DOCSLIB.ORG

1 RE-THINKING ARTISTS in TRANSIT Isil Egrikavuk & Georgia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
1 RE-THINKING ARTISTS in TRANSIT Isil Egrikavuk & Georgia RE-THINKING ARTISTS IN TRANSIT Isil Egrikavuk & Georgia Kotretsos In 2001, fifteen Biennials took place around the world. In 2002, nineteen; in 2003, seventeen; in 2004 nineteen and in 2006 the grand total of 27 biennials were organized, some of which were making their official debut on the scene. In 2007, fifteen Biennials have been announced. Since the early 90's the Biennial tradition turned into the epidemic of Biennialization as we know it today. Its contagious nature spread rapidly among peripheral art communities and lured in art professionals from all four corners of the world. Biennials opened our art world to Art Histories that had been neglected in the past on an international level; they were and still can be informative and critical platforms 1 where Contemporary Art can be re-thought, re-evaluated and re-articulated. Yet, the pervasive model slowly seemed to loose ground in terms of the classic fashion – like a great song is being overplayed on the radio. The word Biennial completes the title of over 50 international grandiose exhibitions around the world. This commitment is no longer the case for the Biennial Ceará América Fortaleza, Brazil; the Five Continents and One City Biennial, Mexico City, USA; the Johannesburg Biennale, South Africa and the media city Seoul Biennial, South Korea. Others have been inconsistent in honoring that very commitment, which nurtures art professional’s critical itch. Either way nearly 20 Biennials have made their debut since 2000. We have to acknowledge though that the "mother" Biennial, which takes place in Venice since 1895 serves as the inspiration of the mimicry we are witnessing over the last 15 years. Participating in a Biennial is recognized as a prestigious achievement for an artist. Specifically in the model of the Venice Biennial artists do not only present their work, but also become representatives of their “native” countries by showing at national pavilions. Venice Biennial seems to reinforce the idea of nomadism, but its structure supports the contrary. The notion of borders is imposed upon the Biennial and as a results it reflects globalization. Our critique focuses on how commissioners, curators and artists deal with this ethnocentric categorization and how that affects their practice. Mika Hannula in his essay, “New Hope For the Dead” questions the legitimacy and credibility of Biennials in relation to their plethora worldwide. He further prods at the matter by closely looking at their context and identity. If and when the only identity that an event has is that it is just an international biennial, then there is no chance of it producing anything other than just more of the same. However, if and when a given biennial is constantly in search of its own particular identity, things all of a sudden seem much more interesting. The 2 difference is telling, and it is crucial. Borrowing from Miwon Kwon’s vocabulary, instead of biennials at site just happening one after another, the task is to shape them so that they happen next to one another. Hannula does not fall into generalizations and certainly we do not wish to project a demonized perspective of Biennials, but we insist in exposing this problematic side of the Venice Biennial with the rather rudimentary analogy of Eurovision1. Europe’s boarders are still very much alive in people’s consciousness, culture and education. Sadly it is amplified in the Eurovision Song Contest when countries are invited to present a Pop song that will be voted from all competing countries. Participating countries project very distinct musical, cultural characteristic inspired from their own traditions. It is one of those social events fans get really patriotic about, wave flags, methodically cast their votes and religiously get glued on their TV monitors hoping their country will win. Even the preliminary domestic competition commands immense national media attention, and fan frenzy. We never witnessed our so-called victory as children when the competition still served as innocent entertainment for us but finally in 2003, Turkey won the competition and later on in 2005 Greece did as well. http://www.youtube.com/watch?v=23DV5Pd9RFo&mode=related&search= 1 The Eurovision Song Contest is an annual competition held between active member countries of the European Broadcasting Union (EBU), in which participating countries each submit a song to be performed on live television; then proceed to cast votes for the other countries' songs, in order to find the most popular song in the competition. Each country participates via one of their national EBU-member television stations, whose task it is to select a singer and a song to go forward to represent the country in the international competition. The Contest has been broadcast every year since its inauguration in 1956, and is one of the longest-running television programmes in the world. It is also one of the most-watched non-sporting events in the world,[1] with audience figures having been quoted in recent years as anything between 100 million and 600 million internationally.