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Tees Valley Giants
5TEES VALLEY GIANTS TEES VALLEY GIANTS A series of five world-class art installations matched only in scale by the ambition of Tees Valley Regeneration in its instigation of the project. Temenos is the first iteration of the five sculptures that will combine as the world’s largest series of public art - the Tees Valley Giants. The epically scaled installations created by Turner Prize winning sculptor Anish Kapoor and pioneering structural designer Cecil Balmond, will soon grace the Tees Valley, with the first of these, Temenos, located at Middlehaven, Middlesbrough. Over the next decade four more structures will be located within each of the other four Tees Valley boroughs: Stockton, Hartlepool, Darlington and Redcar and Cleveland. Although each work is individually designed and specific to its location, the structures will be thematically related, visually linking the Tees Valley and highlighting the ambition for social, cultural and economic regeneration of the Tees Valley as a whole. Massive in impact, scale and world status, Tees Valley Giants is symbolic of the aspiration and ongoing commitment of Tees Valley Regeneration to enhance the way in which the Tees Valley is viewed and experienced. TEMENOS Temenos Greek, meaning ‘land cut off and assigned as sanctuary or holy area.’ Temenos is a bold contemporary artwork which also recalls the heritage of Middlesbrough and the Tees Valley. Its construction will call on the traditional twin skills of the region: precision engineering and heavy industry. Standing at a height of nearly 50 metres and spanning almost 120 metres in length, Temenos will stand shoulder-to-shoulder with Middlesbrough’s landmark Transporter Bridge. -
Arcelormittal ORBIT
ArcelorMittal ORBIT Like many parents we try pathetically With the help of a panel of experts, to improve our kids by taking them to including Nick Serota and Julia Peyton- see the big exhibitions. We have trooped Jones, we eventually settled on Anish. through the Aztecs and Hockney and He has taken the idea of a tower, and Rembrandt – and yet of all the shows transformed it into a piece of modern we have seen there is only one that really British art. seemed to fire them up. It would have boggled the minds of the I remember listening in astonishment as Romans. It would have boggled Gustave they sat there at lunch, like a bunch of Eiffel. I believe it will be worthy of art critics, debating the intentions of the London’s Olympic and Paralympic Games, artist and the meaning of the works, and worthy of the greatest city on earth. but agreeing on one point: that these In helping us to get to this stage, were objects of sensational beauty. I especially want to thank David McAlpine That is the impact of Anish Kapoor on and Philip Dilley of Arup, and everyone Our ambition is to turn the young minds, and not just on young at the GLA, ODA and LOCOG. I am Stratford site into a place of minds. His show at the Royal Academy grateful to Tessa and also to Sir Robin destination, a must-see item on broke all records, with hundreds of Wales and Jules Pipe for their the tourist itinerary – and we thousands of people paying £12 to see encouragement and support. -
Gibbs Farm Kaipara Harbour, New Zealand
