View allAll Photos Tagged Curates
2018-11-15 Little Things Swan Coach House Gallery curated by Marianne B. Lambert
The Swan Coach House Gallery is pleased to present the 19th annual Little Things exhibition. Featuring 100+ artists, this exhibition offers scores of affordable work in a variety of mediums including painting, drawing, sculpture,
photography, printmaking and three-dimensional art. Over the years, this popular show has provided an exciting opportunity for our community to purchase original works from emerging to more established and well-known Atlanta-
based artists. Little Things continually refreshes: as pieces sell, we replace them with new works, so return often to discover something different throughout the exhibition.
ARTISTS: Lisa Alembik, Liz Anderson, Steven Anderson, Linda Armstrong, Maria Artemis, Rose M Barron, Melissa Basham, Laura Bell, Scott Belville, Khalilah Birdsong, Margaret Boone, Eileen Braun, Caroline Bullock, Lucinda
Bunnen,Joe Camoosa, Angelyn Chandler, Gordon Chandler, InKyoung Chun, Jon Ciliberto,Susan Cipcic, Ryan Coleman, Ande Cook, Taylor Cox, Jerry Cullum, Lucy Currie, Elyse Defoor, Terri Dilling, Craig Drennen, Scott Eakin, Sarah
Emerson, Sabre Esler, Amie Esslinger, Cynthia Farnell, PJ Floyd, Gail Foster, Steve Frenkel, Eula Ginsburg, Ben Goldman, Barry Gregg, Gwen Gunter, Hayes Hamilton, Richard Harris, Dana Haugaard, Kris Hill, Roxane Hollosi, Tim
Hunter, Anna Jensen, James Jernigan, Susan Ker-Seymer, Wihro Kim, Chase Wilson King, George Kroenert, Judy Lampert, Jack Lawing, Michelle Laxalt, Lori Lejeune, Travis Lindquist, Susan Loftin, George Long, Allison Luce, Alaina
Lyle, Rob Matre, Bill Mayer, Erin McIntosh, Birgit McQueen, Katherine Mialkowski, Donna Mintz, Katherine Mitchell, Linda Mitchell, Dana Montlack,Paul Muldawer, Eleanor Neal, Jennifer Nolan, Barbara Olsen, Ann Otterness, Jeffrey
Paclipan, Erin Palovick, Lainey Papageorge, Judy Parady, Joe Peragine, Iman Person, Joy Ballard Peters, Junco Sato Pollack, Elizabeth Porcel, Paige Prier, Tony Raffalovich, Adrina Richard, David Robinson, Paul Rodecker, Lucha
Rodriguez, Stacie Rose, Stephanie Scott, Lisa Shinault, Laura Shull, Erin Sledd, Whitney Stansell, Susan Starr, Ann Stewart, Richard Sudden, Tom Swanston, Katherine Taylor, Zipporah Camille Thompson, John Tindel, Karen Tunnell,
Lisa Tuttle, Vasil Vasilev, Igor Vavrosky, Aila Wartell, Catherine Wilmer, Stella Wissner, Jamele Wright, Sr.
Curated by Marianne B. Lambert
This exhibition is sponsored by The Sartain Lanier Family Foundation
Liza Jancik, Jane Lanier, Landon Lanier
2018-11-15 Little Things Swan Coach House Gallery curated by Marianne B. Lambert
The Swan Coach House Gallery is pleased to present the 19th annual Little Things exhibition. Featuring 100+ artists, this exhibition offers scores of affordable work in a variety of mediums including painting, drawing, sculpture,
photography, printmaking and three-dimensional art. Over the years, this popular show has provided an exciting opportunity for our community to purchase original works from emerging to more established and well-known Atlanta-
based artists. Little Things continually refreshes: as pieces sell, we replace them with new works, so return often to discover something different throughout the exhibition.
ARTISTS: Lisa Alembik, Liz Anderson, Steven Anderson, Linda Armstrong, Maria Artemis, Rose M Barron, Melissa Basham, Laura Bell, Scott Belville, Khalilah Birdsong, Margaret Boone, Eileen Braun, Caroline Bullock, Lucinda
Bunnen,Joe Camoosa, Angelyn Chandler, Gordon Chandler, InKyoung Chun, Jon Ciliberto,Susan Cipcic, Ryan Coleman, Ande Cook, Taylor Cox, Jerry Cullum, Lucy Currie, Elyse Defoor, Terri Dilling, Craig Drennen, Scott Eakin, Sarah
Emerson, Sabre Esler, Amie Esslinger, Cynthia Farnell, PJ Floyd, Gail Foster, Steve Frenkel, Eula Ginsburg, Ben Goldman, Barry Gregg, Gwen Gunter, Hayes Hamilton, Richard Harris, Dana Haugaard, Kris Hill, Roxane Hollosi, Tim
Hunter, Anna Jensen, James Jernigan, Susan Ker-Seymer, Wihro Kim, Chase Wilson King, George Kroenert, Judy Lampert, Jack Lawing, Michelle Laxalt, Lori Lejeune, Travis Lindquist, Susan Loftin, George Long, Allison Luce, Alaina
Lyle, Rob Matre, Bill Mayer, Erin McIntosh, Birgit McQueen, Katherine Mialkowski, Donna Mintz, Katherine Mitchell, Linda Mitchell, Dana Montlack,Paul Muldawer, Eleanor Neal, Jennifer Nolan, Barbara Olsen, Ann Otterness, Jeffrey
Paclipan, Erin Palovick, Lainey Papageorge, Judy Parady, Joe Peragine, Iman Person, Joy Ballard Peters, Junco Sato Pollack, Elizabeth Porcel, Paige Prier, Tony Raffalovich, Adrina Richard, David Robinson, Paul Rodecker, Lucha
Rodriguez, Stacie Rose, Stephanie Scott, Lisa Shinault, Laura Shull, Erin Sledd, Whitney Stansell, Susan Starr, Ann Stewart, Richard Sudden, Tom Swanston, Katherine Taylor, Zipporah Camille Thompson, John Tindel, Karen Tunnell,
Lisa Tuttle, Vasil Vasilev, Igor Vavrosky, Aila Wartell, Catherine Wilmer, Stella Wissner, Jamele Wright, Sr.
