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.

The Registry of Promise

The Registry of Promise: The Promise of Multiple Temporalities

2014.06.13 - 09.14

Parc Saint Léger (프랑스 니에브르)

참여작가 _ Patrick Bernatchez, Juliette Blightman, Rosalind Nashashibi, Francisco Tropa, Andy Warhol, Anicka Yi

Anicka Yi, Some end of Things, 2013

“The Registry of Promise” is a series of exhibitions that reflect on our increasingly fraught relationship with what the future may or may not hold in store for us. These exhibitions engage and play upon the various readings of promise as something that simultaneously anticipates a future, its fulfillment or lack thereof, as well as a kind of inevitability, both positive or negative. Such polyvalence assumes a particular poignance in the current historical moment. Given that the technological and scientific notions of progress inaugurated by the enlightenment no longer have the same purchase they once did, we have long since abandoned the linear vision of the future the enlightenment once betokened. Meanwhile, what is coming to substitute our former conception would hardly seem to be a substitute at all: the looming specter of global ecological catastrophe. From the anthropocentric promise of modernity, it would seem, we have turned to a negative faith in the post-human. And yet the future is not necessarily a closed book. Far from fatalistic, “The Registry of Promise” takes into consideration these varying modes of the future while trying to conceive of others. In doing so, it seeks to valorize the potential polyvalence and mutability at the heart of the word promise.
Taking place over the course of approximately one year, “The Registry of Promise” consists of four autonomous, inter-related exhibitions, which can be read as individual chapters in a book. It was inaugurated by “The Promise of Melancholy and Ecology” at the Fondazione Giualiani, Rome, in May which is followed by “The Promise of Multiple Temporalities” at Centre Parc Saint Léger, Pougues-Les-Eaux, then “The Promise of Moving Things” at Le Credac, Ivry, and will conclude with “The Promise of Literature, Soothsaying and Speaking in Tongues” at De Vleeshal, Middelburg.


Part two, “The Promise of Multiple Temporalities”, responds to the collapse of faith in progress, and the singularly conception of linear time that underpinned it with another conception of time, which is multifarious, contradictory, and nevertheless co-existent. Here time spiders out into a variety of directions, alternatively expanding, coming to a grinding halt, circling back upon itself, or transforming into water. A single revolution of Canadian artist Patrick Bernatchez’s Black Watch (2011), specially commissioned to a Swiss watch maker, requires not the usual twenty four hours to go full circle, but a thousand years, and in doing so, dwarfs human cycles of time to virtually nothing. Where this work uses the watch to extend time virtually beyond human comprehension, Portuguese, Lisbon-based artist Francisco Tropa’s Lantern (2012) goes back, so to speak, to the beginning of time. Part of his ongoing investigation of antique time-telling devices, Lantern, is a recreation of a clepsydra– an ancient device for measuring time by the regulated flow of water through a small aperture– which is then projected on the wall, like a magic lantern. English, Berlin-based artist Juliette Blightman’s This World is not My Home (2010) telescopes time onto two periods of the afternoon, 3 pm, which could be considered the dead time of the day, as well as 5 pm, which is traditionally quitting time. The work is comprised of a chair on a rug with a fire grate placed in front of an open window. Everyday at 3 pm, a single log is placed on the grate and lit, and then every day at 5 o’clock the song, “This World is not My Home” by Jim Reeves plays. Rosalind Nashashibi’s The Prisoner (2008) could be said to compress the loop embedded in Blightman’s work. This 16mm two-projector film installation, which feeds the same film through both projectors at naturally non-synchronized screenings, depicts a woman climbing a set of stairs over and over again, as if trapped in the same infernal instant. Andy Warhol’s Sleep (1963), which consists of an image of John Giorno sleeping for five hours and twenty minutes is a classic literalization of cinematic time as time. American, New York based Anicka Yi’s work Tenzingbaharakginaeditscottronnienikolalosangsandrafabiansamuelaninahannahelaine (2013) embodies, among other things, the sense of memento mori that inevitably courses through the entire exhibition. For this sculptural installation, Yi deep fried flowers in tempura batter and then placed them in a Donald Judd-like series of card board boxes full of resin. What is more, given the organic nature of this work, it is necessarily dialectical, in so far as, it is unstable and it will evolve over time.

The project is part of PIANO, Prepared Platform for Contemporary Art, France–Italy 2014–2015, initiated by d.c.a/French association for the development of centres d'art, in partnership with the Institut Français Italia, the French Embassy in Italy and the Institut Français, with the support of the French Ministry of Foreign Affairs, the French Ministry of Culture and Communication and the Nuovi Mecenati Foundation.

