D.A.P. General Interest Thomas Struth
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Kingsley Ng 伍韶勁 at ‘Digital Life 2014 – Play’
osage hong kong 4/F, hing yip street, osage Kwun Tong, Kowloon, Hong Kong t: (852) 2389 8332 e: [email protected] w: www.osagegallery.com Media Release 25 September 2014 Attention Arts and Culture Editors For immediate release KINGSLEY NG 伍韶勁 AT ‘DIGITAL LIFE 2014 – PLAY’ ROMAEUROPA FESTIVAL at La Pelanda - MACRO Testaccio Largo Orazio Giustiniani 4, Rome, Italy 9.10 – 30.11.2014 Osage Gallery is proud announce the participation of Hong Kong new media Kingsley Ng, recipient of Best Artist (Media Arts) in last year's Hong Kong Arts Development Awards, in the exhibition Digital Life 2014 – PLAY, the technological arm of Romaeuropa, one of the most prestigious cultural events in Italy and Europe, from 9 October to 30 November 2014 in Rome, Italy. For more about the Festival: http://romaeuropa.net/ In this fifth edition of the DIGITAL LIFE dedicated to music and to custom-made musical instruments, Kingsley will be showing one of his pivotal works Métier à tisser musical (Musical Loom), an interactive sound installation and a production of Le Fresnoy, Studio national des arts contemporains. The work transformed a 250 year-old antique French loom into a sound-image instrument. It was inspired by the loom in northern France where the ancient machine has played a significant role in the region’s boom and prosperity. The loom used in the installation was part of the permanent collection of the Jacquard Museum in Roubaix, France, which was acquired for production of this work with the generosity of the Museum and Mr José Honoré. 1 Métier à tisser musical (Musical Loom) 音樂紡織機 interactive sound installation | 175 x 130 x 200 cm | 2005 Production Le Fresnoy, Studio national des arts contemporains Image courtesy of the artist and Osage Gallery 2 With this Musical Loom, the player can generate mechanical soundscapes or malleable musical expressions. -
Aliza Shvarts Cv
A.I.R. ALIZA SHVARTS CV www.alizashvarts.com SOLO AND TWO PERSON EXHIBITIONS 2018 Off Scene, Artspace, New Haven, CT 2016 Aliza Shvarts, Kevin Kavanagh Gallery, Dublin, Ireland 2010 Knowing You Want It, UCLA Royce Hall, Los Angeles, CA SELECTED GROUP EXHIBITIONS 2019 Study Session: Aliza Shvarts, Ayanna Dozier, and Narcissister, The Whitney Museum, NYC 2019 In Practice: Other Objects. SculptureCenter, Long Island City, NY th 2018 ANTI, 6 Athens Biennale. Athens, Greece 2018 A new job to unwork at, Participant Inc, NYC 2018 Aliza Shvarts, Patty Chang & David Kelley. Marathon Screenings, Los Angeles, CA. 2018 International Festival of Arts&Ideas, Public art commission. New Haven, CT 2017 (No) Coma Cuento, Universidad de los Andes, Bogotá, Colombia 2017 Aliza Shvarts and Devin Kenny, Video Artists Working Group, Artists Space, NYC 2017 Goldman Club (with Emanuel Almborg), Dotory, Brooklyn, NY 2016 Situational Diagram: Exhibition Walkthrough, Lévy Gorvy Gallery, NYC 2016 SALT Magazine and Montez Press present, Mathew Gallery, NYC 2016 eX-céntrico: dissidence, sovereignties, performance, The Hemispheric Institute, Santiago, Chile 2016 Subject to capital, Abrons Arts Center, NYC 2015 Soap Box Session: Directing Action, ]performance s p a c e[ London, England. 2015 Learning to Speak in a Future Tense, Abrons Arts Center, NYC 2015 The Magic Flute (with Vaginal Davis), 80WSE Gallery. NYC 2015 On Sabotage (screening), South London Gallery, London GRANTS AND AWARDS 2019 A.I.R Artist Fellowship, A.I.R Gallery -
Asia Society Hong Kong Center March 2013 Program
Asia Society Hong Kong Center March 2013 Program Imminent Domain Designers Workshop Series Lost and Found Workshop with KENTARO HIROKI, Artist, Chairman of Communication Design Program, King Mongkut’s University of Technology Thonburi, Thailand & KINGSLEY NG, Artist and Lecturer, Academy of Visual Art, Hong Kong Baptist University Saturday, March 2, 2013 Asia Society Hong Kong Center, 9 Justice Drive, Admiralty 13:00 –16:00 Free Admission; Registration required; Online registration only “Upcycling” is often the process of converting unwanted objects and materials into new products for better environmental value. For objects that have lost their reasons to exist in the world, instead of transforming them into new by-products, can