Report on the Construction of a Spaceship Module TRANZIT | JANUARY 22–APRIL 13, 2014
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1 Ion Grigorescu from Static Oblivion
From static From static oblivion, an artbook in line with Avarie’s previous work space or space of daily experience: Grigorescu’s act of oblivion publications, aims to deepen, starting from Ion Grigorescu’s dissidence is not an outcry of provocation, nor is it extreme rich artistic production, the reflection about the status of the or ostentatious; it is an anti-aesthetic operation which uses image as a balance of forces in tension (statics), as form and experimentation and rough or limited techniques to uncover Ion Grigorescu design of what is in continuous movement (rhythm) and as the fiction of art and to denounce the artifice of representation, a paradoxical act of cancellation of the body through its own leaving us with the ambiguity between truth and falsehood, representation (oblivion). not only within the process of creation, but also within society. There is no trespass, Grigorescu’s performances are part of In Grigorescu’s work, as in the book, the body is continually an ongoing and “contained” interrogation of the relationship shown in different ways - from photography to film, from between the body and the space which the book is trying to performance to drawing - and yet it remains absent, match with the choice of its images whose measured surface suspended, obscuring its own identity in an attempt to tries to “keep inside” all that’s possible: the composition question the collective one. The persistent use of the mirror appears dense yet fluid, “cursive”, though never imposing. not only reflects the need to escape the solitude of his own body and to find the other in the multiplication of points of The body of Ion Grigorescu runs (through) the entire book: view, but it comes from the necessity to objectify the only like a line that gradually takes on volume, it transforms itself material that is available to him. -
Orshi Drozdik
Press release ORSHI DRODZIK It’s All Over Now Baby Blue Opening Wednesday October 2th from 18.00 to 20.00 in presence of the artist Exhibition October 2 - November 27,2013 The Gandy gallery is pleased to announce the first solo exhibition by Orshi Drodzik at the gallery in Bratislava. The work of Orshi Drozdik (b,1946,Hungary) has played a significant role in the history of women’s art across the international arts scene and has greatly influenced a generation of artists to follow. Drozdik moved to Amsterdam in 1978, after graduating from the College of Fine Arts, in 1977 as a graphics major, and two years later she based herself in New York City. At present Drozdik works both in New York and Budapest, and is a professor at the Hungarian University of Fine Arts. She has exhibited at many of the foremost galleries across Hungary and abroad, and articles assessing her shows have been published in numerous prestigious art journals. Yet, Drozdik has continually engaged with the contemporary art scene in Hungary. The 1998 exhibition, article, and textbook titled Strolling Brains, for instance, greatly contributed to the spread of feminism in the country. Drozdik began her career in tandem with the Hungarian post-conceptual movement of the 1970s. As a harbinger she created her own theoretical and critical point of view, which was unique in the seventies cultural environment of Budapest. In the 80s, at the time of her emigration, building upon of her 70s working methode, she embraced poststructuralist critical discourse, that helped her to develop, the installation series, Adventure in Technos Dystopium, a theoretical and visual deconstruction of scientific representation. -
Friends, 2020 Catalog