GIBBS FARM KAIPARA HARBOUR, NEW ZEALAND Seeing the Landscape the largest the artists have ever done. In response to the Rob Garrett demanding landscape, the artists have pushed beyond what they have previously attempted or achieved. ‘Then we end up having to make the works,’ says Gibbs, ‘and Commissioning new works rather than buying from an we particularly enjoy the challenge of making something exhibition has the satisfaction of dealing with the artists; that no one’s ever done before and solving the engineering and Alan Gibbs comments, ‘they’re interesting because problems to get there.’ Nevertheless, while the art is they’re winners; tough, ambitious’. a major source of stimulation for Gibbs, it has to share a place with his amphibian business, the land itself and When Alan Gibbs purchased his Kaipara property in 1991, his wanderlust, which has recently taken him to 160 he already had three decades of signifi cant art collecting countries, most by helicopter; and the place occupied behind him. Commissioning art works was in the back by the art at any one time depends on Gibbs’ need for a of his mind ‘but not the major purpose’ of searching for stimulus and whether the proposals under consideration a rural retreat. Looking back, it is clear now that 1991 are exciting enough. marked the beginning of a whole new art-collecting adventure for Gibbs; and it is one where it has been After nearly twenty years Gibbs’ collection includes major possible to be very, very ambitious. ‘We push the limits,’ works by Andy Goldsworthy, Anish Kapoor, Bill Culbert, Gibbs says. -
VOGUE January 2020
VOGUE January 2020 Yitiao 14 December 2019 Wallpaper November & December 2019 Modern Weekly November 29. 2019 CNN International 20 November 2019 CNN tyle 20 November 2019 South China Morning Post November 2019 CGTN 2 November 2019 CGTN 2019 CGTN 2 2019 T Magazine October issue, 2019 伦敦南部的坎伯韦尔区是城中名不见经传的艺术街区,紧邻伦敦艺术学院分校 和蓝象剧场,氛围静谧却不失活泼。位于这里的Anish Kapoor工作室从外观上看, 更像是一座当代艺术画廊,面积之大几乎占据了一整条街。9月的伦敦秋高气爽,更 胜春日。街对面是一所小学,不时传来孩子们嬉戏的声音。Kapoor工作室的前身是 一座牛奶工厂,为了不影响Kapoor的创作,Caseyfierro建筑事务所耗时五年才将 内部全面翻新。与其说是厂房,Kapoor更愿意把这里看作一个激动人心的实验室, 他的助理告诉我,在他创意灵感迸发的日子,这里几乎每天都能输出一件作品,而 某些雕塑的打磨则会耗时数月乃至数年。但无论如何,这里的每一件作品都倾注了 Kapoor的大量心力。 或许是他的作品趋于克制和审慎,我很难将眼前这个身材瘦削的长者与那些宏 伟的公共雕塑联系在一起:洗白的衬衫上依稀可见淡淡的红色墨点,交谈间,现年65 岁的他不时发出洪亮笑声。 无论是雾面粉末颜料、粗糙蜡质树脂,还是平滑镜面,Kapoor的作品总能激发出 观者一种难以名状的情绪。而虚无与现实之间的临界点,正是Kapoor反复推敲并努 力达到的境界,他邀请公众直面作品背后更为深层的含义:“不同于娱乐圈,作为艺术 家,我们的职责比娱乐更加复杂。”这种职责,是带领人们探寻一种经过冥想而产生的 现实:“没有哪种黑暗会比内心的黑暗更为深刻,没有哪种空间比内心的空间更值得 探索。”正如存在主义创始人Martin Heidegger所提倡的哲学使命——带领人们停 止絮叨逃避现实的无关话题(Das Gerede),更 加 直 观 地 理 解 瞬 息 变 幻 的 存 在 ( Das Sein),并从混沌的意识中觉醒,以更为理性系统的态度来直面虚无( Das Nichts)。这 种使命与中国道家思想中的“有和无”不谋而合。白昼和深夜,男人和女人,Kapoor 相信一切事物皆有黑白正反和阴阳两性,他热衷探索物质和非物质、存在与消逝、空 间和非空间等之间的关联。 作为同时期最具影响力的当代艺术家,Kapoor的创作理念与道家的“无为”不 尽相同。“创作的根本不在于灵感,而在于千锤百炼。这意味着我每天都要来工作室反 复练习,并且常年置身其中,身体力行做该做的事。创作雕塑的好处在于,它要经历很 多工序,最终水到渠成。就在反复练习的过程中,作品应运而生,并且在完成以后,它 仍是一个流动的,不断变化的存在。”Kapoor认为好的作品并不是坐在那里想象出 来的,“成功的作品总是洞悉人心的,总会与内心深处呼应,背后也饱含工艺。当然激 画廊提供 Lisson 承蒙 , 摄影 Tadzio , Anish Kapoor 聚氯乙烯和钢铁 , BEING 2015 撰文:窦俊杰 , -
11-Art Contemporain En Inde
096 L’Art contemporain en Inde Histoire de l’Art, Martine Baransky U.I.A. année 2016-2017 01 Inde, Peinture vernaculaire désigne un art vivant (contemporain), ancré dans le passé (les mythes, les croyances et les traditions) et exercé dans une communauté restreinte. 02-05 Kolams 06 Mandala, sable coloré. 07 Mur dans un temple bouddhiste, peinture. 08- 014 Art du Mithila 015-018 Statues éphémères, Fête de Saraswati à Bénarès. 019-020 Eléphants peints. 021 Le mehndi. 022-025 Le Cinéma s’affiche. RAVI VARMA 026 Ravi Varma, Dattatreya, incarnation Brahma, Mahavishnu et Shiva. 