CV Jacqueline De Jong January 2019
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The Game of War, MW-Spring 2008
The Game of War: Debord as Strategist By McKenzie Wark for Issue 29 Sloth Spring 2008 The only member of the Situationist International to remain at its dissolution in 1972 was Guy Debord (1931–1994). He is often held to be synonymous with the movement, but anti- Debordist accounts rightly stress the role of others, such as Asger Jorn (1914–1973) or Constant Nieuwenhuys (1920–2005) who both left the movement as it headed out of its “aesthetic” phase towards its ostensibly more “political” one. Take, for example, Constant’s extraordinary New Babylon project, which he began while a member of the Situationist International and continued independently after separating from it. Constant imagined an entirely new landscape for the earth, one devoted entirely to play. But New Babylon is a landscape that began from the premise that the transition to this new landscape is a secondary problem. Play is one of the key categories of Situationist thought and practice, but would it really be possible to bring this new landscape for play into being entirely by means of play itself? This is the locus where the work of Constant and Debord might be brought back into some kind of relation to each other, despite their personal and organizational estrangement in 1960. Constant offered the kinds of landscape that the Situationists experiments might conceivably bring about. It was Debord who proposed an architecture for investigating the strategic potential escaping from the existing landscape of overdeveloped or spectacular society. Between the two possibilities lies the situation. Debord is best known as the author of The Society of the Spectacle (1967), but in many ways it is not quite a representative text. -
Cosmonauts of the Future: Texts from the Situationist
COSMONAUTS OF THE FUTURE Texts from The Situationist Movement in Scandinavia and Elsewhere Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen 1 COSMONAUTS OF THE FUTURE 2 COSMONAUTS OF THE FUTURE Texts from the Situationist Movement in Scandinavia and Elsewhere 3 COSMONAUTS OF THE FUTURE TEXTS FROM THE SITUATIONIST MOVEMENT IN SCANDINAVIA AND ELSEWHERE Edited by Mikkel Bolt Rasmussen & Jakob Jakobsen COSMONAUTS OF THE FUTURE Published 2015 by Nebula in association with Autonomedia Nebula Autonomedia TEXTS FROM THE SITUATIONIST Læssøegade 3,4 PO Box 568, Williamsburgh Station DK-2200 Copenhagen Brooklyn, NY 11211-0568 Denmark USA MOVEMENT IN SCANDINAVIA www.nebulabooks.dk www.autonomedia.org [email protected] [email protected] AND ELSEWHERE Tel/Fax: 718-963-2603 ISBN 978-87-993651-8-0 ISBN 978-1-57027-304-9 Edited by Editors: Mikkel Bolt Rasmussen & Jakob Jakobsen | Translators: Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Fabian Tompsett, Jakob Jakobsen | Copyeditor: Marina Mikkel Bolt Rasmussen Vishmidt | Proofreading: Danny Hayward | Design: Åse Eg |Printed by: Naryana Press in 1,200 copies & Jakob Jakobsen Thanks to: Jacqueline de Jong, Lis Zwick, Ulla Borchenius, Fabian Tompsett, Howard Slater, Peter Shield, James Manley, Anja Büchele, Matthew Hyland, Danny Hayward, Marina Vishmidt, Stevphen Shukaitis, Jim Fleming, Mathias Kokholm, Lukas Haberkorn, Keith Towndrow, Åse Eg and Infopool (www.scansitu.antipool.org.uk) All texts by Jorn are © Donation Jorn, Silkeborg Asger Jorn: “Luck and Change”, “The Natural Order” and “Value and Economy”. Reprinted by permission of the publishers from The Natural Order and Other Texts translated by Peter Shield (Farnham: Ashgate, 2002), pp. 9-46, 121-146, 235-245, 248-263. -
How Language Looks: on Asger Jorn and Noël Arnaud's La Langue Verte*