Curated by Marianne B. Lambert
This exhibition is sponsored by The Sartain Lanier Family Foundation
Liza Jancik, Jane Lanier, Landon Lanier
2018-11-15 Little Things Swan Coach House Gallery curated by Marianne B. Lambert
The Swan Coach House Gallery is pleased to present the 19th annual Little Things exhibition. Featuring 100+ artists, this exhibition offers scores of affordable work in a variety of mediums including painting, drawing, sculpture,
photography, printmaking and three-dimensional art. Over the years, this popular show has provided an exciting opportunity for our community to purchase original works from emerging to more established and well-known Atlanta-
based artists. Little Things continually refreshes: as pieces sell, we replace them with new works, so return often to discover something different throughout the exhibition.
ARTISTS: Lisa Alembik, Liz Anderson, Steven Anderson, Linda Armstrong, Maria Artemis, Rose M Barron, Melissa Basham, Laura Bell, Scott Belville, Khalilah Birdsong, Margaret Boone, Eileen Braun, Caroline Bullock, Lucinda
Bunnen,Joe Camoosa, Angelyn Chandler, Gordon Chandler, InKyoung Chun, Jon Ciliberto,Susan Cipcic, Ryan Coleman, Ande Cook, Taylor Cox, Jerry Cullum, Lucy Currie, Elyse Defoor, Terri Dilling, Craig Drennen, Scott Eakin, Sarah
Emerson, Sabre Esler, Amie Esslinger, Cynthia Farnell, PJ Floyd, Gail Foster, Steve Frenkel, Eula Ginsburg, Ben Goldman, Barry Gregg, Gwen Gunter, Hayes Hamilton, Richard Harris, Dana Haugaard, Kris Hill, Roxane Hollosi, Tim
Hunter, Anna Jensen, James Jernigan, Susan Ker-Seymer, Wihro Kim, Chase Wilson King, George Kroenert, Judy Lampert, Jack Lawing, Michelle Laxalt, Lori Lejeune, Travis Lindquist, Susan Loftin, George Long, Allison Luce, Alaina
Lyle, Rob Matre, Bill Mayer, Erin McIntosh, Birgit McQueen, Katherine Mialkowski, Donna Mintz, Katherine Mitchell, Linda Mitchell, Dana Montlack,Paul Muldawer, Eleanor Neal, Jennifer Nolan, Barbara Olsen, Ann Otterness, Jeffrey
Paclipan, Erin Palovick, Lainey Papageorge, Judy Parady, Joe Peragine, Iman Person, Joy Ballard Peters, Junco Sato Pollack, Elizabeth Porcel, Paige Prier, Tony Raffalovich, Adrina Richard, David Robinson, Paul Rodecker, Lucha
Rodriguez, Stacie Rose, Stephanie Scott, Lisa Shinault, Laura Shull, Erin Sledd, Whitney Stansell, Susan Starr, Ann Stewart, Richard Sudden, Tom Swanston, Katherine Taylor, Zipporah Camille Thompson, John Tindel, Karen Tunnell,
Lisa Tuttle, Vasil Vasilev, Igor Vavrosky, Aila Wartell, Catherine Wilmer, Stella Wissner, Jamele Wright, Sr.
Curated by Marianne B. Lambert
This exhibition is sponsored by The Sartain Lanier Family Foundation
Liza Jancik, Jane Lanier, Landon Lanier
2018-11-15 Little Things Swan Coach House Gallery curated by Marianne B. Lambert
The Swan Coach House Gallery is pleased to present the 19th annual Little Things exhibition. Featuring 100+ artists, this exhibition offers scores of affordable work in a variety of mediums including painting, drawing, sculpture,
photography, printmaking and three-dimensional art. Over the years, this popular show has provided an exciting opportunity for our community to purchase original works from emerging to more established and well-known Atlanta-
based artists. Little Things continually refreshes: as pieces sell, we replace them with new works, so return often to discover something different throughout the exhibition.
ARTISTS: Lisa Alembik, Liz Anderson, Steven Anderson, Linda Armstrong, Maria Artemis, Rose M Barron, Melissa Basham, Laura Bell, Scott Belville, Khalilah Birdsong, Margaret Boone, Eileen Braun, Caroline Bullock, Lucinda
Bunnen,Joe Camoosa, Angelyn Chandler, Gordon Chandler, InKyoung Chun, Jon Ciliberto,Susan Cipcic, Ryan Coleman, Ande Cook, Taylor Cox, Jerry Cullum, Lucy Currie, Elyse Defoor, Terri Dilling, Craig Drennen, Scott Eakin, Sarah
Emerson, Sabre Esler, Amie Esslinger, Cynthia Farnell, PJ Floyd, Gail Foster, Steve Frenkel, Eula Ginsburg, Ben Goldman, Barry Gregg, Gwen Gunter, Hayes Hamilton, Richard Harris, Dana Haugaard, Kris Hill, Roxane Hollosi, Tim
Hunter, Anna Jensen, James Jernigan, Susan Ker-Seymer, Wihro Kim, Chase Wilson King, George Kroenert, Judy Lampert, Jack Lawing, Michelle Laxalt, Lori Lejeune, Travis Lindquist, Susan Loftin, George Long, Allison Luce, Alaina
Lyle, Rob Matre, Bill Mayer, Erin McIntosh, Birgit McQueen, Katherine Mialkowski, Donna Mintz, Katherine Mitchell, Linda Mitchell, Dana Montlack,Paul Muldawer, Eleanor Neal, Jennifer Nolan, Barbara Olsen, Ann Otterness, Jeffrey
Paclipan, Erin Palovick, Lainey Papageorge, Judy Parady, Joe Peragine, Iman Person, Joy Ballard Peters, Junco Sato Pollack, Elizabeth Porcel, Paige Prier, Tony Raffalovich, Adrina Richard, David Robinson, Paul Rodecker, Lucha
Rodriguez, Stacie Rose, Stephanie Scott, Lisa Shinault, Laura Shull, Erin Sledd, Whitney Stansell, Susan Starr, Ann Stewart, Richard Sudden, Tom Swanston, Katherine Taylor, Zipporah Camille Thompson, John Tindel, Karen Tunnell,
Lisa Tuttle, Vasil Vasilev, Igor Vavrosky, Aila Wartell, Catherine Wilmer, Stella Wissner, Jamele Wright, Sr.
