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Goshka Macuga: to the Son of Man Who Ate the Scroll” at Its Milan Venue from 4 February to 19 June 2016
FONDAZIONE PRADA PRESENTS “GOSHKA MACUGA: TO THE SON OF MAN WHO ATE THE SCROLL” AT ITS MILAN VENUE FROM 4 FEBRUARY TO 19 JUNE 2016 Milan, 3 February 2016 – Fondazione Prada presents the exhibition “To the Son of Man Who Ate the Scroll” by Goshka Macuga in Milan from 4 February to 19 June 2016 in the spaces of the Podium, the Cisterna and the Sud gallery. The project was conceived and designed by Goshka Macuga whose artistic practice is often referred to as taking on the roles of an artist, curator, collector, researcher and exhibition designer. Macuga describes these categories that are often attached to her practice, as “predicating her position within, and making her part of, an art historical taxonomy”. The artist works across a variety of media including sculpture, installation, photography, architecture and design and explores how and why we remember both cultural and personal events, with a particular focus on how we create our own classificatory systems for producing and remembering knowledge in times of rapidly advancing technology and information saturation. “To the Son of Man Who Ate the Scroll”, developed by the artist for Fondazione Prada’s spaces, brings together reflections on seminal issues such as time, beginnings and endings, collapse and renewal. Observing humanity’s concern with the conclusion of mankind, Macuga poses a fundamental question: how important is it to address the question of “the end” in the context of contemporary art practice? Our ability, as human beings, to conceive the universe abstractly and to imagine ourselves objectively allows us a vantage point from which to view the age we are living in as one of the many in our universe’s history, leading us to imagine an existence beyond ourselves, a universe without humanity. -
Goshka Macuga: Time As Fabric,” the First New York Museum Exhibition of the Artist’S Work
TEL +1 212.219.1222 FAX +1 212.431.5326 newmuseum.org FOR IMMEDIATE RELEASE PRESS CONTACTS: May 3, 2016 Gabriel Einsohn, Senior Communications Director Allison Underwood, Press & Social Media Manager [email protected] 212.219.1222 x209 Andrea Schwan, Andrea Schwan Inc. [email protected] 917.371.5023 New Museum Presents “Goshka Macuga: Time as Fabric,” the First New York Museum Exhibition of the Artist’s Work Exhibition Features Recent Projects Including Large-Scale Tapestries May 4–June 26, 2016 New York, NY…“Goshka Macuga: Time as Fabric” is the first New York museum exhibition of work by London-based artist Goshka Macuga (b. 1967 Warsaw, Poland). Macuga’s practice typically applies in-depth historical and archival research to an interest in the evolving relationships among artists, institutions, politics, and communities. Her works investigate how art can be used to voice current concerns, rouse public debate, and inspire social change. Within her images and installations, she unearths associations between different actors (people, objects, and sites) that, in many cases, problematize the ways in which different organizations engage their publics and are shaped by socioeconomic and cultural developments in society. Throughout her career, Macuga’s work has embraced diverse mediums including sculpture, installation, architecture, and design. The content and format of her projects are often determined by the specific institutional contexts in which her work is shown. Occupying the New Museum’s Second Floor galleries, “Time as Fabric” brings together a selection of Macuga’s recent projects, including five of her tapestries and a theatrical environment. The exhibition is on view from May 4 to June 26, 2016. -
Goshka Macuga Bez Tytułu (Dziewiąta Godzina), Fot.Butyniec-Podlaska Godzina), Justyna (Dziewiąta Nona Ora La Cattelana Uszkodzonejmaurizio Fragment Pracy
