Solo Exhibitions
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Baltic Triennial 13 – Give up the Ghost
BALTIC TRIENNIAL 13 – GIVE UP THE GHOST Contemporary Art Centre (CAC), Vilnius 11 May – 12 August, 2018 Private view 11 May, 6pm Artistic Director: Vincent Honoré BT13 – GIVE UP THE GHOST launches its fi rst chapter at Contemporary Art Centre (CAC), Vilnius on Friday, 11 May with an evening of performances followed by a public programme on Saturday, 12 May. BT13 in Vilnius includes works by Caroline Achaintre, Evgeny Antufi ev, Korakrit Arunanondchai, Darja Bajagić, Olga Balema, Nina Beier, Huma Bhabha, Dora Budor, Miriam Cahn, Jayne Cortez, Melvin Edwards, Daiga Grantina, Max Hooper Schneider, Anna Hulačová, Pierre Huyghe, E’wao Kagoshima, Sanya Kantarovsky, Ella Kruglyanskaya, Benoît Maire, Katja Novitskova, Pakui Hardware, Anu Põder, Laure Prouvost, Ieva Rojūtė, Rachel Rose, Augustas Serapinas and Michael E. Smith alongside a public programme of performances by Liv Wynter, Adam Christensen, Anton Lukoszevieze, Ieva Rojūtė and Žygimantas Kudirka celebrating the Triennial. The Baltic Triennial has historically taken place at the CAC Vilnius only. For its 13th edition, it will - for the fi rst time - be organised by and take place in Lithuania, Estonia (opening on June 29th) and Latvia (opening on September 21st), taking the form of three distinct chapters. Baltic Triennial 13 is informed by a shared concern: what does it mean to belong at a time of fractured iden- tities? BT13 – GIVE UP THE GHOST unfolds through and with this very question, careful not to off er a single or illustrative response. Instead, it opts for a collective vision of what is at stake: independence and depen- dency—and everything that lies in between—to territories, cultures, classes, histories, bodies and forms. -
TAUS MAKHACHEVA Born in 1983 Lives in Makhachkala, Dagestan
TAUS MAKHACHEVA Born in 1983 Lives in Makhachkala, Dagestan Education 2011 - 2013 MA Fine Art, Royal College of Art, London 2008 - 2009 New Strategies in Contemporary Art, The Institute of Contemporary Art, Moscow 2003 - 2007 BA Fine Art, Goldsmiths College, University of London, London Selected Solo Exhibitions 2018 Storeroom, Van Abbe Museum, Eindhoven BaidÀ, narrative projects, London 2017 Cloud Caught on a Mountain, Moscow Museum of Modern Art, Moscow Taus Makhacheva: Second World, Third Attempt, Leo Xu Projects, Shanghai 2015 Vababai Vadadai! *, narrative projects, London (In)sidenotes, Uppsala Konstmuseum, Uppsala 2014 Dagestan. Not for Sale, artSumer Gallery, Istanbul A Walk, A Dance, A Ritual, GfZK Museum of Contemporary Art, Leipzig 2013 What? Whose? Why?, Raf projects, Tehran Story Demands to be Continued, Republic of Dagestan Union of Artists Exhibition Hall, Makhachkala On Historical Ideals of Labour in the Country that Conquered Space, The Mews Project, London The Process of Instance of Breaking Open, Kalmar Konstmuseum, Kalmar 2012 Let Me Be Part of a Narrative, Paperworks Gallery, Moscow Special Project: City States, Topography of Masculinity, 7th Liverpool Biennial of Contemporart Art, Liverpool 2011 Affirmative Action (mimesis), Laura Bulian Gallery, Milan 2010 Affirmative Actions, Panopticon Inutero, Moscow 2009 A Space of Celebration, Pervaya Gallery, Makhachkala Selected Group Exhibitions 2019 Picasso et l’exil, Les Abattoirs, Toulouse Future Generation Art Prize, PinchukArtCentre, Kiev The Keeper; To have and to hold, The Model, Sligo, Ireland 2018 Beautiful world, where are you?, 10th Liverpool Biennial of Contemporary Art, Liverpool The Sea is the Limit, York Art Gallery, York Manifesta 12, Palermo, Italy Mountain of Tongues, BACKLIT Gallery, Nottingham Starting from the Desert. -
Випперовские Чтения» «Классика И Современность. Отражения» 26–28 Февраля 2018 Года
