Mircea Cantor CV
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1 Ion Grigorescu from Static Oblivion
From static From static oblivion, an artbook in line with Avarie’s previous work space or space of daily experience: Grigorescu’s act of oblivion publications, aims to deepen, starting from Ion Grigorescu’s dissidence is not an outcry of provocation, nor is it extreme rich artistic production, the reflection about the status of the or ostentatious; it is an anti-aesthetic operation which uses image as a balance of forces in tension (statics), as form and experimentation and rough or limited techniques to uncover Ion Grigorescu design of what is in continuous movement (rhythm) and as the fiction of art and to denounce the artifice of representation, a paradoxical act of cancellation of the body through its own leaving us with the ambiguity between truth and falsehood, representation (oblivion). not only within the process of creation, but also within society. There is no trespass, Grigorescu’s performances are part of In Grigorescu’s work, as in the book, the body is continually an ongoing and “contained” interrogation of the relationship shown in different ways - from photography to film, from between the body and the space which the book is trying to performance to drawing - and yet it remains absent, match with the choice of its images whose measured surface suspended, obscuring its own identity in an attempt to tries to “keep inside” all that’s possible: the composition question the collective one. The persistent use of the mirror appears dense yet fluid, “cursive”, though never imposing. not only reflects the need to escape the solitude of his own body and to find the other in the multiplication of points of The body of Ion Grigorescu runs (through) the entire book: view, but it comes from the necessity to objectify the only like a line that gradually takes on volume, it transforms itself material that is available to him. -
Saâdane Afif, Winner of the 2009 Marcel Duchamp Prize at The
COMMUNICATIONS DEPARTMENT PRESS pacK SAÂDANE AFIF 15 SEPTEMBER 2010 - 3 JANUARY 2011 SAÂDANE AFIF MARCEL DUCHAMP PRIZE 2009 SAÂDANE AFIF ANTHOLOGIE DE L’HUMOUR NOIR 15 SEPTEMBER 2010 – 3 JANUARY 2011 ESPACE 315, LEVEL 1 THE MARCEL DUCHAMP PRIZE ON TUESDAY 14 SEPTEMBER AT 20 PM AT CENTRE POMPIDOU, FORUM 14 september 2010 CONTENTS 1. SAÂDANE AFIF, PRIZE WINNER OF PRIX MARCEL DUCHAMP 2009 pagE 3 Direction de la communication 75191 Paris cedex 04 2. INtroduction of the exhibItion PAgE 4 Director of communications Françoise Pams 3. ARtist biography PAgE 6 phone 00 33 (0)1 44 78 12 87 4. publications pagE 7 e-mail [email protected] 5. visuals for the press PAgE 7 Press officer Dorothée Mireux 6. tHE MARCEL DUCHAMP PRIZE PAgE 8 phone 00 33 (0)1 44 78 46 60 e-mail 7. PRACtICAL INFORMAtION PAgE 11 [email protected] www.centrepompidou.fr Adiaf www.adiaf.com Press relations Caroline Crabbe In partnership with phone 00 33 (0)6 10 19 36 31 e-mail [email protected] With the support of Lombard Odier, Sanofi-Aventis, Curator Fondation d’entreprise Hermès, Artcurial, Inlex IP Expertise, DtAM Jean-Pierre bordaz, Curator at the Musée national d’art moderne, Contemporary Art Department With the collaboration of d’aXense et Creativtv 3 1. SAÂDANE AFIF, PRIZE WINNER OF PRIX MARCEL DUCHAMP 2009 « Saâdane Afif’s work is simultaneously incredibly simple and extraordinary complex, at once familiar and strange. Despite operating within recognizable framework of contemporary French sculpture, he stands outside the usual networks of French contemporary art with a career and outlook that is increasingly international. -
Moving Images in Romanian Critical Art Practice and Recent History
