Polymorphous, multifaceted, multicultural and in continuous dialogue with itself as well as with its audience; these are the qualities of PRAGUE BIENNALE 4, presented this year together with PRAGUE BIENNALE PHOTO 1.
Prague Biennale directors Giancarlo Politi and Helena Kontova have created an open forum on painting, presenting this issue through several declinations and manifestations: locals, nationals and internationals. The result is EXPANDED PAINTING — a title coined on the occasion of Prague Biennale 2 and inspired by Rosalind Krauss’s “Sculpture in Expanded Field.”
This term becomes the starting point for a series of sections which aim to spotlight and engage the actual state of painting in Central Europe together with other countries like Mexico, Korea, Malaysia and the Philippines, in cooperation with a team of active and creative curators.
The counterparts of this parade of paintings and painters never seen before internationally are ART IN GENERAL and FOCUS ITALY, which confi rm once again the Biennale’s mandate and its attention to a multiplicity of interests and themes. ART IN GENERAL captures the current situation in the Czech Republic and Slovakia, featuring peculiar and unexpected curatorial visions, while FOCUS ITALY brings ‘on stage’ a fraction of Italian artistic production that is often overshadowed.
Polymorphous, multifaceted, multicultural and in continuous dialogue with itself as well as with its audience; these are the qualities of PRAGUE BIENNALE 4, presented this year together with PRAGUE BIENNALE PHOTO 1.
keinen blassen Schimmer
opening 24 April 2009, 6 – 9 pm
exhibition 25 April – 6 June 2009
Wednesday – Saturday 11 am – 6 pm and by appointment
extended opening hours Friday 1 May 11 am – 9 pm and Sunday, 3 May 11 am – 6 pm
Sommer & Kohl are pleased to present the first solo exhibition with new works by Andreas Eriksson (*1975, Björsäter, Sweden).
Inspiration and content for Andreas Eriksson's work derive from his experience of nature, as well as a subtle exploration of both his emotional reactions to it and his projections onto it.
In his shadow paintings, Eriksson combines the media of photography and painting. These pictures are based on photographic images taken by the artist lying on the sofa in the evening of the shadows cast on his living room wall by the headlamps of passing trucks. He then transfers the shapes of these shadows to aluminium using colour without a binder, before painting over the entire ground in one colour, mostly grey. This monochrome overpainting dissolves the unbound colour and the shapes of the shadows bleed through the top layer of paint, although only faintly visible.
Eriksson's sculptures are based on casts of natural objects. The series "Content is a glimpse" – a quotation by Willem de Kooning – are bronze casts from dead birds, which the artist found after they had flown against the windows of his studio. Eriksson had them cast in such a way that the bizarre forms of the casting channels were preserved, so it looks as if they are sitting once again on tree branches.
In 2007, Eriksson won the Bâloise Art Prize, followed by a solo exhibition at MUMOK, Vienna (A) in 2008. In 2009, his work is on view from 29 August at the 5th Nordic Biennial Momentum, Moss (N) and from 10 September in the group exhibition "Ferne Nähe" at Kunstmuseum Bonn, Bonn (D). 2010, the artist will have a solo exhibition at Moderna Museet, Stockholm (S).
Furthermore, we would like to draw your attention to 7X2. On occasion of the Gallery Weekend Berlin 7 Berlin galleries show with 7 (inter)national partner galleries on 3 May from 11 am to 6 pm at Strausberger Platz 19.
Sommer & Kohl collaborate with Francesca Minini from Milan to show a project by Deborah Ligorio and Riccardo Previdi. Further information can be found at www.7mal2.com.
Sommer & Kohl
"La temática de la segunda edición es Intemperie, en alusión al aire libre, a los grandes espacios desiertos como los de la Patagonia o los de la Antártida, a la fragilidad de la vida ante una Naturaleza cada vez más amenazante, como consecuencia del cambio climático, pero también metáfora de un mundo regido por la transitoriedad, la incertidumbre, y en el cual fortalezas que parecían eternas, indestructibles, se derrumban en un instante como castillos de naipes. "
Bienal Internacional de Arte Contemporaneo del Fin del Mundo. Ushuaia, Antártida , Tierra del Fuego, Patagonia
"The presentation of “Il Tempo del Postino” at Theater Basel will be one of the most spectacular events at this year’s Art Basel. The Independent called this unique show "The world's first visual arts opera" after its first and only presentation at the Manchester International Festival in 2007. A group of the world’s leading visual artists created a major experimental presentation.
