크리스 마르케르 상영회 Time Travel

Time Travel


2014.6.12 19:00 - 21:00
White Chapel Gallery

Marker is cinema’s exemplary time traveller, from the early collaboration with Alain Resnais (All the Memory of the World, 1956) through his classic La Jetée (1962) toRemembrance of Things to Come (2002), co-directed with Yannick Bellon.


All the Memory of the World (1956) 21 mins

A look at the inner workings of the Bibliothèque Nationale de France in Paris and a meditative piece about the fragility of human memory and the ways in which we try to shore it up. This beautiful film features cinematography by Ghislain Cloquet (Au hasard Balthazar) and music by Maurice Jarre (Lawrence of Arabia). – from Criterion

La Jetée (1962) 28 mins

La Jetée is perhaps the most ‘fictional’ of Marker’s output, weaving its story of a nuclear-devastated Paris in the near future; but it is far from conventional. Lasting 29 minutes, shot in black and white and consisting almost entirely of still photographs – imaginatively blended with dissolves, wipes and fades – this is the bare bones of science fiction. It highlights why we are attracted to science fiction in the first place: not for bug-eyed aliens or galaxy-hopping spaceships, but for the way in which the form can twist our most cherished versions of reality inside out. Indeed, La Jetée belongs to a fascinating epoch in French alternative cinema, when a number of directors engaged with science fiction as a philosophical tool. – Simon Sellars, fromBallardian


Remembrance of Things to Come (2003) 42 mins

…a splendid reminder that his nimble, capacious mind has lost none of its agility, poetry, and power. Ostensibly a portrait of photographer Denise Bellon, focusing on the two decades between 1935 and 1955, the film leaps and backtracks, Marker-style, from subject to subject, from a family portrait of Bellon and her two daughters, Loleh and Yannick (the latter co-authored the film), to a wide-ranging history of surrealism, of the city of Paris, of French cinema and the birth of the cinémathèque, of Europe, the National Front, the Second World War and Spanish Civil War, and postwar politics and culture.

Full of Marker jokes (a great one about artists and cats), word play (Citroen/citron), filmic homages (Musidora makes a memorable appearance), peculiar art history, a consideration of the 1952 Olympics, and astounding segues from French colonialism in Africa to women in the Maghreb, to a Jewish wedding and gypsy culture in Europe, to Mein Kampf and the Nazi death camps (Birkenau, Auschwitz), the film opens with Dali and ends with Mompou, traversing in its short time a world of thought, feeling, and history.

A small masterpiece of montage, Remembrance… is from moment to moment reminiscent of Resnais, Ivens, even Kubrick, but in its deployment of still photographs (as in La Jetée), its theme of history and memory, its subject-skipping montage and rapid shuttle of wit and philosophy, it is pure, marvelous Marker. 

— James Quandt, Senior Programmer, Cinematheque Ontario

원문출처

http://www.whitechapelgallery.org/shop/product/category_id/46/product_id/1926?session_id=1402568503bd4fb5ec21bac577171be9fc8379d7d1

히토 슈테예를 회고전

HITO STEYERL

Hito Steyerl's first mid-career retrospective


2014.4.12 - 6.22
Van Abbemuseum

큐레이터 _ Annie Fletcher

Hito Steyerl, Strike, 2010.

Hito Steyerl, HOW NOT TO BE SEEN A Fucking Didactic Educational Mov File, 2013.  

From 12 April, the first mid-career museum retrospective of the artist, writer and filmmaker Hito Steyerl (1966, München) will be on view in ten rooms of the Van Abbemuseum’s old building. This comprehensive exhibition will include ten works from the past decade alongside three new pieces namely Liquidity Inc. (2014), Shunga (2014) and Surveillance: Disappearance (2013).
Steyerl is considered to be one of the most exciting artistic voices today, who speculates on the impact of the internet and digitisation on the fabric of our everyday lives. She offers an astute and often humorous analysis of the dizzying speed with which images and all kinds of information are reconfigured, altered and dispersed, and then over again, accelerating into infinity or crashing and falling apart.

The opening of the exhibition is on Saturday 12 April. At 4.20 pm Hito Steyerl will do a lecture called 35 Ways To Break Through A Wall.

In her filmic works and elaborate installations Steyerl implements the methods and means of the digital world to her will, deftly deploying montage adapting and riffing off a plethora of digital images suggesting new ways in which to intervene and engage. Steyerl as a filmmaker is very much aware of the increasingly difficult status of the documentary as genre and practice in the digital age, not quite fitting between cinema and television on one side, and an art space, museum or gallery on the other side.

Circulationism
In a recent essay Steyerl focuses on the term ‘circulationism’ as way of understanding the contemporary potential of art and the image. She suggests: “What the Soviet avant-garde of the twentieth century called productivism – the claim that art should enter production and the factory – could now be replaced by circulationism. Circulationism is not about the art of making an image, but of post-producing, launching, and accelerating it. It is about the public relations of images across social networks, about advertisement and alienation, and about being as suavely vacuous as possible.”

Steyerl wonders what happens when the effects of digitisation slip off the screen and enter into the material world. What happens to our thought patterns, our language and our behaviour? Or even the weather, for that matter? In her opinion we have long since entered into a new paradigm - a space of no return - a free flowing system of ‘circulation’ that circumscribes and influences everything from the government to love. Steyerl delves into these new conditions of circulationism and attempts to understand and reflect on its potential and impasses. Crucially, she remarks that circulationism, if reinvented, could also be about short-circuiting existing networks, circumventing and bypassing fixed regimes of power and money.

Hito Steyerl
Hito Steyerl is a film maker, video artist and writer. In addition to different (solo)exhibitions, her work was shown at the 2013 Venice and Istanbul biennales, the 2010 Gwangju and Taipeh biennales, the 2008 Shanghai biennale, documenta12 in Kassel in 2007 and Manifesta 5 in 2004. She is a professor of Art and Multimedia at the University of Arts in Berlin.

원문출처

http://vanabbemuseum.nl/en/programme/detail/?tx_vabdisplay_pi1%5Bptype%5D=18&tx_vabdisplay_pi1%5Bproject%5D=1264

아말리아 피카 개인전

a ∩ b ∩ c (line)

2014.2.15 - 9.21

Van Abbemuseum (아이트호벤)

큐레이터 _ Annie Fletcher

Based on the idea that a narrative changes the perception of certain geometrical or abstract forms, the Argentinian artist Amalia Pica (Neuquén, Argentina, 1978) proposes the project A ∩ B ∩ C (Line) (2013). The work consists of series of flat geometrical forms, made out of acrylic, of various colours. At A ∩ B ∩ C (Line) a minimum of three performers will activate the work at regular intervals with or without an audience present . The title of the project A ∩ B ∩ C (Line) by Amalia Pica takes the language used in set theory, in which the symbol ∩ means intersection; the elements common to two or more sets.

