NIKI DE SAINT PHALLE
Niki de Saint-Phalle
4 Novembre 2009 - 17 Gennaio 2010
Fondazione Roma Museo
Via del Corso, 320
A cura di
Per la prima volta in Italia in mostra oltre 100 opere di Niki de Saint-Phalle, (Neuilly-sur-Seine, 1930–San Diego, 2002), pittrice, scrittrice, performer che ha legato il suo nome a un percorso artistico straordinario che va oltre le classificazioni e le mode, e si mescola con una vita tumultuosa e affascinante: un’energia che ritroviamo in tutte le sue opere, dalle policrome sculture (Nanas) al famosissimo giardino dei Tarocchi di Capalbio.
Un itinerario, quello individuato dal curatore, che segue il percorso interiore dell’artista e permette lo sviluppo parallelo di un’esposizione che allinea numerosi dipinti del primo periodo dell’artista, degli anni cinquanta e sessanta, insieme alle celebri sculture policrome (Nanas) per le quali Niki de Saint-Phalle è famosa in tutto il mondo.
In più di 100 opere, provenienti per la maggior parte dalla Niki Charitable Art Foundation di San Diego in California, si racconta la storia affascinante, fatta di esperienze vissute, sia dal punto di vista artistico, sia da quello umano e personale.
Femminismo, mitologia, violenza, le inquietudini private e quelle sociali, sono i temi che permeano le opere di Niki de Saint Phalle. Opere mai disgiunte dalla sua vita e attraverso la mostra, che presenta anche una serie di fotografie, sarà possibile percepire il fil-rouge che collega le diverse e intersecate esperienze della sua tormentata vicenda artistica.
Fondazione Roma - News
Arthemisia - arte mostre d'arte italia, arte contemporanea
NIKI DE SAINT PHALLE
Charles Mason: Structure and Other Anxieties
5 November - 5 December 2009
Cortex Athletico is delighted to present the largest exhibition to date by British artist Charles Mason comprising seven pieces together with a room of drawings. The new works draw the viewer into a subtle game of recognition hovering somewhere between the playful and the unnerving.
Five sculptures are accompanied by a framed digital print (wall drawing 2008) depicting an oblong shape cut from a canvas. This shape functioning as a visual palindrome is stencilled in pencil as a repeat, forming a huge frieze in the second gallery making Wall drawing (camera della morte) 2009. The seemingly shallow space created by this work is echoed in the sculptures whose Perspex screens act producing a similarly artificial and disorienting surface - reflecting the light and sucking it in.
Their imposing sheets of dark Perspex refer obliquely to our lives lived increasingly through a screen. The articulated and curving forms of Between you and me 2008, Dummy 2009 and Stay 2009 can be contemplated through this highly industrialized material, a plastic made from gallons of oil that rebuffs us like a riot shield, shows us our shallow reflection framed within the work, distorts our perception of reality and engenders a very particular way of looking..
Rock 2009 though made of concrete and named after the most immobile of natural forms, when touched gently rocks (note the pun) back and forth. Taking inspiration from sources as diverse as Le Corbusiers designs for Chandigarh and the concrete rocks that dot the enclosures of unfortunate animals in the zoo, this strange, pod-like form evokes a quasi-organic architecture. Streamlined in shape, smooth on the inside and rough on the outside, its form and texture reveal the process of its making. A daylight bulb shines through milky white, opaque Perspex in one of the two arteries, flooding the interior. This is a development following Masons 2009 Model for Mood Altering Public Sculpture (SAD version), a work imaging a structure in public space that might in everyday parlance give something back to its environment and audience.
Notes to Editors: The exhibition is accompanied by a small publication with a text by Zoë Gray. Charles Mason (b.1962) Lives and works in London: Studied at the Slade school of Art and was the Rome Scholar in sculpture at the British School at Rome in 1997- 98. This is his third solo exhibition with Cortex Atletico, the first of which coincided with a site specific sculpture in Campo Saint Agnese during the Venice Biennale 2007. He will be having simultaneous solo exhibitions at Union Gallery and Netti Horn Galley London in May 2010. Zoë Gray is a curator at Witte de With Rotterdam and is writing an extended text to accompany a publication in 2010.
Charles Mason, Exhibitions
"Home as a stable retreat? It seems to belong to a long-gone past. And although the artists in 'Frenetic Homeland' interdisciplinary program come from such different cities as Jakarta, Osaka and Beijing, they have much in common: Their societies are changing – very rapidly. 'Frenetic Homeland' brings together an exhibition, literature and music. China’s diversified process of change is the focus of literary and discursive events."
