Tuesday, October 1st, 7 – 8 PM
The National Arts Club
15 Gramercy Park South, New York, NY 10003
Join the National Arts Club in welcoming renowned light artist Grimanesa Amoros. Known for her large-scale public works worldwide, Grimanesa’s lighting sculptures challenge the concept of time and interact with viewers‘ perceptions of space. Originating from Lima, Peru, Grimanesa draws inspiration from her cultural background, particularly the ancient civilization motifs and its nature, with a modern perspective. Amoros has worked globally on monumental sculptures as well as works for private collections; her artistic versatility makes her practice unique and provides her with a fresh perspective on lighting and the power of light.
Drawing upon critical cultural legacies and landscapes, Amorós is inspired by the communities she creates within. Installing and programming each piece on-site, direct interaction with the surrounding architecture is key to creating her work. „Ultimately, the piece connects the viewers, space, and light sculpture, merging them into one.“ Grimanesa Amorós‘ artwork ties the past, present, and future — pushing viewers to think beyond and challenging their initial perceptions.
Hosted by Parsons Elab in collaboration with Arts Media and Technology (AMT) and Integrated Design Program (IDP) Departments
Wednesday, September 18
1:30 – 2:30 PM
Anna-Maria and Stephen Kellen Auditorium, 66 5th Ave
Join us for an open discussion and presentation by the world-renowned artist Grimanesa Amoros!Known for her large-scale public works worldwide, Grimanesa’s lighting sculptures challenge the concept of time and interact with viewers‘ perceptions of space. But how did she become who she is today? How did she build her practice and studio? Let’s peek behind the scenes to see what it takes to bring her large-scale projects to life.Originating from Lima, Peru, Grimanesa draws inspiration from her cultural background, particularly the ancient civilization motifs, and its nature, with a modern perspective. Amoros has worked globally on monumental sculptures and works for private collections; her artistic versatility makes her practice unique and gives her a fresh perspective on lighting and the power of light.Her multimedia creative work explores community connections intersecting history, technology, and architecture. Her keen understanding of structure enables her to create monumental sculptures incorporating various elements such as video, lighting, and electronic components to create immersive environments and connect viewers to their surroundings. Technology compliments the concepts of her work without defining it—a medium of expression.
A shared passion for light and fragrance sparked the collaboration between Veronique, a renowned perfumer, and Grimanesa. Upon their introduction, Grimanesa discussed with Veronique her challenge in identifying a specific, captivating scent she had encountered during her travels to desert lands. Unable to replicate the blend she had experienced mixing desert oils, Grimanesa described the fragrance to Veronique, whose extensive experience allowed her to skillfully identify the components within Grimanesa’s unique collection. This partnership resulted in the creation of L’OASIS-DESERT ROSE, a collaboration inspired by Veronique’s profound connection to the Mediterranean Sea and Grimanesa’s admiration for deserts. The alluring scent’s composition captures the essence of Huacachina’s golden dunes and the freshness of Mediterranean waves, taking you on an aromatic sensory journey that transcends geographical borders. Imagine the elegant coast of the French Riviera meeting the enchanting landscapes of Peru – that is the essence of L’OASIS-DESERT ROSE
Roger Kausch
Drawing Series „Malpais“ (No 5), 2017
COUNTRY OF PRODUCTION: Germany
Colored pencil on paper
38 x 28 cm
The series ‘Malpais’ (Bad Land) consists of color pencil drawings and presents a view on an abandoned cultural landscape that is hard to cultivate, from which emigration has taken place for centuries, which claims back nature in its beauty, and which increasingly covers over the traces of human activity. This is an environment that drives people far away unable to nourish them, steeping their love of their homeland in bitterness and helpless anger. The expressive aspect of these sheets, their portrait format and their development and dissemination of an archive-like store of signs combine not least to formulate a reflection on possible strategies within and the canonization of the genre of landscape painting, such as performed by the Chinese ‘Mustard Seed Garden’.
Tuesday November 21, 2023 at 11:30 AM
Business Design Centre, London, England
Taking to the stage, internationally renowned artist Grimanesa Amorós will present ‘Illuminating Boundaries: The Exploration and Creation of Art Through Light’ followed by a Q&A session with arc magazine’s editor, Matt Waring.
ABOUT LiGHT 23
LiGHT 23 is the UK’s only dedicated high-end lighting exhibition for specifiers and enthusiasts. LiGHT 23 is brought to you [d]arc media, publishers of arc and darc magazines, and the team behind the noted [d]arc awards and [d]arc sessions.
FLEXUS, by Grimanesa Amoros, was designed for the Harper’s Street Asphalt plant to illuminate the area and its surrounding community, embracing its light on all New Yorkers and its welcomed visitors. Soon, the captivating lighting sculpture will glow brightly upon Harper’s Street.
Public Design Commission President Deborah Marton said, “Today’s projects demonstrate commitment to ensuring public buildings and civic spaces welcome and serve every New Yorker!”
Harper Street Yard, 30-01 Harper Street, Queens, New York
A project of the Department of Cultural Affairs Percent for Art Program, the Department of Design and Construction, and the Department of Transportation.The NYC Department of Cultural Affairs (DCLA) is dedicated to supporting and strengthening New York City’s vibrant cultural life. DCLA works to promote and advocate for quality arts programming and to articulate the contribution made by the cultural community to the City’s vitality. For more information, visit www.nyc.gov/culture.
UZOMAH: How does the choice of voltage you use impact your material choices and color selection?
GRIMANESA: My projects are created from concept to realization. That is to say, the concept and visualization are completed first. The LEDs for the projects I make are entirely custom-made for the installation. Once the visuals are finalized, the LEDs and electrical hardware are ordered to match the voltage requirements of the space. This has no influence on color selection.
Kunstausstellungen – auch die der Gegenwartskunst gewidmeten – zeigen Objekte, die bereits geschaffen worden sind, also Werke der Vergangenheit sind. Die Dimension der Absenz ist durchwegs ein
blinder Passagier der musealen Praxis. Und diese Form der Abwesenheit lässt sich auch nicht mithilfe rezeptionstheoretischer Modelle habhaft werden, die auf die (vermeintliche?) präsentische Erfahrung im Rahmen einer unmittelbaren Subjekt (Betrachtet)-Objekt (Kunstwerk)-Beziehung abstellen.
In Gegenwart | Präsenz im Kunstmuseum geht es um die Zeit bzw. Zeiterfahrung, die Präsenz von Körpern/Objekten und darum wie Kunstinstitutionen – aber auch Künstler*innen – damit operieren.
GOLDEN ARRAY: Grimanesa Amorós Creates New Monumental Light Sculpture
Commissioned by The Reliance Group and Maker Maxity.
Mumbai – GOLDEN ARRAY, a large-scale, site-specific light sculpture by artist Grimanesa Amorós has opened to the public in India at JioWorld Drive, Mumbai’s premium retail district in Bandra Kurla Complex.
