personal stories. The unknown (or less known) details of history emerge, subverting Mr. Stigl, who lends his name to the title of the Greek Pavilion exhibition, is a historical paradox, a constructive misunderstanding, a fantastical hero of an unknown story whose poetics take us to a space of doubt, paraphrased sounds, and nonsensical identities and histories. What does history rewrite and what does it conceal? The voices introduced by Panos Charalambous reach us through the rich collection of vinyl records he has accumulated since the 1980s. By combining installations with sonic performances, Charalambous brings forward voices that have been forgotten or silenced, recomposing their orality through an idiosyncratic play of vinyl using eagle’s claws, rose thorns, and agave leaves. His new work An Eagle Was Standing drinking glasses upon which an ecstatic, “ultrasonic” dance is performed—a vortex of deep listening. -
MOMA Pavilion in Venice
THE MUSEUM OF MODERN ART 11 WEST 53 STREET, NEW YORK 19, N. Y FOR RELEASE: MONDAY, TELEPHONE: CIRCLE 5-8900 March 29, 19Si No. 32 MUSEUM OF MODERN ART BUYS EXHIBITION PAVILION IN VENICE William A.M. Burden, President of the Museum of Modern Art, announced today that the Museum has bought the pavilion used for showing modern American art at the Intel-national Art Biennale Exhibitions in Venice, The pavilion, formerly owned by the Grand Central Art Galleries of New York, is the only privately-owned exhibition hall at the famous international art show. The other pavilions are owned by more that 20 governments which officially sponsor exhibitions of contemporary art from their own countries at the Biennale, The Museum of Modern Art has bought the building, Mr* Burden said, in order to insure the continuous representation of art from this country at these famous inter national exhibitions which have been held every two years since 1892 except for the war period* The Venice Biennale is sponsored by the Italian government in order "to bring together some of the most noteworthy and significant examples of con temporary Italian and foreign art" according to the official prospectus, To present as broad a representation of American art as possible the Museum of Modern Art will ask other leading institutions in this country to co-operate in organizing future exhibitions. The exhibition hall in Venice was purchased to implement the Museum's Inter national Exhibitions Program, made possible by a grant to the Museum last year from the Rockefeller Brothers Fund. -
Venice's Giardini Della Biennale and the Geopolitics of Architecture
FOLKLORIC MODERNISM: VENICE’S GIARDINI DELLA BIENNALE AND THE GEOPOLITICS OF ARCHITECTURE Joel Robinson This paper considers the national pavilions of the Venice Biennale, the largest and longest running exposition of contemporary art. It begins with an investigation of the post-fascist landscape of Venice’s Giardini della Biennale, whose built environment continued to evolve in the decades after 1945 with the construction of several new pavilions. With a view to exploring the architectural infrastructure of an event that has always billed itself as ‘international’, the paper asks how the mapping of national pavilions in this context might have changed to reflect the supposedly post-colonial and democratic aspirations of the West after the Second World War. Homing in on the nations that gained representation here in the 1950s and 60s, it looks at three of the more interesting architectural additions to the gardens: the pavilions for Israel, Canada and Brazil. These raise questions about how national pavilions are mobilised ideologically, and form/provide the basis for a broader exploration of the geopolitical superstructure of the Biennale as an institution. Keywords: pavilion, Venice Biennale, modernism, nationalism, geopolitics, postcolonialist. Joel Robinson, The Open University Joel Robinson is a Research Affiliate in the Department of Art History at the Open University and an Associate Lecturer for the Open University in the East of England. His main interests are modern and contemporary art, architecture and landscape studies. He is the author of Life in Ruins: Architectural Culture and the Question of Death in the Twentieth Century (2007), which stemmed from his doctoral work in art history at the University of Essex, and he is co-editor of a new anthology in art history titled Art and Visual Culture: A Reader (2012). -
OCA AR2013.Pdf
