PERFORMA ANNOUNCES DETAILS FOR PERFORMA 17
NOVEMBER 1–19, 2017
THROUGHOUT NEW YORK CITY
PERFORMA 17 COMMISSIONS INCLUDE:
YTO BARRADA (Morocco/France)
WILLIAM KENTRIDGE (South Africa)
TARIK KISWANSON (Sweden/Palestine)
KEMANG WA LEHULERE (South Africa)
JULIE MEHRETU (Ethiopia) and JASON MORAN (USA)
ZANELE MUHOLI (South Africa)
WANGECHI MUTU (Kenya)
KELLY NIPPER (USA)
JIMMY ROBERT (France)
TRACEY ROSE (South Africa)
NEW YORK – Performa, the internationally acclaimed organization dedicated to live performance across
disciplines, announces select commissions and the historical anchor for Performa 17—the seventh
edition of the Performa Biennial, to take place November 1–19, 2017, at locations throughout New York
Since its inception, Performa has been a leader in commissioning artists whose work has collectively
shaped a new chapter in the multi-century legacy of visual artists working in live performance. Founded
by art historian and curator RoseLee Goldberg, the organization is dedicated to exploring the critical role
of live performance in the history of twentieth-century art, as well as its enormous significance in the
international world of contemporary art.
Performa 17’s team of curators and producers will present commissions and projects around curatorial
research themes focused on a cross cultural dialogue between Africa and the West, the legacy of Dada,
and the intersection of architecture and performance, that represent timely opportunities to work with a
diverse range of global contemporary artists. The resulting commissions and scholarship examine
immediate and critical concerns confronting our urban centers, the shifting political and cultural currents
of our turbulent world today, and ultimately the role of the arts and of artists in supporting afflicted
communities. This edition of the Biennial will focus on the sociopolitical context informing contemporary
art today, and how best to engage audiences in significantly understanding and absorbing its aesthetics
and intrinsic values. Additional commissions, projects and details will be announced in the coming
epodium founder Andreas Backoefer participates in the project “Hands off our Revolution“.
Wir sind eine globale Vereinigung, die radikale künstlerische Inhalte unterstützen und bestärken will. Wir glauben, dass Kunst hilfreich sein kann der wachsenden Rhetorik des rechten Populismus und des Faschismus – dem stärker werdenden Ausdruck von Fremdenfeindlichkeit, Rassismus, Sexismus, Homophobie und unentschuldbarer Intoleranz – etwas entgegen zu setzen.
Wir wissen, dass Freiheit niemals vorausgesetzt werden kann, sondern gewonnen werden muss, Gerechtigkeit nicht gegeben, sondern einzufordern ist. Beides gilt es zu erkämpfen und zu beschützen und beides war in der westlichen Nachkriegsgesellschaft noch nie so zerbrechlich, noch nie so nahe daran uns zu entgleiten wie in diesem Augenblick. Als Künstler ist es unsere Aufgabe und unsere Pflicht soziale Beziehungen, die von rechtspopulistischer Herrschaft bedroht werden, zu überdenken und neu zu erfinden. Es ist unsere Verantwortung solidarisch zu sein. Wir werden nicht klein beigeben. Wir sehen uns in dieser Rolle und es ist gleichzeitig unsere Chance Menschen dazu zu bringen klar und offen über Ideen zu debattieren, indem wir die uns eigenen Ausdrucksformen und unsere öffentlichen Räume nutzen.
Artists respond to the new global order with works that range from amusing to acidic
by GABRIELLA ANGELETI | 3 March 2017
(via The Art Newspaper)
The effects of fractured political systems are looming themes at Armory week satellite fairs geared toward younger dealers and artists. At Volta, running 1-5 March at Pier 90, the centerpiece is a curated section, organised by the Brooklyn-based curator Wendy Vogel. Titled Your Body is a Battleground after the famous Barbara Kruger photomontage, created on the occasion of the 1989 Women’s March on Washington, the mini-exhibition comprises works by eight artists dealing with the idea of resistance, including a colossal installation titled PATRIOT (2017) by the Kentucky-based artist Melissa Vandenberg that spells out its title with sewn and stuffed surplus military fabric.
epodium gallery on Instagram:
There is no term more ubiquitous, obnoxious, and self-serving in our current lexicon as “woke.” Woke is safety-pin politics, masturbatory symbolism, and virtue signaling of a deflated Left insulated by algorithms, filter bubbles, and browser extensions that replace pictures of Donald Trump with Pinterest recipes.
Woke is a misnomer — it’s actually asleep and myopic. Woke is a safe space for the easily distracted and defensive pop culture inbred. Woke is the Left curled up in a fetal ball scribbling think pieces about Broad City while its rights get trampled by ascendant fascism, domestically and globally.
Elena Eichhorn, Georg Gaigl, Louisa Marie Summer, Andreas Backoefer, Roger Kausch, Peter Rauscher, Paul Valentin
Disjointed. Broken. Not coherent. Seemingly irrational: It’s a disconnected argument. Confused. Rambling. Incoherent. Got it? It’s not: Cogent, logical, coherent. We were disconnected. We are here to disconnect you. Listen. State your business and disconnect. When social pressures become too great, you should simply disconnect. So, let your senses flow and disconnect with us. Be broke. Got it?
