10Th International Architecture Exhibition Venice 2006
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Wiel Arets: Inspiration and Process in Architecture Free
FREE WIEL ARETS: INSPIRATION AND PROCESS IN ARCHITECTURE PDF Wiel Arets,Kenneth Frampton,Francesca Serrazanetti,Matteo Schubert | 144 pages | 16 Dec 2012 | Moleskine srl | 9788866134701 | English | Milan, Italy Biography - Wiel Arets Architects His father was a book printer and his mother was a fashion designerboth from whom he learned respect for the tradition of craft and a love of books and reading. He is married and has two children. Arets' work is generally characterized by a minimalistgeometric and austere approach that responds to local contingencies in a flexible way, with Arets explaining:. Subsequently, Arets organized the first European exhibition of Tadao Ando's work. With the decline of industry the city lost most of its status as an industrial area in Limburg and Frits Peutz faded from architectural prominence. As a student Arets undertook extensive research in the archives of Peutz's office, eventually producing the monograph 'F. J Peutz Architekt ' and an accompanying traveling exhibition. While in Japan Arets visited and interviewed several prominent architects including Fumihiko MakiKazuo ShinoharaItsuko Hasegawa and Tadao Andolater publishing these interviews and articles in the Dutch architecture magazine de Architect. All of this was achieved without abandoning for the moment the minimalist expression of an architecture degree zero, derived in part from Sol LeWitt and in part from Tadao Ando. In Arets completed the library of Utrecht Universitysituated in the Uithof area of the campus designed by OMA which dictated a strict orthogonal requirement for all buildings. The library's Wiel Arets: Inspiration and Process in Architecture glazing is screen printed with an image of bamboo shoots created by the photographer Kim Zwartsreturning as a tactile imprinted surface pattern on the library's interior prefabricated concrete panel walls, which are painted black. -
ANSELM KIEFER Education Solo Exhibitions
ANSELM KIEFER 1945 Born in Donaueschingen, Germany Lives and works in France Education 1970 Staatliche Kunstakademie, Düsseldorf, Germany 1969 Staatliche Akademie der Bildenden Künste, Karlsruhe, Germany Solo exhibitions 2021 Field of the Cloth of Gold, Gagosian Le Bourget, France 2020 Permanent Public Commission, Panthéon, Paris Für Walther Von Der Vogelweide, Thaddaeus Ropac, Salzburg Villa Kast, Austria Opus Magnum, Franz Marc Museum, Kochel, Germany Superstrings, Runes, the Norns, Gordian Knot, White Cube, London 2019 Couvent de la Tourette, Lyon, France Books and Woodcuts, Foundation Jan Michalski, Montricher, Switzerland; Astrup Fearnley Museum, Oslo 2018 ARTISTS ROOMS: Anselm Kiefer, Herbert Art Gallery and Museum, West Midlands, UK Fugit Amor, Lia Rumma Gallery, Naples For Vicente Huidobro, White Cube, London Für Andrea Emo, Galerie Thaddeus Ropac, Paris Uraeus, Rockefeller Center, New York 2017 Provocations: Anselm Kiefer at the Met Breuer, Met Breuer, New York Anselm Kiefer, for Velimir Khlebnikov, The State Hermitage Museum, Saint Petersburg, Russia Transition from Cool to Warm, Gagosian, New York For Louis-Ferdinand Céline: Voyage au bout de la nuit, Copenhagen Contemporary, Denmark Kiefer Rodin, Rodin Museum, Paris; Barnes Foundation, Philadelphia, Pennsylvania 2016 The Margulies Collection at the Warehouse, Miami Walhalla, White Cube, London The Woodcuts, Albertina Museum, Vienna Regeneration Series: Anselm Kiefer from the Hall Collection, NSU Art Museum, Fort Lauderdale, Florida 2015 Centre Georges Pompidou, Paris In the -
Hans Haacke Biography