MOVING IMAGES IN ROMANIAN CRITICAL ART PRACTICE AND RECENT HISTORY Mihaela Brebenel Goldsmiths, University of London PhD Media and Communications, 2016 .1 I hereby declare that the work presented in this thesis is my own. .2 Acknowledgements It is perhaps commonplace to say that a doctoral research is a journey. Nevertheless, I have only come to understand that this research project has been both a personal journey and an academic one in the final stages of writing, when paradoxically, there was little time for reflection. The time that unfolded between the moment when I was writing a tentative research proposal and the moment I am now in has been intense, incredible, invaluable and rewarding. I am convinced that I would have not experienced either of these without the support, attentive consideration and incredibly fruitful conversations with my supervisor, Dr. Pasi Väliaho. I started this journey under the auspices of his encouragements and could not have carried through without his relentless belief in my academic abilities. I would also like to acknowledge the support and inspiring encounters with Dr. Rachel Moore, always surprising and always refreshing. In different stages of this research, she has acted as a mentor and reader of my work, at the same time showing an empowering collegial attentiveness to my ideas. An extended thank you goes to Prof. Sean Cubitt and Prof. Julian Henriques, for their general support within the Media and Communications department, their suggestions made for various versions of the text and their encouragement to experiment across-disciplines and with methods. This research would not have been possible without the funding received from the Arts and Humanities Research Council and the research exhibition in New Delhi, India would not have happened without the AHRC International Placement Scheme and Fellowship at Sarai CSDS. -
A Fiery Splash in the Rockaways and Twists on Film at the Whitney
ART & DESIGN A Fiery Splash in the Rockaways and Twists on Film at the Whitney By ROBIN POGREBIN MAY 26, 2016 Japan Society Show When the Turner Prize-winning artist Simon Starling was preparing the piece he would exhibit at the Hiroshima City Museum of Contemporary Art five years ago, he learned about masked Japanese Noh theater, which inspired W. B. Yeats’s 1916 play, “At the Hawk’s Well.” Now Mr. Starling is building on that project with “At Twilight,” his first institutional show in New York and a rare solo exhibition at Japan Society that features a non-Japanese artist. It is also the first exhibition by Yukie Kamiya, Japan Society’s new gallery director, who used to be chief curator at the Hiroshima museum. The show is organized with the Common Guild of Glasgow, which will present Mr. Starling’s version of the Yeats play in July. Mr. Starling said that he was intrigued by the idea of masked theater, “where nobody is who they appear to be.” Pogrebin, Robin, “A Fiery Splash in the Rockaways and Twists on Film at the Whitney”, The New York Times (online), May 26, 2016 The Grand Tour: Simon Starling 19 Mar 2016 - 26 Jun 2016 Nottingham Contemporary presents Turner Prize-winner Simon Starling’s largest exhibition in the UK to date. The exhibition will include a new artwork developed in collaboration with Not- tingham Trent University, of which Starling is an alumnus and a number of Starling’s major proj- ects, most of which have not been presented in Britain before. -
Annette Kelm
CAMILLE HENROT BIOGRAPHY Born 1978 Lives and works in New York UPCOMING 2017 Palais de Tokyo, Paris, France (solo) 2016 The Hammer Museum, University of California, Los Angeles (solo) Musée d’Art Contemporain de Montréal, Canada (solo) Fondazione Memmo, Rome, Italy (solo) Australian Center for Contemporary Art (ACCA) (group) 2015 Metro Pictures, New York (solo) SOLO EXHIBITIONS 2015 The Pale Fox, KÖNIG GALERIE, Berlin, Germany The Pale Fox, Westfälischer Kunstverein Münster, Germany 2014 The Pale Fox, Bétonsalon, Paris, France The Pale Fox, Kunsthal Charlottenborg, Denmark The Restless Earth, New Museum, New York Snake Grass, Schinkel Pavillon, Berlin, Germany Grosse Fatigue, The Baltimore Museum of Art, Baltimore, USA The Pale Fox, Chisenhale, London 2013 How to live together?, Slought Foundation, Philadelphia, USA Musée Beurnier-Rossel, Montbéliard, France City of Ys, New Orleans Museum of Art, USA 2012 Is it possible to be a revolutionary and like flowers?, kamel mennour, Paris Psychopompe, The Kitchen, New York Jewels from the personal collection of Princess Salimah Aga Khan, Rosascape, Paris 2010 L’île à midi, Prix Marcel Duchamp, FIAC, Cour Carrée of the Louvre, Paris Perspectives, Espace Culturel Louis Vuitton, Paris 2009 Egyptomania, kamel mennour, Paris Not To Die Twice, Centre d'art le Lait, Hôtel de Viviès, Castres, France 2008 The New World, Musée des Beaux-Arts, Bordeaux, France 2007 The New World, Collection Saint-Cyprien, France King Kong Addition, module of the Palais de Tokyo, Paris 2005 Room Movies, Galerie Dominique -