When the piece is not activated, it will have a sculptural character formed by these acrylic objects. The performers will create new compositions with this objects that refer to the Venn diagrams and other more complex forms. The artist aims to humanise these forms when they are manipulated by a group of people who create different combinations using the figures, allowing communication between the various objects. The figures, no longer isolated entities, become part of a conversation struck up by those performing the action, involving them in a non-verbal dialogue. Pica focuses on “a preoccupation with finding code sharing, either through celebrations, rituals, artifacts communicative or educational policies that are located in a common imaginary".
Fascinating historical backdrop

What gives the piece an extra poignancy is its reflection on a form of communication not always possible in the artist’s home country. During the period of dictatorship in Argentina in the 1970s, gatherings of citizens were closely monitored, as they were considered a threat to the government. Prosecution for participating in any type of collective activity was carried out under the umbrella of the National Security Law. At the same time, group theory and Venn diagrams were banned from primary school programmes as they could provide a model for subversive thought.

원문출처

http://vanabbemuseum.nl/en/programme/detail/?tx_vabdisplay_pi1%5Bptype%5D=44&tx_vabdisplay_pi1%5Bproject%5D=1262

POSITIONS

POSITIONSFive projects in dialogue


2014.7.5 - 10.12
Van Abbemuseum(아인트호벤)

큐레이터 _ Nick Aikens

참여작가 _ Lawrence Abu Hamdan, Céline Condorelli, Bouchra Khalili, Charles van Otterdijk, Koki Tanaka.






Positions is a new exhibition format that sets a series of projects in dialogue with one another in the ten galleries of the museum's old building. With each artist presenting a significant body of work, many produced for the exhibition and others developed through collaborations with art organisations throughout the world, Positions explores different tones of contemporary artistic voices.

The five distinct presentations examine how we position ourselves in the world today – often making visible frameworks, subjects and ideas that are felt but not seen. The exhibition unfolds as a conversation between a series of installations, films and architectural interventions that move between different geographical and political contexts and invite us to consider how agency - collective or individual - is both granted and taken away.







Lawrence Abu Hamdan (1985, Jordan), Tape Echo, 2013-2014
Lawrence Abu Hamdan will present Tape Echo, co-commissioned with Beirut in Cairo and including a new video work produced for Positions. With Tape Echo Abu Hamdan proposes a series of methods for documenting and intervening within of Cairo's dense audio urbanity, looking at how voices are distributed and hearing is damaged within of the city's rapidly changing sonic conditions.

Lawrence Abu Hamdan, Hypocrisy, 2013. Courtesy the artist

Céline Condorelli (1974, France), The Company She Keeps, 2014
Céline Condorelli’s work is concerned with how all human action takes place amidst what she has termed ‘support structures’ – whether emotional, legal or physical – which are mostly taken for granted, and therefore seem invisible. The Company She Keeps presents a series of new objects, installations and interventions in the galleries that develop from her ongoing engagement with friendship as a condition for working and living together. At the centre of the installation is the publication The Company She Keeps(published by Book Works, Chisenhale Gallery and Van Abbemuseum) which includes a series of conversations between the artist and friends on the philosophy, politics and history of friendship.

Céline Condorelli, 2014, installation view at Chisenhale Gallery

Céline Condorelli, 2014, installation view at Chisenhale Gallery.

Bouchra Khalili (1975, Morocco), The Speeches Series, video trilogy, 2012-2013
French-Moroccan artist Bouchra Khalili will present the three-part work The Speeches Series – shown together for the first time in Positions. The Speeches Series is built around three chapters, each comprised of five speeches by migrants that Khalili has collaborated closely with in Paris, Genoa and New York and that focuses respectively on mother tongues and dialects, citizenship, and working class. 

Bouchra Khalili, Speeches, 2012-2013

Charles van Otterdijk (1976, the Netherlands), Double Centre, 2013-14
Charles van Otterdijk’s project Double Centre is based around two locations on the Polish-German border. Through photographs, research material and a highly evocative installation Double Centre addresses the culture of surveillance and the way in which information is controlled and mediated – by the artist himself and, by inference, to society at large. First presented in Stroom Den Haag (2013) this second ‘Situation Report’ from these sites includes new objects produced for Positions. The publication Double Centre was published by Book Works, Van Abbemuseum and Stroom Den Haag in 2013

Charles van Otterdijk, Double Centre.

Koki Tanaka (1975, Japan), Precarious Tasks, 2012 - ongoing
Koki Tanaka’s Precarious Tasks, developed over the past few years in cities throughout the world, are humble acts of collectivity conceived in the immediate aftermath of the Tohoku earthquake in Japan and the resulting Fukushima disaster. In Positions they are presented through an ambitious, architectural installation with documentation, statements and ephemera from the tasks. Tanaka will carry out two new tasks in Eindhoven, commissioned for Positions.

Koki Tanaka, Precarious Tasks, 2012-ongoing.

The projects were realised in collaboration with: Beirut, Cairo; Book Works, London; Chisenhale Gallery, London; Museum as Hub; Pérez Art Museum, Miami; Stroom Den Haag.

SOUND WALK

SOUND WALK

experience the museum in a new way!


2014.5.24 -
Van Abbemuseum(아인트호벤)

Experience the museum in a new way with the Sound Walk (only available in Dutch)

The eternal struggle against silverfish, the Reclining Nude by Sluijters in Henri van Abbe’s collection, a meeting with the director Charles Esche and artist John Körmeling. During this sound walk the theatre actor and director Lucas de Man takes you on a journey full of images, voices and sounds.

Lasting an hour, his personal story produces a surprising impression of the Van Abbemuseum. You can buy the Listening route at the ticket office for €2.50.

How does it work?Listen to Lucas de Man on an mp3 player with headphones. The listening route starts at the ticket office and from there Lucas takes you all round the museum. Press on the play button to start the listening route. You can press pause whenever you like and rewind if you want to hear something again. At the end you give the mp3 player back to a member of the museum staff or at the ticket office.

If you prefer to use your own smartphone, you can download the listening route as an app in the App Store orPlay Store for €1.79 (in that case you need your own headphones).

원문출처

http://vanabbemuseum.nl/en/programme/detail/?tx_vabdisplay_pi1%5Bptype%5D=40&tx_vabdisplay_pi1%5Bproject%5D=1384

A SINGULAR FORM

A SINGULAR FORM

2014.6.26 - 8.24

SECESSION (비엔나)

참여작가 _Martha Araújo, Ricardo Basbaum, Dustin Ericksen, Asger Jorn (with Gérard Franceschi), Hilary Lloyd, Asier Mendizabal, Peter Madsen, Bruno Munari, Nicole Wermers, and a few other things

큐레이터 _ Pablo Lafuente

Asier Mendizabal, Untitled (Forcola #1), 2013

In A Singular Form, Pablo Lafuente puts the art object as such front and center. The exhibition brings together works of art and everyday objects and combines them in a display specifically developed for the occasion. The resulting arrangement opens up an intellectual space for potential uses and meanings that go beyond those usually assigned to the contemporary art object. The pieces Lafuente has chosen not only reveal their origin by virtue of their mere materiality, suggesting a particular approach to their objecthood in the sense of a determinate functionality; they also hint at a release from such exemplary determinations. In A Singular Form, this emancipation happens in at least three ways: through the contemplation of the pieces as aesthetic objects, their use, and their transformation into images.