P A U L A C O O P E R G A L L E R Y Hans Haacke Biography 1936 Born Cologne, Germany 1956-60 Staatliche Werkakademie (State Art Academy), Kassel, Staatsexamen (equivalent of M.F.A.) 1960-61 Stanley William Hayter's Atelier 17, Paris 1961 Tyler School of Fine Arts, Temple University, Philadelphia 1962 Moves to New York 1963-65 Return to Cologne. Teaches at Pädagogische Hochschule, Kettwig, and other institutions 1966-67 Teaches at University of Washington, Seattle; Douglas College, Rutgers University, New Jersey; Philadelphia College of Art 1967 - 2002 Teaches at Cooper Union, New York (Professor of Art Emeritus) 1973 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1979 Guest Professorship, Gesamthochschule, Essen 1994 Guest Professorship, Hochschule für Bildende Künste, Hamburg 1997 Regents Lecturer, University of California, Berkeley Lives in New York (since 1965) Awards 1960 Deutscher Akademischer Austauschdienst (DAAD) 1961 Fulbright Fellowship 1973 John Simon Guggenheim Foundation Fellowship 1978 National Endowment for the Arts 1991 College Art Association Distinguished Artist Award for Lifetime Achievement Deutscher Kritikerpreis for 1990 Honorary Doctorate in Fine Arts, Oberlin College 1993 Golden Lion (shared with Nam June Paik), Venice Biennale 1997 Kurt-Eisner-Foundation, Munich Honorary Doctorate Bauhaus-Universität Weimar 2001 Prize of Helmut-Kraft-Stiftung, Stuttgart 2002 College Art Association Distinguished Teaching of Art Award 2004 Peter-Weiss-Preis, Bochum 2008 Honorary Doctorate, San Francisco Art Institute -
Plateau of Humankind: the 49Th Venice Biennale’, CIRCA 97, Autumn 2001: 50-51
Maeve Connolly, ‘Plateau of Humankind: The 49th Venice Biennale’, CIRCA 97, Autumn 2001: 50-51. The theme of the 49th Biennale at Venice is Platea dell’umanità, Plateau of Humankind, Plateau der Menschheit, Plateau de l’humanité. Refigured as a ‘plateau’, the exhibition is, according to curator Harald Szeemann, a “place which one looks at and from which one will be seen, a place in which the public onlooker is the protagonist and the measure of things, a place of encounter between artist, work and spectator”.1 But through the transformation of linguistic difference into a brand name, Szeemann inadvertently calls attention to both the imperialist origins of the Biennale itself and the limits of his own utopian project. In the introduction to the exhibition catalogue, critic and philosopher Bazon Brock suggests that a wide range of artistic practices (from Beuys to Benetton advertising campaigns) lead the way towards this “plateau of friendship”.2 But, he suggests, “religious wars (Northern Ireland), wars of nationality (Basque), cultural wars (Ex- Yugoslavia)” will remain until “dogmatic conviction” is given up in favour of friendship. The plateau is therefore reserved for those whose have abandoned excessive conviction, and the particularities of cultural or political difference.3 If Szeemann’s approach to the 1999 Biennale was characterised by disruption of established classifications and divisions, the ‘plateau’ of 2001 is based upon a less focused expansion of these classifications, articulated in various ways. Two newly refurbished venues have been opened at the Arsanale complex, a sixteenth century munitions factory built around a harbour, and these are used to house large scale projects by established artists such as Richard Serra and Ilya and Emilia Kabakov.4 Poetry and ‘net.art’ are represented within the Biennale for the first time and the work of non-Western curators is also recognised, through a parallel exhibition of conceptualism in contemporary African, Authentic/Ex-centric, selected by Salah M. -
Press Information Isa Genzken Oil at the German Pavilion of the 52Nd
Press Information Isa Genzken Oil at the German Pavilion of the 52nd International Art Exhibition of La Biennale di Venezia 2007 Content Isa Genzken at the German Pavilion page 2 The German Pavilion in brief page 4 Isa Genzken´s art page 6 Isa Genzken biography page 7 Nicolaus Schafhausen biography page 14 Press Release Isa Genzken at the German Pavilion in Venice 2007 Artist Isa Genzken will represent Germany at the 52nd Venice Biennale. Nicolaus Schafhausen, director of Witte de With, Center for Contemporary Art in Rotterdam, is the commissioner. The exhibition in the German Pavilion was commissioned by the Federal