Radiohead - Nude
Sunday, August 31, 2008
Parasol unit foundation for contemporary art
This September Parasol unit foundation for contemporary art will present The Islanders: An Introduction, the latest instalment in Charles Avery's epic project which began in 2004. For the past four years, Scottish artist Avery has created texts, drawings, installations and sculptures which describe the topology and cosmology of an imaginary island, whose every feature embodies a philosophical proposition, problem or solution. Previous exhibitions have presented chapters in this ongoing endeavour, revealing individual aspects of the Island. For the first time, the whole project thus far will be brought together including several new works. This major exhibition at Parasol unit will be accompanied by a large-scale publication – a work of art in its own right. Following its conclusion at Parasol unit, the exhibition will travel to the Scottish National Gallery of Modern Art, Edinburgh and Museum Boijmans Van Beuningen, Rotterdam.
Saturday, August 30, 2008
Ursula Blickle Foundation
Fabric, wool, cardboard, wood, metal: here the materials dominate the scene – spun, tacked, taped, hung,leaned, and clamped into place by Alexandra Bircken (*1967 / D) and Simon Denny (*1982 / NZ). In parallel soloexhibitions at the Ursula Blickle Foundation the two artists present subjective form and material canons that create their own idiosyncratically fragile languages. As with textiles assembled out of random fibers, here too net-like structures are developed which do not insist on following a linearity, but only merge into a oneness through the weave itself.
Seventh Shanghai Biennale
PROJECT
For the 2008 Shanghai Biennale the curatorial team connects the Shanghai Art Museum directly to People's Square. For this reason, twenty-five emerging and established artists have been invited to take People's Square as visual metaphor for the complex dynamics of the people's mobility. Their work will be displayed on various media within and outside of the museum. Works that are shown outside were created with an intent to interact with the environment or the public. Participants: Pawel Althamer, Tiong Ang, Ricardo Basbaum, Mariana Castillo Deball, Chen Zhiguang, Ayse Erkmen, Rainer Ganahl, Jeanne van Heeswijk, Bethan Huws, Jing Shijianm, Kim Sanggil, Lin Chuanchu, Liu Ye, Lu Hao, Ma Baozhong, Thomas Ruff, Hito Steyerl, Tang Maohong, Wang Qingson, Lawrence Weiner, Wu Mingzhong, Yin Xiuzhen, Yu Fan, Zeng Hao, Zhang Qing and Zhou Tao.
KEYNOTES
On the second floor, the curatorial team will focus on solo-exhibitions of three prominent artists. This rather unusual proposal was conceived in reaction to a tendency among many Biennales to present a vast number of hardly distinguishable artistic positions. As a guideline for the choice of artists in this section a more reflective and general attitude towards the issue of mobility related to the urban, economical and social development should be apparent in their artistic production. Keynotes: Lonnie van Brummelen & Siebren de Haan, Mike Kelley and Yue Minjun.
CONTEXT
On the third floor, under the same theme, another thirty artists will be showing their work using non-shanghainese elements, to explore and discuss mobility issues in Asia, Africa, Europe and the Americas. Participants: Guy Ben-Ner, Ursula Biemann, Big Dipper Group, Bu Hua, Chen Yun, Juergen Drescher, Inci Eviner, Harun Farocki, Zvi Goldstein, Yangah Ham, He Wenjue, Huang Hsinchien, Jia Zhangke, Jin Shi, Suchan Kinoshita, Charles Lim, Liu Ming, Angelika Mantz, Klaus Mettig, Roman Ondak, The Otolith Group, Ulrike Ottinger, Son Kuk Gyon, Su Xinping, Mieke Van de Voort, Clemens von Wedemeyer, Wang Qiang, Yang Shaobin, Yu Hua, Zhang Enli, Zhang Weijie and Zhu Jia.
For the 2008 Shanghai Biennale the curatorial team connects the Shanghai Art Museum directly to People's Square. For this reason, twenty-five emerging and established artists have been invited to take People's Square as visual metaphor for the complex dynamics of the people's mobility. Their work will be displayed on various media within and outside of the museum. Works that are shown outside were created with an intent to interact with the environment or the public. Participants: Pawel Althamer, Tiong Ang, Ricardo Basbaum, Mariana Castillo Deball, Chen Zhiguang, Ayse Erkmen, Rainer Ganahl, Jeanne van Heeswijk, Bethan Huws, Jing Shijianm, Kim Sanggil, Lin Chuanchu, Liu Ye, Lu Hao, Ma Baozhong, Thomas Ruff, Hito Steyerl, Tang Maohong, Wang Qingson, Lawrence Weiner, Wu Mingzhong, Yin Xiuzhen, Yu Fan, Zeng Hao, Zhang Qing and Zhou Tao.
