CITY-SENSE: Perceptual Landscapes/Sensorial Saturation
Anche quest’anno, in occasione delle giornate inaugurali della Biennale di Architettura di Venezia, Domus Academy e Telecom Progetto Italia propongono l’evento ArtExperience 2006, un appuntamento aperto al pubblico dedicato al tema della città contemporanea.
Venerdì 8 settembre, a partire dalle 19, presso il Telecom Italia Future Centre, ArtExperience 2006 offrirà uno sguardo sulla metropoli moderna come spazio saturo di segni e di sollecitazioni sensoriali.
CITY-SENSE Perceptual Landscapes/Sensorial Saturation è il titolo dell’iniziativa. A partire dall’assonanza tra “city-sense” (senso della città, nella duplice accezione di ‘senso’: sensazione e significato) e “citizens” (cittadini): l’interrogativo è posto sulla dicotomia tra la possibilità di ricomporre le molteplici sollecitazioni sensoriali provenienti dallo spazio urbano in un “paesaggio” sensato, e il pericolo di vivere passivamente uno stato di saturazione caotica dei sensi. Al centro dell’attenzione sono, infatti, le trasformazioni in atto nella nostra relazione percettiva con lo spazio della città, e il modo in cui queste trasformazioni possono venire recepite e condizionate da parte dell’architettura e di pratiche artistiche come la musica o le arti visive.
Il tema si inserisce in modo complementare a quello proposto dalla Biennale 2006 “Città: architettura e società”, curata da Richard Burdett, che cercherà di ricondurre la struttura fisica della città alle dimensioni culturali ed economiche dell’esistenza urbana.
La fusione di linguaggi espressivi diversi, l’esplorazione interdisciplinare e la possibilità di interagire con personalità del mondo dell’arte e della cultura su temi di grande attualità sono la formula collaudata di ArtExperience, che, dal 2004, si rivolge alle pratiche più avanzate della creatività contemporanea nell’ambito delle arti visive e della musica.
Perceptual Landscape/Sensorial Saturation
Venerdì 8 settembre 2006, ore 19 – 23.15
Venezia, Telecom Italia Future Centre (San Marco 4826 – Campo San Salvador)
website - http://www.domusacademy.com/
SFMOMA | Matthew Barney Exhibition Feature:
"Over the past two decades, Matthew Barney has created a distinctive universe using a multitude of media, from sculpture and photography to drawing and film. Informed by his careful study of recent art history, the human body, and biological development, his work reveals a keen interest in process and the evolution of form."
Osaka 2006 International Design Competition
Deadline: Oct 22
Robots are the main theme for this year’s competition, particularly bots that communicate vital information for disaster response, transport people and goods, or aid the disabled. The competition is tiered: 100 entries will be shortlisted for discussion amongst business leaders; of these, 20 will be tapped for refinement in a workshop setting. The grand prizewinner will receive $10,000. www.jdf.or.jp/robot/en/index.html
Umbrella Inside Out
Deadline: Sept 1
I.D. has teamed up with Treehugger, a blog dedicated to green technology, to sponsor a design competition that proposes ways of preventing discarded umbrellas from being dumped into landfills. Participants are asked to design either a Cradle-to-Cradle umbrella—i.e., one that can be easily appropriated for another use after its natural life is over—or a garment made from recycled umbrellas. Finalists in both competitions will be featured in I.D.’s December issue and on Treehugger.com. The winning garment will be exhibited at the Ethical Fashion Show in Paris in October. www.umbrella.treehugger.com/how_to_enter.php
" Dear Friends of Ars Electronica,
A few days are left for the final preparations of this year’s festival, and we can tell you it really looks very promising.
The symposium will be conducted by John Maeda, who is also a featured artist along with Toshio Iwai.
The Ars Electronica Animation Festival will showcase more than 100 works of computer animation as well as an interesting selection of generative computer graphics.
Exhibitions at six different venues, projects and interventions at several public places in the city, concerts and performances, artists talks, open hardware workshops, etc. will make for a program jam-packed with challenging contributions from more than 400 artists, scientists and creative practitioners.
A very special event will be our outing to the countryside. In a wonderful old baroque monastery, we will present concerts featuring church organ and electronics, lectures, discussions, workshops and a special concert for the bells of the monastery by Michael Nyman.
Ars Electronica 2006 - SIMPLICITY the art of complexity
Thu 31 August - Tue 5 September, Linz Austria
For the detailed program and background information, please visit:
You can also download a pdf of the extended program brochure from:
We hope to see you all in Linz!
Gerfried Stocker and Christine Schoepf
Directors of the Ars Electronica Festival
4 dancers, methacrylate base, variable dimensions
8 days of art, music and dance performances in a Warsaw villa
25.08 - 1.09.2006, Warsaw
VILLA HOLIDAY WARSAW is an international, joint project of ten private, contemporary art galleries which have a common idea of discovering and promoting the most intriguing artistic attitudes.
