Ramón Serrano - Ideales
March 28 2009 - May 31 2009
Corkin Gallery is pleased to announce an exhibition of new works by Refugee Cuban artist Ramón Serrano. Ideales explores the romantic motifs and styles inherent in Cuban architecture for Serrano. These particular historic locations serve as stages for the conflict between ideas and reality.
Ramón Serrano - Ideales | Corkin Gallery
Ramón Serrano - Ideales
"Italian Genius Now. Back to Rome
La rassegna, prodotta dal Centro per l'arte contemporanea Luigi Pecci di Prato e realizzata in collaborazione con il Ministero degli Affari Esteri, presenta mezzo secolo di arte e design italiano "per suggestione" andando alla ricerca di un dialogo tra i diversi campi di quella cultura estetica e materiale che resta l'immagine più rappresentativa dell'Italia
In "Italian Genius" è possibile quindi 'leggere' come nell'arte e nel design il talentuoso genio creativo italiano abbia addirittura contribuito a modificare, in alcuni casi, i costumi del vivere mondiale (un esempio classico: la diffusione planetaria della Vespa GS 150, realizzata nel 1955 da Corradino D'Ascanio per la Piaggio).
La rassegna è arricchita dall'esposizione di opere degli artisti Carla Accardi, Achille e Pier Giacomo Castiglioni, Pietro Derossi, Piero Gilardi, Alberto Meda, Alessandro Mendini, Gaetano Pesce, Lamberto Pignotti, Alfredo Pirri, Michelangelo Pistoletto, Sara Rossi, Mimmo Rotella, Maurizio Savini, Tobia Scarpa, Gianluigi Toccafondo, Marco Zanuso.
L’ Associazione DIIP, il Comune di Padova, l’Assessorato alle Politiche Culturali e Spettacolo, Informambiente promuovono:
Riciclarti 2009, contenitore artistico e culturale per la diffusione di politiche di sostenibilità ambientale, a Padova nello spazio espositivo dell’ Ex-Macello, dal 25 settembre al 25 ottobre 2009.
Gli artisti interessati a partecipare a Riciclarti 2009, sono invitati a proporre opere inerenti il tema proposto. Non sono previsti limiti di materia o di tecnica, bensì si richiede l’aderenza al tema. Questa può essere intesa sia come riuso di materiali di rifiuto, sia come rappresentazione di un aspetto specifico del problema della produzione, dello smaltimento, della trasformazione e riuso di materiali obsoleti.
Riservata ad artisti, senza distinzione di nazionalità e di età. Ogni artista potrà presentare una o più opere inedite di scultura, pittura, fotografia. Oppure un’opera di video arte, un’installazione, una performance (danza/teatro/musica/altro).
VIVA (Vital International Video Art) ha sido concebido como un festival itinerante cuyas localizaciones dispares por todo el mundo facilitan un encuentro entre videoartistas y la difusión de su discurso creativo. El vídeo arte plantea preguntas al espectador y le invita a reflexionar, a detenerse en el tiempo aunque sea sólo por un momento. El centro cultural Gran Canaria Espacio Digital exhibirá el jueves 26 y el viernes 27 de marzo las propuestas videográficas pertenecientes al VIVA Festival de 24 artistas procedentes de Japón, España, Australia, Armenia, Irán, Chile, Canadá etc.
Proyecciones - Gran Canaria Espacio Digital
Guest curated by Irene Hofmann
Through May 2, 2009
Doug Hall, Chip Lord, and Jody Procter
Nam June Paik
Broadcast explores the ways in which artists since the late 1960s have engaged, critiqued, and inserted themselves into official channels of broadcast television and radio. Featuring works in video, sound, photography, and installation, Broadcast is the first exhibition of its kind to examine this provocative body of work.
From TVTV’s iconoclastic television broadcast from the floor of the 1972 Republican Convention, to Gregory Green’s recent pirate radio station installations, artists have intervened into systems of broadcasting as a means of examining or challenging the influence and power of TV and radio. At times, the works in Broadcast are hostile, as in the case of Chris Burden’s infamous 1972 hostage-taking of a TV-host at knifepoint; other times they are more collaborative, such as Christian Jankowski’s 1999 project for the Venice Biennale that involved repeatedly calling in to psychics on live Venetian television. In still other instances, an artist’s engagement with broadcasting involves the critical reuse of previously broadcasted material, such as Dara Birnbaum’s use of archival media coverage from the 1977 kidnapping of the German industrialist Hanns Martin Schleyer by the Baader Meinhoff group, or Antonio Muntadas’ studies of broadcasting conventions in cities worldwide during the Cold War.
By co-opting the sounds, images, and presentation strategies of our culture’s dominant forms of mass media, the works included in Broadcast reveal the mechanisms and power structures of broadcasting systems, and challenge their authority and influence. Whether appropriating its conventions and programs or engaging in a live TV or radio broadcast themselves, the artists represented here compel us to look more closely at this force in our culture.