FRIENDS, 2020 KATARZYNA KOZYRA FOUNDATION SUPPORT PROGRAM the present times are challenging for everybody. Even more so for women. The spread of the coronavirus and the worldwide economic crisis will make our work more difficult still. But we don’t give up. We will continue to fight in defence of the freedom of thought and gender equality. The Katarzyna Kozyra Foundation, as you know, has been created to support the work of female artists. Its many initiatives included, for example, a series of exhibitions of Women Commentators – a project which gave voice to young Russian and Ukrainian artists who live in countries where freedom of expression is not always allowed. One of the most recent investigations that the Foundation carried out, Little Chance to Advance, has revealed the huge underrepresentation of female teachers in Polish Art Academies. The Foundation is also currently working on numerous projects, which include an exhibition of Urszula Broll, a recently deceased artist who unfortunately did not live to see sufficient recognition for the important work of her life, as well as an archive of statements and works by female artists from the Visegrad Group. The recent cuts in the financing of NGO’s providing social and cultural support for women, make the raison d’ être of the Katarzyna Kozyra Foundation even more justified. It is why I ask you to join the group of the Foundation’s Friends and support us with a financial contribution so as to help the Foundation implement its program in support for women artists, consisting of research projects, exhibitions, book publications, seminars… I do not ask you for this commitment in exchange for nothing. -
Orshi Drozdik Adventure & Appropriation 1975 - 2001 Drozdikorshi-Katalogus01.Qxd 2002
drozdikorshi-katalogus01.qxd 2002. 11. 21. 14:51 Page 1 (Black plate) Orshi Drozdik Adventure & Appropriation 1975 - 2001 drozdikorshi-katalogus01.qxd 2002. 11. 21. 14:51 Page 3 (Black plate) Orshi Drozdik Adventure & Appropriation 1975 - 2001 Ludwig Museum Budapest – Museum of Contemporary Art 2002 Budapest drozdikorshi-katalogus01.qxd 2002. 11. 21. 14:51 Page 5 (Black plate) DESIRE HIDES IN GAZE A Retrospective of Orshi Drozdik “Desire hides in gaze. Desire is one of our most powerful driving forces. Our way of seeing and our art are formed by that and reflect on our desire” – said Orshi Drozdik in a recent interview concern- ing the topic of female identity and the use of her own body as a model and subject matter. Inevitably, she was the first Hungarian artist, who researched and introduced the female aspect in her work, and who intended to summarize the already existing but fragmented endeavours in this field, and who even edited a book (Walking Brains) with writings by leading authors of feminist theory. She always regarded her artistic program as a mission, which is rooted in her Hungarian experience but obviously became more conscious and sophisticated by the knowledge she gained while living abroad. This is the first time that we can follow Orshi Drozdik’s professional career, which began in the seventies with performances, photo series, graphic works, and continued with powerful figural paintings and installations. Even at this early stage, her obsession with the human body was evident. Later, while living in Amsterdam and New York, she began an investigation of such diverse subjects as the utopists of the French Enlightenment, the history of medicine, and the botanical taxonomic system of Carolus Linnaeus. -
Report on Futures Past Editor's Note Table of Contents
Report on the Construction of tranzit j a n 2 2 – a p r 1 3 , 2 0 1 4 a Spaceship Module new museum REPORT ON FUTURES PAST Lauren Cornell fantasies from the socialist side of the Iron tors worked on this exhibition: Vít Havránek, Director of tranzit in Prague, Dóra Curtain. As depictions of the future are always Hegyi, Director of tranzit in Budapest, and Georg Schöllhammer, Director of tranzit deeply tied to the moments in which they are in Vienna. Much like the Museum as Hub program (the New Museum’s interna- conceived, the craft also symbolizes numerous tional partnership through which the exhibition is produced), tranzit organizations realities flattened out and stitched together or actively collaborate with each other, but also work independently to produce art “come back to haunt,”1 as Philip K. Dick has historical research, exhibitions, and new commissions. The work included in this written, all within one seamless vessel. exhibition—all made by artists that tranzit has worked with in some capacity or, alternately, documentation of events or exhibitions tranzit has staged—consti- “Report on the Construction of a Spaceship tutes an “innovative archive”2 of their organization. Module” is an exhibition about art’s movement across time and space. The featured artworks, Across poetry, performative actions, diagrammatic schemas, avatars, found made by artists mainly from former Eastern objects, collections of photographs, and architectural models, “Report on the Bloc countries over the past sixty years, draw Construction of a Spaceship Module” reflects tranzit’s efforts to gather, remember, from a vast breadth of historic periods and and argue for art within Eastern Europe, and its porous connections to art outside artistic movements. -