Curated by Hans Ulrich Obrist and Philippe Parreno as a group exhibition that would occupy time rather than space, “Il Tempo del Postino” (Postman time) is presenting a sequential display of time based art on the theatre stage. Each of the over fifteen artists is creating an act of different length. In Basel “Il Tempo del Postino” will be directed by Hans Ulrich Obrist, Philippe Parreno, Anri Sala and Rirkrit Tiravanija.
In addition to the artists who participated in Manchester in 2007, Doug Aitken, Matthew Barney & Jonathan Bepler, Tacita Dean, Trisha Donnelly, Olafur Eliasson, Liam Gillick, Dominique Gonzalez-Foerster, Douglas Gordon, Carsten Höller, Pierre Huyghe, Koo Jeong-A, Philippe Parreno, Anri Sala, Tino Sehgal and Rirkrit Tiravanija, “Il Tempo del Postino” in Basel will include new contributions by Thomas Demand and Peter Fischli / David Weiss. The graphic design for Manchester was created by Peter Saville, for Basel it was created by Ludovic Balland."
Détournement Venise 2009
Una passeggiata nella memoria – itinerario d’arte contemporanea nella città di Venezia
Evento collaterale alla 53. Esposizione Internazionale d’Arte – La Biennale di Venezia
Venezia, 7 giugno – 22 novembre 2009 | 5 settembre – 22 novembre 2009
Quasi trenta siti storici, circa cento artisti provenienti dai cinque continenti. Una passeggiata psico-geografica attraverso l’architettura di Venezia, in cui l’arte contemporanea si fa strumento di lettura e di interpretazione.
Detournement Venise 2009 si svolge in due momenti: alcune sedi saranno inaugurate a giugno mentre altre, come ad esempio il Campo del Ghetto Novo (Ghetto Ebraico), la chiesa di San Salvador, il Telecom Future Centre e le Aree Verdi del Molino Stucky apriranno a settembre.
Nel contesto delle manifestazioni collaterali alla 53. Esposizione Internazionale d’Arte, Detournement Venise 2009 promuove lo scambio interculturale, mettendo la memoria al servizio della creatività. Un network di artisti internazionali e i siti più suggestivi di Venezia si mescolano per creare una rete di eventi interdisciplinari - mostre, azioni artistiche, testimonianze, performance teatrali, film, recite e workshop.
Dall’India di Vivan Sundaram alla Cina di Ai Wei Wei, dalle bare colorate dei ghanesi Ataa Oko, Kudjo Afutu e Daniel Amun Jasper alle installazioni dell’australiano Lawrence Carroll, dalle archeologie industriali del Molino Stucky all’inedita sede dell’Ospedale di San Giovanni e Paolo per la quale Christian Boltanski ha creato un’opera interattiva.
L’arte vive nei luoghi storici di Venezia, aprendo un dialogo tra passato e contemporaneità. E l’ultima parola spetta al visitatore.
Détournement Venise 2009
Babel (2001) e Marulho (1997) do artista brasileiro Cildo Meireles (Rio de Janeiro, 1948) instalados no Museu da Vale, cidade de Vila Velha, estado do Espírito Santo, Brasil, entre 30/06 e 17/09/2006.
Exposição de Cildo Meireles na Pinacoteca de São Paulo.
In Praise of Shadows focuses on shadows, shadow theatre and silhouettes, based on old and contemporary folk tales and simple narratives, it explores the traditional art form of shadow plays and their influence on the world of contemporary art in recent years. The exhibition brings together key works by eight contemporary artists from seven different countries and two master filmmakers. In Praise of Shadows comprises some 90 works, from free standing models of theatres to drawings, collages and wall installations. It also features a significant number of rare figures and silhouettes, films, photographs, texts, and manuscripts pertaining to shadow theatre, and early silhouette and stop-motion movies. At the heart of the exhibition is the shadow theatre tradition of Turkey and Greece, and its character Karagöz, known as Karaghiozis in Greece, an ever hungry trickster that lives through hundreds of adventures and misadventures with a varied set of characters. Karagöz dates back to the 16th-century in Turkey and to the 19th-century in Greece. His stories are still performed today by puppeteers who have adapted his adventures for today’s public.