KEYNOTES
On the second floor, the curatorial team will focus on solo-exhibitions of three prominent artists. This rather unusual proposal was conceived in reaction to a tendency among many Biennales to present a vast number of hardly distinguishable artistic positions. As a guideline for the choice of artists in this section a more reflective and general attitude towards the issue of mobility related to the urban, economical and social development should be apparent in their artistic production. Keynotes: Lonnie van Brummelen & Siebren de Haan, Mike Kelley and Yue Minjun.
CONTEXT
On the third floor, under the same theme, another thirty artists will be showing their work using non-shanghainese elements, to explore and discuss mobility issues in Asia, Africa, Europe and the Americas. Participants: Guy Ben-Ner, Ursula Biemann, Big Dipper Group, Bu Hua, Chen Yun, Juergen Drescher, Inci Eviner, Harun Farocki, Zvi Goldstein, Yangah Ham, He Wenjue, Huang Hsinchien, Jia Zhangke, Jin Shi, Suchan Kinoshita, Charles Lim, Liu Ming, Angelika Mantz, Klaus Mettig, Roman Ondak, The Otolith Group, Ulrike Ottinger, Son Kuk Gyon, Su Xinping, Mieke Van de Voort, Clemens von Wedemeyer, Wang Qiang, Yang Shaobin, Yu Hua, Zhang Enli, Zhang Weijie and Zhu Jia.
Artangel
Ninety metres above the ground, a thin metal wire stretches between three of the tower blocks in Red Road, North Glasgow. A solitary figure steps off the edge of the building and onto the line before him. He moves slowly and gracefully, step by silent step, and along the wire…
A multi-screen film and video installation, HIGH WIRE continues Catherine Yass' interest in vertiginous spaces: architecture, height and scale have been dominant formal themes in her previous work. The installation draws on Yass' filmed footage of Didier Pasquette taken at Red Road in Glasgow in 2007, and is as much concerned with the isolated physical space inhabited by the walker — in a landscape dominated by the brutalism of the tower blocks — as with his remarkable mental and physical transformation during the course of the attempted walk. HIGH WIRE brings together personal dreams of walking in the air with modernist dreams of a utopian ideal. The exhibition includes a new series of Yass' lightboxes evolved from the project at Red Road.
A multi-screen film and video installation, HIGH WIRE continues Catherine Yass' interest in vertiginous spaces: architecture, height and scale have been dominant formal themes in her previous work. The installation draws on Yass' filmed footage of Didier Pasquette taken at Red Road in Glasgow in 2007, and is as much concerned with the isolated physical space inhabited by the walker — in a landscape dominated by the brutalism of the tower blocks — as with his remarkable mental and physical transformation during the course of the attempted walk. HIGH WIRE brings together personal dreams of walking in the air with modernist dreams of a utopian ideal. The exhibition includes a new series of Yass' lightboxes evolved from the project at Red Road.
Thursday, August 28, 2008
Atlantic Center for the Arts
ATLANTIC CENTER FOR THE ARTS
2009 MASTER ARTISTS-IN-RESIDENCE PROGRAM
Residency #132
FEBRUARY 16 - MARCH 8 (application deadline: October 17, 2008)
Molissa Fenley, dance/choreography
Bob Holman, poetry
James Siena, visual arts
Residency #133
APRIL 13 - MAY 3 (application deadline: January 16, 2009)
Denise Duhamel, poetry
David Felder, music/composition
Visual Artist, TBA
Residency #134
MAY 18 - JUNE 7 (application deadline: February 6, 2009)
Will Cotton, visual arts
Brenda Hillman, poetry
Alvin Lucier, music/composition
Residency #135
JUNE 29 - JULY 19 (application deadline: March 6, 2009)
PROJECT RESIDENCY
Mark Applebaum, music/composition/performance
Carole Kim, live video performance/installation
Heather Woodbury, playwriting/performance
Residency #136
OCTOBER 12 - NOVEMBER 1 (application deadline: May 22, 2009)
Rineke Dijkstra, visual arts
Antonya Nelson, fiction
Elliott Sharp, music/composition
Since 1982, Atlantic Center's residency program has provided artists from all artistic disciplines with spaces to live, work, and collaborate during three-week residencies. Located just four miles from the east coast beaches of central Florida, the pine and palmetto wooded environment contains award-winning studios that include a resource library, painting studio, sculpture studio, music studio, dance studio, black box theater, writers' studio, and digital computer lab. Each residency session includes three master artists of different disciplines. The master artists each personally select a group of associates - talented, emerging and midcareer artists - through an application process administered by ACA. During the residency, artists participate in informal sessions with their group, collaborate on projects, and work independently on their own projects. The relaxed atmosphere and unstructured program provide considerable time for artistic regeneration and creation. Atlantic Center for the Arts provides housing (private room/bath with work desk), weekday meals (provided by ACA chef) and 24 hour access to shared studio space. Financial Aid is available to qualified applicants.
