DOCSLIB.ORG

LILY VAN DER STOKKER Born 1954 in Den Bosch, the Netherlands Lives and Works in Amsterdam and New York SOLO EXHIBITIONS 2010

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
LILY VAN DER STOKKER Born 1954 in Den Bosch, the Netherlands Lives and Works in Amsterdam and New York SOLO EXHIBITIONS 2010 LILY VAN DER STOKKER Born 1954 in Den Bosch, the Netherlands Lives and works in Amsterdam and New York SOLO EXHIBITIONS 2010 Terrible and Ugly, Leo Koenig Inc., New York No Big Deal Thing, Tate St. Ives, Cornwall, UK Terrible, Museum Boijmans, Rotterdam 2009 Dorothy & Lily fahren boot, Paris-Berlin: Air de Paris chez Esther Schipper, Berlin 2007 To The Wall (with David Shrigley), Aspen Art Museum, Aspen Plug In #52 Lily van der Stokker en gast: Jim Isermann, Stedelijk van Abbemuseum, Eindhoven, the Netherlands 2005-07 De Zeurclub/The Complaints Club, Van Abbemuseum, Eindhoven, the Netherlands 2005 Air de Paris, Paris Lily van der Stokker, Worcester Art Museum, Worcester, MA Family, Money, Inheritance, Galleria Francesca Kaufmann, Milan Furniture Project, Galleria Francesca Kaufmann, Milan 2004 Oom Jan en Tante Annie, one year installation in Cupola of Bonnefantenmuseum, Maastricht, the Netherlands Lily van der Stokker Wallpaintings, Feature Inc., New York with Richard Kern 2003 Beauty, Friendship and Old Age, Museum voor Moderne Kunst, Arnhem, the Netherlands Small Talk, Performative Installation # 2, Museum Ludwig, Cologne, Germany, cat. Easy Fun, Galerie Klosterfelde, Berlin 2002 Air de Paris, Paris, with Rob Pruitt Galleria Francesca Kaufmann, Milan Friends & Family, Le Consortium, Dijon, France 2001 Geklets, Galerie van Gelder, Amsterdam 2000 Flowerbackgroundwallpainting, Air de Paris, Paris Lily van der Stokker, The Cabinet Gallery, London Gallery Klosterfelder, Hamburg 1999 Feature Inc., New York Richard Telles Fine Art, Los Angeles 1998 Stedelijk Museum Bureau Amsterdam, Amsterdam Air de Paris, Paris, France, with Anthony Dunne & Fiona Raby 1 1997 Gouverneurstuin, Assen, the Netherlands cat. Something, Feature Inc., New York, Switzerland 1996 Le Consortium, Dijon, France Art & Public, Geneva Grafisch Atelier, Utrecht, the Netherlands 1995 Art & Public, Geneva 1994 Curlicue, Galerie van Gelder, Amsterdam Art & Public, Geneva Feature Inc., New York 1993 Puss-Puss, Ynglingatan 1, Stockholm Office installation in Feature, New York Feature Inc., office installation, New York 1992 Feature Inc., New York Galerie 121, Antwerp, Belgium Grey Art Gallery, New York University, New York Winners and Losers, Galerie Snoei, Rotterdam Daniel Buchholz, Cologne Lukas & Hoffmann, Berlin 1991 GOED muurschilderingen, Museum Fodor, Amsterdam 1990 Feature Inc., New York Stichting Casco, Utrecht, the Netherlands 1989 Galerie Alles Voor 12 & 24 Volt, Rotterdam 1986 V.I.R.T.U., Nijmegen, the Netherlands CURATED EXHIBITIONS 2009 Plug In #52: Lily van der Stokker and guest: Jim Iserman, Van Abbemuseum, Eindhoven, the Netherlands 2008 Plug In #44: Lily van der Stokker and guest: Rachel Harrison, Van Abbemuseum, Eindhoven, the Netherlands Plug In #38: Lily van der Stokker and guest: H.W. Werther, Van Abbemuseum, Eindhoven, the Netherlands 2007 Plug In #27: Lily van der Stokker and guest: Esther Tielemans, Van Abbemuseum, Eindhoven, the Netherlands 2006 Plug In #10: Lily van der Stokker and