"Come abbiamo immaginato il futuro durante i cento anni che ci separano dalla pubblicazione del primo manifesto del futurismo italiano, nel febbraio del 1909? E come immaginiamo il futuro oggi, cento anni dopo la pubblicazione del primo manifesto futurista?
Dopofuturismo a Carrara giovedì 19 e a Roma venerdì 20 febbraio 2009 In occasione del centenario della pubblicazione del Manifesto Futurista, la scuola di Nuove Tecnologie dell'Arte dell'Accademia di Belle Arti di Carrara realizza un evento teorico, progettuale, artistico, gastronomico.
Il 19 febbraio a Carrara e il 20 a Roma e' stato lanciato il Manifesto del Dopofuturismo, una riscrittura del manifesto originale con un testo che ha le stesse tonalità, le stesse cadenze e gli stessi ingombri tipografici, ma espressione del modo in cui OGGI si pensa al futuro. ((http://manifestodopofuturismo.notlong.com/ ))"
Dopofuturismo a Carrara giovedì 19 e a Roma venerdì 20 febbraio 2009 - Wikiartpedia
Pix Mix - 20 Menschen. 20 Bilder. 20 Sekunden
Pix Mix . . . ist Inspiration und eine Menge Spass in kurzer Zeit! Eine offene Plattform für alle, die ihre eigenen Erfahrungen, Gedanken und Ideen öffentlich vorstellen möchten . . . bringt eine kunterbunte Mischung Menschen einander näher . . . wird zur langen Nacht der Diskussionen mit alten und neuen Freunden.
"Future Exhibition Detail
Trouble in Paradise: Examining Discord between Nature and Society
February 28, 2009 - June 28, 2009
Artists are looking at the beauty and the terror in the forces of nature through their honest and emotional portrayals, while sending urgent messages to pay attention to the ravages society inflicts on the land through war and waste. This exhibition will examine a range of art in a variety of media that addresses extreme forces of nature in two basic categories: nature-based discord, such as lightning, tornadoes, volcanoes, hurricanes, and fire; and human-caused environmental discord such as pollution, over-population, global warming, oil field fires, atomic fallout, and destruction of land. The debate about how much of nature’s wrath is the result of human impact and interference is ongoing, but questions are posed through stunning visuals about the seemingly unstoppable cycle of cause and effect."
Future | Exhibitions | Tucson Museum of Art
Tapeten und Porzellan
Ausstellung: 13. Februar bis 21. März 2009
Die Künstlerin ist am Vernissageabend anwesend.
Orte, an denen alltägliche menschliche Handlungen stattfinden, sowie die Bedeutungen, die diesen Räumen und den daran angebundenen, häufig ritualisierten Vorgängen eigen sind, bilden seit einigen Jahren den Ausgangspunkt der Arbeiten von Susanne Hofer. In ihren dichten
Videoinstallationen, -projektionen und Ein-Kanal-Videos lotet sie die Wechselwirkungen zwischen Aussen- und Innenraum, privat und öffentlich, individuellen Gesten und kulturell geprägten Mustern aus, befragt die verschieden determinierten räumlichen, topografischen Situationen und alltäglichen Momente hinsichtlich ihrer Bedingungen und ihres grundlegenden
identitätsstiftenden Potenzials. Zugleich stellt sie in den Arbeiten selbst jeweils wieder unterschiedliche ‹Wirklichkeiten› her, deren mediale und materiale Konstruiertheit sie bewusst offen legt und somit auch deren Parameter immer neu zur Diskussion stellt.
* ARTREPCO * | Artrepco Gallery Zurich |
Jeff Bailey Gallery is pleased to present Amy Pleasant, Tight Shot, an exhibition featuring paintings, drawings and a site-specific wall drawing.
On paper, canvas or wall, Pleasant explores simple, everyday acts: private moments, sleep and rest. The drawn or painted line, shifting in scale from intimate to vast, simultaneously anchors and opens each work, while placing the viewer at close range.
“Drawing has always been the most important part of my studio practice”, says Pleasant. “Over the last year I have challenged myself to focus on drawing in a new way. How does the act of drawing function in my work: studies, drawings, paintings, and wall drawings? Does the intimacy of the imagery come from the image itself, the scale or both? What would happen if a small image were blown up larger than life-size?”
Pleasant’s earlier paintings were arranged in a loose storyboard grid, suggesting an unfolding narrative. Her new paintings focus on a specific moment and isolate one image. In Kiss 2, a couple embraces and floats among cloudlike shapes in a vaguely defined architectural space. The couple is painted mostly in black silhouette or contoured line and each figure has no distinguishable features. They function like avatars, in a space that invites the viewer to project his or her own cast.