Broadcast is co-organized by the Contemporary Museum, Baltimore, and iCI (Independent Curators International), New York, and circulated by iCI. Broadcast is curated by Irene Hofmann, executive director of the Contemporary Museum. The exhibition is made possible, in part, with support from the iCI Exhibition Partners.Pratt Institute / exhibitions
Pratt Manhattan Gallery will present "Broadcast Yourself," a free public symposium in conjunction with the gallery's "Broadcast" exhibition at 6:30 p.m. on Wednesday, April 1, 2009 in Lecture Hall 213 at 144 West 14th Street. Speakers will include NPR "On The Media" host Brooke Gladstone, "Broadcast" curator Irene Hofmann, and "Broadcast" participating artists Gregory Green, Angel Nevarez and Valarie Tevere of neuroTransmitter, and Siebren Versteeg.
"Broadcast Yourself" will address the issues of power and control extended by traditional media outlets in contrast with the do-it-yourself attitude pervasive in the tech-savvy younger generation. Symposium panelists will also speak to the impact that radio and television can have in shaping the events of our time; how artists can directly engage, challenge, or subvert the structure and authority of broadcast media; and how our culture is shaped by the actions of individuals and artists.
Overseas Press Club and Peabody award-winner Brooke Gladstone started out in print journalism, writing on defense policy, strip-mining, broadcasting, and cable television. Gladstone joined National Public Radio (NPR) in 1987, working on "Weekend Edition" and "All Things Considered" before covering NPR's media beat. She helped re-launch the WNYC-produced NPR radio program "On The Media" in 2001, where she serves as host and managing editor.
Guest-curator Irene Hofmann is Executive Director of the Contemporary Museum in Baltimore. Recent exhibitions include "Cell Phone: Art and the Mobile Phone" and "St. Cecilia," a solo exhibition of works by Joseph Grigely. Hofmann previously served as Curator of Contemporary Art at the Orange County Museum of Art, where she co-curated the 2002 and 2004 California Biennials and the photography and video exhibition "Girls' Night Out." She has organized exhibitions and projects with artists such as Kutlug Ataman, Mark Dion, Jason Dodge, Fabrice Gygi, Iñigo Manglano-Ovalle, and Marjetica Potrc.
Brooklyn native Gregory Green has created controversial work addressing the evolution of various strategies for empowerment, which consider the use of violent and non-violent measures as vehicles for social or political change. Green is perhaps best known for his sculptures that are mechanically complete and potentially functional bombs or missiles, or that provide instruction on how to make large quantities of LSD.
Angel Nevarez and Valarie Tevere, who co-founded neuroTransmitter in 2001, fuse a combination of media forms and sound performance; their work re-articulates radio in multiple environments and contexts—public, exhibition, over the airwaves—and considers new possibilities for the broadcast spectrum as public space.
Siebren Versteeg creates computer-driven video installations that situate the viewer in paradoxical realms where the real and the virtual seem to interconnect. At once humorous and unsettling, his works feed real-time online data culled from CNN, The Associated Press, and internet diaries into video animations with digitally produced sound.
"Nel 1977 gli abitanti del quartiere di Užupis, a Vilinus (Lithuania) hanno proclamato la fondazione della loro Repubblica, con tanto di moneta, Presidente, esercito (formato, sembra, da 12 uomini)."
tonyxzt_it: Costituzione della libera repubblica di Užupis
"ARTVILNIUS'09 – the first international contemporary art fair in the Baltic States
Vilnius is the European capital of culture in 2009. One of the most important and largest events of this program will be the first international art fair ever to be held in the Baltic States – ART VILNIUS’09.
The first international art fair ARTVILNIUS’09 will be held in Vilnius on 8-12 July. A wide and representative panorama of contemporary art will be opened at LITEXPO Lithuanian Exhibition and Conference Center. The area of 11,632 sq. m will be occupied by some 100 well-known and new galleries from Lithuania, its neighboring countries and foreign galleries.
Auxiliary pavilion spaces and approaches of LITEXPO will shelter exhibitions of sculptures, objects and installations, expositions of art publications, cultural institutions etc. Podium discussions, educational events and plenty of other different events are also in the program of ARTVILNIUS’09."
In Central Africa, it is all about ‘dance’. In Kinshasa, for example, all movements, even the most ordinary ones, are dance. Composer and film director Thierry De Mey, who wrote a lot of music for Rosas and Ultima Vez, took a trip through Kinshasa with his camera. He followed a number of Kinoise key figures, the local ‘smugglers’, and so penetrated the heart of this moving city, recording the most remarkable and most unexpected forms of movement. Kin, city in motion is one of the three parts of his installation From Inside.