МЕЖДУНАРОДНАЯ НАУЧНАЯ КОНФЕРЕНЦИЯ «ВИППЕРОВСКИЕ ЧТЕНИЯ» «КЛАССИКА И СОВРЕМЕННОСТЬ. ОТРАЖЕНИЯ» 26–28 февраля 2018 года INTERNATIONAL RESEARCH VIPPER CONFERENCE “CLASSICS AND CONTEMPORANEITY. REFLECTIONS” 26–28 February, 2018 1 ПРОГРАММА феноменов искусства, наделенных статусом «классиче- with the Apollon journal came up with the specific dis- interventions, contemporary museum increasingly ских». Будут проанализированы разные формы диалога course, which, by appealing to the museum categories, prefers extra- systematic and extra-historical caram- PROGRAM с искусством прошлого, с его классическими образцами, made the impressionist and post- impressionist painting bolage (J.-H. Martin) view that assumes the maximum их творческий потенциал, функции и цели, границы их acceptable by the educated public. The problem was set scope of associations, comparisons, and interpreta- 26 ФЕВРАЛЯ, ПОНЕДЕЛЬНИК смыслообразующих и формообразующих возможностей. again after the October, when in 1918–1920 the Moscow tions. At the same time, different museums, such as ГЛАВНОЕ ЗДАНИЕ ГМИИ им. А.С. ПУШКИНА, Krasimira Lukitcheva (Russia) museum community proposed a number of alternative Louvre, Versaille, Prado, Villa Borghese, demonstrate (ул. Волхонка, д. 12) ЗАЛ 30 INTERPRETING THE CLASSICAL HERITAGE IN THEORY concepts of the new museum, where modern French art various strategies of work with contemporary mate- 26 FEBRUARY, MONDAY AND PRACTICE OF ART OF THE SECOND HALF OF THE was once again the central point of discussion (Museum rial. Evaluation of the pros and cons of international HALL 30, THE MAIN BUILDING OF THE PUSHKIN 20th — BEGINNING OF THE 21st CENTURY of Artistic Culture, Museums of the New Western Art, experience is one of the pressing problems in creating STATE MUSEUM (12, VOLKHONKA STREET) The talk will address the complex and tense context Pavel Muratov’s project of reorganization of the Muse- the concept of the 21st century museum. -
View a PDF Programme
Speaker bios Bani Abidi is a visual artist working with video, photography, drawing and sound. She lives in Berlin and Karachi. Recent solo shows include: ‘Funland’, Sharjah Art Foundation, Sharjah; ‘Bani Abidi - They died laughing’, Gropius Bau, Berlin; ‘Bani Abidi - Exercise in Redirecting Lines’ Kunsthaus Hamburg, Hamburg and ‘Bani Abidi – Look at the city from here’, Gandhara Art Foundation, Karachi. Group shows include Karachi Biennial (2018), Busan Biennale (2018), Edinburgh Arts Festival Commissions (2016), 8th Berlin Biennial (2014) and DOCUMENTA 13 (2012). Her work is in the permanent collections of Tate Modern, Museum of Modern Art NY, Fukuoka Asian Art Museum, Guggenheim Museum and the British Museum. Iftikhar Dadi & Elizabeth Dadi have collaborated in their art practice for twenty years. Their work investigates memory, borders, and identity in contemporary globalization, the productive capacities of urban informalities in the Global South, and the mass culture of postindustrial societies. Exhibitions include the 24th Bienal de São Paulo, Brazil (1998); The Third Asia-Pacific Triennial, Brisbane, Australia (1999); Walker Art Center, Minneapolis (2000); Centre Georges Pompidou, Paris (2000); Liverpool Biennial, Tate Liverpool (2002); Moderna Museet-Stockholm (2005); Whitechapel Gallery, London (2010); Fukuoka Asian Art Museum, Japan (2012); Art Gallery of Windsor, Canada (2013); Dhaka Art Summit (2016); Office of Contemporary Art Norway, Oslo (2016); Lahore Biennale 01 (2018); and the Havana Biennial (2019). Iftikhar Dadi is an associate professor in Cornell’s Department of History of Art and Director of the South Asia Program, and a board member of the Institute for Comparative Modernities. He is the author of Modernism and the Art of Muslim South Asia (2010) and the edited monograph Anwar Jalal Shemza (2015). -
Russian Museums Visit More Than 80 Million Visitors, 1/3 of Who Are Visitors Under 18
