Artists
14/10/2010 - UNDER DESTRUCTION - Museum Tinguely Basel
MICOL ASSAËL, NINA BEIER + MARIA LUND, MONICA BONVICINI, PAVEL BÜCHLER, NINA CANELL, JIMMIE DURHAM, ALEX HUBBARD, ALEXANDER GUTKE, MARTIN KERSELS, MICHAEL LANDY, LIZ LARNER, CHRISTIAN MARCLAY, KRIS MARTIN, ARIEL OROZCO, MICHAEL SAILSTORFER, ARCANGELO SASSOLINO, JONATHAN SCHIPPER, ARIEL SCHLESINGER, ROMAN SIGNER, JOHANNES VOGL
Under Destruction is a group exhibition curated by Chris Sharp and Gianni Jetzer that examines the use and role of destruction in contemporary art through the work of more than 20 international artists. Taking place on the 50th anniversary of Jean Tinguely's historic Homage to New York (1960), this exhibition proposes a series of alternatives to the stark, protest-dominated role accorded to destruction in the '50s and '60s, as seen in the work of Tinguely, Gustav Metzger and others. Rather, this survey will show destruction under a more favorable, if nuanced light, presenting it as everything from a generative force to environmental memento mori to consumer fallout to a mode of transformation.
True to the spirit of Tinguely's Homage to New York, the exhibition will be predominantly kinetic.
This necessarily entails an evolving, quasi self-destroying exhibition itself, in which the largely temporal nature of the works will yield, in the end, a show much changed from its beginnings.
"If nothing can be created, something must be destroyed," is how Rosalind Krauss succintly summerized Georges Bataille's The Accursed Share. While this phrase can begin to describe the ethos of this exhibition, Under Destruction raises the stakes by collapsing creation into destruction. Through such a process, this exhibition intends to create a variegated vision of destruction. To the more predictable instances of sudden spectacle will be added a less expected sense of subtlety, the combination of which will both immediately and gradually disclose the heterogenity of destruction in contemporary art.
Under Destruction can be divided up into a series of overlapping themes and categories, which are anything but hard and fast, and which inevitably blur in and out of one another. The issue of transformation is engaged by the contributions of Nina Canell and Pavel Buchler. In Canell's waterbased works, in which water is made to disperse via rapid sonic vibrations and transformed into a mist, destruction is broken down to some of its finest, molecular components, while in Pavel Buchler's series Modern Paintings (1997-2004), which consist of flea-market bought paintings, which are un-stretched, inserted in a washer, the result of which is reconstituted by the artist on a stretcher, such that they resemble Art Brut abstractions, destruction is a visibly transformative process.
Modes and effects of consumption are addressed in the contributions of Ariel Orozco, Johannes Vogl and Monica Bonvicini. Johannes Vogl's absurd, homemade contraption Untitled (Machine to produce jam breads), 2007, which senselessly produces pieces of bread with jam on them, engages questions of overproduction and consequently waste. Comprised of a fragile plaster veneer precariously placed above a real floor and which gradually fills up with holes made by visitors, Monica Bonvicini's installation Plastered, 1998, testifies to the consumption and deterioration of architecture by those who use it. Meanwhile, Ariel Orozco's Doble Desgaste (Double Consumption) 2005, takes a more metaphysical approach toward consumption, speaking to the concentrated and deliberate dissipation of effort. In this photographic documentation of an "action," Orozco systematically draws a portrait of a cube shaped eraser in graphite, photographing the portrait, erasing it with the same eraser, redrawing the eraser on the same piece of paper, photographing it, erasing it, and so on until the eraser and the portrait are gone.
The consequences of consumption inevitably filter into the environment and technology. Arcangelo Sassolino's Untitled, 2008, perceives technology as a brute, destructive force intimately linked to environmental consumption. Activated by the viewer through a motion detection sensor, Untitled is a hydraulic arm that gradually pushes into and destroys a large block of wood every time an unsuspecting viewer comes within its orbit, thus rendering them complicit in an inane act of dark and brooding annihilation. Liz Larner's Corner Basher, 1998, likewise depends upon a viewer participation, but to an arguably more senseless degree. This piece consists of a drive shaft mechanism, the activation and speed of which is controlled by the viewer, that swings a chain into and destroys the nearby corner wall. Jonathan Schipper's The Slow Inevitable Death of American Muscle, 2007-09, pits technology against itself in an allegory of consumption and destruction. This piece is comprised of two cars that slowly enact a head-on collision over the course of several days. If Schipper's work is of the order of allegory, Michael Sailstorfer's Zeit ist Keine Autobahn (2007) explicitly brings time and the memento mori into the mix. A single car wheel connected to an electric motor that grinds itself down against a wall, this work deploys a form of attrition to symbolically represent destruction.
