SUPERFLEX Formed in 1993 by Bjørnstjerne Reuter Christiansen
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Superflex Keynote Speech: If Value, Then Copy*
Superflex Keynote Speech: If Value, Then Copy* INTRODUCTION TO SUPERFLEX Good afternoon, I hope that you are enjoying your meal and I thank the waiters and waitresses who are serving us, and the cooks in the back. Good afternoon, I am Anupam Chander. I am Director of the California International Law Center, and I am a law professor here at UC Davis. I am speaking to you on behalf of Mario Biagioli and Madhavi Sunder, my colleagues at the University of California, Davis, and also on behalf of the UC Davis Law Review. I welcome you to a keynote address for our conference titled “Brand New World: Discovering Oneself in the Global Flow.” We are delighted today to welcome Rasmus Nielsen of the internationally renowned artist-group called “Superflex.” Based in Copenhagen, Denmark, Superflex consists of Jakob Fenger, Bjørnsterne Christiansen, and Rasmus who have been collaborating together since 1993. It is hard to do justice to the work of Superflex as the range of their work is nothing less than astonishing, from creating a brand of power-drinks for an Amazonian tribe in Brazil to a television series in Vietnam on Dutch Pirates of the seventeenth century who stole a * Transcript of keynote speech by Rasmus Nielsen at the UC Davis Law Review’s Brand New World symposium, UC Davis School of Law, October 4, 2012. 735 736 University of California, Davis [Vol. 47:735 treasure trove of Southeast Asian porcelain. As you can see, even the geographic scope of their work is dazzling. Their work is in collections and exhibitions across the world from Beijing and Tokyo to Europe and California. -
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. -
Art and the Crisis of the European Welfare State Addresses Contemporary Art in the Context of Changing European Welfare States
UNIVERSITY OF CALIFORNIA, SAN DIEGO No Such Thing as Society: Art and the Crisis of the European Welfare State A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Art History, Theory and Criticism by Sarah Elsie Lookofsky Committee in charge: Professor Norman Bryson, Co-Chair Professor Lesley Stern, Co-Chair Professor Marcel Hénaff Professor Grant Kester Professor Barbara Kruger 2009 Copyright Sarah Elsie Lookofsky, 2009 All rights reserved. The Dissertation of Sarah Elsie Lookofsky is approved, and it is acceptable in quality and form for publication on microfilm and electronically: Co-Chair Co-Chair University of California, San Diego 2009 iii Dedication For my favorite boys: Daniel, David and Shannon iv Table of Contents Signature Page…….....................................................................................................iii Dedication.....................................................................................................................iv Table of Contents..........................................................................................................v Vita...............................................................................................................................vii Abstract……………………………………………………………………………..viii Chapter 1: “And, You Know, There Is No Such Thing as Society.” ....................... 1 1.1 People vs. Population ............................................................................... 2 1.2 Institutional -
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. -
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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 -
Participant Biographies
PARTICIPANT BIOGRAPHIES Silvia Battista Silvia Battista is a visual and performance artist and scholar. She is currently Lecturer in Theatre & Performance Studies and MA Performance Co-Director at Liverpool Hope University. Over the past 20 years, Battista has engaged with a multidisciplinary set of artistic languages (performance, drawing, photography and video) and research methodologies (hermeneutics, phenomenology and semiotics). Her research lies in the intersection between visual art, performance, installation and theatre; particularly in the study of meditative and ecstatic practices or technologies employed for creative and epistemological purposes. She researches, teaches and publishes on contemporary performance and art, religion and spirituality, involving audiences, readers and students in reflecting on perception, ecology and our relation to inner and outer environments. Sarah Demeuse Sarah Demeuse makes exhibitions and books, translates, writes and reads about art