Maurizio Nannucci Undisclosed Recipients
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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 Rasheed Araeen, A Retrospective Vaclav Pozarek We Began by Measuring Distance Cabinet d’arts graphiques Julije Knifer Opening: May 29, 6 pm 10, rue des Vieux-Grenadiers, 1205 Geneva � � � � � � � p. 3 Press release p. 5 Rasheed Araeen, A Retrospective (1st floor ) p. 10 Vaclav Pozarek (2nd floor) p. 12 We Began by Measuring Distance (3rd floor) p. 13 Julije Knifer (2nd floor) p. 15 Cabinet d’arts graphiques: Yūichi Yokoyama (2nd floor) Other exhibitions p. 17 A Collection of Spaces (4th floor) p. 19 L’ Appartement (3rd floor) p. 21 Timothée Calame, Prix culturel Manor 2018 (4th floor) p. 23 PiQasso p. 24 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 � � � � � � � � � � � � � Rasheed Araeen, A Retrospective Vaclav Pozarek We Began by Measuring Distance Cabinet d’arts graphiques Julije Knifer Opening: May 29, 6 pm Press Conference: May 29, 11 am This summer, on occasion of the retrospec- spectators, who can sometimes alter their tive devoted to the Pakistani artist Rasheed arrangements. The retrospective, spanning a Araeen, MAMCO is inaugurating the first 60 years’ career, leads the visitors through phase of its reflections concerning the five chapters, from the works of the 1950s, internationalization of its exhibition corpus through the sculptures of the 1960s and and the emergence of a world art history. -
Yasunao Tone, Carsten Nicolai and Ryoji Ikeda Are Three Practitioners
LABS 2017 estAblishing A criticAl frAmework for the ApprAisAl of “noise” in contemporAry sound Art with specific reference to the prActices of YasunAo tone, Carsten nicolAi And ryoji ikedA Adam Collis Yasunao Tone, Carsten Nicolai and Ryoji produced by and about these practitioners, Ikeda are three practitioners representative of including commercial releases, works, writ- electronic music and sound-art practices that ings and interviews. What emerges from this emerged in the 1990s where sound materi- is that Heidegger’s notion of truth as “reveal- als not normally considered musical, such ing” and Derrida’s critique of phonocentrism as digital clicks, glitches and bursts of white can provide a clearer philosophical framework noise, are prevalent. The origins of this body for a consideration of this body of work. of work lie outside of the established music of This thesis argues that these practices reflect academia and the mainstream popular music a wider cultural shift away from the notion industry, and practitioners are often associated of “value” as something quantified, abstract with particular record labels, including Mille and intrinsic, toward one concerned with the Plateaux or Raster-Noton. While attempts qualitative, contextual and extrinsic, and that have been made to coalesce these practices these practices are forms of conceptual sound into a single unified genre, these assessments art that challenge both the notion of “absolute” tend to critique work mainly in technological music and the prevailing political-economic terms. structures. In contrast, this thesis draws out deeper Adam Collis: <[email protected]>. philosophical concerns relevant to these prac- PhD thesis, University of Surrey, U.K., 2016. -
PRESS RELEASE 2012.5.19 Media Contact
PRESS RELEASE 2012.5.19 Exhibition Title Collection Exhibition Son et Lumière – Material, Transition, Time Period Saturday April 28, 2012 - Sunday November 4, 2012 10:00 - 18:00 (until 20:00 on Fridays and Saturdays) Note: Tickets available until 30 minutes before closing Closed: Mondays, July 17, and September 18 (Open on April 30, July 16, August 13, September 17 and October 8) Venue 21st Century Museum of Contemporary Art, Kanazawa (Galleries7-12 and 14, Long-Term Project) *The exhibition period of Gallery 12 and Long-Term Project is April 28, 2012- August 31, 2012 Admission General: ¥350 (¥280*) / College students: ¥280 (¥220*) / Elem/JH/HS: Admisson free / 65 and older: ¥280 (*Prices in brackets for groups of 20 or more) Paticipating Artists AKIYAMA Yo / AWAZU Kiyoshi / Jan FABRE / Peter