[2][3] It has been broadcast around the globe — beyond Europe — to such places as Australia, Canada, Egypt, Jordan, Hong Kong, India, Korea, New Zealand and the USA; even though these countries do not participate.[4] Since the year 2000, the Contest has also been broadcast over the Internet;[5] with more than 74,000 people in almost 140 countries having watched the 2006 edition online.[6] The Contest is historically known for being mainly a bastion of formulaic, orchestrated pop music. However it has featured a vast, diverse array of songs, including such musical genres as Arab, Balkan, Celtic music, Dance, Folk, Israeli, Greek, Latin, Metal, Nordic, Pop-rap, Rock, and Turkish. Over the years, the Song Contest has grown from a mere televisual experiment into an international institution of mammoth proportions. Most countries in Europe have taken part at least once during the Contest's history, and such is the magnitude and scale of the Contest that the word "Eurovision" is one of the few household names to be recognized across an entire continent. http://en.wikipedia.org/wiki/Eurovision_Song_Contest 3 http://www.youtube.com/watch?v=pWe0nKho8DI In the Youtube live Eurovision videos, one can easily distinguish the motifs that are linked with national prototypes. The rhythm of the songs, their dancing and the costumes contribute to a constructed representation of their nationality. One may plausibly question our line of thinking in relation to Biennials but when one reads the titles of the Afghan, Egyptian, Israeli and Venezuelan participation in this year’s Venice Biennial, will connect our observation with the nationalistic profile of such events. AFGHANISTAN Afghanistan My Love! Creative genius – witness of destructions and rebirth EGYPT Egypt ... sources of civilization ... and junction of cultures ISRAEL The Guardians of the Threshold VENEZUELA Gods of America It is not a coincidence that these titles come from peripheral art communities. The problem is that, while promoting international identity and mobility, the Venice Biennial creates the opposite effect of exoticism and curiosity of the unknown. The works and titles become documents of social, political, historical, cultural and geographical states of the countries represented. Geography and its politics are often explored within different contexts in contemporary art but how one chooses to address this issue or contextualize its participation is very complex. Everyone is in transit; everyone is a so-called post-nomad (Morley, 210). This nomadic life eventually raises many questions of time/space, belonging and identity. Where does one belong when he/she is in constant movement? In what space and what 4 time? Zygmunt Bauman defines this constant flux as “a series of improvisations, moving through time/space and simultaneously through a series of new identities.” (Morley, 210) Homi Bhabha describes this phenomenon of transition as a “Third space”, “where the familiar and the foreign are conjoined, where it is less clear where home concludes and foreign begins.” Where do Biennials stand in relation to third space? Do they succeed in creating a space for artists, where the borders of geography become indivisible? Or do these events turn into giant spectacles, like Eurovision and the audience into fanatic fans? Surely, it is hard to say that the answer is one or the other, but there is and should be alternative modes of creating cultural productions without falling into the category of romanticizing places or creating stereotypical identities. State funding organizations, commissioners, curators and artists need to resist collectively to this model, if inclusivity is what the art world seeks. Beatrice Born 1972, Berlin, Germany Lives and works in Berlin, Germany/Amsterdam, The Netherlands/London, United Kingdom BFA – School of Visual Arts New York, United States Rijks Academy Residency Amsterdam, The Netherlands Selected exhibitions: 2003 – 1st Prague Biennial, Czech Republic 2004 – Busan Biennial, Republic Korea 2005 – 3rd Goteburg Biennial, Sweden 2005 – 7th Sharjah Biennial, United Arab Emirates 2006 – 27th Sao Paolo Biennial, Brazil 2007 – 10th Istanbul Biennial, Turkey 5 Fenuku Born 1972, Cairo, Egypt Lives and works in New York, USA/Cairo, Egypt BFA – Amsterdam Academy of Fine Arts Amsterdam, The Netherlands MFA – Central Saint Martins College London, United Kingdom Whitney Independent Study Program New York, United States Selected exhibitions: 2001 – 4th Caribbean Biennial, Dominican Republic 2003 – 2nd Tirana Biennial, Albania 2004 – 3rd Berlin Biennial, Germany 2006 – Dak’Art Biennial, Senegal 2007 – 2nd Moscow Biennial, Russia 2007 – Biennale Montreal Instead of discussing existing artists’ work and career moves, we chose to fabricate two accomplished characters, who derive from our research. They represent the generation that boomed alongside the phenomenon of Biennialization. We have come across artists who have participated in ten Biennials by the age of thirty-three and it is a career pattern worth discussing in terms of the work that is being produced.