The critical engagement with the form and ostensible meaning of an art object is a generic and at once abstract undertaking. The exhibition makes it concrete by focusing on sculptural form, while also enacting a displacement from the sculptural to the functional idea. This shift illustrates that the material structures of the objects are part of a changing network of relations or a sequence of activities (such as contemplation, action, use, and transformation) in which they serve in turn as catalysts, expedients, or basis.

Pablo Lafuente challenges us to rediscover the object as the foundation for an aesthetic experience and frames the following core questions: How concrete or how specific can an object of mediation be? And to what extent can it be abstracted and made generic? The exhibition A Singular Form offers answers to these questions with a variety of objects, including Peter Madsen's reconstruction of the mast (mastefisk) of a Viking ship; a number of photographic contact prints from Asger Jorn and Gérard Franceschi's project 10,000 Years of Nordic Folk Art; a Venetian rowlock (fórcola); a video installation by Hilary Lloyd; Martha Araújo's wearable geometric canvas; a 'portable' sculpture by Bruno Munari; a stretcher from Brazil; a wallpaper and sculpture by Dustin Ericksen; and a number of sculptural pieces and display units by Asier Mendizabal. The display frames and organizes these objects as both things and images in order to heighten their potential agency—a power that dissolves fixed attributions of function and thus also alters the conditions under which life can occur around them.

Pablo Lafuente was born in Spain in 1976 and lives in London.

원문출처

http://www.secession.at/art/2014_e.html#gruppe

Fuel, Fantasy, Freedom

Fuel, Fantasy, Freedomby FAILE

2014.7.2 - 9.6

Galerie Hilger NEXT (비엔나)

In the summer of 2014 FAILE return to Europe with a new, multimedia set of works, Fuel, Fantasy, Freedom. While FAILE’s painting and sculpture have long played with fantastical characters and scenes, the new material that debuts at the Galerie Hilger NEXT on July 2nd delves into the uncanny realm of childhood memory, dreams, and exploration like never before.

Sometimes this is whimsical—many of the works depict familiar scenes of fairy-tales and mythology, re-imagined through FAILE’s system of juxtaposition and inversion. At other times—in the case of magazine-style centerfolds of tricked-out seventies muscle cars—FAILE invoke the near-talismanic objects of adolescent desire. Like the pop-artists that once inspired them, with Fuel, Fantasy, Freedom, FAILE zero-in on an icon of North American freedom during the 20th century, and the rich graphic culture that surrounded it, from uniforms and decals to posters and glossy magazines.

Formally, Fuel, Fantasy, Freedom is both an evolution and a departure from recent sculptural forms and assemblages with wood. Painting has long been at the core of FAILE’s practice, and here they take inspiration from the openness and simplicity of children’s drawings, emphasizing simplified but vibrant colors that underlie their screen-printing. While such an approach was pioneered by the Blue Rider Expressionists and Andy Warhol alike, FAILE’s work on paper adds a delicacy and chromatic intensity to this lineage. Of course, FAILE is well known for reinventing entire genres using their own rogues gallery of characters and typographies, and in Fuel, Fantasy, Freedom, they take on the graphic landscape of the racing world, envisioning “customized” new cars and presenting their logos as most teenagers would have seen them—sexy spreads attached to garage walls, or collectable patches to be sewn to jackets or driver’s gear.

Taken together, Fuel, Fantasy, Freedom’s works on wood, paper, and fabric are some of FAILE’s most personal to date, reflecting on multiple generations of family while creating an uncanny space of innocence and desire, and reveling in the freedom of the studio and the open road.



about FAILE
FAILE is a collaboration between Brooklyn-based artists Patrick McNeil and Patrick Miller. Since 1999, McNeil and Miller have constructed multimedia installations and large-scale paintings and sculptures. These works have catapulted them to the forefront of post-Warhol imagery.

While FAILE initially operated outside of mainstream contemporary art, they quickly gained widespread awareness due to their groundbreaking use of materials, images and technology. FAILE’s culture-driven iconography and visual imagery blends high and low culture into works that can thrive either in the gallery or on the street.

원문출처

http://failesites.net/fuel--fantasy--freedom#0

오스카 무뇨스 개인전 Protographs

Protographs

2014.6.3 - 9.21

Jeu De Paume (파리)

큐레이터 _ José Roca, María Wills Londoño

Ambulatorio[Deambulatoire], 1994

Narciso[Narcisse], 2001

Cortinas de Baño[Rideaux de douche], 1985-1986

Línea del destino[Ligne du destin], 2006

Born in 1951 in Popayán (Colombia), Oscar Muñoz is regarded as one of the country’s most important contemporary artists, whilst also garnering attention on the international art scene. A graduate of the Escuela de Bellas Artes in Cali, he has built up over a period of four decades a body of work whose images deal with the realm of memory, loss and the precarious nature of human life. Muñoz’s work defies systematic classification because he works in so many different media: photography, printmaking, drawing, installations, video and sculpture.

“Protographs“ (a term coined to evoke the instant just before or just after that split-second when the photographic image is captured and frozen for ever) presents his major series grouped by theme. These themes poetically and metaphorically juxtapose Muñoz’s own past and the different material states of the image. For example, he combines the dissolution, deterioration or disintegration of the image with the inherent fragility of memory and the impossibility of making time stand still; or the image’s evaporation and transformation with the tension between rationality and chaos in our urban societies. Finally, in the main part of his work, he creates ephemeral images that, as they disappear, invite the spectator to share in an experience that is simultaneously rational and sensual.

Oscar Muñoz began his career in the 1970s in Cali in a period when a whirlwind of cultural and cross-disciplinary activity saw the emergence of a generation of writers, photographers and filmmakers who today play a leading role in the contemporary art scene (with Carlos Mayolo, Luis Ospina, Fernell Franco and Andrés Caicedo to name but a few). At that time, Muñoz was drawing with charcoal on large-format supports presenting a cast of sad and sometimes sordid characters with a deep emotional charge.

The main characteristics of his work emerged at an early stage. These include a profound and tireless interest in social questions, an original approach to materials, the use of photography as an aid to memory and the exploiting of the dramatic possibilities afforded by the play of shadow and light in defining the image. Moreover, the artist developed a phenomenological approach to minimalism by insisting on the relationship between the artwork, the spectator and the surrounding exhibition space.

In the mid-1980s, Oscar Muñoz moved away from traditional artistic methods and began to experiment with innovative processes that created a real interactive exchange with the spectator. This was the time of a radical reassessment of his artistic practices, whether drawing, printmaking, or photography, and a questioning of the relationship between the artwork and its surroundings. He abandoned traditional formats and techniques, whilst preserving something of their roots and wellsprings, to investigate ephemerality, highlighting the very essence of the materials themselves and their poetic associations. His use of the fundamental elements – water, air and fire – refers to the processes, the cycles and the transcendental manifestations of life, our very existence and death itself. “My work attempts to understand why the past and the present are so full of violent acts”, says the artist. By choosing to use a diverse selection of media and to apply innovative and unique processes, Oscar Muñoz blurs the boundaries between artistic disciplines.


