9 Aprile - 6 Settembre 2009
Tipologia: Architettura e Design
Un'importante riflessione antologica ripercorre la carriera di uno dei maestri italiani dell'architettura e del design.
La mostra su Alessandro Mendini - un maestro dell’architettura e del design che prima di tutti ha colto, e sostenuto, i valori della contemporaneità: trasversalità, versatilità, capacità di ascolto, dinamicità, e apertura alle temperature variabili del mondo - al Museo dell’Ara Pacis si estenderà a tutti gli ambienti del Museo.
Nello spazio espositivo, a delimitare la rampa d’ingresso, una costellazione di presenze “umane” in forma dei famosi cavatappi “Alessandro M.” nelle tante versioni, una sorta di parata di personaggi “speciali” (in realtà autoritratti dello stesso Mendini), dall’arlecchino al fantasma, dal carcerato a Superman, dal cuoco al diavolo, dall’angelo al re.Una sala introduttiva ospita un racconto biografico con opere e fotografie d’epoca, con l’obiettivo di presentare al grande pubblico la vita e l’opera del maestro attraverso i momenti più significativi e le opere maggiormente caratteristiche.
La mostra si struttura in quattro sezioni, definite da altrettante stazioni teoriche.
Se lo slogan dell’architettura moderna è stato “Dal cucchiaio alla città”, nel caso di Alessandro Mendini il motto diventa “Dall’infinitesimo all’infinito”, essendo capace, il nostro, di operare con successo in tutte le diverse scale di progetto, da quella più piccola a quella più estesa, dal “progettare pensieri” (attraverso la sua fervida attività teorica e critica, anche come direttore di riviste - come Casabella, Domus, Modo e Ollo – e poi di direttore artistico per alcune importanti aziende, come Swatch e Alessi) al “progettare corpi” (gioielli e orologi, vestiti e borse, ma anche performance e azioni “teatrali”), dal “progettare stanze” (i mobili e gli ambienti interni) al “progettare orizzonti” (le tante architetture pubbliche e gli interventi a scala territoriale).
Il nucleo centrale dello spazio espositivo, la “cripta” sotto l’Ara, conterrà la sezione teorica “Progettare pensieri”, con alcuni scritti emblematici esposti o riprodotti/letti da voci registrate, alcune “mappe mentali” e alcuni grafici/organigrammi ingranditi (articolatissimi e cristallini al contempo) che diventeranno texture parietali, mentre i tanti numeri delle riviste “storiche” del design da lui dirette (dalla “Casabella” radicale degli anni Settanta alla “Domus” postmoderna degli anni Ottanta, dalla nuova teoria espressa con “Modo” alla rimessa in discussione dello stesso strumento/rivista con “Ollo”) verranno esposti per intero (tutte le copertine) e in parte saranno consultabili.
Intorno a questo nucleo centrale si snoderanno, articolandosi e congiungendosi, le altre tre “sezioni” di progetto.
“Progettare corpi” - che per Mendini vuol dire “progettare i corpi” e “progettare con il corpo” - ; “Progettare stanze” vuol dire progettare gli oggetti e i mobili per gli ambienti che conterranno la vita delle persone; “Progettare orizzonti” è l’arrivare alla scala architettonica, urbana e territoriale, realizzando edifici pubblici in molti paesi del mondo (dal “Groninger Museum” a Groningen in Olanda alla “Stuttgarter Bank” di Stoccarda, fino ai diversi interventi in Giappone, dal “Dinosaur Museum” a Fukui alla “Torre del Paradiso” a Hiroshima e al parco “Stella” a Hokkaido).
Disegni di progetto, fotografie, modelli, oggetti (sedie, tavoli, poltrone, gioielli, borse, orologi, piatti, bicchieri, giocattoli, ecc.) costituiranno nel loro insieme una mostra colta e solare, letteraria e comprensibile; il tutto puntualmente sostenuto dai suoi schizzi febbrili e coinvolgenti, riflessioni puntuali ed espressione in sé, che incorniciati e illuminati ad hoc vivranno in una sorta di mostra nella mostra, di film costruito da singoli fotogrammi “meravigliosi” ma da leggere d’un fiato.
