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June 2010 Issue
NEW YORK June 2010 | No. 98 Your FREE Monthly Guide to the New York Jazz Scene newyork.allaboutjazz.com HERBIE HANCOCKSEVEN DECADES OF IMAGINATION Mark Feldman • David S. Ware • Kadima Collective • Event Calendar NEW YORK Despite the burgeoning reputations of other cities, New York still remains the jazz capital of the world, if only for sheer volume. A night in NYC is a month, if not more, anywhere else - an astonishing amount of music packed in its 305 square miles (Manhattan only 34 of those!). This is normal for the city but this month, there’s even more, seams bursting with amazing concerts. New York@Night Summer is traditionally festival season but never in recent memory have 4 there been so many happening all at once. We welcome back impresario George Interview: Mark Feldman Wein (Megaphone) and his annual celebration after a year’s absence, now (and by Sean Fitzell hopefully for a long time to come) sponsored by CareFusion and featuring the 6 70th Birthday Celebration of Herbie Hancock (On The Cover). Then there’s the Artist Feature: David S. Ware always-compelling Vision Festival, its 15th edition expanded this year to 11 days 7 by Martin Longley at 7 venues, including the groups of saxophonist David S. Ware (Artist Profile), drummer Muhammad Ali (Encore) and roster members of Kadima Collective On The Cover: Herbie Hancock (Label Spotlight). And based on the success of the WinterJazz Fest, a warmer 9 by Andrey Henkin edition, eerily titled the Undead Jazz Festival, invades the West Village for two days with dozens of bands June. -
Vienna for Art's Sake!
Vienna for Art’s Sake! Archive Austria / Contemporary Art Curated by Peter Noever 2 3 Vienna for Art’s Sake! Archive Austria / Contemporary Art Curated by Peter Noever Contents 5 Inhaltsverzeichnis Introductions | Einführung | Introduzioni Sommario 7 Luciano Benetton – Felix Vienna (EN) Felix Vienna (DE) Felix Vienna (IT) 13 Peter Noever – Exceptional Art Space (EN) Ausnahme-Kunstraum (DE) Spazio espositivo d’eccezione (IT) 26 Markus Mittringer – saith luciano: (EN) sagt luciano: (DE) dice luciano: (IT) 31 Artworks and Artists / Architects / Designers Kunstwerke und Künstler / Architekten / Designer Opere e artisti / architetti / designers 375 Index | Index | Indice Vienna for Art’s Sake! Introductions Einführung Introduzioni Archive Austria / Contemporary Art 7 Luciano Benetton Felix Vienna In art all roads lead to Vienna, today as in the nineteenth century. The intellectual and artistic capital of Mitteleuropa was a melting pot of ideas and experimentation, celebrated by the philosopher Karl Popper: “Vienna really was an incredible city, characterized by unparalleled creativity. It was a fertile mixture of almost all European cultures: the regime encouraged freedom of expression and the meeting of these different traditions”.1 The Vienna of today is an aggregator of artistic experiences, a capital city that fosters culture: from the 60 thousand square metre Museum Quarter – one of the largest cultural districts in the world – to contemporary galleries, from the treasures of the Habsburgs to the riches of this architectural, musical, literary city. Contemporary artistic experience, in particular, makes new headway Englisn everyday, even in strongholds of tradition such as the Winter Palace of Prince Eugene of Savoy, now a location for contemporary art. -
Sayıyı Okuyun