The artistic program consists of exhibitions prepared by participating galleries and many additional events - concerts, dance performances, films, cuisine and many others - prepared specially for VILLA HOLIDAY WARSAW by independent curators.
The VILLA HOLIDAY WARSAW project is carried out thanks to the support of the Ministry of Culture and National Heritage, tha City of Warsaw, the Foundation of the Polish-German Co-operation.
CALENDAR OF EVENTS
25.08. Friday (admission only with invitation)
From 19.00 - Opening Reception Party
21:00 PERFORMANCE: William Hunt
22:00 MUSIC: Bonsai Kittens
23:00 MUSIC: DJ Wiktor Skok
16:00-20:00 HAPPY HOURS for gallerists, curators, art critics and collectors
17:30 PERFORMANCE: Prinz Gholam
18:30 PERFORMANCE: William Hunt
20:00 - Down with the pimps of art! - Exhibition opening and party at the Warsaw Stock Exchange, Ksi¹¿êca street
17:30 - TALK: with Anda Rottenberg on Museum of Modern Art in Warsaw
19:00 - DANCE PERFORMANCE: Felix Marchand - Mixtape *)
21:00 - DANCE PERFORMANCE: Felix Marchand - Mixtape *)
22:30 - MUSIC: DJ Wiktor Skok
17:00 FILM: Private Cinema
19:00 ARTIST TALK: Klaus Weber
21:00 Picnic with Mobile Academy
18:00 PERFORMANCE: Miklós Szilard
19:00 DANCE PERFORMANCE: I’m OK, you’re OK by Hanna Hegenscheidt*)
21:00 MUSIC: Cukunft - new album release party
19:00 DANCE PERFORMANCE: I’m OK, you’re OK by Hanna Hegenscheidt*)
21:00 DANCE PERFORMANCE: Two Fish - Christiane Muller is moving*)
17:00 FILM: Private Cinema
19:00 DANCE PERFORMANCE:Two Fish - Christiane Muller is moving*)
21:00 ARTIST TALK: Tino Sehgal
21:00 Closing Party**)
22:00 MUSIC: Dick4Dick
23:00 MUSIC: DJ Kura
all week long at the villa:
EXHIBITIONS and rich GARDEN CINEMA PROGRAM
KITTY - Ice Cream Queen from London!
PESTO bar + BBQ + extra event
*) tickets to be booked in advance: firstname.lastname@example.org
**) admission only with invitation
Participating galleries and artists:
Foksal Gallery Foundation, Warsaw; artists: Piotr Janas and Maciej Sawicki
gb agancy, Paris; artists: Mac Adams, Alban Hajdinaj, Roman Ondak, Dominique Petitgand, Pia Rönicke
Hotel, London; artists: Luke Dowd, Steven Claydon, David Noonan, Alexis Teplin, Richard Kern, Peter Saville, Alastair MacKinven
Daniel Hug, Los Angeles; artists: Patterson Beckwith, E - Rock, Eli Langer, Chris Lipomi
IBID PROJECTS, London; artists: Guillermo Caivano, William Hunt
Jan Mot, Brussels; artists: Sven Augustijnen, Manon de Boer, Sylvia Kristel, David Lamelas
galeria Plan b, Cluj; artists: Victor Man, Ciprian Mureoan, Cristi Pogacean, Miklós Szilard
Raster, Warsaw; artists: Aneta Grzeszykowska, Piotr Parda, Wilhelm Sasnal, Maciej Sienczyk, Jan Simon
Galerie Jocelyn Wolff, Paris; artists: Gregory Forstner, Prinz Gholam, Christoph Weber
Zero, Milan; artists: Tue Greenfort, Massimo Grimaldi, Michael Sailstorfer
INFORMATION ON PARTICIPATING ART GALLERIES
Foksal Gallery Foundation - Warsaw
The Foksal Gallery Foundation has been founded in 1997 with the aim of protecting the heritage of the Foksal Gallery, founded in 1966. Its activities - carrying out artists' projects, publishing and scientific activity - has soon greatly expanded and become more autonomous. This led to the opening of a new location, and a spatial separation in December 2001. Now the gellery is focused on initiating and supporting unconventional artistic projects (exhibitions, concerts, film, publication) in various, often public spaces.Foundation represents: Pawe³ Althamer, Cezary Bodzianowski, Piotr Janas, Katarzyna Józefowicz, Robert Kuœmirowski, Edward Krasiñski, Anna Niesterowicz, Wilhelm Sasnal, Monika Sosnowska, Jakub Julian Zió³kowski, Artur ¯mijewski.
