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DANH VO Education Solo Exhibitions
DANH VO 1975 Born in Bà Rịa, Vietnam Lives and works in Berlin and Mexico City Education 2000–01 Royal Academy of Fine Arts, Copenhagen, Denmark 2002–04 Städelschule, Frankfurt, Germany Solo exhibitions 2020 Chicxulub, White Cube Bermondsey Danh Vo oV hnaD, The National Museum of Art, Osaka Danh Vo, Wising Art Palace Atelier, Taipei, Taiwan Danh Vo Presents, The Nivaagaard Collection, Denmark 2019 Danh Vo: The Mudam Collection and Pinault Collection in Dialogue, Mudam Luxembourg Danh Vo Untitled, South London Gallery Danh Vo: Cathedral Block, Prayer Stage, Gun Stock, Marian Goodman Gallery, London Kurimanzutto, Mexico City 2018 Noguchi for Danh Vo: Counterpoint, M+, Hong Kong CAPC Musée d'art contemporain de Bordeaux, France Take My Breath Away, Guggenheim Museum, New York; Statens Museum for Kunst, Copenhagen, Denmark Danh Vo: Garden with Pigeons in Flight, Casa Luis Barragán, Mexico City 2016 White Cube, Hong Kong Ng Teng Fong Roof Garden Gallery Commission, National Gallery Singapore We The People, Roof Deck Sculpture Garden, Aspen Museum of Art 2015 Homosapiens, Marian Goodman Gallery, London Danish Pavilion, 56th Venice Biennale, Venice, Italy Ydob eht ni mraw si ti, Museum Ludwig, Cologne, Germany Galerie Chantal Crousel, Paris, France Banish the Faceless: Reward your Grace, Palacio de Cristal, Museo Reina Sofia, Madrid, Spain 2.2.1861, Mirrored Gardens, Guangzhou, China 2014 Metal (with Xiu Xiu), The Kitchen, New York Nottingham Contemporary, Nottingham, United Kingdom We The People, Public Art Fund, City Hall Park & Brooklyn Bridge Park, New York Museo Jumex, Mexico City, Mexico ,الحجارة وادي 2013 Go Mo Ni Ma Da, Musée d’Art moderne de la Ville de Paris, Paris, France I M U U R 2, Solomon R. -
Director's Foreword Statement of the Board International Support ISGIES
p. 4 Director’s Foreword p. 9 Statement of the Board p. 12 International Support p. 40 ISGIES p. 42 Visitors p. 54 International Residencies p. 62 Programme p. 65 p. Publications p. 69 Office for Contemporary Art Norway Annual Report 2015 Project: Staging Three. “Incidental Insurgents” p. 72 Project: Staging Two. “They Went Away to Stay” p. 76 Norway at the Venice Biennale p. 83 OCA in the Press p. 103 Key Figures 2015 p. 122 Organisation and the Board Office for Contemporary Art Norway 3 “Norway has always been a place in which the while reflecting upon the history of sound as a boundaries of the world have been questioned. force of repression, emancipation and excitation, Director’s Foreword As early as 1075, Bishop Adam of Bremen noted as well as contemporary concepts of consonance Norway’s position on the edge of the world thus: and dissonance, and the water, glass and light ‘Beyond Norway, which is the farthermost northern of Venice. Weaving together architectural and country, you will find no human habitation, nothing sculptural interventions in the space of the pavilion, but ocean, terrible to look upon and limitless, Norment developed a new composition for the glass encircling the whole world.’ Inevitably, a nation at armonica – a legendary 18th-century instrument the edge of the world is also one from which the that creates ethereal music from glass and water very frontiers of reason can be questioned. From – and a chorus of female voices, as well as the a historic perspective, it was along those northern resonances of the pavilion itself. -
This Book Is a Compendium of New Wave Posters. It Is Organized Around the Designers (At Last!)
