Marko Mäetamm
"Marko Mäetamm
About domestic paranoia
du 3 avril au 15 mai 2009"
Galerie Anton Weller Paris :: Exhibitions
Czech It
Czech It
Guest curators: Jen Saffron and Eva Heyd
Opening Reception with performance by Mark Stafura of the Duquesne University Tamburitzans and other ethnic ensembles: Friday, April 3, 5 - 7 p.m. free and open to the public
Film Screening: Bored in Brno at the Harris, Friday, April 3, 8 p.m.
One Night Stand: Art, music, and live performances - April 24 7:30-11:30pm
Czech it presents the work of eleven Czech photographers, showcasing the contributions of three generations of photographers, each responding to distinct social and political times of a country impacted by war, communism, and revolution. Ranging from the 1920s to now, Czech it chronicles Bauhaus-influenced avant-garde abstractions, post-war reportage of social oppression, and the emerging new aesthetics following the Velvet Revolution.
Participating Artists:
Dana Kyndrova
Jindrich Streit
Stepan Grygar
Evzen Sobek
Michal Pechoucek
Katerina Drzkova
Kristyna Milde
Alena Kotzmanova
Jaromir Funke
Eugen Wiskovsky
Additional Czech films at the Harris Theater, April 3 - 9
www.pghfilmmakers.org
The films are presented as part of a touring series RARE BOHEMIANS II, produced by Irena Kovarova in collaboration with the Czech Film Center. Additional support provided by the Czech Embassy and Czech Center New York; Center for Russian and East European Studies and Film Studies at the University of Pittsburgh; and Point Park University.
S P A C E
ARTISTS AND THE NATURAL WORLD
March 17, 2009
ARTISTS AND THE NATURAL WORLD
The McKee Gallery is pleased to announce the opening of its exhibition, Artists and the Natural World, on view from March 29 - May 2, 2009.
The artists selected for this show are not the new Audubons, the naturalist painters of the 19th century, or the realist or landscape painters of today. They are not the artists you would expect to associate with the natural world. This exhibition is about those artists whose main body of work is not generally about observant reality. The use of the natural world in their art is marginal, and yet their interest in it is profound. Occasionally, that interest peeks out and takes you by surprise when they draw a realistic tree, sculpt a bird in wood, or make a red rubber rose.
Among the 20 works in the exhibition a special focus has turned out to be birds. It is surprising how many artists know a lot about birds. Not only is there a fascination with the miraculous ability to fly, but with the many details of their physical appearance. If you speak to one artist about another artist’s interest, often that artist will add some very personal experience and specific facts to the conversation. They know the habitat, the color of the beak and the wing, the song, the genus.
Artists watch the outside world closely. Birds are the hardest to observe because the looker must concentrate on identifying their attributes quickly before they fly off, adding to the challenge of capturing, understanding and re-creating. It is curiosity on the hunt for knowledge.
The artists in this show leave the natural world behind in their mature work, but do not completely sever ties with this deep interest, using it symbolically, formally, or whimsically when they choose, in contrast to artists who never refer to the physical world or those whose work is defined by it.
This exhibition has only a few artists in it, a small sampling, the beginning of an idea, of a communal admiration of nature’s mystery. It is a spring show full of small surprises.
The artists included are Vija Celmins, Philip Guston, Vlatka Horvat, Soo Kim, Klara Kristalova, Leonid Lerman, Martin Puryear, Jeanne Silverthorne, Yun-Fei Ji, and others.
McKee Gallery | Contemporary Painters & Sculptors
TOBIAS BUCHE and JONAS LIPPS
TOBIAS BUCHE and JONAS LIPPS
Opening April 1st at 7 pm
Until May 13, 2009
We could think of Tobias Buche’s (1978, Berlin) work as a form of collectionism, a meticulous and continuous method, a private gathering which becomes public, shared, in the moment in which the artist displays it, in which he puts it “on show” with his installations.
The object of his collection is the image, Buche gathers different kinds of them, by subject and source. The images include private photographs, record covers, old drawings, newspaper clippings, reproductions, a heterogeneity that characterizes not only the genesis of the work, but which resurfaces also in the way in which the images are organized in his pieces.
Buche deploys his personal visual encyclopedia on simple panels or, as in this case, on white tables, neutral, props capable of not intruding on or confusing the reading of the images.
The composition is born from the juxtaposition of the elements, in a combinatory dynamic that excludes every linear logic. The gaze freely runs over the images, the possibility to interweave infinite narrations is an integral part of the work which presents itself as a kind of hypertext.
The impression is of a work-in-progress in which the images can be continuously recomposed, reordered, as is demonstrated by the small signs left by the pins used to attach them. A complex constellation of images, private photos or figures collected from newspapers, chosen or manipulated by the artist so as not to be able to identify the provenance so that all, equally, may be objects of a new possible gaze.
Jonas Lipps (1979, Freiburg), works with watercolors on papers of different formats and characteristics, leaflets, pages from books or from old notebooks.
The initial images are collected from newspapers, the internet or from photographs, and are landscapes, portraits, often ordinary situation, anonymous fragments that the artist revises.
The composition recalls stills of a film in which the action is taking place elsewhere. The artist calls attention to incomplete, casual gestures, not at all emblematic.
Lipps chooses in many cases props that seem badly adapted to watercolor, damaged or stained paper, sheets of diverse qualities that cause a loss of continuous control of technique. It is precisely the precarious balance between keeping and losing the control of the piece that is the basis of his work.
Watercolor is the appropriate medium for a method that continuously confronts itself with the limits of representation, with the impossibility of communicating of the entire complexity of the real if not through attempts that inevitably fail.
Francesca Minini, contemporary art
Flash Mob Artichaut
Internet mon amour lance le premier Flash Mob Artichaut Pirate contre la loi Création et Internet le 1 avril 2009 à Paris au Jardin du Palais Royal inside à 11h55.
Artistes, pirates et lecteurs de la Princesse de Clèves, munissez-vous d’un artichaut pour dire non à la loi Création et Internet en discussion au Parlement (reprise des séances le 30 mars).
Ceci est très sérieux, ce n'est pas une blague et puisque nous ne sommes pas entendus, nous en arrivons au geste absurde.
http://www.internetmonamour.fr
Facebook | Flash Mob Artichaut Pirate, le 1er avril au Jardin du Palais Royal - 11h55
Duepunto0
Il mondo nuovo è 2.0.
Le imprese si trovano ad affrontare una rivoluzione a 360 gradi, sollecitata da tecnologie sempre più evolute.
In una fase rinnovata dei rapporti di mercato, il Web 2.0 è il canale digitale attraverso il quale si struttura la Global-networked Society, l’inedito ecosistema di reti entro il quale tutto acquista nuovo significato: nasce l’Enterprise 2.0, caratterizzata da concept organizzativo, interno ed esterno, modellato sulla tecnologia e sulla cultura dell’informazione partecipativa. L’alternativa è la perdita di competitività e opportunità.
Duepunto0.it
Facebook | 2.0: EVOLUZIONE PER L'IMPRESA INNOVATIVA
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