Amorós‘ masterpiece, GOLDEN ARRAY, was inspired by her journey through India. India’s bustling streets are synonymous with its zigzagging cable lines- a complex collection of wires powering entire cities and towns with electricity and telecommunication. Tangled, yet functional. Beyond utility, they form an integral part of the urban blueprint. This powerful imagery fascinated Amorós.
GOLDEN ARRAY adds to these many communication layers by inviting the viewer to imagine and reflect on the elaborate array that interconnects us. The piece will activate the skyline of Jio World Drive at Bandra Kurla Complex as a tribute to the buzzing city Mumbai.
Herzliche Einladung zur Ausstellung für Videokunst – „12 − 24 okt 2021“ – in der Galerie der Künstler*innen, Maximilianstraße 42, München
Zum vierten Mal lädt VIDEODOX zur großen Videokunstausstellung
in die GALERIE DER KÜNSTLER*INNEN
ein. Zwanzig Positionen von Künstler*innen aus Bayern,
die das bewegte Bild als Ausdrucksmittel des
künstlerischen Schaffens inszenieren, sind für den
VIDEODOX Förderpreis nominiert.
galerie der künstler*innen
Maximilianstr. 42, München
Eintritt 3 (1,50) €Öffnungszeiten Mi – So 11 – 18 Uhr | Do 13 – 20 Uhr
Sonderöffnung Di 12 Okt 13 – 19 Uhr
Val-d’Illiez mit Steffen Körtje 21.-26.02.2021, Les Crosets (Portes du Soleil), Schweiz
Val-d’Illiez mit Steffen Körtje 21.-26.02.2021, Les Crosets (Portes du Soleil), Schweiz
20 Sept – 03 Oct 2021
IN WAVES – #womenincovid 24 Fotografinnen (mit Louisa Marie Summer) In Waves (Außenausstellung) Köpenicker Straße 70, 10179 Berlin
Die Fotoausstellung IN WAVES – #womenincovid macht dies öffentlich sichtbar – auf einer 90-Meter langen Plakatwand in der Köpenicker Straße 70 in 10179 Berlin. Vom 20.09. bis 03.10.2021 sind hier die Arbeiten von 24 Berliner Fotografinnen zu sehen. Ihre Werke liefern vielfältige Einblicke in die Lebensrealität von Frauen in der Krise.
Featuring the World Premiere of METHLUM,
a short film by GRIMANESA AMORÓS Thursday, May 20, 2021, 6:00–7:00 pm PT
The Civita Institute invites you to Save the Date for our 40th Anniversary Online Membership Events!
Don’t miss the World Premiere of METHLUM, a short film by acclaimed interdisciplinary Peruvian-American artist and Civita Institute Northeast Chapter Fellow Grimanesa Amorós. With music by the renowned Norwegian violinist Eldbjørg Hemsing. Along with the presentation, „Exploring the History and Mysteries of The Etruscan Landscape and ‚Rock-Cut‘ Environment“ by Civita Institute University of Washington Rome Center Fellow Kit Coty, a cultural historian and doctoral candidate whose research has focused on the “rock cut” culture of Italian hilltop towns.
Based in New York City and known for her large-scale light sculpture installations and videos, Grimanesa’s art conveys a sense of ephemeral wonder, entrancing viewers from different backgrounds and communities. METHLUM—an Etruscan word for geographic “district“—was inspired and created during her stay in Civita di Bagnoregio.
Art and Capital was the title of an article by Andreas Backoefer in the Spring/Summer 2020 edition of the Sluice magazine. Andreas used the subject of arts patronage in major development projects to explore different forms of capital.
short-sleeve Unisex Bella + Canvas 3001 t-shirt
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Andreas Backoefer Diskurse und Institutionen zu Kunst und Design
Kontext – Material – Format
eBook
ISBN 978-3-940388-80-3
Download here
Diskurse und Institutionen zu Kunst und Design. Kontext – Material – Format bietet keine Antwort zu der häuig gestellten Frage nach dem Unterschied zwischen Kunst und Design, bzw. zu einer Klärung „Was ist Kunst?“ oder „Was ist Design?“ generell. Denn jede universelle Festschreibung in eine Richtung führt nicht zu einer Effizienzsteigerung der mit Ausstellungen befassten Systeme und Institutionen, sondern zu deren Lähmung.
Ausgangspunkt dieses Textes ist die Beobachtung, dass neben traditionellen Kunstmuseen seit dem 20. Jahrhundert auch Designmuseen entstanden sind: Die Geschichte der Diskurse zu Kunst und Design kann man mit der Entstehung dieser Museumsformen beginnen lassen. Mit dem Prozess der Institutionalisierung durch speziische Museen und der damit zusammenhängenden Kontextualisierung sind in Ausstellungsprojekten aber auch in der Literatur Abgrenzungsversuche sowie gegenseitige Dynamisierungen zu entdecken. Liam Gillick sieht diese von „many nonsynchronised moments“ gekennzeichnet. Was Kunst und Design aber gemein ist, ist die Vermutung, dass sie beide eher Schredder für vorgegebene Theorien – ein Détournement der Wissenssysteme sind. Der Wissensproduktion in beiden Disziplinen geht es jedoch darum, andere Formen des Denkens und des Wissens zu erinden – andere epistemologische Maschinen.
When Paul Valentin received the 2019 Art Prize of the Munich Academy of Fine Arts Foundation sponsored by Karl & Faber, he not only had the prize money to look forward to but also a solo exhibition in the auction house’s rooms in the heart of Munich.
The philosophical questions about the Nature of the World, about the Nothing and Truth are recurring themes in his works. They make clear the confusion these terms hold for a visual artist who is familiar with digital worlds and wants to understand the analog world to simulate it on the computer for animated films and other works.
An artist book accompanies the exhibition and was also made possible by the Karl & Faber Art Prize. Curated by Dr. Anne-Cécile Foulon in collaboration with the artist. Paul Valentin: Air into Solid
12/09/20 – 25/09/20
Mon.-Fri. 10am – 6pm
at Karl & Faber Fine Art Auctions
Amiraplatz 3, 80333 München
Extended Opening: Sat 12/09/20 12pm – 5pm
Keynote: 11 am (Restricted attendance. Please be on time. The opening speech will also be transmitted via livestream on the Instagram and YouTube channel of Karl & Faber.)
Artist Talk: Why the World does not Exist
Fri 18/09/20 6pm
Artist talk with Paul Valentin and one of the most famous contemporary philosophers Prof. Dr. Markus Gabriel. Moderated by Dr. Anne-Cécile Foulon. In German.
The exhibition is part of VARIOUS OTHERS which initiates cooperative and international art projects in galleries, artist–run spaces and museums in Munich. While serving as a content-driven forum for contemporary art that takes place each year in September, our mission is to intensify exchange and dialogue between the art scene in Munich and international partners, guests and media.
