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La Biennale Di Venezia the Museum of Modern Art 1404-3408 N in New Yorkmoma Meets Moderna ISS WORLD ofIssue ART 3 VoluME 1 2001 LA BIENNALE DI VENEZIA THE MUSEUM OF MODERN ART 1404-3408 N IN NEW YORKMoMA MEETS MODERNA ISS USA $7,95 CANADA $8.95 EUROPE €8 ,9 5 NATIONAL GALLERY OF AUSTRALIA Frida Kahlo , Mexico 1907-1954, Mexico 1907-1954, , Vergel Foundation, New York. Reproduced courtesy INB York. New Foundation, Vergel Self Portrait with M onkeys . 1943 Oil on canvas, 81.5 x 63cm 1943 Oil on canvas, . A and Banco de Mexico FRIDA KAHLO, DIEGO RIVERA AND MEXICAN MODERNISM THE JACQUES AND NATASHA GELMAN COLLECTION NatioNAL GALLERY OF australia 13 JULY-28 OctoBER 2001 n g a NatioNAL GALLERY OF australia PARKES PLACE, PARKES ACT, GPO BoX 1150 CANBERRA ACT 2601, ACT 2601 AUSTRALIA Phone +61 2 6240 6431 FAX +61 2 6240 6561 www.nga.gov.au MoMA THE MUSEUM OF MODERN ART IN NEW YORK MOMA MEETS MODERNA 1960-2000 THE FOLLOWING ARTISTS ARE REPRESENTED IN LOUISE BOURGEOIS THE EXHIBITION MALCOLM BAILEY AD REINHARDT MARTHA ROSLER ADRIAN PIPER MARTIN PAAR ANDY WARHOL MELVIN EDWARDS BARbaRA KRUGER MICHA BAR-Am Andy Warhol BENEDICT J. FERNANDEZ NEAL BOENZI Vote McGovern BORIS MIHAILOV PAUL GRAHAM Screenprint 1972 CaRRIE MAE WEEMS 105x104.4 cm PEggY DIGGS CHARLES HARBUtt /MAGNUM PHILIP GUSTON .L. Los Angeles Gemini G.E CHARLES MOORE ed. 250 Gift of Philip ROBERT CRUMB Johnson ©2001 Andy CHRIS KILLIP ROBERT FRANK Warhol FoundationLicensed for the by isual Arts / CINDY SHERMAN V ociety Artists R ights S ROBERT GOBER ork. ©2001 RS) New Y DaVID GOLDBLAtt (A ROBERT HEINECKEN The Museum of Modernew York DaVID HAmmONDS Art N ROBERT INDIANA DaVID WOJNAROVICZ ROBERT MORRIS DECLAN HAUN ROGER MALLOCH DENNIS ADAMS RONALD L. HAEBERLE DIANE ARBUS SEbaSTIAO SALGADO DO-HO SUH SHOMEI TOMATSU ELMER SCHOOLEY STEPHEN PETROFF Emma AmOS SUE COE ENRIQUE CHAGOYA TULI KUPFERBERG ERNST COLE WILLIam KENTRIDGE FELIX GONZALEZ-TORRES WILLIam NELSON COPLEY GARRY WINOGRAND WILLIE COLE GENERAL IDEA VITALY KOMAR GILLES PERESS VITO ACCONCI GLENN LIGON ÖYVIND FAHLSTRÖM GUERILLA ART ACTION GROUP FROM MODERNA MUSEET’s HENRI CARTIER-BRESSON COLLECTION IDA APPLEBROOG ANNIka VON HAUSSWOLFF JENNY HOLZER DICK BENGTSSON JERRY KEARNS INGRID ORFALI JIM GOLDBERG JOHANNA BILLING JOHN FAWCEtt KARIN FROSTENSSON JUAN GENOVES LaRS HILLERSBERG KARA WALKER LENA CRONQVIST KEN DOMON LENA SVEDBERG KIKUJI KAWADA LOTTA ANTONSSON LaRRY SULTAN MARTIN WIKSTRÖM LaURIE SImmONS PETER DAHL LEON GOLUB PETER TILLBERG LES LEVINE STURE JOHANNESSON MODERN MUSEUM STOCKHOLM 19.5-26.8 2001 RESISTANCE MoMA THE MUSEUM OF MODERN ART IN NEW YORK MOMA MEETS MODERNA 1960-2000 Carrie Mae Weems Detail from “From here i saw What Happened and I Cried” 1995 Belongs to MoMA NY MODERN MUSEUM STOCKHOLM 19.5-26.8 2001 RESISTANCE MoMA THE MUSEUM OF MODERN ART IN NEW YORK MOMA MEETS MODERNA 1960-2000 In this summer’s big exhibition, Resistance, Moderna Museet co-operates with The Museum of Modern Art in New York. The exhibition is based on the MoMA-production: The Path of Resistance, which shows how art has developed as a political and social force, from the 1960’s till today. The American works are juxtaposed with works from the Moderna Museet’s collection. Following World War II, the conquering USA experienced a decade of success and