Moscow 4 There are more than 3000 museums (and about 72 000 museum workers) in Russian Moscow region 92 Federation, not including school and company museums. Every year Russian museums visit more than 80 million visitors, 1/3 of who are visitors under 18 There are about 650 individual and institutional members in ICOM Russia. During two last St. Petersburg 117 years ICOM Russia membership was rapidly increasing more than 20% (or about 100 new members) a year Northwestern region 160 You will find the information aboutICOM Russia members in this book. All members (individual and institutional) are divided in two big groups – Museums which are institutional members of ICOM or are represented by individual members and Organizations. All the museums in this book are distributed by regional principle. Organizations are structured in profile groups Central region 192 Volga river region 224 Many thanks to all the museums who offered their help and assistance in the making of this collection South of Russia 258 Special thanks to Urals 270 Museum creation and consulting Culture heritage security in Russia with 3M(tm)Novec(tm)1230 Siberia and Far East 284 © ICOM Russia, 2012 Organizations 322 © K. Novokhatko, A. Gnedovsky, N. Kazantseva, O. Guzewska – compiling, translation, editing, 2012 [email protected] www.icom.org.ru © Leo Tolstoy museum-estate “Yasnaya Polyana”, design, 2012 Moscow MOSCOW A. N. SCRiAbiN MEMORiAl Capital of Russia. Major political, economic, cultural, scientific, religious, financial, educational, and transportation center of Russia and the continent MUSEUM Highlights: First reference to Moscow dates from 1147 when Moscow was already a pretty big town. -
Edge of a Pine Forest Signed in Cyrillic and Dated ‘1884’ (Lower Right) Graphite and Charcoal on Paper 32.5 X 46.5 Cm (12¾ X 18¼ In)
Ivan Ivanovich Shishkin (Elabuga 1832 - St. Petersburg 1898) Edge of a Pine Forest signed in Cyrillic and dated ‘1884’ (lower right) graphite and charcoal on paper 32.5 x 46.5 cm (12¾ x 18¼ in) Edge of a Pine Forest is an excellent example of Ivan Ivanovich Shishkin’s later depictions of forests. The naturalistic treatment and glimpses of unfolding vistas are characteristic of his style during the 1880s. Shishkin considered drawing to be an important branch of art. At this time the lines in his drawings are elastic and mobile, sometimes flowing, light and wavy, whilst at other times resilient and strong. He uses black lead in a light, free style but his pencil strokes are more animated and varied. Shishkin used a combination of pencil, charcoal, graphite and white chalk, which allowed him to achieve softer effects and a finer gradation of tone. Over forty years of artistic activity, Shishkin produced hundreds of paintings, numerous studies and drawings, and a large number of engravings. Many of these concerned forests and trees. An oil painting created a few years after the drawing, Forest in Mordvinovo (1891, State Museum and Exhibition Centre ROSIZO, Moscow), illustrates Shishkin’s use of an alternative medium to treat the same subject. Shishkin considered studies to be an integral part of the creative process, based on continual observation and reflection. The resulting level of detail does not detract from the unity of the picture, but contributes to a carefully thought out composition and the harmonious use of light colours. The present drawing was executed by Shishkin specifically for a project to demonstrate the potential of photogravure as a printing method. -
Curriculum Vitae Basak Senova (Muratoglu)
CURRICULUM VITAE BASAK SENOVA (MURATOGLU) [email protected] http://www.basaksenova.com https://orcid.org/0000-0003-4686-8799 +43 677 625 64111 / +90 536 930 1321 EDUCATION 2017 Associate Professorship presented by the Higher Education Council of Turkey. 2002 The Curatorial Training Programme 2002, Stichting De Appel, Amsterdam. 1999 PhD in Art, Design and Architecture, Institute of Economics and Social Sciences and Institute of Fine Arts, Bilkent University. 1995 MFA in Graphic Design, Faculty of Art, Design and Architecture, Department of Graphic Design, Bilkent University. 1992 Certificate of Education (Pedagogical Formation) Faculty of Education, Education Sciences Department, Hacettepe University. 1992 Diploma of English Philology, Faculty of Letters, Division of Western Languages and Literatures, Department of English Language and Literature, Hacettepe University. SCHOLARSHIPS, RESIDENCIES and GRANTS 2019 Resident Angewandte Resident Artist Programme, University of Applied Arts, Vienna. 2018 Curatorial Residency CRIS Programme of Nordiska Konstförbundet (Nordic Art Association) Stockholm. 