guest: Andrea Zittel, Van Abbemuseum, Eindhoven, the Netherlands Plug In #5: Videos from the Sixties and Seventies of Valie Export, Joan Jonas, Martha Rosler and Carolee Schneemann, Lily van der Stokker, in the embellishment, Van Abbemuseum, Eindhoven, the Netherlands 2 GROUP EXHIBITIONS 2014 'Semiotics of the Kitchen'; what happened after, Stigter van Doesburg, Amsterdam, the Netherlands 2013 Call of the Mall: Art in Hoog Catharijne & Utrecht Central Station, Stationsplein Utrecht, the Netherlands Lat. 41° 7’ N. Long. 72° 19’ W, organized by Bob Nickas, Martos Gallery, East Marion, NY NYC 1993: Experimental Jet Set, Trash and No Star, New Museum, New York 2012 Living Room, Kaufmann Repetto, Milan ArthUr RAInbOw, Air De Paris, Paris 2011-12 The Air We Breathe, organized by Apsara DiQunizio, San Francisco Museum of Modern Art (cat.) 2011 Facing the Abyss, curated by Roland Schimmel, Witzenhausen Gallery, New York 2010 Nothing is Forever, South London Gallery, London La Conserva, Centro De Arte Contemporáneo, Spain 2009 Rien ne va plus, Van Abbemuseum, Eindhoven, the Netherlands The Rustle of Language, Galleria Francesca Kaufmann, Milan La Suite, Air de Paris, Paris Portrait of an Artist as Biker, Le Magasin Centre National d’Art Contemporain, Grenoble, France Don’t Perish, curated by Joseph Montgomery and Jesse Willenbring, Leo Koenig Inc., New York Kunst 4 Kids, Museum Boijmans van Beuningen, Rotterdam Rebelle, Art and Feminism 1969-2009, MMKA, Museum voor Moderne Kunst Arnhem, Arnhem, the Netherlands B-sides and Rarities, Lokaal 01, Breda, the Netherlands Love the BeNeLux, curated by Nina Bovasso, Virgil de Voldere Gallery, New York Flower Power, CRAA - Centro di Ricerca Arte Attuale, Villa Giulia, curator Andrea Bustocat, Verbania, Italy (cat.) 2008 Common Affairs, Steirischer Herbst, Graz, Austria Wall Paintings 1 + 9/9 + 1, Cultuurcentrum Strombeek, Mechelen, Belgium Marc Camille Chaimowicz: In the Cherished Company of Others, in collaboration with de Appel, Amsterdam Mister Deeds Goes to Town, W139, Amsterdam ...In The Cherished Company of Others...(1648-2036), De Appel, Amsterdam Painting Now and Forever Part II, Greene Naftali Gallery, New York Herbert F. Johnson Museum of Art, Ithaca, New York Who’s Afraid of Jasper Johns?, curated by Urs Fischer and Gavin Brown, Tony Shafrazi Gallery, New York s-Avonds Open, Galerie van Gelder, Amsterdam Less is less more is more, that’s all, CAPC, Bordeaux, France Ideolects, Brown Gallery, London 2007 Minimalpop, Arti et Amicitiae, curatored by Petra Bungert and Tilman, Amsterdam 3 Pensa/Piensa/Think, Santa Monica, Barcelona Drawing Typologies, Stedelijk Museum Amsterdam (cat.) To the Wall, Aspen Art Museum, Aspen Colour First, Galerie van Gelder, Amsterdam Contour, Stedelijk Museum, Delft, the Netherlands 2006 Lara Schnitger, Lily van der Stokker, Sue Williams, Violet Hopkins, Leslie Vance, Modern Art Inc., London Frontiers - Collecting the Art of Our Time, Worcester Art Museum, Worcester, MA Travelin’ Light, Bonnefantenmuseum, Maastricht, the Netherlands Skier at the Bottom of a Well, curated by Michel Blancsubé, Jumex Foundation, Mexico City A dessin, FRAC Poitou-Charentes, Angoulême, France If I Can't Dance I Don't Want to Be Part of Your Revolution, St. De Appel, Amsterdam (cat.) Anne Daems, Galerie Micheline Szwajcer, Antwerp, Belgium