Anish Kapoor Biography
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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). -
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. -
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. -
To Care, to Curate. a Relational Ethic of Care
Curare: to care, to curate. A relational ethic of care in curatorial practice Sibyl Annice Fisher Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Fine Art, History of Art and Cultural Studies November, 2013 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. © 2013 The University of Leeds and Sibyl Annice Fisher The right of Sibyl Annice Fisher to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Readers are respectfully advised that this document contains the names and images of Indigenous persons who are now deceased. Acknowledgements I would like to thank the School of Fine Art, History of Art and Cultural Studies for the international scholarship that enabled me to undertake this research project, and David Jackson for the initial conversation. For archival assistance, many thanks to Gary Haines at Whitechapel Art Gallery, Jennifer Page at the Research Center, National Museum of Women in the Arts, Janet Moore at the Institute of Contemporary Art, Boston, and Gary Dufour at the Art Gallery of Western Australia. Thanks also to Aunty Stephanie Gollan at Tandanya National Aboriginal Cultural Institute. Thank you to Rayma Johnson for kind permission to use the image of Russell Page, and to Glen Menzies and Hetti Perkins for advice on reproducing work by Emily Kame Kngwarreye. -
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Susan Hiller Solo Exhibitions 2019 Making Visible [Susan Hiller, Anna Barriball], Galeria Moises Perez de Albeniz, Madrid, Spain Re-collections [Susan Hiller, Elizabeth Price, Georgina Starr], Site Gallery, Sheffield, England Die Gedanken sind Frei, Serralves Museum, Porto, Portugal 2018 Susan Hiller: Altered States, Polygon Gallery, Vancouver, Canada Susan Hiller: Social Facts, OGR, Turin, Italy Lost and Found & The Last Silent Movie, Sami Center for Contemporary Art, Norway 2017 Susan Hiller: Paraconceptual, Lisson Gallery, New York, USA 2016 Susan Hiller: Magic Lantern, Sursock Museum, Beirut, Lebanon Susan Hiller: Lost and Found, Perez Art Museum, Miami, USA Susan Hiller: Aspects of the Self 1972-1985, MOT International, Brussels, Belgium Susan Hiller: The Last Silent Movie, Frac Franche-Comté, Besancon, France 2015 Susan Hiller, Lisson Gallery, London, England 2014 Channels, Den Frie Centre of Contemporary Art, Copenhagen, Denmark Resounding (Infrared), Summerhall, The Edinburgh Art Festival, Scotland Susan Hiller, The Model, Sligo, Ireland Channels, Samstag Foundation, The Adelaide Festival, Australia Hiller/Martin: Provisional Realities (2 person: with Daria Martin), CCA Wattis Institute for Contemporary Arts, San Francisco, USA Speaking In Tongues (3 person: with Sonia Boyce and Pavel Buchler), CCCA, Glasgow, UK Can You Hear Me? (2 person: with Shirin Neshat), Golden Thread Gallery, Belfast, Northern Ireland Sounding, The Box, Pippy Houldsworth Gallery, London, England Susan Hiller, Les Abattoirs, Festival International d'Art de Toulouse, France 2013 Channels, Matt’s Gallery, London Channels, Centre d’Art Contemporain La Synagogue de Delme, Delme, France 2012 Susan Hiller: From Here to Eternity, Kunsthalle Nürnberg, Germany Psi Girls, University Art Gallery, San Diego State University, San Diego, USA 2011 Susan Hiller, Tate Britain, London, England (ex. -
Biennalization?
Title Biennalization? What biennalization?: the documentation of biennials and other recurrent exhibitions Type Article URL http://ualresearchonline.arts.ac.uk/5516/ Date 2012 Citation Grandal Montero, Gustavo (2012) Biennalization? What biennalization?: the documentation of biennials and other recurrent exhibitions. Art Libraries Journal, 37 (1). pp. 13-23. ISSN 03074722 Creators Grandal Montero, Gustavo Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author art libraries 37 / 1 2011 journal Biennalization? What biennalization? The documentation of biennials and other recurrent exhibitions Gustavo Grandal Montero iennials have been central to the development of contemporary art for Bdecades, but there is a paucity of published material specifically related to this subject. Documentation for these important exhibitions is not always made available and it is often difficult to acquire, posing an obstacle to current and future research across a number of areas within contemporary art, curating and art history. This article offers an overview of major current biennials and of the different sources of information they produce (catalogues, other printed material, online resources, archives), and surveys the secondary literature of the phenomenon. It also discusses specific collection development issues in libraries, from -
Douglas Gordon Biography