FISCHLI David WEISS / KIMURA Taiyo / KISHIMOTO Sayako / KUSAMA Yayoi / Gordon MATTA-CLARK / Carsten NICOLAI / Gerhard RICHTER / SAITO Makoto / TASHIMA Etsuko / Magnus WALLIN / Andy WARHOL Number of 24 works Exhibited Works Organized by 21st Century Museum of Contemporary Art, Kanazawa (Kanazawa Art Promotion and Development Foundation) Inquiries 21st Century Museum of Contemporary Art, Kanazawa (Tel +81-(0)76-220-2800) Media Contact Exhibition curator: KITADE Chieko Public relations office: SAWAI Misato, OCHIAI Hiroaki 1-2-1 Hirosaka, Kanazawa, Ishikawa Prefecture, Japan 920-8509 Tel: +81-(0)76-220-2814 Fax: +81-(0)76-220-2802 http://www.kanazawa21.jp E-mail: [email protected] PRESS RELEASE About the Exhibition In light there is darkness, in sound silence. Neither of these pairings are mutually exclusive concepts. Rather in each case the latter is a property inherent in the former. -
„Farben Hören, Töne Sehen. Ich Entwerfe Den Prozess, Aber Ich Bin Nicht Der Autor. Der Prozess Ist Der Autor. Man Kann Einen
Carsten Nicolai „Farben hören, Töne sehen. Ich entwerfe den Prozess, aber ich bin nicht der Autor. Der Prozess ist der Autor. Man kann einen Prozess ewig weiterlaufen lassen, würde sozusagen ewig Bilder oder Sound produzieren.“ 1 Farben hören Unsere fünf Sinne verdanken wir einem evolutionären sche Karten erinnerten. Chladni war überzeugt, etwas Zufall: fünf nah beieinander liegende Formen von Aussergewöhnliches entdeckt zu haben: die bildliche Sinneserfahrung, dennoch sind sie deutlich voneinan- Darstellung des Klanges, eine direkte Verbindung zwi- der getrennt, jeder für einen anderen Zweck und mit schen den Sinnen, die für ästhetische Wahrnehmung anderen Eigenschaften. Im Laufe der Moderne jedoch stehen – Sehen und Hören. Angesichts der entstan- haben Künstler und Naturwissenschaftler immer wie- denen Muster soll er in seiner Überraschung ausge- der versucht, diese Trennung der Sinneserfahrungen rufen haben: „Der Klang malt!“ Chladnis Experimente zu überwinden, um den nicht wegzudenkenden Unter- haben in die grundlegenden Lehrbücher der Physik schied zwischen Sehen, Hören, Schmecken, Tasten Eingang gefunden. Sie haben auch eine ganze Reihe und Riechen zu überbrücken. Ernst Chladni, Begrün- zeitgenössischer Künstler inspiriert. Insbesondere ist in der der modernen Akustik, strich im Jahr 1786 einen diesem Zusammenhang der Maler, Wissenschaftler Violinenbogen über den Rand einer Metallplatte, die und Musiker Hans Jenny hervorzuheben. Ein Jahrhun- mit Sand bedeckt war. Indem er dies tat, begannen dert vor Chladni berichtet der Philosoph John Locke die Sandkörner unterschiedliche Gestalten zu bilden, von seiner Verwunderung angesichts eines Falles, wo von einfachen Linien und Kurven bis zu komplizierten ein „gebildeter, blinder Mann“ die Farbe Scharlachrot Mustern, die an Sterne, Labyrinthe oder topographi- als den Klang einer Trompete empfand. -
Press Release NEW SCULPTURE at the PEGGY GUGGENHEIM
Palazzo Venier dei Leoni 701 Dorsoduro 30123 Venezia, Italy Telephone 041 2405 411 Telefax 041 5206885 Press release NEW SCULPTURE AT THE PEGGY GUGGENHEIM COLLECTION July 4--presentation by Giovanni Carandente and Luca Massimo Barbero of works by Alexander Calder, Maurizio Nannucci, Isamu Noguchi, David Smith, Giuseppe Spagnulo Five new sculptures, including works by the greatest American sculptors of the 20th century, have been installed in the outdoor spaces of the Peggy Guggenheim Collection, Venice. The Collection is the major venue for Modernist sculpture in Italy, and the only museum where sculptures, from Alberto Giacometti and Jean Arp to Jenny Holzer and Fabrizio Plessi, from Henry Moore to Marino Marini and Anthony Caro, can be seen together. The new arrivals are by Americans David Smith, Isamu Noguchi and Alexander Calder, and by Giuseppe Spagnulo and Maurizio Nannucci, two of Italy’s leading living Italian sculptors. On 4 July 2004, 11.30 am, at the Peggy Guggenheim Collection, Giovanni Carandente, formerly director of the 1962 Fourth Spoleto Festival of Two Worlds and of the 1988 and 1990 Venice Biennales, and Luca Massimo Barbero, Associate Curator of the Peggy Guggenheim Collection, will present the works to the public and to the press. Over the years, outdoor sculpture at the Peggy Guggenheim Collection has come to be one of its main attractions. As early as 1985 Luciano Minguzzi donated Two Figures (1950-1952) and in 1989 Mario Merz installed a neon sculpture on the principal garden wall, If the Form Vanishes, Its Root is Eternal (1982-89). In 1995 an agreement was signed with the Patsy and Raymond Nasher Foundation whereby sculpture from the Nasher Collection would be loaned for display in what is now known as The Nasher Sculpture Garden. -