A close kinsman of destruction, the memento mori ineluctably dominates the mood of several works in this exhibition. Roman Signer's Schweden in einer Kiste, 1999, is an unexpectedly poignant and diosyncratic vanitas. This piece is a video of a remote control helicopter, which takes off in a large, enclosed wooden box, hovers, runs into a wall, falters and then proceeds to doggedly and thoroughly decimate itself in a technological tantrum at the uncomprehending expense of its own mortality. Nina Beier and Maria Lund's History makes a Young Man Old 2009, departs from the theme of technology and uses performance to facilitate a sense of attrition wrought by time and use. For this piece, the artists' take turns rolling a crystal ball from wherever it is purchased in the city of an exhibition venue to the exhibition site itself. This powerful but economic work implies a loss of clarity, brought on through an attrition that is determined by forces beyond its control. Meanwhile, Kris Martin's 100 years, 2004, which consists of a bomb set to go off in 2104, dislocates the moment of destruction into a distant temporal elsewhere, and in doing so, incorporates that elsewhere and the destruction it is destined to undergo into the present, thus extending the domain of destruction well beyond the parameters of the exhibition itself.
Where Martin's bomb trades on the future of destruction, other works in the exhibition deal in its specter, introducing destruction into this equation as pure potential. Works by Micol Assaël, Fernando Ortega and Ariel Schlesigner variously portend it while indefinitely deferring it. The menace of destruction almost always plays an essential part in the galvanizing installations and environments of Micol Assaël; for Under Destruction, the artist will create a new production. No exhibition on this theme would be complete without the element of fire, which Ariel Schlesinger's Bubble Machine fitfully, if ridiculously provides. True to the spirit of Tinguely's quasi unhinged tinkering aesthetic, Schlesinger's madcap machine consists of a mechanism placed on top of a wooden ladder, which periodically drops bubbles of soap onto a small, electrified series of coils, which make the bubble burst into flames. Here destruction becomes a more controlled and evocative force. Last in this mode is Fernando Ortega's Untitled, 2005. A controlled leak that falls onto a metal box of water color paints and gradually disfigures the container, this work builds in suspense throughout the exhibition, inviting one to wonder whether or not a kind of creation, via destruction, will ever really take place, or if the box will resist the leak, and as such, thwart the insistent, would-be accident of creation.
If the melancholy frustration of this work is not without a certain humor, a few other works in this exhibition unequivocally venture off the deep end of a kind of slapstick destruction. Alex Hubbard's video's for example, such as Cineopolis is a humble masterpiece of antic decimation. Replete with a foley soundtrack created by the artist, this video portrays the Hubbard carrying out a series of deleterious actions upon a small movie screen from a bird's eye point of view, such as torching a group of metallic balloons and then finally tarring and feathering the screen. Martin Kersels Tumble Room, 2001, takes humor to more spectacular, if acrobatic level. For this piece, Kersels had a room constructed, replete with all the accoutrements of a little girl, and placed it on a mechanism, which rotated the entire room end over end, until it gradually turned the tumbling contents into dust. The kinetic sculpture is also accompanied by a video of a dancer, dancing in the tumbling room, negotiating its topples and turns with a dazzling fleet-footed grace. Here destruction is deployed as bravura, as a kind of slapstick, and dandified testimony to being beyond its reach, or its effects.
Humor has always been a key component to Jimmie Durham's work, and can certainly be found in his sculpture and attendant video, Stoning the Refrigerator, 1996. The result of waking every day for approximately ten days and throwing cobble stones at a refrigerator for an hour a day, this piece speaks to destruction as a daily ritual. By dint of this repetitive and iconoclastic act, Durham was able to assert a destructive tendency as a form of affirmation. Repetition likewise informs Alexander Gutke's White Light of the Void, 2002. This 16 mm film installation, which is an animation transferred to 16 mm, simulates the meltdown of blank film stock, as if the film jammed in the projector, whereupon the bulb promptly burns through the celluloid, producing an amoeba-like form that expands outward from the center of the frame, swallowing it up and returning the film to its opening white frame, intact, and the loop resumes. As such, this work, which symbolically deals with issues of death, the afterlife and renewal, could be seen as a metaphor for this exhibition in which destruction itself is often a force of renewal.