Load more

Recommended publications
  • Ferenc Gróf (1972, Pécs, HU) Is a Graduate of the Hungarian University of the Arts, Budapest, and Since 2012 He Has Taught At
    FERENC GRÓF (1972, Pécs, HU) is a graduate of the Hungarian University of the Arts, Budapest, and since 2012 he has taught at the École Nationale Supérieur d’Art (ENSA) in Bourges (FR). His work considers ideological footprints, at the intersection of graphic design and spatial experiences. He is a founding member of the Parisian co-operative Société Réaliste—founded in 2004—whose work considers questions of contemporary political representations, ideological design, and text-based interventions. Société Réaliste’s recent solo exhibitions include: amal al-gam, acb Gallery, Budapest, 2014; Universal Anthem, tranzit.ro, Cluj, 2013; A Rough Guide to Hell, P!, New York, 2013; Thelema of Nations, Galerie Jérôme Poggi, Paris, 2013; and Empire, State, Building, MNAC, Bucharest, 2012, Ludwig Museum, Budapest, 2012, and Jeu de Paume, Paris, 2011. Société Réaliste’s work has also been included in numerous group exhibitions and biennials in Shanghai, 2012; Lyon, 2009; and Istanbul, 2009. Since 2015 Société Réaliste is on hiatus, Ferenc Gróf continues his work as an individual artist. His most recent solo exhibitions were Without index (Kiscelli Museum, Budapest, 2016), X with a dot below (acb Gallery / OFF Biennale, Budapest, 2017) and or firing of a red star alert (acb Gallery, 2018). Gróf lives and works in Paris. 1 EDUCATION > Without index, solo exhibition, Kiscelli Museum, > Hungarian University of Fine Arts, Budapest, Budapest. 1996–2001. > The line (Járat), Herman Museum, Miskolc, HU. > Jan van Eyck Academie, Maastricht, > Cold wall #2, Museum of contemporary Art, 2008–2009. Novi Sad (RS). > Worldless, solo exhibition, Nick Gallery, Pécs. RECENT PROJECTS > Statues of Rebels, acb Gallery, Budapest.
    [Show full text]
  • The Gesture and the Sign Press Release 19 March 2013
    The Gesture and the Sign 3 April – 8 June 2013 ‘The Gesture and the Sign’ features recent works by a range of international artists that take their cue from pictorial aspects of lyrical abstraction. With an emphasis on the actual process of painting, lyrical or gestural abstraction can be characterised by techniques that are governed by the artist’s interaction with chance, intuition and circumstance. Triggered by diverse conditions and impulses, the paintings and works on paper in this exhibition share a common purpose in the primacy given to the gesture, the sign and material. Artists such as Mark Bradford, Julie Mehretu, Sterling Ruby and Daniel Senise apply abstraction as a means of observing, negotiating or deconstructing an increasingly mediated world. In Mark Bradford’s large-scale, multi-part work, he uses materials found in the vicinity of his Los Angeles studio (in this case, a merchant poster featuring the telephone number for a ‘Slip and Fall’ lawyer) as the basis for an epic, dense and visually complex composition. The spray painted, hallucinatory canvases of Sterling Ruby also draw influence from his local neighbourhood, here in the form of gang graffiti and the power struggles associated with tagging, defacement and dominion of territory. Julie Mehretu’s dynamic, layered compositions feature intuitive gesture, architectural information and visual signs that build into a maelstrom of time, place and art history, while the abstract compositions of Daniel Senise combine materials embedded and marked with an implied history, which are then overlaid with a pristine white monochrome as an erasure of the past. Accident, failure and alchemy all play a part in the paintings of Sergej Jensen, David Ostrowski and Jacob Kassay.
