Studio Guenzani Via Eustachi 10 20129 Milano Tel
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Biennals 10-13 CUBAN
Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba Jeanette Chávez Autocensura / Self-Censorship , 2006 Video, 2:52 min Image courtesy of the artist CONTENTS CUBAN ARTISTS 2-7 CUBAN ART 7-9 CUBAN ART: Biennals 10-13 CUBAN ART: Biennals: Journal articles 13 CUBA ART: Context 14-15 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER CUBAN ARTISTS Alfonzo, Carlos AS ALF Viso, Olga M. (ed.) Triumph of the Spirit, Carlos Alfonzo: a survey 1975-1991 . Miami: Miami Art Museum 1998. Bedia, Jose AS BED Jose Bedia: Fabula . Bogota: Galeria Fernando Quintana, 1993. Brugera, Tania AS BRU Tania Bruguera: esercizio di resistenza = exercise in resistance . Turin: Franco Soffiantino Arte Contemporanea, 2004. Campos-Pons, Maria Magdalena AS CAM Maria Magdalena Campos-Pons: meanwhile, the girls were playing . Cambridge Mass.: MIT List Visual Arts Centre, 2000. Capote, Ivan AS CAP Ivan Capote . Herausgabe: Havana Edition, 2007. Ivan Capote: Aforismos . AS CAP Cuba: Galeria Habana, 2007. Capote, Yoan AS CAP Yoan Ca pote. Herausgabe: Havana Edition, 2007. Carmona, Williams AS CAR Todos miran, pocos ven /they all look, but few only see . [Paris]: Corinne Timsit International Galleries, [n.d.] Castro, Humberto AS CAS Humberto Castro: le radeau d'Ulysse Paris: Le monde de l'art, [n.d.] [Text in French] Ceballos, Sandra AS CEB Ceballos, Sandra and Suárez, Ezequiel (curs.) Dónde está Loló: Pinturas: Sandra Ceballos . La Habana: Centro Wifredo Lam, 1995. Text in Spanish] 2 Iniva: Stuart Hall Library: Select Bibliography 2008 States of Exchange: Artists from Cuba/ Estados de Intercambio: Artistas de Cuba ITEM LIBRARY SHELF NUMBER Cuenca, Arturo AS CUE Arturo Cuenca: Modernbundo . -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
KCHO Cv Cast
KCHO Nueva Gerona, Isla de la Juventud, Cuba, 1970 Vive y trabaja en La Habana, Cuba PREMIOS 2007 Honor Prize, Instituto Superior de Arte, La Habana, Cuba 2001 Premio al Envío Cubano, IV Bienal del Caribe, Museo de Arte Moderno, Santo Domingo, República Dominicana 1999 Residence, Atelier Calder, Saché, Francia 1995 UNESCO Prize for Arts Promotion, UNESCO, París, Francia Grand Prize, Kwang Ju Biennial, Kwang Ju, Corea 1994 Ludwig Foundation scholarship , Ludwig Forum, Aachen, Alemania 1991 Salón Nacional de Profesores de Esculas se Arte, Centro Provincial de Artes Plásticas de Artes y Diseño, Havana, Cuba 1990 Asociación de Hermanos Saíz Prize, Municipal Salón de Artes Plásticas, Galería de Arte Nueva Gerona, Isla de la Juventud, Cuba EXPOSICIONES INDIVIDUALES (SELECCIÓN) 2014 Strange Day at the Beach , Centro de las Artes de San Agustín, Oaxaca, México The Thinker, The Ship , Kcho Study Romerillo, Laboratory for Art, La Habana, Cuba Via Crucis , Palazzo della Cancelleria, Ciudad del Vaticano, Roma, Italia 2013 Final Monument , Tega Gallery, Milán, Italia 2012 Gran Teatro de la Habana, La Habana, Cuba Between Melancholy and the Construction of the New Man, Malacón, La Habana, Cuba 2011 Anclado por un sueño (Anchored by a dream), Moncada Barracks, Santiago de Cuba, Cuba 2008 Kcho: Cadena de reunificación familiar, Marlborough Chelsea, Nueva York, USA 2007 El cuaderno del hombre de los pies de barro , Galería Juan Ruiz, Maracaibo, Venezuela El viaje , Museo de Arte Contemporáneo de Panamá, Ciudad de Panamá, Panamá Retrasando lo inevitable -
Death and the Invisible Hand: Contemporary Mexican Art, 1988-Present,” in Progress
DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by Mónica Rocío Salazar APPROVED BY SUPERVISORY COMMITTEE: ___________________________________________ Charles Hatfield, Co-Chair ___________________________________________ Charissa N. Terranova, Co-Chair ___________________________________________ Mark Rosen ___________________________________________ Shilyh Warren ___________________________________________ Roberto Tejada Copyright 2016 Mónica Salazar All Rights Reserved A mi papá. DEATH AND THE INVISIBLE HAND: CONTEMPORARY MEXICAN ART, 1988-PRESENT by MÓNICA ROCÍO SALAZAR, BS, MA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES – AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS December 2016 ACKNOWLEDGMENTS Research and writing of this dissertation was undertaken with the support of the Edith O’Donnell Institute of Art History. I thank Mrs. O’Donnell for her generosity and Dr. Richard Brettell for his kind support. I am especially grateful to Dr. Charles Hatfield and Dr. Charissa Terranova, co- chairs of this dissertation, for their guidance and encouragement. I thank Dr. Mark Rosen, Dr. Shilyh Warren, and Dr. Roberto Tejada for their time and commitment to this project. I also want to thank Dr. Adam Herring for his helpful advice. I am grateful for the advice and stimulating conversations with other UT Dallas professors—Dr. Luis Martín, Dr. Dianne Goode, Dr. Fernando Rodríguez Miaja—as well as enriching discussions with fellow PhD students—Lori Gerard, Debbie Dewitte, Elpida Vouitis, and Mindy MacVay—that benefited this project. I also thank Dr. Shilyh Warren and Dr. Beatriz Balanta for creating the Affective Theory Cluster, which introduced me to affect theory and helped me shape my argument in chapter 4. -
Aida Ruilova
kaufmann repetto AIDA RUILOVA Born in 1974, in Wheeling, West Virginia. Lives and works in New York. Education 2001 MFA, School of Visual Arts, New York, New York 1999 BFA, University of South Florida, Tampa, Florida Awards 2005 Shortlisted to the Hugo Boss prize 2002 ArtPace Residency & Fellowship, San Antonio, TX, selected by Francesco Bonami 2001 Rema Hort Mann Foundation Grant Selected solo exhibitions 2017 Smoke Gets In Your Eyes, Fortnight Institute, New York 2016 The Pink Palace, Marlborough Chelsea, New York City 2014 Keep Moving, The Power Plant, Ontario, Canada Head and Hands: my black angel, Art Seen, Nitehawk Cinema, New York Hey... Oh No... You’re Pretty, Galerie Guido W. Baudach, Berlin Head and Hands: My Black Angel, Soho House Berlin, curated by Alissa Bennett and Abel Ferrara Art Basel film and conversation, curated by Marc Glöde 2013 Kayne Griffin Corcoran, Los Kayne Griffin Corcoran, Los Angeles 2011 Goner, Salon 94 Bowery, New York 2010 Goner, Centro de Arte Contemporáneo La Conservera, Murcia Galerie Guido W. Baudach, Berlin francesca kaufmann, Milan 2009 Museum of Contemporary Art Cleveland, Cleveland Contemporary Art Center New Orleans, New Orleans Hammer Projects, Hammer Museum, Los Angeles Aïda Ruilova: The Singles 1999-Now, The Banff Centre, Walter Phillips Gallery, Banff, Canada 2008 Aïda Ruilova: The Singles 1999-Now, Aspen Art Museum, Aspen, traveling to Contemporary Art Museum St. Louis, Saint Louis Two-timers, Galerie Guido W Baudach, Berlin Sketch Gallery, London 2007 The Silver Globe, The Kitchen, New York -
2020 Art Quadriennale FUORI Curated by Sarah Cosulich and Stefano Collicelli Cagol Rome, Palazzo Delle Esposizioni 29 October 20
2020 Art Quadriennale FUORI Quadriennale 2020 Art FUORI curated by Sarah Cosulich and Stefano Collicelli Cagol Rome, Palazzo delle Esposizioni 29 October 2020 2021 17 January 2020 29 October 17 January 2021 Pre-openings on 27 and 28 October 2020 Rome via Nazionale 194 delle Esposizioni Palazzo BIOGRAPHIES collaboration with Torino main museums and, in 2014, SHIT AND DIE curated by Maurizio Cattelan. SARAH COSULICH In 2017 she was development advisor Sarah Cosulich (1974) is artistic director for the European biennial Manifesta12 of La Quadriennale di Roma, Italy’s in Palermo. main institution for Italian art, Among her writings there are and co-curator of the 2020 Art monographic publications dedicated Quadriennale. to Jeff Koons (2006) and Gabriel Orozco