Exhibition List
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Fields of Blue: Nan Hoover's Video Installation on View at Moma
The Museum of Modern Art 50th Anniversary NO. 73 *o FOR IMMEDIATE RELEASE FIELDS OF BLUE: NAN HOOVER'S VIDEO INSTALLATION ON VIEW AT MoMA FIELDS OF BLUE, a three monitor video installation by Nan Hoover in which the artist studies "light as a source of illusion", will be on view in The Museum of Modern Art's Auditorium Gallery begin- ing January 3, 1980 and running through January 29. FIELDS OF BLUE is the 31st program in The Museum's ongoing PROJECTS: VIDEO series directed by Barbara London. In FIELDS OF BLUE, three television monitors play back pre recorded images of the artist's figure as it moves into and out of the focal range of a stationary video camera, sometimes disappear ing and then reappearing again across the three monitors. "As the subject of her own work — Nan Hoover works completely alone in an austere environment using rudimentary equipment (video (more) NO. 73 NAN HOOVER, PROJECTS: VIDEO -2- camera, recorder and lights) — she moves slowly, carefully con trolling the visual composition of the images being videotaped, creating subtle nuances of forms," explains Barbara London. "In 1973 she turned from painting to performance and video, and began to explore new ways of handling light, composition and movement. Video enables her to maintain ultimate control over both her image ry and her equipment." Nan Hoover was born in 1931 in New York City and studied art at the Corcoran Gallery School on Washington, D.C. In 1969 she moved to Amsterdam and since that time has shown her work inter nationally, most recently at the Stedelijk Museum in Amsterdam, and in West Germany at the Museum Folkwang, Essen, and the Koelnischer Kunstverein in Cologne. -
The Armory Show September 9–12, 2021 Jacob K
the armory show september 9–12, 2021 jacob k. javits convention center new york, usa On the occasion of The Armory Show 2021, Nara Roesler is pleased to present a selection of recent works by South American artists, with punctuations by European artists, creating a dialogue between different regional and generational practices. The presentation foregrounds the artists’ echoing yet diverging approaches to understanding the limits of abstraction, figuration, and dimensionality, offering a formal and procedural conversation between works, that aims to explore how artists have consistently grappled to come to terms with certain pillars of artistic processes and cannons. armory online Elian Almeida Maria Auxiliadora da Silva (Vogue Brasil), 2021 [detail] rodolpho parigi ‘My work grows from a conflict between reality and fiction. From drawings to paintings and performance works, I have explored the possibilities of a self-imagined sci-fi world inhabited by hybrid or androgynous figures of strange beauty and shapes that come to the surface like living bodies that could breath or move. I make drawings and paintings as a way to transfigure ideas of body and gender while exploring the boundaries between material and artificial.’ —Rodolpho Parigi Rodolpho Parigi Black Phtalo Magenta Suit, 2020 oil paint on linen unique 100,5 x 70,3 x 3 cm 39.6 x 27.7 x 1.2 in rodolpho parigi selected solo exhibitions b. 1977, São Paulo, Brazil • Fancy Performance, Pinacoteca do Estado de São Paulo, São Paulo, lives and works in São Paulo, Brazil Brazil (2017) • Levitação, Galeria Nara Roesler, São Paulo, Brazil (2015) • solo presentation, Casa Modernista, São Paulo, Brazil (2013) Rodolpho Parigi is part of a new generation of Brazilian artists who emerged in • AtraQue, Galeria Nara Roesler, São Paulo, Brazil (2011) the early 2000s. -
Bernd & Hilla Becher Biography
