Take Care of Yourself
April 9 - June 6, 2009
534 W 21st Street"
Since the late 1970s, Sophie Calle has made work that investigates provocative and often controversial methods for confronting her emotional and psychological life. She is well-known for her sleuth-like explorations of human relationships, which led her to follow a stranger in the streets of Venice and document his every move, or to find work as a hotel chambermaid in order to photograph the belongings of the hotel’s guests. Calle’s work has been shown in international venues including the Institute of Contemporary Art (Boston), the Centre Georges Pompidou (Paris), the Musée d'Art Moderne de la Ville de Paris, the Museum Boymans van Beuningen (Rotterdam), the Tel Aviv Museum of Art, and the Hara Museum of Contemporary Art (Tokyo), among others.
Take Care of Yourself was first presented at the French Pavillion in the 2007 Venice Biennale. It traveled to the Bibliothèque Nationale, Paris (4/1 – 6/7/08) and to DHC/ART, Montréal, Canada (7/4 – 10/19/08). It is scheduled to continue traveling to various international venues, including Sao Paulo, Rio de Janeiro and Salvador de Bahia, Brazil, in 2009 and 2010. In addition, the artist will have one-person exhibitions at the Whitechapel Gallery in London (Oct. 2009), the Palais des Beaux-Arts, Brussels (5/26/09 – 9/13/09) and the DePont Foundation, Tilburg, The Netherlands (1/16/10 – 5/16/10).Paula Cooper Gallery
Equipaje de mano
Equipaje de mano da título a la exposición de la artista italiana Sabrina Mezzaqui (Bolonia, 1964) que llega por primera vez a Buenos Aires con el apoyo de la Embajada de Italia y el Instituto Italiano de Cultura.
Hasta el 28 de junio las fabriles salas de CCMOCA exhibirán los sutiles y delicados objetos, instalaciones y videos de Mezzaqui seleccionados por la curadora Verusca Piazzesi (directora de Galleria Continua). Cuadernos y libros, escrituras con diferentes niveles de exposición se cruzan en la obra de una artista apasionada con la superficie del papel, como soporte expresivo.
“La artista muestra claramente una afortunada, sana obsesión por lo más frágil y al mismo tiempo potente, desde el punto de vista de la sensibilidad, de la capacidad de emocionarnos, de divulgar ideas, que existe: el papel impreso. Papel y libros no son solo objeto de sus trabajos sino también sujeto, protagonistas y personajes de sus obras” describe Giorgio Guglielmino, coordinador del proyecto.
Con esta primera exposición internacional en cruce con un variado programa de actividades CCMOCA pone en evidencia su carácter interdisciplinario.
CCMOCA / Centro Cultural Moca
30 April 2009 - 30 May 2009
9 Balfour Mews, London W1
Visitors are invited to recycle their own possessions by bringing something to place in or on one of them, and taking away whatever they wish. In its broadest sense, the earth can be interpreted as a ‘free store’:as with Horowitz’s sculpture, it requires a social contract from man in order to function, and in extreme interpretations, survive.
Working in video, sculpture, sound installation, and photography, Horowitz’s work often constitutes in the first instance an investigation of media. This is perfectly surmised by his 1990 video Maxell, in which the name of the eponymous videotape manufacturer was copied and copied until it became illegible. Later into the 1990s, Horowitz’s work took a distinctly more political turn as he began to derive material from a wide spectrum of political ideas and motivations – from race to AIDS, from Congress to veganism, and from war to body politics. Throughout, Horowitz’s art is characterized by a confluence of the personal and the political. Using simple mechanisms – juxtaposition, superimposition, or the foregrounding of a given medium’s structural properties – Horowtiz conveys significant meanings. In his photographic piece Official Portrait of George W. Bush Available for Free from the White House Hung Upside Down (2001), the act of quite literally turning the leader on his head conveys a mordant poltical message. A poignant sense of humour often pervades, as in Go Vegan! (200 Celebrity Vegetarians Downloaded from the Internet) (2002). Here, as elsewhere in Horowitz’s work, a specific media fixation or cause becomes an eloquent microcosm for the ‘bigger social picture’.