027 Ravi Varma, Kârttikeya, dieu de la guerre et ses consorts sur sa monture le Paon. 028 Ravi Varma, La déesse Lakshmi, déesse de la Fortune. MAQBOOL FIDA HUSAIN 029 M.F. Husain, Mendhi. 030 Maqbool Fida Husain, Living goddess, 1960-69, huile sur toile, 80,5 x 85,5. 031 M. F. Husain, Ganesha. 032 M. F. Husain, Mahabharata. 033 M-F Hussain, La Déesse Durga nue sur un tigre(force et pouvoir féminin). 034 M-F Hussain, Peintures de Parvati et Saraswati nues. 035 M. F. Husain, Déesse et chevaux 035 Gandhi et Hitler. 036 M-F Husain, Mother India, 2006, peinture controversée par le Mouvement Radical Indou. 037 Comparaison entre les oeuvres de M-F Hussain et la sculpture ancienne Hindouiste. 038 M.F. Husain, Mère Thérésa et enfant, Lithographie. 039 M.F. Husain peignant. ATUL DODIYA 040 Atul Dodiya, Série sur Gandhi 1999. 041 Atul Dodiya Sharu, 2006. 042 ATul Dodiya, Unmerry Monarch. 043 Atul Dodiya, Collage. 044 Atul Dodiya, Gandhi, peinture sur volet. -
A Razão Em Jane Austen: Classe, Gênero E Casamento Em Pride and Prejudice
UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS MODERNAS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS LINGUÍSTICOS E LITERÁRIOS EM INGLÊS NARA LUIZA DO AMARAL DIAS A razão em Jane Austen: classe, gênero e casamento em Pride and Prejudice SÃO PAULO 2015 2 UNIVERSIDADE DE SÃO PAULO FACULDADE DE FILOSOFIA, LETRAS E CIÊNCIAS HUMANAS DEPARTAMENTO DE LETRAS MODERNAS PROGRAMA DE PÓS-GRADUAÇÃO EM ESTUDOS LINGUÍSTICOS E LITERÁRIOS EM INGLÊS A razão em Jane Austen: classe, gênero e casamento em Pride and Prejudice Nara Luiza do Amaral Dias Dissertação apresentada ao Programa de Pós-Graduação em Estudos Linguísticos e Literários em Inglês do Departamento de Letras Modernas da Faculdade de Filosofia, Letras e Ciências Humanas da Universidade de São Paulo, para obtenção do título de Mestre em Letras. Orientador: Prof. Dr. Daniel Puglia SÃO PAULO 2015 3 AUTORIZO A REPRODUÇÃO E DIVULGAÇÃO TOTAL OU PARCIAL DESTE TRABALHO POR MEIO CONVENCIONAL OU ELETRÔNICO, PARA FINS DE ESTUDO E PESQUISA, DESDE QUE CITADA A FONTE. 4 FOLHA DE APROVAÇÃO Nome: DIAS, Nara Luiza do Amaral. Título: A razão em Jane Austen: classe, gênero e casamento em Pride and Prejudice. Dissertação de Mestrado, pelo Departamento de Letras Modernas, Área de Estudos Linguísticos e Literários em Inglês, sob orientação do Prof. Dr. Daniel Puglia. Aprovada em: __________________________________ Banca examinadora Prof.(a) Dr.(a)_______________________________________________________________ Instituição:________________________ Assinatura:______________________________ Prof.(a) Dr.(a)_______________________________________________________________ Instituição:________________________ Assinatura:______________________________ Prof.(a) Dr.(a)_______________________________________________________________ Instituição:________________________ Assinatura:______________________________ 5 Aos meus pais, pelos livros E ao Pedro, que deu vida a eles 6 AGRADECIMENTOS Ao professor Dr. -
Antecedentes Medievais Da Ruptura Com Roma