House of World Cultures | Frenetic Homeland
Modern Collage, Victorian Engravings & Nostalgia
Max Bucaille, Bruce Conner, Joseph Cornell, Max Ernst, Otto Hofmann, Jess,Ray Johnson, Gerome Kamrowski, Franz Roh, Jindˇrich Štyrský
Curated by Meredith Harper
October 30, 2009 – January 30, 2010
Ubu Gallery is pleased to present an exhibition of 20th Century collages all united in their focus on the transformation of Victorian engravings.
Max Ernst (1891–1976), with such work as his shocking and seminal illustrated collage-novel, La Femme 100 têtes (1929), influenced an entire wave of artists who looked towards the Surrealist and his use of 19th Century engravings as a point of departure within their own work in this medium. The first generation of artists were Ernst’s contemporaries, who worked primarily in the 1930s with significant connection to the Surrealists: Joseph Cornell (1903–1972), Jindˇrich Štyrský (1899–1942), Otto Hofmann (1907–1994), Franz Roh (1890–1965), Max Bucaille (1906–1992) and Gerome Kamrowski (1914–2004). Those a generation later, including Ray Johnson (1927–1995),
Bruce Conner (1933–2008), and Jess (1923–2004), each separately rediscovered Ernst, specifically choosing to use this type of collage as a jumping off point towards other conceptual ends.
What remains a common thread throughout, however, is a sense of nostalgia very specifically conveyed through the use and alteration of Victorian engravings—a visual counterpoint which allowed the creation of fantastic, and oftentimes disturbing, visions. These collage elements were often excerpted from magazines and picture books and, despite their incongruous juxtapositions, retain elements of their original Victorian melodrama. The sense of sublimation already inherent in these images in their original form, strengthened with the feeling of looking backwards in time, creates a powerful sense of longing—a lens of nostalgia through which the artists’ grotesque and eccentric creations become somewhat less threatening or remote.
Irrespective of each artist’s unique vision, common themes seem to solidify around and find their most natural expression in these collages, including erotica, science, and literature. Sexual subversion is an obvious theme—figures of prim, bustled and corseted women appear to float randomly in and out of many images, including those of Cornell, Hofmann and Roh. Conversely, Štyrský created strikingly overt, erotic images, and yet the graphic nature of the sexuality becomes poetic, as translated through a prism of Victorian imagery.
Naturalism, too, runs strongly as a theme through many of these works, as does celestial imagery.
Natural history, parlor games and scientific experiments form a basis for Cornell’s collages that would develop shortly thereafter into his notable shadow boxes (a sculptural idiom similarly embraced by Kamrowski). Cornell had made his first engraving-based collages in 1931, and like Roh, prior to being exposed to those of Ernst (for Cornell, it was at Julien Levy’s 1932 Surréalisme exhibition). The discovery validated and influenced both artists’ continuation in the medium.
Jess and Conner each discovered Ernst through his collage-novels. Jess received Une Semaine de bonté (1934) as a gift in the 1950s and went on to use engravings to create “paste-ups” that addressed literary and highly personal themes, with a hallucinogenic intensity that seem to express wistful desire for a purer moment. Conner, after first using wood engravings in his 1950s assemblages, focused on collage over two separate decades: the 1960s, which saw the wildly inventive and Beat inspired, THE DENNIS HOPPER ONE MAN SHOW, and then again in the 1980s. Ray Johnson was as much influenced by Cornell as by Ernst, if not more so, and his use of engravings took on a decidedly more “Pop” approach, investigating “seriality,” as well as often focusing on the linguistic content of the images.
Please visit our partner, Galerie Berinson, in Berlin, at www.berinson.de
Ubu Gallery - Metamorphosis Victorianus
Third International Conference on the Histories of Media Art, Science and Technology
Melbourne 26-29 November 2009
Third International Conference on the Histories of Media Art, Science and Technology.The next iteration of the Media Art History conference is Re:live which is to be held in Melbourne, Victoria in 2009. The event follows the success of the two previous Media Art History conferences, re:fresh (Banff 2005) and re:place (Berlin 2007). The conference series is supported by the Database of Virtual Art and Leonardo/ISAST (International Society for Art, Science and Technology) whose International Advisory Committee will publicise the event and referee papers.