we inject new meanings into these objects as they are? Can we help them find new home? Kentaro Hiroki was born in 1976 in Osaka, Japan. He is currently an art lecturer at the School of Architecture and Design KMUTT, Bangkok, Thailand. Hiroki graduated with a BA in Fine Art from Osaka Art University and subsequently took a Foundation Course from Central Saints Martin School of Design, London Institute. He obtained his Post Graduate Diploma in Fine Art from Goldsmiths 9 Justice Drive College, University of London in 2001 and MA in Fine Art from Malmö Art Academy, Sweden in 2003. Admiralty He has had 4 solo exhibitions and participated in 13 group shows in UK, Norway, Sweden, Thailand, Hong Kong Korea, and Hong Kong. Kingsley Ng is an interdisplinary artist that sets his focus on conceptual, site-specific and community-oriented projects. To him, art is the byproduct that shows human’s existence in its time and space; it should be socially relevant, employing contemporary language and media to render the issues of our time. -
Page 1 of 26 Event Transcript – September 8, 2020 Performance-In-Place: Hotline
Event Transcript – September 8, 2020 Performance-in-Place: Hotline - Conversation between Aliza Shvarts and Sara Reisman Sara Reisman: So we get started? Aliza Shvarts: Yeah. Sara Reisman: Okay. Welcome everyone to tonight's program, Performance-in-Place: Hotline, a conversation with Aliza Shvarts. Call 866.696.0940 for Hotline. A quick introduction for those who are joining for the first time. My name is Sara Reisman. I'm the Executive and Artistic Director of the Shelley & Donald Rubin Foundation. In May of this year, we launched a virtual series, Performance-in-Place, which features new and newly reworked performances by artists, choreographers and writers including Latasha N. Nevada Diggs, Alice Sheppard, Eileen Myles, Maria Hupfield, Baseera Khan, and others. Every three weeks on Tuesdays, we host a performance by one of these artists, which will then be shared on our website and via social media channels for further distribution. Upcoming Performance-in-Place events include Disappearing Acts @ 50 by Latasha N. Nevada Diggs on Tuesday, September 22nd from 6:00 to 7:00 PM Eastern Standard Time and Waste of a Nation by Baseera Khan on Tuesday, October 27th, from 6:00 to 7:30 PM Eastern Standard Time. In other news, we'll open our upcoming exhibition, To Cast Too Bold a Shadow, a thematic exhibition that examines culturally entrenched forms of misogyny as a means to understand the dynamics between sexism, gender, and feminism. This exhibition celebrating the 100th anniversary of women's suffrage features artists who have positioned their practices as acts of resistance in the face of oppressive societal conditions. -
Art As Communication: Y the Impact of Art As a Catalyst for Social Change Cm
capa e contra capa.pdf 1 03/06/2019 10:57:34 POLYTECHNIC INSTITUTE OF LISBON . PORTUGAL C M ART AS COMMUNICATION: Y THE IMPACT OF ART AS A CATALYST FOR SOCIAL CHANGE CM MY CY CMY K Fifteenth International Conference on The Arts in Society Against the Grain: Arts and the Crisis of Democracy NUI Galway Galway, Ireland 24–26 June 2020 Call for Papers We invite proposals for paper presentations, workshops/interactive sessions, posters/exhibits, colloquia, creative practice showcases, virtual posters, or virtual lightning talks. Returning Member Registration We are pleased to oer a Returning Member Registration Discount to delegates who have attended The Arts in Society Conference in the past. Returning research network members receive a discount o the full conference registration rate. ArtsInSociety.com/2020-Conference Conference Partner Fourteenth International Conference on The Arts in Society “Art as Communication: The Impact of Art as a Catalyst for Social Change” 19–21 June 2019 | Polytechnic Institute of Lisbon | Lisbon, Portugal www.artsinsociety.com www.facebook.com/ArtsInSociety @artsinsociety | #ICAIS19 Fourteenth International Conference on the Arts in Society www.artsinsociety.com First published in 2019 in Champaign, Illinois, USA by Common Ground Research Networks, NFP www.cgnetworks.org © 2019 Common Ground Research Networks All rights reserved. Apart from fair dealing for the purpose of study, research, criticism or review as permitted under the applicable copyright legislation, no part of this work may be reproduced by any process without written permission from the publisher. For permissions and other inquiries, please visit the CGScholar Knowledge Base (https://cgscholar.com/cg_support/en). -