RES ART WORLD / WORLD ART NO:3 MAY 2009 CONTENTS COVER (detail) Vik Muniz, Action Photo, after Hans Namuth INTERVIEW WITH VIK MUNIZ KATHY BATTISTA (Pictures of Chocolate), 1997 Cibachrome print, 60 x 48 in / 152.4 x 121.9 cm INTERVIEW WITH SEMİHA BERKSOY HANS ULRICH OBRIST © Vik Muniz / Licensed by VAGA, New York, NY WHAT IS CONTEMPORARY IN CONTEMPORARY RUSSIAN ART OLESYA TURKINA A REVIEW OF THE TAIPEI BIENNIAL 2008: NO:3 MAY 2009 (WHEN) GLOBAL ATTACKS ON A LOCAL PARADISE ADNAN YILDIZ INTERVIEW WITH RAINER FUCHS AND PETER KOGLER RES INTERVIEW WITH JAMES COHAN DEBORA WARNER NO EXCEPTION FOR CONTEMPORARY ART: WHY AN EXHIBITION OF THE PRISHTINA ART SCENE COULD NOT OPEN IN BELGRADE SEZGİN BOYNİK VIK MUNIZ / THE CONTEMPORARY ARTS LIBRARY IN PRISHTINA/BERLIN JUDITH RAUM, FITORE ISUFI-KOJA, ‹Z ÖZTAT STATES AND TRAITS OF SERBIAN ART SCENE NIKOLA SUICA SEMİHA BERKSOY INTERVIEW WITH FULYA ERDEMCİ / SKOR BORGA KANTÜRK INTERVIEW WITH SOLMAZ SHAHBAZI ASHKAN SEPAHVAND KOONS IN VERSAILLES SABINE BOEHL SPACES BETWEEN SPACES: AYŞE ERKMEN—WEGGEFÄHRTEN ADNAN YILDIZ / PETER KOGLER BJØRN MELHUS AT THE AMERICAN HOSPITAL’S OPERATION ROOM LILIANA RODRIGUES DER NITSCH UND SEINE FREUNDE (NITSCH AND FRIENDS) FREYA MARTIN SOLMAZ SHAHBAZI RES Art World / World Art Publisher: Dirimart Abdi ‹pekçi Caddesi 7/4 Niflantaş› 34367 Istanbul TR T: +90 212 291 3434 F: +90 212 219 6400 [email protected] www.resartworld.com www.dirimart.org Not for sale Review biannual Not to be cited without permission of the author/s and RES Art World / World Art ISBN 978-605-5815-05-9 Editors: M. -
Ars Electronica Futurelab
Ars Electronica Futurelab Andreas J. Hirsch Edited by Horst Hörtner, Roland Haring, Hideaki Ogawa Alchemists of the Future Ars Electronica Futurelab The First 25 Years and Beyond ARS ELECTRONICA FUTURELAB 25 Years of Ars Electronica Futurelab The creation of the Futurelab was in equal measure an accident or a stroke of luck (right people, right time, right place) and the unavoidable consequence of the original Ars Electronica idea of a merging of art, technology, and society. It was certainly also an urgent necessity—actually the only chance—to make the planned Ars Electronica Center with its groundbreaking innovations, high artistic standards, and clear didactical goals a fully functioning “Museum of the Future.” In mid-1995, entrusted with this task, we were faced with so many technical and creative challenges that there was simply only one way forward: putting together a team of ambitious and visionary artists and technicians and striving to turn this great vision, which up to that point had existed only on paper, into reality. To realize his idea of an Ars Electronica Center, Hannes Leopoldseder had in advance invited experts and artists from all over the world to develop visions for this new kind of center and, not surprisingly, the invitees outdid themselves with spectacular scenarios ranging from LED wallpaper with which all walls would be covered (at that time there were not yet LED flatscreens on the market) to kinetic components that would change the building constantly. Alas, there was then the reality, a reality in which it was not enough to cobble these kinds of prototypes together for a short demonstration at a fair or art exhibition, but rather one in which they had to stand up to the real world of permanent exhibitions where they were on show six days a week, with only one day for maintenance and repair. -
Marcus Geiger