원문출처

http://www.parcsaintleger.fr/en/?p=3339

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/

INFINITE JEST

INFINITE JEST

2014.6.5 - 9.7

SCHIRN KUNSTALLE FRANKRUT

큐레이터 _ Matthias Ulrich (SCHIRN) 

Daniel Richter, Army of Traitors, 2011, Öl auf Leinwand 200 x 300 cm

Ever faster, ever higher, ever further – the credo of postmodern society does not necessarily lead the human being to Mount Olympus. On the contrary, in the early twenty-first century man wavers between euphoria and depression, and is confronted with the enticing opportunities of a global and virtual world as well as the challenge of using them to optimize his own life on an ongoing basis. The exhibition will propose an image of today’s world with the individual at its center. In analogy to the narrative structure of the eponymous novel “Infinite Jest” by David Foster Wallace, the exhibition will spin a web of relationships between the various demands made on individuals today, demands in which the resistances and contradictions of reality – a reality often described as lacking any alternative – make themselves felt. The visually stunning films and installations by the American artist Ryan Trecartin, for instance, create a world that looks like a computergenerated version of itself moving and changing at a tearing speed and zooming in frontally on its permanently nervous, blathering protagonists. The show will feature some twenty artists, including Andrea Fraser, Alicja Kwade, Judith Hopf, Maurizio Cattelan, Kris Martin, and Daniel Richter.

원문출처

http://schirn.de/en/INFINITE_JEST.html#

CMRK

[C] once documentary

전시
2014.6.6 - 9.7

강의 <Speculative Realism, Performative Documentarism>
2014.6.4  18:00

Camera Austria (오스트리아 그라츠)

참여작가 _ Sven Augustijnen, Eric Baudelaire, Peggy Buth, Maryam Jafri

The continual questioning of the documentary – photographic –image relates to a crisis of plausibility and of valid-political, social, economic-agreements. If it at best seems difficult to foster reliability when it comes to present-day events, then something of an “archaeology” of the present attains intensified meaning. What is being remembered? What can be discerned about history based on the pictures? Which texts are written about these pictures? The artists in the exhibition “once documentary” take different approaches to addressing these questions related to the construction of history, and thus also to the construction of collective knowledge.




[R] The Artists are Present

전시

2014.6.6 - 7.26  &  8.25 - 9.13

rotor, center for contemporary art (오스트리아 그라츠)

Artists’ Talk with Erwin Polanc and Gregor Schlatte
2014.7.1 19:00

Performance and Artists’ Talk with Veza Fernández / Christina Lederhaas and Alfred Lenz
2014.9.13 12:00

참여작가 _ Nayari Castillo, e.d gfrerer, grübelproductions (Veza Fernández/Christina Lederhaas), Beate Hausegger, Severin Hirsch, Robin Klengel, Marianne Lang, Alfred Lenz, Erwin Polanc, Mario Jose Santo Soares, Gregor Schlatte, Marlene Stoisser, Herwig Tollschein

큐레이터 _ Martin Behr, Eva Meran, Margarethe Makovec & Anton Lederer

Beate Hausegger, "Figur", 2013

The exhibition presents 13 artists from Graz and Styria, whose works have been presented too rarely in this country to date, or who are at the beginning of their exhibition activities. The contributions interpret in different ways relationships between the outer world and introspection that are sketched out on paper, painted on image bearing media, outlined on the wall, captured with the camera, translated into objects, or spatialised and performed by the artists.

원문출처

http://www.cmrk.org/c_eng.html

http://www.cmrk.org/r_eng.html

톤 비겔란 개인전

Tone Vigeland

2014.5.22 - 8.17

KUNSTHALLEN

Skulptur, 2009-2010. Stål, 272 x 200 x 18 cm. Detalj. Courtesy Galleri Riis Oslo / Stockholm. Fotograf Guri Dahl

Skulptur III, 2007. Stål, sølv, H180 x B70 x 80 cm . Courtesy Galleri Riis Oslo / Stockholm. Fotograf Stein Jørgensen

The Festival Exhibition 2014 - Muster. Opens Thursday 22nd of May at 1pm 

This year’s Festival Artist is an international figure central to recent Norwegian art history. Tone Vigeland has won many awards and enjoys almost legendary status in some circles. As a jewellery artist she has occupied a special position since the end of the 1950s. In the mid-nineties, for the first time, she exhibited works that were independent of the body as ‘bearer’ of the objects, and which were instead self-bearing as free-standing sculptural objects. 

In "Muster" Vigeland takes her sculptural activities into what is a hitherto unexplored format for her. The sculptures in this exhibition lie close to a kind of encompassing installation art — where each space is dominated by a single, fully cut work with dimensions that are directly related to the scale of the architecture.

When you see Vigeland’s early jewellery photographed against a neutral background, you lose the sense of the size and function of the object. What may look like a sculpture by Richard Serra, with large heavy surfaces leaning against one another in a strict balance, is perhaps in reality a bracelet consisting of four thin plates in steel and silver. Similarly, a jewel consisting of two hovering lines on metal that are accurately joined at a single crucial point may recall a suspended mobile by the sculptor Alexander Calder. 

Such photographs bring out the parallels of Vigeland’s early jewellery with international modernism — and at the same time with her own later sculptures. But the photographs lose sight of the connections between the objects and the human body, some¬thing that for Vigeland has always constituted an indissoluble link in the jewellery art. If one of the works in the Festival Exhibition was photographed in a similarly ‘neutral’ way, without visualizing the spatial context in which the works are inscribed, you might perhaps think that they similarly look like jewellery. Like the jewel¬lery, these works too are dependent on a ‘bearer’, in this case the actual exhibition space. 