Alessandro Mendini / Mostre - Museo dell'Ara Pacis
9 Aprile - 6 Settembre 2009
Paradise Row proudly presents The Adventures of Robbing Good, the first major London show of leading Russian contemporary artist Gosha Ostretsov. Employing narrative installation, performance, painting and sculpture, Ostretsov introduces a new hero for our troubled times - Robbing Good - a creation informed by the history, theory and associated art and design of the anarchist, socialist and Marxist movements of the last century and a half.
Gosha Ostretsov is one of Russia's leading contemporary artists. Since the late 1990's Ostretsov has been working on The New Government project, a parodic gesamtkunstwerk on the nature of power and despotism in post-Soviet Russia and, by extension in the world at large.
Ostretsov will be representing Russia as part of a curated group show in the Russian pavilion at the 53rd Venice Biennale, 2009.
Gosha Ostretsov | The Adventures of Robbing Good - Paradise Row
AVAM, Artistas Visuales Asociados de Madrid, convoca un concurso para la selección de cuatro proyectos artísticos inscritos en Madrid Procesos 09. Esta convocatoria se inserta en las actividades de CRAC, Coordinación de Recursos para el Arte Contemporáneo, iniciativa promovida por AVAM para la mejora de las condiciones de producción y creación de los artistas plásticos y visuales.
AND THEN THERE WERE NONE
Curated by Stephanie Rogerson
April 3-May 9, 2009
Opening, Friday April 3, 8pm
Move it! The Images After-party to follow in the studio
Talk to the Pie Artist Talk with the artists and curator Rogerson, Saturday, April 4 at 4pm
In conjunction with the 22nd annual Images Festival
This exhibition is programmed by and presented in conjunction with the 22nd Images Festival, 2-11 April 2009. For more information please visit www.imagesfestival.com.
InterAccess is pleased to present And Then There Were None, an exhibition featuring the works of two Berlin-based artists; Canadian Larissa Fassler and German Richard Schütz. Both artists transform the way in which we experience public space and speak to ideas of travel and movement, examining the complex relationships that individuals have with communal space that can be at once inclusive and isolating.
Please join us on Friday, April 3 at 8pm for a special opening reception. The artists and curator will be present. Then, join us for Move it! The Images After-party in our studio! Packed like the Yonge subway line at 8:30 Monday morning, this always-popular party will help kick off both the InterAccess exhibition and the Images Festival, showcasing contemporary moving image culture. Featuring scenes from Speed, Speed 2, Driving Miss Daisy, Planes, Trains and Automobiles, and Snakes on a Plane (and so much more!).
On Saturday, April 4, at 4pm, please join Fassler, Schütz and Curator Rogerson at InterAccess for Talk to the Pie, for hearty discussion and a tasty treat.
And Then There Were None looks at movement either by foot or car, leading to the discussion of the public experience of the everyday, social isolation, structure and our place in it. Fassler's Alexanderplatz is a model-like replica of a the Berlin U Bahn pedestrian underground system, prompting the viewer to reconsider a familiar, if not iconic space, and Schütz's hypnotic video Blind Trip takes the viewer on a visual and auditory journey that mimics the landscape through a carefully crafted, dissonant soundscape.
About the artists:
Larissa Fassler (1975, Vancouver) is Canadian visual artist based in Berlin, Germany. She completed her MA in Fine Arts at Goldsmiths College, University of London in 2003 and BFA at Concordia University in 1999. She has lived and worked in Berlin since 1999. Recent exhibitions include: "Le Chamois de Messidor" Program - initiative for art + architectural collaborations, Berlin, Germany (2008); "Urban Jealousy" - 1st International Roaming Biennial of Tehran, Iran (2008); "World One Minutes", Today Art Museum, Beijing, China (2008); Video Visions, Edith-Rub-Haus für Medienkunst, Oldenburg, Germany (2008); "WALK! - Spazierengehen als Kunstform", Kunstraum Kreuzberg/Bethanien, Berlin (2007); "The 21. Kasseler Dokumentarfilm- & Videofest", Kassel (2004); and "ev+a 2003", Limerick City Gallery of Art, Limerick, Ireland (2003).