Goshka Macuga bez tytułu (Dziewiąta godzina), fot.Butyniec-Podlaska godzina), Justyna (Dziewiąta La nona ora La fragment uszkodzonej pracy Maurizio Cattelana Cattelana uszkodzonejMaurizio fragment pracy Maria Brewińska Goshka Macuga w swojej twórczości łączy role artystki, kuratorki, kolekcjonerki, badaczki, projektantki wystaw. Tworzy złożone pro- jekty oparte na materiałach archiwalnych, historycznych, nauko- wych, filmach, fotografiach, obiektach i rzeźbach, instalacjach, ar- chitekturze, historii sztuki, gobelinach, pracach własnych i innych artystów… Wpisuje je w nowe konteksty, łączy przeszłe fakty z rze- czywistością i problemami współczesności, unaoczniając podobień- stwa i zależności, odsłaniając to, co niewidoczne lub wyparte. Należy do tej grupy współczesnych artystów, którzy odwołują się do tradycji modernizmu zachodniego i amerykańskiego. Jej wystawy, które nie- rzadko cechuje oszczędność formalna, składają się z wielu warstw znaczeniowych niełatwych do identyfikacji, ale otwierających przed odbiorcą szerokie pole interpretacyjne. Od wielu lat Goshka Macuga uprawia własną me- presjonizmem (filmem Gabinet doktora Caligari todologię pracy, wyjątkową na tle działań współ- z 1919), w której wystawiali artyści biennale. In- czesnych artystów (przypomina ona niektóre stalacja stała się platformą do dyskusji, prze- strategie artystyczne z przeszłości, np. Marcela strzenią dla perfomansów. Macuga umieściła tam Broodthaersa). Realizując nowe prace czy wysta- także figuratywną rzeźbę somnambulika Cezara wy pełniące role prac, wychodzi najczęściej od (jednego z bohaterów wspomnianego filmu), historii miejsc, w których mają one zaistnieć, in- spoczywającego w białej trumnie. W Objects teresuje się kolekcjami instytucji, w których wy- in Relation, Art Now pokazywanej w 2007 roku stawia, biografiami i twórczością innych arty- w Tate Britain nawiązała do modernistycznej gru- stów, a także podejmuje z nimi bezpośrednią py Unit One i jej założyciela Paula Nasha, prezen- I Am Become Death, współpracę. -
KATHARINE CONLEY August 2020
KATHARINE CONLEY August 2020 Modern Languages & Literatures 21 Sussex Court William and Mary Williamsburg, VA 23188 PO Box 8795 (757) 645-3876 Williamsburg, VA 23187-8795 (603) 443-2462 (cell) [email protected] ACADEMIC AND ADMINISTRATIVE POSITIONS Professor of French and Francophone Studies, William and Mary, 7/12- Dean of the Faculty of Arts and Sciences, William and Mary 7/12-6/20 Edward Tuck Professor of French and Comparative Literature, Dartmouth, 7/10-6/12 Professor of French, Dartmouth College, 7/04-6/12, Emerita 7/12- Associate Professor of French, Dartmouth College, 7/98 - 6/04 Assistant Professor of French, Dartmouth College, 7/92 - 6/98 EDUCATION Virginia Women’s Senior Leadership Seminar 2015-16 Harvard Institute for Management and Leadership in Education, June 2014 PhD French, University of Pennsylvania, May 1992 Honorary MA, Dartmouth College, 2007 MA French, University of Pennsylvania, 1990; MA French, University of Colorado, 1988 BA cum laude, Harvard-Radcliffe University, 1979 (major: honors English) AWARDS, FELLOWSHIPS, AND INSTITUTES (since 1992) Phi Beta Kappa, Dartmouth College, June 2009 Jacobus Family Fellowship, Dartmouth College, 2004-2005 Senior Faculty Fellowship, Dartmouth College, Winter-Spring 2005 J. Kenneth Huntington Memorial Award, Dartmouth College, June 2004 Whiting Foundation Travel Grant: Summer 1996 Humanities Institute on Cultural Memory and the Present, Spring 1996 Junior Faculty Fellowship, Dartmouth College, Winter-Spring 1996 School of Criticism and Theory, June-July 1995 Burke Research Initiation Grant, Dartmouth College: 1992-1995 PUBLICATIONS AND PAPERS Books and Edited Volumes: Author: Surrealist Ghostliness. Lincoln: University of Nebraska Press, 2013. Katharine Conley / 2 Author: Robert Desnos, Surrealism, and the Marvelous in Everyday Life. -
The Sculpted Voice an Exploration of Voice in Sound Art
The Sculpted Voice an exploration of voice in sound art Author: Olivia Louvel Institution: Digital Music and Sound Art. University of Brighton, U.K. Supervised by Dr Kersten Glandien 2019. Table of Contents 1- The plastic dimension of voice ................................................................................... 2 2- The spatialisation of voice .......................................................................................... 5 3- The extended voice in performing art ........................................................................16 4- Reclaiming the voice ................................................................................................20 Bibliography ....................................................................................................................22 List of audio-visual materials ............................................................................................26 List of works ....................................................................................................................27 List of figures...................................................................................................................28 Cover image: Barbara Hepworth, Pierced Form, 1931. Photographer Paul Laib ©Witt Library Courtauld Institute of Art London. 1 1- The plastic dimension of voice My practice is built upon a long-standing exploration of the voice, sung and spoken and its manipulation through digital technology. My interest lies in sculpting vocal sounds as a compositional -