How Language Looks: On Asger Jorn and No ël Arnaud’s La Langue verte* STEVEN HARRIS In November 1968, the Paris publisher Jean-Jacques Pauvert brought out Asger Jorn and Noël Arnaud’s La Langue verte et la cuite , an event accompanied by a banquet for 2,000 at a Danish restaurant in Paris, and a considerable response from the press, though the book has largely dropped from view since. 1 Initially titled La Langue crue et la cuite , the book was written in French by artist Asger Jorn, founding member of Cobra and of the Situationist International, and revised by Arnaud, member of the Surrealist “Main à plume” group in occupied Paris, founding member of the Revolutionary Surrealist group in postwar Paris (with which Jorn was also involved), and later regent in the Collège de ’Pataphysique. 2 Jorn, in addition to writing the text, also chose the illustrations, while Arnaud added sections of his own and reordered the material in collaboration with Jorn. It is thus the collective labor of two individuals who had first met in Paris in 1946, and who were both involved in the Revolutionary Surrealist group, a splinter group of Communist persuasion that had seceded from the main body of the Surrealist group shortly before the opening of its exhibition Le Surréalisme en 1947 , at the Galerie Maeght. If Cobra was very much ori - ented against Arnaud when it was first formed in 1948, the paths of the two men crossed numerous times in subsequent years. Jorn turned to Arnaud as a trusted friend who was in in sympathy with his aims, who corrected Jorn’s rather casual French, and who in general was willing to lend a hand to the enterprise. -
HUMAN ANIMALS the ART of COBRA COBRA CONTEMPORARY LEGACY
HUMAN ANIMALS THe ART OF COBRA COBRA CONTEMPORARY LEGACY September 15-November 20, 2016 University Museum of Contemporary Art The Cobra Belgium, included twice as many works as the first and displayed a more mature and sophisticated side of Cobra. The show included Movement several well-known artists like Alberto Giacometti, Joan Miró and Wifredo Lam, and thus demonstrated Cobra’s acceptance into the wider artistic community. Despite this, the show’s unfavorable reviews and the onset of tuberculosis in Jorn and Dotremont forced the group Cobra was formed in Paris in 1948 as an international avant-garde to split up and cease to exist as a coherent, international network. movement that united artists and poets of three cities —Copenhagen, Brussels, and Amsterdam—by Christian Dotremont (Belgian, 1922– In the 1950s, artists all around Europe searched for ways to confront 1979), Joseph Noiret (Belgian, 1927–2012), Asger Jorn (Danish, 1914– the traumatic history and legacy of the Second World War. Artists 1973), Karel Appel (Dutch, 1921–2006), Constant (Dutch, 1920–2005), focused internationally on new forms of expressive abstraction in and Corneille (Dutch, 1922–2010). The Cobra artists were inspired paint as well as other materials. Interest was revived in movements by the idea of the “human animal,” a playful or perhaps satirical like German Expressionism, formerly considered “degenerate” under representation of people’s animalistic instincts and desires, while Fascism. Historical Expressionism and Surrealism were the major evoking the symbolic relationship between humans, animals, and the inspirations for Cobra. Abstract Expressionism in the United States natural environment. The group chose the snake as a totem because was a parallel contemporary movement, but Cobra artists differed of the animal’s universal presence as a mythic and religious symbol. -
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. -
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. -
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. -
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. -
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 -
JACQUELINE DE JONG Born 1939 in Hengelo, Netherlands Lives And
JACQUELINE DE JONG Born 1939 in Hengelo, Netherlands Lives and works in Amsterdam and in the Bourbonnais, France Solo Exhibitions 2021 Jacqueline de Jong, MOSTYN Contemporary Art Gallery, Wales (upcoming); touring to WIELS Contemporary Art Centre, Brussels Solo exhibition, Treize, Paris (upcoming) 2020 Jacqueline de Jong, Galerie Rodolphe Janssen, Brussels 2019-20 Resilience(s), Pippy Houldsworth Gallery, London Sprouted Behaviour, Eenwerk Gallery, Amsterdam Pinball Wizard: the Work and Life of Jacqueline de Jong, Stedelijk Museum, Amsterdam Billiards, 1976-78, Chateau Shatto, Los Angeles 2018-19 Jacqueline de Jong & The