" Un momento di confronto e approfondimento sullo sviluppo dei new media nel mondo arabo e sulle opportunità di business per gli operatori italiani del settore. Il 24 giugno a Milano, Palazzo Giureconsulti (piazza Mercanti 2), a partire dalle ore 9.30. L'incontro è organizzato da Promos in collaborazione con Regione Lombardia, Creative Commons, Mgm Digital Communication / Meet the Media Guru, nell’ambito dell’Osservatorio sui Media nel Mediterraneo. Interverranno esperti del settore, giornalisti e alcuni importanti business leader del mondo arabo:
Media e nuove tecnologie: opportunita' nel Mediterraneo e Medio Oriente
L'incontro è organizzato da Promos in collaborazione con Regione Lombardia, Creative Commons, Mgm Digital Communication / Meet the Media Guru, nell’ambito dell’Osservatorio sui Media nel Mediterraneo.
Interverranno esperti del settore, giornalisti e alcuni importanti business leader del mondo arabo:
"L'intervento di Massimo Bartolini è stato commissionato all'interno del progetto di riqualificazione dell'ex Padiglione Italia, che prevede la trasformazione dell'edificio in nuova sede dove la Biennale, per la prima volta, potrà offrire servizi e sviluppare attività permanenti per il pubblico.
Parallelamente alla riapertura della biblioteca dell'ASAC, infatti, il nuovo Palazzo delle Esposizioni avrà ampi spazi dedicati ai visitatori - un bookshop, un bar-ristorante e aree destinate alle attività educative - il cui arredo è stato affidato dal direttore Daniel Birnbaum alla progettualità di alcuni degli artisti invitati: rispettivamente Rirkrit Tiravanija, Tobias Rehberger e Massimo Bartolini.
"Sala F" è quindi uno spazio concepito per soddisfare differenti esigenze funzionali: da quella primaria di area educational a quelle di meeting room, di auditorium e di cinema. È concepita dall'artista come un luogo di condivisione, dove tre grandi tavoli mobili possono essere disposti nello spazio a seconda delle necessità, trasformandosi in platea o palcoscenico: seduti al tavolo i visitatori possono condividere lo spazio guardandosi negli occhi, in platea possono guardare insieme uno spettacolo, sul palco si producono azioni destinate ad essere guardate.
Due porte luminose isolano "Sala F" dalle stanze attigue, aumentandone la concentrazione, mentre la luminosità dell'ambiente viene dosata, in base alle necessità, attraverso un sistema di dischi di plexiglas opalino che velano il lucernario.Un luogo intimo e raccolto, dunque, pensato dall'artista per sviluppare relazioni.
Sala F rimarrà infatti all'interno del Palazzo delle Esposizioni della Biennale di Venezia per i prossimi dieci anni e, allo scadere del comodato, entrerà a far parte della collezione permanente del MAMbo."
UniCredit e MAMbo a Venezia - UniCredit Group
MAMbo Museo d'Arte Moderna di Bologna
New York-based Dutch curator Saskia Bos selected Fiona Tan to represent the Netherlands at the 53rd International Art Exhibition of La Biennale di Venezia. Tan is working on a new audio-visual installation conceived especially for the presentation in Venice.
Fiona Tan describes herself as ‘a professional foreigner, whose identity is defined by that which I am not’. Her work will never be a straightforward search for truth or identity: she uses a variety of means to unravel processes of recollection and fill in story lines, sometimes using found footage with which to confront the observer with informal history. Through professional analysis and the poetic translation of her observations, she creates images that become symbols of the fading memory of a fast-changing world. Her installations and films are the result of her ongoing investigation into representation and the role of images and portraits in contemporary culture. Sometimes Tan’s work refers to what is known in art history as ‘provenance’. This was also the title of a recent installation by Tan at the Rijksmuseum in Amsterdam, in which she used surprising means to translate the 17th-century gaze into the present day.
For the Biennale, a new work by Tan will refer to Venice’s pivotal position in the history of geostrategy in the time before the discovery of new routes to Asia diluted the city’s power. Tan’s fascination with geography, travellers and their journeys has led her to explore the biographies of famous merchants and the desire to acquire new experiences and possessions. Her project Disorient attempts to bridge the centuries by creating connections with both contemporary day-to-day reality and with the symbolic past that every visitor to Venice wants to grasp.
Fiona Tan (b. 1966) has lived and worked in Amsterdam for more than 20 years.
The daughter of a Chinese father and an Australian mother, she was born in Indonesia, but the country’s repressive regime drove her family to Australia. She went on to study in Germany and the Netherlands, which makes her past comparable to that of an immigrant family or a child of the diaspora.
Fiona Tan studied at the Rietveld Academie and the Rijksakademie and currently teaches at De Ateliers in Amsterdam. Her work, which drew attention right from the start, has been exhibited at many prominent venues, including Documenta 11 in Kassel, the Yokohama Triennale in Japan, Tate Modern in London and New York’s New Museum. Recent presentations have taken place in Hiroshima, New Orleans, Boston, Stockholm, Eindhoven and The Hague.
Curator Saskia Bos trained as an art historian and has been the Dean of the School of Art at The Cooper Union for the Advancement of Science and Art in New York City since 2005. Until that year, Bos was director of the De Appel Foundation and founding director of the Curatorial Training Programme (CTP) in Amsterdam. At De Appel, she produced more than a hundred exhibitions and her many international projects include major exhibitions and biennales.
Bos was the curator of the 3rd Skulptur Biënnale Münsterland (2003), the 2nd Berlin Biënnale (2001), the Dutch entry at the São Paulo Biennial (1998), cocurator of Aperto at the Venice Biennale (1988) and curator/director of Sonsbeek '86 in Arnhem.
From 1999 to 2002, Bos was president of IKT (International Association of Curators of Contemporary Art). As an author and editor, she has collaborated on many publications.
Since 1995, the Mondriaan Foundation has been responsible for the Dutch entry at the Biennale di Venezia, appointing a curator for each entry.
Mark Lewis is one of Canada’s most renowned and internationally acclaimed artists working in film-based media (digital and analog), and photography. He was born in Hamilton, Ontario, in 1958, and has worked most of his life in Toronto and in Vancouver. He currently lives and works in London, England. Starting out as a photographer, Mark Lewis attended Harrow College of Art (London) and the Polytechnic of Central London, and began making films in the mid 1990s. He has had major solo museum exhibitions all over the world, including: the Vancouver Art Gallery, Hamburger Kunstverein, Musée d’art moderne (Luxembourg), BFI Southbank (London) and the National Museum of Contemporary Art (Bucharest, Romania), and in 2007 presented at PS1 as part of the International Projects Series. His work is in many prestigious museum collections including the National Gallery of Canada, Museum of Modern Art New York, Musée d’Art Contemporain de Montréal, and the Centre Pompidou (Paris).
Mark Lewis is co-founder and co-editor, with Charles Esche, of Afterall —a research and publishing organisation based at Central Saint Martins College of Art and Design, London. He is a founding and co-editor of Afterall Journal, and the series editor of the One Work, a series of books, published by Afterall Books that examine important single modern and contemporary works of art. Recent titles in the series include Andy Warhol: Blow Job by Peter Gidal and Alighiero e Boetti: Mappa by Luca Cerizza. Afterall also publish a series of readers and recently co-produced Art and the Moving Image with Tate Publishing. Mark Lewis is a Research Professor at Central Saint Martins College of Art and Design, University of Arts London. Mark is represented by Monte Clark Gallery (Vancouver), Clark & Faria Gallery (Toronto) and Galerie Serge le Borgne (Paris)
Canada Pavilion Venice Biennale