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New Europe College Black Sea Link Program Yearbook 2010-2011, 2011-2012
New Europe College Black Sea Link Program Yearbook 2010-2011, 2011-2012 DIANA DUMITRU IBRAHIM IBRAHIMOV NATALYA LAZAR OCTAVIAN MILEVSCHI ORLIN SABEV (ORHAN SALIH) VSEVOLOD SAMOKHVALOV STANISLAV SECRIERU OCTAVIAN ŢÎCU LIA TSULADZE TAMARA ZLOBINA Editor: Irina Vainovski-Mihai Copyright – New Europe College ISSN 1584-0298 New Europe College Str. Plantelor 21 023971 Bucharest Romania www.nec.ro; e-mail: [email protected] Tel. (+4) 021.307.99.10, Fax (+4) 021. 327.07.74 TAMARA ZLOBINA Born in 1982, in Ukraine “Kandydat nauk” (Ph.D. equivalent) in Philosophy, National Institute for Strategic Studies, Kyiv (2010) Dissertation: The role of cultural space in the development of the Ukrainian political nation Independent scholar, curator and art critic Research grants and curatorial residencies in Ukraine, Moldova, Belarus Participation in conferences and research seminars in Ukraine, Lithuania, Estonia, Poland, Hungary, Belgium, Georgia Articles and studies on contemporary art, gender studies, production of space, and nationalism in Ukraine, Moldova, Belarus THE VISA DENIAL CASE: CONTEMPORARY ART IN BELARUS, MOLDOVA, AND UKRAINE BETWEEN POLITICAL EMANCIPATION AND INTERNALIZATION OF COLONIAL GAZE Introduction The position of the contemporary art from Central and Eastern Europe in the global art world can be metaphorically described through the art work of Sándor Pinczehelyi called “Almost 30 Years 1973‑2002” (Hungary).1 The first part of it was produced in 1973. It represents the self portrait of a young man holding the hammer and the sickle in front of his face. His two hands are strictly crossed in front of his chest and his face is framed by the symbols of communist ideology. -
Bili Bidjocka. the Last Supper • Simon Njami, Bili Bidjocka
SOMMAIRE OFF DE DAPPER Christiane Falgayrettes-Leveau ............................................................................. 6 SOLY CISSÉ. Lecture d’œuvre/Salimata Diop ................................................................................... 13 ERNEST BRELEUR. Nos pas cherchent encore l’heure rouge/Michael Roch ...................................................... 19 Exposition : OFF de Dapper Fondation Dapper 5 mai - 3 juin 2018 JOËL MPAH DOOH. Commissaire : Christiane Falgayrettes-Leveau Transparences/Simon Njami ....................................................................................... 25 Commissaire associée : Marème Malong Ouvrage édité sous la direction de Christiane Falgayrettes-Leveau BILI BIDJOCKA. Contribution éditoriale : Nathalie Meyer The Last Supper/Simon Njami ................................................................................... 29 Conception graphique : Anne-Cécile Bobin JOANA CHOUMALI. Série « Nappy ! »/Olympe Lemut ................................................................................. 33 BEAUGRAFF & GUISO. L’art de peindre les maux de la société/Ibrahima Aliou Sow .......................................... 39 GABRIEL KEMZO MALOU. Le talent engagé d’un homme libre/Rose Samb ............................................................... 45 BIOGRAPHIES DES ARTISTES...................................................................... 50 BIOGRAPHIES DES AUTEURS...................................................................... 64 CAHIER PHOTOGRAPHIQUE. MONTAGE -
DAK'art 2016 BIENNALE of DAKAR May, 3
DAK’ART 2016 BIENNALE of DAKAR May, 3 – June, 2 — 2016 12th Edition of the Dakar Biennale « The City in the Blue Daylight » Simon Njami, Artistic Director PRESS RELEASE CONTENT 1. What Is Dak’art 2. The City In The Blue Daylight 3. Who’s Simon Njami 4. The Program of Dak’art 2016 5. Participating artists 6. Contact 1. WHAT IS DAK’ART Dak’Art, The Dakar Biennale, is the first and the major international Art event dedicated to the Contemporary African creation. Initiated in 1996 by the Republic of Senegal, the biennale is organized by the Ministry of Culture and Communication. Its 12th edition will take place from May 3, to July 11, 2016. The aims of Dak’Art are to offer the African artists a chance to show their work to a large and international audience, and to elaborate a dis- course in esthetic, by participating to the conceptualization of theorical tools for analyse and appropriation of the global art world. Mahmadou Rassoul Seydi is the General Secretary of Dak’Art. Simon Njami, writer and independant curator, is the Artistic Director of the 12th Edition of the Dakar Biennale. As a departure for Dak’Art 2016, with the title « The City in the Blue Daylight », Simon Njami chose an extract from a poem written by Leopold Sedar Senghor : « Your voice tells us about the Republic that we shall erect the City in the Blue Daylight In the equality of sister nations. And we, we answer: Presents, Ô Guélowâr ! » Those verses inspire Simon Njami’s ambition for the Biennale : to make Dak’Art a « new Bandung for Culture ». -