Artists
1/5/2010 - QUELLE CATASTROPHE! Manif d’art 5 – THE QUEBEC CITY BIENNAL
PARTICIPATING ARTISTS
Patrick Altman (Québec City, Canada); Salvatore Arancio (London, UK); Bill Burns (Toronto, Canada); Luca Buvoli (New York, USA); Cooke-Sasseville (Québec City, Canada); Doyon/Demers (Québec City, Canada); Sarah Emerson (Atlanta, USA); Carole Epp (Saskatoon, Canada); Brendan Fernandes (Toronto, Canada / New York, USA); Amélie-Laurence Fortin (Québec City, Canada); Laurent Grasso (Paris, France); Johan Grimonprez (Brussels, Belgium / New York, USA); Milutin Gubash (Montreal, Canada); Hadley+Maxwell (Vancouver, Canada / Berlin, Germany); Maryam Jafri (Copenhagen, Denmark); Gwen MacGregor (Toronto, Canada); Lynne Marsh (Montreal, Canada / Berlin, Germany / London, UK); Daniel Joseph Martinez (Los Angeles, USA); Michael Jones McKean (Richmond, USA); Gean Moreno (Miami, USA); Ahmet Ögüt (Istanbul, Turkey / Amsterdam, The Netherlands); Ernesto Oroza (Miami, USA); Iván Navarro (New York, USA); Trevor Paglen (Berkeley, USA); Christodoulos Panayiotou (Cyprus); Gwendoline Robin (Brussels, Belgium); Samuel Roy-Bois (Vancouver, Canada); Lindsay Seers (London, UK); SUPERFLEX (Copenhagen, Denmark); Katherine Taylor (Atlanta, USA); Myriam Yates (Lennoxville, Canada)
A finalized list of artists will be released in early April 2010
Catastrophe? Quelle catastrophe! We all live in a catastrophic world!
While catastrophe dominates the contemporary imaginary and mainstream media, its real work remains elusive. Its hypervisibility safeguards its foundational, requisite invisibility. Which is to say that the omnipresence of the catastrophic event acts as a smokescreen, ensuring the very invisibility of catastrophe’s real work. Politically, the catastrophic event is used to legitimize the enactment of states of exception. But in recent years, catastrophe has also been put to preemptive use. We no longer need a catastrophe to be subjected to the logic of catastrophe. As such, its temporality has shifted, its operational terrain expanded to the entirety of time and space. So much so that catastrophe has become the condition of contemporary life. If, in the midst of WWII, Walter Benjamin could define history as “one single catastrophe which keeps piling wreckage,” Slavoj Zizek has recently demonstrated that catastrophe has expanded to the future, “the true catastrophe already is this life under the shadow of the permanent threat of catastrophe.” Daily life is now the playground of low-level, yet dreary, incessant, inescapable, catastrophe. It is also the theater of exception where democracy and equality are reduced to mere form.
Once the climax of Greek plays and poems, catastrophe is now the wallpaper of our daily lives, the score of our everyday drama. But the concept of catastrophe operates in an expanded sphere, which includes mathematics and biology, in addition to literature and theory.
This project will bring together new and recent art work from artists working around the world in order to discern and present strategies of resistance to the wreckage of catastrophe’s slow, incessant, non-spectacular work. In order to do so, it will deploy a number of complementary platforms over an extended period of time–working groups, conferences, publications, exhibitions, screenings, performances, as well as an online seminar.
The project will delve into a number of questions, which will concomitantly refine the notion of catastrophe and pressure visual arts’ foundational concepts:
1. Imaging catastrophe / Image as catastrophe / The catastrophic image
2. The time of catastrophe / catastrophe’s temporalities
3. Catastrophic Space / space of catastrophe / spatializing catastrophe
4. Performing the catastrophic / performance as catastrophe / theater of catastrophe
5. Catastrophic matter / catastrophe’s residue
Artists
26/3/2010 - 25 HOURS A DAY - Villa Romana
Simona Barbera, Luciano Maggiore, Filippo Manzini
If a day had 25 hours, its units of time would be shorter, the rhythm of the day faster, the stress greater. If a day had 25 hours, it could also however simply be one hour longer, be stretched out. The rhythm of everyday life would then have to go on steadily over the course of 25 days, independently of the natural times of day and night.