Annette Messager, Joep van Lieshout, Damien Hirst e.a. uitgepakt in Zwolle, Museum De Fundatie, Zwolle, the Netherlands 2005 Life on the Screens, Galerie Les Filles du Calvaire, curated by Vincent Pécoil, Paris Emotion Pictures, Museum van Hedendaagse, Antwerp, Belgium Verzamelen!, Bonnefantenmuseum, Maastricht, the Netherlands Looking at Words, Andrea Rosen Gallery, New York Black & White and a Little Bit of Colour, Museum voor Moderne Kunst Arnhem, the Netherlands Les Apparences Sont Souvent Trompeuses, CAPC - Musée d'Art Contemporain, Bordeaux, France Nederland, Niet Nederland, Van Abbemuseum, Eindhoven, the Netherlands Interior Worlds, curated by Vincent Pécoil, Galerie Les Filles du Calvaire, Brussels, Belgium From a Top and Back Again, curated by Simon Moretti, Galerie Chez Valentin, Paris Contour/Continuïteit, Heden en Verleden, Stedelijk Museum, Delft, the Netherlands En Corps, et Encore!, Centre Régional de Documentation Pédagogique, Poitiers, France Frontiers: Collecting the Art of Our Time, Worcester Art Museum, MA 2004 Flower Power, Palais des Beaux Arts, Lille, France A Kind of Bliss, The Drawing Room, Tannery Arts, London Lily van der Stokker/Julika Rudelius/Antonietta Peeters, Stedelijk Museum Schiedam, Schiedam, the Netherlands La Casa Nostra, Air de Paris Afterall auction, ICA, London Tekeningenzomer/Summer of Drawings, Centraal Museum, Utrecht, the Netherlands Jusqu'oú irez-vous?, Parcours Saint-Germain-des-Prés, Paris Aménager la Maison, Habiter le Musée, Museo d'Arte Contemporanea di Villa Croce, Gênes, Italy Woorden Boeken / Words Books, KunstRAI/Galerie van Gelder, Amsterdam (cat.) 4 2003 Melodrama, Centro José Guerrero, Granada, Spain (cat.) Melodrama, MARCO/Museo de Arte Contemporánea, Vigo, Spain (cat.) Creeping Revolution 2, Rooseum Center for Contemporary Art, Malmö, Sweden It's Unfair!, Museum De Paviljoens, Almere, the Netherlands K48 Teenage Rebel, Galerie du Jour/Agnes B, Paris Filmbar Open Air Kino, auf der Dachterrasse de Museum Ludwigs, Museum Ludwig, Cologne Sweet Tooth, Mixture Contemporary Art, Houston C'est Arrivé Demain, curated by Anne Pontagonie/Robert Nickas, Biennale de Lyon, France (cat.) Nice and Easy, curated by Patricia Druck, Sprengel Museum, Hanover, Germany 2002 K48 Teenage Rebel, John Connelly Gallery, New York Van IJ tot Zee 02, Halfweg, the Netherlands Hello to Handmade Words, K.S. Art, New York Adam & Eve, on sex, tolerance and other dependencies, curated by Lorenzo Benedetti, Tobias Berger and Annie Fletcher, De Appel, Amsterdam Le chinoise, curated by Sergio Bessa, Baumgartner Galleries Inc, New York Spot the Differences, Galerie van Gelder, Amsterdam Buiten Zinnen / Out of Senses, curated by Cornelissen and Rein Wolfs, Museum Boijmans van Beuningen, Rotterdam Gttz (Guide to trust no. 2), Yerba Bueno Center for the Arts, San Francisco Made by Powers, TENT. Centrum Beeldende Kunst, Rotterdam Melodrama, Artium, Centro-Museo Vasco de Arte Contemporáneo, Vitoria Gasteiz, Spain (cat.) Spot the differences, Galerie van Gelder, Amsterdam Pretty, ATM Gallery, New York 2001 Let’s entertain, Kunstverein Wolfsburg, Ludwigsburg The Devil is in the Details, Allston Skirt Gallery, Boston Biënnale Leuven, De Keeshond hapt, Leuven, Belgium
Load more
Loading...
Loading...
Loading...
Loading...
Loading...

6 pages remaining, click to load more.

