Marina Abramović CV
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Documenta 8 (Küssende Fernseher) Von Ralph Hammerthaler
documenta 8 (Küssende Fernseher) von Ralph Hammerthaler Ende Oktober 1981 war das proT erstmals in einer großen Ausstellung zu sehen. Für ein Theater mag das ungewöhnlich erscheinen, nicht so aber für das proT, denn Sagerer fühlte sich bildenden Künstlern oft enger verbunden als Theatermachern. Schon sein früher Komplize von Hündeberg war Maler. Nikolai Nothof und Karl Aichinger, beide als Schauspieler im Ensemble, fingen in den 1970er Jahren an zu malen und stellten ihre Bilder im Kellertheater aus. Bei Aktionsabenden des proT lösten sich die Grenzen der Genres ohnehin auf. Dafür, dass sich die Kontakte zur Kunstszene vertieften, sorgte nun Brigitte Niklas. In der Künstlerwerkstatt Lothringer Straße 13 zeigten zwölf Münchner Künstler Videoinstallationen, darunter auch Barbara Hamann und Wolfgang Flatz. Die Installation des proT erwies sich als aufwändig, denn sie konnten nicht anders, als mit dem ganzen Theater anzurücken. Ihr Kunst-Video hing an der Produktion Münchner Volkstheater oder umgekehrt: Das Theater hing am Kunst-Video, umso mehr, als es davon seine Einsätze bezog. Wie oben erwähnt, führte bei diesem Stück das Video Regie. Im Gespräch mit dem Magazin Videokontakt antwortete Sagerer auf die Frage nach der Grenze zwischen den Genres: „Alles, was ich mache, fällt unter den Begriff ‚Theater‘. Das Theater ist die einzige unbegrenzte Kunst, vom Material her eigentlich überhaupt nicht definierbar. Alles, was unter dem Namen ‚Theater‘ passiert, wird Theater. Wenn man Film im Theater einsetzt, ist es kein Film mehr, sondern Theater. Wenn man Theater filmt, wird es immer ein Film. Die Erfahrung ‚Theater‘ kann der Film nicht vermitteln, während Film, Fernsehen und Musik Bestandteile der Erfahrung ‚Theater‘ sein können.“ Und befragt nach seinen Plänen mit Video im Theater, sagte er: „Wir wollen in Zukunft mehr Monitore einsetzen, die von jedem Punkt des Raums aus sichtbar sind. -
Note to the Secretary-General Tonight You and Mrs. Annan Have
Note to the Secretary-General Tonight you and Mrs. Annan have agreed to drop by (from 6:35-6:45 p.m.) the reception in the West Terrace hosted by Yoko Ono wherein she will present grants to an Israeli and a Palestinian artist in her own Middle East humanitarian arts initiative. When Mrs. Annan and you arrive David Finn, Philippa Polskin and Holly Peppe of Ruder-Finn, will greet you. You will then be accompanied into the center of the room where two easels will display the work of the two artist recipients of the LennonOno Grants, Khalil Rabah and Zvi Goldstein. The following people will greet you and stand with you for a brief photo-op: > Yoko Ono > Zvi Goldstein, Israeli artist, grant recipient > Khalil Rabah, Palestinian artist, grant recipient > Jack Persekian, Founder & Director, Anadiel Gallery, Jerusalem > Suzanne Landau, Chief Curator, The Israel Museum, Jerusalem > Shlomit Shaked, Independent Curator, Israel. At 6:45 p.m. you will proceed to the Macalester Reception and dinner, in Private Dining Room #8. Kevin S.: 9 October 2002 Copy to: Ms. S. Burnheim ROUTING SLIP FICHE DE TRANSMISSION TO: A A: OJ *Mt* FROM: / /" DE: /64< ^*^/^^~^ Room No. — No de bureau Extension — Poste Date / G&W aiLbfo^ FOR ACTION POUR SUITE A DONNER FOR APPROVAL POUR APPROBATION FOR SIGNATURE POUR SIGNATURE FOR COMMENTS POUR OBSERVATIONS MAY WE DISCUSS? POURRIONS-NOUS EN PARLER ? YOUR ATTENTION VOTRE ATTENTION AS DISCUSSED COMME CONVENU AS REQUESTED SUITE A VOTRE DEMANDS NOTE AND RETURN NOTER ET RETOURNER FOR INFORMATION POUR INFORMATION COM.6 12-78) ZVI GOLDSTEIN Artist Recipient of the LennonOno Grant for Peace Born in Transylvania, Romania in 1947, artist Zvi Goldstein immigrated to Israel in 1958. -