Auf Instagram zeigt Georg Gaigl in 12 Bildern in zwei Sekunden seine „two-second-flicks“ im neuen Format von minimalistischen Filmskizzen. Die handelnden Figuren sind freigestellt vor einem monochromen Hintergrund. Die Titel sind oft verfremdete Zitate wie zum Beispiel saying alive und werden auf der begleitenden Tonspur eingesprochen sowie manchmal auch im Film grafisch wiedergegeben. Die Sujets bestehen aus mehr oder weniger deutlich erkennbaren Bezügen zu aktuellen Themen der gegenwärtigen Medienlandschaft. Bei phasetrace – was formal auch eine Reminiszenz zu Georg Gaigls Zeit als Videojockey darstellt – orientiert er sich an die Bildfolgen von Eadweard Muybridge, der mit seiner Chronofotografie die Bewegungen eines galoppierenden Pferds im Bild festhielt, um sichtbar zu machen, was außerhalb der menschlichen Wahrnehmungsfähigkeit liegt. Aber vermutlich sind die flicks dem von Muybridge später entwickelten Zoopraxiskop noch ähnlicher, mit dem er die einzelnen Aufnahmen auf einer Leinwand als Bewegungsverlauf darstellte. Aber egal von welcher Seite man sich den kurzen Sequenzen annähert: man hat es hier mit einer filmischen Form des Auslassens zu tun, die Lücke wird zum Prinzip. Auf seiner Website fügt Gaigl den Untertitel „communicating the future“ hinzu. Das provoziert die Vorstellung, dass, wenn in ferner Zukunft diese Dateien ‚gelesen‘ werden, aus diesen bewusst lückenhaften Bild-Informationen variable, instabile Konstruktionen über unseren Alltag möglich sind. Vergleichbar zum großen Vorbild aller Memoria-Kunst, dem Mnemosyne Atlas des Kunsthistorikers Aby Warburg, sind diese Kürzest-Filme Teil eines kulturellen Gedächtnisses, die in einem Mix aus Bild und Ton jede Festschreibung verunmöglichen: sie sind ein spielerischer Umgang mit Auslassungen, Ähnlichkeiten und Differenzen. Mit dem kollektiven Bewusstsein und vor allem mit dem kulturellen Gedächtnis beschäftigt sich auch der portugiesische Künstler Julião Sarmento. Seine bewusst fragmentarisch gestalteten Zeichnungen sind in einer Ästhetik gehalten, die man mit den Figuren in phasetrace vergleichen kann – zum Teil gibt es nur Umrisse von Personen ohne Gesichter, die gleichzeitig verschwinden und wieder erscheinen – und wie bei Gaigl könnte es sich manchmal um ein Fragment aus einem film noir handeln. Beide – Sarmento und Gaigl – benutzen visuelle Quellen, die sich aus einer persönlichen Ikonographie sowie aus einem gemeinsamen kulturellen Gedächtnis speisen. Der neutrale monochrome Bildhintergrund der flicks wirkt wie ein Palimpsest des Ungesagten, der Abwesenheit. Georg Gaigl benutzt – nach Umberto Eco – das ‚offene Kunstwerk‘ als Drehbuch, das fordert Interpretationen und erlaubt Ambiguitäten. Das Kunstwerk ist nur ein Echo, ein Detail. Wie viele spielerisch anmutende Werke verbinden die flicks eine gewisse Attitude der Lässigkeit mit engagierter Gedankentiefe. Die Bedeutung liegt hinter einer Bilddatei.
Massimiliano Gioni, the New York-based Italian curator and contemporary art critic, serves as the Artistic Director of NYC’s New Museum, as well as the Artistic Director of the Nicola Trussardi Foundation in Milan. Hailing from Busto Arsizio, Italy, Gioni is a leading figure in the contemporary art world, having curated a multitude of celebrated exhibitions, including the 55th Venice Biennale, and authored numerous books, spanning Urs Fischer: False Friends to the definitive monograph on Paul McCarthy. While we remain largely housebound, Gioni shares with Something Curated a thought-provoking edit of reading material to discover, with a note stating, “Forgive my Italian bias, but these days my country needs all the attention and affection one can give her.” The below are his words.
The director of New York’s homegrown art fair says she is ready to make some „radical“ shifts following last year’s venue upset MARGARET CARRIGAN 26th February 2020 15:45 GMT via The Art Newspaper
“It’s always a risk for galleries, doing a fair,” says Nicole Berry. “And it comes down to the money—it’s expensive.” The director of New York’s Armory Show used to work the fair booths herself when on the staff of various Manhattan galleries, so she is well aware that it is not just the stand fees that can stretch a gallery’s budget, but also the expense of shipping and staff, not to mention the untold cost of exhaustion. “Burnout is real,” she adds.
Burnout is exactly what brought Berry to the art world. She started her career as an elementary school teacher, following in the footsteps of her mother. “I didn’t have any formal art history training, but I was always trying to incorporate it into my teaching plans,” she explains over gluten-free toast and green tea at Manhattan’s NoMad restaurant. But after six years of working in a state school, she says she needed to change. “It’s a very difficult job. There’s not a lot of support for teachers, financially or otherwise. It can be incredibly rewarding, but you’re ‘on’ all the time.”
It wasn’t just her career where she made a decisive break—around the same time she also divorced. “I thought, you know what, there’s nothing holding me back from trying something else,” she says.
Nichts (nɪçt͡s, german: nothing, emptiness) is an animated film about the history of „nothing“.
The fragmentary scenes of the fable-like narrative are presented in the form a philosophical report, which quotes different sources on the theme of the nothing.
In Nichts the anthropomorphic female hare Judy, explores this old idea of nothingness with the help of a message that she finds on a dictaphone thats shaped like a carrot. Her well-known character is from the Oscar-winning animated film „Zootopia“ from 2016. The story unfolds the the path of scientists and thinkers who have dealt with the question of what the nothing realy is and how to track it down – and also presents its very own perspective and answer.
The so-called transitory idea of „the nothing“ and how it‘s been discussed in philosophy and its exploration in phisics show us that we can attain truths about phenomena and ideas of which some would claime that it were futile to even speak about them.
Civita di Bagnoregio Palazzo Colesanti, Viterbo, Italy
The sun is an important star and has been for centuries. During my stay in Civita di Bagnoregio, I woke up early one morning and decided to explore my new surroundings. During my stroll, I was dazzled at the strength of the sun beaming on the square. It got me thinking about the town of Civita, it’s history, and it’s relation to the sun. I began researching about The Etruscan’s, who were an ancient people that founded the city, and the remnants of their civilization still linger. The name of this piece is CETHA, which was inspired by the town and its past, translating to sun in Etruscan. CETHA has red lighting with pink hues in its sequence, which represents the sunrise that burns red in the morning and streams its light throughout the town.
Grimanesa Amorós is a New York-based American 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 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 was a guest speaker at TEDGlobal 2014, earned an NEA Visual Artist Fellowship and an NEA Artist Travel Grant, and participated in the Art In Embassies Program. Her work has been exhibited in the US, Europe, Asia and Latin America.
Grimanesa Amorós is presented in Germany by epodium Gallery.
Nichts ist eine Animations-Kurzfilm-Fabel über das Nichts.
