"Monumenta 2008
Richard Serra - Promenade
7 mai - 15 juin 2008
La Nef du Grand Palais accueille la 2e édition de Monumenta, un événement où un artiste relève le défi de créer une œuvre en résonance avec la Nef.
Après Anselm Kieffer, Richard Serra, l’un des plus grands artistes de la scène internationale, investit la Nef et nous invite à une promenade sous la forme d’un paysage d’acier à la fois radical et poétique, minimal et mouvementé. "
Grand Palais
"Radiokunst bewegt sich in einem künstlerisch interdisziplinären Zwischenbereich der bildenden Kunst, der experimentellen Literatur und der Neuen Musik. Dementsprechend wird die Radiokunst in der Ausstellung in ihren visuellen, akustischen und dokumentarischen Kontexten dargestellt. So entsteht ein repräsentativer Einblick und Überblick vor dem Hintergrund der technischen Entwicklung und mit Bezügen zur aktuellen Medienkunst. Repräsentativ sind auch die vorgestellten Künstlerinnen und Künstler, die verschiedenen Generationen angehören und aus jeweils unterschiedlichen musikalischen, literarischen oder bildkünstlerischen Kontexten heraus arbeiten: Johannes Auer, die Künstlergruppe Ligna, Michaela Melian, Christina Kubisch, Felix Kubin und Carsten Nicolai sowie Franz Mon, Ferdinand Kriwet, Mauricio Kagel, Wolf Vostell, Carlfriedrich Claus und John Cage. Sie vermitteln durch ihr Werk eine Vorstellung von der 'Tradition' der Radiokunst in Deutschland. John Cage zum Beispiel gab nicht nur 1961 den Anstoß zur Entstehung der Sendereihe pro musica nova, sondern beteiligte sich auf vielfältige Art und Weise an Rundfunksendungen und komponierte Radiowerke wie Imaginary Landscape No. 4 aus dem Jahre 1951. Später schuf er fast alle seine Radiokunstwerke, insbesondere auch Hörspiele, in Deutschland. Seine bedeutendste Arbeit Roaratorio entstand 1979 beim WDR."
Neues Museum Weserburg Bremen - Ausstellungen
THE WHY OF LIFE
April 9 to May 17 2008
Gregory and Cyril Chapuisat, Carsten Höller, Sean Landers, Kelly Nipper, Lisa Oppenheim, Roman Signer //
Curated by Gianni Jetzer
Despite the enormous amount of information today, the reason for our existence remains enigmatic. The amount of secrets is bone crushing compared to what we know as sure as fate. The group-show “The Why of Life” brings together works from international artists concerned with the spirits of life and their extinction.
The exhibition recalls the leitmotif of Materialism and Causality, and how these principles relate to one another. The "billiard ball" hypothesis, a product of Newtonian physics, argues that once the initial conditions of the universe have been established the rest of history follows inevitably.
Intentionally positioning itself as melancholic towards life, the exhibition offers a deterministic attitude. “The Why of Life” contrasts the assurance that self-will and performance yield success. Most artworks in the show reflect universal questions in a micro-scale. They circle around the bigness of small things and stress the nothingness of human existence.
“Circle, Circle” an installation by Kelly Nipper, is a small booth in which hangs an ice-cube mobile. A square drum underneath the mobile magnifies the melting of each ice cube medallion. The dissolution of matter, solid to liquid, resonates throughout the gallery.
In her installation, “18 of 100 Photographs That Changed The World,” Lisa Oppenheim uses source images from the famous book compiled by the editors of LIFE magazine.
The artist generates the star constellation of these photographs by entering their time, place, and date into a computer program. The resulting star fields transcend into universal patterns for human tragedies. Geographic order structures the hanging, the star fields create a world map.
The large-scale installation “Untitled” by Cyril and Gregory Chapuisat is a solitary object somehow catapulted into the gallery. Containing a secret interior, the object is both transmitor of messages and obstructor of space. Its enigmatic presence alludes to the mysterious monolith in Stanley Kubrick’s 2001 – A Space Odyssey.
The “Suicide Plant” by Carsten Höller gets punished for its will to grow. As soon as it reaches a certain height, it electrocutes itself. This surreal test case elevates the plant to an organism with its own will.
In his paintings, Sean Landers echoes the polar opposites of tormented self-doubt and endless self-aggrandizement. In the large-scale canvas Fiat Lux, he formulates hundreds of statements in relation to the simple but crucial questions regarding life. The Huffer paintings, portraits painted after mug shots of men arrested for stealing and huffing spray paint, offer another perspective. Both clownish and tragic, in a nirvana state of mind, they seem to know a lot about life.