Much has been said and written about Vigeland’s ‘transition to sculpture’ in the nineties. This transition also made it possible to use larger formats, and the Festival Exhibition can in that sense be seen as a natural continuation of an ongoing development. All the same, the large formats do not seem to be the main issue in the exhibition. The format seems rather to be pragmatically adapted to the physical setting of which the objects are a part. 

Vigeland’s works still consist of a few recognizable components where a limited range of materials — all with a basis in the craft tra¬ditions of jewellery art — are tirelessly explored again and again. The colour scheme of Vigeland’s exhibition is often compared to a Norwegian winter landscape: cool, clear and pure. But this palette must first and foremost be attributed to the closeness to and honesty towards the material; the lustre of polished metals or the light-absorbing grey in a surface of oxidized silver. Lead. Steel. Iron. Aluminium. 

Among Vigeland’s best known jewels there are a number of works that are assembled from many small repetitive elements into a network or a form that adapts to the body. In this way the hard material appears soft and malleable, almost like ‘knitted metal’. Another repeated element has been the principle of ‘one form — one piece’. Both these techniques are also clearly present in the Festival Exhibition. A few of the works exploit the principle of rep¬etitions of small elements assembled into a larger whole. Others clearly relate to the principle of one cohesive form. 

The parallels with minimalism in visual art are palpable. While this connection has earlier existed at a formal or conceptual level, the Festival Exhibition comes closer to the most fundamental project of sixties minimalism. The artworks of minimalism were not to be regarded as objects from a distance, they were to be experienced by the body in the gallery space as phenomenological entities. The differences between Vigeland’s works and minimalism, however, are just as clear as the similarities. Instead of industrially produced ‘specific objects’, Vigeland’s installations are situated first and foremost in the transition between the overall format and the tiny details of the craftsmanship. The tension lies in the relationship between the total extension of the work as one form and the many details. One such detail is the handmade join¬ing of two metals: a small circular silver plate that is soldered like the head of a nail to a related steel pin — and which is repeated in the exhibition over 6000 times. 

TONE VIGELAND (b. 1938) lives and works in Oslo.

The Festival Exhibition has been produced by Bergen Kunsthall since 1953, annually highlighting a contemporary Norwegian artist. The exhibition is well established as one of Norway’s foremost individual expositions.

번역

정서연

원문출처

http://www.kunsthall.no/default_e.asp?AID=1580&ID=26&K=1&act=akt#.U4kuF1V_sYA

이불 개인전

LEE BUL

2013.5.10 - 2014.9.6

MUDAM (룩셈부르크)

Lee Bul : A Perfect Suffering, 2011, Collection Mudam Luxembourg

Lee Bul : Mon grand récit: Weep into stones..., 2005, Collection HITEJINRO CO., Seoul, Courtesy Mori Art Museum, Tokyo

The South Korean artist Lee Bul finished her studies in sculpture in Seoul in 1987, a time when, following a period of dictatorship and military rule, democratic reforms began opening up the economically emergent country, and visions of the future were painted both in the most glowing and the most sombre colours. As a performance artist, Lee Bul flew in the face of the artistic conventions of her native land, at first conceiving strongly physical or even guerilla-like actions – for example, appearing unexpectedly in public wearing monstrous soft-fabric forms sprouting tentacular appendages – as she searched for a way to express not just her own states of mind, but those of society as well.




Extending the body – as represented in the works of Lee Bul by the organic growths of fabric in Monster: Black or Monster: Pink and by the technoid additions of the Cyborgs – constitutes an old dream, or nightmare, of humanity that was to make the theme of utopia and dystopia a central motif in Lee Bul’s work. The artist draws her formal and thematic inspiration from a wide diversity of sources, ranging from cinema to literary and architectural history, from European intellectual history to the political and cultural history of her own country.



After the Cyborgs (1997–2011) and Anagrams series, Lee Bul turned to making complex, model-like landscapes, whose reference to utopia lies mostly in their details: in reproductions of utopian architectures, in concrete reference to the German architect Bruno Taut and his idea of Sternenbau (star structures), or in pointing to post-modern scepticism about the metanarrative based on a unitary speech and the idea of universality (Mon grand récit series, 2005–). The utopia of placeless infinity (Untitled, “Infinity wall”, 2008) or the reminiscence of a former socialist utopist turned dictator (Thaw (Takaki Masao), 2007) explore this theme, as do the most recent large-scale sculptures, which, like pieces of architecture, allow the viewer to access interior worlds and provide him/her with an intense spatial experience (Via Negativa, 2012). In Diluvium (2012), a floor installation covering a large part of Mudam’s Grand Hall and from which the sculptures hanging down from above are to be viewed only with caution, it becomes clearly tangible how the observer’s footing is made uncertain by the utopias that have settled to form the sediment of history.