Director: Andrzej Przywara
Participating artists: Piotr Janas & Maciej Sawicki
gb agency - Paris
gb agency was established in 2001 in order to support a distinct approach to creativity and question the gallery format and its issues. gb do not consider the activity of galerist as a signature but rather as an agency, which develops projects and puts people together. gb represents a small number of artists to be able to commit substantial time and effort to each. gb consider its structure as a laboratory for presenting strong perspectives and new forms. Gallery artists : Mac Adams, Robert Breer, Elina Brotherus, Omer Fast, Loris Gréaud, Alban Hajdinaj Deimantas Narkevicius, Roman Ondak, Dominique Petitgand, Pia Rönicke
Directors: Nathalie Boutin and Solene Guillier
Participating artists: Mac Adams, Alban Hajdinaj, Roman Ondák, Dominique Petitgand, Pia Rönicke
Hotel - London
Gallery began as an independent exhibition space located within the home of Darren Flook and Christabel Stewart in Bethnal Green, London where exhibiting artists not located in London were invited to stay during the production period of their project. HOTEL is now located in the ground floor shop space of the same building.
Hotel represents: Michael Bauer, Carol Bove, Steven Claydon, Luke Dowd, Richard Kern, Alastair MacKinven, Alan Michael, David Noonan, Peter Saville, Alexis Marguerite Teplin.
Directors: Christabel Stewart i Darren Flook
Participating artists: Luke Dowd, Steven Claydon, David Noonan, Alexis Teplin, Richard Kern, Peter Saville, Alastair MacKinven
Daniel Hug - Los Angeles
The gallery opened in October of 2003 in Los Angeles. The gallery is located in the gallery district of Chinatown. Daniel Hug represents a mix of local artists with some international artists such as Hanna-Mari Blenke (DE), Michael Wilkinson (GB), Ulrich Lamsfuss (DE) and Thomas Zipp (DE). The gallery works mostly with younger artists such as Michael Queenland (US), Los Super Elegantes (MEX/ US) and Chris Lipomi (US) and Stephanie Taylor (US), but also presents exhibitions by more established artists such as Gaylen Gerber (US), Eli Langer (CA/US) and T.Kelly Mason. From the very beginning Daniel Hug has taken part in international art fairs, such as: Art Basel - Miami Beach; Liste, The Young Fair -Basel; Mexico Arte Contemporaneo, Mexico City; Art Forum, Berlin.
Directors: Daniel Hug
Participating artists - Patterson Beckwith, Eli Langer, Chris Lipomi
IBID PROJECTS - London
Gallery, founded in 2002 is an independent space located both in Vilnius and London, focused on promoting young, talented artists from Eastern Europe. Represents artists from Europe and USA: Janis Avotins, Ross Chisholm, Milena Dragicevic, Swetlana Heger, Christopher Orr, Anj Smith, Nedko Solakov, Vicky Wright, Carey Young. Ibid is also carrying on publishing activity.
Directors: Vita Zaman and Magnus Edensvard
Participating artists: Guillermo Caivano, William Hunt
Jan Mot - Brussels
Established in 1996 gallery participates in the most important art fair such as Art Basel. Apart from exhibiting activity Jan Mot publishes contemporary art magazine. Gallery artists: Sven Augustijnen, Pierre Bismuth, Manon de Boer, Rineke Dijkstra, Dora García, Dominique Gonzalez-Foerster, Douglas Gordon, Joachim Koester, David Lamelas, Sharon Lockhart, Deimantas Narkevicius, Tino Sehgal, Ian Wilson.
Director: Jan Mot
Participating artists: Sven Augustijnen, Manon de Boer, David Lamelas
galeria plan b - Cluj
Gallery is an artist-run space opened in September 2005 in Cluj, coordinated by Mihai Pop and Adrian Ghenie. Being financed by a private source, gallerists have the freedom to organize their programme without any administrative or financial interferences. The name plan b was born as a reference to the general situation of the art spaces in Romania, the most of them being dependent on the little public money. The B plan, is the backup plan, which is covered also financially.The gallery is situated in the central part of the town, in a building dating from the beginning of the XXth century. The policy of the gallery is to produce and present works of Romanian as well as foreign artists who are already active on the international scene, works that could give a feed-back the local public and could speak about the issues concerning their life; to invite similar galleries, especially from Central and Eastern Europe, in order to establish a platform for international collaboration. Plan b consider the relationship with the public of main importance.
Gallery artists: Display, Barbara Musil, Victor Man, Ciprian Muresan, Miklós Onucsán.