The three artists participating in the exhibition create monumental, displaced, unstable perception spaces, objects and projections using various media. They work with psycho-geographies, eccentric acoustic architectures and emotional landscapes. In the work of Simona Barbera and Luciano Maggiore sound and image configure the era of the observer; in Filippo Manzini’s work, fragile objects and paper works feature multiple examples of a lack of central linear perspective and equilibrium on the verge of gravity.
Simona Barbera, born in 1971 in Genoa and living in Genoa and Oslo, is a musician, singer, performer and visual artist. In her installations she combines minimalist and monumental-symphonic sounds with drawings, retouched photographs and wall paintings. Her visual worlds are characterised by powerful visions of nature and magical figurations; image space and sound space reflect each other. In recent years, Simona Barbera has participated in numerous exhibitions (2009 Frederica Schiavo Gallery, Rome; Henie Onstad Museum, Oslo) and performance and music festivals in Norway, Ireland, Italy and Germany.
Filippo Manzini (born in 1975 in Florence and living in Florence) works in the transitions of two- and three-dimensionality, of drawing and space. Whereas in earlier paper cuttings he actually generated the depth of the page as image and introduced gesture as a space vector with simple folding, his new three-dimensional works represent unstable surfaces, which are held in a fragile equilibrium between sketch and object, illusion and gravity. Filippo Manzini’s paper works were presented in the P38 Gallery in Lucca in 2009 and in the Pittura /Materiale exhibition (Galleria Frittelli, Florence) curated by Pier Luigi Tazzi in 2007, amongst others.
Luciano Maggiore (born in 1980 in Palermo and living in Bologna) is a musician and filmmaker. In his installations, these two media complement each other as compact visual and acoustic areas of conflict. Overdoses of information and its deprivation explore the extremes of sensuous orientation. Cinematically, his roots lie in structural cinema. Musically, Luciano Maggiore is involved in various formations and collaborative works (including with “Phonorama”, “Angstarbeiter”, Francesco Fuzz Brasini, John Duncan, Domenico Grenci, Sara Pantoli, the Zapruder Filmmakersgroup and Zimmerfrei.). He is one of the founders of “Sant'Andrea degli amplificatori”, a small, “secret” venue for contemporary music.
Editions of the participating artists have been released to accompany the exhibition.
Artists
19/3/2010 - SATURN OVER SUNSET - BLACK TEMPORARY SPACE, BERGAMO
Simona Barbera develops a multifaceted fieldwork, based on the tension between brightness and gloom.
The artist combines the sound effect dimension with the visual one, in a unique perceptual experience. The project rises from the dialogue with TBS and is the result of a collaboration spent according to the idea of shared creation.
http://www.t-blackspace.com/
TEMPORARY BLACK SPACE
via Mayr 2
24100 Bergamo
TEL/FAX 0039-035-216193
Francesco +39.3397970584
Emma +39.3348646255
MAIL/ contact@t-blackspace.com
Artists
12/3/2010 - IBRIDO - PAC, MILAN
A cura di Giacinto Di Pietrantonio e Francesco Garutti
Prodotta dal Comune di Milano-Cultura e da MiArt, una mostra evento – a cura di Giacinto Di Pietrantonio e Francesco Garutti – che animerà il PAC Padiglione d’Arte Contemporanea di Milano nel mese di marzo 2010.
Al di là del senso di incertezza che il termine ibrido porta con sé, è indubbio che nell’attuale momento storico siano in atto grandi cambiamenti in tutti i settori della vita. Cambia la politica, cambia la cultura, cambia l’ambiente, cambia il mondo, e in tutto questo cambiare, cambiano anche l’arte e il sistema ad essa connesso. Ciò produce una creatività che si va sempre più ibridando, assorbendo e interfacciandosi con differenti ambiti disciplinari come l’etnografia, l’antropologia, la sociologia, l’ecologia, ma anche con il mondo di YouTube e di Facebook, che sono i nuovi luoghi del grande altro. Lo spazio dell’arte si allarga e le sue figure professionali mutano. Si tratta di un processo che coinvolge non solo gli artisti, sempre in prima linea nell’intercettare e promuovere i cambiamenti, ma anche i critici e i curatori che aprono luoghi ibridi per esporre gli artisti, dando origine a territori espositivi e di produzione al di fuori dell’ambito istituzionale.