The “Protographs” exhibition showcases a career that has lasted nearly forty years. It presents series of works grouped around the artist’s major themes, starting with his works on paper and his series of large format hyperrealist drawings in charcoal (1976–1981) – bearing witness to his deep interest in social context – and the drawings and engravings that he started making in the 1980s, which marked the relinquishing of paper for an exploration of unconventional materials and processes (printing on damp plastic, the use of sugar and coffee, etc.); continuing with his experiments in the 1990s and 2000s on the stability of the image and its relationship to the processes of memory; and including his latest works (2009–2014), characterised by a continual process of appearance and disappearance, including a new work produced specifically for the exhibition.

원문출처

http://www.jeudepaume.org/index.php?page=article&idArt=2061

Solar Sight : An Evening with Lawrence Jordan

Solar Sight : An Evening with Lawrence Jordan

2012.11.9 19:00

Film Studies Center

Best known for his singular cutout animation style, the films of avant-garde great Lawrence Jordan channel the unconscious to construct surrealist dream-like distortions of imaginary rituals. Found graphics of animals, objects and characters come alive against backdrops of drawings and engravings by masters like Gustav Doré. Collaborator with Stan Brakhage, assistant and friend of Joseph Cornell, and co-founder of Canyon Cinema, Jordan has championed the use of film as a vehicle for personal expression from coast to coast for over six decades. Jordan will introduce a program featuring celebrated films from through out his career paired with the premiere of his new work Solar Sight, Parts 1 and 2. In partnership with Conversations At The Edge, screening a program of Jordan's work on Thursday, Nov. 8 at the Gene Siskel Film Center.

Jordan will bring animation models from his work for a demonstration following the screening and discussion.


Solar Sight, Parts 1 and 2 (2011, 16mm, 15 min)
Chateau Poyet (2004, 16mm, 6 min)
The Visible Compendium (1991, 16mm, 17min)
Moonlight Sonata (1979, 16mm, 5 min)
Orb (1973, 16mm, 5 min)
Waterlight (1957, 16mm, 8min)

(총 상영시간 56분)

Lawrence Jordan is an independent filmmaker who has been working in the Bay Area in California since 1955, and making films since 1952. He has produced some 40 experimental and animation films, and three feature-length dramatic films. He is most widely known for his animated collage films. In 1970 he received a Guggenheim award to makeSacred Art of Tibet, and his animation has shown by invitation at the Cannes Film Festival. Jordan is one of the founding directors of Canyon Cinema Cooperative, and he has shown films and lectured throughout the country.

원문출처

http://filmstudiescenter.uchicago.edu/events/2012/solar-sight

These Immovable Walls

These Immovable Walls:
Performing Power at Dublin Castle

2014.7.11 - 12
Dublin Castle (아일랜드)

큐레이터 _ Michelle Browne

Pauline Cummins 'The Spy at the Gate' image taken by Fiona Morgan, 2014.

This exhibition of live performance presents the work of Carey Young, Kateřina Šedá, Sandra Johnston, Maurice O’Connell, Philip Napier, Pauline Cummins and Dominic Thorpe. The show focuses on the theme of power and its relationship to performance. Dublin Castle has been the seat of power in the city for much of its 800-year history. In partnering with Office of Public Works, this exhibition of newly commissioned performances will for the first time interrogate Dublin Castle as a public space. Engaging directly with the castle’s current function as a heritage site, which houses government departments and its at times controversial history. This show will consider the aesthetics and architecture of power as well as notions of legitimacy, force, coercion and voicelessness.


The exhibition will consist of performances that range from short pieces to longer durational works over both days. Carey Young’s new performance involves the reading of a will—an event familiar from cinema or TV soap operas, but which has no basis in reality. Young’s will takes an experimental and playful approach to notions of ownership, legacy, economy and the circulation of objects. Kateřina Šedá will engage the temporal community of tourists to Dublin Castle in a collaborative performance, through her peculiar and provocative activities, she will endeavour to awaken permanent changes in their behaviour. In 1984 Margaret Thatcher insisted on being housed in Dublin Castle during a visit to Ireland. Sandra Johnston responds to this considering Thatcher’s infamous quote “We must try to find ways to starve the terrorist and the hijacker of the oxygen of publicity on which they depend” in the context of the castle’s statue of Justice, which problematically turns her back on the people of Dublin. Maurice O’Connell will dissolve the distance between art and life as he takes up a role on Dublin Castle’s security team. His idiosyncratic practice involves fully qualifying in a variety of occupations, each a position of power, control, responsibility or trust in society. He will mischievously deconstruct the verbal and nonverbal language of performing power within the everyday. Philip Napier's work will explore cultural identity the strange 'pantomime' of the performance of the State, through a sculptural intervention on the castle’s grounds. Pauline Cummins looks at the extravagant consumption by the aristocracy in Ireland in the 18th century. It focuses on Emily, Duchess of Leinster and the mother of Lord Edward Fitzgerald one of the leaders of the 1798 rebellion. Cummins’ work meditates on the birth of a revolutionary from inside the body of the aristocracy. Dominic Thorpe will work in what was formerly the Children’s Courts in Dublin Castle. His work will make connections between past institutional abuses that were administered in the former courts and abuses that continue to happen in our time; both enabled by cultures of silence in Ireland.

A seminar will also take place on the 11th of July that will look at the crossover between research into the performance of power in art and society.








Carey Young’s (b. 1970, lives and works in London) work centres on the growing influence of corporations and the legal sphere on individual and collective subjectivity, which she explores using a variety of media including photography, text, video and performance.work has been presented in numerous solo exhibitions at venues including Migros Museum für Gegenwartskunst, Zurich (2013), Le Quartier, Quimper (2013), Paula Cooper Gallery, New York (2010, 2007), Eastside Projects, Birmingham and tour, (2010 - 2011), Contemporary Art Museum, St. Louis, and The Power Plant, Toronto (both 2009), John Hansard Gallery and tour (2001 – 2002). She participated in the Taipei Biennial (2010), Moscow Biennial (2007 and 2013), Sharjah Biennial (2005), Performa 05 Biennial of Visual Art Performance, and the Venice Biennale (2003). Young has also participated in many group exhibitions, including Tate Liverpool (2013), the San Francisco Museum of Modern Art (2012), the New Museum, New York (2011), MoMA/PS1, New York (2010) and Tate Britain (2010). She is represented by Paula Cooper Gallery, New York and her works are in the collections of the Centre Pompidou, Kadist Foundation, Arts Council England and the Tate Gallery, amongst others. A monograph on her work, Subject to Contract, was published by JRP|Ringier in 2013.

