Alfredo Jaar
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G a G O S I a N G a L L E R Y Hiroshi Sugimoto Biography
G A G O S I A N G A L L E R Y Hiroshi Sugimoto Biography Born in 1948, Tokyo. Lives and works in New York. Education: 1972 BFA, Art Center College of Design, Los Angeles. 1966-1970 BA, Saint Paul's University, Tokyo. Solo Exhibitions: 2009 Lightning Fields, Gallery Koyanagi, Tokyo, Japan. Lightning Fields, Fraenkel Gallery San Francisco, CA. 2008 Hiroshi Sugimoto: Seven Days/Seven Nights, Gagosian Gallery, New York. Hiroshi Sugimoto, Museum der Moderne, Salzburg, Austria. Hiroshi Sugimoto, Neue Nationalgalerie, Berlin. Hiroshi Sugimoto, Kunstmuseum Luzern, Switzerland. Hiroshi Sugimoto: History of History, The National Museum of Art, Osaka, Japan. Travelled to: 21st century Museum of Contemporary Art, Kanazawa, Japan. 2007 Leakage of Light, Gallery Koyanagi, Tokyo. Hiroshi Sugimoto, K20 Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany. Travlled to: Fine Arts Museum of San Francisco, Villa Manin Centro d’Arte Contemporanea, Udine, Italy. Hiroshi Sugimoto, Villa Manin, Passariano, Italy. Hiroshi Sugimoto: Colors of shadow, Fraenkel Gallery, San Francisco, CA. 2006 Hiroshi Sugimoto, Modern Art Museum, Fort Worth, TX. Hiroshi Sugimoto: Colors of Shadow, Sonnabend, New York. Hiroshi Sugimoto: Mathematical Forms, Galerie de l’Aterlier Brancusi, Paris. Hiroshi Sugimoto, Galerie Marian Goodman, Paris. Hiroshi Sugimoto:Joe, Gagosian Gallery, Beverly Hills. Hiroshi Sugimoto: Photographs of Joe, The Pulitzer Foundation for the Arts, St. Louis, MO. Hiroshi Sugimoto, Hirshhorn Museum and Sculpture Garden, Washington, D.C. Hiroshi Sugimoto: History of History, Arthur M. Sackler Gallery, The Smithsonian, Washington D.C. 2005 Hiroshi Sugimoto: History of History, Japan Society, New York. Hiroshi Sugimoto: Retrospective, Mori Art Museum, Tokyo. (through 2006) Conceptual Forms, Gagosian Gallery, London (Britannia Street) and Sonnabend Gallery, New York. -
Reynier Leyva Novo
GALLERIA CONTINUA Via del Castello 11, San Gimignano (SI), Italia tel. +390577943134 fax +390577940484 [email protected] www.galleriacontinua.com REYNIER LEYVA NOVO El peso de la muerte Opening: Saturday 13 February 2016, via del Castello 11 and via Arco dei Becci 1, 6pm–12 midnight Until 1 May 2016, Monday–Saturday, 10am–1pm / 2–7pm Galleria Continua is pleased to present the first solo exhibition by Reynier Leyva Novo in Italy. One of the latest generation of Cuban artists, Novo has already had occasion to show his work in important international events and venues such as the Havana Biennial, the Venice Biennale, MARTE Museo de Arte de El Salvador and the Liverpool Biennial. El peso de la muerte is a project specially conceived for Galleria Continua and brings together a series of new works in which investigation and procedure are key elements. Deeply poetic but also alive with questions, Novo’s work is situated in the context of the daily battles to get to the bottom of individual and collective identity. In his artistic practice he moves forward turning his back on the future, penetrating into the most hidden folds of history to offer us a fresh dialogue and a different point of observation. His works are often the result of joint efforts involving historians, cartographers, alchemists, botanists, musicians, designers, translators and military strategists, all engaged in the eternal struggle to gain freedom – individual and collective – , in the attempt to set into motion ideological mechanisms blocked by the rust and sediment that have accumulated over years of immobility and lethargy. -
Dalí's Surrea¡¡St Activities and the Model of Scientific Experimentationr