2009 MASTER ARTISTS-IN-RESIDENCE PROGRAM
Residency #132
FEBRUARY 16 - MARCH 8 (application deadline: October 17, 2008)
Molissa Fenley, dance/choreography
Bob Holman, poetry
James Siena, visual arts
Residency #133
APRIL 13 - MAY 3 (application deadline: January 16, 2009)
Denise Duhamel, poetry
David Felder, music/composition
Visual Artist, TBA
Residency #134
MAY 18 - JUNE 7 (application deadline: February 6, 2009)
Will Cotton, visual arts
Brenda Hillman, poetry
Alvin Lucier, music/composition
Residency #135
JUNE 29 - JULY 19 (application deadline: March 6, 2009)
PROJECT RESIDENCY
Mark Applebaum, music/composition/performance
Carole Kim, live video performance/installation
Heather Woodbury, playwriting/performance
Residency #136
OCTOBER 12 - NOVEMBER 1 (application deadline: May 22, 2009)
Rineke Dijkstra, visual arts
Antonya Nelson, fiction
Elliott Sharp, music/composition
Since 1982, Atlantic Center's residency program has provided artists from all artistic disciplines with spaces to live, work, and collaborate during three-week residencies. Located just four miles from the east coast beaches of central Florida, the pine and palmetto wooded environment contains award-winning studios that include a resource library, painting studio, sculpture studio, music studio, dance studio, black box theater, writers' studio, and digital computer lab. Each residency session includes three master artists of different disciplines. The master artists each personally select a group of associates - talented, emerging and midcareer artists - through an application process administered by ACA. During the residency, artists participate in informal sessions with their group, collaborate on projects, and work independently on their own projects. The relaxed atmosphere and unstructured program provide considerable time for artistic regeneration and creation. Atlantic Center for the Arts provides housing (private room/bath with work desk), weekday meals (provided by ACA chef) and 24 hour access to shared studio space. Financial Aid is available to qualified applicants.
Wednesday, August 27, 2008
Antwerp Art Weekend
The annual Whitsun fair, tennis championships, Cirque du Soleil, parked cars, the musical 0110 event in protest at the political climate in Antwerp, which is shifting to the right, ice sculptures, an exclusive trade fair of luxury articles and even more numerous circuses of other origins: the filled-in southern docks between the Vlaamsekaai and the Waalsekaai have in the past played host to a wide variety of events. But only on one occasion has the square been used for contemporary art, in the summer of 2002 when Villanella and MuHKA installed the ‘drive-in wheel’, a huge Ferris wheel for cars designed by the Dutch artist John Körmeling.
The South, with the filled-in southern docks at its heart, has though been surrounded by the visual arts for many years now: historical works in the Royal Museum of Fine Art, contemporary art in the galleries and the MuHKA and FotoMuseum. And yet it was not until 2008 that an idea that had been in circulation for a long time – literally and figuratively filling the square with contemporary art – could be put into action. This was an idea which, with hindsight, turned out to be so obvious that several actors had had it in mind for several years.
The South, with the filled-in southern docks at its heart, has though been surrounded by the visual arts for many years now: historical works in the Royal Museum of Fine Art, contemporary art in the galleries and the MuHKA and FotoMuseum. And yet it was not until 2008 that an idea that had been in circulation for a long time – literally and figuratively filling the square with contemporary art – could be put into action. This was an idea which, with hindsight, turned out to be so obvious that several actors had had it in mind for several years.
Tuesday, August 26, 2008
The Chemical Brothers
The CHEMICAL BROTHERS are set to release a best-of album aptly titled Brotherhood. In anticipation of the release, here’s the video for “Midnight Madness.”