In developing the Re:live conference, we have established a national committee, to promote awareness and interest in the event across Australia. This committee is comprised of individuals who can drive forward these newer connections and reconnect with the ongoing themes established by the ‘re’ conferences. Australia provides an excellent geographic, geopolitical and geocultural space for hosting this conference. It connects regionally with both Asian and Pacific cultures and the ongoing exchange of media arts between, northern and southern hemispheres.
Over three stimulating days, historians, curators, media artists, creative arts practitioners and theorists at the forefront of their practice will explore the latest research and theories.
How do the media arts change? Through innovation, accident, discovery, mutation or crisis? How did contemporary media arts come to look and sound like they do? What options, potentialities and eccentricities in the history of media have been lost or overlooked or suppressed? What hopes have been realised and which dashed? What is the history of speculation on alternate histories, and how have they altered the course of media art history?
28. November 2009 — 28. February 2010
Eat Art in institutionalised form originated in Düsseldorf. In 1970 Daniel Spoerri founded the Eat Art Galerie on Burgplaz, where famous artists such as Dieter Roth, Joseph Beuys, and Roy Lichtenstein exhibited objects made of foodstuffs. Taking as its point of departure the activities of the Eat Art Galerie in Düsseldorf, the exhibition seeks to document the use of edible materials in art from the 1970s to the present day. This stocktaking will show how artists treat topics like identity formation through eating habits and rituals, the affluent society, globalisation, or a focus on their own bodies using the techniques and material aesthetics of Eat Art.
"Interzone" to jesienny projekt Studia BWA we Wrocławiu obejmujący się cztery tygodnie zdarzeń z zakresu sztuki oraz działań okołoartystycznych.
Projekt "Interzone" nastawiony jest na uobecnienie galerii w codziennej egzystencji. W założeniu, dzięki udostępnieniu przestrzeni różnym artystom i ludziom nie tylko ze środowiska sztuki, w ciągu miesiąca w Studio BWA zagoszczą najróżniejsze projekty. Każdy tydzień został oddany w ręce innych osób i grup, które przygotowały program zmieniający się każdego dnia.
Nazwa projektu została zaczerpnięta z prozy amerykańskiego pisarza Williama S. Burroughsa, autora takich książek, jak "Nagi lunch", "Ćpun", "Nova Express".Interzone - Studio BWA, Wrocław 8.10-8.11.2009
Light Centre - LIFE GARAGE SALE
In a swath of now-classic texts on the sociology of consumption written within 1968 and 1973, French sociologist Jean Baudrillard argued that the only meaningful act left to individuals within a modern consumer society was consumption itself. Human agency in all its supposed richness is at the end irrelevant insofar products, and the status they accorded, were the only and true carriers of information. We were experiencing, according to Baudrillard, the total defeat of human subjectivity by the object.
This "emptying out" of experience is one of the departure points of Light Centre¹s Life Garage Sale. An array of objects from the artist' shared domestic environment, fastidiously recreated in the form of ghost-like black & white replicas, stand arranged as in a display from a post apocalyptic anthropology museum. Their multicoloured skin burnt away, only the white, papery skeletons remain. Even in this sad state, or rather because of it, they give voice to the artists' exhausted selves and perhaps our own. The portrait they draw ranges from light self-mockery to an overt suspicion about the authenticity of conventional feelings and beliefs.
Thus a marker commonly used for graffiti doubles as "black magic capitalism", casting doubt on the political power of that often-abused form of self-expression. Even the emancipating promises of high culture are mocked in the figure of a dildo that finds in Flaubert's realist masterpiece an unconfessed longing for the pieties of bourgeois romance.
It is precisely in the confessional, the obsessive and the haphazard that Life Garage Sale stages its resistance to the defeat of the subject. The painstaking labour invested in its making formally reinforces this call to obsession and the fragmentary as a way out of homogenisation and conformity. In this hopeful scenario, the idiosyncratic nature of the artistic object signals off too much information for the system to handle. Art would be in this view a Trojan horse through which a critical, earnest, hurting subjectivity can reclaim its place at a price.
Light Centre is a collaboration between Simon Evans (b. 1972) and Sarah Lannan (b. 1984) that engages all aspects of his personal and artistic life.