MARCUS GEIGER 1957 geboren in Muri AG/Schweiz lebt und wirkt in Wien 1978 -1982 Studium an der Akademie für bildende Künste, Wien, Meisterklassse Bühnenbild, Prof. Lois Egg 2010-11 Gastprofessur an der Academy of Fine Arts Prague Aktuell zu sehen seit 2018 Krieg und Frieden, Doppelrohrpanzer, (mit Persenning im Winter), Burg Forchtenstein, Forchtenstein seit 2016 Projekt 2 für Erste Campus / Die Farben des Geldes, Hausfassaden am Wiedner Gürtel Nr. 2-10, 1040 Wien seit 2013 Kübellampe, Bar, Deckenlampe, roter Teppich im Büro Weltausstellung, Wien seit 2010 Raumwahrnehmung - Sozial, Radikal, Minimal, Kapital, Wohnbauprojekt Brauerei Liesing, Wien Einzelausstellungen / Solo Exhibitions 2020 Marcus Geiger: Wenn2, kuratiert von Stefan Bidner, Galerie Elisabeth und Klaus Thoman, Wien 2018 Einbau, kuratiert von Vitus Weh, Eröffnungsausstellung Kunstverein Eisenstadt 2015 Geiger / Welsh, kuratiert von Michael Hall and Aron Gent, Document Space, Chicago (mit Margaret Welsh) 2013 Vergiss Venedig, kuratiert von Stefan Bidner, Büro Weltausstellung & Kunstraum am Schauplatz, Wien 2012 Marcus Geiger – aufgeigen, Wiener Art Foundation, Wien 2011 Zentrum, Österreichisches Kulturinstitut Prag (mit Dominik Lang und Martin Mazanec) Centrum, Tschechisches Zentrum Wien (mit Dominik Lang und Martin Mazanec) 2010 “Mal 25”, kunstbuero, Wien For one World Foundation Ahungalla, Sri Lanka 2007 Gruppenausstellung, Kerstin Engholm Galerie, Wien (mit Axel Huber) 2006 Portraits und Wurst 2006, Kunstraum Innsbruck Einzelpräsentation, Viennafair, Kerstin Engholm Galerie, Wien 2003 HALLO BAWAG, BAWAG Foundation, Wien (mit Peter Kogler) Marcus Geiger. Überlagerung. Scheisse 2, Kerstin Engholm Galerie, Wien Marcus Geiger, Galerie Thaddaeus Ropac, Salzburg 2002 Grafica 2, Café Corso, Innsbruck 2001 Eugen, Österreichische Galerie Belvedere, Wien 2000 KUB Billboards, Kunsthaus Bregenz, Bregenz Project Fassade, Secession Wien Schaufenster STUDIO, Innsbruck 1999 Kunst auf der Baustelle, kuratiert von Markus Wailand und Vitus H. -
Dissertation
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by OTHES Dissertation Titel der Dissertation „Experimentieren – improvisieren – zuhören: Ursprung, Entwicklung und Theorien der heutigen experimentellen elektronischen Musik sowie Beweggründe und Gedanken in Wien tätiger Musikschaffender.“ Verfasserin Mag. phil. Silvia Elisabetta Pagano Angestrebter akademischer Grad Doktor der Philosophie (Dr. phil.) Wien, 2009 Studienkennzahl lt. Studienblatt: A 092 316 Dissertationsgebiet lt. Studienblatt: Musikwissenschaft Betreuer: Univ.-Prof. Dr. Christoph Reuter ii Abstract This research examines contemporary experimental music of an electronic character, with view to understanding the reason this music developed in the way it did together with the motivation of the respective musicians. This information then provides a basis to hypothesise how the listener could regard this music in order to understand it. For this reason the topic is addressed from the point of view of different musicological fields. On the one hand the historic developments and its connections as well as some philosophical aspects are analysed. On the other hand psychological and technical aspects are integrated. Some interviews, which were held with musicians operating in Vienna, complete the work. In the course of this dissertation it is shown that the contemporary experimental electronic music is the result of complex mutual reactions of different musical genres. In the age of globalisation it even has no real cultural identity. Furthermore, the growing affordability of computers has changed the musical world. This also has an effect on electronic music. As far as contemporary experimental music is concerned, free improvisation is very important. As in musical therapy, it also involves subconscious processes. -