Documenta VIII
Findbuch documenta 8 Signatur des Bestandes: documenta archiv, AA, d08 Urheber des Findbuchs ist das documenta archiv. documenta archiv, AA, d08 Mappe 1 Presseausschnitte 1982 – 29.07.1986 Mappe 2 Presseausschnitte 22.08.1986 – 31.12.1986 Mappe 3 Presseausschnitte 01.01.1987 – 05.06.1987 Mappe 4 Presseausschnitte 06.06.1987 – 12.06.1987 Mappe 5 Presseausschnitte 13.06.1987 Mappe 6 Presseausschnitte 14.06.1987 – 30.06.1987 Mappe 7 Presseausschnitte 01.07.1987 – 14.07.1987 Mappe 8 Presseausschnitte 15.07.1987 – 31.07.1987 Mappe 9 Presseausschnitte 01.08.1987 – 31.08.1987 Mappe 10 Presseausschnitte 01.09.1987 – 30.09.1987 Mappe 11 Presseausschnitte ab 01.10.1987 Mappe 12 Presseausschnitte Ausland (alphabetisch geordnet nach Ländern) A – N Mappe 13 Presseausschnitte Ausland (alphabetisch geordnet nach Ländern) O – Z Mappe 14a Presseausschnitte zu Rahmenveranstaltungen 1986-1988 (thematisch geordnet) - Am Rande - Ecce Homo - etcetera Mappe 14b Presseausschnitte zu Rahmenveranstaltungen 1986-1988 (thematisch geordnet) - Gruppenkunstwerke - Kulturfabrik Salzmann - Kasseler Musiktage - Peter Rühmkorf „documenta-Schreiber“ - Theater Mappe 15 a Presseausschnitte Theater, Performance, Audiothek Mappe 15 b Liste Rundfunk und Fernsehbeiträge documenta archiv, AA, d08 Mappe 16 - Pressespiegel I + II (1986 – 05. 1987) - documenta-Pressestimmen “Ein Halbzeit-Service” Mappe 17 a verschiedene Pressespiegel Mappe 17 b verschiedene Pressespiegel Mappe 17 c verschiedene Pressespiegel Mappe 17 d Pressespiegel Ausland Mappe 18 a „Documenta press“ Information zur Documenta 8 Ausgaben: 0 (1986), 1, 2, 3, 4, 5 (1987) Mappe 18 b Zeitungen und Zeitschriften zur documenta 8 - PflasterStrand Nr. 264, 13.6.-26.6.1987 - Wolkenkratzer, Art Journal 4/87 (Juni/Juli/August) - Arte Nr. -
BARBARA LONDON Biography
The Museum off Modern Art BARBARA LONDON Barbara London, Associate Curator, Department of Film and Video, The Museum of Modern Art, who organized the exhibition VIDEO SPACES: EIGHT INSTALLATIONS, has been with the Museum since 1971. She has organized the exhibitions BILL VIOLA: THREE INSTALLATIONS (1987), MUSIC VIDEO: THE INDUSTRY AND ITS FRINGES (1985), B00KW0RKS (1977), and VIDEO FROM TOKYO TO FUKUI AND KYOTO (1979), as well as one-person shows of such artists as Laurie Anderson, Dan Graham, Jana Sterbak, and Nam June Paik. In 1975, the Museum, under Ms. London's supervision, established the Video Study Center. Since that time it has acquired over 800 independently produced videotapes and has assembled an archive of related historical and theoretical publications. Since 1987, Ms. London has been a Member of the Board of Trustees for the Merce Cunningham Dance Foundation and has been a panel member for the New York State Council on the Arts (1984-87) and the National Endowment for the Arts (1984-87), as well as having served on numerous international film and video festival juries. She has been a Commissioner for the Biennial Moving Image Exhibition, Centro de Arte Reina Sofia, Madrid (1990), the Tokyo Television Video Festival (1989), and Documenta 8 (1987), among others. Ms. London has been published extensively and is a frequent lecturer on video and multimedia. A native of New York, Ms. London received a B.A. degree from Hiram College, Ohio (1968) and a M.F.A. from New York University, Institute of Fine Arts (1972). On two separate sabbaticals (1988-89 and 1992-93), she studied art and technology in Japan. -