Kara Walker, For the Benefit of all the Races of Mankind (Mos' Specially the Master One, Boss) An Exhibition of Artifacts, Remnants, and Effluvia Excavated from the Black Heart of a Negress, 2002, Cut paper and projection on wall, Variable dimensions, Collection MAXXI – Museo nazionale delle arti del XXI secolo, Roma, Photo courtesy Sikkema Jenkins & Co.Jockum Nortström, The Rag, 2005, Graphite on paper, 70 x 100 cm, Collection Mr. Ake Skeppner + brother, Brussels, Photo Courtesy Magnus Karlsson, StockholmNathalie Djurberg, Viola, 2005, Claymation, DVD (colour, sound), Artist's Collection
The exhibition centres mainly around three artist Jockum Nordstrum (Sweden), Kara Walker (USA) and William Kentridge (South Africa), complemented with the work of some other artists. Kara Walker’s videos and silhouette installations have many correspondences with the theatre of Karagöz and Karaghiozis. Walker has in recent years embraced the techniques of shadow plays and has employed them in her video animations as well as in her shadow plays Fibbergibbet and Mumbo Jumbo, 2004. Works by William Kentridge will include the free-standing theatre and the preparatory drawings for Preparing the Flute, an abridged version of Mozart’s The Magic Flute. Also included are early materials from his future production of Shostakovich’s opera The Nose for the Metropolitan Opera in New York, scheduled for 2010. The exhibition includes a collaboration by Kentridge and Walker, a two-minute video work, made in 2004 and never shown before. It also brings together key works by Haluk Akakce, Nathalie Djurberg, Katariina Lillqvist, Christiana Soulou and Andrew Vickery.
In Praise of Shadows is curated by Paolo Colombo, Art Advisor at the Istanbul Museum of Contemporary Art. Following its opening in Dublin, the exhibition will travel to the Istanbul Museum of Modern Art and the Museum Benaki, Athens, from 21 May - 26 July 2009.
In Praise of Shadows is accompanied by a fully-illustrated catalogue designed and produced by CHARTA, with texts by the following authors: Metin And, Evamarie Blattner, Paolo Colombo, Lewis Hyde, Enrique Juncosa, William Kentridge, Carolina Lopez, Francois Martin and Lotte Reiniger.
To buy the catalogue for this exhibition on IMMA’s AbeBooks page click > arrow linkhere
FRAME, the Finnish Fund for Art Exchange, are sponsors of the exhibition.
Presented with the support of the Culture Programme of the European Union.
Irish Museum of Modern Art: In Praise of Shadows
A collection of 11 short poetic psycho-geographic portraits of cities and spaces from artist Dominique Gonzelez-Foerster.
Ranging from the revisiting of a scene of Ming-Liang Tsai's 'Vive l'Amour' through the eyes of its protagonist, to a ticker-tape parade in Buenos Aires, from a reflection on the filmic qualities of Brasilia,to an observation of the observers of the 1999 eclipse in Paris. All soundtracked by a sensitive balance of field-recordings and carefully chosen delicate music.
YouTube - Parc Central - Hong Kong Dominique Gonzalez-Foerster
Der Mercedes-Benz Award for South African Art and Culture wird in diesem Jahr zum zehnten Mal vergeben. Charakteristisch für diesen Preis war die jährliche Vergabe jeweils in einer anderen künstlerischen Disziplin.
Der Preis 2009 ermöglicht erstmals einen Überblick zu den jüngsten Trends in der südafrikanischen Mode.
In der Ausstellung sind alle Aspekte von Haute Couture auf der Basis indigener Traditionen über Minimal Trends bis zu Recycling und Sportswear vertreten. Die Ausstellung im Daimler Contemporary Berlin ist die erste Übersicht zur zeitgenössischen südafrikanischen Mode in Europa.
Zum Preisträger wählte die unabhängige Jury das Label Black Coffee, Johannesburg. Parallel zur Mercedes-Benz Fashion Week (Juli 2009) stellen die insgesamt acht nominierten Modedesigner ihre eigens für diese Ausstellung realisierten Kollektionen im Berliner Haus Huth vor.
Ergänzt wird die Ausstellung durch Bildobjekte, Grafiken und Fotografien südafrikanischer Künstler aus der Daimler Kunst Sammlung.
