Thyssen-Bornemisza Art Contemporary
Collection as Aleph
A collaboration with Kunsthaus Graz.
Curated by Adam Budak and Daniela Zyman.
The exhibition considers Borges’s favourite stylistic trope, structure en abîme as a spatial metaphor and rhizomatic device: here, the structural (and symbolic) endlessness of Kunsthaus Graz’s architecture connects with an attempt to (mentally) navigate through temporal and spatial layers of T-B A21’s collection.
Structure en abîme belonged to the writer’s preferred visual arrangements of images: as a narrative structure, a trope and a spatial model, it poses a philosophical question about infinity or infinite periodic repetitions and by means of a baroque organization of space, it establishes an order that is in itself a visual paradox. According to a principle of endless inclusion, it modifies our belief in the truth of our perceptions and sets up a tension between what can be conceived logically and what can be concretely, materially or sensorily perceived. Like a well-drawn labyrinth, it is endless and, like a labyrinth, it sets up against the order of the world, which is impossible to discern, the conceptual order of the trope that corrects the imperfect notions that “realistic” thought has fostered. The notion of endless circularity is present in labyrinths as well as in mirrors and in dreams that include other dreams or the dreamer.
CELLAR DOOR is a protean object that is torn between the duration of an exhibition, a score and an architecture.
The idea which prevails in the score composed by Thomas Roussel, based on a libretto by Raimundas Malasauskas and Aaron Schuster, matches one of CELLAR DOOR's obsessions which is “how an exhibition can be not the end result of simple working procedures, but truly a starter of possibilities”.
The choice of a musical tale, of an opera, of a score is is the format that best lends itself to being reread and a reinterpreted, as it offers the ability to be replayed ad infinitum. The statement is then clear: if the exhibition is a score, then the exhibition can be reread and reinterpreted, if the architecture is a score, then it can be reread and reinterpreted.
Therefore, CELLAR DOOR, as a musical form, redefines the “mediation”, the exhibition legibility and how it is read and in fact the only approach to the works existing within the exhibition is effected via the fiction, via the tale, via the libretto and its notes.
Palais de Tokyo
Music as Social Praxis
8 March to 18 May 2008
Music plays a pivotal role in many people’s lives as part of everyday popular culture because it is so unmediated. At times as a real world, at others as a reflecting surface for one’s own and others’ projections, music provides scope for manifold liberating, activist or subversive strategies at a far remove from consumption or glamour.
The exhibition ‘Just Play – Music as Social Praxis’ at the Edith Russ Site for Media Art discusses music as an open system, as a field for potential connections and dissociations, feedbacks and appropriations. Myth and the possibility of freedom and scope, of authenticity and commitment, of enthusiasm and alternative action.
Edith-Russ-Haus für Medienkunst |
Series, multiples, or copies are some of the many ways to transfer an artwork. These various forms of artworks necessarily relate to the notions of quotation, repetition and reminiscence. The circulation of a shape can thus be considered in different ways: in function of the format (unique work, series, multiple) of the artwork, of the repercussion triggered by the repetition of a gesture, but also in its internal referential construction. It is both the notion of author and that of the value of the artwork that appear here, confirmed, or on the contrary invalidated by the reproduction of the object or part of it. During the project, the exhibition P2P will evolve so as to formalize these concepts.
During the exhibition, le Bureau/ will activate a network of exchanges gathering mainly art centres or museums from various European countries. The initial exhibition presented at the Casino Luxemburg will evolve all along its duration with the addition of artworks coming from the network but also, with the withdrawal of others put into circulation in the same network. The exhibition P2P, by experimenting a form inspired by the functioning of the peer-to-peer, will offer the spectator a multiple reading of the artworks and of the conditions of their display.
Casino Luxembourg - Forum d'art contemporain
"La mostra e' dedicata a Nathalie Djurberg, artista che vive e lavora a Berlino. Djurberg si e' affermata negli ultimi anni come una delle principali artiste svedesi della nuova generazione, fra le piu' attive sulla scena internazionale. Il progetto, concepito appositamente per gli spazi della Fondazione Prada, consiste in una serie di modelli di organi del corpo umano, che diventano padiglioni dove sono proiettati video della celebre artista.
Regione Lombardia: culture, identita' e autonomie della Lombardia
Energies of the absurd from modernism till today
April 18 – July 27, 2008
Opening: 18 April 2008, 7.30pm
A mountain of sugar weighing a ton from which a shopping cart looms; an enormous looking airplane tire attached to a museum wall spins at high speed; two art transport boxes, which in a real moment of fictional mishap became wedged together; a hair-dryer whose sound is magnified and transported via a microphone into the exhibition room...
Ad Absurdum does not supply any watertight theories, but rather explores phenomena taken to the absurd. Where does life begin and when does art end? How is the absurd manifested when it has become reality? Phenomena of the absurd are only seemingly an expression of senselessness – energies of the absurd take visible heigtenings to the extreme.