Directors: Adrian Ghenie and Mihai Pop
Participating artists: Victor Man, Ciprian Mureºan, Cristi Pogãcean, Miklós Szilard
Raster - Warsaw
Private culture institution promoting young, contemporary art. Established in 2001 as a continuation of joint projects of two art critics: £ukasz Gorczyca i Micha³ Kaczyñski - art magazine "Raster" and garage gallery "Naœwietlarnia". Since 2003 located in huge flat, on the top floor of XIXth century tenement situated in the very center of Warsaw. The program of Raster is not merely focused on visual art but also includes performences, lectures, literature events, concerts. Collaborating with many institutions such as: Cinema Luna, TR Warsaw Theater, foreign cultural institutions, takes active part in the artistic life of the capital. Raster carries on publishing activity, organizes numerous exhibitions and meetings abroad and in other Polish cities. Participates in international art fairs such as LISTE, Basel; NADA, Miami.
Gallery artists: Azorro, Agata Bogacka, Micha³ Budny, Rafa³ Bujnowski, Oskar Dawicki, Zbigniew Libera, Marcin Maciejowski, Bartek Materka, Zbigniew Rogalski, Aneta Grzeszykowska i Jan Smaga, Wilhelm Sasnal.
Directors: £ukasz Gorczyca and Micha³ Kaczyñski
Participating artists: Aneta Grzeszykowska, Piotr Parda, Wilhelm Sasnal, Maciej Sieñczyk, Jan Simon
Galerie Jocelyn Wolff - Paris
Gallery opened in October 2003 with a solo show by Clemens von Wedemeyer in a very small space in multicultural part of East Paris: Belleville. Almost all represented artists had their first solo show at Galerie Jocelyn Wolff. In March 2006, the gallery moved to a new space in the same neighborhood. The Gallery collaborates with highly regarded, European, cultural institutions and carries on publishing activity. This year participated, for the first time, in Art Basel.
Gallery artists: Gregory Forstner, Guillaume Leblon, Isa Melsheimer, Ulrich Polster, Julius Popp, Prinz Gholam, Christoph Weber, Clemens von Wedemeyer.
Director: Jocelyn Wolff
Participating artists - Gregory Forstner, Prinz Gholam, Christoph Weber
Zero - Milano
Established in 2000 in Milan's tenement is an independent art space exhibiting and representing young artists from Italy and abroad. Divisions into kinds is of no importance to the gallerists, they try to present the best pictures, paintings, photography, objects, movies and video installations raising issues connected with time, space and human condition. The main exhibiting space is a huge patio facing city streets, leading new context to presented art. This year the gallery participated, for the first time, in Art Basel.
Gallery artists: Micol Assael, Christian Frosi, Francesco Gennari, Tue Greenfort, Massimo Grimaldi, Pietro Roccasalva, Michael Sailstorfer, Hans Schabus.
Director: Paolo Zani
Participating artists: Tue Greenfort, Massimo Grimaldi, Michael Sailstorfer
DANCE PERFORMANCE - I'M OK, YOU'RE OK
curated by Joanna Warsza
Special dance performance program I'm OK, you're OK – 3 minimalist shows from Berlin; deriving from conceptual background. I'm OK, you're OK – aims at confronting, directly and metaphorically, dance and the art scene. Dance can be mobile, can speak art language, can be low-budget. Dance performance is a visual art exhibiting itself on the stage.
"Mixtape", solo performance by Felix Marchand, 30 min.
27.08. at 7 pm and 9 pm
Songs are compiled in all kind of different orders for different purposes to a mix tape or a mix CD.Through mix tapes you create objects with a unique memory, they can speak for you. The audience will select the songs and therefore creating the soundtrack of the evening.
This solo is a tribute to the mixtape where the music selection is made by the audience.
Concept/ Choreography/ Dance: Felix Marchand, Director Assistant / Dramaturgy: Ayara Hernandez, mentor: Martin Nachbar, production: LUPITA PULPO and TANZTAGE Berlin; Premiere: TANZTAGE BERLIN 2006
"I'm OK, you're OK" by Hanna Hegenscheidt, 40 min.
29.08. at 7 pm, 30.08. at 7 pm
- What are you thinking about when you go out there?
- Just all those people and, you know, how unhappy most of them are, and all those terrible things they do to each other and, you know, everything is over so quickly and, you don't have any idea of "is it is worth it or not, you know"?
- Is there any way I can cheer you up?
- No well, what did you have in mind?
choreography: Hanna Hegenscheidt with Chris Daftsios and Angharad Davies,performance: Chris Daftsios und Angharad Davies, light design: Benjamin Schälike, costumes: all
"Christiane Müller is moving", TWO FISH 90 min.
30.08. at 9 pm, 31.08. at 7 pm
TWO FISH is interested in the extent to which personality is an intersection of other personalities. Who haunts me and what does this do to me? What effect does this have on the views I develop in relation to contexts or groups of other people? What conflict appears if the rhythm or construction of my perceptions are changed by others? What kind of weapons do I use to resist such changes? Who gives them to me?