The Importance of Study for Women and by Women: Hannah More’s Defence of Female Education as the Path to their Patriotic Contribution Patrícia Rodrigues University of Lisbon, Portugal Higher School of Education of Santarém, Portugal In the late eighteenth century we observe an intense debate regarding female education, an issue that generated great controversy and discomfort in society, as it threatened the long-established patterns of women’s inferiority which confined them to the domestic and private sphere. One of such writers was Hannah More who, though not defying the status quo, does claim for a more comprehensive education for women. The writer in question was a prominent literary figure of this period and her fame is not confined solely to her time; on the contrary, Hannah More is one of the authoresses of the eighteenth century who has known a renewed interest by modern readers. One of her works in particular illustrates her disappointment regarding the inadequate female education which she considered to be the source of many flaws, mistakes and imperfections traditionally associated with most women’s behaviour. More’s Strictures on the Modern System of Female Education, with a View of the Principle and Conduct Prevalent Among Women of Rank and Fortune (1799) stresses the importance of study for women and by women, since it was the only way they could ascend spiritually and promote the harmony in their proper, private sphere, that is, the domus. However, regrettably she merely points out guidelines instead of suggesting a feasible and complete curriculum. Such work aimed at developing the awareness that it was imperative to offer women a more complete Entre Classicismo e Romantismo education which aimed at more than external accomplishments and domestic expertise. -
Anish Kapoor
ANISH KAPOOR Interview by KIM HEIRSTON Portrait by Johnnie Shand-Kydd, 2003 for an interview, I was convinced that I knew just Sky Mirror, 2013 Stainless steel WHEN I APPROACHED about everything there was to know about the artist’s Diametre: 5.5 m work. I had placed a number of Kapoor’s sculptures Château de Versailles, 2015 Photo: Fabrice Seixas over the years. Along the way, I learned a fair bit ANISH KAPOOR about his background as well. I knew Anish grew up in Bombay, spent time as a teenager in Israel, and did a short, six-month stint at engineering school. I knew his father was a naval hydrographer; his mother, the daughter of an Iraqi-Jewish rabbi. However, one thing I hadn’t fully grasped was Anish’s position on the past. As a lover of India, I thought we would have so much to talk about with respect to his amazing country - the birthplace of The Mahabharata, Dinesh D’Souza, Parvati. I wanted to share with him my pilgrimage to see the rock carvings at Mahabalipuram, or to the caves of Ajanta. That he hadn’t really delved into this in past interviews, I attrib- uted to the interviewers’ lack of interest, or intimate knowledge, in India and its magnificent traditions. However, what I found in Anish was a reticence to discuss the past. Curious, I thought, from a man who seems to delve into his own psychic history on a regular basis. “Picasso is a great artist, not because he is Spanish, or French,” he asserted firmly. -
Gagosian Gallery
South China Morning Post Magazine September 23, 2016 GAGOSIAN GALLERY Sculptor Anish Kapoor on sex, race, big art and Brexit As his heavyweight exhibition opens in Hong Kong, the British-Indian artist behind Chicago’s monumental Cloud Gate offers a glimpse under the mirror-like skin of his sculptures and the controversies some have sparked Fionnuala McHugh Anish Kapoor reflected in Vertigo, one of the works in his exhibition at the Gagosian Gallery, in Central. Piecture: Jonathan Wong One recent wet night, at about 10pm, a crane was