Performance / with Gregor Peschko, Kalas Liebfried and Paul Valentin
At Booklyn Fire Proof Building, New York City / 23. October 2016
Images/Video © Paul Valentin
epodium founder Andreas Backoefer at GUESTSPOT @ REINSTITUTE in Baltimore:
Talk on museum philanthropy
THE REINSTITUTE SALON | Andreas Backoefer | Cultural Philanthropy and Art Museums – A Historical Approach | Wednesday, December 7, 2016 | 7pm
Guest Spot @ THE REINSTITUTE would like to invite you to participate as our special guest in THE REINSTITUTE SALON. We will be welcoming our topic presenter Andreas Backoefer for an evening of awareness, knowledge exchange, dinner, and conversation. Andreas Backoefer will present research from his upcoming book on cultural philanthropy. As an invited Salon participant, we are excited for your contribution in our intellectual exchange in hopes to further Andreas Backoefer’s ongoing research. Please join Guest Spot for an evening of insight in the development of innovative strategies surrounding cultural
We have provided supplementary text below. Feel to contact me with any further questions. Space is Limited please RSVP here and let us know of any dietary restrictions or food
////// THE REINSTITUTE — The Public is Self-Organized.
November 5th, 9:30 – 17:00h, Sky Loft, Ars Electronica Center Linz, free entrance
The symposium “INTERMEDIA BODY: artistic research meetings” will gather artists from different fields, working in the multi-faceted realm of Intermedia Performing Arts. Austrian and international artists will present their projects & research, share working experience and take part in pannel discussions.
Participants: Antoni Rayzhekov (AT/BG), Christian Mio Loclair (DE), Mihaela Kavdanska (RO/BG/AT), Gerhard Funk (AT), Jianan Qu (CN,AT), Simona Deaconescu (RO), Venelin Shurelov (BG), Cinty Ionescu (RO), Cristian Iordache (RO).
The project is initiated and curated by Mihaela Kavdanska/ AVmotional Platform and realised with the support of Rumänisches Kulturinstitut Wien, Förderungsverein der Kunstuniversität Linz, Interface Cultures Lab, National Centre for Contemporary Dance Bucharest & International Graduates Club Linz.
November 5th, 13:45h, Sky Loft, Ars Electronica Center, free entrance
Coming soon …
epodium artist Louisa Marie Summer is invited to the Fotomuseum Tallinn. The exhibition “Grenzgänge” opens at Oct. 19th. (until Dec. 11th)
Im Rahmen der Fotografenresidenz, die ein Gemeinschaftsprojekt des Institut français d‘Estonie und des Goethe-Instituts Tallinn mit Unterstützung des Deutsch-Französischen Kulturfonds ist, findet vom 19.10. bis zum 11.12.2016 eine Gesamtausstellung im Fotomuseum Tallinn statt, bei der in Narva und in Tallinn entstandene Bilder zum Thema „Städte an der Grenze“ gezeigt werden.
Eine deutsche Fotografin und ein französischer Fotograf verbringen einige Tage in den estnischen Grenzstädten Narva und Tallinn und vermitteln mit ihren Fotografien ihren ganz persönlichen Blick auf die Städte als physische Grenze sowie auf psychologische und politische Grenzen.
23 Oct 2016
Disconnected (Performance by Liebfried/Peschko/Valentin)
Brooklyn Fire Proof, 119 Ingraham Street, Brooklyn, NY 11237
With his video work “The Unobserved World” wins epodium artist Paul Valentin the 2. Price at Celeste 2016, London.
epodium founder will give the Lecture “Jan Fabre’s The Meeting in Manhattan” in the series Micro Talks at the biennial art expo Exchange Rates 2016 in Bushwick/Brooklyn. On Oct. 23rd, 3pm at The Buggy Factory.
Jianan Qu, born 1985 in Shandong/China, lives and works in Vienna/Linz, Austria
Jianan Qu is an interdisciplinary artist works with installations, performances, objects, video and photography. Working conceptually and minimally. He researches the boarders between visual arts and performance.
Jianan’s works have been shown at ImpulsTanz Vienna (Austria), Hong Kong Arts Festival (China), Oslo LUX (Norway), Lentos Museum Linz (Austria), euro-scene Leipzig (Germany), OK Center for Contemporary Art (Austria), Bruckner Haus (Austria), Monotonic Budapest (Hungary) the St. Pölten Festspielhaus (Austria), Atelier Salzamt (Austria) amongst others. Since 2007 Jianan Qu teaches Contemporary Dance at The Anton Bruckner University, Linz.
Jianan Qu has been awarded several different prizes, including the “Best German Dance Solo“ of Euro-Scene Leipzig 2007 and the first prize of “1. Szene Bunte Wähne Choreographie-Wettbewerb 2006” Vienna.
Jianan Qu‘s Arbeit »whiter than sky: A – sky« und «whiter than sky: B – white« ist eine poetische Auseinandersetzung mit dem Tod seines Großvaters und eine Reflexion auf die schwere Vermittelbarkeit von Gefühlen wie Trauer. Außerdem wird die Wirkungsweise und das Verblassen von Erinnerung thematisiert. Als Ausgangsmaterial dient dem Künstler das Fotoarchiv seiner Familie. Diese Fotos wurden von Qu manipuliert und die Bildinformation auf Umrisse reduziert. Während in der Videoinstallation nur der Himmel bleibt, finden wir in der Fotoinstallation die Silhouetten der Personen und die Umrisse der Umgebung wieder. Diese heben sich gegen den verhältnismäßig dunkleren Himmel ab. In einem Gespräch erzählt uns der Künstler über die Entstehungsgeschichte, Konzeption und Konsequenzen des Projekts.