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Susan Hiller Solo Exhibitions 2019 Making Visible [Susan Hiller, Anna Barriball], Galeria Moises Perez de Albeniz, Madrid, Spain Re-collections [Susan Hiller, Elizabeth Price, Georgina Starr], Site Gallery, Sheffield, England Die Gedanken sind Frei, Serralves Museum, Porto, Portugal 2018 Susan Hiller: Altered States, Polygon Gallery, Vancouver, Canada Susan Hiller: Social Facts, OGR, Turin, Italy Lost and Found & The Last Silent Movie, Sami Center for Contemporary Art, Norway 2017 Susan Hiller: Paraconceptual, Lisson Gallery, New York, USA 2016 Susan Hiller: Magic Lantern, Sursock Museum, Beirut, Lebanon Susan Hiller: Lost and Found, Perez Art Museum, Miami, USA Susan Hiller: Aspects of the Self 1972-1985, MOT International, Brussels, Belgium Susan Hiller: The Last Silent Movie, Frac Franche-Comté, Besancon, France 2015 Susan Hiller, Lisson Gallery, London, England 2014 Channels, Den Frie Centre of Contemporary Art, Copenhagen, Denmark Resounding (Infrared), Summerhall, The Edinburgh Art Festival, Scotland Susan Hiller, The Model, Sligo, Ireland Channels, Samstag Foundation, The Adelaide Festival, Australia Hiller/Martin: Provisional Realities (2 person: with Daria Martin), CCA Wattis Institute for Contemporary Arts, San Francisco, USA Speaking In Tongues (3 person: with Sonia Boyce and Pavel Buchler), CCCA, Glasgow, UK Can You Hear Me? (2 person: with Shirin Neshat), Golden Thread Gallery, Belfast, Northern Ireland Sounding, The Box, Pippy Houldsworth Gallery, London, England Susan Hiller, Les Abattoirs, Festival International d'Art de Toulouse, France 2013 Channels, Matt’s Gallery, London Channels, Centre d’Art Contemporain La Synagogue de Delme, Delme, France 2012 Susan Hiller: From Here to Eternity, Kunsthalle Nürnberg, Germany Psi Girls, University Art Gallery, San Diego State University, San Diego, USA 2011 Susan Hiller, Tate Britain, London, England (ex. -
Goshka Macuga (Warsaw, Poland, 1967) Incorporating the Roles Of
Goshka Macuga (Warsaw, Poland, 1967) Incorporating the roles of artist, curator, historian, and researcher, Goshka Macuga develops her work in relation to various exhibition contexts. Beginning with in-depth research, Macuga develops connections, juxtapositions, and associations among events, characters, and cultural artifacts, investigating the relationships that link art with history, politics, and memory. Rather than providing answers, her practice is involved with the ability to raise questions and to subject the mechanisms for the production of culture and knowledge to a continuous process of review, from a perspective that restores to the individual the responsibility for collective history. Invited to participate in the Biennale di Ceramica in Albisola in 2006, Macuga first completely immersed herself in the history of artists who had worked in this Ligurian town. Among these, she focused particularly on Pinot Gallizio, finding certain correspondences between that Piedmontese artist’s method and her own, such as the ambition to create “total” environments, capable of accommodating the creativity of many different minds. In Untitled - after Pinot Gallizio (1955), dated 2006, Macuga brings together some drawings Gallizio made in 1955 in collaboration with the artist Piero Simondo, and she presents them with some of her own ceramics, inspired by those very drawings. Re- implementing the expressive potential of projects that Gallizio only partially brought to fruition, Macuga’s complex work extends the realization of these fertile intersections and creative exchanges that Gallizio had earlier fostered, bringing them right up to the present moment and recognizing them as an integral part of her own practice. The installation The Nature of the Beast, 2009, is inspired by events related to Picasso’s famous painting Guernica and its use in the political realm. -
Elke Krasny Archive, Care, and Conversation: Suzanne Lacy's
