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Goshka Macuga: to the Son of Man Who Ate the Scroll” at Its Milan Venue from 4 February to 19 June 2016
FONDAZIONE PRADA PRESENTS “GOSHKA MACUGA: TO THE SON OF MAN WHO ATE THE SCROLL” AT ITS MILAN VENUE FROM 4 FEBRUARY TO 19 JUNE 2016 Milan, 3 February 2016 – Fondazione Prada presents the exhibition “To the Son of Man Who Ate the Scroll” by Goshka Macuga in Milan from 4 February to 19 June 2016 in the spaces of the Podium, the Cisterna and the Sud gallery. The project was conceived and designed by Goshka Macuga whose artistic practice is often referred to as taking on the roles of an artist, curator, collector, researcher and exhibition designer. Macuga describes these categories that are often attached to her practice, as “predicating her position within, and making her part of, an art historical taxonomy”. The artist works across a variety of media including sculpture, installation, photography, architecture and design and explores how and why we remember both cultural and personal events, with a particular focus on how we create our own classificatory systems for producing and remembering knowledge in times of rapidly advancing technology and information saturation. “To the Son of Man Who Ate the Scroll”, developed by the artist for Fondazione Prada’s spaces, brings together reflections on seminal issues such as time, beginnings and endings, collapse and renewal. Observing humanity’s concern with the conclusion of mankind, Macuga poses a fundamental question: how important is it to address the question of “the end” in the context of contemporary art practice? Our ability, as human beings, to conceive the universe abstractly and to imagine ourselves objectively allows us a vantage point from which to view the age we are living in as one of the many in our universe’s history, leading us to imagine an existence beyond ourselves, a universe without humanity. -
Goshka Macuga: Time As Fabric,” the First New York Museum Exhibition of the Artist’S Work
TEL +1 212.219.1222 FAX +1 212.431.5326 newmuseum.org FOR IMMEDIATE RELEASE PRESS CONTACTS: May 3, 2016 Gabriel Einsohn, Senior Communications Director Allison Underwood, Press & Social Media Manager [email protected] 212.219.1222 x209 Andrea Schwan, Andrea Schwan Inc. [email protected] 917.371.5023 New Museum Presents “Goshka Macuga: Time as Fabric,” the First New York Museum Exhibition of the Artist’s Work Exhibition Features Recent Projects Including Large-Scale Tapestries May 4–June 26, 2016 New York, NY…“Goshka Macuga: Time as Fabric” is the first New York museum exhibition of work by London-based artist Goshka Macuga (b. 1967 Warsaw, Poland). Macuga’s practice typically applies in-depth historical and archival research to an interest in the evolving relationships among artists, institutions, politics, and communities. Her works investigate how art can be used to voice current concerns, rouse public debate, and inspire social change. Within her images and installations, she unearths associations between different actors (people, objects, and sites) that, in many cases, problematize the ways in which different organizations engage their publics and are shaped by socioeconomic and cultural developments in society. Throughout her career, Macuga’s work has embraced diverse mediums including sculpture, installation, architecture, and design. The content and format of her projects are often determined by the specific institutional contexts in which her work is shown. Occupying the New Museum’s Second Floor galleries, “Time as Fabric” brings together a selection of Macuga’s recent projects, including five of her tapestries and a theatrical environment. The exhibition is on view from May 4 to June 26, 2016. -
OCA AR2013.Pdf