Anetta Mona Chisa / Lucia Tkacova
ROTWAND Sabina Kohler & Bettina Meier-Bickel Lutherstrasse 34, CH-8004 Zürich, T/F +41 44 240 30 55/56 www.rotwandgallery.com, [email protected] ANETTA MONA CHISA / LUCIA TKACOVA Born (1975) in Romania / (1977) in Slovakia Live and work in Prague and Berlin Education They both graduated at the Academy of Fine Arts and Design in Bratislava, Slovakia and collaborate since 2000 Selected Solo Exhibitions 2013 a Lack, A touch, an aTavisM, a notiCe, Hit gallery, Bratislava aCtivaTe aMok, not a causaL chAin, waterside contemporary, London, UK 2012 i aM a venus, A conch, a kiT, a Cat, a Lot, Rotwand, Zurich, Switzerland Demonstrationen vom Werden normativer Ordnungen, Frankfurter Kunstverein Either Way, We Lose, Sorry we’re closed, Brussels A B C... (with Jana Zelibska), Make Up Gallery, Kosice, Slovakia 2011 The Diplomatic Tent (with Ion Grigorescu), Salonul de proiecte Bucharest, Romania Performing History, Romanian Pavilion (with Ion Grigorescu), 54 Biennale di Venezia, Italy Material Culture/Things in our Hands, Christine Koenig Gallery, Vienna, Austria The More You Tell Me, the Stronger I Can Hit, Társaskör Gallery, Budapest, Hungary 2010 How to Make a Revolution, MLAC, Rome, Italy Far from You, Karlin Studios, Prague, Czech Republic 2009 Wager, Collectiva Gallery, Berlin, Germany Fair Sex, Hermitage Gallery, Chicago, USA Footnotes to Business, Footnotes to Pleasure, Christine Koenig Gallery, Vienna, Austria 2008 Anetta Mona Chisa & Lucia Tkacova, Neuer Berliner Kunstverein, Berlin, Germany Blondes Must Be Stopped, Purple Room, Rome, Italy Romantic Economies, Medium Gallery, Bratislava, Slovakia 2006 Everything is Work, Tranzit workshops, Bratislava, Slovakia Magical Recipes for Love, Happiness and Health, f.a.i.t. -
De Marcel Duchamp : Tulip Hysteria Co-Ordinating André Gervais
Document generated on 10/01/2021 2:01 p.m. Moebius Écritures / Littérature Sur et autour d’un titre (peut-être apocryphe) de Marcel Duchamp : Tulip Hysteria Co-ordinating André Gervais La folie Number 38, Fall 1988 URI: https://id.erudit.org/iderudit/15154ac See table of contents Publisher(s) Éditions Triptyque ISSN 0225-1582 (print) 1920-9363 (digital) Explore this journal Cite this article Gervais, A. (1988). Sur et autour d’un titre (peut-être apocryphe) de Marcel Duchamp : Tulip Hysteria Co-ordinating. Moebius, (38), 93–103. Tous droits réservés © Éditions Triptyque, 1988 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ SUR ET AUTOUR D'UN TITRE (PEUT-ETRE APOCRYPHE) DE MARCEL DUCHAMP : TULIP HYSTERIA CO-ORDINATING ANDRE GERVAIS Quelques notes prises à partir d'un article de William Camfield, historien d'art américain, intitulé «Marcel Duchamp's Fountain: Its History and Aesthetics in the Context of 1917» '. Cet article est un important effort pour déblayer le territoire—journaux, lettres, témoignages, etc.— relatif à ce qui est probablement le plus célèbre des ready- mades: l'urinoir, pour le replacer dans le détail de son histoire immédiate^. Sans doute faut-il rappeler quelques faits. -
“REVOLUTIONS RELOADED Werkstatt Rumänien” May 10Th - Jun