In the downstairs Studio section, Lee Bul gives insights into the process of the proliferation of her artistic creativity. This reconstruction of her studio, containing a wealth of drawings, models and materials, enhances understanding of Lee Bul’s work, shown here in very different stages of development. This incursion into the artist’s working place shows completely the personal dimension of Lee Bul’s technically perfect work.

Lee Bul was born in 1964 in Yeongju, South Korea. She lives and works in Seoul.

번역

정서연

원문출처

http://www.mudam.lu/en/expositions/details/exposition/lee-bul/

료지 이케다 신작전 supersymmetry

Ryoji Ikeda's new installation, supersymmetry


2014.4.2 - 6.1

YCAM(Yamaguchi Center for Arts and Media)

큐레이터 _ Kazunao Abe (YCAM)
공동 큐레이터 _ Patrick Gyger (Le Lieu Unique)




Artist Ryoji Ikeda has made a great impact worldwide with his installations and expressions using state-of-the-art electronic sounds ranging from the domain of microscopic and precise bit rate control to large-scaled projects in the public spaces. His new piece “supersymmetry,” the 3rd part of the YCAM commissioned work series, is an installation in where he approached the expression limits of data observation, which is his forte, as he explores quantum information theory and particle physics from an aesthetic viewpoint. In this work, he pursues overwhelmingly intensified expression via the studio spaces in YCAM.

The “supersymmetry” is a new work conceived as an installation version of his performance work “superposition” (2012-) and as a platform to update the process and outcome of his forthcoming residence during 2014-15 at CERN in Geneva where is the largest center in the world for particle physics. It is a collaborative production between YCAM and Le lieu unique, scène nationale de Nantes with the support of the City of Nantes and the Ministry of Culture and Communication (France). Unveiled first in Japan, this installation will also be shown around the world.

supersymmetry [experiment]

As suggested by the appendix “experiment” in the title, in this work visitors can witness physical phenomena prior to being observed and recorded as data. Installed in the Studio are three light boxes that emit intense white light. The surfaces of these light boxes are paved with microscopically small pellets that behave in various ways according to the boxes’ slightly changing inclination. Highlighted by the permanently blinking light boxes, the pellets behave in complex ways, gathering to form groups or moving individually while affecting each other’s behavior. Red lasers scanning the light boxes’ surfaces detect the pellets’ behavior, which is then translated into data that are reflected in the sound and liquid crystal visual displays monitoring the light boxes. While the three light boxes are identical in size (1m x 1m), pellets of different materials and differently coated surfaces are used on each of them, so that visitors can observe their individual behavior.

supersymmetry [experience]

Set up in the darkness of the exhibition space are two 20m x 0.7m horizontal video screens arranged on the left and right side, parallel to and facing each other, along with two parallel rows of 20 monitors each. While images are successively displayed on the video screens, their respective movements are analyzed and described on the monitors lined up in front of them. Each visual scene is precisely constructed of such analyzed and dissolved data, whereas all screens are controlled to operate in total synchronization with parallel independent audio playbacks. The work dismantles the visitor’s consciousness as he/she attempts to grasp at once from one position where all the things that happen simultaneously in the multiple moving and blinking images and their respective complex, high-speed analyses on both sides of the installation. Expanding their imagination of a parallel universe of imagery and sound to the awareness and resolution of the entire space, and not only pursue the meanings of single images, analyzed data and sounds, will enable visitors to enter the musical construct that Ikeda composed. In reference to the term “mathematical experience”, the ”music” that is exhibited here aims to create a connection　between mathematical models and musical expression. Audio and visual contents of this installation will be frequently updated in the future, to continually reflect Ikeda’s new scientific and mathematical interests.

about Ryoji Ikeda
born in 1966 in Gifu, Japan
lives and works in Paris, France

Japan’s leading electronic composer and visual artist Ryoji Ikeda focuses on the essential characteristics of sound itself and that of visuals as light by means of both mathematical precision and mathematical aesthetics. Ikeda has gained a reputation as one of the few international artists working convincingly across both visual and sonic media. He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.

Alongside of pure musical activity, Ikeda has been working on long-term projects: 'datamatics' (2006-) consists of various forms such as moving image, sculptural, sound and new media works that explore one's potentials to perceive the invisible multi-substance of data that permeates our world. The project 'test pattern' (2008-) has developed a system that converts any type of data - text, sounds, photos and movies into barcode patterns and binary patterns of 0s and 1s, which examines the relationship between critical points of device performance and the threshold of human perception. The series 'spectra' (2001-) is large-scale installations employing intense white light as a sculptural material and so transforming public locations in Amsterdam, Paris, Barcelona, Nagoya, Tasmania and Sharjah, where versions have been installed. With Carsten Nicolai, Ikeda works a collaborative project 'cyclo.' (2000- ), which examines error structures and repetitive loops in software and computer programmed music, with audiovisual modules for real-time sound visualization, through live performance, CDs and books (Raster-noton, 2001, 2011, 2013). He is awarded the Prix Ars Electronica Collide@Cern 2014.