confidence. The next decade saw an abrupt end to all of this: the Kennedy murder, the Vietnam war and the icy -cold relation with the eastern block revealed a gash in the shining metal hull of society. The model state was shown to be corrupt, chauvinistic and painfully prejudiced. The socially orientated art of the 60’s and 70’s had put a focus upon ‘the message’. The images which grew more distinct and poster-like, were often combined with cogent paroles. But reality changes, as do our concepts of “justice”, “freedom” and the “model state”. Within politics, the “left” and “right” proved to be difficult measures of social values. During the 80’s and the 90’s the Establishment and other power structures were questioned in a more subtle and less confident mode. The resistance expressed itself more delicately as reality proved itself to be less concrete and more ethereal. During the 80’s artists began using images derived from mass-culture and often altered their meaning by employing sophisticated methods. Artists like Cindy Sherman and Barbara Kruger took the commercial message of these images as well as the deeply rooted conceptions of race, gender and class. Using these, they managed to scrutinise the fabric of society and ruffle the lay of our hair. During the 90’s the circle is closed and the aesthetic viewpoints of the post-war era can again be observed. However the messages has been camouflaged and the “roots” infiltrated. Curator Joshua Siegel Co-ordinator at Moderna Museet David Elliott David Hammons African-American Flag 1990 MODERN MUSEUM Stockholm 19.5-26.8 2001 RESISTANCE MOMAMoMA In this summer’s bigTHE exhibition,MUSEUM OF MODERN ART INResistance, NEW YORK ModernaMOMA MEETS MODERN MuseetA 1960-2000 co-operates with The Museum of Modern Art in New York. The exhibition is based on the MoMA-production: The Path of Resistance, which shows how art has developed as a political and social force, from the 1960’s till today. Willie Cole Domestic I:D, IV Iron scorch and pencil on paper mounted in recycled painted wood window frame. (1992) MODERN MUSEUM STOCKHOLM 19.5-26.8 2001 RESISTANCE WORLD of ART INTERNATIONAL ArT MAGAZINE CONTEmpORAry ArT LEXICON Editor and Publisher PETRU RUSSU 49. BIENNALE ISSUE 3 VOLUME 1 2001 VENEZIA Creative & Managing Director PETRU RUSSU DI Contributing Editors ANDREA PAGNES TAMARA PASZTOR ANDRIAN SILVAN IONESCU Editorial Director MARTA DIMITRESCU Editorial Assistant JANNA BORG Art Director PETRU RUSSU Art Addiction Contributig Designer ANDRE RUSSU Beyond Silence Production ÅKE WALLEN, JOAKIM ZAAR Advertising ALON REICH Israel &Representatives +972 4 821 82 13 [email protected] ANTONIO CAMPOS KOPANAKIS Brazil +55 11 5081 4188 [email protected] BAIBA JAMES Australia +61 2 95643662 [email protected] GO BUSINESS SERVICE Italy +39 02 40091098 [email protected] INTERMEDIA PARTNERS GmBH Germany +49-202-27 16 90 [email protected] S.T. & ASSOCIATES LtD Greece THIS YEAR’S EXHIBITION AIMS FOR +30 1 29 25 100 [email protected] WORLD OF ART ISSN 1404-3408 IS PRECISELY THIS CONCRETE PUBLISHED BIMONTHLY Editorial & Advertising Tel & Fax +46 8 85.72.64 [email protected] To subscribe World of Art, Mörbylund 19, 9tr SE-182 30 EXPERIENCE OF FREEDOM. It OPENS Danderyd Sweden Fax+46 8 857264 E-mail: [email protected] WITH A KEY WORK BY JOSEPH Prices Annual subscription 