The information received in 2001, that Christiane Muller had been living in an appartment in Berlin Friedrichshain has proven false. Nor was she personally available during a study project under her auspices in 2002. Rumours of her employment at the Theater am Südwestkorso have been refuted. So where is she? Christiane Mueller is in Europe. She is currently building a new existence for herself. Christiane Mueller is moving house.
Choreography and production: Angela Schubot i Martin Clausen, dancers: Javier Alemán Morillo, Silvana Suarez Cedeno, Thomas Conway, Hanna Hegenscheidt, Angela Schubot,lightdesign: Benjamin Schälike, menager: Franziska Koehler, production: TWO FISH oraz Sophiensaele/Berlin, TANZTAGE BERLIN, cooproduction: Forum Freies Theater Düsseldorf i Junges Theater Bremen, supported by: Hauptstadtkulturfonds
25.08. at 10 pm
Generally at home in house parties and small upstairs rooms, the Yamaha QY20-toting female duo have been a hidden treasure of Leeds music since the summer of 2003, playfully exploring a range of musical genres from 50s bubble-gum-pop to electro-power metal. They don’t do the "Sign us we're desperate!" thing, but they do write and perform songs which make you laugh and clap and force you to consider the possibilities of dancing in your pyjamas. Fine cabaret pop from England!
29.08. at 9 pm
The band - Raphael Rogiñski - electric guitar, Pawe³ Szamburski - clarinet, Kuba Kossak - bassoon, Piotr Kaliñski - percussion instruments, Adam Ró¿añski - percussion instruments - works in the field of improvised, jewish music from eastern Europe. The musicians interpret traditional pieces from the interwar period as well as compose new works. Their repertoire is always based on musicological and sociological studies.
Cukunft first recorded with the music of Mordechaj Gebirtig released in February 2005. Now they are working on the second one which will be released in August 2006.
Established in 2004 Super Group of four guys (Nygg Dick, Dick Dexter, Bobby Dick and Wet Dick Junior) playing a mix of punk rock, disco, electro and country music. An ironic, bursting with sex show they perform on stage is a super funny game with a real macho culture such as Elvis Presley, Jon Bon Jovie or Burt Raynolds. Concerts of Dick4Dick were the hit of this season in Polish clubs and their first album "Silver Ballads" released in 2005 was received with great enthusiasm.
DJ WIKTOR SKOK
25.08. and 28.08.
This name comes to mind when you’re thinking: "Lodz's underground". One of the most active scensters of the industrial community in Poland. Around since the 80's. He promotes machine culture and aesthetics from the year zero. Witnessed the decline of Lodz's industry he became a true Stakhanov of industrial culture. Promoting numbers of D.I.Y. industrial electro parties, inviting bands and artists from abroad, organising punk shows in bunkers, warehouses tunnels and old factories. He is also the singer of the most (in)famous polish industrial band JUDE, publish his own zine PLUS ULTRA. His discoteca output differs from pounding strong industrial beat, rhythmininoise, EBM to electro punk and sweet ultra danceable electroclash. An explosive in an urban decay.
Dj Kura has been involved in the Warsaw music scene since June 2003. During this time he played in the most interesting clubs in the city.
He is also a co-founder, together with his partner D-jane Lo, a dj team called "Dziewczyna i ch³opak" ("A girl and a boy"). This cooperation brought them popularity and description as, "the most phenomenal dj-duet of the Eastern Block". His sets come armed with an arsenal of disco classics, sound from 80's and the newest clubs productions. Dj Kura dances behind the console.
WILLIAM HUNT - Swizz
25.08., godz. 21.00
26.08., godz. 18.30
The artist, encased from head to toe in red gaffer tape stands on a sculptural mound complete with twig, accompanies himself on electric guitar whilst singing a song bemoaning the state of rock music. The cycle of not quite 12 bar blues repeats round and round " here we go again yeah! rock and roll. here we go again yeah! rock and roll. " with nod to "buddy holly" and more of a jab at "status quo" the song quickly becomes boring and the artist falls in to the roll of an automaton stuck in this limiting beckettian spiral. After the effort to keep performing has become too great the music stops and rather than leaving the stage the artists starts to break out of the gaffer tape. Sloughing of this dead skin which is stuck directly to the artists body, it is then left hanging on the wall.
PRINZ GHOLAM - La Montagne – La Rue – L’Été
26.08., 5.30 pm
The title of this work implies a landscape, a shift in locality and a definite season. A season associated with warmth, colour, sound. The performance revolves around many "images"; performed by two men, the two artists. The duration is approximately 20 minutes. These "images" are performed more or less in one spot. The bodies support each other?extremities touching, resting on one another, reflecting shifts of expressions and moods. The embodied poses are closer to the frozen image of a photograph than to choreographed movement. The non-dramatic and non-narrative effect enhances the stiffness and awkwardness of the poses.The work questions culturally inherited gestures. The fusion of the artist couple allows the gestures to become illegible and ambiguous. There is constant exchange between intentional construction and the given conditions of the physical bodies performing. Performed for the first time.