번역

정서연

원문출처

http://supersymmetry.ycam.jp/en

Ten Million Rooms of Yearning. Sex in Hong Kong

Ten Million Rooms of Yearning. Sex in Hong Kong
a multi-venue exhibition


2014.5.10 - 8.10

Para Site (홍콩)

참여작가
Au Shek-yan, Cao Fei, Luis Chan, Chien-Chi Chang, Eileen Chang, Irene Chou, Choy Ka Fai + Rianto, Chu Hing Wah, Hon Chi-fun, Ines Doujak, Richard Fung, Petula Ho Sik-ying, Hou Chun-Ming, Katrien Jacobs, Eisa Jocson, William E. Jones, Meiro Koizumi, Agung Kurniawan, Yayoi Kusama, Lam Hoi-sin, Lee Kit, Isaac Leung, Ma Jir-Bo, Antonio Mak, Nguan, Nguyen Tan Hoang,Erkka Nissinen, Hélio Oiticica, Willem de Rooij, Roee Rosen, Angela Su, Hito Steyerl, Wong Wai-yim, Danh Vo, William Yang, Yau Ching, Ricky Yeung Sau-churk, Trevor Yeung, and Zhou Tao

Para Site is excited to present Ten Million Rooms of Yearning. Sex in Hong Kong, a multi-venue exhibition looking at the connections between sex, desire and the city's society and historical conditions. The show explores the ways in which desire is experienced and sex is had, hidden, fantasized, altered, and replaced by various factors: from family structure to class, from power relations to various identities (racial, sexual and beyond), from seclusion and solitude to the many worlds of contemporary subcultures, from architecture's role in shaping intimacy to capitalism's over-determination of Hong Kong's embattled public space. The exhibition is particularly interested in the reasons for the changing attitudes towards sexuality in the recent history of the city.

A commonly held cultural trope, seconded by several studies, is that sexual drive in Hong Kong is at present one of the lowest in the world. Traditional ideas about family and gender roles in one of the only Chinese territories not to experience a revolution during its modernity were only reinforced by Victorian ideas of morality and respectability inherited from Britain, one of the only European territories not to experience a revolution during its modernity. Christian ideas have been disproportionately present in the public realm and the circles of power of Hong Kong. But while Hong Kong has never known periods of sexual liberation (not counting the periods in the past when it had a much sleazier reputation, primarily due to female prostitution catering to foreign businessmen and soldiers—given rise to Suzie Wong-type imagery—and a vibrant sex industry in the '70s through the '90s), the post-1997 years of growing political conservatism have come together with a wave of sexual conservatism. Discussions about sexuality in the media and the arts were more visible, open and confrontational in previous decades.

Other factors, such as the minuscule living spaces, general density, financial burdens, and extended time spent living with one's parents do not favor intimacy to develop. The public space is oversaturated by promises and arousals of various desires so that cruising and the uncontrolled, spontaneous interactions between individuals and bodies are exiled from every corner of this regulated public space. Family roles and individuals' expectations are also structured in a way that sexuality is seen as an unnecessary distraction from productivity. A plethora of substitute subcultures and activities, escapist worlds and games are widely available (many of them adapted from Japan), and replace other forms of sociability and interaction. Race plays a disproportionately important role in the negotiation of desire in a society where class differences are not strictly aligned to race divides. While the phenomenon of having clear racial preferences for sexual partners is more visible in the gay community, it is by no means restricted to it. This points perhaps to an unresolved history of identity processes and of power struggles over the city's self-image. To this extent, the exhibition revisits a number of key figures that were instrumental in an ongoing debate about queer, Chinese and Asian identities in a global and diasporic condition.

Within a wide selection of local, regional and international artists of various generations, the exhibition also sheds light on seminal art historical figures from Hong Kong, tracing a history of representation of eroticism beginning with the work of a few crucial modernist artists, and pointing out, in the process, to the many vocabularies employed in the city's post-war art history.

The exhibition is conceived by Cosmin Costinas and Chantal Wong.

Para Site에 대하여Para Site is Hong Kong's leading contemporary art space and one of the oldest and most active independent art centres in Asia. It produces exhibitions, publications and discursive projects aimed at forging a critical understanding of local and international phenomena in art and society.

Founded in early 1996 as an artist run space, Para Site was Hong Kong's first institution of contemporary art and a crucial self-organised structure within the city’s civil society, during the uncertain period preceding its handover to Mainland China. Throughout the years, Para Site has evolved into a professional contemporary art centre, engaged in a wide array of activities and collaborations with other art institutions, museums, biennials and academic structures in Hong Kong and the international landscape. After the first year in Kennedy Town, Para Site relocated to Po Yan Street in Sheung Wan (at no. 2 in the initial years and at its current address at no. 4 in the last decade). Para Site has been led by Tobias Berger (2005-2008), Alvaro Rodriguez Fominaya (2008-2011) and Cosmin Costinas (since 2011). Throughout its history, Para Site's activities have included a range of different formats, among which a smaller parallel exhibition space, Para/Site Central, hosted by Hanart TZ Gallery in Central (1997-2008); P/S magazine (1997-2006), a bilingual publication which was Hong Kong's first visual arts magazine and a central platform for the development of art writing and of a discursive scene in the city; and the Curatorial Training Programme (2007-2010). Since 2012, Para Site has been running an International Art Residency Programme. Para Site's activities are made possible by the generous support of its patrons.