Jonathan Horowitz was born in New York in 1966 and studied at Wesleyan University, Middletown, Connecticut. A retrospective exhibition of his work is currently on view at P.S. 1 Contemporary Art Center in New York, as well as a solo exhibition at Museum Ludwig in Cologne. Other solo shows include Silent Movie at the Wadsworth Atheneum Museum of Art, Hartford, Connecticut, 2003, and Time, Life, People at Kunsthalle St. Gallen, St. Gallen, Switzerland, 2001. Horowitz has been included in numerous key group exhibitions of recent years including Playback, ARC/Musee d’Art moderne de la Ville de Paris, France, 2007; Lines, Grids, Stains, Words, at the Museum of Modern Art, New York, 2007; and also in 2007, Art in America: 300 Years of Innovation, the National Art Museum of China, Beijing, organised by the Solomon R. Guggenheim Foundation and the Terra Foundation for American Art. He lives and works in New York.
Sadie Coles HQ - Current Exhibitions
Positions in flux:
On the changing role of the artist and institution in the networked society
Location: Trouwgebouw Amsterdam
The symposium 'Positions in flux: On the changing role of the artist and institution in the networked society' will center on some of the major parameters for the current and future development of contemporary art. In particular it will reflect on the aspect of cultural sustainability of art projects, art and technology initiatives and art curating.
'Positions in flux' will give floor to international artists, theoreticians, critics, cultural producers and aims to initiate a truly critical debate. The symposium is designed for a broad audience working in the field of contemporary culture and art, with a desire to understand what comes ahead and how to respond to these changes on an artistic or institutional level. 'Positions in flux' will provide a platform and “thinkspace” for artists, cultural workers, theoreticians and a broader public to envision the future in our field and to provide us with the necessary information to make choices for a meaningful and sustainable development of society and culture.
The three panel discussions follow a clear thematic scheme and try to bring in as much expertise and viewpoints as possible. The panels are interlinked and designed to initiate an ongoing discussion among the participants.
The symposium will be streamed from the symposium venue.
The symposium is part of the 'Here we are – There we go' programme at the Netherlands Media Art Institute, May 8th – 10th, 2009 which takes place on the occasion of the Institute’s 30th anniversary. 'Here we are – There we go' celebrates the Institute’s achievements in these thirty years and plans for the future with an inspiring open house weekend of artist talks, performances, installations, tours and a party. More information:
Speakers and panels
Please note that speakers and times are subject to change.
9:00 – 10:00 Registration
9:45 Welcome by Heiner Holtappels, director of NIMk
10:00 On the changing role of the artist and institution in the networked society by Susanne Jaschko, curator of Positions in Flux and chief curator NIMk
10.30 – 12.30 Panel 1: Art goes politics
In this session we will discuss the potential of art to contribute to global and local problems such as religious conflicts, environmental or social crisis. Or is art constrained to raising awareness only? Should art become an agency for political and social affairs at all? How to successfully implement and conduct art projects in zones of crisis? How far do these projects benefit from the dubious attention of the mass media?
Wafaa Bilal, artist (IQ/US)
Bilal grew up under the repression and violence of the Baathist regime in Iraq and considers himself a political artist, dealing with war and oppression, and the Iraqi experience. Bilal's 2007 dynamic installation ‘Domestic Tension’ placed him on the receiving end of a paintball gun that was accessible online to a worldwide audience, 24 hours a day. Newsweek called the project “breathtaking” and the Chicago Tribune called the month-long piece 'one of the sharpest works of political art to be seen in a long time.' He is assistant professor at the Tisch School of the Arts at New York University.