Mutano le riviste e i giornali, con l’invasione dei free press e dei free magazine, cambiano i collezionisti che a volte diventano galleristi, altre volte aprono fondazioni. Insomma vi è un continuo riformularsi di ruoli, perfino nel passaggio dal pubblico al privato e viceversa. Vi è una crescente ibridazione e costante transizione di figure professionali, di funzioni e di formati: istituzioni temporanee nate dai singoli, galleristi produttori e promotori di progetti, istituzioni che agiscono in network, artisti che si fanno critici, curatori e galleristi. È come se l’arte anticipasse la politica, la cultura, l’ambiente, il mondo, la vita, realizzando “unioni di fatto” che prescindono da protocolli e modelli, emancipate dalla burocrazia. Vi è la necessità di applicare ai modelli espositivi e alle figure professionali il rifiuto della specializzazione, che del resto gli artisti esprimono nel loro lavoro già a partire dagli anni Novanta.
Per questo sembra più che mai necessaria in questo momento una mostra accompagnata da conferenze che riflettano tali cambiamenti di una diversa sostenibilità di arte e vita per intercettare il futuro.
IBRIDO è una mostra che non può non partire dai padri storici di tali mutamenti, come Beuys e Pistoletto per le tematiche dell’ecologia ambientale, Warhol per quelle relative all’ecologia mediatica, oppure Paolini per le dinamiche concettuali; e ancora dalla trasformazione degli spazi abitativi tra architettura e design rintracciabile nell’eredità modernista dei gruppi cinetici di artisti transitivi come Getulio Alviani ed Enzo Mari, o Mendini sul versante della postmodernità per non fare che qualche nome. E da qui, scendere ad artisti delle generazioni successive fino ad arrivare ai nostri giorni, con John Armleder, Pierre Huyghe, Philippe Parreno, Olafur Eliasson, Maurizio Cattelan, Patrick Tuttofuoco, Rirkrit Tiravanija, Pietro Roccasalva, Damien Hirst, Jan Fabre.
Si tratta di artisti e opere che esplorano la nuova era e che cercano di dare risposte al presente per preparare il futuro che ancora oggi è incertamente ibrido.
Per questo la mostra sarà anch’essa un ibrido: non una semplice esposizione di opere d’arte, ma uno spazio complesso fatto di video, istallazioni, pitture, disegni, film, fotografie, oggetti, riviste, libri, musica, scritte, performances, conferenze... Insomma, una sorta di opera d’arte totale, come totale e non totalitario è il mondo in cui viviamo. Si tratta di una mostra che contiene al suo interno diverse altre mostre, una mostra che si relaziona con la vita, ma anche con l’arte ed in questo caso con l’arte del passato: una mostra costruita pensando anche alle opere della collezione esposta presso la Galleria Civica d’Arte Moderna di Villa Reale adiacente al PAC. E così, fra gli altri, il Quarto Stato di Pellizza da Volpedo dialogherà con La rivoluzione siamo noi di Joseph Beuys ma anche con l’omonima opera di Maurizio Cattelan.
Artists
12/3/2010 - SHOULD I STAY OR SHOULD I GO? A question rehearsed by RUN
CHELSEA space 5th Anniversary Exhibition
RUN with Bruce Mclean and David Gothard, Lisa Le Feuvre,
Teresa Gleadowe, Jo Melvin, Mick Jones, and guests.
Private Views:
11th, 18th, 25th of March and 1st, 8th of April 2010. 6 – 8.30pm
Should I Stay or Should I Go? is an exhibition curated by RUN marking the fifth anniversary of CHELSEA space. It endeavours to recapture some of the most salient moments of this short history, as well as taking the opportunity to look ahead and speculate about the future of CHELSEA Space.
Over the past five years, CHELSEA Space has constituted a unique space where otherwise unrealised projects can be discussed and presented and where the dialogue and processes involved are fully exposed. Through the construction of Should I Stay or Should I Go?, RUN wishes to highlight the self-exposing character of CHELSEA Space’s curatorial processes and reinvigorate existing enquiries and relationships in order to convey a sense of their breadth, depth and magnitude. It also aims to revisit the significance of the programme to date, as an invaluable resource to both students and the general public in re-presenting and assessing new extremely diverse and often overlooked episodes of cultural activity and artist production.