Magazin Treffen Junger Autoren 2017
Berliner Festspiele 32. Treffen junger Autoren 16. bis 20. November 2017 Inhaltsverzeichnis 3 Vorwort 74 Campus Ein Fenster in eine neue 76 Praxis Welt entdecken – 83 Dialog von Christina Schulz 85 Fokus 86 Spezial 4 Bühne 6 Lynn Sophie Guldin 90 Blog 8 Veronika Artibilova 10 Fanny Haimerl 92 Forum 12 Marlena Wessollek 95 Praxis 14 Amelie Schmid 95 Dialog 16 Rosa Engelhardt 18 Paloma Solazzo 96 Jury 20 Stefan Gruber 99 Anthologie 22 Pauline van Gemmern 100 Kuratorium 24 Kerstin Uebele 101 Statistik 26 Sandro Huber 102 Bundeswettbewerbe 28 Josefin Fischer 103 Impressum 1 30 Ansgar Riedißer 104 Kalendarium 32 Lea Wahode 34 Farukh Sauerwein 36 Miedya Mahmod 38 Rebecca Heims 40 Laura Herman 42 Moritz Schlenstedt 44 Jelin Katz 48 Essay 51 Letters from Literature – von Priya Basil 56 Wer bin ich, wenn ich schreibe? – von Thomas Freyer, Olivia Wenzel, Max Wallenhorst, Kristo Šagor, Kirsten Fuchs und Reihaneh Youzbashi Dizaji 62 Verhandlungen über das Unverhandelbare? – Die Gerichtszeichnungen von Marina Naprushkina 2 Treffen junger Autoren junger Treffen Ein Fenster in eine neue Welt entdecken In ihrer Eröffnungsrede für das 13. internationale literaturfestival berlin sagte Taiye Selasi über Literatur: „Jedes Mal, wenn wir ein Buch in die Hand nehmen, löschen wir unsere persönlichen Grenzen aus. Wir überschreiten die Markierun- gen unseres Selbst und betreten das unbekannte Territorium des Anderen. Nach den ersten Augenblicken der Desorientiertheit merken wir, dass wir zu Hause sind.“ Es ist eine sehr eindrückliche Beschreibung für das, was in beson- deren Momenten des Lesens geschehen kann, und wonach man sich beim Lesen vielleicht sehnt – einen unbekannten Weg einzuschlagen, ein Fenster in eine neue Welt zu entdecken oder sich auf eine unverhoffte Begebenheit einzu- lassen. -
Moabit Mountain College Keine Zeit Für Kunst 11.09. – 31.10.2020 Eine
Keine Zeit für Kunst 11.09. – 31.10.2020 Eine Ausstellung mit Arbeiten von / An exhibition with works by Marina Naprushkina & Moabit Mountain College Pressemappe / Press Kit Inhalt Allgemeine Presseinformationen / General Press Information Ein Gespräch zwischen / A conversation between Marina Naprushkina & Nataša Ilić Biografien/ biographies Marina Naprushkina & Moabit Mountain College Galerie Wedding Raum für zeitgenössische Kunst Bezirksamt Mitte von Berlin Amt für Weiterbildung und Kultur Fachbereich Kunst, Kultur und Geschichte Pressekontakt Malte Pieper T (030) 9018 42385 [email protected] Müllerstraße 146 – 147 13353 Berlin www.galeriewedding.de www.facebook.com/galeriewedding www.instagram.com/galeriewedding Allgemeine Presseinformationen Berlin, 10.09.2020 Keine Zeit für Kunst 11.09. bis 31.10.2020 Eine Ausstellung von Marina Naprushkina & Moabit Mountain College kuratiert von Nataša Ilić Im Rahmen von Sos (Soft Solidarity), konzipiert von Nataša Ilić und Solvej Helweg Ovesen Erö#nung am 10.09.2020 von 19 – 22 Uhr mit Moabit Mountain College Küche: Mazen Alsawaf Musik: Marsa Band Keine Zeit für Kunst ist keine gewöhnliche Ausstellung, sondern vielmehr ein künstlerisches Statement der Künstlerin Marina Naprushkina und des Moabit Mountain College (MMC), das über die Arbeitsbedingungen in der Kunstwelt und darüber hinaus reflektiert. Die Ausstellungserö!nung findet am 10. September 2020 von 19 bis 22 Uhr in der Galerie Wedding – Raum für zeitgenössische Kunst statt. Für Naprushkina und das Moabit Mountain College, das auf der langjährigen Arbeit der Berliner Initiative Neue Nachbarschaft/Moabit aufbaut, bildet die Kunst eine Grundlage für alle anderen Disziplinen. Neue Nachbarschaft/Moabit ist ein Geflüchteten- und Nachbarschaftsprojekt, das zu einer der größten Initiativen dieser Art in Berlin herangewachsen ist und eine starke Gemeinschaft von Geflüchteten, Menschen mit Migrationsgeschichte und Nachbar*innen aufgebaut hat. -