Richard Schütz was born in 1965 in Frankfurt / Germany. He lives as an artist and curator in Berlin. At the art academies of Kassel, London and Berlin he studied fine arts (MA), philosophy, experimental film and media theory. Since 1987 he participated in many exhibitions internationally and received diverse grants for his work in the field of audiovisual installation, film and photography. In 2007 he co-curated the project gallery montanaberlin.
Stephanie Rogerson has an MFA from the School of Visual Arts in New York in photography and related media. Stephanie has been a contributing arts writer to several magazines and art journals, most recently AfterImage Journal of New Media and Criticism. She has participated in conferences at several universities, community spaces and symposiums, she will speaking on queer representation and early photography at The Arts and Society conference in July in Venice, Italy. Currently, Stephanie is pursuing a PhD in Visual Studies at the University of Western Ontario.
Everything has a name, or the potential to be named
Maria Thereza Alves, Vasco Araujo, Alberto Baraya, Matthew Buckingham, Luis Camnitzer, Antonio Caro, Abraham Cruzvillegas, Jimmie Durham, Andrea Geyer, Miler Lagos, Gabriel Sierra.
1st May 2009 - 21st June 2009
Opening: Thursday 30 April, 7-9pm
Everything has a name, or the potential to be named* is a group exhibition that focuses on how European colonial powers during the 17th and 18th Centuries appropriated the natural environment in the Americas. The exhibition features works which address how organisms, land and people have been respectively classified, renamed and dislocated by generations of explorers and colonisers, as a consequence of economically and scientifically motivated expeditions by European empires to the Americas. These forms of cultural domination – from the re-naming of a region, to the classification of a medicinal plant – have left lasting legacies, which remain in common use today.
In reconsidering this history many of the artists in the exhibition critically re-appropriate such colonial interpretative systems. By examining the relationship between land, language, botany and colonialism, they reveal the imperialist quest to produce a universal index with which to perceive and tame the other and the ‘unknown’. They do so through research, documentary, film and mapping practices; via text and outdoor interventions; and by using tactics, which are often humorous, to evade or overcome determinism.
To name a few of the works shown in the exhibition:
In his film Muhheakantuck – Everything has a Name, 2003, Matthew Buckingham recounts the expedition led in vain by Henry Hudson in 1609 to find a passage from the Atlantic to the Pacific oceans, and the encounter with Native Americans along the way. The film is a journey above the Hudson River: narrated by the artist, the script drifts from factual information to his personal meditation on colonial processes: “Everything has a name, or the potential to be named, but who does the naming when the unknown is falsely assumed not to exist?”
The Panama Canal is the object of investigation of Luis Camnitzer's installation. The canal is the delayed colonial engineering plan which, three hundred years after Hudson's crusade, enables a direct link between two oceans. Using archival material from newspaper articles, letters and photographs of mostly European origin, Amanaplanacanalpanama, 1995, relates a familiar colonialist narrative of the conquest of a new trade route.
Andrea Geyer's Spiral Lands / Chapter 2, 2008 investigates the ongoing dispossession of lands from Indigenous people, which is one of the longest struggles for social justice in North America. Photographs of previously populated landscapes in the American Southwest accompany an audio lecture which combines voices of native and non-native ethnographers, philosophers, historians and artists, spanning time and geographies.