Katerina Šedá (b. 1977, lives and works in Brno–Líše? and Prague) began her studies at the Arts and Crafts Middle School in Brno, continuing them from 1999–2005 at the Academy of Fine Arts in Prague (under professor Vladimír Kokolia). She has exhibited her work at MOMA, Venice Biennial (2013), Kunstmuseum Luzern, Switzerland ( 2012), Renaissance Society, Chicago (2008), Taxispalais Gallery Innsbruck, Austria (2007-2008), Documenta 12, Kassel (2007), Index Gallery, Stockholm (2007) and Modern Art Oxford (2006). In her projects – which, for the most part, she carries out in the area where she lives (in the countryside or the city outskirts) – she tries to bring the local residents closer together. Through her peculiar (provocative) activities and her non-traditional use of everyday materials, she endeavours to awaken permanent changes in their behaviour.

Philip Napier was born in Belfast in 1965 and studied at Manchester Polytechnic, Falmouth School of Art, Cornwall and the University of Ulster where he was awarded an MFA in Fine Art in 1989. A former Rome Scholar, Philip Napier has exhibited work internationally at venues including: the Irish Museum of Modern Art, Dublin; the Santa Monica Museum, California; PS1 New York, Robben Island, Cape Town. He represented Ireland at the XXII Sao Paulo Biennale (1994) and the UK at the inaugural Gwangju Biennale in South Korea (1995). He has worked collaboratively in a number of projects developing dimensions of enquiry in a variety of challenging public spaces through permanently sited and time based works. Through representing dimensions of language at play in civil culture, Napier is interested in re-routing meaning and power. Professor Philip Napier is Head of Fine Art and Acting Head of Sculpture at the National College of Art and Design, Dublin. He is a founder member of Flax Art Studios, Belfast and his work is included in the collections of the Arts Council of Northern Ireland and The Arts Council of Great Britain.

Pauline Cummins’ performance and video work examines identity, gender and socio-cultural relations connected to different communities in society. Her recent series of works Sound the Alarm (2008), (2009), and (2010) explore themes of power, powerlessness and the rights of the child to protection in our society. Cummins’ video installations have been exhibited nationally and internationally over the last 30 years, in Liverpool Tate, IMMA, and in M:ST International Festival, Calgary, Canada. The exhibition, Between One and Another, (2012) with Canadian artist Sandra Vida, at the Irish Cultural Centre, Paris, showed a selection of her video works and a new site-specific performance Extracts based on the Ryan report on child abuse. Her work is in the permanent collection of the Irish Museum of Modern Art. She is a lecturer in the Dept of Sculpture at the National College of Art and Design, Dublin.

Dominic Thorpe is an Irish visual artist who works primarily through performance and sometimes through drawing, sculptural, video, contextual and relational based projects. He has shown and performed work extensively internationally (Norway, China, Italy, Sweden, France, Hong Kong, Finland, Thailand and the UK) and in Ireland including at Temple Bar gallery, the RHA, Tulca and the Project arts Centre. He has completed a several public art commissions and has work in a number of public collections in Ireland. Thorpe has received awards and bursaries from the Arts Council of Ireland, the Kildare County Council, Culture Ireland and CREATE (The national development agency for collaborative arts in Ireland). He is currently a visual art consultant and facilitator on the Kildare Council Creative Well Arts in Health programme and sits on the editorial panel of the Arts Council of Ireland's Arts in Health website www.artsandhealth.ie. Dominic Thorpe is a resident at the Fire Station Artists’ Studios Dublin and is also currently the first artist in residence at Humanities in University College Dublin.

Sandra Johnston is a Northern Ireland artist, working in the areas of site-responsive performance actions, video installations and drawing. Between 2002-2005 she was an Arts Humanities & Research Council, (A.H.R.C.) Research Fellow at the University Of Ulster in Belfast, investigating issues of ‘trauma of place’ and acts of commemoration. From 2005-2012 a Lecturer in Time-Based Art at the University of Ulster. In 2007 she was selected to be the ‘Ré Soupault’ Guest Professor at the Bauhaus University in Weimar, teaching on the M.F.A Public Art and New Artistic Strategies Programme. Johnston has recently published her PhD project entitled, Beyond Reasonable Doubt: An Investigation of Doubt, Risk and Testimony Through Performance Art Processes in Relation to Systems of Legal Justice, 2013 with LIT (Berlin, Münster, Vienna, Zurich, London) in the series European Culture and Policy. Currently, teaching as a Senior Lecturer at Northumbria University in England.

Maurice O’Connell (based in the UK) works to provoke continuing questions around the nature of the Artist today. Who they work with or for? A series of projects in the 1990’s involving residencies set up a long discourse around the institutional nature of art practice, with projects across Ireland, UK, Europe and the USA. These brought to the surface complex relationships with those his work tried to engage. The Art was only ever a surface. A series of projects over last ten years in which language has become key, in negotiating place and space for the artist. Maurice now collects and learns modes / habits of communication, then adopts the stance of the places in which he occupies. The work is very visible but barely noticeable with a continuous public presence in most aspects of structured community life inside and outside of cultural frameworks. This work has been allied to activism, Social Planning, Structural Development, Architecture, Theatre and more recently the Emergency Services.



Michelle Browne is an artist and curator based in Dublin. She studied Sculpture at the National College of Art and Design in Dublin. Much of her work is performance based and she has performed and exhibited both nationally and internationally. Browne has curated a number of performance exhibitions including OUT OF SITE, a festival of live art in public space in Dublin running from 2006-2008. In 2009 she curated Vital Signs, an exhibition of arts and health in context for the Arts Council and Create and she was the 2010 curator of TULCA a season of visual art in Galway. She curated a series of performances entitled Between You and Me and the Four Walls for The International Network of Performing Arts spring plenary meeting at Project Arts Centre, Dublin in 2013. Browne has contributed to the upcoming book Irish Performance Art: A History edited by Áine Phillip, published by Intellect Books. She has also written for Circa Art Magazine, Visual Artists News Sheet and Create News. She was Artist Advisor on the design team for the Grafton Street Quarter Improvement Scheme from 2011-2013.

원문출처

http://www.seanmacerlaine.com/michellebrowne/walls2.shtml

this secret world that exists right there in public

this secret world that exists right there in public

2014.6.4 - 7.19

RAMPA Gallery (이스탄불)

큐레이터 _ Lara Fresko, Esra Sarıgedik Öktem

Otto Berchem, Revolver (Is This Democracy), 2013

Otto Berchem, We are the revolution, 2013

Otto Berchem, We are the revolution (Maypole), 2013

Rampa’s first group exhibition this secret world that exists right there in public, co-curated by Lara Fresko and Esra Sarıgedik Öktem brings together the works of 16 artists including Etel Adnan, Hüseyin Bahri Alptekin, Francis Alÿs, Otto Berchem, Attilla Csörgő, Ergin Çavuşoğlu, Cengiz Çekil, Nilbar Güreş, Berat Işık, Çağdaş Kahriman, Yasemin Özcan, Funda Özgünaydın, İz Öztat & Zişan, Kiki Smith, and Ali Taptık.

The exhibition takes its inception and title from a scene in Noah Baumbach’s 2012 film <Frances Ha>, in which Frances, talking to strangers in semi drunken fervor, points out a fleeting moment when the transformative potential of love as well as the miracle of unmediated communication is rendered possible and visible. Focusing on the potentials of interpersonal relations and social movements to envision alternative worlds, the exhibition brings together works from different histories and geographies.