Foreign Of- fice of the Federal Republic of Germany and will be carried out in co-operation with the Institute for Foreign Cultural Relations (ifa). The German Pavilion’s main sponsor is Deutsche Bank. For over thirty years, Isa Genzken (b. 1948) has been creating a multi-facetted oeu- vre, which is continuously developing and revealing new approaches. Her extensive work consists of sculptures and installations, photos, collages and films. Isa Genzken’s work for Venice will be site- and context-specific. “Isa Genzken is one of the most uncompromising artists of today. She pinpoints cur- rent times like practically no other contemporary artist”, Nicolaus Schafhausen ex- plains his choice. “Isa Genzken is a sculptor. This seemingly simple realisation, however, is relatively complex in view of Genzken’s work, in which the classic concept of the genre is both questioned and reinforced. We are very fortunate to have this artist”, Schafhausen continues, “Isa Genzken introduces her viewers to new and complex correlations. -
ANTHONY VIDLER CURRICULUM VITAE BA Architecture and Fine Arts, Hons.; Dipl
1 ANTHONY VIDLER CURRICULUM VITAE BA Architecture and Fine Arts, Hons.; Dipl. Arch., Cantab.; PhD. TU Delft. Professor, The Irwin S. Chanin School of Architecture, The Cooper Union for the Advancement of Science and Art, New York Fellow of the American Academy of Arts and Sciences. Citizenship: British. Permanent Resident, USA ACADEMIC POSITIONS 2001-present Professor, Irwin S. Chanin School of Architecture, The Cooper Union, NY. 2014-2018 Vincent Scully Visiting Professor of Architectural History, Yale University School of Architecture (Spring Semester). 2013 (Spring) Institute for Advanced Study, Princeton: Member, School of Historical Studies, 2013 -2014 Brown University: Visiting Professor of Humanities and Art History, 1998-2001: University of California Los Angeles: Professor of Art History and Architecture. 1982-1993: Princeton University: Professor of Architecture, William R. Kenan, Jr. Chair. 1972-1982: Princeton University: Associate Professor of Architecture. 1967-1972: Princeton University: Assistant Professor of Architecture. 1965-1967: Princeton University: Instructor in Architecture and Research Associate. ADMINISTRATIVE 2002-2013: Dean, School of Architecture, The Cooper Union 1993-2002: Chair, Department of Art History, UCLA 1997-1998 Dean, College of Art, Architecture, and Planning, Cornell University 1973-1993: Chair, PhD. Program, School of Architecture, Princeton University. 1980-1987: Director, European Cultural Studies Program, Princeton University. 1982-1993 Dean's Executive Committee, School of Architecture, Princeton -
'Ik Vond He Huis Mijn
Wiel Arets: ‘Ik vond het niet makkelijk om bij mijn huis mijn eigen opdrachtgever te zijn’ door Bernard Hulsman 26 PRO10/06 Lange tijd had het architectenbureau van Wiel Arets alleen een vestiging in Zuid-Limburg, eerst in Heerlen, later in Maastricht. Maar sinds 2003 heeft Wiel Arets architects en associates, zoals het bureau officieel heet, een dependance in Amsterdam, in De Lairessestraat om precies te zijn, niet ver van het Concertgebouw. Arets bureau, dat in 1984 werd opgericht en waarbij Bettina Kraus zich in 1997 als partner voegde, heeft nu dan ook veel werk. Wiel Arets: ‘Ik vond het niet makkelijk om bij mijn huis mijn eigen opdrachtgever te zijn’ door Bernard Hulsman Ook over opdrachten in het verleden heeft Arets Arets begon zijn carrière, als zovele architecten, met kleine opdrachten. Toch beschouwt hij weinig te klagen: zijn oeuvre is indrukwekkend zichzelf niet als een archetypische architect die klein begint en groot eindigt. “Ik zie mezelf en vooral ook divers. Hij ontwierp onder meer niet als een klassieke architect”, zegt Wiel Arets in een ruime kamer op de eerste verdieping politiebureaus in Vaals en Boxtel, een Academie- van het pand in De Lairessestraat. “Dat wil zeggen: als 7-jarig jongetje wilde ik helemaal gebouw en kantoorgebouw in Maastricht, geen architect worden. Ik ging dan ook eerst natuurkunde studeren in Eindhoven. Ik had zoals woontorens in Amsterdam en Rotterdam, een iedereen op tv de landing op de maan gezien en wilde daar op een of andere manier deel van kantoor- en bedrijfsgebouw voor Lensvelt in uitmaken. Maar in mijn eerste studiejaar kreeg ik een boek van mijn grootvader over het Neder- Breda en hij deed, samen met Jo Coenen, de landse woonhuis. -