Alberto Baraya's Herbario de plantas artificiales (Herbarium de Artificial Plants), 2001-present, references 18th and 19th Century botanical expeditions and systems of classification. Borrowing from Carolus Linnaeus' taxonomic procedures, Baraya has created a herbarium of a few hundred specimens of artificial plants of largely Chinese production. Looking for artificial plants in some of the most fertile places on earth, Baraya points to current forms of desire in the consumption, use and ownership of nature. By using the format of the herbarium, Baraya allows for comparisons to be made with colonial approaches to the natural environment.
Anecdotes and non-academic findings further feed the imagination of artists whose works are presented in the exhibition, with humour often remaining one of the most effective strategies to approach centuries old histories whose legacy never cease to mark the present.
In the lead to the exhibition, Miler Lagos and Gabriel Sierra will complete a residency at Gasworks and produce new work for Everything has a name, or the potential to be named. Additionally, Gabriel Sierra will develop the exhibition's design and remodel Gasworks' reading area into a permanent feature of the space.
* “Everything has a name, or the potential to be named, but who does the naming when the unknown is falsely assumed not to exist?” is extracted from the text of the voice-over of Matthew Buckingham's film Muhheakantuck—Everything Has a Name, 2003.
Gasworks - Everything has a name, or the potential to be named - Maria Thereza Alves, Vasco Araujo, Alberto Baraya, Matthew Buckingham, Luis Camnitzer, Antonio Caro, Abraham Cruzvillegas, Jimmie Durham, Andrea Geyer, Miler Lagos, Gabriel Sierra.
16 April – 24 May 2009
Wilkinson Gallery is pleased to present an exhibition by Austrian Artist Tillman Kaiser. For his London solo debut titled “Hallucination Engine”, Tillman Kaiser presents a vivid series of mixed media paintings, sculptures, and outsized wallpaper. With his subdued palette and formal geometric symmetry Kaiser has developed an offshoot visual language of the Gothic forms found in his native Austria. His paintings are rhythmic undulations on the splintered image data that informs us in a thousand ways each day. Human and insect eyes, African faces, anonymous Modernist sculptural forms, and mid-20th century industrial objects alternate and converge into seemingly low spectrum patterns and waves.
Amidst the stripped down psychedelic, Op Art aesthetic and fanciful Modernist underpinnings, Kaiser collates the information into witty urban conceits. The anomalous associations reverberate with much of the archetypal imagery found in Western and primitive cultures such as architecture, public monuments, masks and totems. Large constructivist sculptural forms that play off of the paintings highlight a dystopic sci-fi element. There are ready-made components
positioned atop or within the graceful cardboard constructs. Painted in black India ink, blunt enamel gray, or neutral flat white they appear as benevolent talismans born from alien technology.
With its slow time analog residue, Kaiser’s art runs anomalous to the high-speed virtuality surrounding the real world. Kaiser elevates the
banal overload aspects of global cultural noise into riffs on our shattered hierarchies. Using a coded visual alliteration he is a storyteller of a reality that cannot be seen, but is always subject to a psychic connection between the conscious and the subconscious.
It is the temporal offspring of an occult interest in the uncanny and infinite universal strings that makes us connected.
Through the lens of an updated abstract constructivism, Dada, and surrealism Kaiser sifts through the old outmoded cultural signifiers, delineating a value towards certain picture constructs within the new ones. As containers of foreignness and familiarity they work on numerous subjective levels. Taking us down the hypothetical wormhole that is the order of the day, a kaleidoscopic epiphany awaits those that can decipher its algorithms.
Festival of Video Art of Casablanca Marocco
Facultè dès Lettres et des Sciences Humaines Ben M’sik
21th april – 25th april 2009
Angèle Diabang Brenner, Hilda Hiary, Jelili Atiku, Jude Anogwih, Marwen Trabelsi, Ricardo Mbarkho, Nisrine Boukhari, Omar Saadoun, Oussama Oussous, Tarik Cherraki, Yamine Elrhorba, Moataz Nasr, Ihssan Boudrig.