Auto PILOT CARSTEN N I C O L a I
230781640628620899862803482534 64823378678316527120190914564 602 aUTO 1465495853710507922796892PILOT 5892354 1059731732816096318595024459455CARSTEN N I C O L A I 3 731159562863882353 4201989380952 572010654858632 7242454150695950829533 11686172 4012858361603 47104047534 09341 7216412199245863150302861 7467289097777279380008164 862518983569485 2327917860857843838279679766814 60424196528502221066118630674 305068203496 885959772975498930161753928468 73622 26260991246080512 456498035593634 6829989487226588048575640142 1021359695362314429524849371871 138687519435064302184531910484 4894090718649423196156794520809514 11706798214808651328230664709 0199561121290 690830264 252230825334 8865936153381 82796823030 29745557067498385054945885 410 78622039194945047123713786960956 1382686838689427 145765403 005370614680 55022523160388193014209376213 aUTO PILOT CARSTEN N I C O L A I raster-noton Inhalt/Contents 05 Source of innovation, keywords from a sketch Takashi Ikegami 08 Von der Synapse zum Signal: Carsten Nicolais ›telefunken‹ 14 From synapse to signal: Carsten Nicolai’s ‘telefunken ’ Christoph Cox 20 Nachrichten aus der Produktion 32 News from the production front Martin Pesch 59 Laboratorium ist die Antwort. Was ist die Frage? – ein Gespräch 74 Laboratorium is the answer.What ist the question? – a conversation Hans Ulrich Obrist, Carsten Nicolai 86 Sketch Takashi Ikegami 96 Appendix 3 4 Source of innovation Takashi Ikegami understanding/what is randomness noise generates structures in non equal. open systems dissipative structure noise in dna- -
Press Release Jonathan Monk
Press Release Three Ball Total Equilibrium Tank and other problems JONATHAN MONK 15 June – 25 July 2020 Monday, June 15, 2020 at 6:00 pm, after the long pause caused by Covid-19 pandemic, Quartz Studio is pleased to present Three Ball Total Equilibrium Tank and other problems, an edition by Jonathan Monk (Leicester, UK, 1969), purposely conceived for the Turin non-profit space. The project of this edition, following the one of Poster (Manifesto), realized in collaboration with Maurizio Nannucci in 2014, was pending since the exhibition Cool Your Jets (2016), resulting from a dialogue between Liam Gillick and Jonathan Monk on the topics of soccer and economy. Now, within the expanded time of the health emergency, that idea finally takes shape in order to support Quartz through the production of an edition of 10 (+1 AP). On the occasion, three installations have been produced. Each of them is composed by seven hexagonal cement tiles replicating the colors of the original Quartz floor cement tiles and three balls realized in Germany in 2016, thanks to the technical advice of Giulia Mainetti from Altofragile studio, Milan. The original project for the exhibition Cool Your Jets - writes the critic Marco Scotti – was born from a conversation between Jonathan Monk and Liam Gillick, in which to the questions posed by the latter related to themes of contemporary sociology, the former replied with quotations from the world of football. In Monk’s continuous interactions between conceptual art and autobiography, this sport regularly recurs, starting -
William Leavitt & Bas Jan Ader