ON PAIN in PERFORMANCE ART by Jareh Das
BEARING WITNESS: ON PAIN IN PERFORMANCE ART by Jareh Das Thesis submitted in fulfilment of the requirements for the degree of PhD Department of Geography Royal Holloway, University of London, 2016 1 Declaration of Authorship I, Jareh Das hereby declare that this thesis and the work presented in it is entirely my own. Where I have consulted the work of others, this is always clearly stated. Signed: Date: 19th December 2016 2 Acknowledgments This thesis is the result of the generosity of the artists, Ron Athey, Martin O’Brien and Ulay. They, who all continue to create genre-bending and deeply moving works that allow for multiple readings of the body as it continues to evolve alongside all sort of cultural, technological, social, and political shifts. I have numerous friends, family (Das and Krys), colleagues and acQuaintances to thank all at different stages but here, I will mention a few who have been instrumental to this process – Deniz Unal, Joanna Reynolds, Adia Sowho, Emmanuel Balogun, Cleo Joseph, Amanprit Sandhu, Irina Stark, Denise Kwan, Kirsty Buchanan, Samantha Astic, Samantha Sweeting, Ali McGlip, Nina Valjarevic, Sara Naim, Grace Morgan Pardo, Ana Francisca Amaral, Anna Maria Pinaka, Kim Cowans, Rebecca Bligh, Sebastian Kozak and Sabrina Grimwood. They helped me through the most difficult parts of this thesis, and some were instrumental in the editing of this text. (Jo, Emmanuel, Anna Maria, Grace, Deniz, Kirsty and Ali) and even encouraged my initial application (Sabrina and Rebecca). I must add that without the supervision and support of Professor Harriet Hawkins, this thesis would not have been completed. -
Aliza Shvarts. Cite/Site. 2020. Installation View, Art in General, 2020. Photograph by Dario Lasagni
Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00428/1927417/octo_a_00428.pdf by guest on 27 September 2021 Aliza Shvarts. Cite/Site. 2020. Installation view, Art in General, 2020. Photograph by Dario Lasagni. A Conversation with Aliza Shvarts* Downloaded from http://direct.mit.edu/octo/article-pdf/doi/10.1162/octo_a_00428/1927417/octo_a_00428.pdf by guest on 27 September 2021 EMILY APTER This conversation took place following the opening of Purported, an exhibition of work by Aliza Shvarts at Art in General in 2020, curated by Laurel Ptak as part of the organiza- tion’s New Commissions program. The exhibition was Shvarts’s first New York solo show and surveyed over ten years of her practice. Shvarts’s work uses performance, video, text, and installation to examine reproduction, from processes of biological and social maintenance to visual and discursive generation. She first came to widespread attention when her Untitled [Senior Thesis] (2008), consisting of a yearlong performance of self-induced miscarriages, was declared a “fiction” by Yale University and censored from public exhibition. That contro- versial work, which was on view for the first time in New York at Art in General, continues to frame the areas of inquiry Shvarts explores: how the body means and matters and how the subject consents and dissents. Recently, her work has focused on testimony, specifically on how the capacity to speak (and be heard) is gendered, raced, and classed. Purported was open to the public for approximately two weeks before closing due to the COVID-19 pandemic.1 Emily Apter: In Sara Ahmed’s Living a Feminist Life we find the assertion that “the repetition is the scene of a feminist instruction.”2 Ahmed is referring specifi- cally to her reliance on a “citational policy” that pays homage to feminist memory and affirms an alternative genealogy for theory. -
Bodies Burning at the Edges