@ Astrid Ruffa, 2005 Dalí's surrea¡¡st activities and the model of scientific experimentationr Astrid Ruffa Abstract This paper aims to explore relationships between Salvador Dalí's practices at the end of the 1920i ånd during the 1930s, and models of scientific experimentation. ln 1928 Dalí took a growing interest in André Breton's automatism and elaborated his first conception of õurrealilm which was based on the model of the scientific observation of nature. Dalí's writings of this period mimicked protocols of botanic or entomological experiments and refonñulated in an original way Bre'ton's surrealist proiect: they simulated the conditions and practices of scientific óbservaiions of nature. Paradoxically, this documentaristic and hyper- were oO¡éctive attitude led to a hyper-subjective and surrealistic description of reality: objects taken out of their context, if,ey were broken up and no longer recognisable' When Dalí his officially entered Breton's group-and conceived the paranoiac-critical method, he focused attention on another scieniific model: Albert Einstein;s notion of space{ime. Dalí appropriated and a concept which defined the inextricable relationship between space{ime and the object which b'ecame, in his view, the mental model of the interaction between interiority and exteriority, invisible and visible, subjectivity and objectivity. Significantly, the Catalan artist almost rewrote one of Einstein's own papers, by pointing out the active dimension of Einstein's space-time and by conferring new meanings on his notion of the space-time curve. I will track down the migrátion of thiã concept from physics to Dalí's surrealist vision by most considering its importancã in writings where the artist uses his method to interpret the varied phðnomena, from the my[n ot Narcissus, to English pre-Raphaelitism and the architecture of Antoni Gaudí. -
Navin Rawanchaikul Selected Solo/Collaborative
NAVIN RAWANCHAIKUL 1971 Born in Chiang Mai, Thailand Lives and works in Chiang Mai and Fukuoka, Japan. SELECTED SOLO/COLLABORATIVE EXHIBITIONS/PROJECTS 2016 Lost on the Farm, Jim Thompson Farm Tour, Pak Thong Chai district, Nakhon Ratchasima, Thailand OKLAND, presented by Sovereign Art Foundation, Art Central, Hong Kong Postcards from Dubai, Southeast Asia Platform, presented by Yavuz Gallery, Art Stage Singapore, Singapore 2015 Tales of Navin, DC Collection, Chiang Mai, Thailand A Tale of Two Homes, OK Store and stuiOK, Chiang Mai, Thailand 2014 Every Second, Yokohama, Japan Hometowns, Fukutake House, Shodoshima Island, Japan Postcards from Dubai, presented by Yavuz Fine Art, Art Dubai, Dubai, UAE 2013 Slow Boat to Navinland, Slow Boat project in collaboration with Ikon Youth Program, Ikon Gallery, Birmingham, UK 2012 A Tale of Two Cities, presented by Yavuz Fine Art, ART HK, Hong Kong 2011 Navinland, Gallery Niklas Belenius, Stockholm, Sweden Paradiso di Navin, Paradiso, 54th International Exhibition Venice Biennale, Venice, Italy Places of Rebirth, Valentine Willie Fine Art, Singapore Places of Rebirth, Sakshi Gallery, Mumbai, India 2010 Māhākād Festival, Chiang Mai, Thailand Who is Navin?, Gallery Niklas Belenius, Stockholm, Sweden SUPER CHINA!, Ullens Center For Contemporary Art, Beijing, China We Love You Comrade Navin, Café for Contemporary Art, Vancouver, Canada 2008 Dim Sum Rider, Tang Contemporary Art, Hong Kong Navin’s Sala, The River Promenade, Bangkok, Thailand Navinland Cinema, Sakshi Gallery, Mumbai, India 2007 Navins of -
Barbara Kruger Born 1945 in Newark, New Jersey
This document was updated February 26, 2021. For reference only and not for purposes of publication. For more information, please contact the gallery. Barbara Kruger Born 1945 in Newark, New Jersey. Lives and works in Los Angeles and New York. EDUCATION 1966 Art and Design, Parsons School of Design, New York 1965 Syracuse University, Syracuse, New York SELECTED SOLO EXHIBITIONS 2021-2023 Barbara Kruger: Thinking of You, I Mean Me, I Mean You, Art Institute of Chicago [itinerary: Los Angeles County Museum of Art; The Museum of Modern Art, New York] [forthcoming] [catalogue forthcoming] 2019 Barbara Kruger: Forever, Amorepacific Museum of Art (APMA), Seoul [catalogue] Barbara Kruger - Kaiserringträgerin der Stadt Goslar, Mönchehaus Museum Goslar, Goslar, Germany 2018 Barbara Kruger: 1978, Mary Boone Gallery, New York 2017 Barbara Kruger: FOREVER, Sprüth