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 �M William Leavitt, Retrospective General Idea, Photographs (1969-1982)–extended Narrative Art Fictional Artists Gordon Matta-Clark, Food Adrian Piper, The Mythic Being Martha Rosler, House Beautiful: Bringing the War Home Allen Ruppersberg, The Never Ending Book Opening : Tuesday October 10, 2017 – 6pm 10, rue des Vieux-Grenadiers, 1205 Geneva William Leavitt, Theme Restaurant, 1986. Oil on canvas. 116,84 x 182,88 cm, Collection Richard S. Massey, Miami (FL) � � � � � � � p. 3 Press Release–Fall exhibitions Main exhibitions p. 4 William Leavitt, Retrospective p. 7 General Idea, Photographs (1969–1982)–extended Other exhibitions p. 9 Narrative Art p. 11 Fictional Artists p. 14 Gordon Matta-Clark, Food p. 15 Adrian Piper, The Mythic Being p. 16 Martha Rosler, House Beautiful: Bringing the War Home p. 17 Allen Ruppersberg, The Never Ending Book p. 18 A Collection of Spaces Collections p. 20 L’ Appartement p. 21 William Leavitt & Bas Jan Ader: Landslide p. 22 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 � � � � � � � � � � � � � William Leavitt, Retrospective General Idea, Photographs (1969–1982)–extended Narrative Art Fictional Artists Gordon Matta-Clark, Food Adrian Piper, The Mythic Being Martha Rosler, House Beautiful: Bringing the War Home Allen Ruppersberg, The Never Ending Book Exhibitions from October 11, 2017 until February 4, 2018 Press conference Tuesday October 10, 2017, 11 am This fall, MAMCO is organizing the first “Narrative Art” or the fictional dimension pre- European retrospective of William Leavitt sent in the practice of General Idea, whose (born in 1941, Washington, USA), an histo- exhibition is extended until the beginning of ric figure of the Los Angeles art scene. -
Adventures in Film Music Redux Composer Profiles
Adventures in Film Music Redux - Composer Profiles ADVENTURES IN FILM MUSIC REDUX COMPOSER PROFILES A. R. RAHMAN Elizabeth: The Golden Age A.R. Rahman, in full Allah Rakha Rahman, original name A.S. Dileep Kumar, (born January 6, 1966, Madras [now Chennai], India), Indian composer whose extensive body of work for film and stage earned him the nickname “the Mozart of Madras.” Rahman continued his work for the screen, scoring films for Bollywood and, increasingly, Hollywood. He contributed a song to the soundtrack of Spike Lee’s Inside Man (2006) and co- wrote the score for Elizabeth: The Golden Age (2007). However, his true breakthrough to Western audiences came with Danny Boyle’s rags-to-riches saga Slumdog Millionaire (2008). Rahman’s score, which captured the frenzied pace of life in Mumbai’s underclass, dominated the awards circuit in 2009. He collected a British Academy of Film and Television Arts (BAFTA) Award for best music as well as a Golden Globe and an Academy Award for best score. He also won the Academy Award for best song for “Jai Ho,” a Latin-infused dance track that accompanied the film’s closing Bollywood-style dance number. Rahman’s streak continued at the Grammy Awards in 2010, where he collected the prize for best soundtrack and “Jai Ho” was again honoured as best song appearing on a soundtrack. Rahman’s later notable scores included those for the films 127 Hours (2010)—for which he received another Academy Award nomination—and the Hindi-language movies Rockstar (2011), Raanjhanaa (2013), Highway (2014), and Beyond the Clouds (2017). -
Carsten Nicolai | Syn Chron
YCAM PRESS RELEASE YCAM presents The exhibition of new installation carsten nicolai | syn chron Photo: Uwe Walter, Berlin Period: 17 December (Sat.) 2005 - 19 February (Sun.) 2006 (*Note: Closed Tuesdays and 27 December 2005 - 03 January 2006) Time: 12:00 - 20:00 Venue: Yamaguchi Center for Arts and Media / Studio A Admission: Free http://synchron.ycam.jp/ Organizer: Yamaguchi City Foundation for Cultural Promotion Support: GOETHE-INSTITUT OSAKA, Deutschland in Japan 2005/2006, Yamaguchi City, the Board of Education of Yamaguchi City Co-sponsor: ASAHI BEER ARTS FOUNDATION Co-production: YCAM InterLab Produced by Yamaguchi Center for Arts and Media Project Curator: Kazunao Abe (YCAM) Commissioned and produced by Freunde Guter Musik Berlin e.V. In collaboration with Neue Nationalgalerie, Staatliche Museen zu Berlin and MaerzMusik / Berliner Festspiele Made possible by grants from the Ernst Schering Foundation and the Hauptstadtkulturfonds With support from JENOPTIK AG, LaserAnimation SOLLINGER GmbH and ELAC