Curated by Marianne B. Lambert
This exhibition is sponsored by The Sartain Lanier Family Foundation
Liza Jancik, Jane Lanier, Landon Lanier
Photo: Roberto Ruiz. Courtesy of the artist.
–
Contents inside the vitrine dedicated to the project "IL LINGUAGGIO DEL CORPO" [THE LANGUAGE OF THE BODY], 2015.
Performance in three independent acts, lasting one hour each, carried out in three spaces at the Royal Academy of Spain in Rome (Bramante’s Tempietto, exhibition rooms and the portrait gallery). Without an audience.
"IL LINGUAGGIO DEL CORPO" were three hour-long performances conceived for different locations in and around the Royal Academy of Spain in Rome. With no audience present, each performance was executed by interpreters following the instructions of the artist (who was absent on each occasion) and documented by a film crew. The latter acted independently yet, like the interpreters, had to adhere to a manifesto in list form. This directive was based on the "No Manifesto" (1965), in which dancer and choreographer Yvonne Rainer pared dance down to its essence via negativa: “No to spectacle. No to virtuosity (...)”.
IL LINGUAGGIO DEL CORPO centred on the representation of the human body in classical sculpture and its transferral to the live medium of performance. The first part transpired in the courtyard of the Church of San Pietro in Montorio, which houses the Royal Academy of Spain in Rome, inside Bramante’s Tempietto (1510), a diminutive temple which instituted the architectural ideals of the Roman Renaissance. Inside the
temple a female interpreter held a series of poses based on "Truth Unveiled by Time" (1646–1652), "Ecstasy of Saint Teresa" (1647–1652), and "Blessed Ludovica Albertoni" (1671–1674), three marble sculptures of women by Gian Lorenzo Bernini, the Baroque artist renowned for his extraordinary ability to depict heightened emotion.
The second part took place in the exhibition galleries of the Academy. Positioned on stage platforms, seven nude male interpreters took up a series of poses derived from the sea- and river-gods depicted in three Roman fountains: Fontana di Marforio, Fontana dei Tritoni, and Fontana dei Quattro Fiumi. Between position and rest, each man drank from bottles of water that surrounded him. Sweating profusely under the gallery lighting in what was the heat of summer, they urinated in sculptural position whenever they needed, becoming human fountains. The portrait gallery of the Academy was the setting for the third part. Five nude male interpreters took it in turns to take up a pose on a stool, like a statue on a plinth. Their poses were based on a celebrated fragmentary marble statue from the 1st century BC known as the Belvedere Torso. Each human sculpture was then lifted and carried off the pedestal by a group of women and carefully placed horizontally on the floor on a rubber surface. Rolled towels indicated stress points as the men strived to maintain their rigid poses.
© Text by Latitudes
—
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
CURATED BY ARTIST
Bogomir Doringer
IN SUPPORT OF
Brigitte Felderer (University of Applied Arts Vienna)
Jans Possel (Artistic Director of Mediamatic)
INITIATED BY
Elisabeth Hajek (Artistic Director of freiraum quartier21 INTERNATIONAL/MuseumsQuartier Vienna)
ASSISTANTS TO CURATOR
Aleksandra Sascha Pejovic and Julia Aßl
EXHIBITION DESIGN
Martin Hickmann and Thilo Ulrich
Class of Henrik Ahr (Mozarteum University Salzburg)
IN COLLABORATION WITH
Matthias Tarasiewicz (Artistic Technology Research, University of Applied Arts Vienna)
PARTICIPATING ARTISTS
Marina Abramović, Martin Backes, Jeremy Bailey, Jonathan Barnbrook for David Bowie, Aram Bartholl, William Basinski, Marc Bijl, Zach Blas, Heiko Bressnik, Thorsten Brinkmann, Ondrej Brody & Kristofer Paetau, Mark Brown, Asger Carlsen, Ben DeHaan, Sofie Groot Dengerink, Nezaket Ekici, Arthur Elsenaar, Shahram Entekhabi, Caron Geary aka FERAL is KINKY, Hrafnhildur Gissurardóttir, David Haines, Ren Hang, Adam Harvey, Sabi van Hemert, Ursula Hübner, Damier Johnson aka REBEL YUTHS, Katsuya Kamo for Junya Watanabe COMME des GARÇONS, KATSU, Brian Kenny, Ute Klein, Nienke Klunder, Jakob Lena Knebl & Thomas Hörl, Miodrag Krkobabić, Mirko Lazović, Theo-Mass Lexileictous, Vanessa Lodigiani, Zachari Logan, Jill Magid, Maison Martin Margiela, Slava Mogutin, Veljko Onjin, Bernd Oppl, Tanja Ostojić, Marco Pezzotta, Gerda Postma, Gareth Pugh, Eva-Maria Raab, RAF SIMONS, Ana Rajcevic, Daphne Rosenthal, Tarron Ruiz-Avila, Mustafa Sabbagh, Olivier de Sagazan, Daniel Sannwald for WOODKID, Bryan Lewis Saunders, Carmen Schabracq, Frank Schallmaier, Hester Scheurwater, Tim Silver, Jan Stradtmann, Sergei Sviatchenko, Jun Takahashi for UNDERCOVER, Maiko Takeda, Saša Tkačenko, Marc Turlan, Levi van Veluw, Ari Versluis & Ellie Uyttenbroek, Viktor & Rolf, Philippe Vogelenzang & Majid Karrouch, Daniel Vom Keller, Martin C de Waal, Addie Wagenknecht & Stefan Hechenberger, Anne Wenzel, Bernhard Willhelm, Andrew Norman Wilson and Lucy Wood.