p. 4 Director’s Foreword p. 6 Statement of the Board p.12 International Support p. 102 Biennials and Major Solo Exhibitions p. 127 International Studio Programme p. 134 International Residencies Office for Contemporary Art Norway Annual Report 2013 145 p. International Visitor Programme p. 152 OCA Semesterplan p. 164 OCA’s Publication Series Verksted p. 167 Project: ‘On Négritude: A Series of Lectures on the Politics of Art Production in Africa’ p. 171 Project: ‘WORD! WORD? WORD! Office for Issa Samb and the Contemporary Art Undecipherable Form’ Norway p. 182 Project: ‘Fashion: the Fall of an Industry’ p. 198 Project: ‘Anthropocene Observatory: Empire of Calculus’ p. 204 Norway at the Venice Biennale p. 214 OCA in the Press p. 237 Key Figures 2013 p. 257 Organisation and the Board 3 Dear Friend, A Letter to You This is a Letter to You. I have only recently arrived In this regard the necessity to stimulate a reading and we may have not yet met. In fact, we are still and intervention into history in unforeseen ways in the about to, or just have, moment during which becomes vital, so as to nurture and nourish the cre- contours touch, when interiors start to seep and ative potential of the day. Such interventions must blend. We are in the now that ignites a new endeav- be multiple in nature, asymmetric in duration, and our, and anticipates fresh liaisons along the expanse worldly in spirit. Indeed, as practitioners in Norway of a nation and the lands beyond it. Together we repeatedly point to the malleability of how the past start to interweave our thoughts and actions. -
Listed Exhibitions (PDF)
G A G O S I A N G A L L E R Y Anish Kapoor Biography Born in 1954, Mumbai, India. Lives and works in London, England. Education: 1973–1977 Hornsey College of Art, London, England. 1977–1978 Chelsea School of Art, London, England. Solo Exhibitions: 2016 Anish Kapoor. Gagosian Gallery, Hong Kong, China. Anish Kapoor: Today You Will Be In Paradise. Gladstone Gallery, New York, NY. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor. Lisson Gallery, Milan, Italy. Anish Kapoor. Museo Universitario Arte Contemporáneo, Mexico City, Mexico. 2015 Descension. Galleria Continua, San Gimignano, Italy. Anish Kapoor. Regen Projects, Los Angeles, CA. Kapoor Versailles. Gardens at the Palace of Versailles, Versailles, France. Anish Kapoor. Gladstone Gallery, Brussels, Belgium. Anish Kapoor. Lisson Gallery, London, England. Anish Kapoor: Prints from the Collection of Jordan D. Schnitzer. Portland Art Museum, Portland, OR. Anish Kapoor chez Le Corbusier. Couvent de La Tourette, Eveux, France. Anish Kapoor: My Red Homeland. Jewish Museum and Tolerance Centre, Moscow, Russia. 2013 Anish Kapoor in Instanbul. Sakıp Sabancı Museum, Istanbul, Turkey. Anish Kapoor Retrospective. Martin Gropius Bau, Berlin, Germany 2012 Anish Kapoor. Museum of Contemporary Art, Sydney, Australia. Anish Kapoor. Gladstone Gallery, New York, NY. Anish Kapoor. Leeum – Samsung Museum of Art, Seoul, Korea. Anish Kapoor, Solo Exhibition. PinchukArtCentre, Kiev, Ukraine. Anish Kapoor. Lisson Gallery, London, England. Flashback: Anish Kapoor. Longside Gallery, Yorkshire Sculpture Park, West Bretton, England. Anish Kapoor. De Pont Foundation for Contemporary Art, Tilburg, Netherlands. 2011 Anish Kapoor: Turning the Wold Upside Down. Kensington Gardens, London, England. Anish Kapoor: Flashback. Nottingham Castle Museum, Nottingham, England. -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
ANSELM KIEFER Education Solo Exhibitions
ANSELM KIEFER 1945 Born in Donaueschingen, Germany Lives and works in France Education 1970 Staatliche Kunstakademie, Düsseldorf, Germany 1969 Staatliche Akademie der Bildenden Künste, Karlsruhe, Germany Solo exhibitions 2021 Field of the Cloth of Gold, Gagosian Le Bourget, France 2020 Permanent Public Commission, Panthéon, Paris Für Walther Von Der Vogelweide, Thaddaeus Ropac, Salzburg Villa Kast, Austria Opus Magnum, Franz Marc Museum, Kochel, Germany Superstrings, Runes, the Norns, Gordian Knot, White Cube, London 2019 Couvent de la Tourette, Lyon, France Books and Woodcuts, Foundation Jan Michalski, Montricher, Switzerland; Astrup Fearnley Museum, Oslo 2018 ARTISTS ROOMS: Anselm Kiefer, Herbert Art Gallery and Museum, West Midlands, UK Fugit Amor, Lia Rumma Gallery, Naples For Vicente Huidobro, White Cube, London Für Andrea Emo, Galerie Thaddeus Ropac, Paris Uraeus, Rockefeller Center, New York 2017 Provocations: Anselm Kiefer at the Met Breuer, Met Breuer, New York Anselm Kiefer, for Velimir Khlebnikov, The State Hermitage Museum, Saint Petersburg, Russia Transition from Cool to Warm, Gagosian, New York For Louis-Ferdinand Céline: Voyage au bout de la nuit, Copenhagen Contemporary, Denmark Kiefer Rodin, Rodin Museum, Paris; Barnes Foundation, Philadelphia, Pennsylvania 2016 The Margulies Collection at the Warehouse, Miami Walhalla, White Cube, London The Woodcuts, Albertina Museum, Vienna Regeneration Series: Anselm Kiefer from the Hall Collection, NSU Art Museum, Fort Lauderdale, Florida 2015 Centre Georges Pompidou, Paris In the -