Preisträger: Daniça Lepen und Jacques van der Watt für Black Coffee
Besondere Erwähnung: Craig Native
Nominierte: Abigail Betz, Stiaan Louw, Themba Mngomezulu für Darkie Clothing, Palesa Mokubung für Mantsho, Maya Prass, David Tlale
ausgestellte südafrikanische Künstler aus der Sammlung:
Jane Alexander, Mbongeni Buthelezi, David Goldblatt, Kay Hassan, David Koloane, Zwelethu Mthethwa, Sam Nhlengethwa, Jürgen Schadeberg, Claudette Schreuders, Guy Tillim, Andrew Tshabangu
Daimler Contemporary: Fashion Award
"First Things First 3
CCNOA in cooperation with the Higher Institute for Fine Arts (HISK), Gent (www.hisk.edu), is pleased to present for the third year the exhibition First Things First featuring the work of four young artists, namely RUTH SACKS (ZA), BASTIAAN SCHEVERS (NL), JORIS VAN DE MOORTEL (BE), and FREDERIK VAN SIMAEY (BE), who are all attending the postgraduate course at the HISK. In addition, our program in the multimedia space will present a video work by ESTHER STOCKER (IT/AT) and our program in the project space will feature a site-specific installation by Dutch artist GRACIA KHOUW."
First Things First 3 - CCNOA
Mittwoch 20. Mai 2009, 19 Uhr im Auditorium des Kunstmuseum Bonn
Deborah Bürgel Typologie des Hybriden
The Order: Ein Pars pro Toto für Matthew Barneys Cremaster Cycle
Der fünfteilige Filmzyklus The Cremaster Cycle (1994–2002), das Hauptwerk des US-amerikanischen Bildhauers Matthew Barney, erzählt einen Schöpfungsmythos, der den Körper und seine physiologischen Prozesse als Metaphern für skulpturale Transformation verwendet.
Die Figuren vermischen scheinbar Unvereinbares: Männliches und Weibliches, Mensch und Tier, Organisches und Anorganisches. Ob Chimären, Transvestiten oder Maschinen-Menschen, die Charaktere sind hybride Kompilationen, die der Schöpfer-Künstler einer metamorphotischen Formwerdung unterwirft.
Hybridisierung als Prozess der Formwerdung ist auch in formaler Hinsicht eine zentrale Kategorie für den Zyklus, der Videokunst, Kinofilm, Bildhauerei und Performance, Oper, Musical und Videospiel kreuzt. Matthew Barneys Filme bersten vor einer Fülle von berauschenden, phantastischen und verwirrenden Bildern, die überreich mit Verweisen auf Vorbilder aus der Kunst- und Filmgeschichte, der Alchemie und christlichen Ikonographie, der Freimaurerei und antiken Mythen sowie US-amerikanischer Populärkultur gespickt sind und sicherlich zu den opulentesten Beispielen der Videokunst des ausgehenden letzten Jahrhunderts zählen.
Der Vortrag konzentriert sich angesichts dieser Komplexität auf eine zentrale Sequenz des zuletzt gedrehten Cremaster 3, die als Pars pro Toto betrachtet und vorab gezeigt werden soll. Diese Episode, The Order, die als losgelöstes solitäres Spiel im Spiel unabhängig von der Handlung des Hauptfilms zwischengeschaltet ist, fasst alle fünf Filme zitierend zusammen und bündelt wie ein Brennglas den gesamten Zyklus.
So bietet der Vortrag mit der Vorführung der suggestiven Episode The Order die Möglichkeit, in die überwältigende Bildwelt des komplexen Filmzyklus einzutauchen und vermittelt außerdem durch die exemplarische Analyse der kurzen Sequenz anhand der Kategorie Hybridität, einem zentralen Begriff des Diskurses der 1990er Jahre, einen ersten Zugang zu den hermetischen Arbeiten Matthew Barneys.