manoeuvred into Theatre Lane, in Central, and positioned at the back of the Pedder Building. It was there to hoist sculptures by the British- Indian sculptor Anish Kapoor from street level, through a 1.4-metre x 5-metre window and into the Gagosian Gallery, on the seventh floor. Three crane-hire companies had already declined the task, apparently declaring it impossible. Kapoor is known for the monumental nature of his creations. For the 2012 London Olympics, he designed the ArcelorMittal Orbit, which, at 114.5 metres, is Britain’s tallest sculpture. In Chicago, his stainless-steel work, formally titledCloud Gate (2006), but generally referred to as The Bean, is 110 tonnes. His imagination loves to play with volume and space, and as he’s got older – he’s now aged 62 – his sculptures seem to have become correspondingly bigger. They tend to bear names like Leviathan (2011, Paris) and be part of huge projects, such as the proposed (but only partially completed) series of five sculptures in Englandofficially designated the Tees Valley Giants. -
Chicago Symphony Orchestra Riccardo Muti Zell Music Director Gennady Rozhdestvensky Conductor Stephen Williamson Clarinet Sibeli
The Chicago Symphony Orchestra welcomes Gennady Rozhdestvensky, who has graciously agreed to conduct this performance while CSO Music Director Riccardo Muti recovers from a hip operation. Please note that Ligeti’s Ramifications has been replaced by Sibelius’s Rakastava. PROGRAM ONE HUNDRED TWENTY-FIFTH SEASON Chicago Symphony Orchestra Riccardo Muti Zell Music Director Yo-Yo Ma Judson and Joyce Green Creative Consultant Global Sponsor of the CSO Tuesday, February 16, 2016, at 7:30 Gennady Rozhdestvensky Conductor Stephen Williamson Clarinet Sibelius Rakastava, Op. 14 The Lover The Path of the Beloved Good Evening—Farewell Mozart Clarinet Concerto in A Major, K. 622 Allegro Adagio Rondo: Allegro STEPHEN WILLIAMSON INTERMISSION Pärt Orient & Occident First Chicago Symphony Orchestra performances Tchaikovsky Serenade for Strings in C Major, Op. 48 Piece in the Form of a Sonatina: Andante non troppo—Allegro moderato Waltz: Moderato, tempo di valse Elegy: Larghetto elegiaco Finale: Russian Theme. Andante—Allegro con spirito CSO Tuesday series concerts are sponsored by United Airlines. This program is partially supported by grants from the Illinois Arts Council, a state agency, and the National Endowment for the Arts. COMMENTS by Phillip Huscher Jean Sibelius Born December 8, 1865, Tavastehus, Finland. Died September 20, 1957, Järvenpää, Finland. Rakastava, Op. 14 When Sibelius was just that his music was difficult to perform and seven years old, his family too “modern.” made the forward-looking decision to transfer him ibelius knew that Rakastava was filled with from a popular Swedish strong and distinctive musical ideas, and language preparatory he refused to give up on it. In 1894, the school to the brand new, Syear after the competition, he arranged the work first-ever Finnish lan- for male chorus and string orchestra, and then guage grammar school. -
TEMENOS ANISH KAPOOR and CECIL BALMOND TEMENOS ANISH KAPOOR and CECIL BALMOND Contents