Should I Stay or Should I Go? is organised into a series of five ‘acts’: Bruce Mclean and David Gothard, Lisa Le Feuvre, Teresa Gleadowe, Jo Melvin, and Mick Jones, integral to the previous shaping of the CHELSEA Space programme, have been invited to curate one week of the exhibition consecutively for five weeks.
With concepts oscillating between re-enactment, performance and rehearsal, mythologies of exhibition making, archiving, the mapping of networks and collection, Should I Stay or Should I Go? highlights the distinctive qualities that characterize CHELSEA Space and serves to preserve and honour what is a most fragile and ephemeral archive.
A text by David Gothard
In the seventies when I first came to London there was a whiff of what was called 'Performance Art' in the air, directed from the visual arts but a thousand miles away from its apparent relative, theatre. The doyenne of Performance, returning in these days to check out the London scene after a resurrection of the subject in New York is Roselee Goldberg, a then friendly scurrier between the Architects Association, the RCA and colleges and later the Riverside Studios as curator. The architects played their role as AA students of the ilk of Rem Kolhaas opted Performance into their 'university'. Richard Rogers, Will Alsop, Cedric Price and others opted into Riverside activities as Bruce Mclean moved in longterm such that his 'Masterwork' launched a series of ambitious performance achievements gathering dance and music from the likes of Gavin Bryars and Michael Nyman into the performance team. When Will then moved into the studio next door the roots in so much painting and sculpture became clear.
Ironically so much had come out of sculpture at St. Martins as the generation taught by Anthony Caro launched into theatre games at college that led to living together (Gilbert and George), walking (Richard Long), and an outright attention to the posed performance on the plinth by Bruce. The definitions were opening wide and cross fertilizing with film and photography closely in the wings. Also at Riverside, the itinerant architect of performance was John Latham, resident for a decade. As a daily philosopher he provoked from the Artists Placement Group run with Barbara Steveni, leading to performances there by Ian Breakwell and Stuart Brisley.
Happily the old Dr.Who studios, Riverside, were re-opened with Tadeusz Kantor’s ‘The Dead Class’ with a furore and popularity rarely seen since for an event that was primarily to do with the history of art somewhere between Alan Kaprow’s Happenings in New Jersey and paintings of the Cracow Group and Polish Constructivists who were rooted in creative defiance behind blackened windows under Nazi occupation, performance as a life or death matter. The threads were legion from Riverside including Michael Clark’s team work with the likes of Leigh Bowery, Cerith Wyn Wvans and Laibach.
Five years ago, Bruce felt that research as a living performance was needed to focus the debris of performance work as students in the colleges continued to rumble and he, the professor himself, came openly under the provocation of a talented music student in Fine Art, Sam Belinfante, and the notion of opera emerged which continues its exploration through this birthday celebration. Sam and Neil Luck from the Royal College of Music gave the Slade, a night of glory in commemorating John Cage’s visual volume of manuscripts, ‘Notations,’ as visual artist and musician collaborated in the most serious manner through the old Slade department. This was forty years after Cage’s launch of the book and twenty years after his Events at Riverside.
Across town, Donald Smith was opening the Chelsea Space with a superb wooden installation by Gary Woodley in which Paul Carr and others musically intervened to brilliant choral effect. The Chelsea Space under Donald’s beady eye, took off as a meeting point guided by its unique director with empirical vision. The road to the Tate Britian or to the artists’ studio changed forever. The inclusion in the programme this month of artists such as the painter Rob Sherwood, currently having a solo exhibition in Rome at Federica Schiavo Gallery, and Joc, Jon and Joschi, graduates of the brilliant Motion Graphics MA, is essential. David Barnett’s relationship with that course and his film role here in the collaboration with McLean, gives a clear example of Chelsea Space casting. To quote Joc, ‘the Space exists for being more in touch with what all of us are doing, why we do it and where we are coming from. That is, it is a real meeting place.’