Hans Bernhard (AT), artist, UBERMORGEN.COM
UBERMORGEN.COM is an artist duo created in Vienna, Austria, by Lizvlx and Hans Bernhard, a founder of etoy. UBERMORGEN.COM’s open circuit of conceptual art, drawing, software art, pixelpainting, computer installations, net.art, sculpture and digital activism (media hacking) transforms their brand into a hybrid Gesamtkunstwerk. The computer and the network are (ab)used to create art and combine its multiple forms. The permanent amalgamation of fact and fiction points toward an extremely expanded concept of one’s working materials, that for UBERMORGEN.COM also include (international) rights, democracy and global communication (input-feedback loops). Lately UBERMORGEN.COM generated a lot of media attention with their projects ‘The Sound of Ebay,’ ‘Amazon Noir - The Big Book Crime’ and ‘GWEI - Google Will Eat Itself.’
Knowbotic Research, artist group (DE/CH), artist in residence at NIMk 2008/2009
While the earlier, network-based projects by Knowbotic Research had concentrated on structures important to virtual networks, their recent test cases emphasise the aspect of transcoding in real spaces. By 'transcoding', Knowbotic Research mean the translation of abstract social and political facts and conditions which are removed from the classical public sphere, into situations that can temporarily be observed and negotiated.
Moderated by Chris Keulemans, writer and journalist (NL)
‘Art After Crisis’ is a website by traveling writer Chris Keulemans. Ever since his first visit to wartime Sarajevo (BA), he has been fascinated by the way artists re-invent their work, their city and their life after a period of war or dictatorship. Their art often occupies empty spaces in a city struggling to recover. It finds a place for traumatic and violent memories, it mirrors the shaky present and it looks forward while others are still paralysed.
12.30 – 13.30 Lunch break
13.30 – 15.30 Panel 2: New territories and cultures of the digital
This panel will look at the geographical shift that media culture currently undergoes and that will shape the future of this field. In the past, Europe, North America and Japan were at the forefront of digital production, design, art and technological research. Now that digital technologies become available at lower prices and spread more widely on the globe, new digital communities flourish. This panel looks specifically at new initiatives and bottom-up organisations in other parts of the world such as East Europe, the Middle East, Africa and South America, trying to understand what characterizes these initiatives. In how far do local and national cultures shape digital culture? Do these initiatives share common experiences and challenges, or is there no common ground to be found? Which kind of art arises from these new nodes on the digital map? How can we support the growth and establishment of these organisations?
Nat Muller, independent curator and critic (NL)
Muller is an independent curator and critic, based in Rotterdam with a specific focus on (new) media and art in the Middle East, media and politics and the intersections of aesthetics. She has held positions as project curator at V2_, Institute for Unstable Media (Rotterdam) and De Balie, Centre for Culture and Politics (Amsterdam). She has taught at the Willem de Kooning Academy (NL), the Lebanese American University in Beirut (LB), ALBA (Beirut) and A.U.D (Dubai). Recently, she was curator-in-residence at The Townhouse Gallery in Cairo.
Bronac Ferran (UK), researcher, consultant and founding member of bricolabs
Ferran’s current projects include a cultural mapping of digital culture in Brazil for SICA in the Netherlands. The bricolabs initiative links individuals and grassroots organisations working with media technologies in a hands-on, DIY way, across the world. Bricolabs was heavily informed by developments in social technology settings in Brazil particularly work there with recycled materials and collaborative approaches to knowledge sharing, open source and free software. Ferran is also Senior Research Tutor at the Royal College of Art in London, for the Industrial Design Engineering Department.
Marcus Neustetter, media artist, curator and co-founder of Trinity Session (ZA)
Neustetter is conducting research and developing projects in the field of new media art. In 2000 he launched sanman (Southern African New Media Art Network), a resource that promotes new media art and technology amongst audiences and artists in Southern Africa and networks companies, institutions and individuals that share similar interest in this field. In his role as facilitator, curator and cultural producer he is actively developing new projects that blur the boundaries of the traditional application of the creative idea. These processes involve both workshop programmes and development strategies of practitioners and audiences of digital and electronic art in a third world context, investigating the possibilities of sustainable relationships to the existing under-supported art structure and current development of corporate new media activity.