2018-11-15 Little Things Swan Coach House Gallery curated by Marianne B. Lambert
The Swan Coach House Gallery is pleased to present the 19th annual Little Things exhibition. Featuring 100+ artists, this exhibition offers scores of affordable work in a variety of mediums including painting, drawing, sculpture,
photography, printmaking and three-dimensional art. Over the years, this popular show has provided an exciting opportunity for our community to purchase original works from emerging to more established and well-known Atlanta-
based artists. Little Things continually refreshes: as pieces sell, we replace them with new works, so return often to discover something different throughout the exhibition.
ARTISTS: Lisa Alembik, Liz Anderson, Steven Anderson, Linda Armstrong, Maria Artemis, Rose M Barron, Melissa Basham, Laura Bell, Scott Belville, Khalilah Birdsong, Margaret Boone, Eileen Braun, Caroline Bullock, Lucinda
Bunnen,Joe Camoosa, Angelyn Chandler, Gordon Chandler, InKyoung Chun, Jon Ciliberto,Susan Cipcic, Ryan Coleman, Ande Cook, Taylor Cox, Jerry Cullum, Lucy Currie, Elyse Defoor, Terri Dilling, Craig Drennen, Scott Eakin, Sarah
Emerson, Sabre Esler, Amie Esslinger, Cynthia Farnell, PJ Floyd, Gail Foster, Steve Frenkel, Eula Ginsburg, Ben Goldman, Barry Gregg, Gwen Gunter, Hayes Hamilton, Richard Harris, Dana Haugaard, Kris Hill, Roxane Hollosi, Tim
Hunter, Anna Jensen, James Jernigan, Susan Ker-Seymer, Wihro Kim, Chase Wilson King, George Kroenert, Judy Lampert, Jack Lawing, Michelle Laxalt, Lori Lejeune, Travis Lindquist, Susan Loftin, George Long, Allison Luce, Alaina
Lyle, Rob Matre, Bill Mayer, Erin McIntosh, Birgit McQueen, Katherine Mialkowski, Donna Mintz, Katherine Mitchell, Linda Mitchell, Dana Montlack,Paul Muldawer, Eleanor Neal, Jennifer Nolan, Barbara Olsen, Ann Otterness, Jeffrey
Paclipan, Erin Palovick, Lainey Papageorge, Judy Parady, Joe Peragine, Iman Person, Joy Ballard Peters, Junco Sato Pollack, Elizabeth Porcel, Paige Prier, Tony Raffalovich, Adrina Richard, David Robinson, Paul Rodecker, Lucha
Rodriguez, Stacie Rose, Stephanie Scott, Lisa Shinault, Laura Shull, Erin Sledd, Whitney Stansell, Susan Starr, Ann Stewart, Richard Sudden, Tom Swanston, Katherine Taylor, Zipporah Camille Thompson, John Tindel, Karen Tunnell,
Lisa Tuttle, Vasil Vasilev, Igor Vavrosky, Aila Wartell, Catherine Wilmer, Stella Wissner, Jamele Wright, Sr.
Curated by Marianne B. Lambert
This exhibition is sponsored by The Sartain Lanier Family Foundation
Liza Jancik, Jane Lanier, Landon Lanier
CURATED BY ARTIST
Bogomir Doringer
IN SUPPORT OF
Brigitte Felderer (University of Applied Arts Vienna)
Jans Possel (Artistic Director of Mediamatic)
INITIATED BY
Elisabeth Hajek (Artistic Director of freiraum quartier21 INTERNATIONAL/MuseumsQuartier Vienna)
ASSISTANTS TO CURATOR
Aleksandra Sascha Pejovic and Julia Aßl
EXHIBITION DESIGN
Martin Hickmann and Thilo Ulrich
Class of Henrik Ahr (Mozarteum University Salzburg)
IN COLLABORATION WITH
Matthias Tarasiewicz (Artistic Technology Research, University of Applied Arts Vienna)
PARTICIPATING ARTISTS
Marina Abramović, Martin Backes, Jeremy Bailey, Jonathan Barnbrook for David Bowie, Aram Bartholl, William Basinski, Marc Bijl, Zach Blas, Heiko Bressnik, Thorsten Brinkmann, Ondrej Brody & Kristofer Paetau, Mark Brown, Asger Carlsen, Ben DeHaan, Sofie Groot Dengerink, Nezaket Ekici, Arthur Elsenaar, Shahram Entekhabi, Caron Geary aka FERAL is KINKY, Hrafnhildur Gissurardóttir, David Haines, Ren Hang, Adam Harvey, Sabi van Hemert, Ursula Hübner, Damier Johnson aka REBEL YUTHS, Katsuya Kamo for Junya Watanabe COMME des GARÇONS, KATSU, Brian Kenny, Ute Klein, Nienke Klunder, Jakob Lena Knebl & Thomas Hörl, Miodrag Krkobabić, Mirko Lazović, Theo-Mass Lexileictous, Vanessa Lodigiani, Zachari Logan, Jill Magid, Maison Martin Margiela, Slava Mogutin, Veljko Onjin, Bernd Oppl, Tanja Ostojić, Marco Pezzotta, Gerda Postma, Gareth Pugh, Eva-Maria Raab, RAF SIMONS, Ana Rajcevic, Daphne Rosenthal, Tarron Ruiz-Avila, Mustafa Sabbagh, Olivier de Sagazan, Daniel Sannwald for WOODKID, Bryan Lewis Saunders, Carmen Schabracq, Frank Schallmaier, Hester Scheurwater, Tim Silver, Jan Stradtmann, Sergei Sviatchenko, Jun Takahashi for UNDERCOVER, Maiko Takeda, Saša Tkačenko, Marc Turlan, Levi van Veluw, Ari Versluis & Ellie Uyttenbroek, Viktor & Rolf, Philippe Vogelenzang & Majid Karrouch, Daniel Vom Keller, Martin C de Waal, Addie Wagenknecht & Stefan Hechenberger, Anne Wenzel, Bernhard Willhelm, Andrew Norman Wilson and Lucy Wood.