“Candle” by Roman Signer is a simple apparatus consisting of a board, an air pump, and a candle. The artist offers an impertinent decision: to extinguish the flame by stepping on the pump.
Swiss Institute Contemporary Art New York
"Disobedience ist ein Video- und Textarchiv über die Beziehungen zwischen künstlerischen Praktiken und zivilem Ungehorsam. Das Projekt wurde von dem italienischen Kurator Marco Scotini im Jahr 2005 als heterogenes und sich ständig veränderndes Archiv initiiert. Disobedience versteht sich als Wegweiser durch die Geografien des zivilen Ungehorsams: von den sozialen Unruhen 1977 in Italien bis zu den jüngsten Antiglobalisierungsprotesten vor und nach Seattle. Darüber hinaus vermittelt Disobedience einen Überblick über die verschiedenen aktivistischen Praktiken in der zeitgenössischen Kunst, wie sie beispielsweise von KünstlerInnen und FilmemacherInnen wie Oliver Ressler, Marcelo Expósito oder Harun Farocki und aktivistischen Kollektiven wie Park Fiction, atelier d’architecture autogérée (aaa) oder Street Rec eingesetzt werden.
Im Kunstverein zeigen Marco Scotini und der Co-Kurator Andris Brinkmanis eine Auswahl des Archivs, die sich auf die Video- und Filmarbeiten konzentriert.
Präsentation des Projekts mit Marco Scotini, Mailand:
Mittwoch, 04. Juni, 19 Uhr"
Badischer-Kunstverein Programm
Sour Cloud, 2007"1800FRAMES|Take4: The Video State of the Global Union,"
Ms. Leddy is an award winning, internationally exhibited new media artist, and a lecturer at Parsons The New School for Design and Kean University. Ms. Slagus is Director of Education and Public Programs at Eyebeam, the New York City-based non-profit center for art and technology, and has lectured at University of Connecticut and the University of Rochester.
The exhibition includes fifty one-minute videos by the following thirty-two artists: Paul Amitai, Michael Amter, Benton Bainbridge, Daniel Berry, Reid Bingham, Chris Cassidy, Hervé Constant, Jason Cosco, Ira Eduardovna, Andrew Erdos, Gobolux Artist Collective, Thomas Gokey, Patty Harris, Basem Hassan, Katy Higgins, Richard Jochum, Elizabeth B. Line, Nelson Loskamp, Andrew Milmoe, Mollie Murphy, Sang Um Nam, Nikusha, Ophelia, Joan Pamboukes + Peter Lester, Sarah Nicole Phillips, Aby Rao, Margaret Roleke, Gregory Sholette, Travis LeRoy Southworth, Liselot van der Heijden, and Dina Weiss.
In addition to the innovative installation of work at cWOW’s Newark gallery, videos from the show will also be screened online at www.cwow.org, and will travel to Moment Factory in Montreal, Canada, Parsons The New School for Design and 207 Gallery in New York City, and other physical and online venues TBA. A special limited-edition compilation DVD of the works in the exhibition is also available.
Click here to see the show online!
c i t y w i t h o u t w a l l s - see
Art Multiple
_ first presented art multiple exhibition in China
Art For Everybody
Time: April 26, 2008 – May 12, 2008
Place: Ke Center for the Contemporary Arts
Artists Participating:
Gao Mingyan, Gu Wenda, Hu Jieming, Liu Ding, Birdhead, Sun Ling, Yang Yong, Zhang Enli, Zhang Jianjun, Adad Hannah, Agathe de Bailliencourt, Ho Tzu Nyen, Josefina Posch, Sandrine Ilouquet, Susanne M.Winterling, Vibeke Jensen, Will Kwan, Zulkifle Mahmod, La Mas Bella, Ted Noten, Hannah Louise Lammb, Julia de Ville, Chang young chia, Vincent Leong, Miljohn Ruperto, Wu Gao Zhong, Jin Feng, Hipic
“Art Multiple 2008 exhibition” will be first presented in April, 2008 at Ke Center for Contemporary Arts. Exhibition will present 35 artists from 10 different countries and areas all around the world. Nearly 200 art works will be showed. Which includes artists’ exhibited works, specially commissioned works for Art Multiple and multipes of contemporary art works collected by famous international art institutions.