p. 4 Director’s Foreword p. 6 Statement of the Board p.12 International Support p. 102 Biennials and Major Solo Exhibitions p. 127 International Studio Programme p. 134 International Residencies Office for Contemporary Art Norway Annual Report 2013 145 p. International Visitor Programme p. 152 OCA Semesterplan p. 164 OCA’s Publication Series Verksted p. 167 Project: ‘On Négritude: A Series of Lectures on the Politics of Art Production in Africa’ p. 171 Project: ‘WORD! WORD? WORD! Office for Issa Samb and the Contemporary Art Undecipherable Form’ Norway p. 182 Project: ‘Fashion: the Fall of an Industry’ p. 198 Project: ‘Anthropocene Observatory: Empire of Calculus’ p. 204 Norway at the Venice Biennale p. 214 OCA in the Press p. 237 Key Figures 2013 p. 257 Organisation and the Board 3 Dear Friend, A Letter to You This is a Letter to You. I have only recently arrived In this regard the necessity to stimulate a reading and we may have not yet met. In fact, we are still and intervention into history in unforeseen ways in the about to, or just have, moment during which becomes vital, so as to nurture and nourish the cre- contours touch, when interiors start to seep and ative potential of the day. Such interventions must blend. We are in the now that ignites a new endeav- be multiple in nature, asymmetric in duration, and our, and anticipates fresh liaisons along the expanse worldly in spirit. Indeed, as practitioners in Norway of a nation and the lands beyond it. Together we repeatedly point to the malleability of how the past start to interweave our thoughts and actions. -
Asia Arts Awards Hong Kong Auction to Benefit Asia Society Thursday, March 23, 2017 1
ASIA ARTS AWARDS HONG KONG AUCTION TO BENEFIT ASIA SOCIETY THURSDAY, MARCH 23, 2017 1. Xu Bing (b. 1955, Chongqing, China; lives and works in Beijing and New York) Phoenix, 2015 Digital print on paper 15 3/4 x 18 3/4 in. (40.1 x 47.7 cm) Artist Proof 1 of 8 Courtesy of the artist Suggested value: US$1,500.00 Xu Bing is a conceptual artist whose work draws on the creative use of language, words, and text. This is a print of an original drawing of Xu’s large-scale installation of the same name made from construction debris and light-emitting diodes. Phoenixes are traditionally associated with rebirth and Xu’s interpretation may be seen as a reflection on urbanization. The artist received a BFA in printmaking in 1981 and an MFA in 1987 from the Central Academy of Fine Arts (CAFA), Beijing. A recipient of the MacArthur Fellowship in 1999, Xu’s artworks have been exhibited worldwide, including at the 56th and 45th Venice Biennales (2015, 1993); Arthur M. Sackler Gallery, Washington, D.C. (2013, 2001); the Victoria and Albert Museum, London (2013); The Museum of Modern Art, New York (2007); The Metropolitan Museum of Art, New York (2006); the Biennale of Sydney (2002); and Johannesburg Biennale (1997), among others. The artist served as the Vice President of the Central Academy of Fine Arts, Beijing, from 2008 to 2014, and is currently a professor and member of the Academic Committee at CAFA. He was awarded a Doctorate of Humane Letters by Columbia University in 2010. -
Goshka Macuga Bez Tytułu (Dziewiąta Godzina), Fot.Butyniec-Podlaska Godzina), Justyna (Dziewiąta Nona Ora La Cattelana Uszkodzonejmaurizio Fragment Pracy
Goshka Macuga bez tytułu (Dziewiąta godzina), fot.Butyniec-Podlaska godzina), Justyna (Dziewiąta La nona ora La fragment uszkodzonej pracy Maurizio Cattelana Cattelana uszkodzonejMaurizio fragment pracy Maria Brewińska Goshka Macuga w swojej twórczości łączy role artystki, kuratorki, kolekcjonerki, badaczki, projektantki wystaw. Tworzy złożone pro- jekty oparte na materiałach archiwalnych, historycznych, nauko- wych, filmach, fotografiach, obiektach i rzeźbach, instalacjach, ar- chitekturze, historii sztuki, gobelinach, pracach własnych i innych artystów… Wpisuje je w nowe konteksty, łączy przeszłe fakty z rze- czywistością i problemami współczesności, unaoczniając podobień- stwa i zależności, odsłaniając to, co niewidoczne lub wyparte. Należy do tej grupy współczesnych artystów, którzy odwołują się do tradycji modernizmu zachodniego i amerykańskiego. Jej wystawy, które nie- rzadko cechuje oszczędność formalna, składają