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Baltic Triennial 13 – Give up the Ghost
BALTIC TRIENNIAL 13 – GIVE UP THE GHOST Contemporary Art Centre (CAC), Vilnius 11 May – 12 August, 2018 Private view 11 May, 6pm Artistic Director: Vincent Honoré BT13 – GIVE UP THE GHOST launches its fi rst chapter at Contemporary Art Centre (CAC), Vilnius on Friday, 11 May with an evening of performances followed by a public programme on Saturday, 12 May. BT13 in Vilnius includes works by Caroline Achaintre, Evgeny Antufi ev, Korakrit Arunanondchai, Darja Bajagić, Olga Balema, Nina Beier, Huma Bhabha, Dora Budor, Miriam Cahn, Jayne Cortez, Melvin Edwards, Daiga Grantina, Max Hooper Schneider, Anna Hulačová, Pierre Huyghe, E’wao Kagoshima, Sanya Kantarovsky, Ella Kruglyanskaya, Benoît Maire, Katja Novitskova, Pakui Hardware, Anu Põder, Laure Prouvost, Ieva Rojūtė, Rachel Rose, Augustas Serapinas and Michael E. Smith alongside a public programme of performances by Liv Wynter, Adam Christensen, Anton Lukoszevieze, Ieva Rojūtė and Žygimantas Kudirka celebrating the Triennial. The Baltic Triennial has historically taken place at the CAC Vilnius only. For its 13th edition, it will - for the fi rst time - be organised by and take place in Lithuania, Estonia (opening on June 29th) and Latvia (opening on September 21st), taking the form of three distinct chapters. Baltic Triennial 13 is informed by a shared concern: what does it mean to belong at a time of fractured iden- tities? BT13 – GIVE UP THE GHOST unfolds through and with this very question, careful not to off er a single or illustrative response. Instead, it opts for a collective vision of what is at stake: independence and depen- dency—and everything that lies in between—to territories, cultures, classes, histories, bodies and forms. -
International Projects Since 2015
International projects since 2015 A Fund for Contemporary Art Gelatin Museum Boijmans Van Marko Lulić Anna-Sophie Berger Beuningen, Rotterdam, 2018 Skulpturenmuseum Cell Project Space, London, Glaskasten Marl, 2019 2019 Christian Eisenberger Kunsthalle Gießen, 2020 Lois Weinberger documenta 14, Kassel, 2017 Katrin Hornek ar/ge kunst, Bolzano, 2021 Oliver Laric Mathias Poledna Ines Doujak 9th Liverpool Biennial, 2016 10th Liverpool Biennial, 2018 11th Liverpool Biennial, 2021 Lazar Lyutakov Simian, Copenhagen, 2021 Sophie Thun Kim? Contemporary Art Centre Riga, 2021 Katrin Hornek Sarah Ortmeyer 2nd Riga Biennial, 2020 2nd Riga Biennial, 2020 Philipp Timischl Anna-Sophie Berger Fondation Fiminco, S.M.A.K., Ghent, 2018 Paris, 2021 Julia Haller Christoph Meier Midway Contemporary Art, Casino Luxembourg, Minneapolis, 2018 2018 John Gerrard Susanna Fritscher 13th Gwangju Biennale, 2021 Centre Pompidou-Metz, 2020 Renate Lorenz & Pauline Boudry 3rd Timișoara Art Encounters Biennial, 2019 Leander Schönweger Ursula Mayer 15th Istanbul Biennial, 2017 16th Istanbul Biennial, 2019 Susanna Fritscher Ashley Hans Scheirl & Thomas Feuerstein Ulrike Müller 14th Biennale de Lyon, 2017 Jakob Lena Knebl 15th Biennale de Lyon, 2019 Queens Museum, 15th Biennale de Lyon, New York, 2020–2021 2019 Angelika Loderer Heimo Zobernig Kay Walkowiak New Museum Triennial, Austrian Pavilion, 1st Lahore Biennale, 2018 New York, 2021 56th Biennale di Venezia, 2015 Ulrike Müller 78th Whitney Biennial, New York, 2017 Søren Engsted Friedl Kubelka Main exhibition, vom Gröller -
Hans Ulrich Obrist a Brief History of Curating