Scarica Il Programma
MILANO PHOTOWEEK PROGRAMMA DAL 3 AL 9 GIUGNO 2019 DAL 3 AL 9 GIUGNO 2019, MILANO RENDE OMAGGIO ALLA FOTOGRAFIA CON LA TERZA EDIZIONE DELLA MILANO PHOTOWEEK. UN PALINSESTO DIFFUSO, LUNGO UNA SETTIMANA CHE COINVOLGERÀ LA CITTÀ, CON UN CALENDARIO DI APPUNTAMENTI SPECIALI APPOSITAMENTE IDEATI PER LA MILANO PHOTOWEEK, CUI SI AGGIUNGERÀ UN’INTENSA PROGRAMMAZIONE DI MOSTRE, INCONTRI DI APPROFONDIMENTO, VISITE GUIDATE, LABORATORI, PROGETTI EDITORIALI, OPENING, FINISSAGE, PROIEZIONI, FILM E MOLTO ALTRO ANCORA. Milano PhotoWeek è un invito a tutti i da Contrasto Editore, ben quattro mostre cittadini ad avvicinarsi alla fotografia per gratuite promosse e prodotte da Palazzo scoprire la sua capacità di interpretare e Reale, con i Musei Vaticani, il Centro Ceco raccontare la realtà, offrire un allenamento di Milano, Whirlpool EMEA e ArtsFor in al proprio senso critico, imparare a collaborazione con Expowall, oltre a un guardare e immaginare il mondo. ciclo di film con Anteo. Fotografia a 360 gradi: dai grandi scatti Come sempre numerose e di grande d’autore ai reportage di guerra, dalle qualità le mostre e i public program immagini di moda e di architettura che realizzati dai partner culturali di MPW: hanno reso celebre Milano nel mondo Accademia di Belle Arti di Brera, Armani alla fotografia come linguaggio dell’arte Silos, BASE Milano, Fondazione Prada, contemporanea, poi le vite dei grandi Fondazione Stelline, Frigoriferi Milanesi, fotografi da scoprire guardando un film Galleria Carla Sozzani, GAM Milano, o gli archivi che aiutano a ricostruire la MiBACT, Micamera, MUFOCO, Palazzo nostra memoria storica. Litta. L’edizione 2018 dà voce alla fotografia Da ultimo due progetti particolari. -
Hans Haacke Biography
P A U L A C O O P E R G A L L E R Y Hans Haacke Biography 1936 Born Cologne, Germany 1956-60 Staatliche Werkakademie (State Art Academy), Kassel, Staatsexamen (equivalent of M.F.A.) 1960-61 Stanley William Hayter's Atelier 17, Paris 1961 Tyler School of Fine Arts, Temple University, Philadelphia 1962 Moves to New York 1963-65 Return to Cologne. Teaches at Pädagogische Hochschule, Kettwig, and other institutions 1966-67 Teaches at University of Washington, Seattle; Douglas College, Rutgers University, New Jersey; Philadelphia College of Art 1967 - 2002 Teaches at Cooper Union, New York (Professor of Art Emeritus) 1973 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1979 Guest Professorship, Gesamthochschule, Essen 1994 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1997 Regents Lecturer, University of California, Berkeley Lives in New York (since 1965) Awards 1960 Deutscher Akademischer Austauschdienst (DAAD) 1961 Fulbright Fellowship 1973 John Simon Guggenheim Foundation Fellowship 1978 National Endowment for the Arts 1991 College Art Association Distinguished Artist Award for Lifetime Achievement Deutscher Kritikerpreis for 1990 Honorary Doctorate in Fine Arts, Oberlin College 1993 Golden Lion (shared with Nam June Paik), Venice Biennale 1997 Kurt-Eisner-Foundation, Munich Honorary Doctorate Bauhaus-Universität Weimar 2001 Prize of Helmut-Kraft-Stiftung, Stuttgart 2002 College Art Association Distinguished Teaching of Art Award 2004 Peter-Weiss-Preis, Bochum 2008 Honorary Doctorate, San Francisco Art Institute -