Performance in this particular week overlaps with music and film in the month, but assumes a close relationship with the other curators. Performance is still part of the exploratory method of an AA student and the three artists/architects participating are from Kuwait, the Ukraine and Greece. Hessa al Bader, Oleg Bilenchuk and Evangelos Gerogiannis grip performance into the twentieth century as a tool that has to go far and explode. In their work here they confront inversion, gender, the city with all the colour and intellect of Oldenburg. The living ghosts of Land Art, Smithson, Christo and Matta-Clark have painfully dug performance in the ribs, partly thanks to the proximity of Dan Graham who added Popular and New Music to the feast; At Riverside, Glenn Branca, Laurie Anderson, Sonic Youth and others arrived smashing open the sound of space as radical as in the history of Venice and Byzantium where the architectural heritage of Monteverdi for sound is resurrected by Luigi Nono, sometimes in partnership with Renzo Piano. In term, they share the space negotiated a hundred years before by Schoenberg and Kandinsky in their correspondence and practice. Without Bauhaus there would be no Black Mountain College as we know it. The whole lot beg a future for opening the doors to the globe’s music.
It remains to be seen whether the return of the Henry Moore to the Chelsea
campus will live as with the former friendliness and warmth of the old school building in Manresa Road. From The Dead Class to the work of Joc, Jon, and Joschi, creative protest and celebration will out. As one of them expressed it: ‘I remember that when J and I were at school we used to lock ourselves in one of the 8 by 3 feet rooms next to the Abbey. We’d throw our arms and legs violently at the walls, scream animal noises and beat with our fists. I didn’t know why we did it at the time but creatively needed to.’
Such can be and should be Performance through Bruce, Stuart, Marina and others at their best. The mutilation and endurance tests of Marina Abramovic are fashionably feted but perpetuate the scream of the world, its campus nature and its need for the gallery as mouth piece, down the road from the Balkans.
BoyleANDshaw are neighbours. They are around. Apart from the ubiquitous success of their performance and installation work, Adrian Shaw, artist, is heavily involved in the curating of Late at Tate. It has a revolutionary noise that erupts on monthly Friday evenings illuminating the likes of RB Kitaj, William Tucker (former master sculptor to the young Bruce) and Harold Cohen (painter and digital guru) as they pass through as living or lamented giants fighting for their territory still. It provokes a the whole question of the life of the Museum as fresh as if it were New York's MOMA, without the stifling fashionability. Their present project is developed between the Tate Modern, the Chelsea Space and The National Theatre Studio. As appropriate visual hooligans they explore the respected text of Tennessee Williams on DH Lawrence; "I Rise in Flame, Cried the Phoenix". The feared, abused world of theatre is their oyster and is opted in as a necessary, key reference point for Performance as if it were worthy of the invitation.
In short, this essay is meant to focus my participation with Bruce MClean in this celebration, inviting others and beyond to join in on the points and the history through the website or participation in the event.
Artists
19/2/2010 - Jay Heikes in Madrid
GALERÍA MARTA CERVERA
General Castaños, 5
28004 Madrid
tel. +34 91 310 50 36
fax.+34 91 308 39 63
info@galeriamartacervera.com
www.galeriamartacervera.com
Monday 4:30 - 8:30 p.m.
Thu-Fri 10:30-2:30 - 4:30-8:30 p.m.
Sábados 11:00 - 14:00
Director: Marta Cervera
Assistent: Oscar García García
Artists
30/1/2010 - Rob Sherwood, winner of Euromobil prize in Bologna, ArtFirst
The winner of the 4th edition of Premio Gruppo Euromibil under 30 is Rob Sherwood with the work "Everything in it's right place" (2009, oil on canvas, 200 x 150 cm).
ArtFirst 2010 - Bologna
Artists
22/12/2009 - Andrea Sala - Premio Terna02 - Tempio di Adriano
Mostra del Premio Terna 02 al Tempio di Adriano di Roma
57 opere d’arte contemporanea saranno in mostra a Roma dal 22 dicembre al 15 gennaio
Sarà uno dei monumenti storici più suggestivi del centro storico di Roma ad ospitale le opere del Premio Terna. L’appuntamento è al Tempio di Adriano, in piazza di Pietra, dal 22 dicembre al 15 gennaio per la collettiva che raccoglie 57 lavori: i vincitori e i 45 artisti di fama che hanno aderito alla seconda edizione del premio sul tema “Energia : Umanità = Futuro : Ambiente. La proporzione per una nuova estetica”. La mostra è curata da Gianluca Marziani e Cristiana Collu. Il PT02 conferma così la propria mission: valorizzare il talento degli artisti contemporanei ed avvicinare i cittadini all’arte.
Il Tempio rimarrà aperto e ad ingresso libero dalle ore 10 alle ore 20, tutti i giorni.