Hans Ulrich Obrist A Brief History of Curating JRP | RINGIER & LES PRESSES DU REEL 2 To the memory of Anne d’Harnoncourt, Walter Hopps, Pontus Hultén, Jean Leering, Franz Meyer, and Harald Szeemann 3 Christophe Cherix When Hans Ulrich Obrist asked the former director of the Philadelphia Museum of Art, Anne d’Harnoncourt, what advice she would give to a young curator entering the world of today’s more popular but less experimental museums, in her response she recalled with admiration Gilbert & George’s famous ode to art: “I think my advice would probably not change very much; it is to look and look and look, and then to look again, because nothing replaces looking … I am not being in Duchamp’s words ‘only retinal,’ I don’t mean that. I mean to be with art—I always thought that was a wonderful phrase of Gilbert & George’s, ‘to be with art is all we ask.’” How can one be fully with art? In other words, can art be experienced directly in a society that has produced so much discourse and built so many structures to guide the spectator? Gilbert & George’s answer is to consider art as a deity: “Oh Art where did you come from, who mothered such a strange being. For what kind of people are you: are you for the feeble-of-mind, are you for the poor-at-heart, art for those with no soul. Are you a branch of nature’s fantastic network or are you an invention of some ambitious man? Do you come from a long line of arts? For every artist is born in the usual way and we have never seen a young artist. -
Flo Maak Education 2004-09 Fine Arts, Städelschule, Frankfurt/M., Class Of
Flo Maak Education 2004-09 Fine Arts, Städelschule, Frankfurt/M., class of Wolfgang Tillmans and Willem de Rooij 2007 Visual Arts, Cooper Union, New York City 2001–09 Art History, Philosophy and Sociology, J.W.Goethe University, Frankfurt/M. Teaching 2013-17 assistant professor for fine art photography, Chung-Ang University, Seoul, Rep. af Korea Solo Exhibitions 2021 Collected Stories, gallery Bernhard Knaus, Frankfurt/M 2019 Escribiendo lo publico, Goethe-Institut, Mexico City 2018 Friendly Patterns III (in collaboration with Sascha Pohle), Amsterdam 2017 Technologies of the Kitchen (in collaboration with Lasse Lau), Pro Arts, Oakland The Doubled Non-Place (in collaboration with Jonas Kasper Jensen and Rebecca Ann Tess), Huset for Kunst og Design, Holstebro (Denmark) Friendly Patterns II (in collaboration with Sascha Pohle) gallery Bernhard Knaus, Frankfurt/M 2016 Friendly Patterns (in collaboration with Sascha Pohle), space one, Seoul Flo Maak, space 291, Seoul 2015 CAPTCHA, gallery Bernhard Knaus, Frankfurt/M danger, Corner Art Space, Seoul 2013 untitled, gallery Bernhard Knaus, Frankfurt/M untitled, von Cirne, Cologne 2011 Living in the Lobby, gallery Bernhard Knaus, Frankfurt/M Humidity Control, von Cirne, Cologne 2009 Nichts tun wie ein Biest, Bielefelder Kunstverein, Bielefeld Flo Maak, Art Colelction Deutsche Börse, Frankfurt/M. 2008 Trompe-l’œil Polizei, in cooperation with Free Class Frankfurt, Frankfurter Kunstverein, Frankfurt/M 2007 soft skills, in cooperation with Jeronimo Voss, haus nummer 11, Frankfurt/M Durchschrift, Presse- und Informationsamt, Frankfurt/M. 2006 silent specters, JET, Berlin 2005 untitled, Nomaden Oase, Hamburg Group Exhibitions (selection) 2020 Keep your eyes peeled, aff Galerie, Berlin silver lining, gallery Bernhard Knaus, Frankfurt, Germany 2019 Keine Wiedererkennung, Schloss Agathenburg, Agathenburg 2018 Escribiendo al Publico, Relaciones Inesparadas, Tijuana, Mexico 2017 Europe in China / Opus II, Quingdao Museum, Quingdao, China department of, HbK Braunschweig 2016 Nanjing Art Festival, Nanjing 2014 Field Works. -