번역

정서연

원문출처

http://www.para-site.org.hk/en/exhibitions/2014/ten-million-rooms-yearning-sex-in-hong-kong

Füsun Onur : Through the Looking Glass

Füsun Onur : Through the Looking Glass
2014.5.28 - 8.17

ARTER (이스탄불 베이올루)

큐레이터 _ Emre Baykal

Füsun Onur, "Counterpoint with Flowers", (1982) 

Füsun Onur, "Pink Boat", 2014 (sketch: 1993)

From 28 May 2014 on, ARTER will be hosting a comprehensive solo exhibition by Füsun Onur, one of Turkey's pioneering contemporary artists. Curated by ARTER's Exhibitions Director Emre Baykal, the exhibition borrows its title from Lewis Carroll's book "Through the Looking Glass".

"Through the Looking Glass" brings together more than 40 works spanning from the artist's early career to her most recent production.

The works in the exhibition cover an era of almost 50 years committed to an uninterrupted research on the potentials of space, time, rhythm and form that are inherent in simple, everyday materials. The exhibition thus aims to offer a survey of Füsun Onur's body of work, from early abstract geometric drawings to the idea of sculpture as a linear drawing in space; from three-dimensional spatial objects to installations that employ ordinary materials such as furniture, textiles, beads, toys and so on.

Following a route that echoes the intuitive co-existence of individual pieces in Füsun Onur's world, the exhibition focuses on the strategies the artist has developed in order to expand the boundaries of painting and sculpture as well as to break the borders between them. The exhibition also offers clues as to how the artist's work has embraced, in the course of her production, quotidian, narrative and even autobiographical elements with the introduction of a gradually diversifying range of materials.

"Through the Looking Glass" also features a number of previously unrealised works produced especially for the exhibition and premiered at ARTER. One of these is a work Füsun Onur originally modelled in styrofoam for a competition in 1972. This model was revisited and transformed into a labyrinth/space that surrounds the viewers and multiplies their image on its walls of mirror.

Another is a project conceived and drafted by Onur in 1993, yet remained unrealised until this day. In this eight-hour long video, a pink boat and three rectangular shapes following its tail are released into the waters of the Bosphorus from the artist's house in Kuzguncuk and persistently maintain their position against the strong winds and ever-changing currents.

+++++++++++++

ALİ KAZMA
"Home", 2014
Video, 5'

Complimentary to Füsun Onur's exhibition "Through the Looking Glass", a new work by Ali Kazma, "Home" (2014), can also be seen at ARTER. Ali Kazma this time turns his camera to the house that became the stage of Füsun Onur's artistic production spanning over 50 years. Installed on a separate floor to accompany the exhibition, "Home" parts open the doors of the small waterfront house in Kuzguncuk, where Füsun Onur was born, and still lives and works with her sister İlhan.

원문출처

http://www.arter.org.tr/W3/?sAction=ComingSoonExhibitions&iExhibitionId=55

제네랄리 재단 콜렉션 전시회

Proudly Presenting : Generali Foundation Collection

2014.4.26 ~ 10.12
잘츠부르크 현대미술관 (오스트리아)

제나랄리 재단은 국제적으로 호평받는 자신의 콜렉션들을 잘부르츠 현대미술관에 영구임대방식으로 위탁해오고 있다. 이번 첫 전시회는 선정된 예술가 200명의 총 2100여 작품을 공개해 이 이름난 콜렉션의 특징 몇몇을 파악하는데 도움을 줄 것이다.

작업들의 중심 테마는 미술, 디자인, 건축이 형태적으로 통합되어있을 뿐 아니라 유토피아에 대한 비평성을 담고 있고 있는 대상들로 구성된다. 브루노 지론콜리Bruno Gironcoli의 남근 조각, 댄 그레이엄Dan Graham의 유리 파빌리온, 한스 홀라인Hans Hollein의 'Mobile Office'(1969), 고든 마타 클락Gordon Matta-Clack의 유기된 건물에 개입한 작품interventions, 발터 피클러Walter Pichler의 'TV-햄릿'(1967)은 그동안 이런 주제에 관한 대표작으로 꼽혀왔다.

1960년대 이래 신기술과 미디어에 관해 높은 기대가 있어왔으며, 그로 인해 수 많은 작업들은 이들이 사람들에 미치는 효과에 관해 연구해왔다. 이런 주제와 씨름한 대표적인 작품으로는 발리 익스포트VALIE EXPORT의 "여성주의-행동주의"적인 "확장 영화"작업들, 특히 그녀의 <TAPP- und TASTKINO>(1968)와 하룬 파로키Harun Farocki의 비디오 설치가 있다.

또한 젊은 세대 예술가의 작업들 역시 이런 주제에 관한 논쟁에 기여해왔다. 산자 이베코빅Sanja Iveković의 포토 콜라주, 마사 로즐러Martha Rosler의 뉴욕 바워리가에 관한 사진-텍스트-설치 작업, 세큘러의 영화적 사진 에세이처럼 콜렉션의 많은 작업들은 미디어 비평과 함께 (예술가이자 작가인 앨런 세큘라Allan Sekula의)  "정상성에 저항하는 사진photography against the grain"이란 주제를 다루고 있다.