MOMENTUM 2009 – 5th Nordic Biennial of Contemporary Art
29 August – 18 October
Opening Saturday 29 August 14.00
Press preview Thursday 27 August 11.00
Momentum Kunsthall and Galleri F15
Curators: Lina Džuverovic and Stina Högkvist
Akassen, Mats Adelman, Roger Andersson, Asmundur Asmundsson, Fia Backström, Maja Bajevic, Petra Bauer & Annette Krauss, Nina Beier & Marie Lund, Maja Borg, Liv Bugge, Libia Castro & Ólafur Ólafsson, Jacob Dahlgren, Ida Ekblad, Marte Eknæs, Andreas Eriksson, Jan Freuchen, Carl-Michael von Hausswolff, Hannaleena Heiska, Saskia Holmkvist, Karl Holmqvist, Lars Laumann, Klara Liden, Darri Lorenzen, Josefine Lyche, Eline McGeorge, Are Mokkelbost, Jani Ruscica, Marthe Thorshaug, Helgi Þórsson, Salla Tykkä, Gaeoudjipar
momentum.no - Main page
On Friday, 8 May OCA will hold a public presentation of two projects that are part of the 53rd edition of La Biennale di Venezia. The first presentation, at 18:00, will focus on Anawana Haloba, selected for 'Fare Mondi // Making Worlds...', the main exhibition for La Biennale di Venezia, curated by Daniel Birnbaum. Anawana will discuss her project and the influences behind Haloba's work with Gavin Jantjes, Curator for International Contemporary Art, The National Museum of Art, Architecture and Design, Oslo, Norway.
Following Haloba's presentation, Elmgreen and Dragset will discuss their curatorial project 'The Collectors', which will occupy the Nordic and Danish Pavilions at the Giardini in Venice – opens: on 4 June at 15:00. The artists and curators will elaborate talk about the project and the work of the artists they have selected. They will be joined by some of these, including Thora Dolven Balke and Vibeke Slyngstad from Norway and Nina Saunders from Denmark (TBC).
The Nordic and Danish Pavilion
'The Collectors' Curated by Elmgreen and Dragset
Press Preview: 4 June 2009
Professional Preview: 4 June 2009, 15:00
Public Opening: 7 June 2009
The Nordic and Danish Pavilions
The Danish Pavilion and The Nordic Pavilion
53rd Venice Biennale 2009
Curated by Elmgreen & Dragset
Thora Dolven Balke, Massimo Bartolini, Hernan Bas, Guillaume Bijl, Maurizio Cattelan, Elmgreen & Dragset, Pepe Espaliú Tom of Finland, Simon Fujiwara, Han & Him, Laura Horelli, Martin Jacobson, William E. Jones, Terence Koh, Jani Leinonen, Klara Lidén, Jonathan Monk, Nico Muhly, Norway Says, (Torbjørn Anderssen, Andreas Engesvik and Espen Voll), Henrik Olesen, Nina Saunders, Vibeke Slyngstad, Sturtevant and Wolfgang Tillmans
On the occasion of the 53rd International Art Exhibition – La Biennale di Venezia, the Nordic and Danish Pavilions will collaborate with a project curated by artists' duo Elmgreen & Dragset. The project was initiated by the Office for Contemporary Art Norway, the hosting organisation for the Nordic Pavilion in 2009, and the Danish Arts Council's Committee for International Visual Arts, commissioners of their respective pavilions, with the intention to create a 'transnational neighbourhood' within the Giardini, an exhibition context traditionally dedicated to national representation. The project, titled 'The Collectors' is not a group show in the conventional sense. The pavilions will undergo a radical reconstruction, and more than twenty artists and designers of all ages, ranging from established to emerging ones, will contribute to creating a different kind of exhibition format, one that will appear closer to a film set than a conventional art display.
Office for Contemporary Art Norway
"Von 23. April bis 24. Mai präsentiert der erste Designmonat in der Steiermark ein buntes Kaleidoskop der Kreativwirtschaft. Designer aller Disziplinen zeigen ihre Produkte und Dienstleistungen und erobern den Raum, den sie brauchen, um gesehen zu werden. Im vorliegenden Fall einen Zeitraum – den Designmonat."
The 7th edition of DMY International Design Festival “Same same, but different” will kick off in June. Showcasing works by internationally acclaimed designers as well as reveilling prototypes by the young talent the festival this year especially focuses on design that makes a difference. Presenting three huge main exhibition zones next to a varied program of lectures, panel talks, performances and parties the festival itself tries to change the city at least for five days.
Festival News 2009 - DMY 2009 - International Design Festival Berlin
SOFIA DESIGN WEEK is the first of its kind design festival in Bulgaria.Between June 5th and June 12th Sofia will be transformed into a vibrant capital of design.