się z wielu warstw znaczeniowych niełatwych do identyfikacji, ale otwierających przed odbiorcą szerokie pole interpretacyjne. Od wielu lat Goshka Macuga uprawia własną me- presjonizmem (filmem Gabinet doktora Caligari todologię pracy, wyjątkową na tle działań współ- z 1919), w której wystawiali artyści biennale. In- czesnych artystów (przypomina ona niektóre stalacja stała się platformą do dyskusji, prze- strategie artystyczne z przeszłości, np. Marcela strzenią dla perfomansów. Macuga umieściła tam Broodthaersa). Realizując nowe prace czy wysta- także figuratywną rzeźbę somnambulika Cezara wy pełniące role prac, wychodzi najczęściej od (jednego z bohaterów wspomnianego filmu), historii miejsc, w których mają one zaistnieć, in- spoczywającego w białej trumnie. W Objects teresuje się kolekcjami instytucji, w których wy- in Relation, Art Now pokazywanej w 2007 roku stawia, biografiami i twórczością innych arty- w Tate Britain nawiązała do modernistycznej gru- stów, a także podejmuje z nimi bezpośrednią py Unit One i jej założyciela Paula Nasha, prezen- I Am Become Death, współpracę. -
CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale Di Venezia La Biennale Di Venezia President Presents Roberto Cicutto
LE MUSE INQUIETE WHEN LA BIENNALE DI VENEZIA MEETS HISTORY CENTRAL PAVILION, GIARDINI DELLA BIENNALE 29.08 — 8.12.2020 La Biennale di Venezia La Biennale di Venezia President presents Roberto Cicutto Board The Disquieted Muses. Luigi Brugnaro Vicepresidente When La Biennale di Venezia Meets History Claudia Ferrazzi Luca Zaia Auditors’ Committee Jair Lorenco Presidente Stefania Bortoletti Anna Maria Como in collaboration with Director General Istituto Luce-Cinecittà e Rai Teche Andrea Del Mercato and with AAMOD-Fondazione Archivio Audiovisivo del Movimento Operaio e Democratico Archivio Centrale dello Stato Archivio Ugo Mulas Bianconero Archivio Cameraphoto Epoche Fondazione Modena Arti Visive Galleria Nazionale d’Arte Moderna e Contemporanea IVESER Istituto Veneziano per la Storia della Resistenza e della Società Contemporanea LIMA Amsterdam Peggy Guggenheim Collection Tate Modern THE DISQUIETED MUSES… The title of the exhibition The Disquieted Muses. When La Biennale di Venezia Meets History does not just convey the content that visitors to the Central Pavilion in the Giardini della Biennale will encounter, but also a vision. Disquiet serves as a driving force behind research, which requires dialogue to verify its theories and needs history to absorb knowledge. This is what La Biennale does and will continue to do as it seeks to reinforce a methodology that creates even stronger bonds between its own disciplines. There are six Muses at the Biennale: Art, Architecture, Cinema, Theatre, Music and Dance, given a voice through the great events that fill Venice and the world every year. There are the places that serve as venues for all of La Biennale’s activities: the Giardini, the Arsenale, the Palazzo del Cinema and other cinemas on the Lido, the theatres, the city of Venice itself. -
Curriculum Vitae
CURRICULUM VITAE BM Çağdaş Sanat Merkezi BM Contemporary Art Center BERAL MADRA BM CONTEMPORARY ART CENTER AKKAVAK SOK: 1/1 34365 NİŞANTAŞ-ISTANBUL TEL: 0090 212 2310 1023 FAX: 0090 212 292 68 65 E-MAIL:/[email protected] / [email protected] www.pluversum.blogspot.com; www.supremepolicy.blogspot.com Art Critic and Curator, Director of BM Contemporary Art Center * Born in Istanbul (1942), Graduate of German High School, Istanbul (1951-1961) The University of Istanbul, Faculty of Literature, Department of Archaelogy (1967). Free lance art critic and curator (since 1980). Married to photographer and multi-media artist Teoman Madra, has two children: Tulya Madra: www.mosantimetre.com; Yahya Mete Madra : Ass.Prof. Bosphorus University (2011-) Language: German and English. Founding Member of Foundation for Future Culture and Art; AICA Turkey: www.aicaturkey.com ; Anadolu Kültür AŞ and AICA Turkey, European Culture Association: www.europist.net; Founding member of The Association for Modern and Contemporary Art of the Arab world, Iran, and Turkey (AMCA) (2007): www.amcainternational.org Teaching Experience: Academy of Fine Arts (1980-82); Yıldız University Art and Design Faculty (Founder of Art Management Program and Lecturer (2000-2004); Yeditepe University Art Management Program (2005-2006) ; BM CAC independent seminars and workshops on contemporary art, media art and photography since 2000. Gallery BM (1984-1991) and BM Contemporary Art Center (since 1991) 1984-2010-Curated the solo- exhibitions of the following artists: Ahmet Öktem, -