Die fragmentarischen Szenen verbinden sich zu einem reportagenhaften Narrativ und lassen fiktive und echte Quellen zum Thema Nichts zu Wort kommen. In der Erzählung erkundet die Häsin Judy, deren Charakter dem oscarprämierten Animationsfilm „Zootopia“ (2016) entspringt, die Untiefen dieser alten Idee mit Hilfe einer Botschaft auf einem Recorder der ausseht wie eine Karotte. Der Film entfaltet die Geschichte über den Weg der WissenschaftlerInnen und DenkerInnen und legt zugleich auch eine eigene Perspektive vor. Die Faszination an dieser alten Idee „des Nichts“ ist, wie dessen Erforschung uns zeigen kann, dass wir Wahrheiten über Phänomene und Ideen erlangen können, von denen Manche sagen würden, dass es vergeblich ist auch nur darüber zu sprechen.
Von der Animation, dem virtuellen Set- und Lichtdesign, bis hin zum Charakter Rigging entstanden die geheimnisvollen Inseln in der Leere mit großer Liebe zum Detail.
Nichts (nɪçt͡s, german: nothing, emptiness) is an animated film about the history of „nothing“.
The fragmentary scenes of the fable-like narrative are presented in the form a philosophical report, which quotes different sources on the theme of the nothing.
In Nichts the anthropomorphic female hare Judy, explores this old idea of nothingness with the help of a message that she finds on a dictaphone thats shaped like a carrot. Her well-known character is from the Oscar-winning animated film „Zootopia“ from 2016. The story unfolds the the path of scientists and thinkers who have dealt with the question of what the nothing realy is and how to track it down – and also presents its very own perspective and answer.
The so-called transitory idea of „the nothing“ and how it‘s been discussed in philosophy and its exploration in phisics show us that we can attain truths about phenomena and ideas of which some would claime that it were futile to even speak about them.
Erinnerung gleicht einem Schock. Memory is like a shock.
Die Erinnerung an einen bestimmten Tag speist sich oft durch ein besonderes Ereignis, das verbunden ist mit Bildern aus Zeitungen, Nachrichtensendungen oder Online-News. Die angestoßene Erinnerung befreit Assoziationen und setzt sie zum individuellen Leben in Beziehung.Jedoch bleibt der Rückblick nicht wie eine Momentum stehen, sondern vollzieht sich als einzigartiger Prozess im Einfluss von emotionalen Erfahrungen und prägenden Erlebnissen. Die Erinnerung befindet sich stets im Fluss. Das Bild davon ist gleichsam eine oszillierend schillernde Oberfläche, die sich fortwährend ändert, unscharf wird und im nächsten Moment sich wieder aufklärt und Augenblicke der Wahrheit preis gibt.
Täglich erfolgt zu einem Newsclip eine bildliche Transformation.
Eine filmischen Information, zum Beispiel ein Newsclip, wird zu einem statischen Bild transformiert.
Durch digitale Bearbeitung und Manipulation entsteht eine Umdeutung und Verschleierung der Filmquelle. Diese kann aber über den zu jedem Bild beigefügten verlinkten QR-Code eingesehen werden.Dadurch kann beim Betrachten des Bildes ein gewonnenes ästhetisches Empfinden beträchtlich gestört und verwirrt werden, sobald der Inhalt des Videos bekannt wird.
Ebenso ermöglicht es auch einen positiven Schock, der eine besondere, vielleicht persönliche Beziehung zu dem Bild entstehen lässt.
New York City’s Office of Strategic Partnerships has established a new fund to support opportunities for young New Yorkers to connect with local arts productions and civic projects. The Civics and Arts Fund will work with cultural organizations and community groups across the five boroughs to promote civic learning, engagement, and discourse. “New York City is home to some of the world’s best art and theater, and yet it’s not accessible to all,” said Mayor Bill de Blasio. “With this initiative the city is taking steps to change that.”
The fund’s first partnership will be with Tony-nominated Broadway play What the Constitution Means to Me. Written by Heidi Schreck, who also stars in the production as herself, and directed by Oliver Butler, the play reflects on Schreck’s journey from the fifteen-year-old girl who gave speeches about the US constitution to put herself through college to adulthood and a new state of awareness about the document, which she notes does not guarantee women’s rights—it actually doesn’t even mention the word woman. The ninety-minute performance is currently being staged at the Hayes Theater on West Forty-Fourth Street through August 24.
The Whitney Museum has turned to two in-house curators to put together a show that celebrates diversity in American art—but as in 2017, the biennial is already mired in controversy
The Whitney Biennial in New York often proves a pressure cooker for US social politics, especially since the curator Elizabeth Sussman’s landmark 1993 edition directly tackled the Reagan-era Culture Wars with provocative works by women and LGBTQ artists. The last edition in 2017 was marked by protests prompted by the white artist Dana Schutz’s depiction of Emmett Till, a black teenager who was lynched in 1955. The episode remains a hot-button issue for the biennial’s organisers two years later.
Jane Panetta and Rujeko Hockley, the curators behind the 2019 edition, are perhaps unusually positioned to navigate these tricky political waters. In a departure from previous editions, where guest curators have been brought in, this year’s organisers are on staff and know first-hand the controversies that the biennial can inspire.
“We’ve tried to use the challenges and conversations that came out of the last [edition] as a productive lens for our work,” Panetta says. To that end, there is a great deal of work in the show that grapples with socio-political concerns around race and gender, financial inequality, gentrification and the vulnerability of the body.
XIII BIENAL DE LA HABANA / DETRÁS DEL MURO
The Construction of the impossible / Escenario Liquido
The 13th Havana Biennial, the largest visual arts event in Cuba, will be held from April 12 to May 12, 2019, with the commitment that the capital city of the island become a “cultural corridor” in which the creators and the public interact, announced their organizers today. Under the general theme “Construction of the Possible” the next edition of the Havana Biennial was presented as a space for those types of contemporary art that understand creation as “living event or experience in progress”.
“Detrás del Muro” is a socio-cultural project that emerged in 2012 as a special project. It is recognized for the high socio-cultural impact that its artistic intervention on the Havana Malecon has had during the 11th (2012) and 12th (2015) editions of the Biennial of Havana.
„We defend art as an opportunity to transform the way in which human beings interact in public space. That is why we have been invited by the Office of the Historian to join the celebrations for the 500th Anniversary of our beautiful capital.“
-Juan Degado Calzadilla
Fürther Nachrichten/Zeitung, 11. März 2019 Louisa Marie Summer zeigt aus dem Leben gegriffene Fotoarbeiten in der kunst galerie fürth – Starke Stimmungen im Fokus
Es kommt auf den Moment an. Die Fotokünstlerin Louisa Marie Summer zeigt in der kunst galerie fürth „A Series of Life“. Ihre Arbeiten geben dem Augenblick Dauer und erzählen unendlich viele Geschichten.