Three central works explore the many facets of travel, crossing borders, creating channels of communication, instituting solidarity, storytelling and imagining utopian and dystopian alternatives through a cartographic approach. In The Loop (1997) Francis Alÿs takes an unexpected route to go from Tijuana to San Diego without crossing the Mexico/United States border. In a similar vein, Hüseyin Bahri Alptekin’s diptych piece Black Sea Map / Kéraban Lé Têtu (1999) follows Jules Verne’s stubborn tobacco merchant in a journey all the way around the Black Sea regions in order to get to Istanbul’s Asian coast without crossing the Bosphorus. A remnant of what became an unfinished project of the artist to forge networks of communication among the contemporary art scenes of Turkey with its northern neighbors is not only a vision of alternative routes but also a cultural project of solidarity formation. İz Öztat & Zişan’s collaboration consists of a drawing of the Island of Paradise/Possessed (1915-1917) by a fin de siecle avant-garde artist Zişan, that takes the form of three letters that spell both Paradise and Possessed in Ottoman script. Within their cross generational relationship, Zişan’s departure point for the map draws İz Öztat into a journey through the absent Island of Adakale on the Danube, which materializes in a publication and a video work titled Constituting an Island (2014).

A preoccupation with space and place are treated formally in two of Etel Adnan’s abstract paintings, which evoke landscapes, Untitled (Beirut) #077 and Untitled (Beirut) #132, and verbally in Ergin Çavuşoğlu’s Place Series (2008). Attilla Csörgő’s sketches, Squaring the Circle (2012) are geometric studies evocative of the great Architect Sinan’s fascination with placing a circle on top of a square in building a space of community as well as divine communication.

Otto Berchem’s tent-like structure invokes a traditional ritual of community with May Pole (2013), a sculpture piece on which he projects the color abstractions he blocks out from protest signs on black and white photographs of social mobilization across the world through recent history. Cengiz Çekil takes the one of the most popular media of the 20th century, and strips it to its bare imagery in his newspaper collage from the series Unwritten (1977), opening up alternative readings through images as well as questioning the very credibility of the image itself. Yasemin Özcan’s Soap Opera Synopses, an installation dated 1997, is reconstructed in the back of the gallery space, standing in as a relic from our near history, with a sound that haunts our psyche. Özcan’s intervention into the text, which reflects the socio-political agenda of its time, gives a wonderous contextualization, and a glimpse into the machinations of repetition and change.

The exhibition explores the momentary encounters Frances imagines, in geography, history, and popular media as well as in quotidian and fantastic imaginaries of nature. Ali Taptık’s photographs depicting the urban flora arise from his practice of walking and documenting the minute details of urban landscape. His survey of a variety of frail potted plants scattered throughout the city resonates with Çağdaş Kahriman’s lament for an urban tree in Fenêtre sur cour. Berat Işık’s video duo, Butterfly Effect (2012), and Falling (2013) were produced as two separate pieces. Shown in this exhibition together, the duo explores the transformative potential of breath as the source of human voice. This potential is explored in the breath that is held and let go in Butterfly Effect and the gas filled balloons that are left to roam the skies.

Kiki Smith’s animal drawings from the series Everywhere (2010) explore a world which is accessible only through the perception of animals, and remain closed to human beings. Funda Özgünaydın’s human-animal collages depict the hybridization of the species, a strategy which aspires to glimpse into the perceptive range of our co-habitors. Nilbar Güreş’s Spider Woman; Mother (2006), a barely visible piece that hanging uncannily from a corner harbors a quiet and unexpected strength, opening up a world not visible to those outside her web.

Bringing together works that twist, open up or change our perception, the exhibition aims to create a space where the secret world that exists right there in public appears as a possibility. The exhibition hails the social movements that will surely leave a mark on the 10’s of this century by taking a fresh look at history, geography, architecture, and nature.

원문출처

http://www.rampaistanbul.com/en/exhibition/this-secret-world-that-exists-right-there-in-public

Close and Far: Russian Photography Now

Close and Far: Russian Photography Now

2014.6.18 - 8.17

Calvert 22 Gallery (런던)

큐레이터 _ Kate Bush

Sergei Prokudin-Gorsky, Dinner during haying, year 1909

A new generation of photographers and video artists explore identity and place in early 21st century Russia alongside the rediscovered works of Sergei Prokudin-Gorsky, whose colour images of pre-revolutionary Russia are exhibited for the first time in the UK.

When Nicholas II, the last tsar, personally commissioned Prokudin-Gorsky, an early pioneer of colour photography, to document his vast empire he presided over the largest territory in the world. Today, Russia is still a land of dramatic extremes and diversity. Where Prokudin-Gorsky witnessed first-hand the effects of galloping colonisation and the early stirrings of industrialisation, today’s artists work in the aftermath of the empire’s collapse, grappling both with its past and future.

Close and Far showcases the work of Alexander Gronsky, Dimitry Venkov, Taus Makhacheva, Olya Ivanova and Max Sher.

원문출처

http://calvert22.org/exhibitions/close-and-far-russian-photography-now/

Sergei Prokudin-Gorsky의 더 많은 사진
http://trouvaillesdujour.blogspot.kr/2012/10/nostalgia-color-photographs-of-sergei.html

Places of Memory

14th Venice International Architecture Biennale
Places of Memory

2014.6.7 - 11.23
터키관 (베니스)

큐레이터 _ Murat Tabanlıoğlu
프로젝트 코디네이터 _ Pelin Derviş
전시자 _ Alper Derinboğaz, Metehan Özcan, Candaş Şişman, Ali Taptık, Serkan Taycan
위원 _ Istanbul Foundation for Culture and Arts (İKSV)

Turkey inaugurated its debut exhibition, Places of Memory, at its long-term pavilion at the prestigious Arsenale. One of the newest countries to participate in the 14th International Architecture Exhibition of la Biennale di Venezia, Turkey's project Places of Memory is a thought-provoking and lyrical exhibition that examines Istanbul's urban transformation. The exhibition is commissioned by the Istanbul Foundation for Culture and Arts (İKSV), and curated by architect Murat Tabanlıoğlu.

Using subjectivity as the starting point, Places of Memory explores how an individual relates to a city, through the daily exchange with the built environment. The exhibition brings together a group of artists and architects from Turkey to reflect their subjective views of urbanism and place. The team, headed by Murat Tabanlıoğlu and coordinated by Pelin Derviş, has spent the last seven months exploring and documenting their own relationships to Istanbul. Three areas of the city, Taksim-Karaköy, Bab-ı Ali/Sirkeci and Büyükdere, are examined through different scales, and different media. The result is an intelligent and arresting personal narration of what Istanbul means to the people who live there.

Tabanlıoğlu explains "Living in a city like Istanbul—which is experiencing an incredible urban transformation, especially in the last decade—it seems vital to look at what really is happening. Being aware that architecture and the built environment are not solely related to their subjects, but also related to our own memories about the place, it seems crucial to ask: what if we lose these? Are we about to lose our own memories? Let's for a while try to relate to the built environment through our own experiences, through our own past, through a subjective approach to feel what it means to us."