Péter György, theoretician, advisor of Kitchen Budapest (HU)
Prof. György is the Head of the Film, Media and Cultural Studies Graduate Program at ELTE and is now involved in the establishment of a Curatorial Studies and a New Media Master program with the Hungarian University of Fine Arts and the University of Drama, Film and Television, Budapest respectively. György was strongly involved in setting up Kitchen Budepest together with Telekom, the medialab’s major partner. György will talk about the strategy behind this partnership, the politics of corporate relations and the values it creates for corporate partners.
Moderated by Rob van Kranenburg, thinker, networker and author (NL/BE)
Van Kranenburg has been teaching at various schools in the Netherlands (UvA, EMMA Interaction Design, Industrial Design). He is author of ‘The Internet of Things.’
For this session we will ask initiatives and organisations around the world to come up with a short written or a 1 minute video statement about challenges they face in the future.
These contributions will be shown during the panel.
15.30 – 16.00 Coffee Break
16.00 – 18.00 Panel 3: Open Source – A scheme for art production and curating?
This session deals with the concept of open source for art production and its presentation. The open source movement is driven by the idea of collective, process-based, sustainable production and improvement. In software development this strategy has already proven to be valid; however can this model be applied to other products such as artworks or even exhibitions? In how far does the open source model differ from other forms of artistic collaboration? Is there a new role model for both the artist and the curator in the future? Which (economic) value and impact has expertise in open source production? How could institutions and organisations respond to this trend? How could institutions and organisations respond to this trend and create public domains?
Jaromil, dyne.org and researcher at NIMk
Denis 'Jaromil' Roio is the main author of the GNU/Linux Live CD Dyne:bolic as well as of a number of audiovisual tools. He is also an artist who has been part of international exhibitions such as CODeDOC II by the Whitney Museum Artport and speaker on conferences such as Ars Electronica. Inspired by Richard Stallman's 'free as in free speech' approach as well as liberatory politics, Jaromil seeks to transgress borders between art and code, social activism and research and development.
Femke Snelting (NL) and Renée Turner (US)
De Geuzen is a foundation for multi-visual research and the collaborative identity of Riek Sijbring, Femke Snelting and Renée Turner. Since 1996 they have employed a variety of tactics to explore female identity, narratives of the archive and media image ecologies. Their work has been featured in events, publications and spaces such as Manifesta 2, Mute, NIMK, Peacock Visual Arts and Furtherfield.org. Exhibitions, workshops and online projects operate as thematic framing devices where the group investigates and tests ideas collectively with different publics. Characterising what they do as research, their work is open-ended, values processes of exchange and promotes critical interrogation.
Marcos Garcia, director of Interactivos, Medialab Prado (ES)
Medialab-Prado is aimed at the production, research, and dissemination of digital culture and operates at the intersection of art, science, technology, and society. Its primary objective is to create a structure where both research and production are processes permeable to user participation. It has developed a unique workshop model for collaborative art production and knowledge transfer.
Joasia Krysa, curator, founder of KURATOR (PL/UK)
KURATOR is a cultural organisation operating as a curatorial agency and research platform at the intersection of art and technology. It has a particular interest in an emerging discourse and practice that links curating with software and networks. Krysa’s recent curatorial projects include openKURATOR, an open submission and presentation platform developed by KURATOR. She is the editor of ‘Curating Immateriality’ (Autonomedia, New York 2006) and lecturer/researcher at the AZTEC (Art Science Technology Consortium at the University of Plymouth.)
Moderated by Josephine Bosma, theoretician and critic (nl)
For more than 15 years Bosma’s focus has been on media art and media theory. She has published numerous interviews and essays in book collections and in magazines including Mute (UK), Telepolis (D), UHK (NO), and Switch (USA). She played a key part in organizing the radio part of the Next 5 Minutes 2 and Next 5 Minutes 3 festivals, and has edited the streaming media sections of the nettime book, ReadMe and the N5M3 workbook.