Magers, Berlin Barbara Kruger: Gluttony, Museet for Religiøs Kunst, Lemvig, Denmark Barbara Kruger: Public Service Announcements, Wexner Center for the Arts, Columbus, Ohio 2016 Barbara Kruger: Empatía, Metro Bellas Artes, Mexico City In the Tower: Barbara Kruger, National Gallery of Art, Washington, DC 2015 Barbara Kruger: Early Works, Skarstedt Gallery, London 2014 Barbara Kruger, Modern Art Oxford, England [catalogue] 2013 Barbara Kruger: Believe and Doubt, Kunsthaus Bregenz, Austria [catalogue] 2012-2014 Barbara Kruger: Belief + Doubt, Hirshhorn Museum and Sculpture Garden, Washington, DC 2012 Barbara Kruger: Questions, Arbeiterkammer Wien, Vienna 2011 Edition 46 - Barbara Kruger, Pinakothek -
SUPERFLEX Formed in 1993 by Bjørnstjerne Reuter Christiansen
SUPERFLEX Formed in 1993 by Bjørnstjerne Reuter Christiansen, Jakob Fenger, Rasmus Nielsen. The Danish artist group SUPERFLEX has been working since 1993 on a series of projects to do with economic forces, democratic production conditions and self-organisation. With a diverse and complex practice that engages art, design, commerce and economic structures of dependency, the Copenhagenbased artists collective Superflex challenges the role of artists in contemporary society and explore the nature of globalization through ongoing collaborative projects. Bjørnstjerne Reuter Christiansen born 1969 Jakob Fenger born 1968 Rasmus Nielsen born 1969 Work and live in Copenhagen, Denmark & Sweden Education The Royal Academy of Fine Art in Copenhagen Solo exhibitions (selected) 2014 The Corrupt Show and The Speculative Machine, The Jumex Foundation, Mexico City, MX Superflex, Kunsthal Charlottenborg, Copenhagen 2013 Mærsk – The Opera, Horsens Art Museum, Horsens, DK 2012 7th Liverpool Biennial, Liverpool, GB Kuh, Thyssen-Bornemisza Art Contemporary, Vienna, AT Reprototypes, Triangulations and Road Tests – w. Simon Starling, Thyssen-Bornemisza Art Contemporary, Vienna, AT Prouvé in Africa / Bent, Pressed, Compressed, Welded, and then Copied, Musée d’Art Moderne, St-Etienne, FR Bankrupt Banks, Peter Blum, New York, US Modern Times Forever, 1301PE Gallery, Los Angeles, US Flooded McDonald’s, The Cube, Taipei, Taiwan 2011 COPY LIGHT – MODERN TIMES FOREVER, Galerie Jeusse Entreprise, Paris, FR Flooded McDonalds, Museum der Westkünste, Alkersum/Föhr, D Foreigners, -
Unpacking My Collection
University of Wollongong Research Online University of Wollongong Thesis Collection 2017+ University of Wollongong Thesis Collections 2019 Unpacking My Collection Newell Marcel Harry University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses1 University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Harry, Newell Marcel, Unpacking My Collection, Doctor of Creative Arts thesis, School of the Arts, English & Media, University of Wollongong, 2019. https://ro.uow.edu.au/theses1/794 Research Online is the open access institutional repository for the University of Wollongong. -
The Art of Regeneration: the Establishment and Development of the Foundation for Art and Creative Technology, 1985–2010
The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985–2010 Thesis submitted in accordance with the requirements of the University of Liverpool for the degree of Doctor of Philosophy by Jane Clayton School of Architecture, University of Liverpool August 2012 iii Abstract The Art of Regeneration: the establishment and development of the Foundation for Art and Creative Technology, 1985-2010 Jane Clayton This thesis is about change. It is about the way that art organisations have increasingly been used in the regeneration of the physical environment and the rejuvenation of local communities, and the impact that this has had on contemporary society. This historical analysis of the development of a young art organisation, the Foundation for Art and Creative Technology (FACT), which has previously not been studied in depth, provides an original contribution to knowledge with regard to art and culture, and more specifically the development of media and community