Situationist Times: Same Player Shoots Again!, Malmö Konsthall, Malmö: touring to Museum Jorn, Silkeborg 2018 Jacqueline de Jong, Les Abattoirs, Toulouse 2017 Imagination à Rebours, Dürst Britt & Mayhew, The Hague Imaginary Disobedience, Château Shatto, Los Angeles Potato Blues, onestar press, Paris 2016 The Case of the Ascetic Satyr, Galerie Clemens Thimme, Karlsruhe 2015 Trains, Jacqueline de Jong & Celine Manz, Sociëteit De Kring, Amsterdam 2014 Art Traverse, Gemeentehuis de Bilt, Bilthoven Pommes de Jong, Gallery Clemens Thimme, Karlsruhe WAR: The imminent conflict (again), Gallery Suzanne Biederberg, Amsterdam 2012 All the King’s Horses, Moderna Museet, Stockholm Yale University Beinecke Rare Books and manuscripts library, New Haven, Connecticut Jacqueline de Jong: Life and Times…Recent Work, Gallery Suzanne Biederberg Jacqueline de Jong: The Situationist Times 1962-1967, Gallery Boo-Hooray, New York, Connecticut -
MAMCO DP 27Fev 2018 UK 1
M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M �M �M M� �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M Die Welt als Labyrinth Art & Entertainment New Images Opening : Tuesday February 27 2018 – 6pm 10, rue des Vieux-Grenadiers, 1205 Geneva � � � � � � � p. 3 Press Release Die Welt als Labyrinth (3rd floor) p. 5 Introduction p. 6 Gil Joseph Wolman p. 8 Letterism and the letterist International p. 9 ”Cavern of Antimatter” / Modifications p. 11 SPUR / Situationist Times p. 12 Destruction of the RSG-6 p. 15 Ralph Rumney p.16 Movement for an imaginist Bauhaus Alba’s experimental laboratory p.18 Art & Entertainment (2nd floor) p. 20 New Images (1st floor) Other Exhibition p. 22 A Collection of Spaces p.24 L’ Appartement p.26 Informations and Partners M�M�M�M�M� M�M�M�M�M�M� �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M �M � � � � � � � � � � � � � Die Welt als Labyrinth Art & Entertainment Nouvelles images Opening : Tuesday February 27 2018 – 6pm 10, rue des Vieux-Grenadiers, 1205 Geneva Press Conference Tuesday February 27 2018 – 11am This spring, MAMCO has decided to turn aimed at art criticism (Piet de Groof’s action back to Letterism and the Situationist Inter- with Debord and Wyckaert against the gene- national, two artistic movements from Paris ral assembly of the AICA in Brussels), art mar- which occupied a very special place on the ket galleries (Jorn’s and Gallizio’s shows political horizon of May 1968. -
Kabakov, Utopia and Reality a Meeting of Two Russian Giants 01.12.2012 – 28.04.2013
Press release November 2012 Press information: b General information exhibition b Short biography Lissitzky and Kabakov b Director Charles Esche about Lissitzky – Kabakov General information exhibition Lissitzky – Kabakov, Utopia and Reality A meeting of two Russian giants 01.12.2012 – 28.04.2013 The Van Abbemuseum asked the artists Ilya (1933) and Emilia (1945) Kabakov to organise an exhibition of their work together with that of El Lissitzky (1890-1941), as guest curators. For the Lissitzky – Kabakov exhibition they made an extensive selection from their own work and that of Lissitzky. It is the first time that the oeuvres of these famous 20th-century Russian artists are being presented together. Bringing together Lissitzky and the Kabakovs completes the circle which started with the revolutions in the early years of the twentieth century and finished with the upheavals of 1989. The confrontation between early Soviet art and that of the later Soviet era presents opportunities for a better understanding of the art and culture of the intervening period. In addition to works from the collection of the Kabakovs and the Van Abbemuseum, there will be loans from the Tretyakov Gallery in Moscow, the Guggenheim Museum in New York and Centre Pompidou in Paris, as well as from a number of private collections. Some of the Kabakovs’ installations have also been recreated for this occasion. The exhibition is part of NLRF2013, the Dutch – Russian year and travels to the Hermitage in St. Petersburg and the Multimedia Art Museum (MAMM) in Moscow in 2013. The opening takes place on Saturday 1 December, between 15.00 and 19.00.