BODIES BURNING AT THE EDGES I dreamed of bodies burning at the edges When I awoke my belly was cold as an abandoned stove The streets were cleared, trees bent The air so still, as though just inhaled When I noticed it was spring. — Yvonne Rainer, 1977 ALIZA SHVARTS ON SABOTAGE I wonder if we can think about the question of sabotage as a question of time. The figure of the saboteur operates in a temporality outside the time of the cohesive rational actor, the universal subject of enlightenment, the one man with his one voice, his one (patrilineal) name, and his one vote. To sabotage something is to act out of time with it, to trouble the linear narrative of progress, to stymy cause and effect. To sabotage something—or oneself—is to engage the multiplicity that operates outside of the presumption of continuity that enables the honest relations of consent, contracts, etc., which are inexorably bound up in a capitalist logic of exchange in which to be accountable is to be subject to account. In a lecture called “The Touring Machine,” Fred Moten says that the history of blackness is a history of the tenuous and unstable distinction between subjecthood and objecthood (overwritten by co- emergent formulations of the enlightened rational subject, whose very possibility depended on the existence of those non-subjects or human commodities produced and reproduced through colonialism and enslavement). This history thus opens up the possibility to consent to non-consent, that is, to consent to being more than a single continuous subject that is the implied subject of consent. -
1. Landscape Architecture 2010
1. LANDSCAPE ARCHITECTURE 2010 - 2011 1st edition - Summer 2011 BEST WORKS 2011 - 2012 CONTENT QUARTER GUIDE Q1 2011 - 2012 LANDSCAPE ARCHITECTURE ARCHITECTURE AND LANDSCAPE Q1 ARCHITECTURE & LANDSCAPE Published by 6 AR1LA010 Villa Urbana MSc Track in Landscape Architecture The Curriculum Chair of Landscape Architecture, Department of Ur- 12 AR1LA020 Landscape Architecture I Landscape Architecture is an independent design The programme is offered once a year and commences banism, Faculty of Architecture, TU Delft 20 AR1LA030 Research by Drawing discipline related to Urbanism and Architecture. The in the autumn semester. The first three quarters of 24 AR1LA040 Designing with Plants landscape architect is a designer of space; the design the programme are complementary and introduce the Published for process itself is a synthesis of art and technology student to the fundamental domains of Landscape Ar- MSc track Landscape Architecture Q2 in which considerations of topography, the natural chitecture at TU Delft. In the fourth quarter students DUTCH LOWLANDS processes that shape a landscape over time, and the are encouraged to focus on Landscape Architecture Responsible Chair © copyrights 32 AR1LA050 New Dutch Waterscape formal, material and cultural qualities of place all play in order to broaden their core knowledge and skills Prof. dr. Ir. C. M. Steenbergen 42 AR1LA060 Landscape Architecture II essential roles. Each project is a unique reflection of base. The 3rd semester graduation studios are struc- (Professor Chair of Landscape Architecture) 48 AR1LA070 Reflecting Ideas on Landscape geometry and geomorphology, artefact and nature, tured around projects within the research programme. Ir. I. Bobbink 58 AR1LA080 Landscape Component form and function. -
Belgium and the Rhine Valley: Tradition and Innovation in Art & Garden Design 2023
Belgium and the Rhine Valley: Tradition and Innovation in Art & Garden Design 2023 7 JUN – 27 JUN 2023 Code: 22320 Tour Leaders Sandra McMahon, Diane Perelsztejn Physical Ratings View private gardens by leading Flemish landscape designers including Jacques Wirtz, Daniël Ost & Chris Ghyselen, Hermannshof directed by Cassian Schmidt, and cruise the UNESCO-listed Rhine Gorge. Overview See the work of modern European giants of landscape design including Jacques Wirtz, Chris Ghyselen, Cassian Schmidt and Daniël Ost, as well as a new generation of rising stars. Led by Sandra McMahon and Diane Perelsztejn, this tour is a feast of splendid classic and contemporary private gardens, great museums and natural landscapes of Belgium, Southern Netherlands and the Rhine Valley. View the work of leading Flemish designers and horticulturalists including Daniël Ost, Erik Dhont, and Piet Blanckaert. By special invitation explore the private gardens of Jacques Wirtz featured in Monty Don's Around the World in 80 Gardens. Visit The Potager, private garden of Sybille de Spoelberch partly designed by Jacques Wirtz, adjacent to Arboretum Wespelaar. Visit the private Domain Hemelrijk, the former home of Robert and Jelena de Belder who designed their private garden with their close friend, Russell Page. Meet landscape architect Chris Ghyselen, known for his use of fine grasses and perennials, who will show us his own private garden. Explore classic Dutch country gardens, and designs by Mien Ruys at the 14th-century Kasteel van Oostkerke which features flower-filled gardens, moats and polder meadows. Learn about the New German Style: at Hermannshof where Cassian Schmidt has developed one of the finest and most exciting modern gardens in Europe; and at HORTVS the garden of Peter Janke, a rising star in German landscape design. -