RAM PUB SPRNG-15 FINAL.Indd
publications + distribution spring 2015 spring 2015 Architecture 5 Art + Culture 8 Design + Graphics 29 Photography 34 Theory + Literary Arts 40 Previously Announced 50 RAM ORDeR + TRADe InfORMATIOn 52 rampub.com Art Architecture + Culture Highlights XXII CEMEX BUILDING AWARD Produced now for over 20 years, this comprehensively illustrated volume documents the winners of the 2015 renowned building award sponsored by international concrete, cement and aggregates giant CeMeX, based in Mexico. Chosen by a prestigious jury of 17 international and domestic architects, engineers and designers, the prize-winners span 13 categories, from single-family and multi-unit residential (both conventional and low-income) to commercial and mixed-use, accessibility, social impact, urbanism, infrastructure, innovation in techniques and construction processes and sustainability. Also awarded is a Lifetime Achievement Award, this year given to Spanish architect Carlos ferrater i Lambarri. The book is an indispensible reference on current architecture and building technologies for libraries, architects, designers and engineers. A stunning publication filled with full-color plates and informative essays. January 2015, english & Spanish ARQUIe n , MeXICO Hardcover, 9 x 11 ¼ inches CeMeX, MeXICO 284 pp, extensive color ISBn: 978-607-7784-69-2 Retail price: $42.50 49 CITIES WORKac (ed.) The much-in-demand 49 Cities, first published by Storefront for Art & Architecture, the internationally recognized nYC center for alternative thinking in art and architecture, is now available in its third edition. This fascinating compilation of “fantastic projections” by architects and planners dreaming of better and different cities ranges from 500 B.C. to the present. With every plan, radical visions were proposed, embodying not only desires but also fears and anxieties of the time. -
Giving Form to the Impatience of Liberty October 5, 2013 – January 12, 2014
Giving Form to the Impatience of Liberty October 5, 2013 – January 12, 2014 Press conference: Friday, October 4, 2013, 11 a.m. Pedro G. Romero, Los Trabajadores, 2012 Manuela Beck, Banu Cennetoğlu / Yasemin Özcan, Ştefan Constantinescu, Alice Creischer / Christian von Borries / Andreas Siekmann, Kiri Dalena, Barbara Ehnes, Heinz Frank, Grupo Baja Mar, Dmitry Gutov / David Riff, Kiluanji Kia Henda, Francis Hunger, Sven Johne, Hassan Khan, Jakob Kolding, Pil and Galia Kollectiv, Dóra Maurer, Klaus Mettig / Katharina Sieverding, Marina Naprushkina, Boris Ondreička, Pedro G. Romero, Allan Sekula, Klaus Staeck, Wolfgang Stehle, Marion Von Osten, Jeronimo Voss Württembergischer Kunstverein · Schlossplatz 2 (Besuchereingang: Stauffenbergstrasse / Glastrakt) · 70173 Stuttgart 1 Fon: +49 (0)711 - 22 33 70 · Fax: +49 (0)711 - 29 36 17 · [email protected] · www.wkv-stuttgart.de Introduction I do not know whether … the critical task still entails faith in Enlightenment; I continue to think that this task requires work on our limits, that is, a patient labor giving form to our impatience for liberty. Michel Foucault, “What is Enlightenment?” In introducing the exhibition Giving Form to the Impatience of Liberty, the Württembergischer Kunstverein in Stuttgart is once again circling around the complex relations and conflictual situations between art and politics, art and life, art and society. The exhibition’s point of origin rests in the younger forms and discourses of a (re)politicization of the arts, which are meant to be probed in terms of their heterogeneity and antagonisms. These are artistic practices which subject the aesthetic utopias of modernism that were said to have floundered to both a critical reading and a reevaluation, and which— reaching beyond a naïve euphoria or worldly-wise distance—renegotiate the political, societal, and critical potentialities of art. -
ANNUAL REPORT 2015 Table of Content