Brisbane Driving School
itugb and play, feast ooltit:frmt» of the arth, iJie dtUffi^U of jay body, X. iiiakc mtt»ic and lovtp - Cor atl act« of ptcannre are my rhuuU. •|iiii l'»m that vhkh you lind itt ttVie tuUiVvtitnl ot dcMrt:. ^3>TSfH:- Ca«t \\\t tnaf^tc CIT«\C, revel \n lhe sorcery Virl»icl% d'mpclft a\l power. But commit no sacr'tficcK. '> Repudiate harmfulnc<(s, Exploitation and Mlmiiihtifr. Raibcjir, venerate ail cr<'aturett •J^itf rcMpeci thum a« tiiuttl buj, different to you. itters 1 atributors ueering the Bible 4 Cover by Steve oJ Granville Street. We all love you. oug Ogiivy on wisdom 6 Other excellent -I low Shit up 7 kids; David Dargy, iris in Cyberspace 8 Shannon Owen, \ Martin Bush, Nicole Hills, Di iustralia's Foreign Policy 10 wk Cassidy, Tim Mansfield, Amy Lee, Doug Ogiivy, Ivis Christ 12 l^^^w ^^ '^u^^K Stefan Armbruster, \ Damien Cassidy, "^ • ardi Gras 13 Kate Williamson, Paul Bruynesteyn, oth Africa 14 1 ' ';^k Jacinta Toomey, Jane Curtis, Lynette Toomey, he Tardy Vengence of the People 16 Lindsay Colborne, Sharon Hennesy, ;ummer Festivals 18 If Mark Mclnnes, David Marr, Chris he Interview 19 Green, Joy Brown, Michael Carden, Toby Borgeesi, oma 20 < . '•.?•^ Ben Ross, Maxine, Rebecca Gordon, usic 22 Marcus Salisbury, 1 Andrew Dickinson, I Maya Stuart-Fox, onald and me 24 i %; w-^. 1 Maleha Newaz, . ' •. , *m Paul Woods, Brett Proeddie, Justin /lind Mechanic 26 /y ' ' reat Moments Brisbane Architecture 7 i • . • • •! • . .'',. • '• J ; • i . , , • what f^ereckon ubble Boy 30 As living organisms we all require certain things to ireaming the Net 32 ' survive. -
Universalmuseum Joanneum Press Kunsthaus Graz a 'Friendly Alien'
Universalmuseum Joanneum Press Universalmuseum Joanneum [email protected] Mariahilferstraße 4, 8020 Graz, Austria Telephone +43-3168017-9211 www.museum-joanneum.at Kunsthaus Graz A ‘Friendly Alien’ Kunsthaus Graz, Lendkai 1, 8020 Graz, Austria Up into the unknown! Looking back, looking forward ‘Up into the unknown!’ can be read on one of the first drafts for the design of the Kunsthaus Graz. After more than fifteen years of running exhibitions, the ‘Friendly Alien’ has certainly landed, and more besides – having long since established itself as an internationally recognised centre for contemporary art. Architecture as stimulus. On the dialogue between space, exhibition and city Time and again the architecture of the Kunsthaus Graz is faced with challenges both artistic and curatorial. The exhibition rooms are unusual, with no right angles and no white walls, only hanging points into which displays can be affixed. Yet precisely these circumstances allow for out-of-the-ordinary exhibition stagings, something that has been repeatedly and impressively demonstrated over the years by a series of artists. BIX media façade or: high level of interest in low resolution The BIX media façade is a unique medium of urban communication. Their inventors realities:united received the Deutsche Telekom ‘Inspire Award’ for this in 2005. Max Neuhaus. Time Piece Graz. A moment for the Kunsthaus Graz The acoustic sculpture by American sound artist Max Neuhaus is a fixed element of the Kunsthaus Graz – a similar work can be found at Dia:Beacon in Upstate New York in the USA. Programme 2019 The Kunsthaus Graz is showing recent and the latest works of contemporary art. -