2016 AIA Fellowship Entry 133503 Nominee Hsinming Fung Organization Hodgetts + Fung Location Los Angeles Chapter AIA Los Angeles
This cover section is produced by the AIA Archives to show information from the online submission form. It is not part of the pdf submission upload. 2016 AIA Fellowship Entry 133503 Nominee Hsinming Fung Organization Hodgetts + Fung Location Los Angeles Chapter AIA Los Angeles Category of Nomination Category One - Design Summary Statement Hsinming Fung’s emphasis on rigorous formal logic and precise delineation of materials has translated into exceptional designs, balancing innovation and poetic sensitivity. Her academic leadership has been instrumental in bridging the discipline and contemporary practice. Education University of California, Los Angeles, 3 years (1977-1980), Master of Architecture California State University, Dominguez Hills, 3 years (1974-1977), Bachelor of Arts Miami University, Ohio, 1 year (1973-1974) Oxford College, Oxford, 2 years (1971-1973) Licensed in: California Employment Hodgetts + Fung, employed 31 years (1984-present) Charles Kober Associates, employed 4 years (1980-1984) October 8, 2015 ALTOON | Strategic Diane Georgopulos, FAIA Chair, 2016 Jury of Fellows THE AMERICAN INSITITUTE OF ARCHITECTS 1735 New York Avenue, NW Washington, D.C. 20006-5292 Re: Sponsorship of Hsinming Fung, AIA Dear Diane Georgopulos and the 2016 Jury of Fellows: As a student of leadership, I am honored to sponsor Hsinming Fung, AIA, a most worthy nominee to the AIA College of Fellows. I do so with comprehensive 35-year awareness of her contributions, having hired her as a designer in 1980. Ming immediately demonstrated curiosity, resourcefulness, commitment and competency. Perhaps because she was a immigrant relocating from Viet Nam driven to achieve “the Amerian Dream”, she volunteered for any task, seized every opportunity, took every risk, and never disappointed. -
Hans Haacke Biography
P A U L A C O O P E R G A L L E R Y Hans Haacke Biography 1936 Born Cologne, Germany 1956-60 Staatliche Werkakademie (State Art Academy), Kassel, Staatsexamen (equivalent of M.F.A.) 1960-61 Stanley William Hayter's Atelier 17, Paris 1961 Tyler School of Fine Arts, Temple University, Philadelphia 1962 Moves to New York 1963-65 Return to Cologne. Teaches at Pädagogische Hochschule, Kettwig, and other institutions 1966-67 Teaches at University of Washington, Seattle; Douglas College, Rutgers University, New Jersey; Philadelphia College of Art 1967 - 2002 Teaches at Cooper Union, New York (Professor of Art Emeritus) 1973 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1979 Guest Professorship, Gesamthochschule, Essen 1994 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1997 Regents Lecturer, University of California, Berkeley Lives in New York (since 1965) Awards 1960 Deutscher Akademischer Austauschdienst (DAAD) 1961 Fulbright Fellowship 1973 John Simon Guggenheim Foundation Fellowship 1978 National Endowment for the Arts 1991 College Art Association Distinguished Artist Award for Lifetime Achievement Deutscher Kritikerpreis for 1990 Honorary Doctorate in Fine Arts, Oberlin College 1993 Golden Lion (shared with Nam June Paik), Venice Biennale 1997 Kurt-Eisner-Foundation, Munich Honorary Doctorate Bauhaus-Universität Weimar 2001 Prize of Helmut-Kraft-Stiftung, Stuttgart 2002 College Art Association Distinguished Teaching of Art Award 2004 Peter-Weiss-Preis, Bochum 2008 Honorary Doctorate, San Francisco Art Institute -
Export / Import: the Promotion of Contemporary Italian Art in the United States, 1935–1969