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. -
The German Pavilion Team Welcomes You at the 52Nd International Art Exhibition La Biennale Di Venezia 2007
Welcome! The German Pavilion team welcomes you at the 52nd International Art Exhibition La Biennale di Venezia 2007. Our press kit comprises following information: • Press information • Information in brief • Isa Genzken´s work “Oil” for the German Pavilion • Conversation between Isa Genzken and Nicolaus Schafhausen • Biography of the artist Isa Genzken • Biography of the curator Nicolaus Schafhausen • Background information of the German Pavilion • Press information of the commissioner Federal Foreign Office (Auswärtiges Amt) • Press information of the collaborator Institute of Foreign Cultural Relations (ifa) • Press information of the main sponsor Deutsche Bank • Press information of the sponsor AXA Art Kunstversicherung • Press information of the media partner DW-TV – Deutsche Welle • Press information of the catalogue partner DuMont Literatur und Kunst Verlag • “Vogue Special German Pavilion” of the media partner Vogue Germany Thank you for your interest in the German Pavilion. We wish you a pleasant and in- spiring stay at Venice! Press Information Isa Genzken Oil German Pavilion La Biennale di Venezia 2007 Isa Genzken is the artist of the German contribution to the 52nd International Art Exhi- bition of the Biennale in Venice. The curator is Nicolaus Schafhausen, director of the Witte de With, Center for Contemporary Art in Rotterdam. For more than thirty years, Genzken (born in 1948) has been producing a diverse oeuvre that is continually being refined with new twists. Her extensive body of work includes sculpture and installations as well as photographs, collages and films. Genzken is creating an exhibition for the German Pavilion in Venice that envelops the architecture of the building, which is steeped in history, and presents it in a mise-en- scène that also comments that history. -
Anselm Kiefer Biography
G A G O S I A N Anselm Kiefer Biography Born in 1945 in Donaueschingen, Germany. Lived and worked 1971–1993 in Hornbach, Buchen and Höpfingen, Germany. Lived and worked 1993–2007 in Barjac, France. Since 2007 lives and works in Barjac, Croissy and Paris, France. Selected Solo Exhibitions: 2021 Anselm Kiefer: Field of the Cloth of Gold. Gagosian, Le Bourget, Paris, France. 2020 Anselm Kiefer: Fur Walther von der Vogelweide. Galerie Thaddaeus Ropac, London, England. Anselm Kiefer. Opus Magnum. Franz Marc Museum, Kochel am See, Germany. 2019 Anselm Kiefer. Voorlinden, Wassenaar, Netherlands. Anselm Kiefer: Superstrings, Runes, The Norns, Gordian Knot. White Cube, Bermondsey, London, England. Anselm Kiefer à La Tourette. Couvent de La Tourette, Éveux, France. Anselm Kiefer: Bøker og tresnitt. Astrup Fearnley Museum, Oslo, Norway. Anselm Kiefer: Livres et xylographies. Fondation Jan Michalski, Montricher, Switzerland. Anselm Kiefer aus der Sammlung Walter. Kunstmuseum Walter, Augsbeurg, Germany. 2018 Artist Rooms: Anselm Kiefer. Herbert Art Gallery & Museum, Coventry, England. Anselm Kiefer: Uraeus. Rockefeller Center, New York, NY. Anselm Kiefer: Lebenszeit – Weltzeit. Galerie Bastian, Berlin, Germany. Anselm Kiefer: Fuigit Amor. Galleria Lia Rumma, Naples, Italy. For Vicente Huidobro. White Cube, London, England. Für Andrea Emo. Galerie Thaddaeus Ropac, Paris Pantin, France. 2017 Provocations: Anselm Kiefer at the Met Breuer. Metropolitan Museum of Art, New York, NY. Anselm Kiefer: Bilder. Galerie Bastian, Berlin, Germany. Kiefer Rodin. Musée Rodin, Paris, France; traveled to the Barnes Foundation, Philadelphia, PA. Anselm Kiefer: For Louis-Ferdinand Céline: Voyage au bout de la nuit . Copenhagen Contemporary, Copenhagen, Denmark. Anselm Kiefer. Pinakothek der Moderne, Munich, Germany. Anselm Kiefer: Transition from Cool to Warm. -