Kunsthaus Graz am Landesmuseum Joanneum
Curator: Adam Budak
In collaboration with Nikos Grigoriadis, KIZ Cinema in the Augarten, Graz, Austria
"Words do not come easily to me, images do!" Michelangelo Antonioni used to confess. With Surface of the World, the Restrospective of the oeuvre of the Italian master of contemporary cinema, Michelangelo Antonioni, Kunsthaus Graz in collaboration with KIZ Augarten cinema Graz, aims to display the architecture of vision of the director who used to be known as „the Man of Images". From early documentaries (Gente del Po, 1943-47) through groundbreaking feature pictures Blow-Up (1966),Zabriskie Point (1970) and Professione: Reporter (1974) to documentaries on Antonionis life and work, this retrospective analyses the condition of an image, the status of a colour, the treatment of a space and the intensity of an emotion - all necessary components of the fabrics of the Surface of the World.
This investigation's second layer includes possible passages and intentional relations: Johanna Billing's video Project for a Revolution (2000), on view in the Kunsthaus Graz (opening on September 16th, 7pm) constructs a bridge between formal grammars of cinema and visual arts. Billing masterfully restages the introductory scene from Antonioni's Zabriskie Point, featuring an intense meeting of student activists at the campus during 1968 revolutionary tensions. The artist concentrates on generating the ambiguity of students' advanced state of expectation, between revolutionary alertness, passivity and boredom, thus commenting upon the possibilities of a real social engagement and rebellion in a present-day culture.
In collaboration with Nikos Grigoriadis, KIZ Cinema in the Augarten, Graz, Austria
"Words do not come easily to me, images do!" Michelangelo Antonioni used to confess. With Surface of the World, the Restrospective of the oeuvre of the Italian master of contemporary cinema, Michelangelo Antonioni, Kunsthaus Graz in collaboration with KIZ Augarten cinema Graz, aims to display the architecture of vision of the director who used to be known as „the Man of Images". From early documentaries (Gente del Po, 1943-47) through groundbreaking feature pictures Blow-Up (1966),Zabriskie Point (1970) and Professione: Reporter (1974) to documentaries on Antonionis life and work, this retrospective analyses the condition of an image, the status of a colour, the treatment of a space and the intensity of an emotion - all necessary components of the fabrics of the Surface of the World.
This investigation's second layer includes possible passages and intentional relations: Johanna Billing's video Project for a Revolution (2000), on view in the Kunsthaus Graz (opening on September 16th, 7pm) constructs a bridge between formal grammars of cinema and visual arts. Billing masterfully restages the introductory scene from Antonioni's Zabriskie Point, featuring an intense meeting of student activists at the campus during 1968 revolutionary tensions. The artist concentrates on generating the ambiguity of students' advanced state of expectation, between revolutionary alertness, passivity and boredom, thus commenting upon the possibilities of a real social engagement and rebellion in a present-day culture.
Monday, August 25, 2008
Sunday, August 24, 2008
Conciertos
Agosto:
- Tarja Turunen - 14 de Agosto - Studio 183, Monterrey
- Tarja Turunen - 16 de Agosto - Circo Volador - México, D.F.
- Tarja Turunen - 17 de Agosto - Teatro Estudio Cavaret - Guadalajara Jalisco
- Alesana - 20 de Agosto - Cafe Iguana - Monterrey
- Alesana - 21 de Agosto - Hard Rock Live, México, D.F.
- Alesana - 22 de Agosto - Hard Rock Live, México, D.F.
- Blonde Redhead - 22 de Agosto - Teatro Estudio Cavaret - Guadalajara Jalisco
- Blonde Redhead - 23 de Agosto - Teatro de la Ciudad - México, D.F.
- Misfits - 28 de Agosto - Bull Dog Cafe - México, D.F.
- Misfits - 29 de Agosto - Cafe Iguana - Monterrey
Septiembre:
- Cut Copy - 9 de Septiembre - Vive Cuervo Salón, México, D.F.
- Cut Copy - 10 de Septiembre - Teatro Estudio Cavaret, Guadalajara, Jalisco.
- Cansei de Ser Sexy - 11 de Septiembre - Uma Bar, Monterrey
- Cansei de Ser Sexy - 12 de Septiembre - Vive Cuervo Salón, México, D.F.
- Scorpions - 17 de Septiembre - Auditorio Telmex - Guadalajara Jalisco.