Recommended publications
  • Handleiding Digitaal Lezen
    Handleiding digitaal lezen Uw profiel binnen enkele minuten activeren Digitaal lezen: Toegang tot digitale krant en Topics p. 2 Voordelen van mijn profiel Met een abonnement heeft u de mogelijkheid de hele week de krant ook digitaal te lezen. Dit kan met een computer (PC of Mac), tablet (iPad, Android en Windows 8) en smartphone (iPhone en Android). Ook heeft u toegang tot Topics. U krijgt hiermee niet alleen toegang tot alle artikelen uit álle regionale edities van uw eigen krant, maar ook tot alle verhalen uit de Volkskrant, Trouw, Het Parool, AD en een groot aantal andere regionale kranten. Met een Persgroep profiel kunt u eenvoudig inloggen op de websites en apps van alle krantmerken van de Persgroep. AD, Trouw, Volkskrant, Het Parool, Brabants Dagblad, ED, de Gelderlander, de Stentor, Tubantia, BN DeStem en PZC. Met slechts één gebruikersnaam (uw e-mailadres) en wachtwoord kunt u op alle websites en apps van de Persgroep inloggen. Kies hieronder de optie die voor u geldt: 1. U heeft al eerder een profiel aangemaakt bij een van de kranten van de Persgroep. 2. Uw huidige emailadres is nog niet bij ons bekend. 1. U heeft al eerder een profiel aangemaakt bij een van de kranten van de Persgroep (AD, Trouw, Volkskrant, Het Parool): u dient deze opnieuw te gebruiken. U heeft in het verleden al een keer een account of profiel aangemaakt bij een van de kranten van de Persgroep. Dit profiel kunt u weer gaan gebruiken in combinatie met een eventueel nog bij u bekend, of zelf te wijzigen wachtwoord. Stap 1: Log in met uw emailadres via bd.nl/inloggen.
    [Show full text]
  • LILY VAN DER STOKKER Born 1954 in Den Bosch, the Netherlands Lives and Works in Amsterdam and New York
    LILY VAN DER STOKKER Born 1954 in Den Bosch, the Netherlands Lives and works in Amsterdam and New York SOLO EXHIBITIONS 2015 Hammer Projects: Lily van der Stokker, Hammer Museum, Los Angeles 2014 Huh, Koenig & Clinton, New York Hello Chair, Air de Paris, Paris 2013 Sorry, Same Wall Painting, The New Museum, New York 2012 Living Room, Kaufmann Repetto, Milan 2011 Not so Nice, Helga Maria Klosterfelde Editions, Berlin 2010 Terrible and Ugly, Leo Koenig Inc., New York No Big Deal Thing, Tate St. Ives, Cornwall, UK (cat.) Terrible, Museum Boijmans, Van Beuningen, Rotterdam, The Netherlands Flower Floor Painting, La Conservera, Ceuti/Murcia, Spain (cat.) 2009 Dorothy & Lily fahren boot, Paris-Berlin: Air de Paris chez, Esther Schipper, Berlin 2005-07 De Zeurclub/The Complaints Club, Van Abbemuseum, Eindhoven, the Netherlands 2005 Air de Paris, Paris Worcester Art Museum, Worcester, MA Family, Money, Inheritance, Galleria Francesca Kaufmann, Milan Furniture Project, Galleria Francesca Kaufmann, Milan 2004 Oom Jan en Tante Annie, one year installation in Cupola of Bonnefantenmuseum, Maastricht, the Netherlands (cat.) Lily van der Stokker - Wallpaintings, Feature Inc., New York, with Richard Kern Tafels en stoelen, VIVID vormgeving, Rotterdam, the Netherlands Feature Inc., New York 2003 Beauty, Friendship and Old Age, Museum voor Moderne Kunst, Arnhem, the Netherlands Small Talk, Performative Installation # 2, Museum Ludwig, Cologne, Germany, (cat.) Easy Fun, Galerie Klosterfelde, Berlin 2002 Air de Paris, Paris, with Rob Pruitt Galleria Francesca
    [Show full text]
  • Framing of Corporate Crises in Dutch Newspaper Articles
    Framing of corporate crises in Dutch newspaper articles A corpus study on crisis response strategies, quotation, and metaphorical frames T.J.A. Haak Radboud University Date of issue: 20 December 2019 Supervisor: Dr. W.G. Reijnierse Second Assessor: Dr. U. Nederstigt Program: MA International Business Communication Framing of corporate crises in Dutch media Abstract Research topic - The purpose of this study was to find answers to how corporate crises are framed in Dutch media. A journalist frames a crisis by making choices about information, quotation, and language. This thesis focusses on these aspects by analysing what crisis response strategies can be found, and how this information is reported by the journalist using quotation and metaphor. Hypotheses and research – It was expected that a company’s cultural background would influence the crisis response strategy that is reported in the newspapers. The hypotheses stated that companies originating from countries with an individualistic culture appear in newspapers more often with a diminish strategy and less often with a no response or rebuild strategy than companies originating from countries with a collectivistic culture. The denial strategy was expected to appear equally frequent. Furthermore, it was studied whether a link exists between these crisis response strategies and the occurrence of quotes and metaphors within Dutch newspaper articles. Method – These topics were studied using a combination of quantitative and qualitative research methods. A corpus of Dutch newspaper articles (N = 606) covering corporate crises was analysed. Findings – No significant relation was found between the reported crisis response strategies and companies’ cultural backgrounds (individualistic or collectivistic). A relationship was found between the reported crisis response strategy and (in)direct quotation of the company in crisis.