The Gesture and the Sign Press Release 19 March 2013
The Gesture and the Sign 3 April – 8 June 2013 ‘The Gesture and the Sign’ features recent works by a range of international artists that take their cue from pictorial aspects of lyrical abstraction. With an emphasis on the actual process of painting, lyrical or gestural abstraction can be characterised by techniques that are governed by the artist’s interaction with chance, intuition and circumstance. Triggered by diverse conditions and impulses, the paintings and works on paper in this exhibition share a common purpose in the primacy given to the gesture, the sign and material. Artists such as Mark Bradford, Julie Mehretu, Sterling Ruby and Daniel Senise apply abstraction as a means of observing, negotiating or deconstructing an increasingly mediated world. In Mark Bradford’s large-scale, multi-part work, he uses materials found in the vicinity of his Los Angeles studio (in this case, a merchant poster featuring the telephone number for a ‘Slip and Fall’ lawyer) as the basis for an epic, dense and visually complex composition. The spray painted, hallucinatory canvases of Sterling Ruby also draw influence from his local neighbourhood, here in the form of gang graffiti and the power struggles associated with tagging, defacement and dominion of territory. Julie Mehretu’s dynamic, layered compositions feature intuitive gesture, architectural information and visual signs that build into a maelstrom of time, place and art history, while the abstract compositions of Daniel Senise combine materials embedded and marked with an implied history, which are then overlaid with a pristine white monochrome as an erasure of the past. Accident, failure and alchemy all play a part in the paintings of Sergej Jensen, David Ostrowski and Jacob Kassay. -
To Care, to Curate. a Relational Ethic of Care
Curare: to care, to curate. A relational ethic of care in curatorial practice Sibyl Annice Fisher Submitted in accordance with the requirements for the degree of Doctor of Philosophy The University of Leeds School of Fine Art, History of Art and Cultural Studies November, 2013 The candidate confirms that the work submitted is her own and that appropriate credit has been given where reference has been made to the work of others. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgment. © 2013 The University of Leeds and Sibyl Annice Fisher The right of Sibyl Annice Fisher to be identified as Author of this work has been asserted by her in accordance with the Copyright, Designs and Patents Act 1988. Readers are respectfully advised that this document contains the names and images of Indigenous persons who are now deceased. Acknowledgements I would like to thank the School of Fine Art, History of Art and Cultural Studies for the international scholarship that enabled me to undertake this research project, and David Jackson for the initial conversation. For archival assistance, many thanks to Gary Haines at Whitechapel Art Gallery, Jennifer Page at the Research Center, National Museum of Women in the Arts, Janet Moore at the Institute of Contemporary Art, Boston, and Gary Dufour at the Art Gallery of Western Australia. Thanks also to Aunty Stephanie Gollan at Tandanya National Aboriginal Cultural Institute. Thank you to Rayma Johnson for kind permission to use the image of Russell Page, and to Glen Menzies and Hetti Perkins for advice on reproducing work by Emily Kame Kngwarreye. -