P A U L A C O O P E R G A L L E R Y Bernd & Hilla Becher Biography Bernd Becher Born: Siegen, Germany 1931 Died: 2007 Hilla Becher Born: Potsdam, Germany 1934 Died: 2015 EDUCATION Bernd Becher 1976 Professor of photography at Staatlich Kunstakademie Düsseldorf 1972 Guest lecturer Hochschule für Bildende Künste, Hamburg 1957-1961 Studies in typography at Staatliche Kunstakademie Düsseldorf 1953-1956 Studies in lithography and painting at Staaliche Kunstakademie Stuttgart under Karl Rösing Hilla Becher 1972-1973 Guest Lecturer Hochschule für bildende Künste, Hamburg 1958-1961 Studies in photography at Kunstakademie Düsseldorf GRANTS & AWARDS 2014 Rheinischer Kulturpreis der Sparkassen-Kulturstiftung Rheinland 2002 The Erasmus Prize 1991 The Leon D’Oro award for sculpture at the Venice Biennale ONE-PERSON EXHIBITIONS 2019 “Bernd & Hilla Becher: Industrial Visions,” National Museum Cardiff, Wale, UK (10/26/19 – 3/1/20) “Bernd & Hilla Becher: 1962-2000,” PKM Gallery, Seoul, Korea “Bernd & Hilla Becher: Kohlebunker,” Kunstarchiv Kaiserwerth, Düsseldorf, Germany 2018 “Bernd & Hilla Becher,”Konrad Fischer Galerie, Berlin, Germany 2014 “Bernd & Hilla Becher,” Fotografien aus fünf Jahrzehnten, Konrad Fischer Galerie, Düsseldorf “Bernd & Hilla Becher,” Sprüth Magers, London 2013 “Photographische Sammlung der SK Stiftung Kultur, Cologne Dia Art Foundation, New York Siegerländer Fachwerkhäuser, Orts- und Dorfansichten des Siegerlandes, Siegerländer Gruben und Hütten, Holzfördertürme in Pennsylvania, Museum für Gegenwartskunst, Siegen 2012 galerija TR3, Ljubljana, Slowenia Coal Mines. Steel Mills., Galerie Rudolfinum, Prague Bernd and Hilla Becher, Sonnabend Gallery, New York Bernd & Hilla Becher. Imprimés 1964-2010, Grand Palais, Paris 2011 Bergwerke und Hütten, Industrielandschaften, Fotomuseum Winterthur 534 WEST 21ST STREET, NEW YORK, NEW YORK 10011 TELEPHONE 212.255.1105 FACSIMILE 212.255.5156 P A U L A C O O P E R G A L L E R Y Blick in die Sammlung: Bernd und Hilla Becher. -
YAMA KOWA the Multimedia Artist Was Born Into the World of Art, As The
YAMA KOWA The multimedia artist was born into the world of art, as the daughter of the curator and art historian Wieland Schmied. Seeking distance and identity, she initially focused primarily on theater acting and found her true love in live art performance. She founded ACT.ART.OUT. performance theater in 2013 and is focusing fully on life-art ever since. Painting, video, collage or installations are only appearing as elements of her performative work. A speciality of her artistic practise is the work in performance cycles. So she brings the spontaneous and ephemere of live art performance in alignment with a kontinuity in time that might examine a topic over a dozen years or longer, and since the six weeks ongoing durational 2018 she developed an almost addictive preference to this sort of excessively meditative encounters. Studies 1993-1997 ERNST BUSCH academy for performing arts and theater Berlin (Diploma) 1994-1998 studies with Nan Hoover, Valie Export and Ellen Cantor video and performance summer academy Salzburg, Austria (Diploma) 2007 Producers seminar at the bavarian academy for Film BAF Munich (Diploma) Assistance 1998 artistic assistant at the Wooster Group Performing Garage New York Scholarship 2009 the studio Hollywood/LA Awards 2010 best feature film for DREAMING MALI at the TBFF Dallas, USA Presented in collaboration with the Dallas Museum of Art 2011 best feature nominations at the ÉCU fest Paris and New Jersey filmfest Theater 1996-1999 actress at the Renaissance Theater Berlin 1999 Maria in "the proof of the soul" by -
Three Questions for Director Wolfgang Fischer
OPENING FILM for PANORAMA SPECIAL at BERLINALE 2018 OPENING FEBRUARY 27, 2019 at FILM FORUM Directed by Wolfgang Fischer Starring Susanne Wolff Gedion Oduor Wekesa SYNOPSIS LOGLINE STYX depicts the transformation of a strong woman torn from her contented world during a sailing trip. SYNOPSIS Premiering at the Berlinale, where it opened the Panorama Special section, STYX is a work of unrelenting intensity and technical brilliance. ER doctor Rike (Susanne Wolff) embarks on a one-woman solo sailing trip to Ascension Island in the Atlantic. When Rike comes across a sinking ship of refugees, she is quickly torn out of her contented world and must make a momentous decision. Aptly named after the mythological river that separates the living from the dead, STYX is an astute modern-day parable of Western indifference in the face of marginalized suffering. Carrying practically the entire film, Wolff is riveting as a woman pushed to her physical, psychological and moral limits. BIOGRAPHIES DIRECTOR Wolfgang Fischer was born in 1970 in Vienna, Austria. He studied Psychology and Painting at the University of Vienna and then pursued Film at the Art Academy of Düsseldorf and at the Academy of Media Arts in Cologne. During this time, he worked as an assistant for Paul Morrissey and Nan Hoover. He was awarded a scholarship by the Munich Screenplay Program and by Equinoxe Europe. His films include: IN TIME (1994), 9h11 (1999), REMAKE OF THE REMAKE (1999), DISK-DUSK (1999), SCHOEN 2000, GRAU (2001) WHAT YOU DON’T SEE (2009). He is now in pre-production for his upcoming feature THE BEAR The Bear and the television series THE HIGHWAY OF TEARS and DESERTED. -