    [Show full text]
  • Changing the Game Museum Research and the Politics of Inclusivity Margriet Schavemaker
    Changing the Game Museum Research and the Politics of Inclusivity Margriet Schavemaker First published in The Curatorial in Parallax, edited by Kim Seong-Eun, Choi Jina, and Song Sujong (Seoul: National Museum of Modern and Contemporary Art (MMCA), 2018), 89–105. Introduction Over the past two decades, the notion of a “discursive turn” has been shaping museum research all over the world. Instead of focusing on exhibitions as key “output,” museums now seem bent upon transforming themselves into networked organizations, which entails (co-)conducting research of all possible shapes and forms. In the theoretical discourse surrounding the aforementioned discursive turn, one finds a strong focus on institutional critique and antagonism, bringing counter-voices inside the museum. The museum criticizing itself from within has been a familiar description of the changes that were taking place. However, one might also argue that despite their potential for criticality and depth, these practices ultimately remained somewhat unchallenging and homogenous when it comes to both audience and outreach. Currently, a more radical turn towards diversity and inclusivity seems to be shaping our field. Not only in museums but across all of our institutions and social interactions, new and suppressed voices are demanding access, fundamental research, a rewriting of conventional narratives, and the deconstruction of the hegemonic powers that be. Is now the time when museums will actually begin to open up and museum research will finally liberate itself from the constraints of “preaching to the choir”? 1/14 In this essay, I will discuss some core programs and programmatic trajectories that have been developed by the Stedelijk Museum Amsterdam, firstly in order to bridge the gap between the museum and the academic world (including peers and professionals), and secondly to implement a more radical and self-critical opening up of the Fig.
    [Show full text]
  • Handleiding Digitaal Lezen
    Handleiding digitaal lezen Uw profiel binnen enkele minuten activeren Digitaal lezen: Toegang tot digitale krant en Topics p. 2 Voordelen van mijn profiel Met een abonnement heeft u de mogelijkheid de hele week de krant ook digitaal te lezen. Dit kan met een computer (PC of Mac), tablet (iPad, Android en Windows 8) en smartphone (iPhone en Android). Ook heeft u toegang tot Topics. U krijgt hiermee niet alleen toegang tot alle artikelen uit álle regionale edities van uw eigen krant, maar ook tot alle verhalen uit de Volkskrant, Trouw, Het Parool, AD en een groot aantal andere regionale kranten. Met een Persgroep profiel kunt u eenvoudig inloggen op de websites en apps van alle krantmerken van de Persgroep. AD, Trouw, Volkskrant, Het Parool, Brabants Dagblad, ED, de Gelderlander, de Stentor, Tubantia, BN DeStem en PZC. Met slechts één gebruikersnaam (uw e-mailadres) en wachtwoord kunt u op alle websites en apps van de Persgroep inloggen. Kies hieronder de optie die voor u geldt: 1. U heeft al eerder een profiel aangemaakt bij een van de kranten van de Persgroep. 2. Uw huidige emailadres is nog niet bij ons bekend. 1. U heeft al eerder een profiel aangemaakt bij een van de kranten van de Persgroep (AD, Trouw, Volkskrant, Het Parool): u dient deze opnieuw te gebruiken. U heeft in het verleden al een keer een account of profiel aangemaakt bij een van de kranten van de Persgroep. Dit profiel kunt u weer gaan gebruiken in combinatie met een eventueel nog bij u bekend, of zelf te wijzigen wachtwoord. Stap 1: Log in met uw emailadres via ed.nl/inloggen.