몇 년 전 한 헤드라인은 제네랄리 재단을 두고 "제도 비판의 기관Institution for Institutional Critique"이라고 표현했다. 정말 그 말대로 콜렉션에는 예술의 조건에 초점을 맞추고 우리가 예술에서 진정 원하는 것이 무엇인지 묻는 작업들이 포함되어있다. 한스 하케Hans Haacke의 초기작 'Condensation Cube'(1965)는 방문객들이 어떻게 예술작업에 영향을 미쳐왔는지를 시각화했다. 아드리안 파이퍼Adrian Piper는 예술계의 헤게모니와 고정관념에 대해 중재하고 있으며 앤드리아 프레이져Andrea Fraser는 "미술관 투어"라는 퍼포먼스를 통해 미술관에서 일어나는 진짜 삶에 대해 익살적으로 소개하고 있다.

잘츠부르크 현대미술관은 새로이 공개되는 제네랄리 재단 콜렉션들을 뮌헤스베르크 빌딩 2층에서 일부씩 번갈아가며 전시할 계획이다. 이를 통해 미술관이 보유한 다른 광범위한 작품들과 대화를 나눌 수 있길 바란다.

이번 전시는 제네랄리 재단과 함께 잘츠부르크 현대미술관가 조직했다.



큐레이터 _ Sabine Breitwieser, Direktorin, mit Christina Penetsdorfer, Kuratorische Assistentin, 잘츠부르크현대미술관

번역

정서연

원문출처

http://www.museumdermoderne.at/en/exhibitions/current/details/mdm/proudly-presenting/

알렉산드라 게리스 - 대마

Alexandra Gelis, Weeds/Mala Hierba

전시

2014.4.4 ~ 28,  화-금  11:00~18:00

대담
2014.4.26 18:30 ~ 20:30

바비아 미술갤러리 Bavia Arts Gallery (토론토)

<Weeds>는 비디오와 전자적 요소를 가미한 몰입형 조각적 음향공간으로, 콜롬비아 성 바실리오 펠렝케의 마을에서 의약용/장례용으로 사용된 식물을 제재로 하고 있다. 이 마을은 식민시대에 노예들이 도망쳐 정착해 만든 첫 자유촌으로 알려져있으며, 세계문화유산으로 지정되어있다.

게리스는 토론토에 거주하는 콜롬비아-베네수엘라인 예술가다. 그녀는 뉴미디어, 설치, 사진, 맞춤제작한 인터랙티브 전자공학을 결합한 작품을 만든다. 그녀의 프로젝트는 사적인 현장연구를 도구로, 다양한 사회-정치적 개입들이 남긴 흔적들을 추적함으로써 다양한 풍경의 생태학을 조사하고 있다.

큐레이터_Sinara Rozo-Perdomo, Mariuxi Zambrano

번역

정서연

원문출처

http://alucinefestival.com/event/artisttalkweedsbag2014/

하늘땅바다 : 비디오아트 공간성의 재탐색

LANDSEASKY: revisiting spatiality in video art

2014.4.20. ~ 6.15.
OCT현대미술터미널 (상하이)

참여작가_Paul Bai, Lauren Brincat, Jan Dibbets, Barbara Campbell, Wang Gongxin, Shilpa Gupta, Zhu Jia, Yeondoo Jung, Derek Kreckler, Giovanni Ozzola, Joao Vasco Paiva, Wang Peng, Kimsooja, Craig Walsh, Sim Cheol-Woong, Heimo Zobernig, Yang Zhenzhong

큐레이터_Kim Machan

주최_OCAT(OCT현대미술터미널)상하이, MAAP(Media Art Asia Pacific)



OCAT상하이와 MAAP가<LANDSEASKY>전을 개최한다. 이번 단체전에는 국제적인 현대미술가 17명이 참여했으며 이들의 비디오 작업은 3개국에 걸쳐 전시된다. <LANDSEASKY>전은 MAAP의 비교문화적 교환에 대한 MAAP의 독창적인 접근을 보여준다. 호주, 아시아, 유럽의 예술가들이 함께 모여 공유된 주제에 대해 대화를 나눈다.

전시는 중국, 호주, 한국의 미술관과 갤러리에서 열리며, OCAT-현대미술터미널상하이에서는 4월 20일부터 열릴 예정이다.

© ARS, NY and DACS, London 2002

얀 디벳Jan Dibbets은 <관점 교정Perspective Corrections>(1968)으로 우리가 사진을 예술의 미디어로 생각하는 방식을 바꿨다. 그의 치밀하고 개념적인 접근은 또한 영화와 그의 분석적이며 규율적이고 환원적인 특별한 미학 정전canon을 연결하는 것으로 이해되고 있다. 출발점으로서 이들 작업은 풍경에 대한 매우 보편적인 이해를 이용한다. 페이지를 가르는 직선은 땅에서 하늘로의 혹은 바다에서 하늘로의 변화를 나타내며, 이런 재현을 공간적 효과와 관점에 대한 확장된 탐구로 변형시키는 데로 나아간다.