원문출처

http://placesofmemory.iksv.org/en/content.asp

The Miracle in Tensta (Theoria)

The Miracle in Tensta (Theoria) by Magnus Bärtås

2014.6.11 - 9.28
Tensta Konsthall (스톡홀롬)

Magnus Bärtås' new film, The Miracle in Tensta (Theoria) is a wayward depiction of how the Virgin Mary appeared in Tensta in the summer of 2012, based on testimonies on the internet. With the help of Tensta residents, the testimonies have been visualized and shot in the same room in the gallery where the film will be shown. A part of The New Model.

Theoria is the Greek word for talking about something witnessed. If, during ancient times, someone experienced an extraordinary event, like the Olympics or a religious ritual, a theoria was performed when they returned home. Theoria consisted of a journey, a witnessing, and of the social situation when the person shared her experiences. In ancient times philosophers talked in terms of "ritualized visuality" that received a political significance where the person lived.

The theoria that is dealt with in the work is based on the events that took place in Tensta in August 2012. On August 22, people in Tensta witnessed that that they had seen the Virgin Mary appearing in the sky. Dagens Nyheter's UFO expert Claes Svahn wrote about the event, and the following evening thousands of people gathered in the Syriac Orthodox church (Sankta Maria Kyrka) in Tensta. Again the miracle was witnessed, both in the condensation in the windows and in the trees outside the church.

Theoria is a part of the research-based project The New Model: An Enquiry, initiated by Maria Lind and Lars Bang Larsen in 2011. The participants in The New Model, Magnus Bärtås, Ane Hjort Guttu, Dave Hullfish Bailey and Hito Steyerl, have been invited to produce new works for the project.

The film has been partly financed with funds from the research project Mikrohistorier, which is operated at Konstfack and financed by the Swedish Research Council.

원문출처

http://www.tenstakonsthall.se/?en

Techne , n.: A Convergence between Art, Craftsmanship and Architecture

Techne , n.: A Convergence between Art, Craftsmanship and Architecture

2014.6.21 - 8.3
Den Frie Centre of Contemporary Art (코펜하겐)

참여작가 _ Ben Allen (UK), James Bae (US), Jan Bünnig (DE), Jesper Carlsen (DK), Ricardo Gomes (PT/DE), Asako Iwama (JP/DE), Gianna Ledermann (CH), Akane Moriyama (JP/SE), Anders Hellsten Nissen (DK/DE), PioveneFabi (IT), Julian Stair (UK) and Hither Yon (US/DE).

With a renewed fascination for traditional crafts and skills, this year's summer exhibition, Techne ,n.:, will cast light on various traditions of craftsmanship and making in the context of art and architecture.

Each year, Den Frie Centre of Contemporary Art organises a summer exhibition, which spotlights one or more new trends and innovations within a given field of contemporary art. This year the Berlin- and London-based art and architecture collective KWY has instigated a number of collaborations, which include artists, architects and craftsmen from Denmark and further afield to create a number of purpose-made works that collectively present a contemporary vision, a synthesis of art, craftsmanship and architecture creating new spaces, forms and languages.

Re-purposing the Greek term "techne" as "a convergence between art, craftsmanship and architecture," the departure point for the summer exhibition was Ruskin's treatise on machine production and the necessity for a human connection with the means of making as well as Wagner's theories on the future of art and Gesamtkunstwerk with a proposition to reinvigoration of the debate on what it means to collaborate and make. The establishment of Den Frie and the concurrent Skønvirke period represents a particularly important chapter not only in Danish cultural history but also within its equivalent European movements. J. F. Willumsen's building, with its eclectic references and imbued spirit of a "total artwork" is the perfect embodiment of these ideas unifying to create form and space. The exhibition is therefore a timely re-enactment of this ethos.



Within the five perimeter rooms of Den Frie, five teams of artists and architects will create new projects unique to each space. These projects will be developed as collaborative responses that meld two similar yet distinct fields of inquiry: art and architecture. Varying in scale, material, colour, texture, and technique, these works define the space with the personal imprints of their makers, standing as architectural artefacts or fragments that recall the sociologist Henri Lefebrve's notion of space as a purely humanistic one, where objects we encounter confirm our presence to an ever-exchanging, living world. An adjacent exhibit will document each team's approaches, processes, and means of making. The breadth of this exhibition will span from textiles to ceramics, from the handmade to the machine-made, and from art to architecture.

Each room within the museum will be defined by an architectural element or typology that has been chosen by the collaborators of that space. The chosen typologies include plinth, column, wall, roof and garden. Additionally each space has a chosen material medium and these are wood, clay and plaster, metal mesh, textile, and cement.




KWY
KWY is a multidisciplinary platform investigating the nature of collaboration within the context of specific projects, in art, architecture, curation, and writing. KWY was founded in 2009 by architects Ben Allen and Ricardo Gomes in Berlin, and curator/gallerist and editor James Bae in Los Angeles. By practice, KWY projects are collaborations between the principles and an invited specialist of their field. With few initial preconceptions, each project begins with dialogue and analysis between the collaborators. This process-oriented methodology often leads to diverse thoughts that are otherwise unexpected, and unimaginable. Recent collaborators include artists, writers, curators, educators, design firms, and other architecture offices.

원문출처

http://en.denfrie.dk/portfolio-item/neo-nouveau/

BROKEN ENGLISH TRAINING

BROKEN ENGLISH TRAINING
ARTIST INVITED: CRISTIAN CHIRONI

2014.7.15 - 7.18
CRAC Alsace (프랑스 알키르쉬)

Cristian Chironi, Broken English - step 12 In front: questions and answers, 2013

This Summer Workshop with Cristian Chironi invites you to explore Broken English. Derived from a performative project of the artist, Broken English is a variation of the English language based on its clumsiness. Thought as a discursive platform, this workshop will revolve around the deconstruction of English in an artistic perspective.
During 4 days (2 hours / day), the participants will lend themselves to a singular experience in a special relation with an artist. Involved in a creation process, they will take part in the development of a new language. 

This workshop is an opportunity to approach a moment of artistic production in which the language becomes a material.

원문출처

http://www.cracalsace.com/en/public/index.html

Fluid Encounters Between Art and Science

Fluid Encounters Between Art and Science

2014.10.2-3

Bildmuseet (스웨덴 우메오)

This two-day conference presents cross-disciplinary collaborations from the fields of visual art, science, architecture and performing arts. How are these collaborations manifested within the arts, and how do they add to the steadily expanding vocabulary of expressions? By exploring the hybrid spaces created through collaborations, Fluid Encounters Between Art and Science aims to examine the creative potential and unexpected knowledge generated through cross-disciplinary initiatives.