    [Show full text]
  • Interview Annick and Anton Herbert with Philippe Ungar, 2012 / 2013
    Interview Annick and Anton Herbert with Philippe Ungar, 2012 / 2013 L’Architecte est absent – répertoire Van Abbemuseum, Eindhoven November 24, 1984 – January 6, 1985 Many Colored Objects Placed Side by Side – programme Casino Luxembourg October 29, 2000 – February 11, 2001 Public Space / Two Audiences – inventaire Macba, Barcelona February 8 – May 1, 2006 Inventur, Werke aus der Sammlung Herbert Kunsthaus Graz June 10 – September 3, 2006 L’Architecte est absent – répertoire Philippe Ungar: How was the first 1984 exhibition of the collection at the Van Abbemuseum in Eindhoven conceived? Annick Herbert: It resulted from a conversation with director Rudi Fuchs. We were on good terms with him and we visited all of his exhibitions at the Van Abbemuseum. Moreover, several of our works were kept in his museum at that time, so he knew our collection very well. When Rudi proposed the exhibition, he put forward the idea of combining our works with pieces from his collection, which would be chosen by us. It was an extraordinary experience for us. Rudi also came up Jannis Kounellis, Fuochi, 1971 / Bruce Nauman, One Hundred Live and with the title for the exhibition, L’Architecte est absent, Die, 1983 / Gerhard Richter, 1024 Farben in 4 Permutationen, 1973. a sentence borrowed from the Marcel Broodthaers text Van Abbemuseum, Eindhoven, 1984 Le Corbeau et le Renard. The title very clearly underscored the importance of a neutral, anonymous exhibition space. As a subtitle he added répertoire, which were constraints on our freedom, and Rudi made us referred to the fact that when the exhibition took place include his Baselitz, a work we didn’t like at all.
    [Show full text]
  • JOME 007 02 02-Van Es.Indd
    Journal of Muslims in Europe 7 (2018) 146-166 brill.com/jome Muslims Denouncing Violent Extremism Competing Essentialisms of Islam in Dutch Public Debate Margaretha A. van Es Department of Philosophy and Religious Studies, Utrecht University, the Netherlands m.a.vanes@uu.nl Abstract This article explores statements made by Dutch Muslims against violent extrem- ism, and explains these statements in the context of the growing pressure exerted on Muslim minorities in Europe to present themselves as peaceful and loyal citizens. It problematises the often-repeated call on Muslims to denounce terrorism, and reveals that Dutch Muslims have condemned violent extremism more often than is commonly acknowledged. However, essentialist statements about Islam as a violent religion often provoke competing essentialisms of Islam as a ‘religion of peace’. In analysing such statements as ‘performative performances’, the author demonstrates how public de- bate about violent extremism feeds into Muslim perceptions of what Islam ‘really’ is. Keywords Islam – terrorism – violent extremism – securitisation – Islamophobia – media – Muslim voice – essentialism 1 Introduction Since the 9/11 attacks in 2001, Muslims in the Netherlands and elsewhere in Europe have repeatedly been urged to denounce terrorism. The pressure on Muslims increased after the Madrid train bombings and the murder of the Dutch filmmaker Theo van Gogh in 2004, the London tube bombings in 2005, and the Danish cartoon crisis that started in 2006. During the past few years, the emergence of the ‘Islamic State in Iraq and Syria’ (isis) together with a series of terrorist attacks in Europe have stirred new debate as to whether Muslims © Margaretha A.
    [Show full text]
  • Akram Zaatari Saida, Lebanon, 1966 Lives and Works in Beirut, Lebanon
    kurimanzutto akram zaatari Saida, Lebanon, 1966 lives and works in Beirut, Lebanon education & residencies 2010 Artist Residency at Deutscher Akademischer Austausch Dienst DAAD, Berlin. 2008 Artist Residency at Résidence International aux Recollets, Recollets, France. Artist Residency in Bellagio Residency Program at The Bellagio Center, The Rockeffeler Foundation, Las Vegas, United States. 1997 Banff Center for the Arts Residency, Banff, Canada. 1995 Master of Arts in Media Studies at The New School University, New York. 1989 Bachelor of Architecture at The American University of Beirut, Lebanon. grants & awards 2011 4th Yanghyun Prize awarded by Yanghyun Foundation, Seoul, South Korea. Grand Prize awarded by Associação Cultural Videobrasil, Sao Paulo. 2005 1st Prize awarded by FAIR PLAY Video Art Festival, Berlin. 2004 Prix Son awarded by Festival International de Cinéma de Marseille, France. 2002 Grand Award awarded by Ismailia International Film Festival for Documentaries and Shorts, Ismailia, Egypt. 2001 Jury Award awarded by Video Lisboa, Lisbon. curating 2006 Radical Closure: Send me to the Seas of Love, I’m drowning in my Blood. Internationale Kurzfilmtage Oberhausen, Germany. kurimanzutto 2004 Possible Narratives - Artistic Practices in Lebanon. Associação Cultural Videobrasil, Brazil. solo exhibitions 2019 Against Photography. An Annotated History of the Arab Image Foundation. Sharjah Art Foundation, United Arab Emirates. The Script. Modern Art Oxford, United Kingdom; travelled to: Turner Contemporary, Margate, England; Modern Art Oxford, England. 2018 Against Photography. An Annotated History of the Arab Image Foundation. National Museum of Modern and Contemporary Art, Seul, South Korea. Letter to a Refusing Pilot. Moderna Museet, Malmö, Sweden. The fold: space, time and the image. Contemporary Art Center, Cincinnati, United States.
