Mika Rottenberg
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School of Art 2014–2015
BULLETIN OF YALE UNIVERSITY BULLETIN OF YALE BULLETIN OF YALE UNIVERSITY Periodicals postage paid New Haven ct 06520-8227 New Haven, Connecticut School of Art 2014–2015 School of Art 2014–2015 BULLETIN OF YALE UNIVERSITY Series 110 Number 1 May 15, 2014 BULLETIN OF YALE UNIVERSITY Series 110 Number 1 May 15, 2014 (USPS 078-500) The University is committed to basing judgments concerning the admission, education, is published seventeen times a year (one time in May and October; three times in June and employment of individuals upon their qualifications and abilities and a∞rmatively and September; four times in July; five times in August) by Yale University, 2 Whitney seeks to attract to its faculty, sta≠, and student body qualified persons of diverse back- Avenue, New Haven CT 0651o. Periodicals postage paid at New Haven, Connecticut. grounds. In accordance with this policy and as delineated by federal and Connecticut law, Yale does not discriminate in admissions, educational programs, or employment against Postmaster: Send address changes to Bulletin of Yale University, any individual on account of that individual’s sex, race, color, religion, age, disability, PO Box 208227, New Haven CT 06520-8227 status as a protected veteran, or national or ethnic origin; nor does Yale discriminate on the basis of sexual orientation or gender identity or expression. Managing Editor: Kimberly M. Go≠-Crews University policy is committed to a∞rmative action under law in employment of Editor: Lesley K. Baier women, minority group members, individuals with disabilities, and protected veterans. PO Box 208230, New Haven CT 06520-8230 Inquiries concerning these policies may be referred to Valarie Stanley, Director of the O∞ce for Equal Opportunity Programs, 221 Whitney Avenue, 3rd Floor, 203.432.0849. -
Mika Rottenberg
MIKA ROTTENBERG 1976 Born in Buenos Aires, Argentina Lives and works in New York Formation 1998 Hamidrasha, Bait Berl College of Arts, Israel 2000 Bachelor of Fine Arts, School of Visual Arts, New York 2004 Master of Fine Arts, Columbia University, New York Solo Exhibitions 2019 Easypieces, New Museum, New York, USA Mika Rottenberg, Mambo, Bologna, Italy 2018 Museo d’Arte Moderna di Bologna, MAMbo Bologna, Italy Goldsmiths Centre for Contemporary Art, London, UK Bowls Balls Souls Holes, Sprüth Magers Berlin, Germany Kunsthaus Bregenz, Bregenz, Austria 2017 The Bass Museum of Art, Miami, USA 2016 Palais de Tokyo, Paris, France Galerie Laurent Godin, Paris, France 2015 Mika Rottenberg, Jupiter Artland Foundation, Edinburgh, UK 2014 Bowls Balls Souls Holes, Andrea Rosen Gallery, Main Gallery, New York, USA Mika Rottenberg: Bowls Balls Souls Holes, Rose Art Museum, Brandeix University, Waltham, USA 2013 Squeeze : Video Works by Mika Rottenberg, The Israel Museum, Jerusalem, Israel Sneeze to Squeeze, Magasin 3, Stockholm, Sweden 2012 Galerie Laurent Godin, Paris, France How Women Work, Nottingham Contemporary, UK Mary’s Cherries, FRAC Languedoc Roussillon, Montpellier, France Infinite #2, collaboration with Anna Harpaz, Petah Tikva Museum of Art, Israel 2011 Cheese, Squeeze & Tropical Breeze, M VA, Museum Leuven, Louvin, Belgium Dough, Cheese, Squeeze and Tropical Breeze, De Appel Art Centre, Amsterdam, The Netherlands Bonniers Konsthall, Stockholm, Sweden SEVEN, Performa 11 at Nicole Klagsbrun Project Space, New York, USA (with John Kessler) -
2017-MUMA-The-Humours.Pdf