Electroacustic GmbH Co-produced by Biennale Bern 05 carsten nicolai | syn chron at YCAM Carsten Nicolai’s installation “syn chron” was presented for the first time at New National Gallery (designed by Mies van der Rohe) in Berlin this February 2005. This new work of his stirred a sensation. Its exhibition at YCAM realized in cooperation with the organizers in Berlin is the first showing in Japan and Asia. The idea of this work was conceived two years ago, and then a project, planned together with Nicolai on the assumption that it would be displayed in Berlin and Yamaguchi, was developed as a site-specific collaborative project. On top of that, this new version with the renovated sound/image content is introduced to the public for the first time. -
Ryuichi SAKAMOTO: from Bach to Rock to Pop
Volume 4 | Issue 12 | Article ID 2284 | Dec 02, 2006 The Asia-Pacific Journal | Japan Focus Ryuichi SAKAMOTO: From Bach to Rock to Pop . and the Fate of the Corporate Earth David McNeill Ryuichi SAKAMOTO: From Bach to Rock to Pop . and the Fate of the Corporate Earth Interviewed by David McNeill Japan's expat rebel with many causes blends music and a wider world view Former Japanese pop heart-throb and musical pioneer Ryuichi Sakamoto talks to David McNeill about music, the state of the planet -- and why he still reluctantly lives in New York City. What a long, strange journey it has been for Ryuichi Sakamoto. A revolutionary firebrand in the 1960s, he morphed into a '70s techno-pop pioneer with the seminal band Yellow Magic Orchestra, which he co-founded with Hosono Haruomi and Takahashi Yukihiro. YMO became one of Japan's biggest-selling bands ever -- and even posted a late-'70s Top 20 hit in Britain with "Firecracker." The band was also a key influence on the techno and house movements that swept Western pop culture a decade later. Multi-talented Ryuichi Sakamoto pictured during his recent interview in Tokyo. Jeremy Sutton-Hibbert Photo After a brief stint as a movie star in the early 1980s, including his role in Oshima Nagisa 's 1983 standout "Merry Christmas Mr. Lawrence" -- for which he also wrote the soundtrack -- Sakamoto co-wrote (with Talking Heads' singer David Byrne and Cong Su) the 1987 Oscar-winning soundtrack for Bernardo Bertolucci's "The Last Emperor" -- still the best known of the many soundtracks he has written 1 4 | 12 | 0 APJ | JF -- of which 2002's "Femme Fatale" is among his latest. -
Nanucci Int 150 OK.Indd 1 8/02/08 16:12:26 Nanucci Int 150 OK.Indd 2 8/02/08 16:12:26 Maurizio Nannucci Undisclosed Recipients 1998 / 2002
nanucci_int_150_OK.indd 1 8/02/08 16:12:26 nanucci_int_150_OK.indd 2 8/02/08 16:12:26 Maurizio Nannucci Undisclosed Recipients 1998 / 2002 onestar press nanucci_int_150_OK.indd 3 8/02/08 16:12:26 nanucci_int_150_OK.indd 4 8/02/08 16:12:26 Renzo Piano Building Workshop, 27-01-1998, 16:59, Re: Genova Porto... 5 From: "Renzo Piano Building workshop"<[email protected]> To: [email protected] Date: Tue, 27 JAN 1998 16:59:47 -0400 Subject: Re: Genova porto antico Abbiamo pensato con Renzo Piano di chiederti una proposta per una tua opera, una scritta luminosa, per l’edificio dei magazzini del cotone nel porto antico. Ti prego di contattarmi telefonicamente. saluti Venanzio Truffelli MessageMessage for [email protected] [email protected] (Maurizio (Maurizio Nannucci) Nannucci) nanucci_int_150_OK.indd 5 8/02/08 16:12:27 John Goodwin, 5-2-1998, 10:15, Re: saluti & news 66 X-Lotus-FromDomain: ACTORONTO From: "John Goodwin"<[email protected]> To: [email protected] Date: Tue, 5 Feb 1998 10:15:47 -0400 Subject: Re: saluti & news Hi Maurizio, Just yesterday I finally put together the balance of my 10% deposit for my loft - this amount has to be paid on 1 March 1998 - so now I can stop worrying about paying for my loft as I have no other costs until I move in in June 1998. So now I will proceed with the balls and am currently looking for a nice black box. I have not been to Europe in so long, and I really miss it and my friends - so I would like to consider an exchange some time; I would need to arrange for boarding of my dog, Barney, but that is not difficult.