25Th Anniversary
25th Anniversary Montblanc de la Culture 25th Anniversary Montblanc de la Culture Arts Patronage Award Arts Patronage Montblanc de la Culture 25th Anniversary Arts Patronage Award 1992 25th Anniversary Montblanc de la Culture Arts Patronage Award 2016 Anniversary 2016 CONTENT MONTBLANC DE LA CULTURE ARTS PATRONAGE AWARD 25th Anniversary — Preface 04 / 05 The Montblanc de la Culture Arts Patronage Award 06 / 09 Red Carpet Moments 10 / 11 25 YEARS OF PATRONAGE Patron of Arts — 2016 Peggy Guggenheim 12 / 23 2015 Luciano Pavarotti 24 / 33 2014 Henry E. Steinway 34 / 43 2013 Ludovico Sforza – Duke of Milan 44 / 53 2012 Joseph II 54 / 63 2011 Gaius Maecenas 64 / 73 2010 Elizabeth I 74 / 83 2009 Max von Oppenheim 84 / 93 2 2008 François I 94 / 103 3 2007 Alexander von Humboldt 104 / 113 2006 Sir Henry Tate 114 / 123 2005 Pope Julius II 124 / 133 2004 J. Pierpont Morgan 134 / 143 2003 Nicolaus Copernicus 144 / 153 2002 Andrew Carnegie 154 / 163 2001 Marquise de Pompadour 164 / 173 2000 Karl der Grosse, Hommage à Charlemagne 174 / 183 1999 Friedrich II the Great 184 / 193 1998 Alexander the Great 194 / 203 1997 Peter I the Great and Catherine II the Great 204 / 217 1996 Semiramis 218 / 227 1995 The Prince Regent 228 / 235 1994 Louis XIV 236 / 243 1993 Octavian 244 / 251 1992 Lorenzo de Medici 252 / 259 IMPRINT — Imprint 260 / 264 Content Anniversary Preface 2016 This year marks the 25th anniversary of the Montblanc Cultural Foundation: an occasion to acknowledge considerable achievements, while recognising the challenges that lie ahead. Since its inception in 1992, through its various yet interrelated programmes, the Foundation continues to appreciate the significant role that art can play in instigating key shifts, and at times, ruptures, in our perception of and engagement with the cultural, social and political conditions of our times. -
The Museum of Modern Art
The Museum of Modern Art 50th Anniversary NO. 73 *o FOR IMMEDIATE RELEASE FIELDS OF BLUE: NAN HOOVER'S VIDEO INSTALLATION ON VIEW AT MoMA FIELDS OF BLUE, a three monitor video installation by Nan Hoover in which the artist studies "light as a source of illusion", will be on view in The Museum of Modern Art's Auditorium Gallery begin- ing January 3, 1980 and running through January 29. FIELDS OF BLUE is the 31st program in The Museum's ongoing PROJECTS: VIDEO series directed by Barbara London. In FIELDS OF BLUE, three television monitors play back pre recorded images of the artist's figure as it moves into and out of the focal range of a stationary video camera, sometimes disappear ing and then reappearing again across the three monitors. "As the subject of her own work — Nan Hoover works completely alone in an austere environment using rudimentary equipment (video (more) NO. 73 NAN HOOVER, PROJECTS: VIDEO -2- camera, recorder and lights) — she moves slowly, carefully con trolling the visual composition of the images being videotaped, creating subtle nuances of forms," explains Barbara London. "In 1973 she turned from painting to performance and video, and began to explore new ways of handling light, composition and movement. Video enables her to maintain ultimate control over both her image ry and her equipment." Nan Hoover was born in 1931 in New York City and studied art at the Corcoran Gallery School on Washington, D.C. In 1969 she moved to Amsterdam and since that time has shown her work inter nationally, most recently at the Stedelijk Museum in Amsterdam, and in West Germany at the Museum Folkwang, Essen, and the Koelnischer Kunstverein in Cologne. -
Nan Hoover Title: Black and White…
