Karl Neubacher

Karl Neubacher. Media Artist, 1926–1978

2014.6.18 - 10.12
Kunsthaus Graz, Space02 (오스트리아 그라츠)

큐레이터 _ Günther Holler-Schuster

Karl Neubacher is one of the pioneers of avant-garde and conceptual art in Graz, Austria, along with Richard Kriesche and Peter Gerwin Hoffman. These 1960s and 1970s protagonists are showing themselves to be more and more relevant not only within Austria, but far beyond the narrow confines of provincialism.

Neubacher, who in 1969 joined the producers' group pool, was mostly active as a graphic designer. As such he completed significant works for the avant-garde festival steirischer herbst, the art magazine pfirsich, the shoe company HUMANIC and others. His posters, which were always based on artistic concepts, were internationally renowned and awarded (e.g. Graphic Design Excellence Award, icograda). The overall picture of applied arts and austere forms of fine arts created a unique tension that defined Neubacher's artistic practice.

Neubacher's main medium was photography, but another (and no less important) medium was his own body, which he used in performances and documented with photography and film: he himself turned into a 'public art figure.' The short films created in the 1970s turned Neubacher into one of the hitherto undiscovered avant-garde film-makers. They are an expression of the intense struggle for the validity of artistic expression waged between avant-garde radicalism and realism.

원문출처

http://www.museum-joanneum.at/en/kunsthaus/events_5/karl-neubacher-2

혼자 놀 권리

no.w.here Summer School 2014
The Right to Play Oneself

2014.6.23 - 8.15
no.w.here (런던)

no.w.here’s summer school The Right to Play Oneself is an 8-week programme that builds on our reputation as a vital community and site for the production, discussion and dissemination of practices engaged with the moving image, politics, technology and aesthetics.

Led by Ed Webb-Ingall, Summer School participants will come together to investigate, interpret and interrogate the role of collectivity, collaboration and performance through filmmaking. They will take part in a program of workshops, screenings and field trips as well as training in 16mm and digital filmmaking and editing. Our methodologies will draw from a breadth of practices and histories of collaborative filmmaking and collectivity.

Guests over the course of the summer school will introduce modes and methods of working, learning and making together from expanded approaches to film, video and sound through to fields such as writing, storytelling, anthropology, dance and theatre. In thinking and working in this way, participants will use ideas around collectivity to reflect on their own practice and ways of working as individuals outside of, or against the dominant ideologies of industrial filmmaking.

Enacting a range of methodologies from documentary through to performance techniques we will experiment with how a film or video project might reflect or embody the processes, politics or identities of those involved in its making. As Thomas Waugh, from who the Summer School takes its name, states: “If films are to be instrumental in the process of change, they must be made not only about people directly implicated in change but with and for those people as well.” Together we will ask “What constitutes a community now?”, “What does collectivity or collaboration look like?”, and conversely “What might actively not-participating look like?”

This year’s Summer School uses the model of the workshop to create a space that will perform the simultaneous function of film studio, laboratory, community centre, theatre, TV station and cinema. We will draw on moments and modes from history and theory, but eschew nostalgia and instead focus on storytelling, recreation and reimagining.

Ed Webb-Ingall is a filmmaker with an interest in exploring practices and forms of collaboration. He works with groups, using modes of collective filmmaking as a means to investigate themes of identity, history, politics and representation.

The school runs Monday-Fridays, 10-5.30pm, with Thursdays reserved for independent time in the lab. There will be 2/3 confirmed guests each week including: Jake Astbury, Cara Tolmie, Patrick Staff, Karel Doing, Phil Minton, Beatrice Gibson, Avery Gordon, Oreet Ashery, Massimiliano Mollona, Lucy Pawlak, Rehana Zaman, Sarah Pierce, Olivia Plender, Cinenova, James Holcombe.

원문출처

http://www.no-w-here.org.uk/index.php?cat=1&subCat=docdetail&&id=403

WE ARE LOSING INERTIA 상영

WE ARE LOSING INERTIA (Meth & Zou Zhao)

2014.6.5 19:00
no.w.here (런던)

WE ARE LOSING INERTIA brings together the radical performances of alternative-drag artist, Meth, and Chinese-Singaporean performance artist Zou Zhao. Through the phenomenological encounter of two bodies marked by sexual and racial difference, the event seeks to proliferate critical dialogue on the politics of marginalized intersectionality as sites of resistance against ideologies and histories of injurious interpellation and reductive categorizations.