THE HUMOURS THE HUMOURS This exhibition and catalogue were produced on Kulin Nation land. Monash University Museum of Art acknowledges the Wurundjeri and the Boon Wurrung of the Kulin Nation as the first and continuing custodians of these lands and waters, and pays respect to their Elders, past and present. Charlotte Day: Foreword 3 Hannah Mathews: Introduction 7 Sophie Knezic: Doubled up: non-coincidence and the comic body 11 Zoë Coombs Marr: On analysing analyses of humour 23 Jarrod Rawlins: My account of the funny-art problem: Lol 27 Gabriel Abrantes 32 Barbara Cleveland 36 Matthew Griffin 38 Mary Reid Kelley with Patrick Kelley 42 Glenn Ligon 46 Mika Rottenberg 52 Artist biographies 55 List of works 59 Acknowledgements 61 1 Foreword Charlotte Day ‘I was only joking’ can be used to defuse But what about the role of humour in the the impact of an uncivil comment, but time of US President Donald Trump? As it hardly ever does. Jokes are often American comedian Maria Bamford has where prejudices find safe harbour, and written: ‘Ironic racism, ironic sexism, ironic it is often the recipient who couldn’t or anything unjust – it all seems terrifying wouldn’t take the joke who is deemed a now. The stakes are too high’.1 Yet there bad sport or wowser – the one with a thin is no doubt that comedy is experiencing skin. The truth of the matter is that jokes, a resurgence in Trump’s America and more often than not, have a serious side. that it provides important rebuttal to a presidency gone awry. -
HIGH PERFORMANCE Time-Based Media Art Since 1996 the JULIA
March 16 – June 22, 2014 C Presseinformation Februar 2014 HIGH PERFORMANCE Time-based media art since 1996 High Performance. Die JULIA STOSCHEK COLLECTION The JULIA STOSCHEK COLLECTION guests at ZKM. zu Gast im ZKM. Zeitbasierte Medienkunst seit 1996 Ausstellung Düsseldorf-based JULIA STOSCHEK COLLECTION is presenting key works from its collection of time-based media art at the ZKM | Ort Karlsruhe in the exhibition High Performance. Time-Based Media ZKM | Medienmuseum Art since 1996 – it runs from March 16 thru June 22, 2014. With Pressekonferenz large-format video works and films as well as multi-channel Fr, 14.03.2014, 09.30 Uhr installations, the exhibition demonstrates conclusively how video Eröffnung art as an artistic medium has lost none of its power in the 50 years Sa, 15.03.2014, 18.00 Uhr of its existence. Dauer 16.03.–22.06.2014 Inspired by the risky maneuvers of a Chris Burden, in his video piece High Performance (2000) artist Aaron Young documents a motorbike rider who engages his front brake and burns rubber with his back wheel Pressekontakt Dominika Szope onto the concrete floor of the studio. Clouds of smoke that rise up from Leitung Presse- und Öffentlichkeitsarbeit the friction slowly blur the scene. In this creative, high-powered Tel: 0721 / 8100 – 1220 performance a destructive act melds with creative violence to form a Constanze Heidt threatening contradiction, with man and machine coming up against their Mitarbeit Presse- und limits to the point of complete disappearance. Painting, sculpture and Öffentlichkeitsarbeit Tel: 0721 / 8100 – 1821 sound are quite radically manifested in this admixture of roaring high speed and groaning standstill. -
Nina Canell CV EN.Indd
nina canell Swedish artist Nina Canell explores the potential of hidden objects and materials meant for the useage of forwarding or saving knowledge and technological proces- ses. Canell transforms sliced power- and fiber optic cables, unwound wire coils or exposed electrical wires into sculptural arrangements. Her interest in the contempo- rary advances of data transmission, the physical properties of data carriers themsel- ves and their indiscernible internal processes is rooted in the questioning of memory and knowledge. Her conviction is that there is no mediation without loss, neither between solid objects nor living things. Her