She is currently also curator of the (2008). She occasionally teaches exhibition space MUT in Modena and collaborates with international and the Mutina for Art programme universities and art academies. of contemporary art support. Cosulich graduated in art history in Washington D.C., studied in Berlin STEFANO COLLICELLI CAGOL and earned a masters degree in Stefano Collicelli Cagol (Ph.D.) is contemporary art criticism in London. Curator of the Art Quadriennale 2020 In 2003 she was assistant curator of and since 2018 Curator at La quadriennalediroma.org Francesco Bonami at the 50th Venice Quadriennale di Roma. In 2020, he has Biennale. been appointed Curator at Large of BY From 2004 to 2008 she was curator ART MATTERS, Hangzhou, a Chinese of the Villa Manin Center for contemporary art Centre due to open Contemporary Art where she curated in 2021. He is Visiting Lecture in exhibitions and public outdoor projects ‘Exhibition and Display’ at the II Level by more than thirty international artists. -
Bibliography
bibliography SELECTED WRITINGS BY THE ARTIST “Three Lectures at the Menil Collection.” Santa Monica, CA: Charles Ray Studio, 2018. “The man from Saint-Denis.” César, La Rétrospective. Centre Pompidou, 2017. “A Questionnaire on Materialisms, Charles Ray.” October, Winter 2016. “Making And Looking.” Wall Street Journal, February 6 – 7, 2016 “Hudson, 1950-2014.” Artforum, September 2014. “There Is No Color in the Great Outdoors.” Raw Color: The Circles of David Smith. Sterling and Francine Clark Art Institute, 2014. “Anthony Caro 1924-2013.” Artforum, February 2014. Young man by Charles Ray. New York: Olympic Productions/Matthew Marks Gallery, 2014. “Mr. Kawamoto and His Haunted Neighborhood.” Anew, Fall–Winter 2013. “Chris Burden: Extreme Measures.” Artforum, September 2013. “The Artist’s Artists: Best of 2010.” Artforum, December 2010. Charles Ray. New York: Matthew Marks Gallery, 2009. Log. Los Angeles: Self-published, 2009. “Log.” Domus, November 2007. “1000 Words: Charles Ray Talks about Hinoki.” Artforum, September 2007. A four dimensional being writes poetry on a field of sculpture. Matthew Marks Gallery; Steidl, 2006. “My Warhol: A Project for Artforum.” Artforum, October 2004. “If You Ask Me.” New York Times, December 29, 2002. “Thinking of Sculpture as Shaped by Space.” New York Times, October 7, 2001. “Before and After.” Frieze, 2001. “Picture.” Frieze, January/February, 2000. “Passages Stuart Regen.” Artforum, January 1999. “The Most Beautiful Woman in the World.” Parkett, Fall 1993. “Four Artists Curated by Charles Ray.” FOREHEAD 2, 1990. Spazio Umano/Human Space, April, Vol 4. 1989. ill. Spazio Umano/Human Space, January, Vol 1.1988. ill. “A Portfolio.” FOREHEAD 1, 1987. “New Work.” New Orleans Review, Summer 1980. -
Art History: International Art Exhibitions
FRICK FINE ARTS LIBRARY ART HISTORY: INTERNATIONAL ART EXHIBITIONS Library Guide Series, No. 42 “Qui scit ubi scientis sit, ille est proximus habenti.” -- Brunetiere* What Is an International Art Exhibition? International art exhibitions have a long history that has its roots in the 19th century. Salon exhibitions took place in Paris from 1667 onwards under the auspices of the French Royal Academy of Painting and Sculpture and were held on a biennial basis from 1855 onwards. That same year the Salons were held in the Palais de ‘l’Industrie constructed for the World’s Fair that year. A number of rival salons were established and in 1881 the government withdrew official support from the main Salon and handed over its direction to artists. Afterward, the Salon began to lose its prestige and influence in the face of competition from various independent exhibitions such as the Salon des Independents (1884), the Societe Nationale des Beaux-Arts (1890) and the Salon d’Automne (1903). The end of the 19th century was a time marked by an internationalist