p r o g r a m www.pushthebuttonplay.com march 2005 edition “REVOLUTIONS RELOADED werkstatt rumänien” May 10th - Jun. 5th, 2004 On Monday, May 10, 2004 play_gallery for still and motion pictures in Berlin is opening Revolutions Re- loaded. This exhibition is dedicated to the present Romanian artistic scene and is the result of a collabora- tion with the MNAC (National Museum of Contemporary Art) of Bucharest. Curated by Marco Scotini and Mihnea Mircan (curator of the MNAC in Bucharest), the aim of this exhibi- tion is to present a selection of the top exponents of recent generations of Romanian artists, through a temporary picture and video archive. It takes place 15 years after the fall of communism in the Eastern European block, at a time in which the importance of the 1989 events seems strongly reduced, if not a remote past. Revolutions Reloaded is not limited to a plain post-communist cartography. It tries to focus on the contra- dictory spaces and the growing disparities of this very real “laboratory of the European future” in which the conflicts between different historical times and different resources coexist within the state of transition from the “welfare” condition to the new-liberal system. Revolutions Reloaded aims in fact to be a sort of database of Romanian artists’ political reactions. A politically oriented art, not defined geographically, which finds a more vulnerable and realistic terrain here, in the impact with globalisation. The “revolutions” to which the title alludes are the sign of diverse ways in which emergency can be faced, freedom is un- derstood, democracy is prepared and Romanian reality after the Revolution of 1989 is registered. -
Press Release Mircea Cantor
24 September 2012 PRESS RELEASE Direction de la communication et des partenariats 75191 Paris cedex 04 MIRCEA CANTOR Director 2011 MARCEL DUCHAMP PRIZE WINNER Françoise Pams Telephone 00 33 (0)1 44 78 12 87 OCTOBER 3, 2012 - JANUARY 7, 2013 E-mail ESPACE 315, LEVEL 1 [email protected] Press Officer 2011 Marcel Duchamp Prize winner Mircea Cantor will be on show at the Centre Pompidou Thomas Lozinski Telephone Espace 315 in partnership with ADIAF, from October 3, 2012 to January 7, 2013. 00 33 (0)1 44 78 48 56 E-mail At once poetic, minimal, and metaphysical, Mircea Cantor’s works – be they videos, photographs, [email protected] drawings, sculptures or installations – have made the artist quite a figure in the new geography of contemporary art. A self-styled rootless wanderer, Mircea Cantor has made himself a name Sic Transit Gloria Mundi, 2012. HD color film with sound, on the contemporary art scene through a series of works so delicate yet guarded, so subtle yet 4’66’’ Courtesy of the artist, Yvon Lambert Paris, and Dvir radical, that their material seems to be the very stuff that sensitive dreams are made on. Gallery Tel Aviv Mircea Cantor says: “Today, one should be wary to speak the language of globalization and pander www.centrepompidou.fr to global brands but should rather speak a universal language, which is the very opposite. That is exactly what globalization is doing away with.” Organized in partnership with the Centre Pompidou, Speaking about his works, Cantor also mentions “the need for uncertainty”, because he wants to the Marcel Duchamp Prize was created create pieces that are open to multiple perspectives, multiple readings. -
November/Dec Galley 4/9/15 16:59 Page 1
Duchamp and the Fountain:November/Dec galley 4/9/15 16:59 Page 1 THE JACKDAW WHO DID IT? NOT DUCHAMP! Duchamp and the Fountain:November/Dec galley 4/9/15 16:59 Page 2 2 A CONCEPTUAL INCONVENIENCE Former museum director Julian Spalding and academic Glyn Thompson published an important article in The Art Newspaper in November 2014 (available online at the paper’s website and also in a longer version on the Scottish Review of Books website) proposing that the object we know as Marcel Duchamp’s Fountain , the urinal, was in fact the work of someone else: dadaist artist and poet Elsa von Freytag-Loringhoven. The original Fountain was famously lost. In 1999 the Tate bought a 1964 copy for $500,000: it is one of 16 replicas made between 1951 and 1964. In 2004 ‘art experts’ declared Fountain the most influential work of art of the 20th century. Spalding and Thompson have asked for Fountain to be reattributed to its true author. What follows is a correspondence between the authors and Sir Nicholas Serota, director of the Tate Gallery. An exhibition, ‘A Lady’s not a Gent’s’, about the history of Fountain will take place at Summerhall, 1 Summerhall, during the Edinburgh Festival from August 5th to October 5th. www.summerhall.co.uk Duchamp and the Fountain:November/Dec galley 4/9/15 16:59 Page 3 3 November 10th, 2014 consultation must be in the public domain. Dear Nick, We would, therefore, be grateful if you A call to reattribute Marcel Duchamp’s Fountain would supply us with a list of these specialists and a summary of the cases e write following our argument made in the November issue of they have made. -