2017–2018 Researcher in Residence Kunsthalle Exnergasse - WUK | KEX Studio, Vienna. 2017 Resident Fellow Programme Academy of Fine Arts, University of the Arts Helsinki, funded by the Saastamoinen Foundation and implemented in co – operation with HIAP. 2016 Curatorial Research Residency KulturKontakt, Vienna. 2016 Expert Visit iaspis, Stockholm. 2014 Travel Grant Curatorial Research Visit to Melbourne, Sydney, and Brisbane. ‘Australia + Turkey Visiting Curators Initiative 2015’ presented by the Australia Council for the Arts. 2014 Participation Grant IBA Conference & General Assembly, presented by Kulturstiftung des Bundes, Berlin. 2013 Travel Grant for Curatorial Visit to Northern Ireland, presented by British Council. 2013 Curatorial Residency Villa Romana, presented by Marrakech Biennale and Villa Romana, Florence. -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
Diversity United Presents Established and Emerging Artists Exploring Pro-European Dialogues
81 artists from 35 countries presenting the diverse artistic face of Europe: Diversity United presents established and emerging artists exploring pro-European dialogues. The exhibition - with venues in Moscow, Berlin and Paris – considers subjects including freedom, dignity, respect, conflicts and dialogue, landscapes and power and political and personal identity. 11 November 2020 – 21 February 2021 Slavs and Tatars, Mystical Protest, 2011, luminous paint, Muharram fabric, fluorescent lights, colour sleeves, cotton, 240 × 620 × 15 cm. Installation view at Ujazdowski Castle Centre for Contemporary Art, Warsaw, 2016. Photo Bartosz Górka The Foundation for Art and Culture, Bonn and the Tretyakov Gallery, Moscow are delighted to announce the travelling group show Diversity United. Contemporary European Art. Moscow. Berlin. Paris. The first venue - the Tretyakov Gallery, Moscow (11 November 2020 – 21 February 2021) - is followed by venues in Berlin and Paris (2021), presenting a survey of work from across the continent. Diversity United is under the patronage of the State Presidents of Germany, Russia and France, Frank-Walter Steinmeier, Vladimir Putin and Emmanuel Macron. The exhibition showcases the strength and diversity of Europe’s cultural output and highlights the importance of a united Europe during times of political uncertainty. The exhibition looks at contemporary European art after the fall of the Iron Curtain, underlining the importance of intercultural dialogue today. It raises questions about freedom, dignity, democracy and respect whilst highlighting the continent’s artistic production in the context of historically relevant and current themes, such as political and personal identity, migration, (mental) landscape, gender and equality, nationality, territory and geopolitics and social conflicts. -
Annual Report and Accounts 2015−2016
Annual Report and Accounts 2015−2016 Science Museum Museum of Science and Industry, Manchester National Railway Museum in York and Shildon National Media Museum SCMG Enterprises Ltd HC 420 Science Museum Group Annual Report and Accounts 2015−2016 Report and Accounts presented to Parliament pursuant to Section 9(8) of the Museums and Galleries Act 1992 Ordered by the House of Commons to be printed 14 July 2016 HC 420 Science Museum Group (SMG) members: (Formerly known as National Museum of Science & Industry) Science Museum Museum of Science and Industry, Manchester National Railway Museum in York and Shildon National Media Museum SCMG Enterprises Ltd © Science Museum Group 2016 The text of this document (this excludes, where present, the Royal Arms and all departmental and agency logos) may be reproduced free of charge in any format or medium providing that it is reproduced accurately and not in a misleading context The material must be acknowledged as Science Museum Group copyright and the document title specified. Where third party material has been identified, permission from the respective copyright holder must be sought. Any enquiries regarding this publication should be sent to us at [email protected] You can download this publication from www.sciencemuseumgroup.ac.uk. Print ISBN 9781474130837 Web ISBN 9781474130844 Printed in the UK by the Williams Lea Group on behalf of the Controller of Her Majesty’s Stationery Office ID 30031608 07/16 Printed on paper containing 75% recycled fibre content minimum SMG Annual -