In its first issue, SOFIA DESIGN WEEK is welcoming some of the most avant-garde international names in the contemporary product, communication, interactive and graphic design. Sofia Design Weeks aims at placing our city on the global design map. Through discussions and experience exchange it will also search for the next identity in our visual environment, one that is urgently needed.
SOFIA DESIGN WEEK: "SOFIA DESIGN WEEK / NEXT IDENTITY"
Innauguració de "LA CONFIRMACIÓN", la nova exposició de David Bestué i Marc Vives al centre d'art SantaMòniCA.
" Media and video artists all around the world were invited to send video art for the second editon of crosstalk video art festival that will be held in Budapest on June 23 - 28, 2009.
crosstalk video art festival is an annual video art exhibition, that seeks to uprise people awareness for video as a form of art that is inserted in their life more than it's noticed. crosstalk video art festival brings to Budapest contemporary art scene a prospective: intertwines people thought art and urban environment. Taking video art projections into the main square of Budapest, crosstalk video art festival aims to create an interlock network of viewers and artists in which new forms of embodiment emerges throughout the experience of connecting art and the city."
Crosstalk Video Art Festival Budapest
Rezi van Lankveld
Curated by Andrei Roiter
April 25 - May 23, 2009"
Galerie Akinci is pleased to present a curatorial project by artist Andrei Roiter, entitled Being There. Inspired by the 1979 philosophical and political satire, (and Peter Sellers’ last film), Roiter invites a group of international, representational painters, for whom he feels a deep, personal admiration, and whose intensely subjective universes appear extraordinary yet unassuming, much the same way as the film’s main character
Chance, the gardener (Peter Sellers), is a simpleton who has lived all of his life inside the townhouse and walled garden of a rich recluse and knows only gardening and what he sees on TV. Awaking one morning to learn that his master has died, Chance is soon thrown out into the world. The naif's mind has been supplied with a fund of simplistic generalizations, phrased in terms of the garden where he has worked all his adult life. But because he presents himself as a man of good breeding (he wears the deceased proprietor’s old-fashioned tailored suits) his simplicity is mistaken for profundity and he is inadvertently thought to be a genius who then rises to prominence.
Roiter sees a parallel between the protagonist of the film and the figure of the painter in our contemporary landscape. The representational painter uses an archaic medium and produces handmade, poetic objects to make metaphors on a present-day reality that is mechanically mediated and increasingly virtual. Whether as a metalanguage or as direct expression, the works of each of the painters Roiter has chosen for his show exemplifies this paradox. Share unique depth and intimate atmosphere, the works in this show are modest in scale but universal in scope.
Ross Chisholm’s (Redhill, UK, 1977) reconstituted portraiture positions the viewer in an unsettled relationship to nostalgia, memory and the recording of it. Working with historical paintings, reproductions or found images, Chisholm breaks the surfaces of his small-scale paintings with visual interventions that deface or erase precious innocence.
Rezi van Lankveld’s (Almelo, Netherlands 1973) liquid, automatic technique stands stalwartly against the hyper-technologized processes of the modern world. Lankveld’s improvisational method preserves each piece’s unpredictability to the very end. What remains then are suggestive waves and watery forms that tempt us into recognition but always maintain the allure of other possibilities.
Like Van Lankveld, Paul Housley’s (Stalybridge, Greater Manchester, 1964) works are unequivocally unconceptual. His paintings are sincere, intimate portraits or still lifes of plastic figurines, toys, and other childhood-reminiscent objects rendered in virtuoso painterly surfaces and materiality. Despite his sophisticated art training, Housley chooses to stay in the frame of mind and style of a genuine romantic.
Dima Gutov’s (Moscow, 1960) relationship to painting is more distant and conceptual compared to the other participating artists in the show. He came to painting after working with large-scale installations and video. Although his paintings are figurative, they usually refer to television, photography, or cinema, and not to the forgotten tradition of realistic painting.
Behind Pere Llobera’s (Barcelona, 1970) images are often personal narratives which are highly symbolic and psychologically charged. With matte, fresco-like surfaces, an earthy palette and oneiric images, Llobera’s paintings appear as life through the hazy lens of a sleepwalker.