The wall drawing, Sleeping Head, covers an entire gallery wall, approximately thirteen by eighteen feet. With a bold economy of line, a woman’s head turns away from the viewer in repose. Experienced at this large scale, the viewer becomes a part of the moment through the immediacy of the mark.
This is Pleasant’s third solo exhibition at the gallery. Her solo exhibition, The Bed, After Lautrec, is on view at the Atlanta Contemporary Art Center, Feb. 5 – March 29. She has had previous solo exhibitions at Clough-Hanson Gallery, Rhodes College, Memphis; the University of Alabama at Birmingham and The Ruby Green Contemporary Arts Center, Nashville. Her work has been featured in group exhibitions at The National Museum of Women in the Arts; Luxe Gallery, New York; the Art in Embassies Program; the Columbus Museum of Art (GA); Mobile Museum of Art (AL) and the Southeastern Center for Contemporary Art, Winston-Salem (NC). Pleasant received her BFA from the School of the Art Institute of Chicago and her MFA from Tyler School of Art. She lives and works in Birmingham, Alabama.
AMY PLEASANT: TIGHT SHOT :: Jeff Bailey Gallery :: New York
ARTE GENOVA, dal 27 Febbraio al 2 Marzo 2009, propone una completa sintesi delle espressioni della cultura visiva moderna e contemporanea ed un’ampia panoramica delle correnti artistiche del ‘900, dai movimenti di inizio secolo sin alle più recenti avanguardie.
Tim Knowles and Pe Lang + Zimoun
Unpredictable Forms of Sound and Motion
United States premiere of the Tim Knowles Walk series
New York debut of Pe Lang + Zimoun
bitforms gallery is pleased to announce its first exhibition with artists Tim Knowles (b. 1969, United Kingdom) and duo Pe Lang (b. 1974, Switzerland) and Zimoun (b. 1977, Switzerland).
With several works making their international premiere, three Untitled Sound Objects by Pe Lang + Zimoun will be part of the exhibit, along with photography, video and sculpture from the Tim Knowles “Walk” series.
Attracted to natural materials such as trees, moonlight, water, and geo-data, artist Tim Knowles uses cameras and drawing to reveal the hidden, or otherwise unnoticed motion of objects. For example, Knowles’ Postal Drawings are created en route from the artist’s studio to its final destination and capture the commonplace movements within a global tide of transfer points.
Likewise exploring the interlaced spaces of earthwork, landscape and Fluxus systems, his works from the Windwalks and Nightwalks series engage the artist’s capricious wanderings.
Nightwalk–Valley of Rocks is a series of illuminated walks that Knowles created in Devon during a new moon and captured using an extended exposure photograph. Over a period of about one hour in these pieces, the artist walks away from a tripod-mounted camera while carrying very powerful flashlights illuminating his path along a rocky ridge in the darkness. Invoking Plato’s allegory of the cave, a pathway of ghostly travelers shines inside an electrified landscape.
Knowles’ Windwalk–5 walks from Charing Cross is a sequence of performances guided solely by the wind. Playfully exploring drawing and narrative, the artist used a helmet-mounted wind vane for direction and traced his steps with a GPS device. Originating from the geographic center of London in this piece, nocturnal city life is revealed through video documentation. Examining the human mark and control of territory, the piece takes a sharp absurdist jab at the effectiveness of modern tools in time of conflict. Executed in the early hours of the morning and guided by a set of self-authored rules, unpredictable events unfold and Knowles’ route becomes increasingly chaotic and indecisive. Whirling currents bouncing off buildings lead the artist into virtual wind cul-de-sacs of littered plastic bags and swirling leaves with no escape until the wind once again changes its direction.
For more information please visit:
"Carlson/Strom: New Performance Video"
Joyce and Edward Linde Gallery, Phyllis and Jerome Lyle Rappaport Media Space, Arcade Gallery
Jan 24 – May 17, 2009
DeCordova Museum and Sculpture Park is thrilled to announce the first major museum presentation of the collaborative work of choreographer and performer Ann Carlson and video installation artist Mary Ellen Strom. Through the lens of the historic record and art history, Carlson/Strom employ tactics of spectacle and humor to provide spaces of reflection about this contemporary moment.
Carlson/Strom: New Performance Video
"Play is a film- and video-based exhibition, designed to appeal to visitors of all ages. The name Play refers to the button on the video player as well as to games and theatre. The films, which all come from Moderna Museet’s collection, illustrate how artists have used the moving image to document performance, express feelings or create transformation."