2018-11-15 Little Things Swan Coach House Gallery curated by Marianne B. Lambert
The Swan Coach House Gallery is pleased to present the 19th annual Little Things exhibition. Featuring 100+ artists, this exhibition offers scores of affordable work in a variety of mediums including painting, drawing, sculpture,
photography, printmaking and three-dimensional art. Over the years, this popular show has provided an exciting opportunity for our community to purchase original works from emerging to more established and well-known Atlanta-
based artists. Little Things continually refreshes: as pieces sell, we replace them with new works, so return often to discover something different throughout the exhibition.
ARTISTS: Lisa Alembik, Liz Anderson, Steven Anderson, Linda Armstrong, Maria Artemis, Rose M Barron, Melissa Basham, Laura Bell, Scott Belville, Khalilah Birdsong, Margaret Boone, Eileen Braun, Caroline Bullock, Lucinda
Bunnen,Joe Camoosa, Angelyn Chandler, Gordon Chandler, InKyoung Chun, Jon Ciliberto,Susan Cipcic, Ryan Coleman, Ande Cook, Taylor Cox, Jerry Cullum, Lucy Currie, Elyse Defoor, Terri Dilling, Craig Drennen, Scott Eakin, Sarah
Emerson, Sabre Esler, Amie Esslinger, Cynthia Farnell, PJ Floyd, Gail Foster, Steve Frenkel, Eula Ginsburg, Ben Goldman, Barry Gregg, Gwen Gunter, Hayes Hamilton, Richard Harris, Dana Haugaard, Kris Hill, Roxane Hollosi, Tim
Hunter, Anna Jensen, James Jernigan, Susan Ker-Seymer, Wihro Kim, Chase Wilson King, George Kroenert, Judy Lampert, Jack Lawing, Michelle Laxalt, Lori Lejeune, Travis Lindquist, Susan Loftin, George Long, Allison Luce, Alaina
Lyle, Rob Matre, Bill Mayer, Erin McIntosh, Birgit McQueen, Katherine Mialkowski, Donna Mintz, Katherine Mitchell, Linda Mitchell, Dana Montlack,Paul Muldawer, Eleanor Neal, Jennifer Nolan, Barbara Olsen, Ann Otterness, Jeffrey
Paclipan, Erin Palovick, Lainey Papageorge, Judy Parady, Joe Peragine, Iman Person, Joy Ballard Peters, Junco Sato Pollack, Elizabeth Porcel, Paige Prier, Tony Raffalovich, Adrina Richard, David Robinson, Paul Rodecker, Lucha
Rodriguez, Stacie Rose, Stephanie Scott, Lisa Shinault, Laura Shull, Erin Sledd, Whitney Stansell, Susan Starr, Ann Stewart, Richard Sudden, Tom Swanston, Katherine Taylor, Zipporah Camille Thompson, John Tindel, Karen Tunnell,
Lisa Tuttle, Vasil Vasilev, Igor Vavrosky, Aila Wartell, Catherine Wilmer, Stella Wissner, Jamele Wright, Sr.
Curated by Marianne B. Lambert
This exhibition is sponsored by The Sartain Lanier Family Foundation
Liza Jancik, Jane Lanier, Landon Lanier
d15 Selection commity announced / but maybe .... :THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
Mitglieder der Findungskommission sind: Ute Meta Bauer, Internationale Kuratorin, Gründungsdirektorin des Centre for Contemporary Art (CCA) in Singapur, Direktorin der 3. Berlin Bienale;
Amar Kanwar, indischer Dokumentarfilmer und Künstler;
Frances Morris, Direktorin des Tate Modern in London;
Gabi Ngcobo, Kuratorin der 10. Berlin Bienale 2018;
Elvira Dyangani Ose, Kuratorin Creative Time in New York;
Philippe Pirotte, Rektor an der staatlichen Hochschule für Bildende Künste, Städelschule in Frankfurt;
Jochen Volz, Direktor der Pinacoteca do Estado in Sao Paulo, Brasilien.
--------------biennalist illustration and inspiration for the commity --------------
illustration documenta 2012 / uusollicited art work "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK "
for the exhibition Global art and the Museum @ GAM @ ZKM MUSEUM / (Peter Weibel and Hans Belting ) came this text
THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
author of the Month (linkk) "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK"
by Thierry Geoffroy / sept 2012 / CL
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
------------------------------
documenta history From Wikipedia,
Documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time,[1] and was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History[edit]
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, dOCUMENTA (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism[edit]
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At dOCUMENTA (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the dOCUMENTA (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors[edit]
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. DOCUMENTA IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
The salary for the artistic director of documenta is around €100,000 a year.[18]
Title Date Director Exhibitors Exhibits Visitors
documenta 16 July – 18 September 1955 Arnold Bode 148 670 130,000
II. documenta 11 July – 11 October 1959 Arnold Bode, Werner Haftmann 338 1770 134,000
documenta III 27 June – 5 October 1964 Arnold Bode, Werner Haftmann 361 1450 200,000
4. documenta 27 June – 6 October 1968 24-strong documenta council 151 1000 220,000
documenta 5 30 June – October, 1972 Harald Szeemann 218 820 228,621
documenta 6 24 June – 2 October 1977 Manfred Schneckenburger 622 2700 343,410
documenta 7 19 June – 28 September 1982 Rudi Fuchs 182 1000 378,691
documenta 8 12 June – 20 September 1987 Manfred Schneckenburger 150 600 474,417
DOCUMENTA IX 12 June – 20 September 1992 Jan Hoet 189 1000 603,456
documenta X 21 June – 28 September 1997 Catherine David 120 700 628,776
Documenta11 8 June – 15 September 2002 Okwui Enwezor 118 450 650,924
documenta 12 16 June – 23 September 2007 Roger M. Buergel/Ruth Noack[19] 114 over 500 754,301
dOCUMENTA (13) 9 June – 16 September 2012 Carolyn Christov-Bakargiev 187[20]
904,992[21]
documenta 14 8 April - 16 July 2017 in Athens, Greece; 10 June – 17 September 2017 in Kassel, Germany Adam Szymczyk
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[22]
Venues[edit]
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for DOCUMENTA IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. DOCUMENTA 12 occupyied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon," or meadow pavilion, designed by French firm Lacaton et Vassal.[23] At dOCUMENTA (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at DOCUMENTA IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[24] For dOCUMENTA (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
View of the Friedrichsplatz with the Fridericianum (2nd Building from the left) and the documenta ticket booth (right)
Permanent installations[edit]
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).------ by BIENNALIST @ documenta kassel 15 /
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
designed by I.M.Pei.