Diventa Un Allievo Di Leonardo
ALBUM DI: DIVENTA UN ALLIEVO DI LEONARDO ESERCIZI ARTISTICI PER COLTIVARE IL TUO TALENTO ESPLORANDO I MUSEI DI MILANO ENTRA NELLA BOTTEGA COLOPHON Concept e realizzazione: InvisibleStudio.net DI LEONARDO Illustrazioni: Jessica Cioffi Coordinamento e Comunicazione: Stefania Rossi Come fai oggi a imparare a disegnare e a dipingere? Ti iscrivi ad un corso di pittura o ad con Niccolò Parini - Museo Poldi Pezzoli una scuola d’arte. Nel Quattrocento invece, al tempo di Leonardo, si andava direttamente Consulenza scientifica: Marco Versiero a lavorare con un pittore entrando nella sua “bottega”. Si iniziava da bambini, a volte Con il supporto di Associazione Abbonamento prima ancora di aver compiuto dieci anni. Lavorando tutti i giorni accanto ai pittori si Musei: Cinzia Portelli e Claudia Mazzoleni imparavano i segreti dell’arte, dal disegno alla preparazione dei colori. Stampa: Faenza Group con il sostegno del Gruppo Giovani del Museo Poldi Pezzoli Noi ora ti invitiamo a entrare nella bottega di uno dei più grandi artisti della storia: Leonardo da Vinci. Com’è possibile, dato che Leonardo è morto 500 anni fa? Siamo fortunati: nel suo Trattato della pittura Leonardo ci ha lasciato moltissime istruzioni che Stampato su aveva preparato per i suoi allievi, e noi ispirandoci alle sue parole e ai suoi disegni, carta certificata FSC. abbiamo preparato alcune divertenti attività che ti permetteranno di addentrarti nel disegno e nella pittura, proprio come facevano i suoi allievi. Segui con attenzione le istruzioni: questo album si arricchirà di disegni come i taccuini di Leonardo, che quindi sarà molto orgoglioso di te! Realizzato in occasione della mostra Leonardo e la Madonna Litta al Museo Poldi Pezzoli Per scoprire le opere di Leonardo e di altri grandi artisti, vai con il tuo album nei luoghi e 7 novembre 2019 - 10 febbraio 2020 musei di Milano che ti suggeriamo. -
Biennalization?
Title Biennalization? What biennalization?: the documentation of biennials and other recurrent exhibitions Type Article URL http://ualresearchonline.arts.ac.uk/5516/ Date 2012 Citation Grandal Montero, Gustavo (2012) Biennalization? What biennalization?: the documentation of biennials and other recurrent exhibitions. Art Libraries Journal, 37 (1). pp. 13-23. ISSN 03074722 Creators Grandal Montero, Gustavo Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author art libraries 37 / 1 2011 journal Biennalization? What biennalization? The documentation of biennials and other recurrent exhibitions Gustavo Grandal Montero iennials have been central to the development of contemporary art for Bdecades, but there is a paucity of published material specifically related to this subject. Documentation for these important exhibitions is not always made available and it is often difficult to acquire, posing an obstacle to current and future research across a number of areas within contemporary art, curating and art history. This article offers an overview of major current biennials and of the different sources of information they produce (catalogues, other printed material, online resources, archives), and surveys the secondary literature of the phenomenon. It also discusses specific collection development issues in libraries, from -
ZWELETHU MTHETHWA Born 1960, Durban EDUCATION 1989 Master