spirit that celebrated technological advancement and the accumulation of wealth through global colonial structures. The institution of world’s fairs was one feature of that spirit, the first one being held in London during 1851. Many of the fairs that followed throughout the 19th and 20th centuries included art buildings to display works by the current artists of the day. At times it is difficult to distinguish biennial and triennial art exhibitions from international art festivals, art fairs or trade shows. The first art fair one in the twentieth century was the 1913 Armory Show in New York which was open to progressive painters usually neglected. -
Studio Guenzani Via Eustachi 10 20129 Milano Tel
STUDIO GUENZANI VIA EUSTACHI 10 20129 MILANO TEL. 0229409251 [email protected] KCHO (Alexis Leyva Machado) è nato nel 1970 a Nueva Gerona, Isla de la Juventud (Cuba). Vive e lavora a La Habana. PRINCIPALI MOSTRE PERSONALI 2012 Cuba, Nice to meet you. National Museum of Brasil, Brasilia, Brasil Between Melancholy and the construction of the new man. 11 Biennal of Havana, Fortaleza San Carlos de la Cabana, Havana, Cuba Sacrifice at the Crossroads. Great Theater of Havana, Havana, Cuba 2011 Lives and allows live. Martha Machado Gallery. Isla de la Juventud. Cuba Anchored by a dream. Museum 26-7. Santiago de Cuba, Cuba. Monumento Final. Palacio Grimani. 54 Venice Biennal, Italy Entre la Pietra, el Metal y la Madera. La Jiribilla, Havana, Cuba Obras Recientes (Ouvres récentes). Malborough Gallery, Monaco Vision Nocturna. Malborough Gallery, Barcelona, Spain 2010 Vive y deja vivir. Parque Linea y L, La Habana, Cuba 2008 Kcho: Cadena de reunificaciòn familiar, Malborough Chelsea, New York United States. 2007 “El quaderno del ombre de los pies de barro”, Juan Ruiz Galeria, Maracaibo, Venezuela!“Retrasando lo inevitabile”, Galeria Marlborough, Madrid!2006 “Liegò el cubano”, Galeria Alonso Carces, Bogotà, Colombia!“Paso de los Vientos”, Galeria Joan Prats, Barcelona!“Vive y deja vivir”, IX Bienal de La Habana, Plaza Vieja y galeria La Casona, La Habana, Cuba!“La nave de Kcho”, Castillo de Santa Barbara, Patronato Municipal de Alicante, España!2005 Kcho - Otras palabras, Arte y Naturalezza, Madrid Kcho – Casa 5 – Las Playas Infinitas, Kunsthalle Attersee, Attersee, Austria 2004 Pocas palabras, Museo de Arte Contemporáneo de Zulia, Maracaibo, Venezuela Estudio abierto, Galeria Juan Ruiz, Maracaibo, Venezuela Capacidad de asombro, Museo de Bellas Artes, Caracas, Venezuela Núcleos del tempo. -
Maurizio Cattelan Breath Ghosts Blind
Maurizio Cattelan Breath Ghosts Blind EN Maurizio Cattelan Breath Ghosts Blind 15 July 2021 – 20 February 2022 Curated by Roberta Tenconi and Vicente Todolí Cultural Mediation Cultural mediators are present in the exhibition spaces to answer questions from the public, give information and context elements that can deepen the fruition of the artworks. The dialogue between mediator and visitor should take place in compliance with social distancing policies and the norms on the protection of personal health. Public Program The Public Program is structured around three core themes, each recalling the three moments of the exhibition in the spaces of Pirelli HangarBicocca, construed through multiple frameworks and subjects: philosophy and the insights on collectivity and future, history and the interpretation of Italy and Milan’s most recent past, art and the analysis of the role played by images in today’s shared narrative. Each contributor has been asked to participate through reflections, references and thoughts that will be accessible in the in-depth section “Bubbles” on our website: pirellihangarbicocca.org Maurizio Cattelan Maurizio Cattelan has become one of the most influential figures of the international cultural scene by catalyzing, with his iconic works, the debate on contemporary art over the last twenty years. His practice deals with un- comfortable and complex aspects of society, revealing deep contradictions through the use of multiple artistic idioms, from the ironic to the dramatic. Born in 1960 in Padua—a city that in the 1970s became the center of the student revolt and left-wing political pres- sure—, Cattelan trained in a context marked by strong social tensions that would influence the genesis of his first works. -