High-calibre temporary exhibits, curated by the Deutsches Historisches Museum, occupy this spectacular contemporary annexe designed by Chinese-American architect IM Pei. Fronted by a glass spiral, it’s an uncompromisingly geometrical space, made entirely from triangles, rectangles and circles, yet imbued with a sense of lightness achieved through an airy atrium and generous use of glass.
The Deutsches Historisches Museum in Berlin tells the story of 2,000 years of German history. The permanent exhibition comprises around 7,000 historical exponents providing information on people, ideas, events and historical developments in Germany. The main floor area is devoted to the Weimar Republic, the Nazi regime, the post-war period and the history of the two German states from 1949 to the reunification in 1990.
Model: www.instagram.com/alicia___stewart/ Tools: Contax 167mt, Zeiss 50mm f1.4, Portra 160. Process and scan by Exposure Film Lab.
I use Flickr as my cloud storage, so I upload everything here: I have a decade worth of photos, check out my albums!
Join my Flickr Groups:
For female photographers: Creative Ladies Co
For Autumn/Fall lovers: Always Waiting for October
For a curated feed of an aesthetic I love: An aesthetic on the tip of my tongue
To hear from me, sign up to my mailing list for updates, or find me on Instagram and Facebook.
Please do not use my images without my permission. For enquiries, contact me on social media.
"YOUR GOLD TEETH II"
Curated by Todd Levin
Jun 19 - Aug 14, 2009
at Marianne Boesky Gallery, New York City, New York
www.marianneboeskygallery.com/exhibitions/2009-06-19_your...
YOUR GOLD TEETH II
Curated by Todd Levin
June 19 – August 15, 2009
Opening reception June 18, 2009 6-8pm
jãnis AVOTIŅŠ jean-michel BASQUIAT alexandra BIRCKEN alighiero e. BOETTI james CASTLE joseph CORNELL thea DJORDJADZE leonardo DREW robert ELFGEN roe ETHRIDGE peter FISCHLI/david WEISS melissa GORDON Rodney GRAHAM hannah GREELY rashawn GRIFFIN françoise GROSSEN david HAMMONS jay HEIKES mary HEILMANN barkley l. HENDRICKS diane ITTER sergej JENSEN titus KAPHAR marvin LIPOFSKY john MCQUEEN ed MOULTHROP bruce NAUMAN cady NOLAND william j. O'BRIEN george OHR demetrius OLIVER yoko ONO paul OUTERBRIDGE steven PARRINO ed ROSSBACH sterling RUBY anj SMITH shinique SMITH gert & uwe TOBIAS rosemarie TROCKEL peter VOULKOS franz WEST toots ZYNSKY
Curator Statement
For three years, starting in 1961 (the year I was born), the English literary critic A. Alvarez prepared a series of programs for BBC radio on the intellectual scene in America called "Under Pressure." In these broadcasts, various writers commented on the need for artists to create their own language. This is an extract of what poet Robert Lowell said to Alvarez: "Some artists have impatience with the prosaic, everyday things of life, that sort of whimsical patience that other people may have…they leap for the sublime…what one finds wrong with culture is the monotony of the sublime…Art is always done with both your hands…the artist finds new life in it and almost sheds their outer life.."
Whilst relistening to, and reflecting upon these radio programs recently, it became sadly apparent that facile irony had become one of the dominant philosophical stances of the art world, and that perhaps the artists and artwork I chose for inclusion in Your Gold Teeth II simply had to lay in wait until the Oligarch decade was over. Any artist can hide for a long time in the wilds of their own irony, never rising above the vegetation. But hipness, in the illicit art world sense, feels suddenly puerile, meaningless, a sham, another way of simply buying into the system. One is sick to death of all the posturing.
In contrast, within this group exhibition one senses that boundaries are being tested, and rules of art conduct are being subverted – not subverted where craft is cast aside in favor of studied simplicity such as in the recent Whitney Biennial and Unmonumental exhibitions, but subverted by craft itself. On the contrary, there is a 'muchness' to a great deal of the work in this exhibition. When the cultural bar has recently been lowered to the point of absurdity, the only revenge worthy of the name comes from reestablishing standards lost to laziness and expediency, putting into sharp relief the dreck that surrounds it.
So much of what one sees today is one-sided. Either it is cold and calculated, with a minimum of feeling, or it is a sloppy slum of terrifying emotion. Somewhere in the labyrinth the artists in this exhibition have found individual answers to this balancing act. To give this 'answer' in words is approachable, but ultimately impossible. What is involved is the union of an idea with emotion, precomposition with improvisation, discipline with spontaneity.
These artists have an affinity for the controlled yet significant gesture, the performed essence, a result of concentrated internal selection from a vast repertoire of expressive options. This stripped down approach to craft often obscures a wider technical command than is immediately apparent. If you're looking for order, you will find it. But even when these artists systematically subvert themselves for the devious pleasure of it, they still maintain a level of control where they strange can be made familiar - and vice versa. By eschewing displays of obvious virtuosity, the artist gains the advantage of a kind of mystery.