This PDF Is Part of the Catalogue of the Exhibition Wolfgang Tillmans
This PDF is part of the catalogue of the exhibitionWolfgang Tillmans. Moderna Museet, Stockholm, 06.10.2012 – 20.01.2013 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 02.03.2013 – 07.07.2013 2 – 17 Tom Holert The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans 18 – 116 Installation views Moderna Museet 117 – 125 Captions Moderna Museet 126 – 131 List of works Moderna Museet 132 – 133 Biography 134 Colophon Tom Holert The Unforeseen. On the Production of the New, and Other Movements in the Work of Wolfgang Tillmans Prelude: How a visitor may be led Warsaw, January 2012. Ascending the majestic staircase of the classicist art palace built between 1890 and 1900 for the Towarzystwo Zachęty Sztuk Pięknych, the then Society for the Encouragement of the Fine Arts, and now home to the Zachęta Naradowa Galeria Sztuki, Poland’s National Gallery, I make my way up to Wolfgang Tillmans’ exhibition Zachęta. Ermutigung (Zachęta. Encouragement). En route I see large paper-drop pictures hanging in niches that must originally have been intended for paintings. These close-ups of sheets of curling, curving photographic paper with shimmering and gleaming polychrome surfaces are unframed, held in position by the foldback clips that Tillmans uses to present his works on paper. With the three-dimensionality of the images and the three-dimensionality of the physical objects, the paper-drop pictures perform a dance of gravity, materials, reflections and shadows. They show what they are, even if not completely. For the difference between the materiality of the photographic paper ‘in’ the pictures and the archival sheets exhibited here (207 × 138 centi- metres) that have absorbed the ink-jet prints, prevents any over-hasty identification. -
12Th Istanbul Biennial
Tracy Williams, Ltd New York VOLUME 26 ISSUE 3 MAY 2011 12th Istanbul Biennial Marcus Verhagen The institution of the biennial is burgeoning – and in crisis. While biennials proliferate across the globe, commentators point out that they tend to be unwieldy, centrifugal affairs with grand titles and thin curatorial premises. Many also hold that the biennial does no favours to quiet or demanding work; in shows too sprawling for their curatorial scaffolding vast showstoppers, works more likely to inspire awe than sustained engagement, tend to set the tone. Meanwhile, biennial curators regularly stress that they want to raise the visibility of non-Western artists, while continuing to give pride of place to artists who work in or near the old centres of the commercial artworld. And many biennials are designed to burnish the cultural credentials of their host cities in the eyes of tourists and potential investors; their cultural and political ambitions are often undone, or at least compromised, by their instrumentalisation at the hands of political patrons and sponsors. The biennial has largely internalised these common criticisms. Artists have aired their misgivings in pieces such as De Novo, the film that Dominique GonzalezFoerster made for the 2009 Venice Biennale, in which she detailed the disappointments of her previous participations, or Death in Venice, a piece by Gonzalo Dı´az for the pavilion of the Istituto Italo-Latinoamericano in 2005, which used letter-shaped fish tanks to spell ‘ARTE’ and so clearly likened the Biennale to a fishbowl and those involved in it to fish – colourful, essentially idle and oblivious to external concerns. -