ANNUAL REPORT 2015 Table of content Letter from the Executive Director 4 Lettera27 Our mission 7 Initiatives in 2015 8 Strategic Plan 9 Activities Activities map 12 AtWork 14 Ashoka Changemaker Schools 26 Sustain-Ability 28 Why Africa? 30 Focus on migrants 32 Ecriture Infinie/Infinite Writing Book 9 34 OSF partnership 36 The notebooks collection 38 Various events and initiatives 40 Summary 42 The 2015 was a significant year for lettera27. We have learned a lot of new things and tested our purpose in the areas that we always pursue: innovative informal educational practices, art and culture for social transformation, sustainable culture. While implementing AtWork format in various countries and contexts, we have paid close attention to the suggestions and thoughts Letter from the Executive Director of our partners regarding the proposed format themes, as well as reactions of the participants. Letter from the Executive Director Strong, determined and profound thoughts. We have shared them and debated them, since we deal with critical thinking and we hope to build a new generation of thinkers. Utopia? Yes, a concrete one, paraphrasing Ou Ning who has been facilitating our AtWork workshop at Polimoda in Florence. But also Heterotopia, a topic proposed by Simon Njami for students of Fondazione Fotografia in Modena. And if it was “Something Else? …another paradigm, proposed at Cairo? So We have nothing to teach to many questions… “Why?”, provokes “Why Africa?”, our editorial column of Doppiozero. And various forms of responses to this question. I’m anyone […] This inner light that talking about forms, as the questions are not only verbal, or definitive, or univocal. -
Programm Internationale Tagung the Active Part Of
»The Active Part of Art« How can contemporary art strengthen culture in democracies and how can bk public prepositions be created? International Conference • April 26–27 2018 At present, we see that authoritarian national developments are taking place in various European countries, which also affect the freedom of art, so in Hungary, Serbia, Poland and also outside Europe – e. g. in Turkey. Similarly, socio-political developments are also taking place in Germany, which also give cause for concern in view of our history, or require artistic action or artistic positioning. Having just discussed whether art production is still possible in view of the dev- astating global warlike confl icts, it becomes apparent that politically connoted art took up more space at this year‘s major exhibitions, such as Documenta 14 or the Venice Biennale. A tried and tested, but above all necessary means of achiev- ing this is to create publicity: be it on the curatorial or artistic level, in order to draw attention to social and socio-political conditions of different kinds and to create transparency. The existence of these public spaces guarantees the preser- vation of democratic structures, which include freedom of expression and freedom of art. Together with national and international artists, curators and philosophers we will discuss following questions: To what extent can contemporary art affect and strengthen democratic structures? Does art have the power to infl uence and move societies? How can we bring these questions into the mediation and make it pro- ductive for a wider audience and enable more cultural participation? Following experts we invited from Germany, Hungary, Serbia and Turkey: Dr. -
Building a Collection of Contemporary Art in Africa: Interview with Collector Sindika Dokolo by Shannon Fitzgerald
[ ] Colecção Sindika Dokolo — Interview by Shannon Fitzgerald Building a Collection of Contemporary Art in Africa: Interview with Collector Sindika Dokolo by Shannon Fitzgerald Sindika Dokolo is a Congolese-born, Luanda based businessman, community leader, activist, and art collector who began building upon one of the most important collections of contem- porary art in Africa in 2003. He founded the Sindika Dokolo African Collection of Contempo- rary Art (SDACCA) based in Luanda, Angola with the goal of exposing the African public to its own contemporary production. Since its inception, the foundation has launched the first African Triennnial in the heart of the continent. Plans are underway for the Triennial De Luanda in 2010 and Mr. Dokolo’s dream of creating the first Centre for Contemporary Art in Luanda in 2012 is becoming a reality. Works from the collection were featured in the first official African Pavillion at the 52nd Venice Biennale of contemporary art in 2007 in an exhibition entitled Check List-Luanda Pop, curated by Fenando Alvim and Simon Njami. The collection boasts works by some of the most prominent African artists