A good jazz improviser can make one note do the job of many. Incomplete utterances can fully communicate an idea. Imply, don't state. Artwork doesn't have a necessary end goal. Ideas, rendered in these artists' distinctive lo-fi argot, feel aired out and simplified without being rendered trivial. A sense of satisfactory unsatisfaction remains. The artwork featured in Your Gold Teeth II is about the opening up of ideas and approaches, not the pin-point sharpening of them. - Todd Levin, June 2009
Marianne Boesky Gallery is located at 509 West 24th Street, between 10th and 11th Avenues. Our summer hours are Monday to Friday from 10am to 6pm beginning June 23rd. For further information or images, please contact Annie Rana at 212.680.9889 or annie@marianneboeskygallery.com.
produced and curated by Sheila Wolf Queerlesque
Wintergarten Variete - Berlin
Date:
MARCH 19, 2017
SHOWTIME 7:00 PM
CABARET
BURLESQUE
BOYLESQUE
ACROBATIC
COMEDY
DRAG
... for the first time in germany
Burlesque Superstar
IMMODESTY BLAIZE
HOST OF THE NIGHT
*** MR. SONNY VARGAS - David N. Jahn ***
CO-Hosting
*** SHEILA WOLF ***
LINEUP
*** IMMODESTY BLAIZE ***
*** MARLENE VON STEENVAG ***
*** MISS MAMA ULITA ***
*** TOM HARLOW ***
*** THE COOL CATS ***
*** DAVE THE BEAR ***
*** SERGE VIOLLAND ***
*** IVAN THE GREAT PRETENDER ***
*** TILL PÖHLMANN ***
*** MISS COOL CAT ***
*** SHEILA WOLF ***
The best of Vaudeville Variety includes sparkling burlesque, kinky boylesque, freak shows, glamour striptease, cabaret adventures, unbelievable artistic and a fistful of amazing live voices… !
plus
* Charity TOMBOLA for Strassenfeger e.V.
* Meet and Greet with all Performers after the Show
* Party with DJane Gloria Viagra
* Vintage Market
* Candy Girls
* Photo Booth by SNAPSHOT2GO
SUPPORTED BY
* Ars Vivendi Ars Vivendi AG http\://ars-vivendi.de/
* Rocabilly Clothing www.rockabilly-clothing.de
WINTERGARTEN VARIETE
http\://www.wintergarten-berlin.de/
Photos by Jens Schommer - 19. März 2017
"From curated gardens to native Piedmont forest, no other place in Atlanta captures the variety of landscapes that have shaped our city’s history."
www.atlantahistorycenter.com/buildings-and-grounds/goizue...
Goizueta Gardens is a 33-acre landscape encompassing nine distinct gardens—including preserved woodland, diverse plant collections, and heritage-breed animals.
Olguita’s Garden: - This ornamental garden is in bloom throughout the year, with a rich tapestry of flowering and foliage plants selected for color, fragrance, texture, and an English garden aesthetic. The garden spans the entire rear façade of the Atlanta History Museum, encompassing an amphitheater for seating. Double borders lead to Neel Reid-designed columns, encircling a reflective water feature. This garden celebrates the life of Goizueta Gardens honoree Olga “Olguita” C. de Goizueta.
Smith Farm Gardens: - Explore a variety of heirloom plants, flowers, and animal breeds at Smith Farm. The landscape represents Smith Farm in its early era, with historic varieties of crops in the fields, the enslaved people’s garden, the kitchen garden, and a swept yard by the house planted with heirloom flowers such as love-lies-bleeding (Amaranthus sp.) and rose campion (Lychnis coronaria). Surrounding the farm’s outbuildings are naturalistic, native plantings. Heritage-breed sheep, goats, chickens, and turkeys are representative of the types of livestock found on this type of farm.
Smith Farm tells the story of Georgia farm life and enslavement at Atlanta’s oldest surviving farmhouse. The farm accurately represents a working slaveholding farm of the Atlanta area in the 1860s with historic buildings moved here for preservation. The landscape represents Smith Farm in its early era, with historic varieties of crops in the fields, the enslaved people’s garden, the kitchen garden, and a swept yard by the house planted with heirloom flowers such as love-lies-bleeding (Amaranthus sp.) and rose campion (Lychnis coronaria). Surrounding the farm’s outbuildings are naturalistic, native plantings. Heritage-breed sheep, goats, chickens, and turkeys are representative of the types of livestock found on this type of farm.
Entrance Gardens - The Entrance Gardens and 60-foot Tree Table are the newest additions to our campus and span eight acres, welcoming guests all year long.
Inspired by the New Perennial Movement and a desire to create a sustainable urban landscape, this series of unique garden spaces feature sweeping perennial beds and pollinator-attracting plants. Special care has been taken to incorporate and emphasize native plants.
The New Perennial Movement, an evolution of the Dutch Wave and the New American Garden, inspired the Entrance Gardens’ design. Unique amongst the more traditional Atlanta styles including classic boxwood and mixed border aesthetics, this style of garden is meant to emulate the American prairie. Well known examples of the New Perennial Movement in the U.S. include New York City’s High Line and the Lurie Garden in Chicago’s Millennium Park.
The style is typified by a natural, sweeping color story created by the interwoven placements of mass perennial plantings, with emphasis on grasses. As the gardens grow over the next few years, there will be no bare ground to be seen, creating a seamless landscape. Unlike our usual American habit of tidying up gardens, the Entrance Gardens will not be universally cut back in fall. Instead, plants will be left standing all winter as they would in the wild—encouraging moisture retention in the soil, preventing erosion, and providing habitat for wildlife.
The plant selection and management of this style of garden is rooted in responsible stewardship of the environment. The plants selected do not require extra fertilization or other chemical inputs because they are carefully matched to the variety of soil and light conditions presented in these gardens.
Over half of the 10,000 plants that have been placed in the Entrance Gardens so far are native to Georgia, including uncommon species that deserve wider recognition and use in gardens. Goizueta Gardens staff researched plants that support high numbers of pollinators to be used in large quantities. The result is a garden buzzing with pollinators—which also means it will attract birds who eat insects and rely on insect larvae for their young.
.....
Contents inside the vitrine dedicated to the project "DOMINION", 2005.
Performance in three acts (“Circle of Fashion”, “Circle of the Market” and “Circle of Art”), lasting approximately two hours each, carried out in three locations in the city of Terrassa, Barcelona (the former AEG motor factory, the headquarters of the CECOT trade association and the Sagrerahouse-museum). By invitation only.