Ostalgia,” a Survey Devoted to Eastern Europe and the Former Soviet Republics
TEL +1 212.219.1222. FAX +1 212.431.5326. newmuseum.org FOR IMMEDIATE RELEASE April 18, 2011 PRESS CONTACTS: Gabriel Einsohn, Communications Director [email protected] Andrea Schwan, Andrea Schwan Inc. [email protected] New Museum to Present “Ostalgia,” a Survey Devoted to Eastern Europe and the Former Soviet Republics Multi-floor Exhibition Will Be on View from July 14–September 25, 2011 New York, NY… This summer, the New Museum will present “Ostalgia,” an exhibition that brings together the work of more than fifty artists from twenty countries across Eastern Europe and the former Soviet Republics. Contesting the format of a conventional geographical survey, the exhibition will include works produced by Western European artists who have depicted the reality and the myth of the East. “Ostalgia” is curated by Massimiliano Gioni, Associate Director and Director of Exhibitions with Jarrett Gregory, Assistant Curator, and will be on view at the New Museum from July 14 through September 25, 2011, occupying all four gallery floors and the lobby. The exhibition takes its title from the German word ostalgie, a term that emerged in the 1990s to describe a sense of longing and nostalgia for the era before the collapse of the Communist Bloc. Twenty years ago, a process of dissolution began, leading to the break-up of the Soviet Union and of many other countries that had been united under communist governments. From the Baltic republics to the Balkans, from Central Europe to Central Asia, entire regions and nations Sergey Zarva, Ogonyok, 2001. Courtesy the artist and Regina Gallery, Moscow/London were reconfigured, their constitutions rewritten, their borders redrawn. -
Crisis. Against Appearances Mark Geffriaud, Ion Grigorescu, Tom Johnson, Jan Kopp, Molleindustria, Vacca
www.angelsbarcelona.com Crisis. Against appearances Mark Geffriaud, Ion Grigorescu, Tom Johnson, Jan Kopp, Molleindustria, Vacca 04.12.08 > 24.01.09 àngels barcelona c. Pintor Fortuny, 27 | tues > sat: 12 > 14h ; 17 > 20:30 h. Opening: 04.12.08, 20h + espai 2 c. dels Àngels, 16 | tues > sat : 17 > 20 h. Crisis. Against appearances , addresses the fundamental proposals of our gallery project. Departing from a certain skepticism, the selected works are based on practices that criticize artistic mediums, the representation of reality and the languages which, from the art world and the media, codify our society. The art object thus takes on a double role as both a social product integrated into a productive medium, such as the arts, and a platform for criticizing these productions. Strategically using the ambiguity of images and sounds, the works question structural systems such as the control of the imaginary, information and environmental sound, the use and production of violence, the rigidity of certain categories, the control of knowledge or the excess of external stimuli. The exhibition invites the observer to construct dialogues among the artists, as well as between the artists and the mediums they work in. Mark Geffriaud | Herbarium | Slide projector and pages framed in Plexiglas. Herbarium is a reflection on the institutionalization of culture and the task of cataloguing knowledge. Using what could be considered a paradigmatic example of an archiving task: the herbarium, the spectator’s attention is directed towards the illuminated reverse of the pages. In this manner, it emphasizes what selection processes and hierarchies devalue: all those things that disappear for lacking institutional worth.