Interdiction Is the State Or Condition of Being Prohibited, Forbidden from Existing. It Is a Word That Aliza Shvarts Uses To
Interdiction is the state or in Performance Studies at New condition of being prohibited, York University, which explores forbidden from existing. It is doom as a prophetic and juridical a word that Aliza Shvarts uses force whose full scope is enacted to define her work as an artist, over extremely long periods. punctuating questions of legibility, representation, collaboration, and Shvarts is currently preparing consent as they appear in social a solo exhibition at Artspace in and artistic entanglements. New Haven, CT, on the tenth Shvarts’s project Non- anniversary of her senior thesis Consensual Collaborations project at Yale University, which (2012 – ongoing) approaches was banned and disavowed by the notion of consent through a the school’s administration. queer and feminist framework, This experience functions as an pressing at its seams to ALIZA SHVARTS epistemological undercurrent in demonstrate its inability to Shvarts’ work: How does one accommodate nuanced responses make work as an artist if one’s and relational frameworks. work is unable to be encountered, Drawing on experiences that its legibility intercepted, its were not initially conceived as attention to reproduction part of an artistic project, Shvarts effectively aborted? claims the mantle of performance retroactively — questioning the In this interview, Andrew authorial prerogatives and the Kachel discusses Shvarts’s Non- presentational mechanisms to Consensual Collaborations in which performance is largely the context of her dissertation, beholden. The extended her past and future work in New temporality of this work echoes Haven, and the contexts of queer Shvarts’s in-progress dissertation theory and performance studies. Interview Andrew Kachel Portrait Benedict Brink 256 257 AK I find this sort of self-destructive but also analytical and frustrating to me about queer academia which is perfectly were notably anti-queer, people like Ernst Bloch, these “bad the Non-Consensual Collaborations. -
Guia Loop 2009.Pdf
GUIA CRÈDITS ÍNDEX Direcció Festival Fira & Guest Program PROGRAMA GENERAL Emilio Álvarez Alejandra Arteta Arianne Gaazenbeek Carlos Durán Alexandra Laudo Sol García Galland ARTS SANTA MÒNICA 6 Llucià Homs Andrea Goffre ATENEU BARCELONÈS 7 Assistents Festival Producció Natalia Cervero Assistents Fira & CAIXAFORUM 8 Maite García Iker Durana Guest Program CAN XALANT 11 Ainet Canut Raffaella Corolli Media Lounge Julie Meunier CASA ASIA 13 Assistents Producció Álvaro Bartolomé Sergio Scibilia CCCB 14 Iván Gómez Pablo Lerma Programa Universitats Tècnic Festival CCD FRANCESCA BONNEMAISON 16 Mariana Hormaechea Hunab Moreno DISSENY HUB BARCELONA 17 Premsa i Comunicació Cristina Díaz OFF LOOP Disseny Gràfic / Web ESPAI CULTURAL CAJA MADRID 18 Neus Masferrer Pedro Torres designbyreference.com ESPAI LICEU 19 Assistent Premsa FUNDACIÓN FRANCISCO GODIA 20 i Comunicació HOTEL ÁMISTER 22 Anna Priscila Magriñà HOTEL LE MÉRIDIEN BARCELONA 22 Administració HOTEL PULITZER 23 Pau Ferreiro ISTITUTO EUROPEO DI DESIGN 25 LA PEDRERA DE CAIXA CATALUNYA 26 MACBA 28 MUSEU BARBIER-MUELLER 29 PAVELLÓ MIES VAN DER ROHE 30 PROGRAMA DE GALERIES DE BARCELONA 33 PROGRAMA DE GALERIES FIRA LOOP 43 INAUGURACIÓ/ EX POSICIÓ/ PROJECCIÓ/ PROGRAMA INTERNACIONAL D’UNIVERSITATS 47 INAUGURACIÓN/ EXPOSICIÓN/ PROYECCIÓN/ OPENING EXHIBITION PROJECTION MEDIA LOUNGE 55 OFF LOOP 65 CONR FE ÈNCIA/ P RESENTACIÓ/ TAULA RODONA/ CONFERENCIA / PRESENTACIÓN/ MESA REDONDA/ OFF LOOP/ RUTA 75 CONFERENCE PRESENTATION ROUND TABLE L ’equip LOOP no es fa responsable dels canvis d’horaris i del funcionament