- The Cribs - 18 de Septiembre - Vive Cuevo Salón, México, D.F.
- Midnight Juggernauts - 19 de Septiembre - Estudio Cavaret - Guadalajara Jalisco
- Scorpions - 20 de Septiembre - Foro Sol, México, D.F.
- Midnight Juggernauts - 20 de Septiembre - Pabellon de Alta Tecnologia - México, D.F.
- Scorpions - 21 de Septiembre - Arena Monterrey - Monterrey
- Finch - 26 de Septiembre - Hard Rock Live, México, D.F.
Octubre:
- Motley Crue - 3 de Octubre - Arena VFG - Guadalajara Jalisco
- Yelle - 3 de Octubre - (Lugar por Confirmar) - México, D.F.
- Yelle - 4 de Octubre - (Lugar por Confirmar) - Monterrey
- Motley Crue - 5 de Octubre - Palacio de Los Deportes - México, D.F.
- James - 7 de Octubre - Auditorio Nacional - México, D.F.
- James - 8 de Octubre - Arena VFG - Guadalajara, Jalisco.
- KT Kunstall - 11 de Octubre - Vive Cuervo Salón, México, D.F.
- The Presets - 12 de Octubre - México, D.F.
- Premios MTV Latinoamerica - 16 de Octubre - Auditorio Telmex - Zapopan, Jalisco
- MGMT - 17 de Octubre - Escenica Monterrey - Monterrey (por confirmar)
- Paramore - 17 de Octubre - Escenica Monterrey - Monterrey
- MotoROKR Fest 2008 (NIN, The Flaming Lips, Stone Temple Pilots...) - 18 de Octubre - Foro Sol, México, D.F.
- MotoROKR Fest 2008 - (NIN, The Flaming Lips, Stone Temple Pilots...) - 19 de Octubre - Arena VFG - Guadalajara Jalisco.
- Nine Inch Nails y Stone Temple Pilots - Arena Monterrey - Monterrey.
- Judas Priest - 29 de Octubre - Arena VFG - Guadalajara Jalisco
- Judas Priest - 31 de Octubre - Palacio de Los Deportes - México, D.F.
Noviembre:
- Sarah Brightman - 4 de Noviembre - Arena Monterrey - Monterrey
- Los Fabulosos Cadillacs - 5 y 6 de Noviembre - Foro Sol, México D.F.
- Crystal Castles - 6 de Noviembre - México, D.F.
- Sarah Brightman - 6 de Noviembre - Arena VFG - Guadalajara Jalisco
- Coca Cola Zero Fest (Los Bunkers, Los Fabulosos Cadillacs....) - 8 de Noviembre - Parque Fundidora - Monterrey
- Manifest 2008 (Teenagers, Black Lips...) - 8 de Noviembre - Parque Alameda Poniente - México D.F
- Sarah Brightman - 8 y 9 de Noviembre - Palacio de Los Deportes - México, D.F.
- Los Fabulosos Cadillacs - 12 de Noviembre - Estadio 3 de Marzo - Guadalajara Jalisco
- She Wants Revenge - 13 de Noviembre - (Lugar por Confirmar) - Monterrey
- She Wants Revenge - 14 de Noviembre - (Lugar por Confirmar) - México, D.F.
- R.E.M. - 18 de Noviembre - Auditorio Nacional - México, D.F.
- Oasis - 26 de Noviembre - Palacio de los Deportes - México, D.F.
- Hot Chip - 27 de Noviembre - Vive Cuervo Salón - México, D.F.
- Oasis - 28 de Noviembre - Arena VFG - Guadalajara Jalisco
- Hot Chip - 28 de Noviembre - Teatro Estudio Cavaret - Guadalajara Jalisco
- Oasis - 29 de Noviembre - Arena Monterrey - Monterrey
- Madonna - 29 y 30 de Noviembre - Foro Sol - México, D.F.
Yayoi Kusama
Yayoi KusamaStarted to paint using polka dots and nets as motifs at around age ten ,and created fantastic paintings in watercolors, pastels and oils.
Went to the United States in 1957. Showed large paintings, soft sculptures, and environmental sculptures using mirrors and electric lights. In the latter 1960s, staged many happenings such as body painting festivals, fashion shows and anti-war demonstrations. Launched media-related activities such as film production and newspaper publication. In 1968, the film “Kusama’s Self-Obliteration”which Kusama produced and starred in won a prize at the Fourth International Experimental Film Competition in Belgium and the Second Maryland Film Festival and the second prize at the Ann Arbor Film Festival. Held exhibitions and staged happenings also in various countries in Europe.