Jessica Dickinson: Born 1975, St
Jessica Dickinson: Born 1975, St. Paul, MN Lives and works in Brooklyn, NY Solo Exhibitions 2021 “With,” James Fuentes, New York, NY 2019 “As: Now,” Altman Siegel, San Francisco, CA 2017 “ARE : FOR + remainders,” James Fuentes, New York, NY 2016 Jessica Dickinson and Alison Knowles (two-person exhibition), James Fuentes, New York, NY “Are:,” Altman Siegel, San Francisco 2015 “Close/Close,” James Fuentes, New York, NY 2013 “Of-,” Altman Siegel Gallery, San Francisco, CA “final remainders 2011-2013,” David Petersen Gallery, Minneapolis, MN 2012 “Under,” Maisterravalbuena Galeria, Madrid, Spain 2011 “BEFORE/BESIDE,” James Fuentes, New York, NY 2010 “Towards- / Full-See / Already. Solo Presentation at Frieze, Frame section, James Fuentes LLC, London UK 2009 “Here,” James Fuentes LLC, New York, NY 2007 "What Remains After A Fire?" Brooklyn Fire Proof (Project Space), Brooklyn, NY 2006 “Jessica Dickinson: The View From Here,” Bas Fisher Invitational, Miami, FL Selected Group Exhibitions 2021 “With Eyes Opened: Cranbrook Academy of Art Since1932,”, Cranbrook Art Museum, Bloomfield Hills, MI (forthcoming) 2020 “Slow Burn,” John H. Baker Gallery, West Chester University, PA 2019 “Friends and Family,” Peter Mendenhall Gallery, Pasadena, CA 2017 “DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES,” curated by Rodrigo Moura, The Warehouse, Dallas “Surfacing,” James Harris Gallery, Seattle, WA “Thy Majestic Loose Eye, And Only Thugs,” Tiger Strikes Asteroid, Los Angeles, CA “New Ruins,” American University Art Museum, Katzen Arts Center, Washington -
Take Your Time TYT [Take Your Time], Paths of Nature Exhibition Catalogue Vol
1 Olafur Eliasson Users What is This? Exhibition catalogue Artist's book, limited edition: 400 Artist's book, limited edition: 300 17 x 22.5 cm, 72 pages 14 x 17 cm, 200 pages 13 x 18 cm, 38 pages Editor Kunsthalle Basel concept Olafur Eliasson concept Olafur Eliasson, Elias Hjörleifsson Text Jonathan Crary, Madeleine Schuppli Editor Tina Petras / Studio Olafur Eliasson Pubiisher Studio Olafur Eliasson, Berlin, Design Kunsthalle Basel Text Daniel Birnbaum, Frederikke Hansen, Germany, 2001 Publishers Kunsthalle Basel; Christian Haye, Marianne Krogh Jensen, Schwabe & Co AG, Basel, Switzerland, Lars Bang Larsen, Hans Ulrich Obrist, 1997 Sänne Kofod Olsen, Katya Sander, Christiane Schneider, Simon Sheikh, Francis Stark, Barbara Steiner, 10 Gregory Volk, Jan Winkelmann Your Only Real Thing is Time Design Tina Petras / Studio Olafur Eliasson Exhibition catalogue Publisher Olafur Eliasson, Berlin, 21.5 x 28 cm, 116 pages Erosion: A Project for the Germany, 1998 Editor Jessica Morgan 2nd Johannesburg Biennale 1997 Text Lars Lerup, Jessica Morgan Artist's book, limited edition Design Markus Weisbeck/Surface 21 x 15.5 cm, 46 pages Publishers Institute of Contemporary Art, Concept Olafur Eliasson Boston, USA; Hatje Cantz Verlag, Publisher Olafur Eliasson, Berlin, 6 Ostfildern-Ruit, Germany, 2001 Germany, 1997 Your Position Surrounded and Your Surroundings Positioned Exhibition catalogue 24.5 x 16.5 cm, 40 pages Editors Katrina Brown, Olafur Eliasson 11 Text Katrina Brown, Olafur Eliasson, Your Difference & Repetition Hellisgerdi Russell Ferguson, -
Bertille Bak Bio EN