The traveler, spectator and comedian in the works of Andrei Roiter (Moscow, 1960) represent his views on the identity of the Artist in the world. His paintings are less assertive icons than they are poetic, absurdist reflections.
Current exhibition - akinci.nl
This exhibition focuses on art as a channel of production and transmission of knowledge: from a reflection on the means that nourish and spread creativity to the methodologies and situations that encourage active participation by the public in artistic processes and results.
The exhibition presents actions on art and the social capital with works by Vladimir Arkhipov (Russia), Ana Garcia-Pineda (Barcelona), Luis Gárciga Romay (Cuba), Núria Güell (Girona), Elín Hansdóttir (Iceland-Germany), Oh Eun Lee (Korea-Switzerland), Chiu Longina (Galicia), Emili Padrós (Barcelona), Platoniq (Barcelona) and Telenoika (Girona).
The technological development of recent decades has facilitated new forms of relationship, organization and distribution in such diverse spheres as the economy, the administration, food, mobility, health, leisure, etc. Speedy data communication has simplified what used to be time-consuming everyday activities. Placing bank transfers, paying taxes, finding out the weather forecast, ordering from the supermarket, obtaining a route planner, making a doctor's appointment and booking a cinema seat can all be done from home with a click on the computer, thus avoiding intermediaries and tiresome procedures.
\ Bòlit \ Presentation \
The Colonization and the
History of the Colonized
01.04.2009 - 13.09.2009
Georges Adéagbo (born 1942 in Benin) opens up a paradoxical field of fiction in his installations, which in the post-colonial – and in this sense, also always highly political – discourses, supports relevant fantasies about the Other(s). In doing so, the selection of his themes is just as ingenious as the direction with which the things he has selected are brought into a temporary order, that is also, at all times, capable of being revoked. In this direction, nets of meaning are constructed that are mutually contradictory and expectations are built up that the artist either breaks or redirects. Georges Adéagbo expands the gallery space, intervenes in the MAK Collection and examines it in terms of colonial implications.
Curator Andreas Krištof
The MAK gallery exhibition program presents positions of artists who focus on the theme of culture transfer.
[ M A K_o n l i n e ]
Georges Adeagbo: The Story of the Lion
Mullican invents systems of signs and tries to show how they work. For this he has developed pictograms – the best-known one is Glen the matchstick man –, symbols, colours and structures. He combines widely differing signs and forms of portrayal diagrammatically to form a highly complex personal language system, which he dovetails with a carefully coordinated colour system. All this is part of his personal model of a cosmology. Mullican has been developing this parallel universe since the 1970s – with an incredible range of media and forms of expression extending from fragile models to heavy iron and glass sculptures, from cycles of drawings and photographic works via collages and light boxes with computer-generated images of imaginary cityscapes to videos and films. He assembles them into installative works reminiscent of interpretive classifications, and he designs and presents virtual worlds, often in connection with hypnosis and performances.
April 4 to May 23, 2009"
Mai 36 Galerie
On her first solo exhibition at Cristina Guerra Contemporary Art Gallery, Lisbon, Angela Bulloch (born 1966 in Rainy River, Ontario, Canada) will present a series of works under the title “Trajectories & Other Lines”. The title refers not to a specific theme that is developed within the exhibition, or a particular group of works but to the nature of the works themselves. All of them have in common a process-based methodology as well as an internal narrative, which is made tangible either through embodying a certain trajectory or an evolution of some kind. These works carry on Bulloch’s investigations into the structures that organize our environments as well as our behaviors as a society.
Z.ara.3:4 a new collaboration between Angela Bulloch and Michael Iber, following the working process and the formation of the Z Phrase piece (first shown in 2008 at the Städtische Galerie im Lenbachhaus und Kunstbau, München), will be presented at the exhibition. This work’s title Z.ara.3:4 refers both to the work that it references, as well to the processes that were used to achieve the new work - a blurring, stretching and very selective editing of one music in order to create another.
Another new work presented at the show will be a new piece from The Rules Series: The Basic State, 2009. “The Basic State” is an online open source rese
Cristina Guerra - Contemporary Art
This exhibition explores work by two of Russia's most influential avant-garde artists, Alexandr Rodchenko and Liubov Popova. Charting their evolution from abstract painting to graphic designs, the show includes cinema and theatre poster designs, books and costumes as well as paintings and sculpture.
Tate Online: British and international modern and contemporary art