Expect to see participatory work by Rirkrit Tiravanija and Tomas Vu, Pussy Riot-themed surfboards and jungle photography
by DAN DURA
(via The Art Newspaper)
This year’s edition of Untitled, Miami Beach (30 November-4 December)—a major satellite fair that runs concurrently with Art Basel in Miami Beach—will feature a number of special artist projects from the likes of Rirkrit Tiravanija and Tomas Vu, along with a collaboration with Miami’s Institute of Contemporary Art.
The biggest collaborations are surfing-based, a fitting theme for a beach town, though it should be said: Miami is not known for its waves, nor its surfing culture. Tiravanija and Vu will present RT TV Boards in collaboration with Nathalie Karg Gallery: an installation that includes a number of different elements including surfboards with Beatles lyrics and a t-shirt silkscreening stand staffed by MFA candidates from Columbia University, where Tiravanija teaches. There will also be a number of Pussy Riot-inspired surfboards that attendees can borrow, and a shower for rinsing off later.
Timeless Motion (in Life and Light) 2016, 3D Rendering
TIMELESS MOTION (in Life and Light)
#timelessmotion #grimanesaamoros #cindychao #BiennaledesAntiquaires @cindy_chao @grimanesaamoros
In new court filings, Fabrizio Moretti reveals the work he says David Zwirner has failed to deliver—and is now seeking $6m in damages
(via The Art Newspaper)
Lawyers for Blue Art Limited, the London-based company owned by the Italian Renaissance dealer Fabrizio Moretti, filed an amended complaint Wednesday night (17 August) against the New York art dealer David Zwirner and his gallery, which Moretti says failed to deliver a work of art he bought for $2m. The new complaint comes after Zwirner’s motion to dismiss named the previously anonymous purchaser and called the lawsuit “a case of buyer’s remorse”. In response, Moretti’s recent court filings reveal the work at the heart of the case—Jeff Koons’s Gazing Ball (Centaur and Lapith Maiden) (2013), from the gallery’s show that year. And while he previously asked for the original purchase price for the work plus fees, Moretti’s updated suit seeks $6m in total damages.
In the new filing, Moretti’s lawyers say Zwirner and the gallery played “a kind of ‘three card monte’ in which the numbered casts of the sculpture”—an edition of three, plus an artist’s proof—“were distributed to their buyers willy-nilly”.
After more than 20 years autodidactic work with woodcarving:
2001-2004 Education at the „Fachschule für das Holzbildhauerhandwerk“ in Munich
2005-2007 Masterschool for Woodsculptor in Munich
since 2004 selfemployed with an Atelier in Munich, Amalienstr.15
Exhibitions in Germany and Switzerland
Die elementare Natur, die Beziehungen zu und zwischen den Menschen sind meine Themen. Die Reduktion auf das Wesentliche, das unter der Oberfläche Verborgene sichtbar zu machen und in eine archaische, fragmentierte Formensprache zu bringen ist mein Ziel.
Gestalterische und handwerkliche Fähigkeit, Wissen um Material und Technik, bewusstes Einbeziehen von Zufälligkeiten, Verarbeitungsspuren, Risse und Kratzer betonen, das Unvollkommene hervorheben gehören zu meiner Arbeitsweise.
1968 born in Erding, Germany
1991-1993 LMU Munich
1993-1997 Academy of Fine Arts Munich
1996/97 Grant »DFJW«, Angers, France
The central themes in his pictures are the “softfacts”-the thoughts, the awareness of life.
In a surprising way he joins textures, landscapes, contemporary and historic photos of persons, houses, objects, landscapes and even words.
He has created his very own artistic technique – Décalcage.
Digital prints were attached to woodenboards by adhesive.
It’s the work done by hand that makes the décalcage a unique technique. Additionally it gives them an aesthetic presence and a painting-like structure and quality.
(Photo Credit : Masayuki Nagata)
Save the Date:
KUNSTVEREIN: Die drei Künstler Steffen Osvath, Jenny Winter-Stojanovic und Louisa Marie Summer zeigen ihre interessanten Arbeiten in Viernheim
Von unserem Mitarbeiter Frank Kostelnik
Nicht alle Tage trifft man beim Betreten einer Kunstausstellung auf einen schwarzen Sarg. Noch seltener wird dabei der Besucher auch noch motiviert, in den Sarg hineinzugreifen, um sich etwas herauszuholen. Bei dieser Ausstellung im Kunsthaus Viernheim mit dem Titel “Stories” aber schon.
“Kunst darf das” – so der Stuttgarter Galerist und Kunsthistoriker Marko Schacher in seinen einführenden Worten zur Ausstellung “Stories” der beiden Künstler Steffen Osvath und Louisa Marie Summer.
Südhessen Morgen, Donnerstag, 16.06.2016
VIERNHEIM. Am kommenden Samstag eröffnet der Kunstverein Viernheim gleich zwei bemerkenswerte Ausstellungen. In den Räumen des Kunsthauses Rathausstraße geht es unter der Überschrift Stories um ungewöhnliche und intensive Fotografien von Louisa Marie Summer und Steffen Osvath, während im Gewölbekeller in der Hügelstraße unter dem Begriff Clouds einzigartige Rauminstallationen von Jenny Winter-Stojanovic zu sehen sind.