“This book is a compendium of new wave posters. It is organized around the designers (at last!). It emphasizes the key contribution of Eastern Europe as well as Western Europe, and beyond. And it is a very timely volume, assembled with R|A|P’s usual flair, style and understanding.” –CHRISTOPHER FRAYLING, FROM THE INTRODUCTION 2 artbook.com French New Wave A Revolution in Design Edited by Tony Nourmand. Introduction by Christopher Frayling. The French New Wave of the 1950s and 1960s is one of the most important movements in the history of film. Its fresh energy and vision changed the cinematic landscape, and its style has had a seminal impact on pop culture. The poster artists tasked with selling these Nouvelle Vague films to the masses—in France and internationally—helped to create this style, and in so doing found themselves at the forefront of a revolution in art, graphic design and photography. French New Wave: A Revolution in Design celebrates explosive and groundbreaking poster art that accompanied French New Wave films like The 400 Blows (1959), Jules and Jim (1962) and The Umbrellas of Cherbourg (1964). Featuring posters from over 20 countries, the imagery is accompanied by biographies on more than 100 artists, photographers and designers involved—the first time many of those responsible for promoting and portraying this movement have been properly recognized. This publication spotlights the poster designers who worked alongside directors, cinematographers and actors to define the look of the French New Wave. Artists presented in this volume include Jean-Michel Folon, Boris Grinsson, Waldemar Świerzy, Christian Broutin, Tomasz Rumiński, Hans Hillman, Georges Allard, René Ferracci, Bruno Rehak, Zdeněk Ziegler, Miroslav Vystrcil, Peter Strausfeld, Maciej Hibner, Andrzej Krajewski, Maciej Zbikowski, Josef Vylet’al, Sandro Simeoni, Averardo Ciriello, Marcello Colizzi and many more. -
Danh Vō Bà Rja, Vietnam, 1975 Lives and Works in Berlin, Germany
kurimanzutto danh vō Bà Rja, Vietnam, 1975 lives and works in Berlin, Germany education & residencies 2013 Villa Medici Artist Residency, Rome. 2009 Kadist Art Foundation Residency, Paris. 2006 Villa Aurora Artist Residency, Los Angeles. 2002–2004 Städelschule, Frankfurt. 2000–2001 Royal Academy of Fine Arts, Copenhagen. grants & awards 2015 Arken Art Prize, Denmark. 2012 Hugo Boss Prize awarded by the Solomon R. Guggenheim Foundation, United States. 2009 Nominee for the Nationalgalerie Prize for Young Art, Germany. 2007 BlauOrange Kunstpreis der Deutschen Volksbanken und Raiffeisenbanken, Germany. solo exhibitions 2020 Danh Vo. Wising Art Place Atelier, Taipei, Taiwan. Danh Vo oV hnaD. The National Museum of Art, Osaka, Japan. Danh Vo Presents. The Nivaagaard Collection, Denmark. Chicxulub. White Cube Bermondsey, London. 2019 The Mudam Collection and Pinault Collection in dialogue. Mudam, Luxemburg. Dahn Vo: Untitled. South London Gallery. kurimanzutto To Each his Due. Take Ninagawa, Tokyo. We The People. Media Gallery, New York. Danh Vo. kurimanzutto, Mexico. Danh Vo. Cathedral Block Prayer Stage Gun Stock. Marian Goodman, London. 2018 Garden with Pigeons at Flight. Estancia FEMSA – Casa Luis Barragán, Mexico City. Take My Breath Away. Guggenheim Museum, New York. Noguchi for Danh Vo: counterpoint. M+ Pavilion, West Kowloon, Hong Kong. Take My Breath Away, SMK, Copenhagen. Danh Vo. Musée d’art contemporain de Bordeaux, France. 2017 Ng Teng Fong Roof Garden Commission, National Gallery, Singapore. 2016 We the People. Aspen Art Museum, United States. Ng Teng Fong Roof Garden Commission: Danh Vo. National Gallery Singapore. Danh Vo. White Cube, Hong Kong. 2015 Destierra a los sin rostro / Premia tu gracia (Banish the Faceless / Reward your Grace). -
MUSEUMS AS CULTURAL HUBS the FUTURE of TRADITION MUSEUMS AS CULTURAL HUBS the Future of Tradition