MIKLOS SZILARD - Tuberman
29.08., 6 pm
When the Palace of the Administration in Baia Mare, the highest building in Romania was being built, the Jewish neighborhood on the left side was being demolished. Me, Beniamin, Norbi and other boys from the houses still left standing, were climbing the scaffolding. We were stilling tubes from the construction ground and then we were making these plastic tube toys. We were also attaching a pin to some paper cones twisted at one end (my favorite pins were some chips that I was stealing from my great grandma's piano) and, sometimes, we're dipping these chips in blue methyl, the supreme poison of our childhood (we read in Historical tales that one of the Buzesti brothers had been killed with a poisoned yataghan). This was our weapon. We used it to fire at the crows flying from doctor Liberman's house or at Orsolya, a girl living at 10th or 11th flour in the new block of flats that had the CEC and the natural products store at its ground flour. When Szilard told me about his project, I remembered these plastic tube toys. I haven't seen them or heard about them in a very long time. Probably they don't exist any more, like many other things from our childhood. I think this is one of the most simple and nostalgic project I know of. Restoring a world that has no reason to exist any more (there aren't any construction grounds with plastic tubes laying around, plastic guns can be bought from any toy store and I cannot find Orsolya
anywhere), for one afternoon, in an almost religious way. This action speaks about a generation that, although only in its '20s, can say that it has lived in 2 worlds, in 2 very different times, that its memory is way to full of history.
FILMS SELECTED BY PARTICIPATING ART GALLERIES
screening everyday, detailed program at the villa.
Sven Augustijnen - L'école des pickpockets, 2000, 48 min.
Film was shown in 2000 during the exhibition MetroPolis, an event organised by curator Moritz Küng, on the occasion of Brussels 2000, Cultural Capital of Europe. Artists infiltrated Contributions into the underground tram connecting that links the North and South Stations in Brussels. In his video Augustijnen showed how two experienced, professional pickpockets transform an aspiring pickpocket into a promising talent in just a few hours training in a closed-off rehearsal space. The student is initiated step by step into the philosophy of the trade, whereby the various moves that constitute this approximating handicraft are demonstrated and practised.
Robert Breer, Jamestown Baloos,1957, 6 min.
In "Jamestown Baloos", Breer expands on the radical collage technique he developed in "Recreation" and develops it into "a non-narrative style that had range rather than a percussive note." Conceived by the artist as the filmic equivalent of a triptych painting, Jamestown Baloos is structured symmetrically with two noisy black-and-white sections surrounding a silent color center section. "Jamestown Baloos" is related to the Surrealist collages of Max Ernst with repeating images of Napoleon, banal landscapes, and human forms with separable parts that join and fly apart in unpredictable ways. His imagery here evokes both surreal dream logic, as well as anticipating Pop Art's use of charged found images a few years later.
Robert Breer, Fuji, 1974, 8 min.
In the early seventies, Breer began using rotoscopy a device that enables animators to trace live action movement frame by frame. It was a low-tech forerunner to digital motion capture that allowed Breer to expand the time scale and slow down the rapid stream of images that had characterized his previous work. In "Fuji", Robert Breer intersperse filmed images of a woman's face before Mt. Fuji shot out the window of a high-speed train. These merge into increasingly abstract drawn images of the mountain. The replication of images are related the master Japanese printmaker Hokusai's series Twenty Four Views of Mt Fuji, which masterfully demonstrate the profundity of drawing the same subject multiple times.
Steven Claydon, Cluck, Cluck, 2006, 5 min.
The latest film of the artist.
Manon de Boer, Sylvia Kristel – Paris, 2003, 40 min.
Jan Mot"Paris" is shot on super-8 film and transferred to video.
Between November 2000 and June 2002 I recorded the strories and memories of the actress Sylvia Kristel, best known for her role in the 1970's erotic cult classic "Emmannuelle". At each recording session I asked her to speak about a city where she has lived: Paris, Los Angeles, Brussels or Amsterdam; over the two years she spoke on several occasions about the same city. At first glance the collection of stories appears to make up a sort of biography, but over time it shows the impossibility of biography: the impossibility of "plotting" somebody's life as a coherent narrative.