Signe Munk Lillemark, Fani Zguro, Fatima Mazmouz, Hamza Halloubi, Cendres Lavy, Paul Guilbert, François Lejault, Daphné Le Sergent, Francis Ruiz De Enfante, Bruno Bresani, Jelena Bračun, Laurence Medori, Nika Radić, Renata Poljak, Marie-Ève Le Duc et Jalila Hajji.
Ahree Lee, Vanessa Padilla, Gabriella Santander, César Gonzales, Ismail Ferhane, Med Ezoubeiri, Estéban Guerra.
Web : www.fiavcasablanca.ifrance.com
ART SHOW ZURICH
ART SHOW ZURICH provides a forum for direct contact with the public to a selection of international artists and producer galleries from 15th to 17th May 2009.
ART SHOW ZURICH is centrally located in Zurich's former industrial quarter west of the Main Central Railway Station, now the Culture Mile, inside the historic foundry hall Puls 5. There artists find a platform to show personally their latest works and to demonstrate various processes of creation.
At ART SHOW ZURICH, you will find no professional art galleries, but emerging individual artists who shows their works directly to an interested public.
ART SHOW ZURICH offers to a wide public original works for a private collection or to make an interior more attractive. The public discovers contemporaneous art as well in an abstract as in a non abstract form and get inspired by this alternative to an often hard art market.
ART SHOW ZURICH 2009 - Puls 5 is a modern project. Art exists mostly through the contact with the public and its integration in a social context.
Special Guest at ART SHOW ZURICH is the international renowned South Korean artist Minjoo Lee (Seoul), with a retrospective of her work. Minjoo Lee is concerned with the society around her, the relation between war and peace ("Universal Resonance") is a recurrent theme. Her special aura is the result of her use of natural materials, such as traditional stone colour, Korean ink, egg, gold and pearls on transparent support made of Korean silk, paper of mulberry tree, self made paper, plaster and wood. These art works have an esthetical charm, are full of humour without loosing their social significance.
Puls 5: This former industrial district of Zurich is now a trendy one, where free green spaces remain alongside monuments of the industrial area and contrast very nicely with the new constructions. Life, work, learning, shopping, culture and leisure have their place in Puls 5.
ART SHOW ZURICH - International Art Event - Puls 5, Zurich - 15-17 May 2009
"ART & STYLE St.Gallen-Lake Constance ist the international fair and trade show for artworks and design-products in the region of four countries between Switzerland - Germany, Austria and Liechtenstein. The UNESCO World Heritage Site St.Gallen is the metropolis of Eastern Switzerland. The Fair ground is located in the city. The Art Event ART & STYLE is a public fair and a Swiss and International Forum for galleries, artists and designers. The fair offers a forum of exchange for art dealers, artists and designers on all levels.
Style for everyday
The visitor can acquire original works for its own collection or to furnish their living spaces and will discover both quality and variety in the represented styles, with exhibited works of consistently high standard in a surprising number of new artistic forms of expression. All products can be acquired at the fair."
ART & STYLE St.Gallen - Lake Constance 2009 - International Trends in Art and Design
Da martedì 21 aprile Quattro passi nella Videoarte Proiezioni e seminari sulla storia della videoarte dagli anni 70 fino ad oggi.
Da genere di avanguardia dei primi anni '70 a forma d'arte per un pubblico più vasto, l'arte-video ha assunto nel tempo una propria autonomia, svincolandosi dal teatro, dal cinema d'autore e perfino dalla tv da cui è germinata. Un ciclo di quattro seminari, ciascuno a illustrare un decennio della storia della videoarte, un’antologica ragionata delle opere più significative: da Nam June Paik a Bill Viola a Gianni Toti.
A cura di AIACE
Sabato 4 aprile la Kyo Art Gallery ha inaugurato la mostra MY SWEET DOLLS presentando la personale dell’artista Angelo Barile con la sua ultima produzione realizzata appositamente in occasione di questo evento e l’installazione “Dov’è Noè” della designer e artigiana tedesca Jutta Taute.
kyo Art Gallery