“Alle drei Künstler stellen Werke aus, die den Betrachter herausfordern und zu unterschiedlichen Ergebnissen kommen lassen” verspricht der Stuttgarter Gastkurator Dr. Raimund Menges den Besuchern ganz besondere Denkanstöße.
Louisa Marie Summer preparing the show at Kunstverein Viernheim
epodium gallery at Art Basel 2016 on 17 June 2016. Call for appointments +49/176/57010689
Lives of the Most Excellent Artists, Curators, Architects, Critics and more, like Vasari’s book updated. The Art World Demystified, Hosted by Brainard Carey
Grimanesa Amorós is an interdisciplinary artist with diverse interests in the fields of social history, scientific research and critical theory, Through her art she conveys an ephemeral wonder, entrancing the viewers from all different backgrounds and communities to become agents of empowerment. She makes use of sculpture, video, and lighting to create works that illuminate our notions of personal identity and community. She is the guest speaker of TEDGlobal 2014, a recipient of NEA Visual Artist Fellowship, NEA Artist Travel Grant, Art In Embassies Program of the U.S.
Listen to the interview here.
epodium gallery playlist 3 mit Werken von Claudia Jeschke/Rose Breuss, Richard Phillips, David Hockney und Cecilia Bengolea.
20 – 23 October 2016
noises: Video Works by Kalas Liebfried, Gregor Peschko and Paul Valentin
Exchange Rates 2016. An international exposition of artworks and art galleries in and around Bushwick, Brooklyn
Temporary Storage, at Brooklyn Fire Proof, 119 Ingraham Street, Brooklyn, NY 11237
There are over 45 million Americans living below the poverty line. Photographer Louisa Marie Summer has captured the story of one such family. In her book, Jennifer’s Family, she photographed the highs and lows of the life of a 26-year-old Rhode Island woman, her partner, and their four kids. They’ve struggled with illness, money troubles, and incarceration, but at the center of the book is hope.
Throughout her distinguished career, Mona Hatoum has questioned and explored themes of themes of home, displacement, and self. Whether taking shape as installation, sculpture, video, photography, or works on paper, Hatoum’s art elicits strong psychological and emotional responses. In celebration of her internationally acclaimed work, the School of the Museum of Fine Arts, Boston (SMFA), will honor Hatoum at the Medal Award Gala on May 23, 2016, in the Ruth and Carl J. Shapiro Family Courtyard at the Museum of Fine Arts, Boston. First presented in 1996, SMFA’s annual Medal Award recognizes notable artists and influential art patrons for their commitment to and impact on the art world.
“Mona Hatoum is one of the essential creative voices of our time, an artist whose work challenges us to rethink a world fractured by conflict and imagine new forms of connection,” says SMFA President Chris Bratton. “We are privileged to be honoring her with this year’s SMFA Medal Award.”
Hatoum first became widely known in the mid 1980s for a series of performance and video works that focused with great intensity on the body. In the 1990s her work moved increasingly towards large-scale installations and sculpture. Working in a diverse range of media, she has developed a language in which domestic, everyday objects are often transformed into foreign, threatening, or surreal sculptures.
Allworth Press, New York 2016
308 Seiten, 19,19 €
Das Buch ist im epodium Bookshop erhältlich.
The Art World Demystified unfolds the confusing and often treacherous terrain of the art world, revealing the inner workings of a system that has few rules but many opportunities. In this volume, artists will find their own questions reflected and addressed, including:
Exhibition “Unboxing Pandora” at Kunstpavillon München with works by epodium artists Kalas Liebfrief and Paul Valentin
Vernissage: Donnerstag, 14.04.2016, ab 19.00 Uhr
Ausstellung: 15.04. — 08.05.2016
Die Klasse Stephan Huber (Akademie der Bildenden Künste München) widmet sich in einer Gruppenausstellung im Münchener Kunstpavillon unter dem Titel “UNBOXING PANDORA” den Themen Gewalt, Angst und Repression. Mittels einer multimedialen Installation in Form eines Kubusverbinden sich alle Einzelpositionen der Studierenden zu einem assoziativem Narrativ. DieAußenwände der Installation sind mit Skulpturen, Zeichnungen, Collagen und Fotografien bespielt. Im Inneren des Würfels dominiert hingegen mit einer Vielzahl an Videoarbeiten das bewegte Bild. Derschräg eingebaute Kubus dient als Träger aller Themenkomplexe und lässt die Wände, wie auch denBoden des Ausstellungsraumes von den Arbeiten unberührt: Die Gewänder, in denen ‘das Böse’ in derWelt – konkret die Welt aus der Sicht der KünstlerInnen – erscheint, werden so in einem autonomenKonstrukt verdichtet. Die einzelnen Arbeiten, welche sich unter anderem mit Selbstoptimierung, zwischenmenschlichen Beziehungen, Mord, Überwachung und Schmerz auseinandersetzen, generieren ein umgreifendes Panoptikum der Allgegenwart.
Die Ausstellung wird von Prof. Stephan Huber und Verena Seibt kuratiert und von einem Rahmenprogramm begleitet.