Vr Katalog Seite1-34 Korrigiert:Layout 1.Qxd
2 Inhalt Contents Sommaire Introduction 4 Horst Gerhard Haberl: Software agents heading for migration 8 Virtual Residency: International call for a virtual mass migration to the model house Europe 16 Virtual Residency – Entire Concept: Europe is expanding. 18 List of Participants 31 Exhibitions: Poland, Germany, France 36 PL/Lublin: Galeria Biala: Anna Nawrot and Jan Gryka – A short story about two meetings in Lublin 40 Concepts chosen for the first exhibition. 46 D/Völklingen: World Cultural Heritage Site Claudia Brieske: Not only the sharing of virtual and real space... 56 Concepts chosen for the second exhibition. 60 F/Metz: Centre d‘Art Contemporain Faux Mouvement Patrick Nardin – What is virtual about the “Virtual Residency”? 108 Concepts chosen for the third exhibition. 114 Artists chosen for the exhibitions. 128 Initiators: Bohr, Brieske, Huppert, Riethmüller 212 Credits 222 Links and Websites | The Website | The exhibitions 223 3 Monika Bohr, Claudia Brieske, Leslie Huppert, Gertrud Riethmüller: Introduction Monika Bohr, Claudia Brieske, Leslie Huppert und diesem Katalog dokumentiert sind. Diese flexible Gertrud Riethmüller sind eine Gruppe von Medien- Struktur hatte zur Folge, dass sich im Laufe der künstlerinnen, die mit der „Virtual Residency“ ihr Diskussion mit den Kooperationspartnern über die zweites internationales Medienkunstprojekt durch- Subthemen und der Entwicklung eigener Ausstel- führen. 2001 initiierten sie das Projekt „Gegenort – lungskonzeptionen der Rahmen des Projektes The Virtual Mine“1, das in einer alten Schachtan- ständig erweiterte und veränderte. Entstanden ist lage des Kohlebergbaus in Neunkirchen/Saar eine vielfältige und lebendige Auseinandersetzung realisiert wurde. In diesem Projekt hat die Gruppe mit dem Gesamtthema Migration. Die Projekt- mit Hilfe „virtueller Bohrungen“ über den Kanal des gruppe wird auch in Zukunft neue Partnerschaften Internets künstlerische Konzeptionen und Ideen mit Akteuren der europäischen Kulturszene von verschiedenen Orten der Welt gefördert. -
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. -
Love Me, Love Me Not Contemporary Art from Azerbaijan and Its Neighbours Collateral Event for the 55Th International Art Exhibition – La Biennale Di Venezia
Love Me, Love Me Not Contemporary Art from Azerbaijan and its Neighbours Collateral Event for the 55th International Art Exhibition – la Biennale di Venezia Moshiri and Slavs and Tatars, amongst selected artists. Faig Ahmed, Untitled, 2012. Thread Installation, dimensions variable Love Me, Love Me Not is an unprecedented exhibition of contemporary art from Azerbaijan and its neighbours, featuring recent work by 17 artists from Azerbaijan, Iran, Turkey, Russia, and Georgia. Produced and supported by YARAT, a not-for-profit contemporary art organisation based in Baku, and curated by Dina Nasser-Khadivi, the exhibition will be open to the public from 1st June until 24 th November 2013 at Tesa 100, Arsenale Nord, at The 55th International Art Exhibition – la Biennale di Venezia. Artists featured: Ali Hasanov (Azerbaijan) Faig Ahmed (Azerbaijan) Orkhan Huseynov (Azerbaijan) Rashad Alakbarov (Azerbaijan) Sitara Ibrahimova (Azerbaijan) Afruz Amighi (Iran) Aida Mahmudova (Azerbaijan) Taus Makhacheva (Russia) Shoja Azari (Iran) Farhad Moshiri (Iran) Rashad Babayev (Azerbaijan) Farid Rasulov (Azerbaijan) Mahmoud