art practices, in Britain. The nature of FACT’s development is assessed in the context of the political, socio- economic and cultural environment of its host city, Liverpool, and the organisation is placed within broader discourses on art practice, cultural policy, and regeneration. The questions that are addressed – of local responsibility, government funding and institutionalisation – are essential to an understanding of the role that publicly funded organisations play within the institutional framework of society, without which the analysis of the influence of the state on our cultural identity cannot be achieved. The research was conducted through the triangulation of qualitative research methods including participant observation, in-depth interviews and original archival research, and the findings have been used to build upon the foundations of the historical analysis and critical examination of existing literature in the fields of regeneration and culture, art and media, and museum theory and practice. -
Design & Empire [Working Title]
Design & Empire [working title] 24 – 26 November 2017 Liverpool, various venues Design & Empire [working title] is a weekend of events exploring the power structures embedded within contemporary and historical design, visual art, and consumer culture. Presented by Liverpool Biennial and Liverpool John Moores University and curated by Prem Krishnamurthy, Emily King, and Joasia Krysa, Design & Empire brings together practitioners from the fields of art, design, architecture, and fashion. Framed by guided city tours exploring Liverpool’s architectural past and a cooking event serving a colonial-style Christmas, the weekend presents a series of talks from leading creative voices. These conversations touch upon topics ranging from national identity and the display of museum collections, copying within creative manufacturing, distributed models of property ownership, postcolonial approaches to contemporary fashion, reuse and revaluation of bio-industrial materials, the politics of computer interfaces, and beyond. With Liverpool as both the subject and stage, Design & Empire will collaborate with its citizens in challenging aspects of Liverpool’s imperial legacy whilst reflecting on current practices within design and visual culture. All events are free with booking required via www.biennial.com Delivered in partnership with RIBA North and The Serving Library at Liverpool John Moores University’s Exhibition Research Lab. Funded by Arts Council England. Organised with support from Jana Lukavečki. Thanks to Ian Mitchell, Mike O'Shaughnessy and -
Introduction//012 Origins and Definitions//022 Conventions
Introduction//012 ORIGINS AND DEFINITIONS//022 CONVENTIONS//036 DOES DOCUMENTARY EXIST?//050 PHOTOJOURNALISM AND DOCUMENTARY: FOR, AGAINST AND BEYOND//078 ACTIVE AND PASSIVE SPECTATORS//116 THE LIMITS OF THE VISIBLE//150 DOCUMENTARY FICTIONS//178 COMMITMENT//198 BIOGRAPHICAL NOTES//228 Bibliography//230 INDEX//234 ACKNOWLEDGEMENTS//239 The immediate instruments are two: the motionless camera and the printed word. The governing instrument – which is also one of the centres of the subject – is individual, anti-authoritative human consciousness. James Agee, with Walker Evans, Let Us Now Praise Famous Men, 1941 ORIGINS AND DEFINITIONS ACTIVE AND PASSIVE SPECTATORS Walter Benjamin Thirteen Theses Against Snobs, Susan Sontag On Photography, 1977//118 1928//024 Martha Rosler in, around, and afterthoughts Elizabeth McCausland Documentary Photography, (on documentary photography), 1981//122 1939//025 Ariella Azoulay Citizenship Beyond Sovereignty: James Agee, with Walker Evans Let Us Now Praise Towards a Redefinition of Spectatorship, 2008//130 Famous Men, 1941//029 Judith Butler Torture and the Ethics of Photography, John Grierson Postwar Patterns, 1946//030 2009//135 Hito Steyerl A Language of Practice, 2008//145 CONVENTIONS Philip Jones Griffiths The Curse of Colour, 2000//038 THE LIMITS OF THE VISIBLE An-My Lê Interview with Art21, 2007//042 Georges Didi-Huberman Images in Spite of All: David Goldblatt Interview with Mark Haworth-Booth, Four Photographs from Auschwitz, 2003//152 2005//047 Harun Farocki Reality Would Have to Begin, 2004//155 Lisa F. Jackson Interview with Melissa Silverstein, DOES DOCUMENTARY EXIST? 2008//163 Carl Plantinga What a Documentary Is, After All, Lisa F. Jackson Interview with Ben Kharakh, 2008//165 2005//052 Ursula Biemann Black Sea Files, 2005//168 Jacques Rancière Naked Image, Ostensive Image, Marta Zarzycka Showing Sounds: Listening to War Metamorphic Image, 2003//063 Photographs, 2012//171 Trinh T. -