sculptural process reveals the hidden process of transmission, at the same time questioning the integrity of the object with synthetic and organic materials. Nina Canell exhibited in the Nordic Pavilion at the 57th Venice Biennale in 2017. In 2019 the Kunstmuseum St. Gallen and the Kunsthalle Baden-Baden both showed solo exhibitions of the artist. biography 1979 born in Vaxjö, SE lives and works in Berlin, DE education 2005 Institute of Art, Design and Technology, Dun Laoghaire, Co. Dublin, IE solo exhibitions (selection) 2019 “Muscle Memory”, Staatliche Kunsthalle Baden-Baden, DE “Nina Canell and Robin Watkins: Energy Budget”, Capri, Dusseldorf, DE 2018 “NINA CANELL / IAN KIAER”, Various Others | Barbara Gross Galerie, Munich, DE “Energy Budget”, S.M.A.K Stedelijk Museum voor Actuele Kunst, Ghent, BE “Reflexologies”, Kunstmuseum St. Gallen, CH 2017 “Polyethylene-Insulated Smear”, Mendes Wood, São Paulo, BR -
The Social and Environmental Turn in Late 20Th Century Art
THE SOCIAL AND ENVIRONMENTAL TURN IN LATE 20TH CENTURY ART: A CASE STUDY OF HELEN AND NEWTON HARRISON AFTER MODERNISM A DISSERTATION SUBMITTED TO THE PROGRAM IN MODERN THOUGHT AND LITERATURE AND THE COMMITTEE ON GRADUATE STUDIES OF STANFORD UNIVERSITY IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY LAURA CASSIDY ROGERS JUNE 2017 © 2017 by Laura Cassidy Rogers. All Rights Reserved. Re-distributed by Stanford University under license with the author. This work is licensed under a Creative Commons Attribution- Noncommercial-Share Alike 3.0 United States License. http://creativecommons.org/licenses/by-nc-sa/3.0/us/ This dissertation is online at: http://purl.stanford.edu/gy939rt6115 Includes supplemental files: 1. (Rogers_Circular Dendrogram.pdf) 2. (Rogers_Table_1_Primary.pdf) 3. (Rogers_Table_2_Projects.pdf) 4. (Rogers_Table_3_Places.pdf) 5. (Rogers_Table_4_People.pdf) 6. (Rogers_Table_5_Institutions.pdf) 7. (Rogers_Table_6_Media.pdf) 8. (Rogers_Table_7_Topics.pdf) 9. (Rogers_Table_8_ExhibitionsPerformances.pdf) 10. (Rogers_Table_9_Acquisitions.pdf) ii I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Zephyr Frank, Primary Adviser I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Gail Wight I certify that I have read this dissertation and that, in my opinion, it is fully adequate in scope and quality as a dissertation for the degree of Doctor of Philosophy. Ursula Heise Approved for the Stanford University Committee on Graduate Studies. Patricia J. -
S a N F R a N C I S C O a R T S Q U a R T E R L Y I S S U E
SFAQ free Tom Marioni Betti-Sue Hertz, YBCA Jamie Alexander, Park Life Wattis Institute - Yerba Buena Center for the Arts - Berkeley Art Museum/Pacific Film Archive - Tom Marioni - Gallery 16 - Park Life - Collectors Corner: Dr. Robert H. Shimshak, Rimma Boshernitsan, Jessica Silverman, Charles Linder - Recology Artist in Residence Program - SF Sunset Report Part 1 - BOOOOOOOM.com - Flop Box Zine Reviews - February, March, April 2011 Event Calendar- Artist Resource Guide - Bay Area, Los Angeles, New York, Portand, Seattle, Vancouver Space Listings - West Coast Residency Listings SAN FRANCISCO ARTS QUARTERLY ISSUE.4 -PULHY[PUZ[HSSH[PVU +LSP]LY`WHJRPUNHUKJYH[PUN :LJ\YLJSPTH[LJVU[YVSSLKZ[VYHNL +VTLZ[PJHUKPU[LYUH[PVUHSZOPWWPUNZLY]PJLZ *VSSLJ[PVUZTHUHNLTLU[ connect art international (T) ^^^JVUULJ[HY[PU[SJVT *VU]LUPLU[:HU-YHUJPZJVSVJH[PVUZLY]PUN5VY[OLYU*HSPMVYUPH JVSSLJ[VYZNHSSLYPLZT\ZL\TZKLZPNULYZJVYWVYH[PVUZHUKHY[PZ[Z 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER 1B copy.pdf 1 1/7/11 9:18 PM 3IGNUPFOROURE NEWSLETTERATWWWFLAXARTCOM ,IKEUSON&ACEBOOK &OLLOWUSON4WITTER C M Y CM MY CY CMY K JANUARY 21-FEBRUARY 28 AMY ELLINGSON, SHAUN O’DELL, INEZ STORER, STEFAN KIRKEBY. MARCH 