Absurd things confront us with an irritating, unaccustomed question: How are realities revealed if they function differently than expected and appear to be senseless, illogical and paradox? Logic is (also) a kind of experimentation and surprises even come about where you expect them. In the exhibition Ad Absurdum Jan Hoet presents a selection of works from classic modernity through to contemporary art, each of which in its own way reveals some aspect of what the absurd means in the modern world. Anyone who becomes accustomed to the absurd, will cope well in our age, claimed Absurd playwright Eugene Ionesco.
This exhibition not only marks the start of Jan Hoet’s departure from MARTa Herford, but also a new beginning. Art is intellectual venture capital. This lends it an irregular force, which you can call productive or provocative. Or … absurd.
Ad Absurdum is a joint project by MARTa Herford and the Städtische Galerie Nordhorn. Under the title "Ad Absurdum - Contemporary Apparatus" from April 19 to June 8, 2008 projects exploring the absurd by young, contemporary artists will be on display. www.staedtische-galerie.nordhorn.de
MARTa Herford - Ad_Absurdum
Works from the Dakis Joannou Collection
September 6, 2007 – July 31, 2008
Fractured Figure - Works from the Dakis Joannou Collection is the new Deste Foundation project that reflects, with its concept, scope and synergies, both, the way an increasing number of artists are viewing the human form and the way that very different but equally legitimate realities comprise our experience of the world.
DESTE Foundation for Contemporary Art - Athen
05 Mar - 05 Apr 2008
35 Heddon Street, London W1
Sadie Coles is pleased to present TYPED, an exhibition of works all made on or in close relation to the typewriter. With its roots in a patent from 1714, the typewriter came into its own in the twentieth century as an indispensable tool for businesses and professional writers. A century characterised by a rise in the value of seeing and sight, the proliferation of cinema was one of the leading factors that emphasised the visual sign at the expense of all else, and introduced a radically new syntax. Not only was the word subordinated to the image, but also the way images were linked to words was often innovative and various.
The rise of the typewriter it seems was, in turn, a prelude to visual poetry and the typing machine became a favourite instrument for visual poets, notably in the Calligrammes by Guillaume Apollinaire and the poetry of writers such as E. E. Cummings and Ezra Pound. In the 1950s, the typewriter became a vital tool for the Beat Generation, Jack Kerouac typed On The Road on a single roll of paper, while in William S. Burrough’s Naked Lunch the machine is personified. Later, with the dematerialisation of the art object in the 1960s, artists adopted systems to organise or expedite their processes and the typewriter served as an ideal device for distancing the artist’s hand."
Sadie Coles HQ:
Nouvelles du Mont Analogue
1er mars-18 mai 2008
Laissé inachevé par l'écrivain surréaliste René Daumal (1908-1944), le Mont Analogue est selon son auteur "un roman d'aventures alpines, non euclidiennes et symboliquement authentiques". Ce récit traite de la découverte d'une île au centre de laquelle est placée la plus haute montagne du monde, soit "le lien entre le ciel et la terre". Le sommet du mont est inaccessible mais sa base est accessible. "La porte de l'invisible doit être visible", postule Daumal.
Au début des années 1970, l'artiste slovaque Julius Koller (1939-2007) fonde au sommet des montagnes de Haute Tatras (Slovaquie) la "U.F.O Ganek Gallery", un espace entre "paradis et terre" selon les termes de l'artiste. Ce lieu de liberté n'est que partiellement fictif, il est réalisé mentalement par ses exposants.
La galerie est un lieu de création sans frontière, un refuge intellectuel. Relevant la correspondance entre la nouvelle de Daumal et le projet de Julius Koller (dont un ensemble significatif vient d'être acquis par le Musée), l'exposition mêle prêts et œuvres de la collection autour de l'idée d'utopies subjectives, d’espaces fictifs, invisibles mais partageables et habitables par la pensée.
Sous cette double tutelle se recoupent une trentaine d'œuvres signées par Robert Barry, Marius Boezem, Céleste Boursier-Mougenot, Ian Hamilton Finlay, Dora Garcia, Mario Garcia-Torres, Felix Gonzalez-Torres, Douglas Gordon, Raoul Hausmann, Julius Koller, Marcel Märien, Roman Ondak, Nam June Paik, Tobias Rehberger, Ed Ruscha, un ensemble de livres d'artiste (Seth Siegelaub) et la porte dérobée de Anne Robert Jacques Turgot (1727-1781).
MUSEE DEPARTEMENTAL-ART CONTEMPORAIN DE ROCHECHOUART
Time & Place: Milano-Torino 1958-1968
1 May - 7 September 2008
In the 1960s, a shift took place in Italian art, from emotionally charged abstract expressionism to a more idea-based form of expression.