Expansion of the Moment
a Lecture Performance Video by Andi Kurz now at epodium gallery
Outset Contemporary Art Fund founder succeeds Julia Peyton-Jones after 25 years
(via The Art Newspaper)
The Hong Kong-based philanthropist and entrepreneur Yana Peel has been appointed chief executive of the Serpentine Galleries in London. The high-profile institution’s trustees took the unusual decision to choose a fellow trustee to fill the new post. Julia Peyton-Jones, who put the institution on the international map, is stepping down as co-director this month after 25 years at the helm.
Peel will work in partnership with Hans Ulrich Obrist who has been at the Serpentine since 2006 as co-director of exhibitions and programmes. He takes on the new role of artistic director.
epodium gallery playlist 2 mit Werken von Jan Bas Ader, Jerome Bel, Miguel Gutierrez, Ana Mendieta und Chantal Akerman
Die amerikanischen Künstlerin Grimanesa Amorós erstmals in Deutschland
Kultur Regional am 18.2.2016 von Marianne Lechner
Listen Audio File here
epodium gallery playlist 1 with works by Jan Fabre, Andrea Fraser, La La La Human Steps, and Tracey Emin
epodium gallery founder Andreas Backoefer and New York artist and friend Grimanesa Amorós in between her light installation OCUPANTE at Ludwig Museum Koblenz
German Museum Director Professor Dr. Beate Reifenscheid of the Ludwig Museum (Koblenz, Germany) interviews New York artist Grimanesa Amorós on the occasion of the exhibition “Grimanesa Amorós: OCUPANTE” featuring her latest light sculpture and video installations “OCUPANTE” in the Ludwig Museum in Coblence (2016).
Die amerikanischen Künstlerin Grimanesa Amorós erstmals in Deutschland
“Ocupante” Ausstellung im Ludwig Museum Koblenz
Kultur Regional am 18.2.2016 von Marianne Lechner
Das Ludwig Museum in Koblenz zeigt bis Mitte April großformatige Lichtinstallationen der peruanischen Künstlerin Grimanesa Amoros. Die Licht- und Videokünstlerin holt mit ihrer Arbeit die Besonderheit des Standortes am Deutschen Eck ins Museum.
Landesschau aktuell Rheinland-Pfalz
Imposante Lichtkunst am Deutschen Eck
14.2.2016 | 19.45 Uhr | 1:30 min
Quelle: SWR Mediathek
Ausstellung: 14. Februar – 10. April 2016
Di. bis Sa. 10:30 – 17:00 Uhr
So. und Feiertags 11:00 – 18:00
Hit and Run, 2016
by Kalas Liebfried, Stefan Natzel, Patrik Thomas, Mathias Reitz Zausinger
2 Channel Digital Video, Color
COUNTRY OF PRODUCTION: Bulgaria
Full Length: 5 min 22 sec
by ANNY SHAW | 28 January 2016
(via The Art Newspaper)
As the traditional role of the art dealer continues to be redefined, collaborations and joint exhibitions are becoming more commonplace. But three galleries are taking it a step further this spring when Hauser & Wirth in London will present a show of works by Felix Gonzalez-Torres in conjunction with Andrea Rosen in New York and Massimo de Carlo in Milan.
The artists Roni Horn and Julie Ault are organising the three exhibitions; each will focus on an aspect of the Cuban-born American artist’s practice. The London leg (27 May-30 July 2016) will feature all of Gonzalez-Torres’s photographic puzzle works from 1991 as well as three other works created the same year. Four textual portraits will go on show at Andrea Rosen gallery, while three beaded curtains are among the works due to go on display at Massimo de Carlo gallery.
Lecture/Conversation with epodium artist Grimanesa Amorós at Museo de Arte Contemporaneo Lima (Peru)
Thursday, January 21 at 7PM – 9PM
Museo de Arte Contemporaneo
Av. Almte. Miguel Grau 1511,
Barranco, L04, Lima, Peru
“Busbusiness” with epodium artist Kalas Liebfried at Victoria Gallery in Sofia (Bulgaria)
16 – 23 Jan 2016
Kalas Liebfried: the time: anti, 2015, Videostill
epodium gallery is now presenting the video works of Kalas Liebfried.
the time: anti
A burning house in the middle of a snowy nowhere. A ghostly sounding voice that speaks: “You are sleeping. You do not want to believe.” And a atonal piano piece. “the time: anti” is a video work about the relativity of time and perception. Made out of a conceptual transcription from the official instruction of how to behave when a building is on fire into a music score, a text which is inspired by the EVP (electronic voice phenomenon) recordings of the Latvian writer an intellectual Konstantin Raudive and images from a found footage material.
This is the third part of a found footage trilogy about the places of solitude in Friedrich Nietzsches “Thus spoke Zarathustra”. While the other parts are dealing with the mountains and the desert, this one is exploring the sea as a rough and dangerous place for the one who lives in a positive solitude. The one who is deconstructing all the social influenced values and perceptions, aiming a way to create his own individual mind.
Jan Fabre’s Insects:
on real Presence
Jan Fabre was born in the Belgian city of Antwerp in 1958 where he also later studied at the Municipal Institute of Decorative Arts and the Royal Academy of Fine Arts. In the late seventies, while still very young, he created a furore with his solo performances, whose nature lay somewhere between theatre and art. For example, in his ‘money’ performances he set light to bundles of money collected from the audience and did drawings with the ashes. In 1984 he performed with De Macht der Theaterlijke Dwaasheden at the invitation of the Venice Biennale. This performance, which subsequently toured the world, is chronicled in every book on the history of contemporary theatre . In 1979 Fabre was invited to the documenta IX in Kassel (Germany).