21.30h. Drinks at Netherlands Media Art Institute
Mondriaan Foundation and Powered by BeamSystems
Netherlands Media Art Institute Montevideo/Time Based Arts
In mounting KölnSkulptur 5 in 2009, the Stiftung Skulpturenpark Köln is continuing the series of KölnSkulptur exhibitions (1997, 1999, 2001, 2007), initiated by the founders of the Park Michael and Eleonore Stoffel.
KölnSkulptur 5 is unveiling 17 new works to the public, created by the following array of illustrious artists Aaron Curry, Christina Doll, Alexander Esters, Katharina Fritsch, Bernd Kastner, Norbert Kricke, Jonathan Meese, Isa Melsheimer, Thomas Moecker, Thomas Rentmeister, Michael Sailstorfer, Jan Philip Scheibe, Dirk Skreber, Torsten Slama, Alan Sonfist, Thomas Stimm and Ina Weber.
KölnSkulptur 5 presents a broad spectrum of positions of emerging and contemporary outdoor sculpture. Selected sculptures from established and young artists are juxtaposed, and exhibited to visitors in a tranquil, natural setting. Among the works on view are loans of existing sculptures and – in keeping with the tradition of this exhibition series – new productions, created especially for this latest show in the Skulpturenpark Köln.
The altogether 41 works by international artists open up exciting new perspectives, and explore themes such as man, environment and evolution. Partly in humoristic, partly in critical vein, the visitor is confronted either indirectly or directly with the controversial issues of our time, which challenge his own attitudes and perceptions of reality. He finds himself taking a Reality Check, prompted by “miniature worlds”, “children from hell”, a “concrete giant”, a “refrigerator depot” or a “car wreck”. Consequently, the exhibition not only showcases the latest trends in the medium of outdoor sculpture, but, above all, focuses on the aspects of our modern society they reflect, and on the question of the sustainability of reality.
In addition to this representative survey of current positions of contemporary outdoor sculpture, KölnSkulptur 5 grants local residents and visitors to the city of Cologne the opportunity to confront the controversial realities of the 21st century and, in the process, forge not only new personal perspectives, but also the basis for engaging in fascinating and enriching discussions.
At this unique interface of urban and natural environments, the Skulpturenpark Köln is inviting visitors to engage with contemporary sculpture, and also sample both the refreshments in the parklounge and the exciting programme of accompanying events.
1-18 May :: Toruń, Warsaw.
Since 1994, the PROBALTICA Festivals have welcomed over 100 professional bands with over 3,000 eminent musicians and artists from ten Baltic countries. They have given over 300 concerts and have exhibited over 2,000 works of art from various fields, including painting, graphic art, tapestry, pottery, sculpture and stained glass
The Festival aims at initiating co-operation, especially In the field of music and fine arts, and at presenting the cultural output of all participating countries from the Baltic Sea Region.
Date: June 7 until September 30, 2009
Venue: Convento Ss. Cosma & Damiano,
Campo S.Cosmo, Giudecca Palanca, 30133 Venezia
Preview: June 3 – 6, from 11:00 am - 7:00 pm
Symposium: June 5th, 2009, 9:30 am – 5:00 pm
Sandi Hilal and Alessandro Petti
Jawad Al Malhi
Curator: Salwa Mikdadi
Commissioner: Vittorio Urbani
Palestine c/o Venice is the first participation of contemporary art from Palestine at this major international art event. The seven participating artists, commissioned to create new art works, were chosen for their outstanding commitment to their art as well as their ability to bridge local and global themes.
To insure that Palestinian communities join in celebrating this inaugural exhibition, six Palestinian art institutions in Jerusalem and the West Bank will exhibit duplicates of the works that will be inaugurated simultaneously in Venice.