4-APRIL 30 DEBORAH OROPALLO MAY 6-JUNE 30 TUCKER NICHOLS SoFF_SFAQ:Layout 1 12/21/10 7:03 PM Page 1 Anno Domini Gallery Art Ark Art Glass Center of San Jose Higher Fire Clayspace & Gallery KALEID Gallery MACLA/Movimiento de Arte y Cultura Latino Americana Phantom Galleries San Jose Jazz Society at Eulipia San Jose Museum of Quilts & Textiles SLG Art Boutiki & Gallery WORKS San José Caffé Trieste Dowtown Yoga Shala Good Karma Cafe METRO Photo Exhibit Psycho Donuts South First Billiards & Lounge 7pm - 11pm free & open to the public! Visit www.SouthFirstFridays.com for full schedule. -
Brutal Reality Alida Ivanov from Stockholm 14/02/2013 Mika Rottenberg “Sneeze to Squeeze” Magasin 3, Stockholm February 8 – June 2, 2013
(Fragment) Mika Rottenberg “Still from Cheese”. 2007. Copyright: Mika Rottenberg Brutal Reality Alida Ivanov from Stockholm 14/02/2013 Mika Rottenberg “Sneeze to Squeeze” Magasin 3, Stockholm February 8 – June 2, 2013 Magasin 3 begins their spring season with the solo show Sneeze to Squeeze by video- installation artist Mika Rottenberg. She creates imaginary worlds consisting of claustrophobic factories, farms, office, and working spaces. Mostly obese, tall, muscular women with extremely long nails and hair inhabit these settings. The characters seem to live off their strange physical appearances and add to the claustrophobic feel of the work. Mika Rottenberg was born in 1976 in Buenos Aires, Argentina but grew up in Israel, where she also received her degree in fine arts. Now, and for the last ten years, she resides in New York. This exhibition consists of artworks from the early 2000’s and includes video-installations, sculptures and photography. The title Sneeze to Squeeze is what it actually is: the work Sneeze (2008), via Cheese (2008), Tropical Breeze (2004) and many other works right up to Squeeze (2010). In Sneeze a man is sitting at a table. He has an enlarged and red nose, and alternates between sneezing and scratching his colored toenails on the floor. He sneezes out different objects, for example, light bulbs, and bunnies, but then changes his appearance (or maybe it’s a different man with the same ailment) throughout the video. Installation view from the exhibition at Magasin 3 Mika Rottenberg Texture 1–6. 2013. Polyurethane resin, acylic paint. Dimensions variable Courtesy Nicole Klagsbrun Gallery, New York; Andrea Rosen Gallery, New York Photo: Christian Saltas The different works are accompanied by equally disturbing installations and sculptures. -
B. 1973 in Seoul, South Korea; Lives and Works in Baltimore, New York, and Seoul
Mina Cheon CV 2021 Mina Cheon (천민정) (b. 1973 in Seoul, South Korea; lives and works in Baltimore, New York, and Seoul) Mina Cheon is a new media artist, sCholar, eduCator, and activist best known for her “Polipop” paintings inspired by Pop art and Social Realism. Cheon’s practice draws inspiration from the partition of the Korean peninsula, exemplified by her parallel body of work created under her North Korean alter ego, Kim Il Soon, in which she enlists a range of mediums inCluding painting, sCulpture, video, installation, and performanCe to deConstruCt and reConCile the fraught history and ongoing coexistence between North and South Korea. She has exhibited internationally, including at the Busan Biennale (2018); Baltimore Museum of Art (2018); American University Museum at the Katzen Arts Center, Washington, DC (2014); Sungkok Art Museum, Seoul (2012); and Insa Art SpaCe, Seoul (2005). Her work is in the colleCtions of the Baltimore Museum of Art; Smith College Museum of Art, Northampton; and Seoul Museum of Art, Seoul. Currently, she is working on her participation for the inaugural Asia SoCiety