G A G O S I A N Douglas Gordon Biography Born in 1966, Glasgow, Scotland. Lives and works in Berlin, Germany; Glasgow, Scotland; and New York, NY. Education: 1988–90 Slade School of Fine Art, London, England. 1984–88 Glasgow School of Art, Glasgow, Scotland. Solo and Two-Person Exhibitions: 2020 Zidane: A 21st Century Portrait. Douglas Gordon and Philippe Parreno. Louisiana Museum of Modern Art, Humlebaek, Denmark. 2019 Douglas Gordon: In My Shadow. ARoS Aarhus Art Museum, Aarhus, Denmark. 2018 Zidane: A 21st Century Portrait. Douglas Gordon and Philippe Parreno. Dunedin Public Art Gallery, Dunedin, New Zealand. Douglas Gordon: k.364. K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf. Douglas Gordon: Îles flottantes (If Monet Met Cézanne, in Montfavet). Instituto Moreira Salles, São Paulo, Brazil. ARTIST ROOMS: Douglas Gordon. Berwick Visual Arts, Berwick-upon-Tweed, England. 2017 Douglas Gordon: back and forth and forth and back. Gagosian, West 21st Street, New York, NY. Portrait of Janus. Art Sonje Center, Seoul, South Korea. Douglas Gordon: I had nowhere to go: Portrait of a displaced person. Gagosian, Britannia Street, London, England. 24 Hour Psycho. Lewis Center for the Arts, Princeton University, Princeton, NJ. Douglas Gordon: Black Burns. Scottish National Portrait Gallery, Edinburgh, Scotland. Douglas Gordon - Selected works from the 1990‘s. André Viana Gallery, New York, NY. Gente di Palermo. Prisons of the Palazzo Ducale, Venice, Italy. 2016 Douglas Gordon: Searching for Genius. Peninsula Art Gallery, Plymouth, England. Douglas Gordon: Play Dead; Real Time. Dunedin Public Art Gallery, New Zealand. Douglas Gordon. Gagosian Gallery, Geneva, Switzerland. Douglas Gordon @ Paris Photo Prisme. Grand Palais, Paris, France. -
Expo Pavilions As Expression of National Aspirations
This is the post-print of: Expo Pavilions As Expression Of National Aspirations. Architecture As Political Symbol. a pre-copyedited version of an article accepted for publication in Archhist’ 13 ARCHITECTURE POLITICS ART CONFERENCE, Politics in the history of architecture as cause & consequence, Vol. 48, 2013, pp. 20-29, following peer review. EXPO PAVILIONS AS EXPRESSION OF NATIONAL ASPIRATIONS Architecture as political symbol Ksenia Katarzyna Piatkowska Gdansk University of Technology, Poland Abstract: The World‘s Fair since their beginning served as an international presentation of goods and achievements of particular nations and all the same became the résumé of global development. Independently from the actual political situation the Expos’ area became the oasis of peace where the potential antagonisms were expressed through the evocative architecture of pavilions. The Expo pavilions are extraordinary for their temporary character. The temporariness factor and the cost- effectiveness of Expo pavilions’ constructions are juxtaposed with high expectations due to the pavilions prestige and the aesthetic expression. According to the circumstances there are often built objects that become the architectural icons or unforgettable symbols and physical proclamation of present. Architecture of the Expo pavilions becomes the evident testimony to contemporary constructing abilities at the same time attaining perfection in the form. Expo pavilions are the extreme example of use of architecture as political symbol. The national pavilions - once ignored and underestimated – currently may change any nation’s image dramatically. Thus the role of architecture in case of creating the Expo pavilions cannot be overestimated. Abounding in symbolism and contemporary, innovative solutions is lake a mirror the modern mankind looks at herself with a admiration and at the same time plans next surprising aesthetic revolutions and ideological theories. -
Charity Art Auction in Favor of the CS Hospiz Rennweg in Cooperation with the Rotary Clubs Wien-West, Vienna-International, Köln-Ville and München-Hofgarten
Rotary Club Wien-West, Vienna-International, Our Auction Charity art Köln-Ville and München-Hofgarten in cooperation with That‘s how it‘s done: Due to auction 1. Register: the current, Corona- related situation, BenefizAuktion in favor of the CS Hospiz Rennweg restrictions and changes 22. February 2021 Go to www.cs.at/ charityauction and register there; may occur at any time. please register up to 24 hours before the start of the auction. Tell us the All new Information at numbers of the works for which you want to bid. www.cs.at/kunstauktion Alternatively, send us the buying order on page 128. 2. Bidding: Bidding live by phone: We will call you shortly before your lots are called up in the auction. You can bid live and directly as if you were there. Live via WhatsApp: When registering, mark with a cross that you want to use this option and enter your mobile number. You‘re in. We‘ll get in touch with you just before the auction. Written bid: Simply enter your maximum bid in the form for the works of art that you want to increase. This means that you can already bid up to this amount, but of course you can also get the bid for a lower value. Just fill out the form. L ive stream: at www.cs.at/kunstauktion you will find the link for the auction, which will broadcast it directly to your home. 3. Payment: You were able to purchase your work of art, we congratulate you very much and wish you a lot of pleasure with it. -