OBSOLETE EQUIPMENT CASE STUDY SUMMARY CASE STUDY BLACK AND WHITE… Artist: Nan Hoover Title: black and white… Year: 2001 Medium: Closed circuit video installation Collection: The Netherlands Media Art Researcher: Eve Dullaart Institute (NIMk) SHORT DESCRIPTION The site-specific installation black and white… consists of several spotlights, hung low, right above the floor in a darkened room. Closed-circuit cameras register the beams of light the spotlights produce, as well as feet and the shadows cast by the visitors of the installation. These images are displayed on monitors placed on pedestals in the darkened room. Every 30 seconds the feed on the monitor jumps to another camera, showing the room, light, feet, legs and shadows from different, though always low, perspective. The images should be shown in black and white. Nan Hoover first made black and white... in 2001 for her solo exhibition Dialogue that took place in the Netherlands Media Art Institute in Amsterdam. In 2002 the work was installed again but then at Dany Keller Gallery in Munich. In 2006 the work was exhibited at MNAC in Bucharest. Because the work is site-specific the shape of the installation and the amount of equipment used was different each time the work was installed and adapted to the new exhibition situation. 1. Why was this work chosen as a Case Study? The work black and white... takes an interesting position within the case study line-up of the Obsolete Equipment project due to open character of the installation. The installation is site specific, in other words, the installation is adapted to the characteristics of the room it’s being installed in and depends on the budget and available equipment. -
Art in Europe 1945 — 1968 the Continent That the EU Does Not Know
Art in Europe 1945 Art in — 1968 The Continent EU Does that the Not Know 1968 The The Continent that the EU Does Not Know Art in Europe 1945 — 1968 Supplement to the exhibition catalogue Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Phase 1: Phase 2: Phase 3: Trauma and Remembrance Abstraction The Crisis of Easel Painting Trauma and Remembrance Art Informel and Tachism – Material Painting – 33 Gestures of Abstraction The Painting as an Object 43 49 The Cold War 39 Arte Povera as an Artistic Guerilla Tactic 53 Phase 6: Phase 7: Phase 8: New Visions and Tendencies New Forms of Interactivity Action Art Kinetic, Optical, and Light Art – The Audience as Performer The Artist as Performer The Reality of Movement, 101 105 the Viewer, and Light 73 New Visions 81 Neo-Constructivism 85 New Tendencies 89 Cybernetics and Computer Art – From Design to Programming 94 Visionary Architecture 97 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know Introduction Praga Magica PETER WEIBEL MICHAEL BIELICKY 5 29 Phase 4: Phase 5: The Destruction of the From Representation Means of Representation to Reality The Destruction of the Means Nouveau Réalisme – of Representation A Dialog with the Real Things 57 61 Pop Art in the East and West 68 Phase 9: Phase 10: Conceptual Art Media Art The Concept of Image as From Space-based Concept Script to Time-based Imagery 115 121 Art in Europe 1945 – 1968. The Continent that the EU Does Not Know ZKM_Atria 1+2 October 22, 2016 – January 29, 2017 4 At the initiative of the State Museum Exhibition Introduction Center ROSIZO and the Pushkin State Museum of Fine Arts in Moscow, the institutions of the Center for Fine Arts Brussels (BOZAR), the Pushkin Museum, and ROSIZIO planned and organized the major exhibition Art in Europe 1945–1968 in collaboration with the ZKM | Center for Art and Media Karlsruhe. -
Jun 0 3 1988
MEDITATIVE VIDEOS by Atsushi Ogata Bachelor of Arts Harvard University Cambridge, MA 1983 SUBMITTED TO THE DEPARTMENT OF ARCHITECTURE IN PARTIAL FULFILLMENT OF THE REQUIREMENT OF THE DEGREE MATER OF SCIENCE IN VISUAL STUDIES AT THE MASSACHUSETTES INSTITUTE OF TECHNOLOGY JUNE, 1988 © AtsushiOgata 1988 The author hereby grants to M.I.T. permission to reproduce and to distribute publicly copies of this thesis document in whole or in part Signature of the author Atsushi Ogata Department of Architecture May 6th, 1988 Certified by Otto Piene Thesis Supervisor Accepted by William L. Porter Chairman, Departmental Committee for Graduate Students ~1 JUN 0 3 1988 F4-R .R1 Room 14-0551 77 Massachusetts Avenue Cambridge, MA 02139 Ph: 617253,.2800 MIT Libraries Email: [email protected] Document Services http://Iibraries.mit.edu/docs DISCLAIMER OF QUALITY Due to the condition of the original material, there are unavoidable flaws