The Venice Biennale, started in 1895, is the world’s oldest and most prestigious exhibition of international contemporary art. The Biennial National pavilions are official state representation and collateral events are organized by institutions. There are 29 permanent national pavilions situated in Giardini, and the rest are distributed across Venice. Most collateral events are situated in historical Venetian buildings, such as the venue that hosts the Palestinian exhibition, a Monastery built in 1492 by Benedictine Nuns on Giudecca Island. The Monastery, SS. Cosma e Damiano, later passed on to the Dominicans until 1807 when the nuns moved to San Zaccaria and the building and the nearby church were transferred to civilian administration. In the 2007 edition of the Venice Biennale there were thirty-four collateral events spread around Venice attracting 650,000 visitors and the event was covered by accredited press that reached a record number of 5,691.
in Collaboration with:
Rana Sadik and Samer Younis
The Khalid Shoman Foundation – Darat al Funun
CCC: Sponsor of Khalil Rabah’s art project: A Geography: 50 Villages – Riwaq Biennale
8 Courts 1 Collectif est un projet cinématographique à source ouverte conçu pour La Biennale de Montréal 2009 et dont les commissaires sont Michèle Gauthier et Claudine Tissier. Co-produit par l’INIS, l’Institut national de l’image et du son, le volet Cinéma Libre est co-présenté par la Cinémathèque québécoise. Réunissant huit cinéastes et le public autour de la création d’une œuvre cinématographique, ce projet, réalisé en trois étapes, s’échelonnera sur une période d’un an allant de mai 2008 à mai 2009. Une série de huit courts-métrages de trois minutes sera réalisée par les cinéastes à partir des éléments fournis par le public par l’entremise de ce site web.
Cinema Libre | 8 COURTS 1 COLLECTIF
"Facts and Figures
September 2008 to August 2009
Moore, Interior and Volunteer Galleries
Creating representations of the self and others has been an ongoing and persistent interest for artists. Whether as simple markers of social standing, as studies of psychological states or as explorations of gender or racial or sexual politics, the portrayal of the human figure has engaged artists for centuries."
Exhibitions - museumlondon.ca
The 6th edition of La Biennale de Montréal is held May 1 - 31, 2009. Brainchild of the CIAC - Centre international d'art contemporain de Montréal and its artistic director Claude Gosselin in 1998, La Biennale de Montréal enhances the city's reputation on the international scene of biennials. It bears witness to contemporary culture and provides insight into various artistic fields such as visual arts, graphic design, video and camera.
With a view to strengthening communication among individuals, to presenting creativity and the cultural process, to encouraging interactions among artists from every field, La Biennale de Montréal 2009 is committed this year to open culture. A new arrival in the area of international contemporary culture, the so-called open culture models propose an open relationship between creativity and the artistic process. In a broader sense, open culture will resonate throughout La Biennale de Montréal 2009 and will bring together all citizens in an atmosphere of sharing, cooperation and knowledge.
BIENNALE MONTREAL 2009 | BNL MTL 2009
Including Neil Cummings, Annika Eriksson, Dirk Fleischmann/Michele di Menna, Chris Evans, Liam Gillick, San Keller, Hassan Khan, Natascha Sadr Haghighian, Marion von Osten and Anup Mathew Thomas.
Curated by Nav Haq, Exhibition Curator, Arnolfini and Tirdad Zolghadr.
To what extent does class play a role in the production and dissemination of contemporary art? Lapdogs of the Bourgeoisie investigates the latent issue of class underlying the field of contemporary visual art. The project is an open question, an invitation to a discussion long overdue, and does not offer foregone conclusions or rigid hypotheses other than the relevance of the conversation itself.
Lapdogs of the Bourgeoisie will present a collaborative project with a number of practitioners that scrutinise their own positions, bias and gaze within the hierarchy of cultural production. It will seek to identify the impact class has in the field - from artists, through to curators, institutions, audiences and decision makers in mainstream art. The exhibition will contain work in various media, including photography, texts, performance, video and sculpture.
Arnolfini | Lapdogs of the Bourgeoisie
Jean Shin is nationally recognized for her monumental installations that transform castoff materials into elegant expressions of identity and community. This exhibition features eight works created since 2000, including the new site-specific installation Everyday Monuments commissioned by the Museum in 2008.