    [Show full text]
  • Prijzen Digital
    Prijzen Digital - Direct Buy Display 2018 Alle prijzen zijn excl. BTW Desktop, laptop & tablet Desktop/laptop Only Mobile Only Multi Device (desktop/laptop/tablet/mobile) Homepage Takeover (desktop/laptop/tablet/mobile) Titel/CPM Leader- Half Page Billboard FloorAd+ Skin + Skin + Billboard Double Half Page* Medium 2AD XL 3AD XL Takeover Titel/fixed per dag HPTO HPTO HPTO board Leader- Billboard + Video Sized Rectangle/ ROS Multi Mobile Desktop/ board Reminder Banner Mobile Tablet V9-150618 Device*** Half Page *** RON (Run of Network) € 6,50 € 13,50 € 15,00 € 20,00 € 20,00 € 25,00 **€ 20,00 € 5,00 € 8,75 € 8,75 € 16,00 €20,00 € 25,00 RON Nationaal + Regionaal € 42.500 € 25.925 € 21.250 Channel Sport € 7,50 € 14,50 € 16,00 € 21,00 € 21,00 € 26,00 € 21,00 € 6,00 € 9,75 € 9,75 € 17,00 € 21,00 € 26,00 RON Nationaal € 40.000 € 24.400 € 20.000 Channel Food € 9,50 € 16,50 € 18,00 € 23,00 € 28,00 € 8,00 € 11,75 € 11,75 € 19,00 RON Regionaal € 10.000 € 6.100 € 5.000 AD RON ADR Nieuwsmedia € 40.000 € 24.400 € 20.000 de Stentor AD € 35.000 € 21.350 € 17.500 Tubantia de Stentor De Gelderlander € 7,50 € 14,50 € 16,00 € 21,00 € 21,00 € 26,00 € 21,00 € 6,00 € 9,75 € 9,75 € 17,00 € 21,00 € 26,00 Tubantia Eindhovens Dagblad De Gelderlander € 2.000 € 1.200 € 1.000 Brabants Dagblad Eindhovens Dagblad BN deStem Brabants Dagblad PZC BN deStem Sportnieuws PZC € 800 € 490 € 400 de Volkskrant de Volkskrant € 10.000 € 6.100 € 5.000 Trouw € 9,50 € 16,50 € 18,00 € 23,00 € 23,00 € 28,00 € 8,00 € 11,75 € 11,75 € 19,00 € 23,00 € 28,00 Trouw € 2.500 € 1.550 € 1.250
    [Show full text]
  • ONE WALL, ONE WORK Robert Barry September 16
    ONE WALL, ONE WORK Robert Barry September 16 - November 4, 2016 In the latest edition of our ongoing series, One Wall, One Work, Robert Barry has created a new etched mirror diptych – black glass mirror - a 30 inch square juxtaposed with a 30 inch circle, each with text that varies in orientation. Each panel consists of complete words, incomplete words (as they would extend over the edges of the mirror), specific words (e.g. “desire”) and open-ended words (e.g. “almost”). Partly a formal study in comparison (square versus circle, reflective (background) versus opaque (etched text), specific versus general, this work also provides the space among these relationships so as to create a grey space where answers and meanings are not hard, fast or fully defined, but where one can question strict logic and allow for poetic feeling, meaning and opportunity. In terms of the artist's history, Robert Barry’s first solo museum exhibition was in 1971 at The Tate in London and over the years he has proceeded to have solo exhibitions at the Stedelijk in Amsterdam, the Folkwangmuseum Essen in Germany, the former Museum of Conceptual Art in San Francisco, the Musée St. Pierre, Art Contemporain in Lyon, France, the Haags Gemeentemuseum in Den Haag, Netherlands, the Dum Umeni Brno in the Czech Republic, and the Kunsthalle Nurnberg among others. Group exhibitions with Barry's work have taken place at the Guggenheim Museum in New York, Seattle Art Museum, Jewish Museum, Kyoto Museum of Fine Arts, Museum of Modern Art in New York, among hundreds of others.