TEMENOS ANISH KAPOOR AND CECIL BALMOND TEMENOS ANISH KAPOOR AND CECIL BALMOND Contents Editors: Kate Brindley, Matthew Jarratt, 05 Introduction Leanne English and Ben Landon, with Kate Brindley, Director of mima, thanks to Anish Kapoor Studio and Cecil Balmond. Middlesbrough Institute of Modern Art Editorial Assistant: Lauren Healey Text: Kate Brindley, Richard Cork, Matthew 06 Regeneration Jarratt, Jay Merrick, Pat Ritchie Pat Ritchie, Chief Executive of the Homes and Communities Agency Photographers: Dan Holdsworth, Kirstie Matthew Jarratt, Arts Council England Handley, Lewis Lane, Stephen Pugh, Benjamin Forbes, Jason Hornsby, Lauren Purnell, Ian Burton, Steve Gray, Drew 10 Anish Kapoor & Cecil Balmond Harpe, Stephen Hutchinson, Gilmar Richard Cork, art historian, critic and editor Ribinero, Thierry Bal, Judy Hulme, Seong Jay Merrick, architecture critic, The Independent Kwon Photography, Dave Morgan, Jos Wheeler, Gareth Winters, John Edward Linden, John Riddy, Peter.J.Schluz, Arup, 33 Towards Temenos Alex Fradkin, Masao Nishikawa. Designed by Cool Blue 89 Temenos 125 The Community 3 With the launch of Temenos in June 2010, Middlesbrough Introducing continued its legacy of commissioning ambitious art by the leading sculptors of our day. This new work by Anish Kapoor and Temenos Cecil Balmond joins important works such as Bottle of Notes by Claes Oldenburg in acting as landmarks and destinations for the public and recognising the sense of pride and ambition in the area. Kate Brindley Temenos is located in the Middlehaven area of Middlesbrough, the riverside area earmarked for the town’s most significant development Director, mima under a masterplan by Will Alsop. Standing at an impressive 50 metres and measuring 110 metres in length, the sculpture will join a new home for Middlesbrough College, the UK’s largest carbon zero mixed use development and of course the Riverside Stadium, home to Middlesbrough’s beloved football club. -
Anish Kapoor.Arte Y Espacio Urbano
ANISH KAPOOR. ARTE Y ESPACIO PÚBLICO Alum: María Lueiro García_Tut: Cristóbal Crespo TFG _ Dep. proyectos y urbanismo _ ETSA _UDC Datos identificativos Alumno: María Lueiro García. DNI: 47377199 M Proy-06: Arte y activismo urbano Tutor: Cristóbal Crespo González Curso académico 2015-2016 Fecha de entrega: 05-05-2016 ANISH KAPOOR. ARTE Y ESPACIO PÚBLICO Alum: María Lueiro García_Tut: Cristóbal Crespo TFG _ Dep. proyectos y urbanismo _ ETSA _UDC Es interesante, ¿verdad? La piedra la transportaba un camión para transformarla en una imagen. Por la razón que sea se cae del camión y se convierte en un objeto de adoración. Esta idea está profundamente arraigada en la mente humana, siempre existe la posibilidad de que un objeto se manifieste, que se cree a sí mismo. (A. Kapoor) ANISH KAPOOR. ARTE Y ESPACIO PÚBLICO Alum: María Lueiro García_Tut: Cristóbal Crespo TFG _ Dep. proyectos y urbanismo _ ETSA _UDC INDICE 0. Resumen …………………………………………………………….1 1. Renovación de la escultura en el s.XX …………………………………………………………….3 1.1. Las vanguardias, punto de inflexión. Surrealismo y expresionismo abstracto. …………………………………………………………….3 1.2. Surrealismo y Kapoor: el deseo humano. …………………………………………………………….6 1.3. Interacciones entre la escultura y la arquitectura …………………………………………………………….8 1.3.1. Recursos y límites de la nueva escultura ……………………………………………………………10 1.3.2. Los nuevos conceptos ……………………………………………………………12 1.3.3. Crisis del placer artístico ……………………………………………………………17 1.3.4. Construir experiencia. Olafur Eliasson 1.3.5. Desobjetivación del arte. James Turrel ……………………………………………………………18 1.3.6. El compromiso del artista. ……………………………………………………………20 2. La sociedad y la lógica en el simbolismo escultórico. Escultura y contexto urbano ……………………………………………………………21 3.