Returned to Japan in 1973. While continuing to produce and show art works, Kusama issued a number of novels and anthologies. In 1983, the novel “The Hustlers Grotto of Christopher Street” won the Tenth Literary Award for New Writers from the monthly magazine Yasei Jidai.
In 1986, held solo exhibitions at the Musee Municipal, Dole and the Musee des Beaux-Arts de Calais, France, in 1989, solo exhibitions at the Center for International Contemporary Arts, New York and the Museum of Modern Art, Oxford, England. In 1993, participated in the 45th Venice Biennale.
Began to create open-air sculptures in 1994. Produced open-air pieces for the Fukuoka Kenko Center, the Fukuoka Municipal Museum of Art, the Bunka-mura on Benesse Island of Naoshima, Kirishima Open-Air Museum and Matsumoto City Museum of Art, , in front of Matsudai Station, Niigata,TGV's Lille-Europe Station in France, Beverly Gardens Park, Beverly hills, Pyeonghwa Park, Anyang and a mural for the hallway at subway station in Lisbon.
Went to the United States in 1957. Showed large paintings, soft sculptures, and environmental sculptures using mirrors and electric lights. In the latter 1960s, staged many happenings such as body painting festivals, fashion shows and anti-war demonstrations. Launched media-related activities such as film production and newspaper publication. In 1968, the film “Kusama’s Self-Obliteration”which Kusama produced and starred in won a prize at the Fourth International Experimental Film Competition in Belgium and the Second Maryland Film Festival and the second prize at the Ann Arbor Film Festival. Held exhibitions and staged happenings also in various countries in Europe.
Returned to Japan in 1973. While continuing to produce and show art works, Kusama issued a number of novels and anthologies. In 1983, the novel “The Hustlers Grotto of Christopher Street” won the Tenth Literary Award for New Writers from the monthly magazine Yasei Jidai.
In 1986, held solo exhibitions at the Musee Municipal, Dole and the Musee des Beaux-Arts de Calais, France, in 1989, solo exhibitions at the Center for International Contemporary Arts, New York and the Museum of Modern Art, Oxford, England. In 1993, participated in the 45th Venice Biennale.
Began to create open-air sculptures in 1994. Produced open-air pieces for the Fukuoka Kenko Center, the Fukuoka Municipal Museum of Art, the Bunka-mura on Benesse Island of Naoshima, Kirishima Open-Air Museum and Matsumoto City Museum of Art, , in front of Matsudai Station, Niigata,TGV's Lille-Europe Station in France, Beverly Gardens Park, Beverly hills, Pyeonghwa Park, Anyang and a mural for the hallway at subway station in Lisbon.
Haus der Kulturen der Welt
From the 1930s on, colonial North Africa was transformed into a laboratory for European modernization fantasies. Casablanca was seen as a test case for the 'city of tomorrow', radical redevelopment plans included. The developments projected were envisaged as a blueprint for Europe's metropolises, too, and intended to reform the way people lived. In the Desert of Modernity presents works of architecture and urban concepts that arose under the state of emergency that was colonial rule, a state influenced, in turn, by the anti-colonial liberation struggles and trans-national migration in North Africa and Western Europe.
The exhibition introduces and expounds the problems of the ambivalences between colonial rule and modernistic Utopias. In how far are Utopias of modernism and civilization rooted in colonialism? In how far have the breaks within and resistance against colonialism left their mark on modernism? The exhibition also provides tangible evidence of the events, projects, actions, and visions that played a significant role during the time of decolonization between North Africa and Europe, and are still of significance today. It traces the stories of the local inhabitants, architects, colonialists, and scholars involved in the project of modernity and modernization.
The exhibition introduces and expounds the problems of the ambivalences between colonial rule and modernistic Utopias. In how far are Utopias of modernism and civilization rooted in colonialism? In how far have the breaks within and resistance against colonialism left their mark on modernism? The exhibition also provides tangible evidence of the events, projects, actions, and visions that played a significant role during the time of decolonization between North Africa and Europe, and are still of significance today. It traces the stories of the local inhabitants, architects, colonialists, and scholars involved in the project of modernity and modernization.