Wenn deine Bilder nicht gut genug sind, dann warst du nicht nah genug dran. Robert Capa, der legendäre Fotoreporter, hat das gesagt. Louisa Marie Summer geht mit ihrer Kamera stets exakt so dicht an ihre Motive, dass es intim wird. Doch niemals überschreitet die junge Fotografin die unsichtbare Linie, die sie zum Eindringling machen würde. Die Menschen, die sie auf ihren Bildern zeigt, sind deshalb ganz bei sich. Sie nehmen – und das ist ein großer Wert – in den weitaus meisten Fällen keinen Kontakt auf mit der fremden Frau, die vor ihnen steht. Sie nehmen sie allenfalls wahr, bleiben aber ansonsten ungestört bei ihrem Tun.
Wahrscheinlich ist genau das der Grund, weshalb Summers Arbeiten so authentisch sind. Da ist zum Beispiel der Junge, der vor einem beleuchteten Globus selbstvergessen mit einer Action-Puppe spielt. Oder das Mädchen, das sich beim Warten auf die U-Bahn in sein Smartphone vertieft hat. Der Zuschnitt der Aufnahmen, das Licht, die Arrangements sind von auffallender Perfektion. Umso faszinierender bleibt die selbstverständliche Natürlichkeit, mit der die Dargestellten agieren.
The Stedelijk Museum in Amsterdam and its former director Beatrix Ruf released a statement today in which they announced that they have “agreed to leave the past” behind them. The embattled ex-leader of the institution came under fire in October 2017 after reports of conflicts of interest began circulating in the Dutch media. Journalists raised questions about the conditions of several donations made to the museum and her outside income. Ruf eventually stepped down over what she described as a “misunderstanding” in order to protect the reputation of the institution.
Museums are facing greater scrutiny over sponsorship and the artists they choose to display HANNAH MCGIVERN
10th December 2018 14:27 GMT
via The Art Newspaper
Museums have been reckoning with the momentum of the #MeToo movement in 2018, as accusations of sexual harassment and misconduct have been brought against artists, directors, curators and patrons in the US and beyond. The year has seen high-profile resignations and suspensions, exhibitions cancelled or modified in light of unfolding claims, and considerable debate over how now to interpret the work of problematic male artists of the past, from Pablo Picasso to Egon Schiele. Ever alert to art-world misogyny and abuses of power, the activist collective Guerrilla Girls even produced a tongue-in-cheek guide to rewriting the humble museum label in the age of #MeToo. The crux of the problem, they say, is the persistent belief that “art is above it all”.
There has also been greater scrutiny of the ethics of museum sponsors. The photographer Nan Goldin launched the anti-opioid activist group Prescription Addiction Intervention Now (PAIN), calling on museums to boycott donations from some members of the Sackler family, whose firm Purdue Pharma manufactures the highly addictive drug Oxycontin. The group also demands that the prominent cultural patrons channel their wealth into the treatment and prevention of opioid addiction in the US.
About the magazine
Arte Al Límite (AAL) started in 2001 with the mission of spreading Latin American art and being a window for art and a bridge between different artists and the global public.
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2018 Annual Exhibition of the Academy of Fine Arts Saturday 14.07.2018 from 14h – 21h. and 15.07.2018 – 22.07.2018 14 – 21h daily
The memorial plaque in the western staircase of the foyer of the Munich Academy of Fine Arts is not what it seems to be. The artist Paul Valentin has made a replica of it and has pulled it over the original like a second skin – what’s unseen is that he had changed the original lettering like an anagram into these new words:
„COULD THEY READ IN THE SECRECY OF THE SIGNS
AND OVERCOME THE FENCES OF THEIR GARDENS
BUT THEY DON’T SEE IT
AND SO THERE INNERMOST CHRONIST MAKES A MISTAKE“
Despite its prominent place, the historical plaque, which is established 1889, is not remembered by many students or annual visitors. Especially during the summer exhibition at the academy, it is, like many other artistic positions, easily overseen in the flood of presented works. The modest sculpture plays precisely with this problem of lacking attention.
The concept „Fals-Memory“ is the turning point of the work – It describes that incorrectly stored memories (such as the false encounter of Bugs Bunny at Disneyland) can hardly be erased from ones memory, even if one anknowledges that it never happened. It may also happen that the original text of the historical plaque is permanently overwritten in the collective memory of the visitors – Both physically during the annual exhibition, as well as mentally in the memory. The Replica takes the place of the original and „covers“ it in the truest sense. According to this verdict of cognitive research, Paul Valentin therefore stages his plaque as a memorial for attention – it should be a reminder that the great works of art, the changing experiences, which resonate with us inconspicuously, pass unseen without our attention.
(oxidizing process on the replica foto: Peter Pfitzner)
“Philanthropy, Development and the Arts – Histories and Theories“
International Conference, organized by the ERC project Developing Theatre, Ludwig Maximilians University Munich, Germany
23-25 July, 2018, Carl Friedrich von Siemens-Stiftung, Munich
We welcome guests to attend the conference and/or the keynote lectures. For external guest (not the invited speakers) registration is mandatory due to the house rules of the venue. If there are guests you’d like to invite, please ask them to send an e-mail to our project assistant Gwendolin Lehnerer to register:gwendolinlehnerer@yahoo.com
You can pick up a copy from the MoMA and these independent NYC bookstores: Strand Book Store, Books Are Magic, McNally Jackson Books, Quimby’s Bookstore NYC, Oliver, Whole Foods, Barnes and Nobles. Alternatively, you can purchase a copy on the official website: https://awomensthing.org/shop/.
Grimanesa Amorós is a TEDGlobal guest speaker, a recipient of The NEA Visual Artist Fellowship, Art In Embassies Program, X Tumi USA Award, and Visionary Art Exhibition Lifetime Achievement Award.
A Women’s Thing Magazine is a print and digital publication dedicated to reshaping society’s ideas of what “women’s things” are. They find and highlight the women who are making history today.
WATER / SU | March 2-31 Mart, 2018 | OrjinSanat Galerisi, Orjin MASLAK İş Merkezi, Kat:-2
Açılış Kokteyli / Opening: 02.03.2018, 18:00-20:00
Space Debris’in OrjinSanat’ta başlattığı “Noise-Water-Meat” sergi serisinin ikinci serisi “Su”2-31 Mart tarihleri arasında Orjin Maslak’ta görülebilir. Artists/ Sanatçılar: Zeynep Birced, Melis Bürsin, Sırma Doruk, Christian Hansen, Seyhan Musa, Alison Luntz & Katie Nadworny, Louisa Marie Summer, Ayça Telgeren
The exhibition “Water” reflects upon the notion of the phenomenon water memory and how memory itself 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 qualities of water is taken as a metaphor in creation of the works displayed.
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.
The works included in the exhibition re-visits and re-consolidates echoic (aural) memory tandem with iconic (visual) memory as a mental process, in a playful way, suggesting the tragedy of romantic memory in relation to personal and collective spatial instances.