Both artists operate insidiously within structurally violent and repressive regimes in order to rupture them, producing new artistic and socio-political counterpublics. Meth’s practice provokes the exclusionary aspirational ideals of beauty, race, and class that have plagued drag and queer communities. By embracing irony, anonymity and physical distortion in his lip-sync to Christina Aguilera’s Beautiful, Meth revives the critical potential of drag and reclaims the shameful caricaturizations of LGBT communities that serve as heterosexist entertainment.

Adopting the fictive persona of John Hansen, a student of modern Chinese philosophy that proclaims its lack of truth, Zou Zhao satirizes the conceited theorization, representation and fictionalization of racial Others. While deceptively ‘radical’ in form, such thought remains deeply ideological, conserving the Western subject’s sovereignty. Through her parodic lecture-performance, Zou Zhao ridicules the claim that Chinese is not a language by appropriating and sabotaging these existing structures of knowledge and rationalization.

In a collaborative performance, Meth & Zou Zhao attempt to translate and complicate their respective vernaculars for each other and their audience. Though seemingly estranged by their cultural difference, both artists converge in their shared use of the voice to articulate their marginalized lexicons – Meth’s improvisational skills as a hostess and synchronicity as a lip-sync performer interject Zou Zhao’s lyrical singing of 8th Century Tang poems. Throughout this idiosyncratic dialogue between idiomatic Chinese and queer colloquialisms, lacunas of misinterpretation and incomprehension surface. Yet, these chasms are not performative teleologies, but rather the engendering of a poetics of unknowability.

WE ARE LOSING INERTIA acts as a platform to facilitate such agonistic encounters of disharmony between strange(r) bodies and factions, thus suturing new radical subjectivities. Embracing the experimental nature of performance art and subculture, it revokes resolution, and instead asks necessary questions about how and why marginalization and disenfranchisement acts. Co-mingling between artists like Meth and Zou Zhao proliferates infinite tributaries and melanges of subjectivities that escape definition and representation. These futural imaginations allow for the reclamation of social agency and the re-imagination and radicalization of histories of shame and hegemonic oppression.

This event will be accompanied by the launch of a synonymous zine that will flesh out pertinent debates on intersectionality, queer performance, and the politics of art and activism.

원문출처

http://www.no-w-here.org.uk/index.php?cat=1&subCat=docdetail&&id=406

Why Biennial Associate?

Why Biennial Associate?

2014.7.10 - 13

Haus Der Kulturen Der Welt(베를린)

The International Biennial Association (IBA) is pleased to announce the First General Assembly will be held in Berlin at the Haus der Kulturen der Welt (HKW) on the 10^th – 13^th of July, 2014 during the 8th Berlin Biennale for Contemporary Art. The event with the focus on the inaugural ceremony of IBA will be open to the public, consisting of keynote lectures and panel discussions.

The conference will bring together artists, critics, art historians, curators, and biennial directors who influenced important questions and developments related to perennial art exhibitions. The conference will begin with the question “Why Biennial?” leading into the topic of “Biennial Writing, Re-assessing Art History”. The second question that will be addressed is “Why Associate?” opening up discussions on “Institutional Critique and How to be Self-Critical in Biennial Work”.

Over the last 50 years, biennials as a form of contemporary art exhibitions have increasingly become a focus of academic and critical inquiry. Biennials are becoming the most talked about artistic events and being reviewed more and more by art writers in order to highlight their innovativeness or the role they play in the local and international context.

원문출처

http://www.biennialassociation.org/new/view.php?no=95&category=NEWS

DON'T YOU KNOW WHO I AM?

DON'T YOU KNOW WHO I AM?
Art after Identity Politics

2014.6.13 - 9.14

M HKA (벨기에 앤트워프)

큐레이터 _ Anders Kreuger, Nav Haq

Nadezhda Grishina, Breakdown Machine, 2013 video still

Imran Qureshi, And They Still Seek The Traces Of Blood, 2013

Hedwig Houben, The Hand, the Eye and It, 2013 performance lecture, 20 mins approx

Donna Kukama, Not Yet (and No One Knows Why), 2009 video still from video documentation of performance

‘Don’t You Know Who I Am’ is a phrase we might expect to hear from celebrities being refused entry to a nightclub, or politicians trying to dissuade a policeman from giving them a parking ticket and expecting to get away with it because of who they are. In this case it also refers to the fact that many of the artists in the exhibition will be less well-known to a wider audience. This exhibition, on both main floors of the M HKA and in several off-site locations, is intended as a large-scale survey of the modes and means for considering identity and identification.