Fabre integrates different animals with mythological connotations – like rabbits and owls – in his performances and many other art-projects such as films and sculptures. His ancestor was the famous entomologist Jean-Henry Fabre (1823-1915) and this explains Fabre’s obsessively interest in insectology. He has long pursued the idea of adding ‘a few pages to the history of insects’ without owing anything to scientific training. In his collages Fantasie – insecten – sculpturen (1979) he combines insect corpses with modern utensils as a plethora of surreal creatures: a winged spider, a beetle-pen, and a beetle-beer bottle opener. Another example is Metamorphoses (1993), a “mythological poem”, in which he draws the transformation process of all kinds of existing and imaginary insects. Since the early nineties Fabre ‘designs’ exhibitions with angels, for example Mur de la montée des anges (Wall of the Ascending Angels, 1993). The used materials are jewel beetles and iron wire. Fabre explains his preoccupation with beetles in an interview:
Celebrated German artist reflects on his work before opening of his biggest UK show, at White Cube gallery in London
(via the guardian)
Anselm Kiefer works on a grand scale. On Friday the artist will sign a contract to buy the Mülheim-Kärlich reactor, a decommissioned nuclear power station near Koblenz, Germany. And on the same day Kiefer, one of Germany’s most celebrated postwar artists, will attend the opening night of his biggest show ever in Britain, spread over 11,000 sq ft of the newly opened White Cube gallery in south London.
Kiefer’s art is deeply serious, dense with both esoteric symbolism and political meaning. The show, Il Mistero delle Cattedrali, takes its title from a 1926 book by Fulcanelli, a mysterious figure who practised alchemy, and contains monumental paintings and sculptures alluding to ideas from the philosopher’s stone to the second world war.
“Art is difficult,” says the 66-year-old firmly. “It’s not entertainment. There are only a few people who can say something about art – it’s very restricted. When I see a new artist I give myself a lot of time to reflect and decide whether it’s art or not. Buying art is not understanding art.”
OCUPANTE by epodium artist Grimanesa Amorós at Ludwig Museum Koblenz
Light Sculpture, Video, Mixed Media
14 Feb – 08 April 2016
(via artnet news)
his year was a strong one for female artists, and next year it appears that it might be even better. In 2016, all of the solo shows at SculptureCenter in Queens, New York, will be by women. We’re also looking forward to Catherine Opie’s “Portraits and Landscapes” at Lehmann Maupin gallery in New York in January, and “Revolution in the Making: Abstract Sculpture by Women, 1947 – 2016” in March at Hauser & Wirth in Los Angeles.
The artist collective has worked with local communities on neighbourhood regeneration projects
by The Art Newspaper | 7 December 2015
(via The Art Newspaper)
Assemble, the artist collective that works with local communities in the UK on neighbourhood regeneration projects, has won this year’s Turner Prize. The £25,000 award, one of the largest given to a contemporary artist in the UK, was presented by artist and musician Kim Gordon at the Glasgow art space Tramway, in partnership with Tate.
Assemble’s long-term collaboration with the Liverpool land trust Granby Four Streets to create affordable housing “shows the importance of artistic practice being able to drive and shape urgent issues in the post-industrial era,” the prize press release states.
The other shortlisted artists, who will receive £5,000 each, are: Bonnie Camplin, for The Military Industrial Complex, a study room installation exploring “consensus reality”; Janice Kerbel, for DOUG, a musical performance consisting of nine songs for six voices; and Nicole Wermers, for Infrastruktur, an installation on the theme of consumerist culture. For the first time, the exhibition of the nominated artists was held in Scotland, at Tramway gallery, where it remains on view until 17 January 2016.
Anselm Kiefer’s work, which often refers to Germany’s Nazi past, has been accused of glossing over that history. Katherine Hinds, the long-time curator of Martin Margulies’s private collection, says visitors to its Miami show have felt differently. “All I can tell you is that audiences find it a very powerful exhibition onto which they can project and through which they can think about the loss of humanity throughout the 20th century,” she says. Kiefer’s show is being put to good use: all admission fees for the Margulies Collection ($10 for adults, $5 for students and free for students from the State of Florida) goes directly to the Lotus House Shelter for homeless women and children in Miami. P.P.
2015 edition has more art from the Midwest to Mexico
by Melanie Gerlis | 26 November 2015
(via The Art Newspaper)
For its 14th edition, Art Basel in Miami Beach (3-6 December) is emphasising its “Americas” credentials, encompassing the length and breadth of its vast home turf. Noah Horowitz, who in July was poached fr om directing New York’s Armory Show to fill Art Basel’s new position of director Americas, defines the region he represents as “from Canada to South America”.
The subtle shift seems to be reflected in the varied list of newcomers to this year’s edition. Of the 11 new galleries from the Americas, relatively few (five) are New Yorkers. Three come from Los Angeles: François Ghebaly and Thomas Duncan in the Positions section and Hannah Hoffman in the Nova section, with a booth dedicated to new works by the Los Angeles artist Matt Sheridan Smith. Others come from San Francisco (Jenkins Johnson in the Survey section), Curitiba in Brazil (Sim Galleria in Positions with the local artist Romy Pocztaruk) and Mexico City (Arredondo\ Arozarena in Positions with the Mexican artist Fritzia Irizar).
epodium gallery founder Andreas Backoefer interviewed by Brainard Carey from Yale Radio in the series “Museum of Nonvisible Art – The Art World Demystified”. Follow the link.