“What has touched us on the surface and what we recreate to recall is translated here before your eyes to experience. “
Out now:
Andreas Backoefer:
CAPITALIZING CAPITAL
Philanthropie – Museen – Performance
off epodium #9
ISBN 978-3-940388-68-1
eBook
Download here
Die drei in diesem Band versammelten Texte weisen zahlreiche Schnittmengen auf. Eine davon ist der Ort der ‚Handlung‘: thematisiert werden historische und zeitgenössische US-amerikanische Besonderheiten der Aneignung europäischer Kunst, der Kunstförderung sowie der Sammel- und Ausstellungspraxis. Des Weiteren bildet das Verhältnis von Kunst und Kapital einen roten Faden entlang der Essays. Die Tätigkeit des Sammelns als Kapitalsicherung und ästhetische Vision ist ebenfalls ein durchgehender Schwerpunkt – genauso wie die kritische Diskussion des Verhältnisses, das die verschiedenen Player (Künstler, Kuratoren, Galeristen, aber auch die Öffentlichkeit) im Feld der Kunst mit der Institution bzw. mit der institutionellen Praxis verbindet. Die drei Abhandlungen rücken diese Themen aus verschiedenen Perspektiven mit unterschiedlicher Tiefenschärfe in das Lese- und Blickfeld.
Konfigurieren Sie aus der Collection der epodium gallery Ihre persönliche Kunstsammlung (Videos/Videostills) für Ihr Fernsehgerät oder Home Entertainment System. Senden Sie Ihre Wünsche an a.backoefer@epodiumgallery.com
Exhibition Opening: Thrusday, Feburary 15th, 2018 at 7:30 PM at Estudios, Tabacalera
Lecture / Artist Talk: Monday, Feburary 19th, 2018 6:00 PM at la Sala Ideas, Tabacalera
Getty draws on vast archive while ICA LA reconstructs 1974 exhibition in Swiss apartment JONATHAN GRIFFIN 2nd February 2018 17:58 GMT
via The Art Newspaper
Harald Szeemann is often called the first curator, in the modern sense of the word: a peripatetic, independent artistic agent, commissioned to make thematic exhibitions. The Swiss art historian was appointed director of the Kunsthalle Bern in 1961 at the young age of 28. There, he organised a series of progressively experimental shows, from Christo and Jeanne-Claude’s first wrapped building to, most notoriously, Live in Your Head: When Attitudes Become Form, the controversial exhibition of Conceptual art that led to his resignation in 1969.
The packed show—which drew artists such as Joseph Beuys, Richard Serra and Lawrence Weiner to make new works in Bern—involved the destruction of parts of the museum, including a wrecking ball dropped by Michael Heizer on to the pavement outside. There were also protests against the show; a pile of manure was dumped by disgruntled local artists.
Performance Space 122 has a new name and renovated digs. Jenny Schlenzka, its director, envisions a “vital center for community.”
By SIOBHAN BURKE,
via The New York Times
Nomadic since 2011, Performance Space 122 has returned to its East Village home. For anyone who frequented the old PS122 — the site of rebellious experiments in dance, theater and hard-to-classify performance — the new, extensively renovated one may take some getting used to. There’s an elevator. And a lobby. And a 3,600-square-foot theater that feels larger than the two old, grittier theaters combined, with soaring ceilings, flexible seating and windows overlooking Lower Manhattan. There’s a brand-new smaller theater, too, that can double as an exhibition space.
“This year we opened the prize up to artists of all ages, recognising that breakthroughs can happen at any point in an artistic career,” said the Tate’s director, Maria Balshaw. Established in 1984, the annual award is aimed at UK-based artists who have had an outstanding exhibition in the previous year. In her acceptance speech, Himid thanked her supporters during the “wilderness years” and described her win as “a complete shock”. In 2017 Himid had solo shows at Modern Art Oxford and Spike Island in Bristol and participated in Nottingham Contemporary’s The Place is Here survey of 1980s black artists. She has only recently been represented by a gallery, Hollybush Gardens, which also represents Büttner.
Survey finds most earn less than £10,000 a year MELANIE GERLIS 30th November 2017 08:03 GMT
via The Art Newspaper
The majority of artists in the UK earn less than £5,000 a year after tax—and below $10,000 in the US—according to a survey of 1,533 practitioners, conducted this month by the online artist-to-market website Artfinder.
Dubbed the “Artist Income Project”, this first survey of anonymous data across several platforms, including Artfinder, finds “artists are still not paid fairly. Or at all.” All the surveyed artists are described as “independent”, meaning they sell their art directly, rather than through a gallery.
In the UK survey of 823 artists, 55.1% say they earn between £1,000 and £5,000 net per year while 17.7% earn between £5,000 and £10,000. At the raw end, 9.3% of UK artists state their income as zero. This combined figure of 82.1% is worse than the findings of a previous survey of 1,061 artists, conducted by a-n, an artist data company, which in 2013 found that 72% of artists earned under £10,000.
VISITING ARTIST | GRIMANESA AMORÓS Reception: Tuesday November 14, 6 pm at Chace Center Lobby. Artist Talk: November 14, 7-9 pmMetcalf Auditorium, Chace Center/RISD Museum, 20 North Main St. Providence, RI
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 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 was a guest speaker at TEDGlobal 2014, earned an NEA Visual Artist Fellowship and an NEA Artist Travel Grant, and participated in the Art In Embassies Program. Her work has been exhibited in the US, Europe, Asia and Latin America. For more info, please visit the link below: https://events.risd.edu/event/grimanesa_amoros_talk_reception
In August 2015, Janine Foeller finally closed her gallery Wallspace, which she had started with Jane Hait 12 years before in Chelsea. “It was no longer sustainable,” Ms. Foeller said in a recent interview.
But she did not give up on the art world altogether. Instead, in September Ms. Foeller opened the Park Slope pop-up gallery and cafe Wifey with the artist and floral designer Simone Shubuck.
“The idea is to create a model that is more affordable and flexible and allows galleries to come and occupy a space for a designated period of time,” Ms. Foeller says. “There has to be a new way forward, and new models have to be investigated and explored because it’s just not working. We’ve seen too many of our colleagues having to close because of rent and other factors.”
The curatorial team of the Sluice Biennial (London) selected two videoworks („homo faber“ and „aerotektur“) by Roger Kausch for „Sluice Screens“ – a non-thematic programme of projected moving image artworks.
Public Opening Hours:
Sunday 1 – Tuesday 3 October 2017
12 – 6 pm
2007-2012
apprenticeships in glassdesign and glassblowing at the technical college for glass in Zwiesel
2013
glassblowing assistant at the “glass tower” Gernheim
2013-2019
studies at the Academy of Fine Arts in Munich with Prof. Peter Otto (Netherlands), Benedikt Wiertz (Brazil), Markus Karstieß (Germany) and Nicole Wermers (GB)
Findings detail the supply side of the digital sales equation, point toward hybrid models
by SARAH P. HANSON | 29 June 2017
The Art Newspaper
The size of the online market depends on the definition and price range of artworks, Tefaf's addendum report finds
The European Fine Art Fair (TEFAF) in Maastricht today (29 June) released its Art Market Report: Online Focus, a supplement to the annual Art Market Report released in March.