Programm-2019-E.Pdf
Programme Overview 2019 Month Title Page Opening Start End Museum January 100 Years of Border. An Exhibition in 3 Chapters 100 Years of Border III: 1946–2018. Life at the Border 16 31.01., 7 pm 01.02.2019 19.05.2019 History Museum February Too Much Is Not Enough! The “Artelier Collection” Donation 8 14.02., 6 pm 15.02.2019 25.08.2019 Neue Galerie Graz Jun Yang. The Artist, the Work, the Exhibition 4 14.02., 7.30 pm 15.02.2019 19.05.2019 Kunsthaus Graz March Who’s Next? From the ‘Location Nature’ Series 24 03.03.2019 03.03.2019 Natural History Museum/Education Johann Lurf. Earth Series with Laura Wagner and Cavalcade 5 12.03., 7 pm 13.03.2019 22.04.2019 Kunsthaus Graz POP 1900–2000. Popular Music in Styria 17 14.03., 7 pm 15.03.2019 26.01.2020 History Museum World Wood Day 26 20.03. 20.03.2019 23.03.2019 Austrian Open-Air Museum Stübing Incised and Stabbed. The Graphic Works of Günter Brus 12 28.03., 7 pm 29.03.2019 18.08.2019 BRUSEUM, Neue Galerie Graz April The Petrol Station Myth 20 10.04., 7 pm 11.04.2019 06.01.2020 Folk Life Museum Peak Pioneers! Styrian Expeditions to the Roof of the World 28 13.04., 11 am 13.04.2019 31.10.2019 Schloss Trautenfels Between Dying and Dancing. Tales of the early modern period (Relaunch of the Permanent Exhibition) 14 25.04., 7 pm Ab 26.04.2019 Alte Galerie, Schloss Eggenberg Franz Josef Böhm. -
The Sensory Chamber Anne Katrine SENSTAD
FOR IMMEDIATE RELEASE [email protected] +34 652 418 973 @nouvellevagueartspaces Nouvellevaguemarbella.com The Sensory Chamber Anne Katrine SENSTAD 17 Sep - 17 Dec 2020 VERNISSAGE : 17 September 2020 I 19-22H Plaza Mayor 7, PN, Sotogrande, Spain By appointment only [email protected] FOR IMMEDIATE RELEASE PATIOO by Camilla & Firouz FarmanFarmaian Nouvelle Vague ArtSpaces, the creative platform we established in Marbella two years ago has set itself the mission to focus and give a voice to emerging artists. After opening and curating a dozen shows, developing art residencies and collaborative experiments locally and worldwide we thought it was high time to set out and explore new routes in order to navigate different dynamics. We are today both thrilled to announce the opening of PATIOO in Sotogrande, South of Spain. As a contemporary art gallery set at the heart of one of the most exclusive private resorts in the world, it will showcase established international artists via a by-appointment private viewing room : a monoroom specializing in site-specific art projects related to conceptual, light and cinematic art. We here set out to state that Post-Conceptual is Chic. Dynamics of Decentralization The new abnormal imposes a reshuffled worldview that solidifies around the idea of decentralization. Mobility has become a central issue for art lovers, collectors and art dealers around the globe that has given way to the rise of digital sales as Artnet’s 50% increase in recent auction sales tends to prove. We will be present - as we have successfully over the first lockdown- via our multiple VR viewing rooms. -
Art, Politics and New Social Imaginaries International