Feminist art activists plan “anti-billionaire” campaign to highlight discrimination, which kicks off in Minneapolis
by Rachel Corbett | 18 November 2015
(via The Artnewspaper)
Billionaires are the target of a new campaign by the feminist activist group Guerrilla Girls. “Cartels of collectors get behind the work of a few sel ected artists; galleries are paying for exhibitions of their artists at museums; and art fairs are showing the same bankable work over and over,” they told us in an email statement.
The anonymous group turned 30 this year, and is still raising hell in its fight against art-world discrimination. It plans to “take over” Minneapolis-St Paul next year with an “anti-billionaire” campaign. The group says we should expect more “stealth projections” like the one displayed on the side of the Whitney Museum of American Art in May that read: “Dear art collector: art is sooo expensive, even for billionaires! We totally get why you can’t pay all your employees a living wage #poorlittlebillionaires.”
The campaign is part of the Guerrilla Girls Twin Cities Takeover, which includes a week-long festival, from 29 February to 6 March 2016, bringing together more than 20 local institutions. These include the city’s Walker Art Center, which will display protest posters created by the Guerrilla Girls between 1985 and 2012. (The museum bought a portfolio of 88 posters earlier this year.)
Die Artissima in Turin ist zwar eine Messe und damit dem Markt verpflichtet. Zugleich zeichnet die Verkaufsplattform für zeitgenössische Kunst jedoch ein eindringliches Spiegelbild gesellschaftlicher Befindlichkeiten. Das gilt namentlich für das inzwischen etablierte Performanceprogramm.
Turin. Wer an diesem Wochenende die Turiner Kunstmesse „Artissima“ besucht, sollte, bevor er den Lageplan der Kojen studiert, einen Blick auf den „Bühnenplan“ werfen. Zwölf Performances stehen im Programm, und für viele der Darbietungen dürfte der vorgesehene Raum eingangs der Messehalle rechts im Zweifelsfall nicht genügen. Die Sektion „Per4M“ erfreute sich schon bei ihrer Premiere im vergangen Jahr großer Beliebtheit.
Am Freitag um 15 Uhr zeigt die Hamburger Künstlerin Annika Kahrs in ihrer bereits mehrfach aufgeführten Performance „Strings“, wie labil vermeintlich feste Strukturen sind. Vier Kammermusiker interpretieren das Streichquartett Opus 18, Nr. 4 C-Moll von Ludwig van Beethoven. Doch die anfängliche Harmonie findet bald ein Ende, denn nach jedem Satz lässt Kahrs die Musiker den Platz und das Instrument mit dem rechten Nachbarn tauschen. Mit jedem Platztausch wächst die Verunsicherung und mit ihr der Missklang. Das 8:20 Minuten lange Video einer früheren Strings-Performance kostet bei der Hamburger Produzentengalerie 13.000 Euro. Es ist das letzte Exemplar von fünf.
Louisa Marie Summer “Sockeye (Red) Salmon”, Kijik River, Lake Clark, Alaska, 2015
October 1-25, 2015
Melis Bürsin, Sırma Doruk, Seyhan Musa, Bahar Yürükoğlu, Louisa Marie Summer
The exhibition Water Memory reflects upon the notion of memory and how it is formed through diverse lenses ranging from personal to collective ones, featuring digitized and manipulated versions of ourselves, and utilizing the lexicon of nature and human physique with corresponding sound elements.
The fourth century B.C.E. Greek philosopher Aristotle compared memorizing to making impressions in wax, and the belief that memories are copies of reality that a person stores and later retrieves has been widespread. In 21st century, we trust what our ‘smart’ gadgets store for us to ‘remember’ and to be ‘remembered’. In reality, much that is remembered captures the gist rather than the details of the original experiences, and we forget remembering is often a process of reconstruction, manipulated through the neural passages of our brain.
Space Debris is a multi-purpose art space founded by Seyhan Musaoglu in New York, USA, and is now based in Karaköy, Istanbul. As a hub space for innovative dialogue with a collective soul, the aim is to gain recognition for interactive new media works and interdisciplinary subjects that challenge traditional boundaries.
Gregor Peschko: Genua, 2015, Film
epodium gallery is now presenting the video works of Gregor Peschko.
“Genua“ is a film composed of self-made video recordings (boat trip), found footage from the internet (swimming scenes) and a super 8 film with footage from the coastal area. Apart from the very associative storyline, the source of the material plays an important role. The image is accompanied by a collaged sound backdrop. The fictional combination of elements are related to an area between a social and subjective visual memory or rather to an oscillation in between.
The displayed atrium is located in the old guesthouse of the GDR´s council of ministers in Leipzig. During the 70s and 80s the building was used as an accommodation for foreign representatives and other guests of state. The building was isolated from the outside area by enormous safety precautions. This was in strong contrast to the hospitality the house stood for. The whole complex was surveilled and shielded by the Stasi. (State Security Service) High industrialized buildings around the complex served as bomb shields for potential attacks. On the inside a little enclave of western consume standards with Milka chocolate and Coca Cola was established in favor of SED officials and guests of state. For the citizens of Leipzig the events within the house remained non-transparent and secretive. The video loop was recorded inside of the guest house which is falling into ruin. Except for the light, almost invisible snowfall at the outside space of the atrium the picture in the interior is completely motionless. No sound.