We are simultaneously showing an installation of sculptor Serge Amisi Mugo. Serge Amisi was a child soldier in the war in Congo (at the end of the 90s, early 2000) and was recruited into the army fighting his father’s forces. His sculptures of recycled materials are a report of these years of war. Every sculpture is linked to a story told by Amisi himself in a video by Thierry De Mey.
KVS - Koninklijke Vlaamse Schouwburg
Robot Madness: Will Cyborgs Compromise Privacy? | LiveScience: "In Robot Madness, LiveScience examines humanoid robots and cybernetic enhancement of humans, as well as the exciting and sometimes frightening convergence of it all."
Anri Sala, Answer Me, 28.03.09 - 25.04.09
Answer Me (2008) was shot in the abandoned Buckminster Fuller dome of an eavesdropping station built in Berlin, in the mid 50s as part of the global Echelon intelligence-gathering network of NSA for long-range surveillance during the cold war. It stands atop the Teufelsberg hill made from the rubble of postwar Berlin, under which another building designed by Albert Speer is buried.
Based on a dialogue from a note that Michelangelo Antonioni wrote on the breakdown of a couple, where he wanted “to shoot not their conversation but their silences, their silent words. Silence as a negative dimension of speech,” Answer Me becomes, under the exceptional acoustics of the geodesic dome, a loud stillness of silencing decibels. The drama comes under the influence of the building, the architectural maelstrom whirls the narrative.
As a woman tries to end a relationship, her companion refuses to listen and plays the drums fiercely, blocking her voice from reaching him. At times her voice is heard, at times only her lips seen phrasing it, her voice silenced by his drumming. Next to her, the skin of a vacant drum vibrates and responds to the frequencies of the drumming. Amplified by the dome, those frequencies create not only an audible but also a visible echo by causing the drumsticks to bounce.
In the exhibition, a snare drum with a built-in speaker plays to the film’s soundtrack that has been remixed in inaudible frequencies, emphasizing this moment of delay and amplification. The drumsticks respond to these frequencies and play to the film. The audible echo in the original context becomes a visual reverberation in the show.
The opening will feature a drum performance responding to the snare drum installation, further echoing the resonations from the film.
The second work on view, Who is afraid of red, yellow and green (2008) features Berlin traffic lights at night inhabited by spiders spinning their webs undisturbed by the interruptions of colour.
Johnen Galerie Berlin
I don't believe you, you're a liar
01 April - 30 May 2009
Artist William Hunt transforms the Artists' Studio into a recording studio and invites singer songwriters to be hooked up to a polygraph machine (lie detector). He explores the ability to separate mind from body asking is it truly heartfelt or are they just pushing our buttons?
“I don’t believe you, you’re a liar” was Bob Dylan’s response to a heckler in 1966 during a performance at the Free Trade Hall when he had made the transition to electric. Acoustic and especially folk music had traditionally been associated with protest and the authentic.
Camden Arts Centre - William Hunt - I don't believe you, you're a liar
Thursday March 26
Saturday May 16, 2009.
Zelda Georgel : dedans
The work of Zelda Georgel stands on the verge between fantasy and reality. Nature, sometimes as dark, orgiastic vegetation, sometimes as a lucid, abandoned landscape, sequesters the whole scene, while an intruding naked female figure demands attention, at the same time inspiring and provoking. Self-confident and desirable, fully embodying all traits of femininity, refusing to submit to the restrictions imposed by its artificial nature, a mannequin, stars comfortably and gracefully in all of Zelda Georgel’s photographs.
Resonances, illusions and fears haunt Georgel’s dream-like environments. Life and death, truth and lies, dream and reality, conformity and transgression are all involved in her photographs. They produce an intense visual effect and an immediate impact on the viewer’s psyche, confirming that the falsification and copying of reality often constitute more potent sensory stimuli and generate emotions of greater intensity than those stemming from the authentic and real.
The static and often claustrophobic atmosphere of Georgel's photographs will also be duplicated in the monochromatic forest she will create in a container: vegetation, humidity, penumbra, lack of colours and limited view all push the viewer to the same game of truth and lies, life and death.
galerie xippas - exhibitions - exhibitions detail_131
Alla scoperta della Road to Contemporary Art romana
Dopo il grande successo della prima edizione torna, ROMA - THE ROAD TO CONTEMPORARY ART.Confermata la formula vincente della scorsa edizione: l’affascinante contrasto dei capolavori d’arte contemporanea accostati alla magnificenza dei palazzi storici romani; una formula inedita che tanto ha suggestionato galleristi, collezionisti, curatori, giornalisti e appassionati che lo scorso Febbraio hanno ritrovato il gusto di ammirare l’arte in un’atmosfera nuova.
ROMA. THE ROAD TO CONTEMPORARY ART 2 – 5 APRILE 2009