Art Multiple concept refers to the art works with relatively bigger editions determined by artist . This concept of multiple gives possibility of reaching higher audience and appreciation as well as possibility of collecting work for relatively affordable price trying to have contemporary art get out of its small circle of privileged. Abroad art multiple concept developed early in 60’s and till today there are many galleries and institutions specialized in presenting multiples
Ke Center for Contemporary Arts through exhibition in April introduces concept to China and establishes first Art Multiple Supermarket in Shanghai hoping to make art for everyone possible
In the period of boom of Chinese art market and price increase from sale to sale, where small group of artists sells work for million dollars, where still collecting is taken for most of the buyers as a short term investment, Multiple provides new possibility in art market and artistic expression, that art works can be affordable to larger group of people and that anyone can be collector
This new concept at the same time works as an educating tool for new collectors in China and new collecting strategies in general.
During exhibition period different lectures and workshop will be held related to Art Multiple concept.
Ke Center for the Contemporary Arts will invite specialists work in the field of contemporary art market research to give talks.
We hope to introduce contemporary art into a larger crowd and to cultivate new collectors and a new way of collection.
Multiple as a type of art making and art collecting is not new concept. Concept started developing with Duchamp’s ready mades objects in early decades of twentieth century.
Duchamp developed the term readymade in 1915 to refer to found objects chosen by the artist as art. Produced object-such as his Fountain (1917), a urinal that he turned on its side, signed "R. Mutt," Duchamp asserted that there was no longer a fundamental difference between making art and naming art. By the early 1960s many of Duchamp's readymades had taken the form of authorized, limited edition, handcrafted replicas and were considered valuable works of art that seemed to contradict their original intention.
In the 1950s and 1960s the term multiple came to be applied to a new type of art object that, while intended to be produced in numerous copies, fell outside the parameters of such traditional forms as printmaking and cast sculpture. Often fabricated using the materials and techniques of mass production, these objects typically existed in very large, or even unlimited, editions. Unlike painting and sculpture, or even traditional fine art printmaking, the multiple engaged directly with the conditions of industrial production, mass communication, and an increasingly global economy.
For the artists of the international avant-garde known as Fluxus, the multiple presented a means to revive and reformulate the readymade's critique of aesthetic autonomy. Fluxus sought to dethrone "serious" culture by creating objects and performances demonstrating that, as Maciunas said, "Anything can be art and anyone can do it."
Joseph Beuys (1921-1986) also looked to the readymade as he sought to bring art and life into closer proximity. For Beuys, the readymade became part of a larger effort to reinvest artistic activity with metaphorical, ritual, and even spiritual significance.
Although they often differed in their choice of strategies, Beuys and Maciunas shared many of the same goals including using art as a means of realizing social and political change, recognizing the importance of collective action, and eliminating the boundary between art and life. The production of multiples played a key role these efforts, often acting as a mediator between the production of objects and a growing emphasis on artistic process and action unfolding in real time.
Beuys, for his part, referred to his multiples both as vehicles for the spreading of ideas and as anchors that encouraged people to make connections between objects and across media.
It is certainly true of both Beuys and Fluxus multiples that the significance of a group of objects is almost always greater than the sum of its parts. Efforts of both Beuys and Maciunas to transform the ways in which art is exhibited and distributed."
In 1990’s, artists Sarah Lucas and Tracey Emin took over a disused shop in London's East End and, with other artists friends including Damien Hirst, sold T-shirts, mugs and other customised items as works of art. This artist-led approach to selling art directly to the public not only re-popularised the artists multiple, but was a key moment in the subsequent Young British Artist era, culminating in the Saatchi collected "Sensation" exhibition.
Art multiple concept is to make contemporary art accessible to more people from collecting art point of view to spreading artists ideas
Institute of Contemporary Arts : Seasons :
The Accidental Festival 2008:
"21 May 2008 - 25 May 2008
'I believe the Accidental Festival, and the rigorous, controlled development of what it provides, to be the hidden source of much that is most adventurous and radical in contemporary art.' Richard Foreman
The third year of this diverse and intriguing festival, curated and produced by students from Central School of Speech and Drama's Performance Arts course, with a programme reflecting our culture and community. This year Accidental will prove again to be a vibrant canvas for creativity right in the heart of London."
LOOP 08. International Festival & Fair For Video Art:
"LOOP Fair is an unmissable meeting point for professionals and anyone who is interested in videoart. It brings together gallery owners, collectors, critics, museum directors and videoart enthusiasts in a space that is ideal for exchanging experiences and impressions on experimental and independent video. The Fair offers galleries the opportunity to present new videos by emerging and acclaimed artists in the rooms of a hotel. The invitation committee for LOOP'08 Fair is made up by London-based French collector Jean-Conrad Lemaitre, German gallery owner Anita Beckers, Los Angeles gallery owner Christopher Grimes, and the collector Manel de Santaren, who lives in Boston."