Context International Exhibition Mies Masterpieces Schunck* Glaspaleis
CONTEXT SCHUNCK* Glaspaleis Université de Liège INTERNATIONAL EXHIBITION Visiting address Visiting address Bongerd 18 Place du 20-Août, 7 This programme is presented to you within the context of the 6411 JM Heerlen B-4000, Liège exhibition ‘MIES & the inheritance of modernism’ The Netherlands Belgium (from 10 April up to and including 7 August). Tel. +31 45 577 22 00 Tel. +32 4 242 79 44 www.schunck.nl www.ulg.ac.be The world-famous architect Ludwig Mies van der Rohe (1886–1969) still inspires architects. However, his work is falling into decay, like many other modernistic buildings. This evokes the question: what TU Eindhoven Rheinisch-Westfälische Technische should we preserve and how? Visiting address Hochschule Aachen (RWTH) De Zaale Visiting address 5612 AZ Eindhoven Templergraben 55 MIES MASTERPIECES The Netherlands D-52062 Aachen Tel. +31 6 463 708 67 Germany The exhibition provides some answers. You will see, feel and read www.tue.nl Tel. +49 241 809 37 57 everything about five restored masterpieces by ‘Mies’: S.R. Crown www.rwth-aachen.de Hall, Villa Tugendhat, 860-880 Lake Shore Drive, Robert F. Carr Universiteit Hasselt Memorial Chapel and Verseidag. A 20-minute video about these Visiting address buildings, projected onto a 20-meter wide screen, will have its Martelarenlaan 42 world premiere. You will also see an overview of 80 buildings de- B-3500 Hasselt signed by Mies van der Rohe. Belgium Tel. +32 11 29 21 01 SCHUNCK* GLASPALEIS www.uhasselt.be Frits Peutz’s Glaspaleis was almost demolished twice. It is now a classic example of renovation (executed by Jo Coenen and Wiel Arets) and new use (library, music school, museum for modern and contemporary art, dance school, architecture institute, art cinema, espresso bar and brasserie). -
8082 AUS VB07 ENG Edu Kit FA.Indd
Venice Biennale 2007 Australia 10 June – 21 November 2007 Education Resource Kit Susan Norrie HAVOC 2007 Daniel von Sturmer The Object of Things 2007 Callum Morton Valhalla 2007 Contents Education resource kit outline Australians at the Venice Biennale Acknowledgements Why is the Venice Biennale important for Australian arts? Australia’s past participation in the Venice Biennale PART A The Venice Biennale and the Australian presentation Introduction Timeline: The Venice Biennale, a not so short history The Venice Biennale:La Biennale di Venezia Selected Resources Who what where when and why The Venice Biennale 2007 PART B Au3: 3 artists, 3 projects, 3 sites The exhibition Artists in profile National presentations Susan Norrie Collateral events Daniel von Sturmer Robert Storr, Director, Venice Biennale Callum Morton 2007 Map: Au3 Australian artists locations Curators statement: Thoughts on the at the Venice Biennale 2007 52nd International Art Exhibition Colour images Introducing the artist Au3: the Australian presentation 2007 Biography Foreword Representation Au3: 3 artists, 3 projects, 3 sites Collections Susan Norrie Quotes Daniel von Sturmer Commentary Callum Morton Years 9-12 Activities Other Participating Australian Artists Key words Rosemary Laing Shaun Gladwell Christian Capurro Curatorial Commentary: Au3 participating artists AU3 Venice Biennale 2007 Education Kit Australia Council for the Arts 3 Education Resource Kit outline This education resource kit highlights key artworks, ideas and themes of Au3: the 3 artists, their 3 projects which are presented for the first time at 3 different sites that make up the exhibition of Australian artists at the Venice Biennale 10 June to 21 November 2007. It aims to provide a entry point and context for using the Venice Biennale and the Au3 exhibition and artworks as a resource for Years 9-12 education audiences, studying Visual Arts within Australian High Schools.