BIOGRAPHY bertille bak Born in 1983 in Arras, France. Lives and works in Paris, France Education: 2007-08 Le Fresnoy Studio National des Arts Contemporains, Tourcoing, France 2007 Dnsap, Ecole nationale supérieure des beaux-arts de Paris, France 2005 Diplôme national of the 1st cycle, Ecole nationale supérieure des beaux-arts de Paris, France 2002-07 Ecole nationale supérieure des beaux-arts de Paris, atelier Christian Boltanski, Paris, France Prizes, Grants & Residencies: 2019 Mario Merz Prize, Art Section 2019-2020 Residency, Foundation Pinault, Lens France (September 2019 – June 2020) 2017 « Les Ateliers de la Cité » Residency, Marseille, France 2015-16 Trankat Residency, Tétouan, Marocco 2012-14 Residency at Le Grand Café, Saint-Nazaire, France 2013 Residency at the Jose Maria Sicilia Foundation, Mallorca, Spain Prix du Rayon-Vert, film meeting of Cerbère-Poitou Selected for the Meurice Prize 2012-14 Residency at Le Grand Café, Saint-Nazaire, France 2012 Selected for the Fondation Ricard Prize Selected for the Sciences-Po Prize 2010 6 month residency, ISCP, New York, USA Prize Edward Steichen, Luxembourg 2009 Prize of the Science and Technology Institut Valenciennes Prize René Vautier / Jeunes Talents TEC/CRIAC 2008 Prize Hiscox Start 2007 Prize Gilles Dusein/ Neuflize Vie Solo Exhibitions: 2020 Bertille Bak, Xippas Paris 2019 Bertille Bak, Un départ, un exil... une odyssée, Le Cyclop de Jean Tinguely, Milly-la-Forêt, France (June 22 juin – 20 octobre) La Brigada, Galerie Saint-Séverin, Paris, France. Commissaire : Alicia Knock. (30 janvier - 24 mars) Bertille Bak, Ecole Européenne Supérieure d’Art de Bretagne, Lorient, France (24 janvier - 1 mars) 2018 The Gallery Apart, Rome, Italie (February 7-April 6). -
(0)30 24 34 59 42 [email protected] Content Facts Curatorial Statement Videostatements Gabriele Ho
Content Facts Curatorial Statement Videostatements Gabriele Horn, Director, Berlin Biennale Hortensia Völckers, Executive Board / Artistic Director, Kulturstiftung des Bundes (German Federal Cultural Foundation) María Berríos, Renata Cervetto, Lisette Lagnado, Agustín Pérez Rubio, Curators, 11th Berlin Biennale Participants Curators Chapters of the epilogue The Crack Begins Within Venues Exchange Publications History of the Berlin Biennale Main funder: Kulturstiftung des Bundes Corporate partner: BMW Curatorial Workshop How to gather Support and Media Partner Transcripts of the video statements As of: 4.9.2020 / Subject to change Press requests T +49 (0)30 24 34 59 42 [email protected] Facts Title of the epilogue The Crack Begins Within Previous exp. 1: The Bones of the World (7.9.–9.11.2019) exp. 2: Virginia de Medeiros – Feminist Health Care Research Group (30.11.2019–8.2.2020) exp. 3: Affect Archives. Sinthujan Varatharajah – Osías Yanov (22.2.–2.5.2020, extended until 25.7.2020) Curators María Berríos, Renata Cervetto, Lisette Lagnado, Agustín Pérez Rubio Director Gabriele Horn Duration of the epilogue 5.9.–1.11.2020 Specifics of the first two weeks of the running time 5.9.2020 First public day of the exhibition (due to the extensive coronavirus measures and the associated admission restrictions there will be no opening) 5. and 6.9.2020 Free admission to all venues (all timeslots are already booked) 9.–12.9.2020 Extended opening hours until 9 pm at KW Institute for Cotemporary Art and Gropius Bau Press preview 4.9.2020, 10 am–7 -
C U L T U R a V I S U a L