ARTISSIMA 16 è lieta di annunciare i nomi delle gallerie delle sezioni MAIN SECTION e NEW ENTRIES per la prossima edizione dell’Internazionale d’Arte Contemporanea a Torino. Una lista straordinaria che comprende 127 gallerie,
L’arte ci aiuterà ancora una volta a percorrere strade innovative e inattese, a credere nella forza del cambiamento e dell’immaginazione. affiancando come sempre ad alcuni dei nomi più prestigiosi del panorama italiano e internazionale nuove realtà d’avanguardia fondate dopo il 2004 e presenti a Torino per la prima volta.
Completano l’elenco delle presenze di ARTISSIMA i 18 giovani talenti protagonisti di PRESENT FUTURE, progetto unico nel panorama delle fiere d’arte in Italia, che vuole dare rilievo alla nuova frontiera dell’arte contemporanea e punta i riflettori sugli artisti dell’ultima generazione, scelti sulla scena mondiale da un gruppo di curatori internazionali.
The main exhibition for Finnish Design Month opens in Madrid
Helsinki Madrid FinDesign, which is a presentation of Finnish design, will open at the beginning of November in Madrid at the Contemporary Art Center in Matadero. The varied and interactive exhibition will have over several hundred products from Finnish companies and designers representing many different design areas and viewpoints. The exhibition, which will be open until January, is a result of collaborative work by Finns and Spaniards from Helsinki Design Week and the Association of Designers in Madrid DIMAD. This cultural export project, which is supported by the Ministry of Education, is the year's most significant cultural effort.
Helsinki Madrid FinDesign exhibition, 4 November 2009 – 10 January 2010
Central de Diseño, Matadero Madrid, Paseo de la Chopera 14, 28045 Madrid
Tuesday - Friday 16-22, Saturday - Sunday (and holidays) 11-22, closed on Mondays
Architecture and interior architecture
Newly Drawn (9 architectural offices), www.newlydrawn.fi
Daniel Palillo, http://danielpalillo.blogspot.com
Gilles et Dada, www.gillesetdada.com
Marita Huurinainen, www.maritadesign.com
Onni / Tuula Pöyhönen, www.onni.eu
Ari Kanerva, www.arikanerva.com
EcoDesign exhibition, www.ecodesign.fi
Eero Aarnio, www.designeeroaarnio.com
Esa Vesmanen, www.puredesign.fi
Harri Koskinen Works, www.harrikoskinenworks.com
Jitan V. Patel
Tapiovaara Design, www.tapiovaara.fi
Terhi Tuominen, www.terhituominen.com
Grafia / Vuoden Huiput 2008, www.vuodenhuiput.fi
Pekka Finland, www.pekkafinland.fi
Anne Kyyrö Quinn, www.annekyyroquinn.com
Fokus Fabrik, www.fokusfabrik.fi
Freedom Of Creation, www.freedomofcreation.com
Gallery Norsu, www.norsu.info
Imu Design / ProtoShop, www.imudesign.org
Johanna Gullichsen, www.johannagullichsen.com
Kristiina Lassus, www.kristiinalassus.com
Korpi Design, www.korpidesign.com
Nounou Design, www.nounoudesign.com
Saas Instruments, www.saas.fi
Secto Design, www.sectodesign.fi
Secret Shop, www.com-pa-ny.com
Selki Asema, www.selki-asema.fi
Teemu Järvi, www.jarvi-ruoho.com
Tuija Asta Järvenpää, www.tuijaastajarvenpaa.fi
Tunto Design, www.tunto.com
^ / Huippu / Design / Management
Serpentine Gallery: Gustav Metzger:Decades 1959–200929 September –8 November:
29 September –
The Serpentine Gallery presents a major exhibition of work by the influential artist and activist Gustav Metzger, examining his life-long exploration of politics, ecology and the destructive powers of 20th-century society. Metzger’s career has spanned over 60 years and this is the most extensive survey of his work to be shown in the UK.
The exhibition draws together the themes and methodologies that have informed the London-based artist’s practice from 1959 until the present day. The broad cross-section of works on view include Metzger’s auto-destructive and auto-creative works of the 1960s, such as his pioneering liquid crystal projections; the ongoing Historic Photographs series, which responds to major events and catastrophes; and later works exploring ecological issues, globalisation and commercialisation. Film footage of seminal performances and actions are exhibited, as well as a new, participative installation using the archive of newspapers Metzger has been collecting since 1995."
Do you remember Olive Morris?