Moving Images in Romanian Critical Art Practice and Recent History
MOVING IMAGES IN ROMANIAN CRITICAL ART PRACTICE AND RECENT HISTORY Mihaela Brebenel Goldsmiths, University of London PhD Media and Communications, 2016 .1 I hereby declare that the work presented in this thesis is my own. .2 Acknowledgements It is perhaps commonplace to say that a doctoral research is a journey. Nevertheless, I have only come to understand that this research project has been both a personal journey and an academic one in the final stages of writing, when paradoxically, there was little time for reflection. The time that unfolded between the moment when I was writing a tentative research proposal and the moment I am now in has been intense, incredible, invaluable and rewarding. I am convinced that I would have not experienced either of these without the support, attentive consideration and incredibly fruitful conversations with my supervisor, Dr. Pasi Väliaho. I started this journey under the auspices of his encouragements and could not have carried through without his relentless belief in my academic abilities. I would also like to acknowledge the support and inspiring encounters with Dr. Rachel Moore, always surprising and always refreshing. In different stages of this research, she has acted as a mentor and reader of my work, at the same time showing an empowering collegial attentiveness to my ideas. An extended thank you goes to Prof. Sean Cubitt and Prof. Julian Henriques, for their general support within the Media and Communications department, their suggestions made for various versions of the text and their encouragement to experiment across-disciplines and with methods. This research would not have been possible without the funding received from the Arts and Humanities Research Council and the research exhibition in New Delhi, India would not have happened without the AHRC International Placement Scheme and Fellowship at Sarai CSDS. -
Kideritetlen (Marad)
GENDERED ARTISTIC POSITIONS AND SOCIAL VOICES: POLITICS, CINEMA, AND THE VISUAL ARTS IN STATE-SOCIALIST AND POST-SOCIALIST HUNGARY by Beáta Hock Submitted to the Department of Gender Studies, Central European University, Budapest In partial fulfillment of the requirements for the degree of Doctor of Philosophy Supervisor: Professor Susan Zimmermann CEU eTD Collection Budapest, Hungary 2009 CEU eTD Collection DECLARATION I hereby declare that no parts of this thesis have been submitted towards a degree at any other institution other than CEU, nor, to my knowledge, does the thesis contain unreferenced material or ideas from other authors. Beáta Hock CEU eTD Collection CEU eTD Collection ABSTRACT The aim of this dissertation has been to explore what factors shaped artistic representations of women and the artistic agendas and self-positioning of individual women cultural producers in Hungary’s state-socialist and post-socialist periods. In using gender as an analytical category within the framework of a carefully conceptualized East/West comparison as well as a state- socialist/post-socialist comparison, the thesis historicizes and contextualizes gender in multidimensional ways. Positing that particular state formations and the dominant ideologies therein interpellate individuals in particular ways and thus might better enable certain subjectivites and constrain others, the thesis sets out to identify the kind of messages that the two different political systems in Hungary communicated to women in general through their political discourses, actual legislation, and social policies. Within this socio-historical framing, the research traces how female subject positions emerge in the respective periods, and turn into speaking positions with women cultural producers in the specific fields of cinema and the visual arts. -
A Fiery Splash in the Rockaways and Twists on Film at the Whitney