Takashi Ishida “Between Tableau and Window” Dates: Oct
Takashi Ishida “Between Tableau and Window” Dates: Oct. 20 – Nov. 17, 2018 Location: Taka Ishii Gallery Tokyo Opening reception: Saturday, Oct. 20, 18:00 - 20:00 Taka Ishii Gallery is pleased to present “Between Tableau and Window,” solo exhibition of works by Takashi Ishida. This will be the artist’s third solo exhibition with the gallery in five years. The show features works made on 16mm film, the first medium the artist worked with, as well as his newest piece, comprising a tableau and video projection, which explores the image from multiple perspectives. For the current exhibition, Ishida devoted a great amount of time to work on a single tableaux painting and recorded, as an astoundingly dense drawing animation, the process of the act of painting gradually extending to the entire room. In editing this animation, he discovered a structure hidden in the unconsciously performed painting process, reconstructed it, and produced a space filled with a multilayered light between a picture and a window. To examine the essence of moving images and the relation between painting, and time, Ishida has previously explored the irreversibility and repetition of time through the editing process. This time, he has additionally taken on new elements such as film and digital video flickers and overlapped light. While the rectangular form of the tableau mimics the window, it is folded over, expanded, and eventually, with light, corrodes the space it is in. The work’s motifs are the “room” and the “window”; both are materializations of Ishida’s primary motif of the rectangle. Where “Light Falls” (2015), produced for the artist’s solo exhibition at the Yokohama Museum of Art, comprised a room with a canvas suspended in the air. -
Announcing the Summary of Exhibition Contents and the Preview Artist List
The 3rd Press Conference Announcing the Summary of Exhibition Contents and the Preview Artist List Date/Time: Friday, December 13, 2013 16:00-17:15 Venue: Lecture Hall, Yokohama Museum of Art For inquiries, please contact the following: Organizing Committee for Yokohama Triennale Office c/o Yokohama Museum of Art 3-4-1 Minatomirai, Nishi-ku, Yokohama 220-0012 TEL +81-45-663-7232 FAX +81-45-681-7606 E-MAIL [email protected] URL http://www.yokohamatriennale.jp Attention: M. Takei Table of Contents The Summary of Exhibition Contents 2-3 The Preview Artist List (A total of 7 artists) 4-6 Curatorial and Exhibition Team 7 Visual Design 8 “Triennale in the City” 9-10 Outline of Yokohama Triennale 2014 11 Yokohama Triennale 1st-4th Editions / 12 Organizing Committee for Yokohama Triennale Press Release 2013. 12. 13 2 The Summary of Exhibition Contents Artistic Director, Yokohama Triennale 2014 MORIMURA Yasumasa Embarking on a Voyage into the Sea of Oblivion Haven’t we left behind something that is fundamentally important? Have we moved on without realizing it, or simply, left it behind, while knowing it all along? There are artists and artistic expressions that respond acutely to this realm of oblivion. Yokohama Triennale 2014 will be a “voyage into the sea of oblivion.” It will make us recall things that have been inadvertently lost from our lives, things that have been perpetually forgotten by human beings, and particular things that have been lost in the contemporary age. A Voyage of Silence and Whispers Things that are quiet fail to be recorded, and are therefore, forgotten.