An Unusual Time for Women at the Venice Biennale
An Unusual Time for Women at the Venice Biennale Kris Lemsalu, 4Life, 2018. Courtesy the artist. Photo by Edith Karlson There is a marked upswing in the number of women artists participating at the Venice Biennale (11 May to 24 November) in 2019, titled May You Live in Interesting Times. The corollary is, it seems we do. Forty-two of the seventy-nine artists taking part this year are women—that’s 53%. In 2015, the number of solo female participants was 33%, and in 2017, 35% of all participating artists were women. It’s worth noting, that figures only reflect those who have identified as male or female, and doesn’t account for other genders. The 2019 statistics indicate not only that commissioners are paying closer attention to the representation of gender but that the kind of exposure that women artists are getting is changing: of the forty-three National Pavilions presenting a single artist at the 58th Venice Biennale, some twenty-six are women—an impressive 60%. With a strong female-fronted voice 2019 is an exciting time for everyone, but particularly mid-career women artists who often hit a plateau elsewhere in the commercial and institutional art world. The youngest participant in this year’s Biennale is twenty-nine, and is the only artist under thirty being exhibited. The artists are getting older, but the audiences are getting younger, as “more than half of them are under twenty-six years of age”. According to statistics compiled by the Freelands Foundation in 2017, 50% of women selected in the last ten years to represent Great Britain have been women—this year the mantel is picked up by Cathy Wilkes, curated by Zoe Whitley, (who returns from Italy to start her new role, working alongside the Biennale curator Ralph Rugoff at the Hayward Gallery). -
Round 16 - Tossups
NSC 2019 - Round 16 - Tossups 1. The play Operation Restore Regasi parodies a minister in this country who mispronounced the name of a coup codenamed Operation Restore Legacy. Another minister from this country, Energy Mutodi, falsely blamed a 2019 internet shutdown on "congestion." A riot broke out in its capital when Kombi drivers raised their rates to $10 in the bond dollars that are technically exchangeable for US dollars here. This country is led by a man nicknamed The (*) Crocodile who came to power after arresting its 92-year-old president in 2017. Following a contested 2008 election in this country, the MDC party shared a degree of power with ZANU-PF. For 10 points, in what country did Emmerson Dambudzo Mnangagwa (MAN-en-gag-wa) depose longtime dictator Robert Mugabe? ANSWER: Zimbabwe [or Republic of Zimbabwe] <Bentley, Current Events - World> 2. This work claims that "loaves of bread" that split open "in the oven" shows how "Nature's inadvertence has its own charm, its own attractiveness." This text states that after the deaths of Alexander the Great and his "mule driver", their souls either became part of the "life-force" of the world, or were turned into "atoms" of an "Epicurean universe." This work, whose Greek title Ta eis heauton ("tah ays HEY-ow-tohn") means "things to one-self," begins by thanking the author's teacher (*) Rusticus, who introduced him to Epictetus's ("eh-PIC-teh-tus") philosophy. It was written in koine ("KOY-nay") Greek from 161 to 180 AD while its author was campaigning in places such as Carnuntum while fighting against the Quadi ("KWAH-dee") barbarians. -
Mayfair Soho Fitzrovia St James's
ndikamutswa nekuti Achille Salvagni 5F Bartha 5F Bonhams, 5F Carpenters 5F Gagosian, 7G Jack Bell Gallery 5E Lyndsey Ingram 5F Mazzoleni Art 5F Ordovas 5F Pippy 6D Rodeo 6D Skarstedt Gallery 6D Southard Reid 5E Stephen Friedman 5E Timothy Taylor 5E Waddington Custot 6E 5 Tiwani 6 Atelier Contemporary New Bond St Workshop Gallery anonditsigira Grosvenor Hill Houldsworth Gallery Gallery Galleries Ltd Berners St 15 Sep - 31 Oct 2020 Exhibition/description Tom Hammick: Nightfire Rome - Milan: Space The Artist’s Room Sidsel Meineche Hansen Exhibition/description Celia Hempton Exhibition/description Eastcastle St Exhibition/description Modern and Paul Cocksedge: Slump Mary Weatherford: Train 29 Sep - 13 Nov 2020 and Colour, Rhythm and 15 Jun - 18 Dec 2020 Jadé Fadojutimi: Jesture HOME VS OWNER 5 Sep - 24 Oct 2020 Denzil Forrester in Rome Pablo Reinoso Contemporary African 10 Sep - 18 Dec 2020 Yards Matter 16 Sep - 31 Oct 2020 3 Oct - 14 Nov 2020 5 - 31 Oct 2020 4 Sep - 25 Oct 2020 Pilar Corrias Pi Artworks Art 22 Sep - 19 Dec 2020 1 Oct - 28 Nov 2020 Auction: 08 Oct 2020 Regent St Design Fitzrovia Auction: 14 Oct 2020 Oxford St Impressionist & Modern 12 Grafton St, W1S 4ER Art 13 Mason’s Yard, SW1Y 6BU 8 Bennett St, St James‘s, 15 Bolton Sreet, W1J 8BG Auction: 15 Oct 2020 Josh Smith: Spectre 7 Georgian House, 10 Bury St, 15 Sep - 31 Oct 2020 20 Bourdon St, W1K 3PL 25 Savile Row, W1S 2ER SW1A 1RP 7 Royalty Mews, W1D 3AS Almine Rech 5F SW1Y 6AA Pop x Culture 4 Albermarle St, W1S 4GA kamel mennour 5E 6 Heddon St, W1B 4BT 12a Bourdon St, W1K 3PG