    [Show full text]
  • 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
    [Show full text]
  • ZWELETHU MTHETHWA Born 1960, Durban EDUCATION 1989 Master
    ZWELETHU MTHETHWA Born 1960, Durban EDUCATION 1989 Master of Fine Arts in Imaging Art, Rochester Institue of Technology, Rochester 1985 Advanced Diploma in Fine Arts, Michaelis School of Fine Art, University of Cape Town, Cape Town 1984 Diploma in Fine Arts, Michaelis School of Fine Art, University of Cape Town, Cape Town SOLO EXHIBITIONS 2013 ‘Zwelethu Mthethwa: New Works’, Jack Shainman Gallery, New York 2012 ‘Zwelethu Mthethwa’, The Baltimore Museum of Art, Maryland ‘Zwelethu Mthethwa: Sugar Cane Series (2003 – 2007)’, curated Diego Cortez, John Hope Franklin Center, Duke University, Durham, NC ‘Zwelethu Mthethwa’, curated by Kirsten Hileman, Project space, Baltimore Museum of Art, Baltimore 2011 ‘New Works’, iArt Gallery (now Brundyn + Gonsalves), Cape Town 2010 ‘Inner Views’, Studio Museum in Harlem, New York ‘Zwelethu Mthethwa’, iArt Gallery, Cape Town ‘Is it our goal…? And Other Related Issues’, Circa on Jellicoe, Johannesburg ‘Brick Workers and Contemporary Gladiators’, Galeria Oliva Arauna, Madrid 2009 ‘New Works’, Jack Shainman Gallery, New York 2008 ‘Children of a Lesser God’, Everard Read, Johannesburg ‘Contemporary Gladiators’, Andréhn Schiptjenko, Stockholm 2007 ‘Private-Public Spaces’, Galerie Anne de Villepoix, Paris ‘Recent Works’, Galerie Oliva Arauna, Madrid ‘Maidens and Dance of Life’, Christine König, Vienna (in cooperation with Galerie Hengevoss-Dürkop) 2006 ‘Gold Miners’, Jack Shainman Gallery, New York ‘New Works’, Everard Read, Johannesburg ‘Maidens’, Galerie Hengevoss-Dürkop, Hamburg 2005 ‘Women in Private Spaces’,
    [Show full text]
  • Galerie Lelong &
    Galerie Lelong & Co. Paris – New York Rebecca Horn Exhibitions Solo show 2019 Théâtre des métamorphoses, Centre Pompidou-Metz, , France Fantasmagories corporelles, Musée Tinguely, Basel, Switzerland 2016 German video art in the Russian Museum - Rebecca Horn, The State Russian Museum - Marble Palace, St. Petersburg, Russian Federation 2015 Rebecca Horn - The Vertebra Oracle In Napoli 2015, Studio Trisorio, Naples, Italy 2014 Rebecca Horn - The Vertebrae Oracle, Sean Kelly Gallery, New York City, United States Rebecca Horn - Between the Knives the Emptiness, Galerie Lelong, Paris, France Rebecca Horn - Between the Knives the Emptiness, Galerie Lelong, Zürich, Switzerland Rebecca Horn - zum Geburtstag, Galerie Hirshmann, Berlin, Germany Rebecca Horn - zum Geburtstag, Galerie Hirshmann, Berlin, Germany 2012 Rebecca Horn : Passage Through Light, National Gallery of Modern Art, New Delhi, India Rebecca Horn & Guests, Maribor Art Gallery, Maribor, Slovenia 2011 Rebecca Horn: Ravens Gold Rush, Sean Kelly Gallery, New York City, United States 2010 Rebellion in Silence Dialogue between Raven and Whale, Museum of Contemporary Art, Tokyo, Japan Rebecca Horn – Rebelião em Silêncio, Centro Cultural Banco do Brasil, São Paulo, Brazil Rebecca Horn - Rebelião em Silêncio, Centro Cultural Banco do Brasil, São Paulo, Brazil Rebecca Horn - Rebelião em Silêncio, Goethe-Institut São Paulo, São Paulo, Brazil 13 rue de Téhéran, 75008 Paris – France / +33 1 45 63 13 19 / [email protected] / www.galerie-lelong.com 1 Galerie Lelong & Co. Paris – New York
    [Show full text]
  • Art History: International Art Exhibitions
    FRICK FINE ARTS LIBRARY ART HISTORY: INTERNATIONAL ART EXHIBITIONS Library Guide Series, No. 42 “Qui scit ubi scientis sit, ille est proximus habenti.” -- Brunetiere* What Is an International Art Exhibition? International art exhibitions have a long history that has its roots in the 19th century. Salon exhibitions took place in Paris from 1667 onwards under the auspices of the French Royal Academy of Painting and Sculpture and were held on a biennial basis from 1855 onwards. That same year the Salons were held in the Palais de ‘l’Industrie constructed for the World’s Fair that year. A number of rival salons were established and in 1881 the government withdrew official support from the main Salon and handed over its direction to artists. Afterward, the Salon began to lose its prestige and influence in the face of competition from various independent exhibitions such as the Salon des Independents (1884), the Societe Nationale des Beaux-Arts (1890) and the Salon d’Automne (1903). The end of the 19th century was a time marked by an internationalist spirit that celebrated technological advancement and the accumulation of wealth through global colonial structures. The institution of world’s fairs was one feature of that spirit, the first one being held in London during 1851. Many of the fairs that followed throughout the 19th and 20th centuries included art buildings to display works by the current artists of the day. At times it is difficult to distinguish biennial and triennial art exhibitions from international art festivals, art fairs or trade shows. The first art fair one in the twentieth century was the 1913 Armory Show in New York which was open to progressive painters usually neglected.