6 issues US$ 40 Air Mail Europe add $ 20 Air Mail USA / Asia / Oceania add $ 30 BEUYS, THE END OF THE Postmaster Send address change to World of Art Mörbylund 19, 9tr SE-182 30 Danderyd TWENTIETH CENTURY. It WAS BEUYS Legal ANDREAS OLSON Typography VECTORA & SABON ABOVE ALL WHO WAS THE Printing THE FRIARY PRESS Great Britain Distribution COAST TO COAST North America INDEFATIGABLE SPOKESMAN FOR EXPORT & DISTRIBUTION SERVICES Europe INTERPRESS Sweden AC CIRCULATION PtY Australia THE CONCEPT OF LIBERTY, GIVING IT GORDON AND GOTH New Zealand LIVRARIA SICILIANO Brazil PLASTIC EXPRESSION AS A FIELD Mailing Agent MERCURY INTERNATIONAL USA First Cover ANDREA ZANATTA photograph Italy OF ENERGY: CAPITAL = CREATIVITY. HE HOPED THAT WITH THE END All right reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, OF THE OLD AND BEGINNING OF electronic, photographing or otherwise, without the prior permission of the publisher and copyright owner. THE NEW CENTURY OUR WARmtH Postage and a self-addressed return envelope must accompany unsolicited manuscript, photo- WOULD BE ENOUGH TO GENERATE graphs, and other submitted materials. However, World of Art is not responsible for unsolicited sub- missions. LIFE IN WHAT WAS INORGANIC. WORLD of ART 5 TOPIC by Andrea Pagnez NOT ONLY FOR THE ART oday, in artistic and poetic activities in gener4l, I think it is erhaps, too pretextly, contemporary art abusing metaphors absolutely necessary to retrace past paths again; from a strictly even if ripe with undoubtful evocative values), has focused Tobjective and not a deliberate subjective point of view. Only Pits effort on finding the most suitable symbol. But symbols - in this way is it possible to express the complexity of our time. The apart from a few involuntary, sporadic cases - can’t be configured importance of recovering the concepts of “place” and “continuity”, as autonomous objects. the necessity of historiographical revision - avoiding any cult of trend and tendency - will produce a vital, synergetic development and a oday, in contemporary art, the tragic sedimentation of signs, straightening in whatever the artistic expression. words, objects, its addition to something that is totally contrary to Twhat it really is and being less, is due to the fact that art seems deologists subdued by the concept of “progress” (material, intellectual, to become a perfect surrogate of fiction, an analogical simulation of etc.) have partly increased a sense of “uncomfortablness” in the imitation. Rather than conceiving forms and images, we presumptuously Ihuman condition. The results of this progress have contributed to give form to ideas!, we communicate a sense or a meaning, without the destabilization of man. He is no longer able to find his own center having previously understood its content, or, worse still, without (both socially or individually) within reality. He is constantly conditioned having previously singled it out. to achieve accumulation, to acquire wealth, to pursue arid careers etc. - not only for economic safeness but mostly, to affirm his own ithin this progressive exhalation of the artifice, concepts are identity consequently he has lost a certain sense of profound deprived from their substantial dynamically, consequently aesthetic pleasure.
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