in this reproduction. We have made every effort possible to provide you with the best copy available. If you are dissatisfied with this product and find it unusable, please contact Document Services as soon as possible. Thank you. The images contained in this document are of the best quality available. - Grayscale images only. MEDITATIVE VIDEOS by Atsushi Ogata Submitted to the Department of Architecture on May 6th, 1988 in partial fulfillment of the requirements for the Degree of Master of Science in Visual Studies ABSTRACT My intention is to provide "meditative" moments to all of us who must struggle with the fast pace of the modern world. These "meditative" moments are both calming and engaging. -
Art in Düsseldorf 2017
ART IN DüsSELDORF ART IN DüsSELDORF 2017 R V L heinland/ R tefan Arendt, Medienzentrum Arendt, tefan S View of the collection at Museum Kunstpalast, Düsseldorf, Düsseldorf, at Museum Kunstpalast, of the collection View Photo: ART IN DüsSELDORF Düsseldorf has developed into an important centre for contemporary art in recent years, with both estab- lished museums and countless new ones being characteristic features of the city on the Rhine today. The world-famous Kunstakademie (art academy) acts as the central core for Düsseldorf’s highly contrasting art landscape. Internation ally renowned artists either teach or were taught in its halls. Countless represen- tatives of the younger generation of artists, who are now recognised names in the context of international exhibitions, had their beginnings in Düsseldorf. And Düsseldorf gallery owners also enjoy the highest reputations internationally; their galleries are the forums of the lively local art scene. Two-Piece Reclining Figure: Points, Düsseldorf, Hofgarten Düsseldorf, Points, Figure: Reclining Two-Piece © Düsseldorf Tourismus GmbH, Fotograf U. Otte GmbH, Fotograf Tourismus © Düsseldorf Ages HOTEL PAck To accompany the various exhibitions you will receive your hotel package inclusive of DüsseldorfCard and museum ticket. from only €79.00* p.p. in double room * Price is for the lowest-priced room category during the lowest travel season. www.visitduesseldorf.de/hotelpackages gUIDED TOURS ART IN DüsSELDORF Since the 18th century, Düsseldorf has been consistently developing into an art city. Virtually all of the city’s well-known cultural institutes – in- cluding Museum Kunstpalast, Kunstsammlung Nordrhein-Westfalen, and Kunsthalle Düsseldorf – are located along one axis. Duration group rate for max. -
Artists3 Books
ARTISTS3BOOKS:' news and reviews NEWS included an interview with Stephen Moore from San Jose, and No. 7 included an interview with Susan Wick. The Recently, Susan Wick closed her AART store, a six-month tabloid in newsprint is available free from Another Room, experiment in retailing contemporary art from $5 to $50 1640 18th St., Oakland, CA 94607. Space is available for in Oakland, California, and devised this recipe, which we advertising and printing for artists at $65 a full page. want to pass on to our readers: ARTISTS' PERIODICALS 1) Take a storefront in a very accessible shopping area that you can afford to pay the rent, electricity, water, Artpolice Magazines come out of Minneapolis. They publish insurance, etc. one to seven issues per year. 1979 saw 5 issues and 6 news- 2) Take work on consignment from artists with the letters. They publish in small editions and seek a serious agreement to pay 70% of sales to the artist. alternative to art being made today. The formats are wild, 3) Remain available for artists to do a varying number and the cartoons are sensational! Artpolice can be found of things, such as artists do, in around and with the si- at Artworks, Printed Matter, or from Artpolice, 133 E. multaneous showing of the static art. 25th Street, Minneapolis, MN 55404. 4) Specialize in prices that are affordable, $5 - $50. 5) Pay the artists once a month for any profit of $5 or Reaktion 4 is a tiltiUating voyage through the work of Omir, more. Erben, Heibel, Bertrand, Van Dijk, Morellet, De Vries and 6) Remain available to the public as a bridge between the Parmiggiani, which includes sensual conceptual photographs, artists and the community, encouraging collecting of this overlays, photographs on various kinds of paper, visual-verbal kind of art.