Shin employs a meticulous process of dismantling and alteration to create evocative sculptural installations that are composed of everything from worn shoes and lost socks to broken umbrellas and discarded lottery tickets. The resulting assemblages consist of hundreds, sometimes thousands, of seemingly identical objects gathered from friends, relatives, and perfect strangers.
Shin's most recent project, Everyday Monuments, debuts in the exhibition. The sprawling installation consists of nearly 2000 trophies donated by Washington, D.C.-area residents and projected images of the altered trophies. Inspired by the well-known historic monuments and heroic statuary displayed throughout Washington’s public spaces, Everyday Monuments venerates the accomplishments of ordinary Americans—stay-at-home moms, waitresses, janitors, postal carriers—whose everyday labors go unrecognized. Shin transformed each figurine to represent these tasks. The trophies are arranged according to a scale plan of the National Mall, symbolically filling the expanse of Washington's signature public space.
The exhibition also includes Chance City, a towering cityscape of scratch-and-win lottery tickets, whose inevitable collapse serves as a metaphor for the illusory promise of fast money; Chemical Balance III, a towering arrangement of empty prescription pill bottles that speaks to a dependency on prescription medications; and Unraveling, a dense, brightly colored web of woolen threads that visualizes the network of relationships within the Asian American arts community. The exhibition is organized by Joanna Marsh, The James Dicke Curator of Contemporary Art.
Exhibitions: Jean Shin: Common Threads / American Art
DREAMING IN PUBLIC
Curated by Brian Curtin
Gallery SoulFlower - Showcasing the best of Indian Contemporary Art
Invest Art India - ‘Dreaming in Public’ at Gallery Soulflower, Bangkok
GIOVEDI' 07 INAUGURA "CORTO CIRCUITO" il circuito di gallerie e temporarygallery in ZONA TORTONA
nell'Art District tra via Voghera, via Tortona e via Savona
ROJO_pixorama by eboy
LITTLE ITALY_queens from another planet
Facebook | CORTO CIRCUITO IN ZONA TORTONA
Voghera 11 art gallery. Galleria d'arte Milano tra via tortona e via Savone in Zona Tortona -arte contemporanea design architettura
25 avril au 13 juin 2009
La chose est connue : toute recherche vaut par elle même plutôt que par son objet. Le but est toujours prétexte. Mais alors comment donner forme à cette recherche si elle se définit par ce qu'elle n'est pas et qu'il n'est pas forcément souhaitable qu'elle atteigne - pour précisément continuer la recherche ? La chose est connue, donc, mais rarement vue.
Les oeuvres présentées dans l'exposition La Recherche répondent chacune à leur manière à cette question. Si les pièces protocolaires commencées en 1992 June Issue of the German Research Service Bulletin pasteboard et July Issue of the German Research Service Bulletin pasteboard de Liam Gillick invitent leur acquéreur à en continuer la réalisation, ses pièces plus récentes sont autant de recherches pour donner forme à un mixte de savoir, de dispositions techniques et d'évènement technologique (University of Utah #1C). Les sérigraphies de Thomas
Bayrle livrent à la fois le travail du motif et son apparition finale (Fenster, Knopfmann - Herr W./braune Version), ou bien le travail des lignes pour une concrétion du document administratif et de ses intéressés. Les recherches formelles et matériologiques de Leonor Antunes en continuent d'autres plus anciennes, celles de Eileen Gray et Eva Hesse, notamment (Folded back against the pillars, Discrepancies with E.G.II). Philippe Parreno prolonge, sous de nouvelles formes, celles du ventriloque qui se prend pour marionnette, ses recherches sur la constitution d'une subjectivité sans psychologie (Postman Time). Quant aux pièces sonore et vidéo de Trisha Donnelly (Untitled), ne délivrant aucune certitude, mais que des indices, elles rappellent que toute recherche est aussi et d'abord recherche de vérité. Et que c'est là qu'elles n'en finissent plus.
Air de Paris - Now