Thursday, August 21, 2008
Wednesday, August 20, 2008
ExperimentaDesign Lisbon
http://www.experimentadesign.pt The first main exhibition of the emblematic Swiss architect Peter Zumthor comes to Portugal. Stretching over almost 2000 m2 in LX Factory, an emerging cultural space in Lisbon, it takes place from September 7 to November 2, 2008. Unique in its breadth and depth, it represents a milestone in the author's career and the study of contemporary architecture. The largest and most comprehensive exhibition ever devoted to Peter Zumthor's work, it features 29 projects, 6 large-scale models, an impressive document collection and a life-size video installation of 12 buildings by the artists Nicole Six and Paul Petritsch. In this installation 6 screens show 6 perspectives of a building for 40 minutes, recreating the experience of Zumthor's architecture in an intense and enveloping atmosphere. |
Tuesday, August 19, 2008
VIDEONALE 12
MONITORING THE FUTURE
"We are looking for video art which, today, is already part of tomorrow's breeding ground," says Georg Elben, curator of the VIDEONALE 12. Quo vadis video art ? this is the question the VIDEONALE at the Bonn Kunstmuseum has addressed every two years since 1984. As of now all artists are invited to apply for the VIDEONALE 12 with a video work created in the past two years.
"We are looking for video art which, today, is already part of tomorrow's breeding ground," says Georg Elben, curator of the VIDEONALE 12. Quo vadis video art ? this is the question the VIDEONALE at the Bonn Kunstmuseum has addressed every two years since 1984. As of now all artists are invited to apply for the VIDEONALE 12 with a video work created in the past two years.
The Museum of Contemporary Art Sydney
Australian video art at the MCA
The Museum of Contemporary Art (MCA), Sydney presents a new exhibition entitled Video Logic, focusing on six contemporary Australian artists who work with video and screen-based practices.
Featured artists are Denis Beaubois, Philip Brophy, John Conomos, Adam Geczy, John Gillies and Eugenia Raskopoulos. Each has contributed substantially to the development of the medium in Australia and their work has been influential for a subsequent generation of Australian video artists.
Curated by Russell Storer, Video Logic explores a medium that has reached great prominence in recent years. Each artist works with video as part of a wider practice that may include installation, performance, sound, and writing. They take a range of formal, conceptual and presentational approaches to the medium, drawing upon its unique ability to combine multiple disciplines.
The works of John Gillies and Denis Beaubois form connections between video and performance. Gillies' new work draws upon the film genre of the road movie and cinematic techniques of montage and narrative to create an evocative video performance. Beaubois' works consider the video camera itself as an 'actor', producing its own electronically-generated point of view. Language and cultural history are important elements in the work of Eugenia Raskopoulos and John Conomos. Conomos' work Autumn Song Take Two takes the form of a video essay, using a collage of images and words to investigate his personal history, within a neon-lit installation created for the exhibition. Raskopoulos' videos employ performance and animation to consider communication and the shifting nature of meaning in different contexts.
The Museum of Contemporary Art (MCA), Sydney presents a new exhibition entitled Video Logic, focusing on six contemporary Australian artists who work with video and screen-based practices.
Featured artists are Denis Beaubois, Philip Brophy, John Conomos, Adam Geczy, John Gillies and Eugenia Raskopoulos. Each has contributed substantially to the development of the medium in Australia and their work has been influential for a subsequent generation of Australian video artists.
Curated by Russell Storer, Video Logic explores a medium that has reached great prominence in recent years. Each artist works with video as part of a wider practice that may include installation, performance, sound, and writing. They take a range of formal, conceptual and presentational approaches to the medium, drawing upon its unique ability to combine multiple disciplines.
The works of John Gillies and Denis Beaubois form connections between video and performance. Gillies' new work draws upon the film genre of the road movie and cinematic techniques of montage and narrative to create an evocative video performance. Beaubois' works consider the video camera itself as an 'actor', producing its own electronically-generated point of view. Language and cultural history are important elements in the work of Eugenia Raskopoulos and John Conomos. Conomos' work Autumn Song Take Two takes the form of a video essay, using a collage of images and words to investigate his personal history, within a neon-lit installation created for the exhibition. Raskopoulos' videos employ performance and animation to consider communication and the shifting nature of meaning in different contexts.
Thursday, August 14, 2008
Atelier Van Lieshout Furniture
The London creative scene is keeping us on our toes. No sooner than we recovered from the excitements of the 2007 London Design Festival, it was time to get revved up for the London art fairs. We experienced Pulse London and the enormity of Frieze (more to come on that), but we started out at Design Art London, the organizers of which had clearly made a strategic decision to exclude themselves from the Design Festival and jump in with the art crowd.