THE NATIONAL COMMITTEE MAGAZINE NO 9 | JUNE 2019 | ISSN 2683-5282 MUSEUMS AS CULTURAL HUBS THE FUTURE OF TRADITION MUSEUMS AS CULTURAL HUBS The Future of Tradition May 13-19, 2019 FOR MUSEUMS MUSEUMS OF SERBIA International Museum Day - European Night of Museums - National Museum Week Free Admission 2 ICOM SRBIJA A WORD FROM PRESIDENT Jubilee Year From content This year, museum pro- fessionals will gather at the jubilee, 25th ICOM General Conference in magical Kyoto. There is plenty of symbol- 4 ism in the fact that the ICOM 25th General Conference - Kyoto 2019 Land of the Rising Sun is hosting 3,000 partic- Redefined Future of Tradition ipants who are going to discuss important is- sues of concern to the international museum 6 Interview community. This will be the right opportunity for Suay Aksoy, the new museum defi- nition to “rise” so as to ICOM President reflect the changed role of museums which have developed a closer bond 16 with the audience and New Museums become a more active part of the community The Largest Serbian Museum they belong to. Abroad The central theme of this year’s Conference, Museums as Cultural Hubs: The Future of Tradition, was exactly the thread that bonded 26 museums all over Serbia during the event Museums for 10, coor- International Cooperation dinated by ICOM Serbia. For the fifth time, the largest museum ini- Museum Connections tiative in Serbia presented museums as places where creativity and On The Silk Road knowledge unite, and visitors take an active part in creating and -ex changing ideas, and interact with each other, prioritizing the quality of knowledge exchange and development of critical awareness of major issues. -
Modern in Venice Absorbing Modernity 1914–2014 at the 14Th International Architecture Exhibition
NEWS While France was focusing on its flops, other Modern in Venice pioneers of the Modern Movement architec- Absorbing Modernity 1914–2014 ture chose to celebrate it. The Netherlands pays homage to Bakema with Open; Great th at the 14 International Britain shows its specifically national forms of architectural and cultural modernity with Architecture Exhibition a Clockwork Jerusalem; and Office US presents the American hegemony trough corporate architecture, creating a repository of its worldwide contribution. The 2014 Venice ArchitectureBiennale is on “Heavy Panels: Economies of Scale or Mo- display from June to November. This year’s notony?”; and “Grands Ensembles: Healing The Unwritten Story edition is directed by Rem Koolhaas and is Heterotopias or Places of Seclusion?”. Each of Latvian Post-War Architecture bringing major novelties. For the first time part is represented by a large-scale object and the event will be held for six months and was linked-up to the others through a ubiquitous TheBiennale was an opportunity for some assembled for a longer period than ever be- film. countries to develop their first inquiries on fore. Koolhaas set this new schedule because The curator’s statement argues that 20th-century architectural legacy. Latvia, for he was committed to create a research-based France has shaped modernity since 1914. The instance, presents an exhibition curated by exhibition. According to Paolo Baratta, the exhibition succeeds at expressing modern- NRJA (No Rules Just Architecture) that as- president of the Venice Biennale, this repre- ism as a complex reality by representing its serts the need for acknowledged research and sents an unprecedented method that had great expectations and ultimate disillusions. -
Master's Thesis Urban Studies and Planning the Role of Helsinki
Master’s thesis Urban Studies and Planning The role of Helsinki contemporary art biennial in placemaking and city branding. An interdisciplinary study on the establishment of a new cultural event. Barbara Radaelli-Muuronen 2019 Supervisors: Maaria Linko, Anssi Joutsiniemi MASTER’S PROGRAMME IN URBAN STUDIES AND PLANNING FACULTY OF ARTS Tiedekunta – Fakultet – Faculty Osasto – Institution – Department Faculty of Arts Urban Studies and Planning Tekijä – Författare – Author Barbara Radaelli-Muuronen Tutkielman otsikko – Avhandlings titel – Title of thesis The role of Helsinki contemporary art biennial in placemaking and city branding.An interdisciplinary study on the establishment of a new cultural event. Koulutusohjelma – Utbildningsprogram – Programme Master’s programme in urban studies and planning Tutkielman taso – Avhandlings nivå – Level of the Aika – Datum – Date Sivumäärä – Sidoantal – Number of pages thesis Master’s thesis 21 th of May 2019 60 + 1 appendixes Tiivistelmä – Referat – Abstract In current city policies, cultural events take part in urban, social and economic development contributing in place making and city branding. This master thesis examines the role of the forthcoming Helsinki contemporary art biennial within the city strategies to fulfill social, economic and environmentally sustainable development. The vision of the city of Helsinki is to be the world’s most functional city, creating the best conditions for residents and visitors as well as an attractive knowledge hub for companies and individuals. The potential of achieving some of the strategies’ objectives through the contemporary art biennial is analyzed through interviews with experts of Helsinki Art Museum and benchmarking the city of Helsinki with other long-term biennial cities, specifically, Venice, Berlin and Liverpool. -