Kristel's stories wander through some of the key points in her life, fluidly forming and reforming the narrative elements. The city itself is rarely described directly. She speaks of her films, her love affairs and how these have influenced her life’s trajectory. The cities are co-ordinates to which her memories move to, find themselves within and move away from. This finds a parallel in the image. These images are filmed from high-up and at street level, moving over the cities' skin: its roofs, apartment buildings and boulevards, intercut by shots of cinemas, publicity images and people. The architecture appears as an interface between interiority and exteriority. Old Paris is intercut with images of architecture from the 1970's: buildings which didn’t exist when she lived there, but which are as iconic of the period as she is herself.
E-Rock, Optic Force Trilogy: 1: Geomagnetic Mind Feeed 2: Max Force Vision Phaser 3: Day-glo Supernovea
Optic Force Trilogy is made up of three pairs, of which each is divided into three sections, each pressed on 3 inch DVDs, each 12 minutes long, which is 3x4 E four being the number of bars in a measure. There is some kind of scheming math and suspicious Gematria at work. However this deeply ordered structure, which wants you to plumb it, organises frenzy of this fairy like show of colours, sounds and effects: acidic colours, acidic sounds. Distortion turns everything, auditory and optical, into patterns and repetitions. Illusion is a dominant of this optical spectacle: mirrors, reflections and never ending repetitions create the world of delusion. Hypnotic performance of hues and warnings, alarms, and alerts shoot through the trilogy in rapid fire.
Geomagnetic Mind Feeed forms around a persistent image of a pyramid beyond reach crowned with an eye above a pixilated skull. Max Force Vision Phaser is utterly absorbed in a hypnotic obsession with concentric circles and spinning orbs. And Day-glo Supernovea is utter crazysness...
Richard Kern - selection of films
The New York photographer and filmmaker Richard Kern is considered as one of the most important figures related to, so-called, Transgression Movie. His films explore areas of erotic and violence imagination, being on the line of pornography and sadomasochism. At the same time Kern successfully creates his own aesthetics and poetics, of which important element are music and punk culture. In Kern’s films play i.a. the diva of American punk Lydia Lunch, and the music for the film impart i.a. Sonic Youth and Foetus.
David Lamelas, Desert People, 1974, 47 min.
Artist dscribes his film as "a study on American film production". The Desert People begins like a classic road-movie. The setting is completely familiar to us: a car crossing the desert with a group of people traveling on board. But as soon as the narration begins, it is interrupted by documentary-style interviews. Passing in this way from one film genre to another, Lamelas manages to blur the boundary between fact and fiction.
The five passengers describe their experience on a North American native Indian reservation. Each member of the group has his or her own perspective on the Papago tribe. One offers an anthropological analysis while another discusses writing a feature article for a women's magazine. They each present their version of the "truth" about how the Papago live. Whilst they examine the tribe’s social behaviour, there is little self-reflection on their own group dynamic. Ironically, numerous cuts to their car journey reveal a complete lack of interaction between the travellers.The final interviewee, Manny, a Papago Indian, comments on the way the American influence on Native Americans is leading to the loss of his own indigenous culture. His English drifts into Spanish and then Papago, as if the meaning of what he wishes to communicate would be lost in translation. For the English-speaking viewer this shift is confusing and demonstrates the difficulty of knowing another culture from the outside. The film ends unexpectedly with a jump cut back to the feature film scenario.
Pia Rönicke, Zonen, 2005, 22.40 min.
Pia Rönicke's concern with urban realities is reactivated in this documentary/fictional film through three young Danish architects who are on a visit to a site they have proposed to transform into a town for 20 000 people. The film is based in their theoretical jargon, and becomes a commentary on the relation between ideas and their realisation. In the "Zonen" they cross over, time is strangely suspended between the real and the fictional, the past and the future.
PRIVATE CINEMA - the Archive of Polish Experimental Film
curated by £ukasz Ronduda
28.08., 5 pm
31.08., 5 pm
Miron Bialoszewski - short films
Józef Robakowski – From My Window
Wilhelm Sasnal – selection of films from 1996 - 2006
Marcin Gajewski – Bigos
Agnieszka Brze¿añska – short films 1999 - 2006
Pawe³ Althamer – Veronica
Piotr Wyrzykowski – Video Diary
Kosza³ek – I’ve Given Birth to Such a Beautiful Boy
Among the recent video works by Polish artists, a trend has manifested itself that could be dubbed "private cinema." This type of cinematic activity has a rather long tradition in Poland. It was born among Polish artists under communism, made privately in a reaction to the impossibility of speaking out freely in the public sphere at the time. Even since Miron Bia³oszewski's short etudes, "private cinema" had been developing close to the artist's life, focused on recording everyday, banal activities and events, fantasies, masquerades, and so on. The films themselves were less important than the "social" effect they generated, the effect of strengthening the ties, closeness and friendship between the people meeting to make such a film. The term "private cinema" was coined by Józef Robakowski, an artist who reached for a new (more narrative, intimate, subjective) cinematic formula following a period of disillusionment with the overly objectified and rationalised "structural cinema." On the technological level, the emergence of the formula of "private cinema" was closely connected with the birth of a small, private, portable film or video camera, permitting an unprecedentedly close distance between the camera and its operator's life, giving the operator full control over the filmmaking process. Robakowski wrote of "private cinema" that it was a "way to remember oneself, to record one's own mentality, one's gestures… psychic tensions that occur alongside reality. Private Cinema comes into being when nothing works … [it is] a direct projection of the camera operator's thoughts. Freed from all fashions and aesthetical rules and the established linguistic codifications, it stands close to the filmmaker's life.' (Józef Robakowski, Kino w³asne [w:] Robakowski J. (red.) Teczka nr 12, Lublin 1992, str. 113).