with international visibility such as Kendell Geers, Ghada Amer, Yinka Shonibare, Billi Bidjocka, Ingrid Mwangi, William Kentridge, Olu Oguibe, Marlene Dumas, Chris Ofili, and Pascale Marthine Tayou, among others. Of equal importance is the support and platform provided to artists not as well known and emerging Angolan artists. In addition to the African art collected, Mr. Dokolo is committed to including important art by artists such as Andy Warhol and Basquiat not before made accessible in Africa. With the rise in international group exhibitions across the globe, perhaps Luanda will become the next critical destination for curators, collectors, and art enthusiasts. -
Download Pavilion
PAVILION journal for politics and culture #16 TACTICS FOR THE HERE AND NOW ISSN 1841-7337 PAVILION #16 TACTICS FOR THE HERE AND NOW READER OF BUCHAREST BIENNALE 5 | MAy 25 - JULy 22, 2012 www.pavilionjournal.org | www.bucharestbiennale.org | www.pavilioncenter.ro Editors: Răzvan Ion & Eugen Rădescu Advisory Board: Felix Vogel, Peter Osborne, Sina Najafi, Suzana Milevska Contributors: Anne Barlow, Eugen Rădescu, Stephen Duncombe, Răzvan Ion, Suzana Milevska, Sotirios Bahtsetzis, Tom Holert, Olive McKeon, Simon Sheikh, Ștefan Voicu, Marius Stan Translations: Radu Pavel Gheo Web & Software Design: Alexandru Enăchioaie DTP & Prepress: Andrei Grigore BUCHAREST BIENNALE 5 Curator: Anne Barlow Participants: Abbas Akhavan (IR/CA), Marina Albu (RO), Haris Epaminonda (CY/DE), Klas Eriksson (SE), Ruth Ewan (UK), Aurélien Froment (FR/IE), Ciprian Homorodean (RO/BE), Iman Issa (EG/USA), Janice Kerbel (CA/UK), Jill Magid (USA), David Maljković (HR), Marina Naprushkina (BY/DE), Ahmet Öğüt (TR/NL), Vesna Pavlović (RS), Anahita Razmi (DE), Wael Shawky (EG/FR), Alexandre Singh (FR/USA), Mounira Al Solh (LB/NL) & Bassam Ramlawi (LB), Rinus Van de Velde (BE) Directors: Răzvan Ion & Eugen Rădescu Executive Director: Andrei Crăciun Assistant Executive Director: Andrei Grigore Education & Communication Manager: Florentina Buburuzan Web & Software Design: Alexandru Enăchioaie Design of the BB logo: Håkan Gustafson DTP & Prepress: Andrei Grigore Interns: Daniela Pălimariu, Andreea Pătru Volunteers: Roxana Aron, Monica Beatrice Bercovici, Ioana Tincuța Bratu, Maria Buda, Mădălina Buhoș, Anca Andreea Chitoran, Daniel Comendant, Mihaela Conciu, Alexandra Dănciulescu, Fadi Drăghici, Alexandra Enache, Gabriela Ghircoiaș, Andreea Maier, Anamaria Mișcu, Ioana Rozalia Moldovan, Demir Nurla, Daniela Pălimariu, Oana Anca Porime, Laura Prodan, Oana Irina Rusu, Ioana Șomănescu, Ioana Trușcă, Liana Andreea Voinea PAVILION is the producer of BUCHAREST BIENNALE www.bucharestbiennale.org Published by: Artphoto Asc. -
Avi Feldman After the Law: Towards Judicial-Visual Activism
Avi Feldman After the Law: Towards Judicial-Visual Activism Avi Feldman After the Law: Towards Judicial-Visual Activism O N CURATING.org Acknowledgment I would like to begin by sincerely thanking my supervisors and advisers, Prof. Dr. Dorothee Richter (main advisor), Zurich University of the Arts, Prof. Alun Rowlands, and Prof. Susanne Clausen, University of Reading, Department of Art, for their consistent support, guidance, and kindness. I also wish to thank Dr. Rachel Susan Garfield, University of Reading, Department of Art, and Ronald Kolb, Zurich University of the Arts, for their help and assistance from day one. My thanks to Ernst Ludwig Ehrlich Studienwerk (ELES) for generously funding and supporting my PhD, and to PD Dr. Eva Lezzi from ELES, who showed a keen interest in my ideas from the very beginning of our encounter. Vardit Gross, Director of Artport Tel-Aviv, has followed the development of my curatorial practice closely, and her ideas, our conversations, and collaboration have been invaluable to me. I also wish to thank Artport’s dedicated staff – Renana Neuman and Yael Moshe. This publication would not even be possible to imagine without Christoph Willmitzer. I dedicate it to our daughter Anna Sophia Shalom, who joined us in the final segment of my writing efforts and bestowed upon me a sense of energy and hope I never imagined existed. Avi Feldman After the Law: Towards Judicial-Visual Activism O N CURATING.org The present study was accepted as a dissertation at the Department of Fine Arts of the University of Reading. Prof. Dr. Dorothee Richter advised the dissertation.