Her findings mostly confirm the most noticeable trends, namely that large auctioneers who have embraced their digital platforms—Heritage, Christie’s, and Sotheby’s—claim the largest share of an estimated $3.1b market (which the Hiscox Online Art Sales Report puts it at $3.75b; Art Basel’s The Art Market 2017 report, $4.9b). Pownall’s report further qualifies that of the $3.1b, fine art and antiques account for only $2.6b (the rest being other collectibles, automobiles, wine, etc).
The data is derived from “profiles of 100 companies”, 39 of which responded to a survey; a survey of more than 8,000 dealers, with a response rate of 8%; and a sample of data from 3,349 auction houses who list on Tefaf partner Invaluable. In her surveys, Pownall defined art as “objects including fine art, antiques, decorative art, collectibles, haute jewellery, photography, and design”, but the queried companies include e-tailers like Etsy and RubyLane alongside art-specific businesses.
Dealers are rethinking the bricks-and-mortar model in favour of temporary, collaborative and virtual platforms by ANNY SHAW | 13 July 2017
The Art Newspaper
For dealer Anthony Reynolds, the turning point came when the lease on his London gallery ran out and his landlord announced he was tripling the rent. “I thought to myself, I can either find another space or I can find a different way to do this,” the gallerist says.
Reynolds chose the alternative route and, after 32 years in three successive premises, closed his permanent venue in 2015. “Essentially I abandoned the tyranny of the single space,” he explains. “You have to keep funding it and filling it, and artists have to think about how to use it. What was more interesting was to think about operating a gallery as normal, but without a fixed space.”
Representing the same 20 artists as he did before he closed, for the past two years Reynolds has been staging exhibitions in other commercial galleries, including London’s Annely Juda Fine Art, Independent Régence in Brussels, and Àngels in Barcelona. There are further plans to show in Tehran and Tokyo. The aim is to develop “collaboration between galleries rather than an alternative to galleries”, Reynolds says, noting that costs and proceeds are usually split down the middle with the hosting gallery.
Norbert Heyers, born 1944 in Germany, lives in Aix-la-Chapelle and Barcelone. He studied architecture at RWTH Aachen, his firm has partnered with Sir James Stirling for Venice Biennale Project 1991. He has been exhibiting as a visual artist and photographer since 1974 in various cities in Germany, Belgium, Netherlands.
Exhibitions 2011 Carte Blanche (Aachen)
1995 Retrospektive (Kornelimünster)
1992 Rauminstallation (Aachen, Galerie Signe)
1991 Kreuze Werk 4 (Maastricht)
1990 Die anderen Zehn (Aachen, Neuer Aachener Kunstverein)
Projects
1996 EANKBUT, Fadenskulptur (Essaouira)
1995 Dynamisches Farbkonzept (Aachen, Commerzbank)
1991 Scala, Wandbild (Aachen, Ludwigforum für internationale Kunst)
Fotoveröffentlichungen für Johns Hopkins University Press (Baltimore) u.v.a.
Reducing Distance: Roger Kausch and Margarita Sanchez Urdaneta
June 2 – July 2, 2017
Opening Reception: June 2, 7-9 PM
Roger Kausch
Margarita Sanchez Urdaneta
Roger Kausch and Margarita Sánchez Urdaneta
Reducing Distance
June 2-July 2, 2017
Opening Reception: Friday, June 2, 7-9 PM
Slag Contemporary
56 Bogart St.
Brooklyn, NY 11206
T 212 967 9818
Thursday – Sunday 1-6PM
Monday – Wednesday by appointment irina@slaggallery.com www.slaggallery.com
Slag Gallery is presenting Reducing Distance, a two-person show of works by epodium artist Roger Kausch and Colombian artist Margarita Sánchez Urdaneta. This will be Kausch’s first exhibition in the United States and Urdaneta’s first exhibition at Slag Gallery.
Roger Kausch is best known for his multi-process work, often integrating music and performance — particularly in video and drawing. Reducing Distance will present a selection of Kausch’s work over the past ten years. In the media of drawing and painting, his layered yet spontaneous method leaves behind temporal marks, illustrating seismographic time traceable in layers of continual adjustment.
Manifold forms of technical processing primarily mark the origination process of Kausch’s diverse videos. The works are committed to the exertions of being human and to humanartifacts, tools and strategies, aiming to reveal the emotions, desires and hopes these are charged with. Through the fragmentation of the video stream into single image sequences, processes of movement are made to expose their hidden choreographies. The rhythm of their arrangement gives them the expressivity of music and dance.
Margarita Sanchez Urdaneta’s beguilingly mysterious works combine installation, video, sculpture, and writings. Her eerie yet strangely calming works depict places of, as she describes, “Forced disappearances, mass graves, and terror tactics.” Sánchez Urdaneta’s new 2D works are inspired by burial methods in Colombia’s perpetual complex landscape and history. The work focuses on the relationship between the landscape and the violent event, between the time of occurrence and the time of telling.
“The continuous violence in Colombia has left millions of victims and has created the necessity for a collective mourning process, a process that has been put on pause since bodies are hidden, communities are threatened if they bury their dead, and most violent acts are overlooked as soon as a new violent act is perpetrated. The interest in mourning and memorizing these violent events has become, for most grievers, not only a way of remembering but also a way of facing the present and denouncing the atrocities.”
Roger Kausch studied Art History and Philosophy at the Academy of Fine Arts in Munich. He was previously head of “Werkstatt für Bild und Tonsequenzen“, a forum for presentation and discussion of video works at the „Hochschule für Musik und Theater“ in Munich. He has exhibited and performed in galleries and concert venues throughout Germany and Austria.
Sánchez Urdaneta holds an MFA from Parsons The New School for Design (NY), a postgraduate degree in Journalism from the Universidad de Los Andes (Bogota), a BA in Visual Arts at the PUJ (Bogota), and attended the Whitney Independent Study Program (NY). Sánchez Urdaneta has participated in exhibitions at venues such as The Kitchen (NY), The EFA (NY), El Museo del Barrio (NY), Instituto Cervantes (NY), Museo de Arte Contemporaneo (Bogota), Galería Die Ecke (CL), The Arlinton Art Center (VA), and The BID Headquarters Atrium (WA).
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
City.
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
months.
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.
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.
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
Sincerely,
Rod
contact: rodmalin@guestspot.org
////// 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
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.
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
GRIMANESA AMORÓS
TIMELESS MOTION (in Life and Light) #timelessmotion #grimanesaamoros #cindychao #BiennaledesAntiquaires @cindy_chao @grimanesaamoros
September 9th – 18th, 2016 at Grand Palais, 3 Avenue du Général Eisenhower Paris, France
“Timeless Motion (in Life and Light),” a site-specific installation by artist Grimanesa Amorós in collaboration with CINDY CHAO The Art Jewel, will be on view at Grand Palais in Paris, during the Biennale des Antiquaires . The piece will serve as a striking setting to Chao’s 12 new masterful art jewels.The atmospheric, ephemeral quality of the setting is further reinforced with a slow movement of lights, which reflect on Chao’s art jewels making each piece come alive. Viewing jewels in this environment thus aims to transcend a purely aesthetic experience and become a meditation on the theme of nature and life.After Biennale des Antiquaires, “Timeless Motion (in Life and Light)” will travel internationally with the first stop at the LONG MUSEUM, Shanghai China. Other destinations will include Taipei, Hong Kong, Moscow, and Dubai.