Various groups in society have, during recent decades, defined themselves along political, economic or social lines such as race, ethnicity, gender or sexuality in order to enhance their visibility and overcome marginalisation. After this established discourse of identity politics, often associated with the art of the 1980s, artists are once again considering notions of identity and what they mean in the contemporary world.

Having outgrown theoretical and visual codes that were too often focused on representations of the self or the body, and that more than anything expressed a desire for social visibility, artists today seem to be more interested in identities (in the plural) as part of an overall understanding of complexity – which the art system has not always been able or willing to accommodate.

New generations of artists interrogate the formation of identities in the world through strategies such as performativity, abstraction, thingness, the logic and aesthetics of the digital, activism, analysis of selfhood from cultural and scientific perspectives or addressing the role of the viewer. These strategies may not always reinforce each other, but artists have not accepted any ban on self-contradiction.

Visual art is still, but perhaps only notionally, an avant-garde in relation to culture and society as a whole. Yet it remains a place for experimentation, and many artists, followed by curators and theoreticians, are asking themselves how they can achieve an ever more nuanced and relevant understanding of what identity means to individuals and their sense of self and how it can be articulated in creative practice. The exhibition will invite and even provoke different perspectives from the artists invited, as well as the audience and other participants in the project, such as writers for the publication or speakers for discursive events.



Don’t You Know Who I Am? – Art After Identity Politics is organised in partnership with AIR Antwerp, which offers residencies in Antwerp to participating artists. The exhibition will be accompanied by a series of discursive activities, including a symposium at Cinema Zuid in Antwerp on 14 June, that will seek to enhance and expand it. It will also include a substantial e-book published in English, Dutch and French versions. They can be downloaded for free from the project’s microsite afteridentity.muhka.be, to be launched in June.

원문출처

http://www.muhka.be/en/toont/event/3191/DONT-YOU-KNOW-WHO-I-AM/

미장센 _ 스탠 더글라스 개인전

Stan Douglas: Mise en scène


2014.6.2 - 10.12

Haus der Kunst (독일 뮌헨)

Stan Douglas, A Luta Continua, 1974, 2012, from Disco Angola, 2012 © Stan Douglas

Installation view of Stan Douglas' current solo exhibition, Luanda-Kinshasa, at David Zwirner, New York, 201

Known for his film and installation works, whose montages are characterized by coincidence and lost utopias of the 20th century, and complex sonic arrangements Stan Douglas (born 1960) is a significant figure in the international art scene. In recent years, the photograph has assumed an independent place in the work of the Canadian artist. The exhibition presents a selection of his most recent large-scale works in this field. Unlike his early documentary photography, Douglas now explores historical issues such as emancipation movements, based on the example of Vancouver in "Crowds and Riots" (2008), or cultural phenomena based on the example of disco music in "Disco Angola" (2012). For "Midcentury Studio" (2010-11), the artist slipped into the role of a fictional documentary photographer to portray his hometown of Vancouver in the years following the Second World War. Douglas chooses actors, costumes and props carefully and makes use of production practices from the film industry.

Stan Douglas has broken fresh ground with the theater production of "Helen Lawrence": The actors' performance will be filmed on stage in Munich and this film is instantaneously inserted into a computer-generated setting. "Helen Lawrence" will run as a guest performance at the theater Münchner Kammerspiele simultaneous to the exhibition.

"Stan Douglas: Mise en scène" is a coproduction between Carré d'Art in Nîmes and the Irish Museum of Modern Art in Dublin.

원문출처

http://www.hausderkunst.de/en/agenda/detail/stan-douglas-photographies/

카즈오 시노하라 개인전

Kazuo Shinohara 

2014.4.20 - 7.20
Power Station of Art

주최 _ Power Station of Art , Committee of Shinohara Kazuo Exhibition

공동주최 _ Tokyo Institute of Technology Museum , Southeast University ,South China University of Technology Museum

큐레이터 _ Gong Yan

House in White

Tanakiwa House

As the Power Station of Art’s first major exhibition of 2014, Kazuo Shinohara is a comprehensive retrospective of the major works of late Japanese architect and educator Kazuo Shinohara, helping to shed light on his ideas and methods. As the first ever Asian Kazuo Shinohara retrospective, we aim to offer artists and architects a more profound exploratory experience. Drawing on Kazuo’s singular design approach — ‘negation as a medium for affirmation’ — the exhibition invites an examination of traditional values and feeds our scepticism, bringing us the full force of Kazuo’s ‘radical’ chaos. This rare exhibition will prove an inspirational experience for art and architecture enthusiasts alike.