MODERNA MUSEET - Play - Film and videos
"ANSELM KIEFER. Obras de la colección Grothe
31 enero 2009 - 30 agosto 2009
Comisariado: Walter Smerling
Con “Anselm Kiefer. Obras de la colección Grothe”, la primera exposición individual i retrospectiva del artista alemán en las Illes Balears, Es Baluard Museu d’Art Modern i Contemporani de Palma celebra su quinto aniversario. La exposición, coorganizada con Bancaja y comisariada por Walter Smerling, presidente de la Stiftung für Kunst und Kultur de Bonn, muestra una cuidada selección de obras realizadas entre principios de los años 80 del siglo XX y la actualidad, de formato inmenso, y muy significativas en la trayectoria de Anselm Kiefer, referente mundial tanto por la investigación y conquista de nuevas formas de expresión como por la interpretación del mundo y la inmersión en las fuentes del conocimiento."
Es Baluard - Exposiciones - actuales
SIVA - MACCHINE ORGANICHE LAMPEGGIANTI
a cura di Ivan Quaroni
MACCHINE ORGANICHE LAMPEGGIANTI è il titolo della personale di SIVA, che inaugurerà il 26 febbraio 2009 nella Galleria di Giacomo Manoukian Noseda, in Piazza San Simpliciano 2, a Milano, in stretta collaborazione con la Galleria AREA B di Isabella Tupone.
Notation is dedicated to the multifaceted spectrum of artistic process existing between concept and work. The exhibition places works from all areas of art from 1900 until today in relation to one another: sign systems in literature, music, painting, choreography, architecture, photography, film and in media art. Over 450 positions by more than 100 artists and drawn from international collections, the ZKM and the archive of the Academy of the Arts are to be presented. The show will be on display at the ZKM from mid February, 2009.
During the 20th century, artists have repeatedly made visible new realities through the connection between scientific calculation and artistic form. Morphic resonances, serial structures and sound waves: Modernity has rediscovered the intellectual aspect of existence as a field of research for art. John Cage, Etiénne-Jules Marey and Walter Benjamin, Edgard Varèse and Iannis Xenakis, Mary Wigman and Robert Walser, Oskar Fischinger and Marcel Broodthaers, Allan McCollum and Mel Bochner, Antonin Artaud and Pierre Boulez: 20th century artists have designed fields of relations in notations, (in the words of György Ligeti) either as directions for play, as means of communication or as an autonomous work.
ZKM | Exhibitions 09|2008 | Notation
Catharine Clark (Gallery San Francisco, CA) announces concurrent solo exhibitions: new digitally-based images, sculptures and installations by John Slepian, titled (un)natural, and new graphite drawings by Jonathan Solo, titled Other. The exhibition dates are January 31 – March 14, 2009. An opening reception for the artists is Saturday, January 31, 2009, from 5 to 7pm.
In his new work John Slepian explores environmental aesthetics and ethics by constructing paradigmatic natural scenes from modern technology. Slepian sites a key influence on the work in (un)natural as the idea that our conception of "nature" is socially constructed, and that many of our thoughts about it were first articulated by 19th century Romanticism. Slepian riffs on the romantic view with images of nature that are entirely technologically derived, humorously offering the possibility of reconciliation between the experience of living in a techno-centric society and the natural world. His previous blemished and bestubbled creatures have been replaced with hirsute creations that tremble, cower, and dash from the viewer’s sight when approached. They are placed into the context of a commercially available "moving" waterfall picture, or are rendered stereographically in a children's toy. In hightails (be still) a forest scene is projected onto a screen and squirrel-like figures creep cautiously into view. Sensitive to the movement of the viewer, they fearfully take cover behind trees. The landscape then appears devoid of any animal presence. A comical take on our fixation with the picturesque is portrayed in the landscape ex machina series. Slepian constructs an idyllic, waterfall setting where hedgehog-looking figures call out longingly to each other from across a body of water. Behind the semi-translucent c-print, a light flickers making the water appear as if it is flowing. In scopotopia, Slepian recreates the animal images found in the child's stereographic View-Master® toy, placing his creatures three dimensionally into their "natural" setting.
John Slepian received a BFA in Film and Television from New York University in 1988 and an MFA in New Genres from the San Francisco Art Institute in 2002. In 2005-2006 he was granted a New York Foundation for the Arts Fellowship and in 2002- 2003 he participated in the P.S.1 National Studio Program in New York. Slepian is currently the Five College Assistant Professorof Art and Technology at Hampshire and Smith Colleges in Massachusetts. This is his first solo show at Catharine Clark Gallery.
Catharine Clark Gallery
"Emergency Response Studio is installed near the entrance of Rice campus at the southeast corner of Lovett Hall next to Rice Gallery. It is the second in an ongoing series of architectural installations; the first was Bamboo Roof by Japanese architect Shigeru Ban. Paul Villinski’s project is accompanied by Emergency Response Studio: Process, an installation in Rice Gallery which details the construction process, and features further information about “movable” housing."
Rice Gallery Emergency Response Studio