Among the participants:
Ariane Koek (Collide@CERN Artists' Residency Program, Geneva)
Gediminas Urbonas (MIT Program in Art, Culture, and Technology, Boston)
Ele Carpenter (Goldsmiths, University of London)
Rob La Frenais (Arts Catalyst, London)
Per Nilsson (Umeå Academy of Fine Arts, Umeå University)
Björn Säfsten (choreographer and dancer, Stockholm)
Barbro Schultz (journalist and documentary filmmaker, Paris)
Sara Arrhenius (Bonniers konsthall, Stockholm)

원문출처

http://www.riksutstallningar.se/node/1729?language=en

A Children's Kingdom

A Children's Kingdom—Paweł Althamer and Friends

2014.6.1 - 11.21

Ludwig Forum Aachen (독일 아헨)


참여작가 _ Paweł Althamer, Czarli Bajka, Paweł Chmielewski, Konrad Chmielewski, Witold Nazarkiewicz, Przemysław Pietrzak, Tomasz Waszczeniuk and Anna Zielińska

큐레이터 _ Dr. Brigitte Franzen and Esther Boehle; Assistant Curator: Julia Küchle

The Polish artist Paweł Althamer has just started a diverse, subtle, and experimental art project. For four months, he and his friends from the artist group Reactor—Sculpture Lab based in Warsaw moved into the Ludwig Forum Aachen and seek to shed light on themes such as power, authority, and freedom from a completely different perspective: from the standpoint of childhood. The motivation to try something so different and daring is the 1,200th anniversary of Charlemagne's death, one of the most powerful rulers in the Middle Ages.

Together with children, teens and adults, a Children's Kingdom is being established that extends from the garden and courtyard of the Ludwig Forum, out across public space, and finally annexes St. Elisabeth's Church opposite. In workshops and performance actions these locations are regenerated and transformed: the church occupied, costumes designed, monuments created. The motor propelling these artistic transformations is the candid naivety and creativity of children, which opens up new perspectives for adults as well.

A Draftsmen's Congress takes place in the heart of the museum. Here walls and floors may be used for drawings—an open invitation to everyone to enter discussions via drawn images. In addition, an Open Academy provides a platform to create own works. The growing exhibition will show these later on. The highlight is a festival and parade in fantasy uniforms on the main road in front of the museum on September 14.

Althamer's concern is to identify action-oriented experiments with freedom. The Children's Kingdom is thus a laboratory for democracy and democratic practice.

원문출처

http://www.ludwigforum.de/ausstellungen/kinderkoenigreich/index.html

Primitive

Primitive

Apichatpong Weerasethakul

2013.3.8 - 4.18
Hangar Bicocca (밀라노)

큐레이터 _ Andrea Lissoni

The Thai artist and filmmaker Apichatpong Weerasethakul presents Primitive, a project he started in 2009 and which is being shown in its entirety in a display specially designed for the spaces of Hangar Bicocca. In the almost total darkness of the Shed, the viewer is plunged into a magical, mysterious atmosphere conjured up by images that alternate light and dark, video clips and documentaries, narrative and absolute silence, reality and fiction, past and future.

The director's story starts out from Nabua, a village in the north of Thailand which was the target of tragic repression and attacks by the Thai army from the 1960s to the 1980s. Here its history is re-examined and re-imagined, involving the young people of the place – descendants of the erstwhile dissidents – with whom the artist lived and worked for some months in the summer of 2008. The climax of this shared experience is the creation of a spaceship – a jointly made work of art in which the exuberance of the kids is combined with the artist's visionary ideas. The term Primitive thus has a twofold meaning: on the one hand the primeval desire of humans to return to their origins and, on the other, with greater political overtones, the primitive state in which peoples are forced to live by governments and the establishment.

Apichatpong Weerasethakul's works have no linear narrative structure but rather appear as documentaries that constantly slip into dream-world stories, shifting from long, detailed shots of a place or character to situations in a world of the surreal, like the abrupt manifestation of a ghost. These unexpected interactions partly reflect the lifestyle of rural Thailand, which is still based on ancient animistic beliefs, legends and superstitions, and on the lack of any clear-cut demarcation between the real and the spiritual world.

원문출처

http://www.hangarbicocca.org/exhibitions/what-s-on/primitive/

NON NON NON

NON NON NONYervant Gianikian and Angela Ricci Lucchi


2014.4.12 - 6.10

Hangar Bicocca (밀라노)

큐레이터 _ Andrea Lissoni, Chiara Bertola

Yervant Gianikian and Angela Ricci Lucchi are two visual artists who, with cinema as their starting point, embark on an all-round reflection on the way images are used and on their intrinsic ambivalence.


In the late 1970s, the two artists started a quest to discover old films in the archives of great moviemakers from the past or that they found during their adventurous travels.

Using a device – an "analytical camera" – which they themselves invented, the frames of old reels were projected manually, re-photographed and re-edited to create new narratives of great evocative impact. The great themes of the twentieth and twenty-first centuries, such as colonial violence, the great wars, exile and the migration of peoples, are seen through the eyes of anonymous multitudes.

NON NON NON, the first retrospective of installations and works by Yervant Gianikian and Angela Ricci Lucchi, includes seven original films and a display they have created with drawings, watercolours and a video. The films shown at HangarBicocca form a sweeping audiovisual fresco in which we see, one after the other, the installations made for exhibition and museum spaces since 2000.

원문출처

http://www.hangarbicocca.org/exhibitions/what-s-on/non-non-non/

Connecting Sound Etc. Cable Works, Cable Sounds, Cables Everywhere

Connecting Sound Etc. Cable Works, Cable Sounds, Cables Everywhere
사전개장 _ 6.4 19:00

2014.6.5 - 8.24

freiraum quartier21 INTERNATIONAL

무료입장

As a central contribution to the "MQ Summer of Sounds", “Connecting Sound Etc. Cable Works, Cable Sounds, Cables Everywhere” is the first exhibition explicitly dedicated to the theme of cables in art. Works by more than forty international artists offer an insight into the wide range of contemporary approaches to what would seem to be a simple material. Often reduced to their pure functionality, artistic trends of recent years have elevated our appreciation of cables. Curated by Georg Weckwerth, this interdisciplinary show at freiraum quartier21 INTERNATIONAL opens on June 4 at 19:00 with a pre-opening; a press preview of the exhibition and the outdoor and satellite installations takes place earlier the same day at 10:00.

Site-specific cable interventions, sound and light installations, mixed media and video installations, visual art, photographs, and contextual works offer an insight into the breadth of artistic interpretation and experientially demonstrate how cables function as “connecting” elements and conductors of light, sound, movement, data streams, and so on. Classic examples of cable-based art are juxtaposed with contemporary works in the disciplines of visual art, sound art, and media art and presented in the exhibition at freiraum as well as on Electric Avenue and in public space at the MQ. The result will create potentials for consciously extreme, synaesthetic experiences that are ultimately meant to inspire a formal aesthetic investigation of present-day art.

번역

정서연

원문출처

http://www.quartier21.at/en/program/c/programmdetail/connecting-sound-etc-cable-works-cable-sounds-c/

더 가볼 곳

http://connectingsoundetc.tonspur.at/

브로셔

http://www.quartier21.at/fileadmin/Newsletter/MQ/PDF/q21_Ausstellungsfolder/2014_fq21i_connecting_folder_220514_www.pdf