    [Show full text]
  • Concept for Contemporary
    copertina con alette 2017.pdf 1 24/04/17 10:50 La forza competitiva del Made in Italy, in cui la componente design ha un ruolo centrale, parte dalla natura identitaria della sua produzione. Proprio per questa Alfredo Aceto forma di imprinting culturale che i luoghi trasferiscono sul prodotto, il vantaggio Alessandro Bava / åyr competitivo si genera in stretta relazione con le peculiarità della struttura sociale Sergio Breviario dei sistemi imprenditoriali locali. Da questa idea si è ipotizzato un legame Canemorto stringente per la promozione dell’arte contemporanea attraverso canali interna- Gianni Caravaggio zionali, qualitativamente rilevanti, già rodati dalla filiera produttiva per far sì che Ludovica Carbotta queste assonanze e affinità progettuali, nonché ideative, andassero a valorizzare Loris Cecchini l’operato delle nuove generazioni. Concepito infatti per documentare, valorizzare Giulio Delvé e sostenere gli artisti che vivono e lavorano principalmente in Italia, il Moroso Gabriele De Santis CONCEPT nasce con questo DNA, quale necessaria e pragmatica evoluzione del Elena El Asmar Premio Moroso, di cui diventa estensione e, si auspica, valido braccio operativo. Roberto Fassone Ettore Favini Il volume viene pubblicato quale complemento ed integrazione al progetto, illustrando i 36 artisti Graziano Folata selezionati per il Moroso CONCEPT 2017. La pubblicazione, curata da Andrea Bruciati, è inoltre un Francesco Fonassi focus sui 12 finalisti e si struttura secondo una pertinente indagine critica, condotta da: Anna Franceschini Alfredo Aceto, Canemorto, Roberto Fassone, Francesco Fonassi, Anna Franceschini, Invernomuto, Margherita Moscardini, Valerio Nicolai, Luigi Presicce, Stefano Serretta, Ilaria Vinci, Driant Zeneli. Anna Galtarossa Il catalogo è supportato da una ricca sezione iconografica che documenta approfonditamente Martino Genchi la poetica di ogni artista, e da un’esaustiva appendice di apparati, comprensiva del curriculum Oscar Giaconia dettagliato di ciascun autore e dalle schede tecniche relative ai progetti espressamente concepiti.