There have been indicators of the ever-growing appetite for "design art," as we saw with the popularity of Established + Sons show and the Size + Matter Installation, but there is no surer sign of this trend than when the bold Dutch art collective Atelier Van Lieshout roll into town. Having enjoyed great popularity around Europe over the past few years London is finally catching up with AVL's radical work.
MEGASTRUCTURE RELOADED
Architects and artists:
Archigram, Archizoom, Alan Boutwell, Guenther Domenig & Eilfried Huth, Constant, Yona Friedman / Groupe d'Etudes d'Architecture Mobile, Eckhard Schulze-Fielitz, Superstudio
José Dávila, Simon Dybbroe Moeller, Ryan Gander, Erik Goengrich, Franka Hoernschemeyer, Gordon Matta-Clark, Victor Nieuwenhuijs & Maartje Seyferth, Tobias Putrih, Tomás Saraceno, Katrin Sigurdardóttir, Tilman Wendland
curated by Sabrina van der Ley and Markus Richter / European Art Projects
In the early 1960s, the London-based Archigram group around Peter Cook designed Plug-In City, a megastructure in the form of a both roomy and gigantic framework into which mobile units (Plug-Ins) for all sorts of purposes and needs could be slotted, moved, and removed. Nothing was predetermined; everything was to change according to the changing needs of its users. Around the same time, Constant Nieuwenhuys in Amsterdam was working on New Babylon, an urban landscape branching out like a rhizome covering existing cities, resting on columns and pillars. The "sectors" of New Babylon form one endless, convoluted spatial continuum, a tangle of levels and passages, joined by struts and braces. The interiors are neither fixed nor defined. Rather, space is redefined over and over again by "homo ludens," drifting through the labyrinthine passages, determined solely by creativity and the power of his imagination.
Archigram, Archizoom, Alan Boutwell, Guenther Domenig & Eilfried Huth, Constant, Yona Friedman / Groupe d'Etudes d'Architecture Mobile, Eckhard Schulze-Fielitz, Superstudio
José Dávila, Simon Dybbroe Moeller, Ryan Gander, Erik Goengrich, Franka Hoernschemeyer, Gordon Matta-Clark, Victor Nieuwenhuijs & Maartje Seyferth, Tobias Putrih, Tomás Saraceno, Katrin Sigurdardóttir, Tilman Wendland
curated by Sabrina van der Ley and Markus Richter / European Art Projects
In the early 1960s, the London-based Archigram group around Peter Cook designed Plug-In City, a megastructure in the form of a both roomy and gigantic framework into which mobile units (Plug-Ins) for all sorts of purposes and needs could be slotted, moved, and removed. Nothing was predetermined; everything was to change according to the changing needs of its users. Around the same time, Constant Nieuwenhuys in Amsterdam was working on New Babylon, an urban landscape branching out like a rhizome covering existing cities, resting on columns and pillars. The "sectors" of New Babylon form one endless, convoluted spatial continuum, a tangle of levels and passages, joined by struts and braces. The interiors are neither fixed nor defined. Rather, space is redefined over and over again by "homo ludens," drifting through the labyrinthine passages, determined solely by creativity and the power of his imagination.
Wednesday, August 13, 2008
Württembergischer Kunstverein Stuttgart
From September 13 to November 9, 2008, the Württembergischer Kunstverein in Stuttgart is presenting the exhibition "Wild Signals. Artistic Positions between Symptom and Analysis." The exhibition comprises works by eleven international artists who have appropriated scientific methods in different ways. Historical documents are subjected to a shifted reading. The instruments and discourses of criminology, psychoanalysis, ethnology, natural and parasciences are borrowed as much as questioned. With an attitude that is as critical as it is ironical, the artists confront that production of truth that seeks to master the unknown and the incomprehensible and that rests on the denial of its own fallacies.
Speculation and staging, as techniques intrinsic to scientific thought, its experiments and reasonings, receive special attention – not least because this is the point at which aesthetic and scientific practices intersect. For example, stage, photography and film have long been described as instruments of knowledge, that serve not to prove but rather to actually produce and stage knowledge.
Speculation and staging, as techniques intrinsic to scientific thought, its experiments and reasonings, receive special attention – not least because this is the point at which aesthetic and scientific practices intersect. For example, stage, photography and film have long been described as instruments of knowledge, that serve not to prove but rather to actually produce and stage knowledge.
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