Forget opening galleries in far-flung territories—globalisation is benefiting the traditional hubs
by Melanie Gerlis | 14 October 2015
(via The Art Newspaper)
Global financial hubs: London and New York remain the go-to cities for the art world
Although international galleries have spent the past decade wooing collectors in far-flung countries, opening spaces in Asia in particular, the next set of moves will result in an even greater concentration of the market in its two traditional hubs: London and New York.
London’s White Cube (FL, D4) is looking for office space in New York to “service its international client base”, a spokeswoman for the gallery confirms. Peter Brandt, who was the co-director of its space in São Paulo until it closed in August, could soon be spending more time in Manhattan. The Paris- and Salzburg-based dealer Thaddaeus Ropac (FL, A5) is known to be looking for a space in London, having originally considered opening in Istanbul. The Cape Town- and Johannesburg-based dealer Liza Essers of Goodman Gallery (FL, A17; FM, G17) is also seeking a space in London. London-based Lisson Gallery (FL, B5; FM, E7) is due to open a huge space in New York next year, while Hauser & Wirth (FL, D6; FM, D1) plans to upgrade to a new five-storey building in New York in 2018.
Watch the Video Trailer
PINK LOTUS, a light sculpture installation by epodium artist Grimanesa Amorós installed on the The Peninsula New York landmark facade and as a part of “The Art of Pink” campaign, curated by Circa 1881 and sponsored by The Peninsula Hotels in honor of breast cancer awareness month. The work is on view from Oct. 1 to Nov. 15.
Limited edition PINK LOTUS tote bags can be purchased at The Peninsula New York. All proceeds will benefit SHARE, a nationwide community offering support, information and the benefit of experience to women diagnosed with breast and ovarian cancers.
epodium gallery owner Andreas Backoefer with Grimanesa shortly before her wonderful lecture 15. Sept. 2015
Vanillery I+II, Munich 2015, HD Video
epodium gallery is now presenting the video works of Paul Valentin.
The so-called “Mise en abyme” or Droste effect, which can be observed by standing between two parallel mirrors was the trigger to this work. In the videoloop, the viewer experience a simulated camera flight, through a world of reflection and illusion. Precise and abstract moments happening in a tranquil atmosphere.
The control and be controlled is central to the work “vanillery”. For this reason, the artist works, in this 10 min loop, with the aesthetics of computer games. Dramatic and ceremonial stands beside the intimate loneliness, that came from been foaled in a cryptical and artificial world. The program and the working space be like the process it self, a part of the story because it revolves around the blurred boundaries of virtual spaces.
Women Series Spotlight: Grimanesa Amorós
Tuesday, September 15 at 6:30pm in EDT
El Museo del Barrio in New York, New York
June 25–August 30, 2015
Zoe Leonard: Chapter 17 from Analogue. 1998–2009. Twelve chromogenic color prints from 412 prints, each 11 x 11″ (27.9 x 27.9 cm). © 2015 Zoe Leonard
Analogue, by Zoe Leonard (American, b. 1961), is a landmark project comprising 412 photographs conceived over the course of a decade. Displayed in serial grids and organized into 25 chapters, Analogue documents the eclipsed texture of 20th-century urban life as seen in vanishing mom-and-pop stores and the simultaneous emergence of the global rag trade. Leonard took her own New York neighborhood, Manhattan’s Lower East Side, as a point of departure in the late 1990s. She then followed the circulation of recycled merchandise—used clothing, discarded advertisements, and the old technology of Kodak camera shops—to far-flung markets in Africa, Eastern Europe, Cuba, Mexico, and the Middle East.
Golden Waters: Light Installation by Grimanesa Amorós To Extend
From Soleri Bridge in Scottsdale, Arizona
Scottsdale – Golden Waters, a temporary light installation by artist Grimanesa Amorós that will extend from the famous Soleri Bridge, will be on view June 10-September 30, 2015. Scottsdale Public Art, a leader of defining art in the public realm, is the sponsor of the installation.
Inspired by and reflecting the natural elegance of the Arizona canal, a nearly fifty mile long body of water that runs through Scottsdale, Golden Waters will be mounted on a secure structure attached to the bridge, designed by artist, architect and philosopher Paolo Soleri. The hovering light sculpture will extend parallel to the canal channel eighty feet west of the bridge. Golden Waters’ LED tubing system will appear to rise from the canal waters below, celebrating the union of light and water.
The vertical and horizontal lines of the installation are a metaphor for the dynamic balance between urban and natural forces that can be experienced simultaneously. Golden Waters hopes to engage the viewer by emphasizing a unique perspective on nature and landscape.
There will be an artist talk with Amorós at 6pm – 8:30pm, on June 18th, 2015, with details available http://scottsdalepublicart.org/events/conversation-with-the-artist-grimanesa-amoros
On June 19th, you can meet and greet the artist at the Soleri Bridge at 6:30pm – 8:30pm.
For event updates, visit ScottsdalePublicArt.org/Events.
New Museum: Panel discussion on the anxieties of surveillance, hosted by Deep Lab cyberfeminist research collective and NEW INC, with panelists Simone Browne, Biella Coleman, Jade E. Davis, and Karen Levy, moderated by Kate Crawford