The films comprising this show are very intimate, rooted strongly in their authors' existential experience, are an imagination-filtered recording of their relations with the world, with the place where they live permanently or at the given moment, their loved ones, friends, or people that have just met. The artists making such "video diaries" never part with the camera, permanently visualising their "distribution and redistribution of reality."
ANDA ROTTENBERG - On Museum of Modern Art in Warsaw
27.08., 5.30 pm
Anda Rottenberg - a quondam director of the Warsaw Zachêta Gallery and now a program director of the rising Museum of Modern Art in Warsaw, will tell about ideas for formation of the Museum and will answer audience’s questions.
organized with Mobile Academy Warsaw
KLAUS WEBER - On Public Sculptures
28.08. at 7 pm
Weber presents some of his projects: Death Disco Club (2000), Demo Inverse (2001), Fountain Loma Dr / W 6th St (2002), Public Fountain LSD Hall (2003), Brutstube (2002) and talks on accidents as spectacle, social imaginaries and sculptures, staged destruction in the name of liberation and the appearance of suppressed subconscious of the city.
31.08. at 9 pm
Tino Sehgal makes immaterial art, independent of classic production processes, nevertheless existent and visible. His art takes shape only in the moment that it meets its spectator. For his work, he uses people who come into contact with the visitors of the respective exhibition via movement, spoken word or song. Sehgal transforms actions, not materials, without any filmic or photographic documentation. His work can be acquired when collector, artist, and gallery-owner agree to an oral contract with witnesses. Together with the painter Thomas Scheibitz, Sehgal represented Germany at the Venice Biennale in 2005. His exhibitions include, among others, the Van Abbemuseum, Eindhoven, 2004; Institute of Contemporary Arts, London, 2005 and 2006; Galerie Johnen, Berlin, 2005; and in 2006, he will take part in the Tate Triennial, London, and the Berlin Biennale, and will also have a solo show at the Kunsthaus Bregenz. Tino Sehgal studied choreography and political economy in Berlin and Essen. He lives in Berlin.
HAPPY HOURS for gallerists, curators, art critics and collectors
26.08., godz. 16.00-20.00
In the afternoon we cordially invite to VILLA HOLYDAY WARSAW our colleagues: gallerists, curators, art critics and collectors (current and future). During this day there will be possibility not only to visit the exhibition but also to talk with participating artists, meet each other, discusse with all of the participating gallerists and also meet both friends and strangers visiting Villa to axchange comments on art and recent gossips in the lounging atmosphere of the garden. At 5 pm performance by Prinz Gholam will be presented, garden cinema will be open all that time. Everyone will be provided with refreshing drinks from Pesto bar.
Down With the Pimps of Art!
Relationships between punk and art
curated by Lukasz Ronduda and Michal Wolinski
organized by pictogram and archfilm, Ksi¹¿êca street
opening: 26.08 at 8 pm
venue: Warsaw Stock Exchange, ul. Ksi¹¿êca
27.08 - 1.09: Villa Holiday Warsaw, ul. Barska 29
The exhibition’s title is a travesty of slogan from a banner photographed by the communist secret police during the Jarocin - cult rock festival in the 80s. Its provocative message was directed against the institutionalised and monopolised – state-controlled – music industry. The exhibition’s aim is to present an ‘alliance of attitudes’ between the art world and the punk subculture that took place when Polish punk was born. It was then that Henryk Gajewski, artist and director of the Remont gallery, decided to overcome an impasse that had pervaded the field of contemporary Polish art, limited to the activity of a narrow circle of people, lacking a non-professional audience, no longer setting any new cultural trends, no longer participating in any broader socio-cultural debate. The emerging punk movement fascinated him with its eruption of sheer vital energy that art had long lacked.
The exhibition will present films and unique materials from Gajewski’s private archive, as well as films, documents, music, and interventions by other artists.
Ghosts, Spectres, Phantoms & the Places Where They Live
Mobile Academy Warsaw
25 August - 10 September 2006
project by Hannah Hurtzig and Carolin Hochleichter
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