Elke Krasny Archive, Care, and Conversation: Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought Elke Krasny Archive, Care, and Conversation: Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought Acknowledgment First and foremost, I am deeply grateful to my supervisor Dorothee Richter for her endless support. I appreciate the ongoing conversations around feminist curating. I am especially thankful to Susanne Clausen and Alun Rowlands for their support throughout. This book is lovingly dedicated to my wonderful family. Elke Krasny Archive, Care, and Conversation: Suzanne Lacy’s International Dinner Party in Feminist Curatorial Thought 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. This publication is based on the dissertation as part of the PhD in Practice in Curating Program, a joint doctoral program of the Zurich University of the Arts and the University of Reading, supported by “swissuniversities.” Published by ONCURATING.org Proofreading: Stephanie Carwin Set and design: Biotop 3000 © 2020 ONCURATING.org, and the author. The rights of this publication remain by the author. The publication is openly accessible on the website www.on-curating.org and can be downloaded and shared under the restriction of crediting the author and/or OnCurating.org. The Publisher is granted a non-exclusive right of use in respect of the online publication of the work without the obligation to make use of this right. The Author is entitled to make a PDF version of the work publicly accessible online via his/ her personal website, an institutional server or a suitable subject-based repository once it has appeared in book form. -
An Investigation Into Painting's Transformation and Regeneration Through Post-Photographic Intervention in the Digital Archive
An investigation into painting's transformation and regeneration through post-photographic intervention in the digital archive. TRISH BARNETT M.F.A. (QUT); B.Sc. in Ed. (Art K-12) (SMSU); B. A. (Griffith University); B. Litt. (Hons) (Deakin University); Dip. Fine Art (QCA) Submitted in fulfilment of the requirements of the degree of Doctor of Philosophy 2012 Art and Design Creative Industry Faculty Queensland University of Technology ABSTRACT: This PhD practice-led research inquiry sets out to examine and describe how the fluid interactions between memory and time can be rendered via the remediation of my painting and the construction of a digital image archive. My abstract digital art and handcrafted practice is informed by Deleuze and Guattari’s rhizomics of becoming. I aim to show that the technological mobility of my creative strategies produce new conditions of artistic possibility through the mobile principles of rhizomic interconnection, multiplicity and diversity. Subsequently through the ongoing modification of past painting I map how emergent forms and ideas open up new and incisive engagements with the experience of a ‘continual present’. The deployment of new media and cross media processes in my art also deterritorialises the modernist notion of painting as a static and two dimensional spatial object. Instead, it shows painting in a postmodern field of dynamic and transformative intermediality through digital formats of still and moving images that re-imagines the relationship between memory, time and creative practice. i -
2012Wolfgang Tillmans Zachęta Ermutigung
Zachęta — National Gallery of Art ANNUAL REPORT Wolfgang Tillmans Zachęta Ermutigung — Hypertext. 10 Years of Centrala (Kordegarda Project) 2012— Goshka Macuga. Untitled — No, No, I Hardly Ever Miss a Show — Warsaw ENcourages (Art Gallery at the Warsaw Chopin Airport) — Karolina Freino. Erase Boards (Kordegarda Project) — Rafał Milach. 7 Rooms — Doubly Regained Territories. Bogdan Łopieński, Andrzej Tobis, Krzysztof Żwirblis — New Sculpture? — On a Journey (Art Gallery at the Warsaw Chopin Airport) — Emotikon. Robert Rumas & Piotr Wyrzykowski — Małgorzata Jabłońska, Piotr Szewczyk. Dzikie ∫ Wild (ZPR) — Art Everywhere. The Academy of Fine Arts in Warsaw 1904–1944 — Konrad Maciejewicz. Transform Me (ZPR) — Jaśmina Wójcik. Hiding People among People without Contact with Nature Leads to Perversions (ZPR) — Making the walls quake as if they were dilating with the secret knowledge of great powers (13th International Architecture Exhibition, Polish Pavilion, Venice) — Beyond Corrupted Eye. Akumulatory 2 Gallery, 1972–1990 — HOOLS — Marlene Dumas. Love Hasn’t Got Anything to Do with It — Katarzyna Kozyra. Master of Puppets (Schmela Haus — Kunstsammlung Nordrhein- Westfalen, Düsseldorf) — Izabella Jagiełło. A Beast (ZPR) — Anna Molska. The Sixth Continent — Piotr Uklański. Czterdzieści i cztery — Marek Konieczny. Think Crazy — Jarosław Jeschke. Hamlet Lavastida. Jose Eduardo Yaque Llorente. Fragmentos (ZPR) Zachęta — National Gallery of Art ANNUAL REPORT 2012 Warsaw 2013 ZACHĘTA GALLERY Renovation of the space of the new library 2 ANNUAL REPORT 2012 Photo by Sebastian Madejski by Photo CONTENTS Changes, changes, changes . 