Bakhshi (Iran) Slavs and Tatars (‘Eurasia’) Ali Banisadr (Iran) Iliko Zautashvili (Georgia) "Each piece in this exhibition has a role of giving the viewers at least one new perspective on the nations represented in this pavilion, with the mere intent to give a better understanding of the area that is being covered. Showcasing work by these artists in a single exhibition aims to, ultimately, question how we each perceive history and geography. Art enables dialogue and the Venice Biennale has proven to be the best arena for cultural exchange." explains curator Dina Nasser-Khadivi. The exhibition offers a diverse range of media and subject matter, with video, installation and painting all on show. -
Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition
Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Clarissa Ricci Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition Abstract This paper argues that Cardinal Points of Art, directed by Achille Bonito Oliva has been decisive in the formation of the contemporary Venice Biennale. The 45th Venice Biennale, (1993) was memorable for many reasons: the first exhibi- tion of Chinese painters in Venice, its transnational approach, and because it was the last time the Aperto exhibition was shown. Nevertheless, this was a complex and much criticised Biennale whose specific characteristics are also connected to the process of reform that the institution had been undergoing since the 1970s. The analysis of the exhibition starts with the examination of this legacy and continues by questioning Bonito Oliva’s curatorial contribution in order to define the specific features which helped to shape the contemporary Venice Biennale. Keywords Venice Biennale, Aperto, 1993, Achille Bonito Oliva, Nomadism, Coexistence, Contemporaneity OBOE Published online: September 16, 2020 Journal On Biennials and Other Exhibitions To cite this article: Clarissa Ricci, “Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition”, OBOE Journal I, no. 1 (2020): ISSN 2724-086X 78-98. oboejournal.com To link to this article: https://doi.org/10.25432/2724-086X/1.1.0007 Journal On Biennials Why Venice? Vol. I, No. 1 (2020) and Other Exhibitions Towards a Contemporary Venice Biennale: Reassessing the Impact of the 1993 Exhibition¹ Clarissa Ricci Introduction The format of today’s Venice Biennale is the result of a long intellectual and polit- ical negotiation. -
Video Art and Art & Essay Film in Portugal
20 200 20 100 ARTE 20 70 20 50 20 40 20 30 VIDEO ART AND ART & ESSAY FILM IN PORTUGAL p. 1 eentrevistas.inddntrevistas.indd 1 008/12/048/12/04 119:03:309:03:30 Número – Arte e Cultura Associação e Editora / Association and Publishers Rua da Guiné 2, r/c Dto. 1170-173 Lisboa [email protected] Tel/Fax: +351 21 813 00 09 www.numerofestival.com www.portuguesefestival.com p. 2 eentrevistas.inddntrevistas.indd 2 008/12/048/12/04 119:03:329:03:32 Índice Contents Agradecimentos p.5 Acknowledgements Tirésias: Arte Made in Portugal p.6 Tiresias: Art Made in Portugal Dinis Guarda Dinis Guarda Vídeo Arte em Jogo p.20 Video Art at Stake Nuno Aníbal Figueiredo Nuno Aníbal Figueiredo Videoarte e imagem em movimento no mundo e em Portugal p.24 Video art and the moving image worldwide and in Portugal Dinis Guarda Dinis Guarda O Vídeo é por excelência o medium do século XXI p. 64 Video is the default medium of the twenty-fi rst century Catherine Elwes por Claire Nichols Catherine Elwes by Claire Nichols A Apropriação do Impróprio p.74 The Appropriation of the Improper Pedro Lapa por José Marmeleira Pedro Lapa by José Marmeleira A Arte contamina o Cinema, o Cinema contamina a Arte p.90 Art contaminates Cinema, Cinema contaminates Art João Fernandes por José Marmeleira João Fernandes by José Marmeleira Sou um artista que conta histórias... p.102 I am an artist who tells stories… Julião Sarmento por José Marmeleira Julião Sarmento by José Marmeleira Uma sala com obras em vídeo é uma sala que se apresenta a si própria p.108 An exhibition hall replete with