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 2-2016 Export / Import: The Promotion of Contemporary Italian Art in the United States, 1935–1969 Raffaele Bedarida Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/736 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by RAFFAELE BEDARIDA A dissertation submitted to the Graduate Faculty in Art History in partial fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2016 © 2016 RAFFAELE BEDARIDA All Rights Reserved ii This manuscript has been read and accepted for the Graduate Faculty in Art History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy ___________________________________________________________ Date Professor Emily Braun Chair of Examining Committee ___________________________________________________________ Date Professor Rachel Kousser Executive Officer ________________________________ Professor Romy Golan ________________________________ Professor Antonella Pelizzari ________________________________ Professor Lucia Re THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT EXPORT / IMPORT: THE PROMOTION OF CONTEMPORARY ITALIAN ART IN THE UNITED STATES, 1935-1969 by Raffaele Bedarida Advisor: Professor Emily Braun Export / Import examines the exportation of contemporary Italian art to the United States from 1935 to 1969 and how it refashioned Italian national identity in the process. -
Plateau of Humankind: the 49Th Venice Biennale’, CIRCA 97, Autumn 2001: 50-51
Maeve Connolly, ‘Plateau of Humankind: The 49th Venice Biennale’, CIRCA 97, Autumn 2001: 50-51. The theme of the 49th Biennale at Venice is Platea dell’umanità, Plateau of Humankind, Plateau der Menschheit, Plateau de l’humanité. Refigured as a ‘plateau’, the exhibition is, according to curator Harald Szeemann, a “place which one looks at and from which one will be seen, a place in which the public onlooker is the protagonist and the measure of things, a place of encounter between artist, work and spectator”.1 But through the transformation of linguistic difference into a brand name, Szeemann inadvertently calls attention to both the imperialist origins of the Biennale itself and the limits of his own utopian project. In the introduction to the exhibition catalogue, critic and philosopher Bazon Brock suggests that a wide range of artistic practices (from Beuys to Benetton advertising campaigns) lead the way towards this “plateau of friendship”.2 But, he suggests, “religious wars (Northern Ireland), wars of nationality (Basque), cultural wars (Ex- Yugoslavia)” will remain until “dogmatic conviction” is given up in favour of friendship. The plateau is therefore reserved for those whose have abandoned excessive conviction, and the particularities of cultural or political difference.3 If Szeemann’s approach to the 1999 Biennale was characterised by disruption of established classifications and divisions, the ‘plateau’ of 2001 is based upon a less focused expansion of these classifications, articulated in various ways. Two newly refurbished venues have been opened at the Arsanale complex, a sixteenth century munitions factory built around a harbour, and these are used to house large scale projects by established artists such as Richard Serra and Ilya and Emilia Kabakov.4 Poetry and ‘net.art’ are represented within the Biennale for the first time and the work of non-Western curators is also recognised, through a parallel exhibition of conceptualism in contemporary African, Authentic/Ex-centric, selected by Salah M. -
The Best of the Venice Biennale 2015
The best of the Venice Biennale 2015 NAIMA MORELLI TUESDAY 12 MAY, 2015 If you can't be at the world's biggest art party, you can at least enjoy the vicarious pleasure of knowing what is exciting the crowds at the 56th Venice Biennale. Kim Joon, Ebony Tiger, From Frontiers Reimagined, All images from official exhibition sites or by Naima Morelli. Every country wants a piece of the Venice Biennale. The most established - predominantly European - have permanent pavilions in the Giardini, while the new powers have taken over the Arsenale. More countries buy in each year. The 2015 Biennale includes, for the first time, Andorra, Bangladesh, India, Iraq, Saudi Arabia, South Africa and Zimbabwe. All visitors to the Biennale will want to take in the official exhibition. This year is its curated by Okwui Enwezor with the title All the World’s Futures. Enwezor characterises the exhibition as an appraisal of the relationship of art and artists to the current state of things. 'The ruptures that surround and abound around every corner of the global landscape today recall the evanescent debris of previous catastrophes piled at the feet of the angel of history in Angelus Novus. How can the current disquiet of our time be properly grasped, made comprehensible, examined, and articulated?' he writes. But once they have taken in the main show what are visitors choosing from the 89 national pavilions, 44 official collateral shows and countless unofficial events? In the first week, this is what is creating the buzz. Japanese Labyrinth Scenic and delicate like no other, the Japan pavilion features the installation Key in the Hand by Chiharu Shiota.