5 HANNA WRÓBLEWSKA AND THE ZACHĘTA TEAM GALLERY STRUCTURE 8 Directors and the Staff of the Zachęta in 2012 EXHIBITIONS 10 VISITOR NUMBERS 83 OTHER EVENTS 84 REVIEWS 88 ACTIVITY 98 Education Collection Documentation and Library Promotion Open Zachęta Editing Department Art Bookshop Development ACHIEVEMENTS OF THE ZACHĘTA TEAM 110 INCOME 115 PARTNERS AND SPONSORS 118 4 ANNUAL REPORT 2012 Changes, changes, changes . -
Take Me to Another Strange World // Stupid Boring Internet by Nicola
Take Me To Another Strange World // Stupid Boring Internet by Nicola Morton Master of Fine Arts Sydney College of the Arts University of Sydney 2016 Statement This volume is presented as a record of the work undertaken for the degree of Master of Visual Arts/Doctor of Philosophy at Sydney College of the Arts, University of Sydney. I certify that the work in this thesis has not previously been submitted for a degree nor has it been submitted as part of requirements for a degree except as fully acknowledged within the text. I also certify that the thesis has been written by me. Any help that I have received in my research work and the preparation of the thesis itself has been acknowledged. In addition, I certify that all information sources and literature used are indicated in the thesis. ii Table Of Contents Acknowledgements . iv Abstract . v List of Illustrations . vi Introduction . 1 Chapter 1: A Trace is Found. 8 Chapter 2: The Psychic is Lost . 15 Chapter 3: It Speaks in Colours. 28 Chapter 4: Alternative Futures . 37 Conclusion . 50 Bibliography . 52 Appendix . 57 Resumé . 60 Catalogue of Work Presented for Examination . 61 List of Media Attached . 62 iii Acknowledgements I would like to thank the following people for their contribution to my research and practice: Joyce Hinterding, Margaret Seymour, Matt Earle, Danni Zuvela, Louise Bennett and Dhana Merritt. Professional editor, Peter Blamey offered copyediting services in alignment with the Proofreading and Editing of Thesis Dissertation Policy of the University of Sydney. iv Abstract This research paper responds to the contemporary calls made by theorists Jean Baudrillard and Marshall McLuhan to interrogate media with art to act as a respite from the ego trance of what McLuhan called, Narcissus-narcosis. -
Susan Hiller Channels
CENTRE D’ART CONTEMPORAIN LA SYNAGOGUE DE DELME Press Kit SUSAN HILLER CHANNELS EXHIBITION 12.06.2013 - 29.09.2013 PREVIEW WITH THE ARTIST SUNDAY 9 JUNE, 3PM SUSAN HILLER CHANNELS For the entire summer, the Synagogue de Delme Contemporary Art Centre is pleased to present a solo exhibition of work by Susan Hiller. An American artist who has lived in London since 1969, Hiller has been one of the most influential artists on the British scene for forty years. Channels was originally produced by Matt’s Gallery in London, and is presented in Delme in a French version recorded for the occasion by the Contemporary Art Centre. Channels is a vast wall of colour and sound constructed from over one hundred analogue televisions, in which blue and grey screens, disembodied voices and crackling white noise are formed into an orchestrated collage of collected testimony on near death experiences. The work unfolds and reveals itself gently and by increments: visitors sit and watch the blank screens expectantly as a ballet of subtle colour modulations and shifts occur; then, suddenly, a single voice speaks out, puncturing the white noise with bright clarity. That voice is joined by others, which, rising together form a babble of humanity. The visitor strives to hear individual strands or narratives emanating from the now pulsating screens; the voices ebb and flow, allowing the singular stories of near death, gathered over many years and from all corners of the globe, to address us clearly. These multiple anonymous descriptions contain recurring motifs delivered in clear unemotional tones: brightening lights, sudden warmth, hovering over ones own body, the loss of feelings of pain or fear, and encounters with either strangers or long-dead family members who explain it’s not yet their time to die, just before they regain consciousness.