ART & DESIGN A Fiery Splash in the Rockaways and Twists on Film at the Whitney By ROBIN POGREBIN MAY 26, 2016 Japan Society Show When the Turner Prize-winning artist Simon Starling was preparing the piece he would exhibit at the Hiroshima City Museum of Contemporary Art five years ago, he learned about masked Japanese Noh theater, which inspired W. B. Yeats’s 1916 play, “At the Hawk’s Well.” Now Mr. Starling is building on that project with “At Twilight,” his first institutional show in New York and a rare solo exhibition at Japan Society that features a non-Japanese artist. It is also the first exhibition by Yukie Kamiya, Japan Society’s new gallery director, who used to be chief curator at the Hiroshima museum. The show is organized with the Common Guild of Glasgow, which will present Mr. Starling’s version of the Yeats play in July. Mr. Starling said that he was intrigued by the idea of masked theater, “where nobody is who they appear to be.” Pogrebin, Robin, “A Fiery Splash in the Rockaways and Twists on Film at the Whitney”, The New York Times (online), May 26, 2016 The Grand Tour: Simon Starling 19 Mar 2016 - 26 Jun 2016 Nottingham Contemporary presents Turner Prize-winner Simon Starling’s largest exhibition in the UK to date. The exhibition will include a new artwork developed in collaboration with Not- tingham Trent University, of which Starling is an alumnus and a number of Starling’s major proj- ects, most of which have not been presented in Britain before. -
Anetta Mona Chisa / Lucia Tkacova
ROTWAND Sabina Kohler & Bettina Meier-Bickel Lutherstrasse 34, CH-8004 Zürich, T/F +41 44 240 30 55/56 www.rotwandgallery.com, [email protected] ANETTA MONA CHISA / LUCIA TKACOVA Born (1975) in Romania / (1977) in Slovakia Live and work in Prague and Berlin Education They both graduated at the Academy of Fine Arts and Design in Bratislava, Slovakia and collaborate since 2000 Selected Solo Exhibitions 2013 a Lack, A touch, an aTavisM, a notiCe, Hit gallery, Bratislava aCtivaTe aMok, not a causaL chAin, waterside contemporary, London, UK 2012 i aM a venus, A conch, a kiT, a Cat, a Lot, Rotwand, Zurich, Switzerland Demonstrationen vom Werden normativer Ordnungen, Frankfurter Kunstverein Either Way, We Lose, Sorry we’re closed, Brussels A B C... (with Jana Zelibska), Make Up Gallery, Kosice, Slovakia 2011 The Diplomatic Tent (with Ion Grigorescu), Salonul de proiecte Bucharest, Romania Performing History, Romanian Pavilion (with Ion Grigorescu), 54 Biennale di Venezia, Italy Material Culture/Things in our Hands, Christine Koenig Gallery, Vienna, Austria The More You Tell Me, the Stronger I Can Hit, Társaskör Gallery, Budapest, Hungary 2010 How to Make a Revolution, MLAC, Rome, Italy Far from You, Karlin Studios, Prague, Czech Republic 2009 Wager, Collectiva Gallery, Berlin, Germany Fair Sex, Hermitage Gallery, Chicago, USA Footnotes to Business, Footnotes to Pleasure, Christine Koenig Gallery, Vienna, Austria 2008 Anetta Mona Chisa & Lucia Tkacova, Neuer Berliner Kunstverein, Berlin, Germany Blondes Must Be Stopped, Purple Room, Rome, Italy Romantic Economies, Medium Gallery, Bratislava, Slovakia 2006 Everything is Work, Tranzit workshops, Bratislava, Slovakia Magical Recipes for Love, Happiness and Health, f.a.i.t. -
“REVOLUTIONS RELOADED Werkstatt Rumänien” May 10Th - Jun
p r o g r a m www.pushthebuttonplay.com march 2005 edition “REVOLUTIONS RELOADED werkstatt rumänien” May 10th - Jun. 5th, 2004 On Monday, May 10, 2004 play_gallery for still and motion pictures in Berlin is opening Revolutions Re- loaded. This exhibition is dedicated to the present Romanian artistic scene and is the result of a collabora- tion with the MNAC (National Museum of Contemporary Art) of Bucharest. Curated by Marco Scotini and Mihnea Mircan (curator of the MNAC in Bucharest), the aim of this exhibi- tion is to present a selection of the top exponents of recent generations of Romanian artists, through a temporary picture and video archive. It takes place 15 years after the fall of communism in the Eastern European block, at a time in which the importance of the 1989 events seems strongly reduced, if not a remote past. Revolutions Reloaded is not limited to a plain post-communist cartography. It tries to focus on the contra- dictory spaces and