21st November 2009 - 24th January 2010
Do you remember Olive Morris? uncovers the largely untold history of Brixton-based activist Olive Morris (1952-1979). Developed by London-based artist Ana Laura Lopez de la Torre, this exhibition is a culmination of three years of artist and community-led research inspired by this remarkable figure in South London's recent history.
In her short life, Olive Morris co-founded the Brixton Black Women's Group and the Organisation of Women of Asian and African Descent (OWAAD) and was part of the British Black Panther Movement. She campaigned for access to education, decent living conditions for Black communities and fought against state and police repression. Despite her young age she empowered the people who lived and worked around her.
Gasworks - Do you remember Olive Morris? -
Do you remember Olive Morris?
Gasworks - Events - Residency Artist's Talks
the change you want to see: "The Change You Want to See Gallery and Convergence Stage is home to Williamsburg Coworking and a project of Not An Alternative, a non-profit organization whose mission aims to integrate art, activism and theory in order to affect popular understandings of events, symbols and history. The multi-purpose venue hosts free and low-cost lectures, screenings, panel discussions, workshops and artist presentations."
Performa 09, the third edition of the internationally acclaimed biennial of new visual art performance presented by Performa, will be held in New York City from November 1–22, 2009. The three-week festival will showcase new work by more than 100 of the most exciting artists working today, in an innovative program breaking down the boundaries between visual art, music, dance, poetry, fashion, architecture, graphic design, and the culinary arts. Presented in collaboration with a consortium of more than 40 arts institutions and 25 curators, as well as a network of public spaces and private venues across the city, Performa 09 will ignite New York City with energy and ideas, acting as a vital “think tank” bringing audiences together for new performances, exhibitions, broadcasts, screening, installations and public education programs across all disciplines.
Venerdì 30 ottobre 2009, in occasione della presentazione del francobollo dedicato a Giacomo Manzù, organizzata da Poste Italiane e ospitata dalla GAMeC, sarà allestito presso lo Spazio Caleidoscopio della Collezione Permanente uno sportello filatelico temporaneo dove sarà possibile annullare la corrispondenza con lo speciale timbro dedicato.
Guest Curator: Jonah Dames
31 October - 20 December 2009
Artists: Anonymous, Berri Flecke, Tom Freeman, Lee Longley, Louise Morrison & Matt Dickmann, Tony Nathan
To 'show character' or to be a 'person of character' is perhaps meaningless in a world where the thoughts and actions of any individual can be readily uploaded and disseminated at any given moment. One character becomes as ubiquitous as the next.
Guest Curator Jonah Dames has brought together a group of Australian artists at various points in their careers, whose works in the show try to describe the fleeting idea of character. The result is a diverse array of drawings, prints, sculptures, installation and video works that will be shown in PICA's Westend Gallery.
Blast Theory`s Locative Cinema work will premiere at the ZER01 01SJ Biennial
scheduled to take place in San Jose in September of 2010. This will be followed by exhibition at the 2011 edition of New Frontier at the Sundance Film Festival and the 2011 Banff Summer Arts Festival.
Locative Cinema Comes to Life with Commission from Silicon Valley`s ZER01, Sundance Film Festival, and The Banff Centre | Reuters
A SUPREMATIST STUDY OF THE ANCIENT GREEK MYTHS
OCTOBER 30 – DECEMBER 20, 2009, TUE-SAT 11AM-6PM
In his drawing series for the exhibition “A Suprematist Study of the Ancient Greek Myths”, Pavel Pepperstein depicts the figures and episodes of Greek mythology alongside and, often, in physical engagement with, the signs, symbols, and geometric forms commonly associated with Suprematism.
Reflecting his membership in a new generation of Russian conceptual artists, a group formed in equal parts by the socio-cultural conditions of the late Soviet Union and a desire to move past the abstract artistic solutions it engendered, Pavel Pepperstein creates works which both conceptualize narrative situations and insert abstract forms into a narratable realm. These procedures are enacted with a great deal of humorous irony towards his subject matter and his stylistic debts. The playfulness of his drawings belies the critical engagement they have with art history.Galerie Kamm : Pavel Pepperstein
PUBLIC AVATAR - interactive social experiment
A new artistic project by media artist Martin Bricelj Baraga which will bring to the streets of Banja Luka a real avatar!
On 30th October from 2PM till 7PM you will be able to control Public Avatar- a human agent in real space via the project's web page http://www.public-avatar.com. You will be able to move Public Avatar, talk to him, visit your friends, test the local food, visit parties, movies, bars, meet the locals and much more! Discover Banja Luka!