수평선의 보편성과 단순성이라는 전제가 이번 <LANDSEASKY>전의 Launch Point라 할 수 있다. 이번 전시를 위해 창작된 새 작업들은 여전히 유효한 네덜란드 개념미술가 얀 디벳의 1970년대 초반 비디오 아트 작업과 대화를 나누게 될 것이다.

이번 전시에는 디벳의 "수평선-바다 Horizon – Sea"(1971)연작  I, Ⅱ, Ⅲ이 처음으로 전시될 예정이다. 이들 작품은 총 7개의 영상으로 카메라를 이용해 스크린 공간을 평면화하고 추상화함으로써 우리가 수평선을 인식하는 방법을 다시 구성한다.

예술가들은 수평선을 숭고적인 방법으로 이용해 경탄할만한 비디오 작업들을 만들어왔다. 땅, 바다, 하늘 이미지가 갖는 한계는 예술가의 접근을 드러내는 시각적 요소들을 제한한다. 스크린 공간에 대한 예술가의 분석을 조각적이며 개념적인 속성을 지닌 이미지로 간주할 수 있느냐의 여부에 기본적인 학예적 관심이 향해있다. 이번 학예 프로젝트는 우리가 이미 스크린 문화에서 소비하고 있는 환상적인 요소에 도전장을 내밀고 있으며, 작품선정을 통해 각 예술가들이 학예적 경계의 제약을 어떻게 다루고 있는지 비교 및 대조함으로써 비디오의 미디어에 대한 초점을 분명하게 했다.

전시회는 비디오 아트의 형식을 통한 공간성에 대한 다양한 이해를 보여줌으로써 예술가들이 스크린 공간을 분석 대상으로 작업해왔다는 중요한 증거를 제출한다. 포스트모더니즘의 뒤를 이어 공간성의 개념에 초점을 맞춤으로서 이번 전시 프로젝트는 가상과 실제, 주체와 객체, 추상과 실재, 그리고 더 넓은 맥락이라 할 모더니티와 포스트모더니티와 같은 이분법을 재평가하려 한다.



MAAP에 대하여
MAAP는 호주와 아시아태평양지역의 미디어아트를 주로 다루는 세계적으로 유일한 조직이다.

MAAP는 특별 국제적 협력프로그램을 진행하고 있다. MAAP 스페이스는 호주, 아태지역의 미디어 아트를 다루는 정기적인 기획 전시 프로그램이다. MAAP 미디어 뱅크는 예술가에게 AV 대여 및 지원을 담당한다.

MAAP는 15년 넘게 호주와 해외의 국제적 파트너와 함께 수백여개의 프로젝트를 지원해왔고 만들어왔고 교류해왔고 협력해왔다. 우리의 타임라인에는 이 풍부한 프로젝트의 역사를 담은 스냅샷이 게시되어 있다.

MAAP는 화랑, 미술관, 공공기관과 공공미술 환경과 협력하고 있다. 함께한 기관은 다음과 같다. MOMA(뉴욕), 로이터 비디오 벽Reuters Video Wall(타임스퀘어), 중국국립미술관, 싱가포르미술관, 중화세기관China Millennium Monument Art Museum, 퀸스랜드미술관, 퀸스랜드주립도서관, 상하이도서관, 중국국립도서관.

또한 MAAP는 브리즈번을 기반으로, 퀸스랜드 지역 예술가들이 작업을 제작, 발표, 홍보하는데 있어 부족함이 없게 온 힘을 다하고 있다.



OCAT에 대하여

OCAT - OCT현대미술터미널은 샹닝미술관의 부서로 2005년에 유명한 예술사가이자 비평가인 후앙 좐Huang Zhuan에 의해 설립되었다. OCAT는 중국의 유일한 비영리현대예술단체로 국립미술관 소속이다.

프로젝트의 '적극적인 참여자'는 큐레이터 우 훙Wu Hung(시카고), 타테 큐레이터 마르코 다니엘Marko Daniel과 예술가 수이 지안꽈Sui Jianguo, 왕 구안기Wang Guangy, 왕 지안웨이Wang Jianwei, 쭈 지아Zhu Jia이다.

OCAT 상하이는 2년 전에 OCAT 선전Shenzhen의 상하이 지부로 쑤저우 지역에 설립되었다. 지난 9월 양 푸동Yang Fudong의 개인전 <Quote Out of Context>을 개막전으로, OCAT 상하이는 중국과 세계의 멀티-미디어 예술의 전시와 리서치를 담당하는 공간으로서 자율적인 활동을 공식적으로 시작했다.

번역

정서연

원문출처

http://www.e-flux.com/announcements/landseasky-at-ocat-shanghai/

http://www.maap.org.au/about-maap/
http://www.ocatshanghai.com/%E5%85%B3%E4%BA%8E-ocat?lang=en

더 읽을 거리
Jan Dibbetts, TV as a Fireplace