the growing disparities of this very real “laboratory of the European future” in which the conflicts between different historical times and different resources coexist within the state of transition from the “welfare” condition to the new-liberal system. Revolutions Reloaded aims in fact to be a sort of database of Romanian artists’ political reactions. A politically oriented art, not defined geographically, which finds a more vulnerable and realistic terrain here, in the impact with globalisation. The “revolutions” to which the title alludes are the sign of diverse ways in which emergency can be faced, freedom is un- derstood, democracy is prepared and Romanian reality after the Revolution of 1989 is registered. -
Ostalgia,” a Survey Devoted to Eastern Europe and the Former Soviet Republics
TEL +1 212.219.1222. FAX +1 212.431.5326. newmuseum.org FOR IMMEDIATE RELEASE April 18, 2011 PRESS CONTACTS: Gabriel Einsohn, Communications Director [email protected] Andrea Schwan, Andrea Schwan Inc. [email protected] New Museum to Present “Ostalgia,” a Survey Devoted to Eastern Europe and the Former Soviet Republics Multi-floor Exhibition Will Be on View from July 14–September 25, 2011 New York, NY… This summer, the New Museum will present “Ostalgia,” an exhibition that brings together the work of more than fifty artists from twenty countries across Eastern Europe and the former Soviet Republics. Contesting the format of a conventional geographical survey, the exhibition will include works produced by Western European artists who have depicted the reality and the myth of the East. “Ostalgia” is curated by Massimiliano Gioni, Associate Director and Director of Exhibitions with Jarrett Gregory, Assistant Curator, and will be on view at the New Museum from July 14 through September 25, 2011, occupying all four gallery floors and the lobby. The exhibition takes its title from the German word ostalgie, a term that emerged in the 1990s to describe a sense of longing and nostalgia for the era before the collapse of the Communist Bloc. Twenty years ago, a process of dissolution began, leading to the break-up of the Soviet Union and of many other countries that had been united under communist governments. From the Baltic republics to the Balkans, from Central Europe to Central Asia, entire regions and nations Sergey Zarva, Ogonyok, 2001. Courtesy the artist and Regina Gallery, Moscow/London were reconfigured, their constitutions rewritten, their borders redrawn. -
Crisis. Against Appearances Mark Geffriaud, Ion Grigorescu, Tom Johnson, Jan Kopp, Molleindustria, Vacca
www.angelsbarcelona.com Crisis. Against appearances Mark Geffriaud, Ion Grigorescu, Tom Johnson, Jan Kopp, Molleindustria, Vacca 04.12.08 > 24.01.09 àngels barcelona c. Pintor Fortuny, 27 | tues > sat: 12 > 14h ; 17 > 20:30 h. Opening: 04.12.08, 20h + espai 2 c. dels Àngels, 16 | tues > sat : 17 > 20 h. Crisis. Against appearances , addresses the fundamental proposals of our gallery project. Departing from a certain skepticism, the selected works are based on practices that criticize artistic mediums, the representation of reality and the languages which, from the art world and the media, codify our society. The art object thus takes on a double role as both a social product integrated into a productive medium, such as the arts, and a platform for criticizing these productions. Strategically using the ambiguity of images and sounds, the works question structural systems such as the control of the imaginary, information and environmental sound, the use and production of violence, the rigidity of certain categories, the control of knowledge or the excess of external stimuli. The exhibition invites the observer to construct dialogues among the artists, as well as between the artists and the mediums they work in. Mark Geffriaud | Herbarium | Slide projector and pages framed in Plexiglas. Herbarium is a reflection on the institutionalization of culture and the task of cataloguing knowledge. Using what could be considered a paradigmatic example of an archiving task: the herbarium, the spectator’s attention is directed towards the illuminated reverse of the pages. In this manner, it emphasizes what selection processes and hierarchies devalue: all those things that disappear for lacking institutional worth.