Passeggiando tra gli antichi marmi e le colonne del Tempio, si potranno ammirare le opere dei giovani vincitori del premio posti fianco a fianco a quelle di importanti artisti dell’arte contemporanea italiana. La seconda edizione del Premio Terna ha coinvolto anche i designer concettuali e i maestri della ricerca filmica in ambito artistico, confermando l’attenzione della coppia curatoriale alle dinamiche internazionali e ai processi che caratterizzano le più importanti situazioni di primo piano museale; tra i giovani e gli artisti meno noti, molte le sorprese e alta la qualità. Interessante l’interpretazione data dagli artisti di un tema complesso e profondo come quello del futuro e dell’ambiente. Rispetto allo scorso anno, gli oltre 3.500 artisti che hanno partecipato hanno sentito con maggiore empatia il tema e si sono impegnati con progetti di ambizione molto forte.
Saranno esposte le opere dei vincitori delle quattro categorie in gara, tra le oltre 3.500 opere iscritte. I primi premi sono andati a: Alberto Garutti per la categoria Terawatt con l’opera “Temporali”; Simone Bergantini per la categoria Gigawatt con l’opera “Work N.77”; Stefano Cagol per la categoria Megawatt, con l’opera “Dissoluzione di luce”; Francesco Simeti per la categoria Connectivity, con l’opera “Esercizio #2”, e a Michele Manzini, vincitore del Premio online, con l’opera “Untiteled (# 87)” (la votazione del pubblico sul sito www.premioterna.com). In mostra anche Dino Pedriali, menzione speciale tra i Terawatt con l’opera “Miraggio” e i vincitori del Premio del Comitato Galleristi Mauro Folci, categoria Megawatt, con l’opera “Noia” e Giulio Delvè, categoria Gigawatt, con l’opera “Brainstorm”. A seguire, per la categoria Gigawatt: Stefano Canto con l’opera “Tao” e Alia Scalvini, con l’opera “Crossing the field”; per la categoria Megawatt, Andrea Aquilanti, con l’opera “Acqua” e Emanuele Becheri con l’opera “Temporale”; per la categoria Connectivity: Isola and Norzi, con l’opera “Isolanorzi – fall” e Meena Hasan, con l’opera “Landscape#1”.
Al Tempio di Adriano saranno in mostra anche tutte le opere dei Terawatt: Claudio Abate, Roberto Baldazzini, Gianfranco Baruchello, Matteo Basilé, Gianni Berengo Gardin, Antonio Biasucci, Andrea Branzi, Brigataes, Giacomo Costa, Mario Cresci, Michele De Lucchi, Alberto Di Fabio, Chiara Dynys, Pablo Echaurren, Flavio Favelli, Marco Ferreri, Giosetta Fioroni, Franco Fontana, Stefania Galegati Shines, Daniele Galliano, Paolo Gioli, Giulio Iacchetti, Armin Linke, Renato Mambor, Gino Marotta, Masbedo, Luciana Matalon, Davide Nido, Fabio Novembre, Adrian Paci, Luca Pancrazzi, Luca Maria Patella, Gaetano Pesce, Pino Pinelli, Cristiano Pintaldi, Alfredo Pirri, Paola Pivi, Andrea Sala, Studio Azzurro, Adrian Tranquilli, Paolo Ulian, Cesare Viel, Massimo G. Vitali.
Info: http://www.premioterna.it/it/new/mostra-del-premio-terna-02-al-tempio-di-adriano-di-roma
Artists
22/10/2009 - Ariel Orozco on ArtForum.com - a text by Francesco Stocchi
Artists
21/10/2009 - Ariel Orozco on Exibart.com - a text by Pericle Guaglianone
http://www.exibart.com/notizia.asp?IDNotizia=29124&IDCategoria=61
Artists
17/1/2009 - Andrea Sala - Exhibition at OPTICA, Montreal
OPTICA - a centre for contemporary art 372 Ste-Catherine ouest, suite 508 Montréal - Canada Cicognino (Little Stork) was first the name of a little table created by Italian architect and designer Franco Albini in 1953. Now it is a proposal for a gallery piece by Andrea Sala. Citing, reappropriating, and transforming the productions of artists, architects, and designers, the Milan-born artist draws his references from books, magazines, and the Web. He usually starts with an everyday object—like the small table—, which he endows with a new function. Where Albini sought to articulate a modern vision through a certain conception of tradition, Sala incorporates it into his creative process and actualizes it in the exhibition space.