Jordan Wolfson Born 1980 in New York
This document was updated November 25, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Jordan Wolfson Born 1980 in New York. Lives and works in Los Angeles. EDUCATION 2003 B.F.A., Rhode Island School of Design, Providence SOLO EXHIBITIONS 2022 Jordan Wolfson, Castello di Rivoli, Museum of Contemporary Art, Turin, Italy [forthcoming] 2021 Jordan Wolfson, National Gallery of Australia, Parkes, Australia [forthcoming] 2020 Jordan Wolfson: ARTISTS FRIENDS RACISTS, David Zwirner, Paris, concurrently on view at Sadie Coles HQ, London 2019 Jordan Wolfson, Riverboat song, Moderna Museet, Stockholm 2018 360: Jordan Wolfson, Zabludowicz Collection, London Jordan Wolfson, Schinkel Pavillon, Berlin Jordan Wolfson: Colored sculpture, Tate Modern, London Jordan Wolfson’s (Female Figure), The Broad, Los Angeles Jordan Wolfson: Riverboat song, David Zwirner, New York 2017 Jordan Wolfson: Riverboat song, Pond Society, New Century Art Foundation, Shanghai Jordan Wolfson: Riverboat song, Sadie Coles, London 2016 Jordan Wolfson, David Zwirner, New York Jordan Wolfson: Colored sculpture, LUMA Foundation, Arles, France Jordan Wolfson. Part 1: MANIC/LOVE and Part II: TRUTH/LOVE, Stedelijk Museum, Amsterdam [catalogue published in 2018] 2015 Jordan Wolfson: Two Early Videos, Cleveland Museum of Art, Ohio 2014 Jordan Wolfson, David Zwirner, New York Jordan Wolfson, McLellan Galleries, Glasgow [part of 6th Glasgow International] Jordan Wolfson: Works from the Marieluise Hessel Collection, CCS Bard -
1 Italian Art: Futurism to Present
Italian Art: Futurism to Present (ARTH-UA 9850) Fall 2011, Course Meetings: Tuesday, 10:30 – 13:15 Prof. Paola Nicolin, [email protected] Course description: This course examines the rise of Modernity in Italian art from the Futurist avant- garde to current artistic practices. Considering exhibitions as a particularly useful framework to investigate structures and narratives of the Italian context in the 20th and 21st centuries, the course will examine through case studies (from Futurist shows to the Venice Biennale) the development of modern Italian visual culture, introducing in parallel arguments about 20th-century architecture. The course aims at underscoring this articulated history, using exhibitions as critical subjects of research that would work as tools for the analysis of the intersection between Italian modernity and the international context. Although the notion of Modernity in Italy is linked to leading figures or groups that acted in parallel with international debates on visual art (Futurists with the European avant-gardes, Lucio Fontana and Alberto Burri with Informal culture, Arte Povera and Transavanguardia with Conceptual art and Abstract Expressionism, just to list a few), the context of Italian art practices has been enriched by many actors that contributed to redefining medium and issues in Italian visual culture. Through a variety of languages, these figures were, and remain, significant contributors to the broad discussion of issues like the dialogue between historical memory and contemporary practice (Metafisica and Valori Plastici), between art and design (Bruno Munari, Gruppo T), the notion of space/environment or the monument, questions of political art and public art, the development of sculptural practice towards performance (Maurizio Cattelan), the relationship between art, science and technology.