    [Show full text]
  • FW Thesis Draft
    Living Rooms for the City LocHal Tilburg and V&A Dundee: Small City Regeneration in Historical Perspective, 1990-Present Master’s Thesis FRASER WHITE Student Number: 549746 Supervisor: Dr Els Jacobs Port Cities and Maritime History Research Workshop 31 July 2020 Image 1 (above): LocHal Library in Tilburg, the Netherlands. Source: spoorzone013, https://www.spoorzone013.nl/ondernemen/lochal/, accessed 20 Feb 2020. Image 2 (below): V&A Museum in Dundee, Scotland Source: The Times, https://www.thetimes.co.uk/article/v-a-dundee-landmark- building-boosts-renaissance-qp067gtfv, accessed 20 Feb 2020. 2 Abstract This thesis aims to interrogate two cases of culture-led regeneration in the context of small post-industrial European cities. Using the phenomenon of the urban ‘living room’ as its starting point, the thesis asks how this hegemonic policy doctrine, made most famous by the arrival of the Guggenheim Bilbao in 1997, has evolved into the present day, and how its fundaments have diffused into smaller peripheral cities. A historical perspective is used to trace the origins and justifications for the arrival of two self-professed urban ‘living rooms’: the LocHal public library in the city of Tilburg, the Netherlands, and the V&A design museum in Dundee, Scotland. Both of these cultural institutions opened within a few months of each other in two former textile cities united by post-industrial restructuring and serious image deficits. Despite the seemingly very different functions between a design museum and a library, the thesis is able to draw a variety of conclusions related to the concept of the ‘living room’ which unites these institutions in several shared economic, social and cultural aims.
    [Show full text]
  • Read a Free Sample
    LEAH DICKERMAN WITH CONTRIBUTIONS BY MATTHEW AFFRON YVE-ALAIN BOIS MASHA CHLENOVA ESTER COEN CHRISTOPH COX HUBERT DAMISCH RACHAEL Z. DELUE HAL FOSTER MARK FRANKO MATTHEW GALE PETER GALISON MARIA GOUGH JODI HAUPTMAN GORDON HUGHES DAVID JOSELIT ANTON KAES DAVID LANG SUSAN LAXTON GLENN D. LOWRY PHILIPPE-ALAIN MICHAUD JAROSLAW SUCHAN LANKA TATTERSALL MICHAEL R. TAYLOR 2 The Museum of Modern Art, New York 40 46 50 64 72 74 CONTENTS Pablo PICASSO: COLORS AND GAMES: VASILY KANDINSKY, MR. KUPKA AMONG ON THE MOVE ABSTRACTION THE CADAQUÉS MUSIC AND ABSTRACTION, WITHOUT WORDS VERTICALS HUBERT DAMIsCH CHEZ DELAUNAY EXPERIMENT 1909 TO 1912 LeAH DICKERMAN LANKA TatTersall GOrDON HUGHES YVe-ALAIN BOIs DAVID LANG 7 82 94 100 110 116 124 FOREWORD CONTRASTS OF COLORS, LÉOPOLD SURVAGE’S WITH COLOR FRANCIS PICABIA: FERNAND LÉGER: GIACOMO BALLA: GLeNN D. LOWrY CONTRASTS OF WORDS PAPER CINEMA rACHaEL Z. DeLUe ABSTRACTION METALLIC SENSATIONS THE MOST LUMINOUS MATTHeW AFFrON JODI HAUPTMAN AND SINCERITY MATTHeW AFFrON ABSTRACTION MICHAeL r. TAYLOr ESTER COeN 9 134 144 154 172 182 188 ACKNOWLEDGMENTS PAROLE IN LIBERTÀ MUSIC, NOISE, VORTICISM: PLANETARY PAINTING STRIPPED BARE DECORATION AND AGAINST JODI HAUPTMAN AND ABSTRACTION ABSTRACTION DAVID JOSELIT ABSTRACTION THE CIRCLE CHrIsTOPH COX MATTHeW GALe IN BLOOMSBURY rACHAeL Z. DeLUe MATTHeW AFFrON 12 200 206 226 238 254 262 370 INVENTING ABSTRACTION EARLY RUSSIAN 0.10 PIET MONDRIAN: 3 DE STIJL MODELS THE SPATIAL OBJECT THE LANGUAGE OF INDEX LeAH DICKERMAN ABSTRACTION, MAsHA CHLeNOVA TOWARD THE YVe-ALAIN BOIs MArIA
    [Show full text]