and beyond. In 2010, together with Manuela Moscoso, she founded Rivet, an office focusing on longer-term projects in close collaboration with artists, often in formats and media other than exhibitions. Demeuse was a member of the curatorial team for the 9th Mercosul Biennial Porto Alegre and has independently worked on a variety of exhibition and mediation projects in Argentina (dixit, Agatha Costure), Brasil (32nd Bienal de São Paulo), Mexico (Museo de Arte Carrillo Gil), Spain (Espai Cultural Caja Madrid) and the US. (Goethe Institut New York, ISCP, Kiria Koula, P!, A.I.R.). She has taught the Exhibition Making Practicum at the Master in Curatorial Practice Program at SVA and teaches a hybrid studio-seminar at Barnard College about writing and graphic design. Ayesha Hameed Ayesha Hameed’s performance, audio, video and written work explores contemporary borders and migration, critical race theory and visual cultures of the Black Atlantic. -
Liverpool Biennial 2018
BIENNIAL PARTNER EXHIBITION EXHIBITIONS Liverpool 1 9 WORLDS WITHIN 21 Tate Liverpool LJMU’s Exhibition WORLDS John Moores Royal Albert Dock, Research Lab Painting Prize 2018 Liverpool Waterfront LJMU’s John Lennon Some of these sites Walker Art Gallery L3 4BB Art & Design Building are open at irregular William Brown Street Biennial Duckinfield Street times or for special L3 8EL 2 L3 5RD events only. Refer to Open Eye Gallery p.37 for details. 23 19 Mann Island, 10 Bloomberg New Liverpool Waterfront Blackburne House 7 Contemporaries 2018 2018 L3 1BP Blackburne Place St George’s Hall LJMU’s John Lennon L8 7PE St George’s Place Art & Design Building 3 L1 1JJ Duckinfield Street RIBA North – National 11 L3 5RD Architecture Centre The Oratory 8 21 Mann Island, St James Mt L1 7AZ Victoria Gallery 24 Liverpool Waterfront & Museum This is Shanghai L3 1BP 12 Ashton Street, Mann Island & Liverpool University of The Cunard Building 4 Metropolitan Liverpool L3 5RF Liverpool Waterfront Bluecoat Cathedral Plateau School Lane L1 3BX Mount Pleasant 17 L3 5TQ Chalybeate Spring EXISTING 5 St James’ Gardens COMMISSIONS FACT 13 L1 7A Z 88 Wood Street Resilience Garden L1 4DQ 75–77 Granby Street 18 25 L8 2TX Town Hall Mersey Ferries 6 (Open Saturdays only) High Street L2 3SW Terminal The Playhouse Pier Head, Georges Theatre 14 19 Parade L3 1DP Williamson Square Invisible Wind Central Library L1 1EL Factory William Brown Street 26 (until 7 October) 3 Regent Road L3 8EW George’s Dock L3 7DS Ventilation Tower 7 20 George’s Dock Way St George’s Hall 15 World -
Galerie Alberta Pane
GALERIE ALBERTA Sof Hair PANE MARCOS LUTYENS CURATED BY CHIARA VECCHIARELLI September 4TH October 30TH 2021 47 rue de Montmorency - 75003 Paris Opening: Saturday, September 4th, 3pm Opening hours: Tu-Sat 11am - 7pm Black holes have no hair - scientists have long thought. Until recently, from a black hole we could know the mass, to some extent the electric charge and even the angular momentum when they did not belong to the static kind, but any other property, any additional information about a body entering a black hole seemed to be forever lost, locked up or disappeared beyond the threshold that astrophysicists call the event horizon. To an outside observer, black holes appeared to be completely bald, with not even a particle escaping from their edge, until something like sof hair - as defned by Stephen Hawking, the very author of the no-hair theorem, along with Perry and Strominger - appeared on their surface. Something like a radiation of energy carried by gravitational waves seemed at last to whisper what had never been audible. What if something of our consciousness could also vibrate around us, afer being encrypted like the internal information of a black hole, on the surface of a sphere? Couldn't art bring to the surface, perhaps trace, as in a hologram, the information necessary to access our inner universe? How to make visible the singularity of the knowledge of others? And what is the form of wisdom? Is there a way to make tangible what seems elusive? These are the questions Marcos Lutyens wishes to articulate with the Sof Hair project, which opens at the Alberta Pane Gallery on September 4. -
Trevor Paglen