ZWELETHU MTHETHWA Born 1960, Durban EDUCATION 1989 Master of Fine Arts in Imaging Art, Rochester Institue of Technology, Rochester 1985 Advanced Diploma in Fine Arts, Michaelis School of Fine Art, University of Cape Town, Cape Town 1984 Diploma in Fine Arts, Michaelis School of Fine Art, University of Cape Town, Cape Town SOLO EXHIBITIONS 2013 ‘Zwelethu Mthethwa: New Works’, Jack Shainman Gallery, New York 2012 ‘Zwelethu Mthethwa’, The Baltimore Museum of Art, Maryland ‘Zwelethu Mthethwa: Sugar Cane Series (2003 – 2007)’, curated Diego Cortez, John Hope Franklin Center, Duke University, Durham, NC ‘Zwelethu Mthethwa’, curated by Kirsten Hileman, Project space, Baltimore Museum of Art, Baltimore 2011 ‘New Works’, iArt Gallery (now Brundyn + Gonsalves), Cape Town 2010 ‘Inner Views’, Studio Museum in Harlem, New York ‘Zwelethu Mthethwa’, iArt Gallery, Cape Town ‘Is it our goal…? And Other Related Issues’, Circa on Jellicoe, Johannesburg ‘Brick Workers and Contemporary Gladiators’, Galeria Oliva Arauna, Madrid 2009 ‘New Works’, Jack Shainman Gallery, New York 2008 ‘Children of a Lesser God’, Everard Read, Johannesburg ‘Contemporary Gladiators’, Andréhn Schiptjenko, Stockholm 2007 ‘Private-Public Spaces’, Galerie Anne de Villepoix, Paris ‘Recent Works’, Galerie Oliva Arauna, Madrid ‘Maidens and Dance of Life’, Christine König, Vienna (in cooperation with Galerie Hengevoss-Dürkop) 2006 ‘Gold Miners’, Jack Shainman Gallery, New York ‘New Works’, Everard Read, Johannesburg ‘Maidens’, Galerie Hengevoss-Dürkop, Hamburg 2005 ‘Women in Private Spaces’, -
Milano-100-Lieux-A-Visiter.Pdf
Comune di Milano Touring Club Italiano Settore Politiche del Turismo Corso Italia, 10 e Marketing territoriale 20122 Milano via Dogana, 2 Direzione Centro Studi 20121 Milano Maria-Chiara Minciaroni Direttore Matteo Montebelli Massimiliano Taveggia Massimiliano Vavassori Jacopo Zurlo Servizio Sviluppo e Monitoraggio del Turismo Sergio Daneluzzi Servizio Digital e Web Marketing Patrizia Bertocchi www.turismo.milano.it Milan Progetto grafico Crediti fotografici Alessandro Gandini, Milka Gandini Arcidiocesi di Milano; Mauro Colella; Gandini&Rendina grafica e pubblicità srl Comune di Milano (Galleria d’Arte Moderna, Biblioteca Comunale Centrale “Palazzo Impaginazione e digitalizzazione Sormani”); R. Longoni; Giorgio Majno; Gandini&Rendina grafica e pubblicità srl Franco Mascolo; Museo Poldi Pezzoli; Icone e mappe Navigli Lombardi s.c.a.r.l.; Andrea Scuratti; Gandini&Rendina grafica e pubblicità srl Václav Šedý; Veneranda Biblioteca Ambrosiana; VRWAY Communication - Giuseppe Pennisi Copertina Comune di Milano LIEUX A VISITER 100 LIEUX A VISITER THEMES Bibliothèques Parcs et jardins Monuments historiques Places Edifices religieux Portes Installations sportives Points de vue panoramiques Monuments de l’Antiquité Espaces d’expositions Musées Théâtres et auditoriums Canaux Villas Palais Sites remarquables signalés par le Touring Club Italiano www.touringclub.it 100 LIEUX A VISITER THEMES Bibliothèques Edifices religieux Palazzo dell’Ambrosiana - Biblioteca e Pinacoteca Duomo di Milano Ca’ Granda Università degli Studi di Milano Chiesa di Santa Maria Annunciata in Camposanto Palazzo Moriggia Museo del Risorgimento (Palazzo della Veneranda Fabbrica) Castello Sforzesco Chiesa di Sant’Alessandro (Piazza Sant’Alessandro) Palazzo dell’Arte Chiesa di Santa Maria presso San Satiro Museo Civico di Storia Naturale Chiesa di Santa Maria dei Miracoli Conservatorio di Musica “G.