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.
KUNSTVEREIN: Die drei Künstler Steffen Osvath, Jenny Winter-Stojanovic und Louisa Marie Summer zeigen ihre interessanten Arbeiten in Viernheim
Von unserem Mitarbeiter Frank Kostelnik
(via morgenweb)
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.
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.
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.
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.
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:
How does an artist penetrate the inner circle of the art world?
How do museums choose exhibits?
How can an artist reach critics and get feedback?
How do artists make a living, and how much can they expect to make?
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.
Organische Formen und eine instinktive Herangehensweise kennzeichnen das Werk der vielfach ausgezeichneten peruanisch-amerikanischen Lichtkünstlerin Grimanesa Amorós. Die Grundlage ihrer faszinierenden Skulpturen stellen jedoch Naturwissenschaften, Sozialgeschichte und kritische Theorie dar. So treten in ihren Werken Forschung und Gefühl in Kommunikation.
BESCHREIBUNG
Die raumgreifenden Skulpturen und Videoinstallationen von Amorós wurden bereits über den Globus verteilt gezeigt: von Mexiko über Tel Aviv und Peking bis hin zum Times Square in New York. Ihre neuesten Arbeiten OCUPANTE und GOLDEN SECRET ROOM präsentiert sie nun im Ludwig Museum Koblenz. Die Künstlerin erschafft spielerische Licht-Installationen, die in ihrer Rätselhaftigkeit vielschichtige Deutungen zulassen. Gemeinsam mit einer Werkübersicht gibt der Band diese Arbeiten in großformatigen Abbildungen wieder und bringt deren Fluidität und Leuchtkraft zum Ausdruck.
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).
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
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.
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.“
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.
Below, we’ve found 20 emerging female artists who we’ll also be tracking in 2016.
1. Martine Syms Los Angeles-based artist Martine Syms works across publishing, video, and performance. She runs the site Dominica, and was a participant in the 2015 New Museum Triennial in New York. Syms’s current project NITE LIFE will be on view at Locust Projects in Miami until the end of the year.
2. Meriem Bennani Moroccan-born and New York-based artist Meriem Bennani creates films and animated Instagrams that are playfully surreal. She currently has a solo show „Gradual Kingdom“ at Signal in Brooklyn and work in the Jewish Museum’s „Unorthodox“ exhibition.
3. Casey Jane Ellison You may know Los Angeles-based arty comedian Casey Jane Ellison from her webseries ‘Touching the Art,‘ and her newest endeavor, The Right & Left Brains of Casey Jane’s. Performance artist and comedian Ellison has brought her unique brand of art world critique to Frieze New York and exhibited at the New Museum’s Triennial and NADA in Miami Beach this year.
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: Paintings, Sculpture and Installation, until 30 April 2016, Margulies Collection at the Warehouse
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.
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.
epodium gallery is now presenting the video works of Gregor Peschko.
Genua
“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.
Guesthouse
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.
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 is now presenting the video works of Paul Valentin.
Rendezvous
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.
Vanillery I+II
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.
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.
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
The short film MAGICAL ISA by epodium gallery artist, Grimanesa Amorós, about the National Art Schools of Cuba will be featured during the reception following the panel discussion Latin American Modernism at Risk: Preservation Challenges for World Monuments Watch Sites.
Tuesday, May 5th, 2015 Program: 6 – 7:30 PM and Reception: 7:30 – 8 PM
Kunsttheorie und Museumspraxis zwischen 1987 und 2012 Subject – Site – Center
Andreas Backoefer
Kunsttheorie und Museumspraxis zwischen 1987 und 2012 Subject – Site – Center
ISBN 978-3-940388-41-4
180 Seiten, 24 Euro
Das Buch ist hier und in jeder Buchhandlung erhältlich.
Kunsttheorie und Museumspraxis zwischen 1987 und 2012 unternimmt den Versuch, den Zusammenhang der zeitgenössischen Theorie-, aber auch Kunstproduktion mit der Ausstellungspraxis von Museen anhand ausgewählter Beispiele zu beschreiben. Die Ordnungslogik der Begriffe Subject – Site – Centeretabliert innerhalb eines Feldes eine Überlagerung von theoretischem Denken, künstlerischem Tun und institutioneller Strategie, wobei diese Felder nicht eindeutig voneinander abgrenzbar sind.
Auf verschiedenen Ebenen ist dabei die Beobachtung des Wechselspiels von künstlerischer wie wissenschaftlicher Performativität (Handeln) und institutioneller Reflexion (Zeigen) möglich. Diese Analyse führt nicht zu Resultaten, sondern stellt eine probeweise Inszenierung von Wissen und Wissensformen dar.
epodium gallery artist Louisa Marie Summer at KOLGA TBILISI PHOTO.
Her photo series „Jennifer’s Family“ will be shown in the exhibition ‚The Best Photos of the Year‘.
Opening: Mai, 1st, Hotel „Rooms“, Tbilisi, 14 Kostava Str., Georgien.
Scham ist eine Folge des Entdeckt-werdens einer Person (Sartre). Die Schamreaktion offenbart Schuld oder bewirkt neues Verschulden, wenn das Subjekt gewaltsam versucht, sich einer beschämenden Situation zu entledigen.
Theologisch gilt, dass aus der Versöhnung mit Gott ein Aufrichten der Person folgt, die nicht mehr schamlos ihre Grenzen verleugnen bzw. schamhaft ihren Unwert beschwören muss. Sozialethisch relevant sind die öffentliche Beschämung von Personen (Schule!), die Lust am Fremdschämen oder die These von der Vertiefung des Nahostkonfl iktes durch die »verhängnisvolle Scham« der Christinnen (Braverman).
In der Gegenwartskunst geht es wirkungsästhetisch z. B. um »Inszenierung« von Schamlosigkeit zwischen Provokation und Authentizität sowie Scham im »narrative act«.
Ein Reader wird bereitgestellt.
Leitung: Prof. Dr. Knut Berner, Dr. Andreas Backoefer Veranstaltungsort: Haus Villigst
SATURDAY, 14 MARCH, 12-3PM
An afternoon of creative exploration, dialogue, and exchange of ideas
Hosted by Pablo Ganguli, Founder of LiberatumSwire Properties Lounge, Level 1, Hong Kong Convention & Exhibition Centre
THE INFLUENCE OF TECHNOLOGY ON ART AND CREATIVITY
Moderated by Simon de Pury, Auctioneer, Artist and Photographer, DJ
GUEST SPEAKERS
Hans Ulrich Obrist
Director of Exhibitions and International Programmes, The Serpentine Gallery, London
Grimanesa Amoròs
Artist
Isaac Julien
Artist and Film Maker
An afternoon of creative exploration, dialogue, and exchange of ideas
Hosted by Pablo Ganguli, Founder of Liberatum
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