Organizers Conference Partner
ORGANIZERS CONFERENCE PARTNER ORGANIZERS ICOM Russia is the Russian National committee of the International Council of Museums (ICOM) which unites more than 35000 members from 136 countries. ICOM Russia activities are focused on contribution to the protection and promotion of the natural and cultural heritage, support of museums and museum specialists, and strengthening of the intercultural exchange and collaboration in the museum sphere. In 2017 ICOM www.icom-russia.com Russia celebrates its 60-years anniversary. DutchCulture is the strategic advice agency for international cultural cooperation, creating activities worldwide. DutchCulture works with – and for – the cultural sector, the government and the diplomatic network both in the Netherlands and abroad. DutchCulture is commissioned by the Ministry of Education, Culture and Science; the Ministry of Foreign Affairs and the European Commission. dutchculture.nl The State Hermitage Museum is an encyclopaedic museum holding artwork originating from Western Europe, Russia, Classical Antiquity, Near East, Central Asia, Far East, numismatic collections stretching from antiquity to modern times, Western European, Oriental and Russian weapons as well as archaeological artefacts. The State Hermitage holdings comprise a total of over three million exhibits. The museum currently occupies 11 buildings and most of them are unique cultural and historical monuments on their own. The State Hermitage Museum constitutes a large exhibition, scientific, restoration and educational centre. The State Hermitage Museum incorporates permanent exhibition centres located in Kazan, Vyborg, Amsterdam (The Netherlands) and a research centre in Venice (Italy). The Museum is planning to open several other centres in the following years. www.hermitagemuseum.org The State Museum and Exhibition Centre ROSPHOTO was founded in 2002. -
Diversity United Presents Established and Emerging Artists Exploring Pro-European Dialogues
For release November 22, 12:00 (UTC +3) 81 artists from 35 countries presenting the diverse artistic face of Europe: Diversity United presents established and emerging artists exploring pro-European dialogues. The exhibition - with venues in Moscow, Berlin and Paris – considers subjects including freedom, dignity, respect, conflicts and dialogue, landscapes and power and political and personal identity. 11 November 2020 – 21 February 2021 Slavs and Tatars, Mystical Protest, 2011, luminous paint, Muharram fabric, fluorescent lights, colour sleeves, cotton, 240 × 620 × 15 cm. Installation view at Ujazdowski Castle Centre for Contemporary Art, Warsaw, 2016. Photo Bartosz Górka The Foundation for Art and Culture, Bonn and the Tretyakov Gallery, Moscow are delighted to announce the travelling group show Diversity United. Contemporary European Art. Moscow. Berlin. Paris. The first venue - the Tretyakov Gallery, Moscow (11 November 2020 – 21 February 2021) - is followed by venues in Berlin and Paris (2021), presenting a survey of work from across the continent. The exhibition showcases the strength and diversity of Europe’s cultural output and highlights the importance of a united Europe during times of political uncertainty. The exhibition looks at contemporary European art after the fall of the Iron Curtain, underlining the importance of intercultural dialogue today. It raises questions about freedom, dignity, democracy and respect whilst highlighting the continent’s artistic production in the context of historically relevant and current themes, such as political and personal identity, migration, (mental) landscape, gender and equality, nationality, territory and geopolitics and social conflicts. Diversity United is made up of approximately 200 works by 81 key European artists active today and spanning generations, genders and European regions.