The first part of this exhibition focuses on the artists’ interest in spatial interpretation and experiments on the boundary between fine arts and design. The second section has a more documentary approach, while the third and final part presents the so-called Arte Povera movement.
Curator: Luca Massimo Barbero, associate curator, the Guggenheim Museum, Venice
Project Manager: Cecilia Widenheim, Curator, Moderna Museet
“The web-based projection of the Imachinations by the media artist Tim Otto Roth shows a chronological sequence of images that have been generated by an algorithm.
What is thereby created is a series of digital pictures that are processual and fugitive. They are thus embedded in the tradition of serial art and early computer graphics and raise the question as to the specific conditions relating to the definition of "digital": what is the picture we perceive and where does it originate?
Every day at regular intervals the changing condition of the projections of these calculable and ephemeral images is filmed in situ – always double, as if they were layers in a painting. They are then transferred to the exhibition website and can thus be seen simultaneously worldwide. The work also registers the visualisation strategies of present-day science and mathematics because it is set against a background of making structures visible – the colouration and form of the individual pictorial layers is generated on the basis of the irrational number pi, or, more accurately, using always 14 digits of the irrational number.“
Genau und anders. Mathematik in der Kunst von Dürer bis Sol LeWitt - MUMOK.at : Webcam
BENEATH AND BEYOND: A Seismic Sound Installation by Stephen Hurrel
"A self-generating real-time sound installation produced by shifts and creaks within the Earth itself.
The piece taps into data from 100 seismic monitoring stations around the world via the Internet."
Tramway: Visual Art
Don’t Trust Me
A Solo Exhibition of New Work
Curated by Hou Hanru
A follow-up to his segment—the video projection God Is Design—in last year’s group exhibition Wherever We Go (also at SFAI’s Walter and McBean Galleries), Don’t Trust Me will mark Abdessemed’s West Coast solo debut. Including a site-specific performative event to be devised extempore, the exhibition features a slate of extremely short but provocative videos.
Abdessemed’s belief in revolution, both social and individual, is manifest throughout his work—a belief whose motive can in part be taken from the trajectory of his own life. Born in 1971 in Algeria, he immigrated to France in the mid-90s during a period of intense internal conflict in his native country. In France, he quickly met with what he came to react against as the racism and ideological presumption that underlie—often in the form of “soft” fascism—late-capitalist manipulations of power and political corruption. Guided by the example of such oppositional figures as Frantz Fanon, Pier Paolo Pasolini, Antonio Gramsci, and Jacques Rancière, Abdessemed has strategically utilized the “system,” ironically and critically, to make his claims visible and audible, thereby provoking public discussion.
Abdessemed studied at the École des Beaux-Arts d’Alger as well as at the École Nationale des Beaux-Arts de Lyon. He participated in the 2001 P.S.1 International Studio Program (MoMA) in New York, where he also exhibited. He has had solo exhibitions at Le Magasin—Centre National d’Art Contemporain in Grenoble, France (2008); P.S.1 Contemporary Art Center (MoMA) (2007–2008); Le Plateau in Paris (2006); and FRAC Champagne-Ardenne in Reims, France (2004). In 2006, Abdessemed was among the participants in Notre Histoire, an exhibition of emerging French artists at the Palais de Tokyo in Paris.
Don't Trust Me—New Work by Adel Abdessemed - San Francisco Art Institute
Cai Guo-Qiang is internationally acclaimed as an artist whose creative transgressions and cultural provocations have literally exploded the accepted parameters of art making in our time.
This is especially true of Inopportune: Stage One, Cai’s largest installation to date, which presents nine real cars in a cinematic progression that simulates a car bombing, occupying the central atrium of the Frank Lloyd Wright rotunda.
Guggenheim Museum - New York
Project Room I:
Brody Condon: Judgment Modification
From January 26 to April 12 Santa Monica Museum of Art presents Brody Condon: Judgment Modification (After Memling). The artist recreates Northern European religious paintings in current computer game visual styles. The site-specific digital animation is based on The Last Judgment by Hans Memling (1467-71). This is Condon's first solo museum exhibition on the West Coast.
Santa Monica Museum of Art
GEOPOLITICAS DE LA ANIMACION.
Museo MARCO. Vigo. Pontevedra. Espana:
"Con motivo de esta muestra, el MARCO de Vigo y el Centro Andaluz de Arte Contemporáneo han editado un catálogo que reúne, junto a imágenes e información de las obras en exposición, y un texto del comisario sobre “La animación contemporánea y sus geopolíticas”, ensayos críticos de Walter D. Mignolo —“Geopolítica del conocimiento y diferencia colonial”— Maureen Furniss —“Cuestiones en torno a la representación”— Leslie Felperin —“El ladrón de buena vista. El Aladino de Disney y el orientalismo”— y Antonia Levi —“Nuevos mitos para el milenio: la animación japonesa”. La edición del MARCO incluye también una separata con todos los textos en gallego."