Curators Art, Politics Elvira Dyangani Ose Mara Ambrožič and New Social Nana Oforiatta Ayim Kodwo Eshun N’Goné Fall Imaginaries Cheryl Finley Henriette Gunkel Srećko Horvat Aliocha Imhoff Doreen Mende International Miran Mohar Marita Muukkonen Kantuta Quiros Symposium at Leigh Raiford Heike Raphael-Hernandez Bisi Silva Dak’Art 2016 Ivor Stodolsky Studio Kakatar & Atelier Graphoui David Zerbib May 7 –8, 2016 Supported by Archive Books Chimurenga Gare Ferroviaire de Mode D-Republic Dakar, Plateau 10.00 – 20.00 INSTANCE NO.4 art, politics and new social imaginaries — States of Opacity invites a prominent group In his quest for a Poetics of Relation —namely, a of cultural agents and producers—artists, artist poetics, that is free of norms, goals and methods, as collectives, curators, writers, intellectuals, scholars , much as it is open, participatory, and is directly in and political thinkers. They formulate their agency contact with everything possible— Édouard Glissant beyond the limits of a canonical criticism, to engage urges us to claim the Right to Opacity . Opacity here with socio-political, artistic and would make reference to the possibility of every cultural processes for the reinvention of history, individual to claim a plural and mutable identity, an memory, futurity and the common good. Ethics and essential condition for a new sense of collectivism art, as Theodor Adorno sustained, are major driving to emerge. History is constituted of a myriad of forces towards the foundation of the new . And the episodes of unachieved utopias, in the manner of emergence of such newness in its full social and movements of sociocultural and political solidarity, political dimension can only take place by means among them, revolutionary movements such as of initiatives that observes opacity as a condition Black Internationalism, the Non-Aligned Movement, a priori. -
Freier Download BA 57 Als
BAD 57 ALCHEMY 1 2 CIRCLE LIVE Das war doch ein veritables Festival, was da am 17.11.2007 in Würzburg zum 10th Anniversary von Horsts Psychedelic Network über die von der Pforzheimer Psychedelic-Lightshow Kosmik Klaus and his Solar Sea Slideshow bestrahlte AKW-Bühne ging. Natürlich mit Zone Six, den vor 10 Jahren von Dave Smith aka Sula Bassana am Spacebass gegründeten Hawkwind-getriebenen Trance-Trippern, mit Ex-Guru-Guru-Axeman Ax Genrich als Gast- star neben der Spacegitarre von Julius-K; mit den durch Dirk Bitt- ners Gitarre und Dirk Jan Müllers Georgel auf Retrokrautwolken da- hin dampfenden Electric Orange aus Aachen, bei denen Can- und Ashra-Nostalgiker sich einen Bierbauch schlanker fühlen kön- nen; und mit dem Münchner Gitarre-Bass-Drums-Trio Colour Ha- ze, bei dem ich vergeblich auf was zu Futtern in der notorisch des- organisierten AKW-Kneipe wartete. Aber was zählt ein leerer Ma- gen, wenn als Höhepunkt vor 196 psychedelisch animierten Fans nun die finnischen CIRCLE anstanden. Allein schon deren Outfit signalisierte allerdings: Schluss mit Psy- chedelik, wenn auch nicht Schluss mit lustig. Drummer Tomi Leppä- nen, ein Handtuch in Jesuitenschwarz, würde mit seiner überdi- mensionalen Brille eher zu Devo passen, Sänger-Keyboarder Mika Rättö geriert sich mit Strasshosenträgern, Stachelarmbändern und Prinz-Heinrich-Mütze als Glamrock-Tom-of-Finland. Nur Gitarrist Janne Westerlund hält die schlichte Indietradition aufrecht und bei Jussi Lehtisalo am Bass kann sowieso keine Verkleidung den finni- schen 2-Zentner-Knuddel kaschieren. Mit ‚Virsi‘ steigen sie ein, Rät- tö croont wie Peter Hammill und die Band wuchtet Pathos in den Saal.