    [Show full text]
  • Seung-Taek Lee
    SEUNG-TAEK LEE Born 1932 Kowon, Korea EDUCATION 1959 B.F.A. Dept of Sculpture, Hongik University, Seoul AWARDS 2014 Eunkwan Award, Ministry of Culture, Sports and Tourism, Korea 2009 Winner of Nam June Paik Art Center Prize 2009, Korea 2002 Achievement Award, DongA Art Festival, DongA Media, Korea 2000 Bokwan Order of Culture Merit Award from Minister of Culture, Sports and Tourism, Korea 1994 Award from Minister of Culture, Sports and Tourism, Korea 1985 The grand Prize of International Outdoor Sculpture Festival, Aomori Museum of Art, Japan 1978 Winner of DongA Art Festival, DongA Media, Korea 1977 The grand Prize of Space Art Award, SPACE Magazine, Korea SELECTED SOLO EXHIBITIONS 2017 Seung-taek Lee, Palazzo Caboto, Venice Seung-taek Lee, Lévy Grovy, New York 2015 Drawing, Gallery Hyundai, Seoul 2014 Seung-taek Lee: Think Reform, Gallery Hyundai, Seoul Frieze Masters, Regent’s Park, London Frieze Sculpture Park, Regent’s Park, London 2012 Seung-taek Lee 1932-2012, Sungkok Art Museum, Seoul 2007 Hitting a Space, Gyeounggi Museum of Art, Gyeonggi, Korea 2005 Record of Nature, Seoul Museum of Art, Seoul 2004 Gwangju Biennae, Jungoe Park Biennale Exhibition Hall, 5.18 Freedom Park, Gwangju, Korea 2002 Wind Wind Wind, Ssamji Space, Seoul 2001 Hair, World’s Artist Award Exhibition, Seoul Arts Center, Seoul 2000 Hairy Tongue, Seoul Art Festival, Seoul Museum of Art 1997 Experimental Art for 50 years: Lee Seung-taek, ARKO Art Center, Seoul 1988 Seung-taek Lee, Gallery K, Tokyo Seung-taek Lee, Who Gallery, Seoul Seung-taek Lee, Kwanhoon Gallery,
    [Show full text]
  • Johanna Billing I'm Lost Without Your Rhythm
    JOHANNA BILLING I’m LOST WITHOUT YOUR RHYTHM CAMDEN ARTS CENTRE, LONDON MODERN ART OXFORD ARNOLFINI, BRISTOL lll l 3 artists l 3 spaces l 3 years CONTENTS 05 INTRODUCTION 21 INTERVIEW 43 IASI, ROMANIA, OCTOBER 2008 51 AFTERWORD 55 BIOGRAPHY 64 COLOPHON INTRODUCTION Over the last decade Johanna Billing’s videos dance can be, or means today, especially in have reflected on routine, rehearsal and relation to a developing country and ritual. Through a deft observational style, she economy such as Romania. The work places subtle emphasis on both the fragility of becomes about movement in general and individual performance and the power of choreography coming closer to everyday life collective experience. Billing herself has also than might at first be imagined. said that she is obsessed by circularity and retrospection. Ever since her video Graduate Show (1999) in which Billing’s contemporaries at art school Billing’s new video work I’m Lost Without danced to a 1980’s soundtrack music, sound Your Rhythm (2009), is based around the and rhythm have woven a continuous thread recording of a dance choreography workshop through her video works. Even Project for a in Iasi, Romania. Led by Swedish Revolution (2000), though without a musical choreographer Anna Vnuk, with whom score, has rhythm at its heart, with ambient Billing last worked over a decade ago, there is sounds of a regurgitating photocopier and the no final performance as such. Instead the restless rustle of young people apparently resulting video links several days’ activity waiting around for something to happen. into a continuous process of live improvisation between choreographer, Young people have frequently become a focus dancers and local musicians which was of her camera’s ‘eye’, despite each work originally watched by an audience who were having hugely divergent contexts and content free to come and go as they pleased.
    [Show full text]
  • Biography Page 2
    513 WEST 20TH STREET NEW YORK, NEW YORK 10011 TEL: 212.645.1701 FAX: 212.645.8316 JACK SHAINMAN GALLERY ZWELETHU MTHETHWA Born in 1960, Durban, Kwazulu Natal, South Africa Lives and works in Cape Town, South Africa EDUCATION 1989 Master of Fine Arts in Imaging Art, Rochester Institute of Technology 1985 Advanced Diploma in Fine Arts, Michaelis School of Fine Art, University of Cape Town 1984 Diploma in Fine Arts, Michaelis School of Fine Art, University of Cape Town SELECTED ONE-ARTIST EXHIBITIONS 2013 Zwelethu Mthethwa: New Works, Jack Shainman Gallery, New York, January 24–February 23, 2013. Untitled Portraits by Zwelethu Mthethwa, Mount Holyoke College Art Museum, South Hadley, Massachusetts, August 30–December 17, 2013. 2012–2013 Zwelethu Mthethwa, The Baltimore Museum of Art, Maryland, November 17, 2012–February 10, 2013. 2012 Zwelethu Mthethwa: Sugar Cane (2003–2007), John Hope Franklin Center, Duke University, Durham, North Carolina, January 17–April 8, 2012. Curated by Diego Cortez. 2011 Zwelethu Mthethwa: New Works, iArt Gallery, Cape Town, South Africa, May 18–June 29, 2011. (Catalogue) 2010 Zwelethu Mthethwa, iArt Gallery, Cape Town, South Africa, May 18–June 29, 2010. WWW.JACKSHAINMAN.COM [email protected] Zwelethu Mthethwa: Selected Biography Page 2 Zwelethu Mthethwa: Is it our goal…? And Other Related Issues, Circa on Jellicoe, Johannesburg, South Africa, June 3–July 9, 2010. Zwelethu Mthethwa: Inner Views, Studio Museum in Harlem, New York, July 15–October 24, 2010. (Catalogue) Zwelethu Mthethwa: Brick workers & Contemporary Gladiators, Galeria Oliva Arauna, Madrid, Spain, September 7–October 14, 2010. 2009 Zwelethu Mthethwa: New Works, Jack Shainman Gallery, New York, April 23–May 23, 2009.
