The Peninsula Hotel September – November 2025
Kemankeş Karamustafa Paşa, Kemankeş Cd. No:34, 34425 Beyoğlu/İstanbul, Türkiye
“My connection to water has always been intuitive. I am drawn to its rhythm, its depth, and its ability to hold memory. In Istanbul, the Bosphorus became both inspiration and context. Its maritime history and role as a connector between continents guided my approach.
PASSAGE and MARITIME are two site-specific light sculptures that reflect on movement, migration, and the unseen currents that shape cities and lives. One engages with the exterior, in dialogue with the Bosphorus. The other lives within the building, evoking a quieter and more internal journey.
Both works explore the idea of passage. Across water, through architecture, and within ourselves. With light, I seek to make that experience visible.”
About The Peninsula Istanbul
Located on the Bosphorus waterfront in Karaköy with views of the Historic Peninsula, The Peninsula Istanbul consists of four buildings, three of which are historic. Part of the new Galataport seafront revitalization project, the hotel is situated near Istanbul’s iconic landmarks such as Galata Tower, Hagia Sophia, and the Blue Mosque.
About Contemporary Istanbul
Contemporary Istanbul is an esteemed international art fair, positioning the city as a pivotal hub for contemporary art on the global stage. Now in its 20th edition, the fair convenes a diverse array of galleries, artists, collectors, curators, and academics from across the world.
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
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.
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.
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.