58TH VENICE ART BIENNALE By
73 / JULY / AUGUST / SEPTEMBER 2019 1 JULY — AUGUST — SEPTEMBER 2019 / OFFICE OF DISPOSAL 9000 GENT X - P509314 - X GENT 9000 DISPOSAL OF OFFICE / 2019 SEPTEMBER — AUGUST — JULY 20 58TH VENICE ART BIENNALE by DOMINIQUE MOULIN CULTURAL COMMENTS COMMENTS CULTURAL Too real to be surreal 2019 Deep See Blue Surrounding You, , s Laure Prouvo 20 21 58TH VENICE ART BIENNALE Dominique Moulin It goes without saying that the Venice COMMENTS CULTURAL Art Biennale divides opinion, for that is the very nature of the sometimes-beautiful beast. The 58th edition was entrusted to the American curator Ralph Rugoff and his headline theme, May You Live In Interesting Times, appears a warning to appreciate the world as it is by observing it. And given Rugoff’s decision to only feature living artists, what we end up with are observers of our time. Jumping around the locations, DAMN°’s man on the ground gives his own point of view on the points of view on show. To live in the present time, as Ralph spectra III in the Central Pavilion. It put on a VR headset. For the next Rugoff – whose day job is director is a corridor whose white light daz- eight minutes we are immersed in of London’s Hayward Gallery – en- zles us so much that we protect our- a universe in a gaseous state, with- courages us to do, is also to accept selves with our hands, as though not out any gravity or apparent limits, extreme complexity. And that may to observe the unobservable. This until we realise that we can act on be the reason why he asked Lara excess might suggest the mass of its form with movement – uncon- Favaretto to plunge the Central Pa- information that daily overwhelms scious at first – of the head. -
The 2015 Venice Biennale
THIRD TEXT Critical Perspectives on Contemporary Art and Culture April 2016 The 2015 Venice Biennale N J Hynes In 2015 the Venice Biennale weathered not only blazing sun, thick fog and occasional flooding; it also weathered a critical storm: an atypical number of negative reviews filed by art critics in the heat of May and June. Yet by the time the Biennale closed, total visitor numbers reached over half a million (up from 475,000 in 2013), thirty-one percent of these students and young people. This review will examine the staying power of both the exhibition and its critics’ objections, six months on. Which of them lasted the course? Going to the Biennale in November is like seeing a friend nearing the end of a marathon. They’re still going strong, but have slowed down and look gaunt. There is a grace and a lack of pretence, along with a pride in having survived. With the glamorous parties long over, the Biennale belongs to the Venetians, families and friends slipping in before the show ends. The paint is peeling in places, some technology no longer works, a few escalators remain permanently out of order. But in this weathered state the art still says what it did earlier – perhaps, indeed, it does so more clearly. The theme chosen by this year’s curator, the New York-based Okwui Enwezor, was ‘All the World’s Futures’. Sounding like a truncated phrase from Shakespeare, the title suggests comprehensiveness: a singular, shared world; a variety of visions, possibilities and fates. But there are other futures to consider too; those traded on commodity markets by brokers and traders barely connected to the world at all. -
El Anatsui CV