    [Show full text]
  • Zbynek Baladran
    ZBYNEK BALADRAN Galerie Jocelyn Wolff Updated: October 2020 ZBYNEK BALADRAN Born in Prague (Czechoslovakia ) in 1973 Lives and works in Prague. www.tranzitdisplay.cz www.monumenttotransformation.org BIOGRAPHY Zbyněk Baladrán is an author, visual artist and curator. He studied art history at the Charles University Philosophical Fa- culty in Prague from 1992-1996, and from 1997-2003 at the Prague Academy of Fine Arts in the studio of visual com- munication. He is one of the co-founders and a curator of Galerie display, which was established in Prague in 2001, and in 2007 merged with tranzit.cz into tranzitdisplay, where he continues to oversee the exhibition program. He is also the co-curator, with Vít Havranek, of the project and exhibitions Monument to Transformation, a 3-year research project on social transformation that was presented in 2009 at the Prague City Gallery, and which traveled to several other loca- tions in Europe later this year. Baladrán was also a part of the team of curators (tranzit.org) for Manifesta 8, Murcia, Spain in 2010. His artworks can be characterized as the search for links between the past and its construction in relation to the prevailing epistemological patterns. His works are represented in various international private and public collections. AWARDS & GRANTS 2018 Prize for artists over 35 - Prize from Anna Daucikova, Prague 2014 Award of the year for the most important artistic achievement, Prague 2013 Audi Awards for New Positions, Art Cologne 2008 artist in residence, Zacheta, Warsaw 2007 artist in
    [Show full text]
  • Exibart.Onpaper 25 Sped
    Exibart.onpaper 25 Sped. in A.P. 45% art. 2. c. 20 A.P. in Sped. let. B - l. 662/96 Firenze Copia euro 0,0001 arte.architettura.design.musica.moda.filosofia.hitech.teatro.videoclip.editoria.cinema.gallerie.danza.trend.mercato.politica.vip.musei.gossip free | anno quarto | settembre - ottobre 2005 www.exibart.com Non è stato facile 'uscire' con un numero così denso già a settembre. La stagione delle mostre, grandi e piccole, è ancora lungi dal partire e alcuni eventi di cui avremmo voluto parlare stanno inaugurando mentre chiudiamo il giornale in redazione. Abbiamo fatto buon viso a cattivo gioco e ci siamo adeguati. Il numero che avete in mano ha così meno recensioni e più approfondimenti. E non è detto che sia un male, anzi. Siamo o non siamo la rivista d'arte (e dintorni) più completa, leggibile, godibile e soprattutto credibile del Paese? È per questo che direttori ed editori delle altre riviste d'arte - che, per colpa nostra e del prezzo di copertina esagerato, nessuno acquista più - stanno perdendo la testa e dando in escandescenze. Comprensibile, ma li invitiamo a concentrare energie sul miglioramento dei loro giornali: abbiamo urgente biso- gno di concorrenza vera. Ma veniamo ai contenuti. Approfondimenti dicevamo, e molto interessanti. Troverete una panoramica sulle nuove fondazioni che - spesso sopperendo alla mancanza del pubblico, o alle volte affiancando il settore pubblico - stanno proliferando. Da Siena (la Fondazione Musei Senesi gestisce ben trentuno spazi della provincia toscana), a Verona (la Fondazione Domus vuole regalare al capoluogo scaligero un museo sull'arte di oggi), a Milano (dove il grande scultore Arnaldo Pomodoro inaugura la fondazione-museo a suo nome con una mostra di scultura).
    [Show full text]