Triennial 2020-2021 titled, “We Do Not Dream Alone.” Her digital interactive art piece, EatChocopieTogether.com for global peaCe, was launChed on August 15, 2020 and will remain active for virtual participation as a lead up to the physical exhibition of Eat Chocopie Together at the end of the Triennial. Mina Cheon is the author of Shamanism + CyberspaCe (Atropos Press, Dresden and New York, 2009), contributor for ArtUS, Wolgan Misool, New York Arts Magazine, Artist Organized Art, and served on the Board of Directors of the New Media CauCus of the College Art AssoCiation, as well as an AssoCiate Editor of the peer review aCademiC journal Media-N. -
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 -
Art Contemporain Israélien
06_05_10 _ art contemporain israélien Pierre Bergé & associés Société de Ventes Volontaires_agrément n°2002-128 du 04.04.02 12, rue Drouot 75009 Paris T. +33 (0)1 49 49 90 00 F. +33 (0)1 49 49 90 01 Pierre Bergé & associés - Belgique Grand Sablon 40 Grote Zavel Bruxelles B-1000 Brussel T. +32 (0)2 504 80 30 F. +32 (0)2 513 21 65 Pierre Bergé & associés - Suisse 11, rue du général Dufour CH-1204 Genève T. +41 22 737 21 00 F. +41 22 737 21 01 PARIS www.pba-auctions.com ART CONTEMPORAIN ISRAÉLIEN Jeudi 6 mai 2010 2 3 4 5 6 7 8 9 10 11 12 13 14 15 VENTE AUX ENCHÈRES PUBLIQUES PARIS Pierre Bergé & associés Vente ART CONTEMPORAIN Israélien Jeudi 6 mai 2010 - 18 heures Drouot Montaigne PIERRE BERGÉ & ASSOCIÉS - FRANCE Pierre Bergé président Antoine Godeau - Frédéric Chambre vice-présidents 12 rue Drouot 75009 Paris - T. +33 (0)1 49 49 90 00 - F. +33 (0)1 49 49 90 01 numéro d’agrément_2002-128 du 04.04.02 RELATIONS PUBLIQUES DÉPARTEMENT DÉPARTEMENT PRESSE SPÉCIALISÉE JUDAÏCA DESIGN Nathalie du Breuil Amélie Sieffert ART NOUVEAU T. + 33 (0)1 49 49 90 08 T. + 33 (0)1 49 49 90 09 ART DÉCORATIF [email protected] [email protected] François Epin T. + 33 (0)1 49 49 90 13 CHARGÉE DE PROJETS : DÉPARTEMENT [email protected] PRESSE / ÉVÈNEMENTS BIJOUX - HORLOGERIE Sandor Gutermann Marie Le Tallec Dora Blary T. + 33 (0)1 49 49 90 33 T. + 33 (0)1 49 49 90 26 T. -
ROBERT LONGO Born 1953, in Brookly, New York Lives and Works
ROBERT LONGO Born 1953, in Brookly, New York Lives and works in New York EDUCATION Accademia di Belle Arti in Florence, Italy. Buffalo State College AWARDS 2005 Goslar Kaiser Ring SOLO EXHIBITIONS 2014 Gang of Cosmos, Metro Pictures, New York Strike the Sun, Petzel Gallery, New York 2013 Phantom Vessels, Galerie Thaddaeus Ropac, Salzburg 2012 The Capitol Project, The Aldrich Museum, Connecticut STAND, Capitain Petzel Gallery, Berlin 2011 God Machines, Galerie Thaddaeus Ropac, Paris Mysterious Heart, Galeria Soledad Lorenzo, Madrid 2010 Robert Longo, Kunsthalle Weishaupt, Ulm Robert Longo: Survey Exhibition 1980-2009, Museum Berardo, Lisbon 2009 No Wave, SAKS Gallery, Geneva Robert Longo: Survery Exhibition 1980-2009, Musee d’Art Moderne et d’Aty Contemporain, Nice Surrendering the Absolutes, Metro Pictures, New York Dancing With Chains On, Galerie Hans Mayer, Düsseldorf 2008 Nights Bright Days, Margo Leavin Gallery, Los Angeles Intimate Immensity, galleria Soledad Lorenzo, Madrid 2007 Children of Nyx, Metro Pictures, New York Beginning of the World, Galerie Hans Mayer, Düsseldorf 2006 The Outward and Visible Signs of an Inward and Invisible Grace, Metro Pictures, New York Ouroboros, Galerie Daniel Templon, Paris 2005 Robert Longo: Fire, Water, Rock (2003-2005), Galleria Emilio Mazzoli, Modena, curated by Richard Milazzo Something Wicked This Way Comes, Margo Leavin Gallery, Los Angeles Robert Longo: Deep Silence, Metro Pictures, New York 2004 The Sickness of Reason, Metro Pictures, New York 2003 Lust of the Eye, Galeria Soledad Lorenzo,