Japan’s architectural modernisation has been a long and choppy journey: from the country’s wholesale westernisation during the Meiji Restoration, when tradition was rejected as backward; to the Taisho Period, when a coupling of Western practices with Japanese elements prompted a surge of quasi-Western architecture; and finally the wave of modernism that swept across the country after the Second World War. During this process, the joint influence of nationalism, modernism, translation and progress in Japan not only helped foster the country’s early architects, who had previously worked as carpenters, but also unwittingly sowed the Western seeds of architectural rationalism and logic in the Japanese system, which later became important tools for appraising traditions. During this process, parallels between Japanese architectural styles (minimalism, unrestricted spaces, blending of internal and external space) and modern architecture have played a double role: while breaking down visual barriers between Japanese and Western modernism, such similarities have also spurred architects such as Kazuo Shinohara in their search for their architectural roots.

Tradition is where creation begins, not where it ends. Kazuo’s architecture springs from Japanese traditions and everyday memories, but Kazuo develops these ideas further. Unlike other post-war architects in Japan such as the Metabolists, who drew on structuralism and urbanism to help redetermine architecture’s purpose, Kazuo focused on the architecture’s autonomy, placing houses on a boundary between the social mirror and individual emotions. He boldly proposed that ‘houses are art’, making houses the main subject of his experiments and discourse.

Kazuo Shinohara designed more than thirty houses over the course of his career. He only became involved in public architecture in his latter years, and brought just a handful of projects to completion. He divided his own creative career up into four separate periods. First, in the 1950s and 1960s, he completed a series of houses based on research into traditional Japanese architecture, as exemplified by works such as Umbrella House and House in White. During the second period, he distilled symbolic elements from Japanese culture and transformed them into abstract three-dimensional forms. This led to a series of works in the early 1970s on the theme of ‘cracked space’, starting with Uncompleted House. The third period was centred on Kazuo’s observations of Tokyo. He applied chaos theory to architecture and designed a series of composite buildings which emphasised purist geometric forms. These included House in Uehara and House in Yokohama. During the final stage of his career, Kazuo produced the Tokyo Institute of Technology Centennial Hall (1986), one of his most emblematic works and another major milestone in his life.

This exhibition will allow viewers to appreciate some of Kazuo Shinohara’s more representative works through the mediums of photography, models, voice recordings, videos and documents. Viewers will also have a chance to see exhibits that have never before been shown, including the tools that Kazuo used to design his own home House in Yokohama (1985) and the original drawings for his House in Tateshina Project (2006). The latter project served as mental sustenance for Kazuo in his latter years, by which time illness had rendered him fraught with contradictions. He worked on the building’s design for over a decade, producing over 30,000 drawings, but the project was never completed.

The layout of the exhibition emulates the purism and symbolism that Kazuo was so fond of. The exhibition hall resembles the abstract shape of a house with no walls; a sort of symbolic theatre. Within this uninterrupted, whitewashed space, viewers tread scale drawings of House in White and House in Yokohama underfoot, allowing them to appreciate Kazuo’s modus operandi: surveying with his feet and lofting by hand, in order to achieve the correct dimensions.

Originally top student in the Maths department at University, Kazuo then took up architecture, became a mapping assistant, and finally established his own lab. From 1954, when he produced his first work House in Kugayama, through 2006, when he produced House in Tateshina Project just before passing away, Kazuo’s work is characterised by clashes of emotion and logic; symbolic and poetic forms of expression; and a blend of symbols and personal experience. Over the fifty or so years of his career, his ‘radicalism’ was not only visible through his obsession with logic, but also through the appropriation of his own theories to challenge his work. This is also how he viewed art: ‘Art has its origins in inner human chaos. For a person of clear mind and temperament, art is not necessary.’

Kazuo Shinohara has had a profound influence on internationally-recognised Japanese architects including Toyo Ito, Kazunari Sakamoto, Itsuko Hasegawa, Kazuyo Sejima. Furthermore, in recent years, sudden international interest in his work led to him being awarded a posthumous Golden Lion Prize at the 13th Venice Architecture Biennale in 2010, an unprecedented move. However, there is no doubt that Kazuo has always been an exceptional figure on the Japanese architecture scene. He leads us on a disenchantment of Japanese styles, only to then reassemble his methodology. He forgot to take the answers to his puzzle with him: those answers still await us where he left them.

원문출처

http://powerstationofart.org/en/exhibition/detail/8cbco.html