TREVOR PAGLEN Born 1974 in Camp Springs, Maryland Lives and works in Berlin, Germany Attended University of California at Berkeley, 1996, (B.A.) and 2008, (Ph.D.); School of the Art Institute of Chicago, Chicago, IL, 2002, (M.F.A.) SELECTED ONE-PERSON EXHIBITIONS 2017 Autonomy Cube, Tensta Konsthall, Spånga, Sweden 2016 Orbital Reflector, Nevada Museum of Art, Reno 2015 Autonomy Cube (two-person exhibition with Jacob Appelbaum), Edith-Russ-Haus for Media Art, Oldenberg, Germany Metro Pictures, New York The Octopus, Frankfurter Kunstverein, Germany Altman Siegel, San Francisco The Genres, Eli and Edythe Broad Art Museum at Michigan State University, East Lansing 2014 Code Names of the Surveillance State, Metro Pictures, New York 2013 Visibility Machines (two-person show with Harun Farocki), Center for Art Design & Visual Culture, Baltimore; Akademie der kunste, Berlin (2014), Gallery 400, University of Illinois, Chicago (2015); Gund Gallery, Kenyon College, Ohio (2016) (cat.) Code Names, Van Abbemuseum, Eindhoven (2013-2014) Protocinema, Istanbul Galerie Thomas Zander, Cologne Metro Pictures, New York 2012 Geographies of Seeing, Brighton Photo Biennial, Lighthouse, Brighton, England 2011 American University Museum at the Katzen Arts Center, Washington DC Unhuman, Altman Siegel, San Francisco Hidden Landscape, Aksioma, Ljubljana, Slovenia 2010 Secession, Vienna (cat.) The Other Night Sky, Kunsthall Oslo, Norway A Compendium of Secrets, Kunsthalle Giessen, Germany 2009 Altman Siegel, San Francisco Bellwether Gallery, New York Galerie Thomas -
Art History: International Art Exhibitions
FRICK FINE ARTS LIBRARY ART HISTORY: INTERNATIONAL ART EXHIBITIONS Library Guide Series, No. 42 “Qui scit ubi scientis sit, ille est proximus habenti.” -- Brunetiere* What Is an International Art Exhibition? International art exhibitions have a long history that has its roots in the 19th century. Salon exhibitions took place in Paris from 1667 onwards under the auspices of the French Royal Academy of Painting and Sculpture and were held on a biennial basis from 1855 onwards. That same year the Salons were held in the Palais de ‘l’Industrie constructed for the World’s Fair that year. A number of rival salons were established and in 1881 the government withdrew official support from the main Salon and handed over its direction to artists. Afterward, the Salon began to lose its prestige and influence in the face of competition from various independent exhibitions such as the Salon des Independents (1884), the Societe Nationale des Beaux-Arts (1890) and the Salon d’Automne (1903). The end of the 19th century was a time marked by an internationalist spirit that celebrated technological advancement and the accumulation of wealth through global colonial structures. The institution of world’s fairs was one feature of that spirit, the first one being held in London during 1851. Many of the fairs that followed throughout the 19th and 20th centuries included art buildings to display works by the current artists of the day. At times it is difficult to distinguish biennial and triennial art exhibitions from international art festivals, art fairs or trade shows. The first art fair one in the twentieth century was the 1913 Armory Show in New York which was open to progressive painters usually neglected. -
Art and Globalisation
Ritz Wu April 2013 The installation as avatar: Curating political works of virtual reality INTRODUCTION The matter that forms the world of 3D virtual reality (VR) is as vivid as the center of a black hole. Looking into the depths of CGI-composite texture, one finds it a cohesive, infinite void, terrifyingly sensual, empty and still. When the void assumes the slick, CGI-rendered appearance of the urban landscape, taking on the structure of a simulated social environment, it transforms into a web of subterranean personal and psychological desire. Every composite object, every face, action and word is the fulfillment of a lack. Skins are shed, cities and warzones are built - the depths of this insatiable mouth are able to bear the possible horrors of any real or imagined terrain. Projects such as Superflex’s “Karlskrona2” (1999), Wafaa Bilal’s “Virtual Jihadi” (2008), and Cao Fei’s RMB City (2009) have exploited these very properties in their use of the format of 3D interactive games as a tool of political critique. While without intervention, it is true that “media [...] are mainly an environment whose effects largely differ and disregard political contents and conscious intentions”,1 these artists’ projects spotlight the consumptive, neutralized universe of VR as a behemoth of globalization, summoning it as a mirror to the raw, inescapable realities of systematic violence, war, or urban injustice. Reflexive of the medium’s own avowed artificiality and limitations, they exploit the dynamics of immersion, alienation, and digitalization inherent in VR games in order to invite the possibility (or impossibility) of public participation and reflection on local and individual histories, conflicts, and desires.