REVISTA INTERNACIONAL DE C U L T U R A V I S U A L VOLUMEN 6 NÚMERO 1 2019 REVISTA INTERNACIONAL DE CULTURA VISUAL VOLUMEN 6, NÚMERO 1, 2019 REVISTA INTERNACIONAL DE CULTURA VISUAL http://sobreculturavisual.com/revistas/coleccion/ Publicado en 2019 en Madrid, España por Global Knowledge Academics www.gkacademics.com ISSN: 2530-4666 © 2019(revistas individuales), el autor (es) © 2019 (selección y material editorial) Global Knowledge Academics Todos los derechos reservados. Aparte de la utilización justa con propósitos de estudio, investigación, crítica o reseña como los permitidos bajo la pertinente legislación de derechos de autor, no se puede reproducir mediante cualquier proceso parte alguna de esta obra sin el permiso por escrito de la editorial. Para permisos y demás preguntas, por favor contacte con <[email protected]>. La REVISTA INTERNACIONAL DE CULTURA VISUAL es revisada por expertos y respaldada por un proceso de publicación basado en el rigor y en criterios de calidad académica, asegurando así que solo los trabajos intelectuales significativos sean publicados. REVISTA INTERNACIONAL DE CULTURA VISUAL Director científico Rafael L. Cabrera Collazo, Universidad Interamericana de Puerto Rico, EE. UU. Editores Javier Sierra Sánchez, Universidad Complutense de Madrid, España. Sergio Ferreira do Amaral, Universidad de Campinas (UNICAMP), Brasil. Manuel Pinto Teixeira, Universidade Lusófona de Lisboa, Portugal. Consejo editorial Jose Carlos del Ama, Central State Connecticut University, Estados Unidos. Wilma Arellano Toledo, INFOTEC-CONACYT, Mexico DF, Mexico. Ana Beriain Bañares, Universitat Abat Oliba CEU, España. Ignacio Blanco Alfonso, Universidad San Pablo CEU, España. Francisco Cabezuelo Lorenzo, Universidad Complutense de Madrid, España. David Caldevilla Domínguez, Universidad Complutense de Madrid, España. -
New Museum to Present First US Museum Exhibition for Paweł Althamer Featuring the Artist’S Iconic Portraits and a Sculpture Workshop
TEL +1 212.219.1222 FAX +1 212.431.5326 newmuseum.org FOR IMMEDIATE RELEASE MEDIA CONTACT: December 17, 2013 Gabriel Einsohn, Senior Communications Director Hyatt Mannix, External Affairs Associate [email protected] 212.219.1222 x209 Andrea Schwan, Andrea Schwan Inc. [email protected] 917.371.5023 New Museum to Present First US Museum Exhibition for Paweł Althamer Featuring the Artist’s Iconic Portraits and a Sculpture Workshop Visitors Will Paint Gallery Walls in a Collective Participatory Artwork New York, NY…Beginning in February 2014, the New Museum will present the first US museum exhibition devoted to the work of Paweł Althamer. Since the early 1990s, Althamer (b. 1967 Warsaw, Poland) has established a unique artistic practice and is admired for his expanded approach to sculptural representation and his experimental models of social collaboration. Althamer is predominantly known for figurative sculptures of himself, his family, and various other individuals within his community. Beyond simple , 2013. Exhibition view: portraiture, these sculptures, along with the artist’s other activities, highlight the complex social, political, and psychological networks in which he Venetians operates. “Paweł Althamer: The Neighbors” will be on view on the Fourth, Third, and Second Floor galleries from February 12–April 13, 2014. The exhibition will include a new presentation of the artist’s work, Paweł Althamer, Althamer, Paweł Biennale, 2013. Photo: Jens Ziehe, Berlin. Venice Courtesy the artist, Foksal Gallery Foundation, Warsaw, Berlin and neugerriemschneider, Draftsmen’s Congress, originally presented at the 7th Berlin Biennial (2012). Over the course of the exhibition, the blank white space of the New Museum’s Fourth Floor gallery will be transformed through the gradual accumulation of drawings and paintings by Museum visitors and a wide array of invited community organizations.