El Anatsui b. 1944, Anyako, Ghana Lives and works between Ghana and Nigeria EDUCATION 1969 Postgraduate Diploma, Art Education, University of Science and Technology, Kumasi, Ghana 1994 B.A. College of Art, University of Science and Technology, Kumasi, Ghana SELECTED SOLO SHOW 2019 El Anatsui: Triumphant Scale, Mathaf: Arab Museum of Modern Art, Doha, Qatar El Anatsui: Triumphant Scale, Haus Der Kunst Munich, Munich, Germany 2018 El Anatsui: Meyina, Iziko South African National Gallery, Cape Town, South Africa 2017 El Anatsui: Topology of Generosity, Barakat Contemporary, Seoul, Korea. 2016 El Anatsui: New Works, October Gallery, London, UK El Anatsui: Five Decades, Carriage works, Sydney Festival 2016, Sydney, Australia 2015 El Anatsui, October Gallery, London, UK El Anatsui: Five Decades, Jack Shainman Gallery, New York, USA El Anatsui of Dzi, Kunstbanken Hedmark Kunstsenter, Hamar, Norway 2014 El Anatsui – Theory of Se, Axel Vervoordt Gallery, Hong Kong El Anatsui: Playing with Chance, Centre for Contemporary Art, Lagos, Nigeria El Anatsui: New Worlds, Mount Holyoke College, South Hadley, Massachusetts, USA El Anatsui: Trains of Thought, Jack Shainman Gallery, New York, USA El Anatsui, Mnuchin Gallery, New York, USA 2012-15 Gravity and Grace: Monumental Works by El Anatsui, Akron Art Museum, Akron, Ohio; Brooklyn Museum, New York; Des Moines Art Center, Iowa; Bass Museum of Art, Miami, USA Museum of Contemporary Art, San Diego, USA 2012-13 Broken Bridge II, the High Line, New York, USA 2012 Pot of Wisdom, Jack Shainman Gallery, New -
The Visitor As a Commercial Partner: Notes on the 58Th Venice Biennale
Daniel Birnbaum: Seventy-nine artists is a relatively limited number. Ralph Rugoff: How many did you have in yours? Daniel Birnbaum: I can’t remember. – Artforum, May 20191 01/09 The test of a first-rate intelligence is the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function. One should, for example, be able to see that things are hopeless and yet be determined to make them otherwise. Claire Fontaine – F. Scott Fitzgerald, The Crack-Up, 1936 In his statement inaugurating the 58th Venice The Visitor as a Biennale, Paolo Baratta, its president, felt compelled to address the image of the event. Commercial Entitled “The Visitor as a Partner,” the statement Partner: Notes reads in part: A partial vision of the Exhibition might consider it a high-society inauguration on the 58th followed by a line six months long for “the rest of the world.” Others might consider Venice Biennale the six-month-long Exhibition the main event and the inauguration a by-product. It would be so useful if journalists would e l a come at another moment and not during n n e the “three-day event” of the “society” i B inauguration, which can only give them a e c i 2 n very partial image of the Biennale! e V e h n t i 8 a It would be useful, indeed, but it won’t happen. t 5 n e o ÊÊÊÊÊÊÊÊÊÊ“Our visitors have become our main h F t e n partner,” Baratta candidly adds (meaning r i o a s l “commercial partner”), to such an extent that e C t Ê o during the overcrowded opening days, many 9 N 1 : 0 r artworks were at risk of being damaged, and 2 e r n t e basic health and safety standards weren’t r b a m P followed. -
Jack Shainman Gallery
JACK SHAINMAN GALLERY EL ANATSUI Born in 1944, Ghana Lives and works in Nigeria EDUCATION 1969 Postgraduate Diploma, Art Education, University of Science and Technology, Kumasi, Ghana 1965–1969 BA (Art) College of Art, University of Science and Technology, Kumasi, Ghana SELECTED ONE-ARTIST EXHIBITIONS 2019 – 2020 El Anatsui: Triumphant Scale, Mathaf: Arab Museum of Modern Art, Doha, Qatar, October 1, 2019 – January 31, 2020. Traveling to: Kunstmuseum Bern, Switzerland, March 13 – Fall 2020 and Guggenheim Bilbao, Spain. 2019 El Anatsui: Triumphant Scale, Haus Der Kunst, Munich, Germany, March 8 – July 28, 2019. 2018 El Anatsui: Meyina, Iziko South African National Gallery, Cape Town, South Africa, March 7 – April 29, 2018. 2017 – 2018 El Anatsui: Proximately, Axel Vervoordt Gallery, Antwerp, Belgium, October 10, 2017 – January 13, 2018. Prints, Royal Academy, London, September 3, 2017 – April 20, 2018. 2017 El Anatsui, Barakat Gallery, Seoul, 26 September – 19 November 2017. 2016 – 2017 El Anatsui, Prince Claus Fund Gallery, Amsterdam, Netherlands, November 24, 2016 – April 28, 2017. 2016 El Anatsui: New Works, October Gallery, London, 4 February – April 2, 2016. Afrikas stjerne - Monumentale værker af El Anatsui (Star of Africa - Monumental works by El Anatsui), Trapholt Museum for Moderne Kunst, South Jutland, Denmark, March 17 – October 23, 2016. El Anatsui: Five Decades, Carriageworks (in association with Sydney Festival), Sydney, Australia, January 7 – March 6, 2016. 2015 El Anatsui, Le Fenil Gallery, The Domain of Chaumont-sur-Loire, France, April 24 – November 1, 2015. El Anatsui: Five Decades, The School, Kinderhook, New York, May 17 – August 29, 2015. El Anatsui, Kunstbanken Hedmark Kunstsenter, Hamar, Norway, May 23 – August 9, 2015.