DOMINION was a trilogy of performances that took place in the city of Terrassa. It drew from Pier Paolo Pasolini’s Salò, or the 120 Days of Sodom (1975), a film whose depiction of sexual and physical torture has made it one of the most contentious works of 20th-century cinema. Pasolini based his film on a notoriously
explicit novel by the Marquis de Sade ("The 120 Days of Sodom", 1785) and on Dante Alighieri’s 14th-century poem "The Divine Comedy", in which the protagonist journeys through Hell, Purgatory, and Paradise. "DOMINION" centred on hostile, sexualised encounters and staged acts of cruelty as metaphors for the uses and abuses of power, commodification and consumerism, and the objectification of the human body.
Furthermore, each part of "DOMINION" responded to the history and function of one of three venues. The “Circle of Fashion” took place in the former AEG motor factory and adopted the format of a ready-to-wear fashion collection and runway show, with 29 performer-models presenting fetishistic clothing and accessories.
For example, outfit no. 21 comprised a gag bit with a heavy resin skull, rope bindings that secured the model’s hands behind the back, tight-fitting briefs and customised Nike trainers. The “Circle of the Market” took place at the headquarters of CECOT, a federation of business and trade associations. A series of scenes
reimagined all of the submissive positions which the captives in Pasolini’s film are made to assume. The first scene comprised a composition of two bodies, while the final figure incorporated a circle of 12 individuals. The “Circle of Art” took place in the 18th-century Casa Alegre de Sagrera, the house of the Sagrera family,
industrialists in the textile sector, and now run as a house-museum. The audience, in small groups, was permitted to witness a series of masque-like dramatic pieces, readings and tableaux vivants. Each “circle” concluded brusquely, with the audience being driven out by excessively loud industrial music by the Belgian band Vomito Negro and shouts of “Get out!”.
Text by Latitudes.
—
Exhibition by Joan Morey "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 20 September 2018–13 January 2019. Photo: Latitudes.
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
Community scoring is a curation analytics report that informs technical writiers, community managers, and content strategists.
Fine Art name " Pursuit of Light "
"PURSUIT OF LIGHT PhotoStories SERIES " is set of photographs from SDBWP SunDeep Bhardwaj World Photography . It means "In search of light " . This set is a fine art photography resulting after curation of photographs clicked while playing with light effects through window or door into another space in a fort in India in perfect camera setting with a full frame equipment Canon 5D Mark II using fine lenses by Canon 100-400 mm 4.5-5.6 L IS , 17-40 2.8 and 50mm fixed focal in the process of recording images. The process requires proper understanding of light in its fine form with right setting to capture the light . Fine art results after you have spent enough years perfecting art of photography and its curation and understanding all elements of recording best image and only and only when your heart mind and soul says so with your audience and experience that you are ready to name it as Fine Art . The location here is "The Pink City of India" Jaipur , Rajasthan during my Honeymoon in India when i was on a Honeymoon Tour to Golden Triangle covering AGRA DELHI JAIPUR in UP CAPITAL & RAJASTHAN respectively called as GOLDEN TRIANGLE TOUR . Then i headed to Leh in Jammu & Kashmir for more Photostories. A photographer hardly stays without camera even on Honeymoon tour. God bless All
by SunDeepKullu.Com/ " The World is my Studio " | Photographed & Travelled to 70+Countries 555+Most Exotic Places / Destinations / Wonders of World / UNESCO World Heritage Sites | Nearby 200+Cities | 150+Airports | 300+Villages/Towns/Countrysides across 6 Continents | 2 Decades of World Tour & Fine Art Photography across all 6 inhabited continents.
LEAD FINE ART PHOTOGRAPHER at SunDeep™ Bhardwaj SDB ™ World Photography SDBWP ™ PROFESSIONAL & FINE ART PHOTOGRAPHY
WORLD TRAVEL MARKET ( WTM ) London & INDIA INTERNATIONAL TRADE FAIR, New Delhi, HIMACHAL TOURISM Unforgettable Himachal , DEPARTMENT OF TOURISM & CIVIL AVIATION Government of Himachal Pradesh, MONAL Magazine Incredible India INTERVIEW for SunDeep Bhardwaj Kullu SDBK by Anu Sehgal at PARTNERS Publications, Chandigarh, India for HIMACHAL official magazine & International news bulletins :
Interview In Magazine Scans PDF :
Read full interview here with ease on bit.ly/HimachalTourismInterview
Newest interview voices.halabol.com/2013/12/04/picture-perfect-story-globe...
I PREFER replying your Messages Comments Feedback Web Design Requests Photography Assignments Quote Requests via
Viber/WhatsApp/Tango/Yahoo Messenger/Google+ Hangouts/Facebook Mobile Messenger/Facetime iMessage on iOS/Line/Kakao/Skype
Add me to above social networking applications using Email addresses | wittysam@gmail.com / sb@sundeepkullu.com / wittysam@me.com / wittysam@icloud.com | Mobile +91 9805755206 / +91 8627802895 / + 91 9805305912
2 Decades of Fine Art | 8 years World Tour 2007- 2014 | 2 Years Himalayan Arc Landscapes 2400 Kms Himalayas | 10 years Incredible India tour 1997-2007 | Multiple years Fine Art Photography of Unforgettable Himachal | Himachal Cultural Village .Com Online | Fine Art Photography | Professional Photography | Commercial Photography| Product | Celeb | Wedding | Model | Portfolio | Events | Travel | Film | Photo Journalism | Magazine Editorials | Owner CEO PhotoTube.Co | Web Designer SEO Expert Entrepreneur Marketing Lead | Personal Online Gallery & Portfolio Website | SunDeepKullu.Com | " The World is my Studio".
FINE ART WONDERS OF WORLD PHOTOGRAPHY PORTFOLIO WEBSITE
OTHER URLS's with SDBWP PhotoStories Around the World
FACEBOOK pages i founded
KULLU MANALI HIMACHAL PRADESH facebook page 1 www.facebook.com/KulluManaliHimachalPradesh
HP facebook page 1 www.facebook.com/Himachal.Pradesh.In
SDB facebook page 1 www.facebook.com/SundeepBhardwaj
BREATHTAKING PLANET EARTH facebook page 1 www.facebook.com/bpearth
PROFILES
MY PLACES
SUNDERNAGAR MANDI HIMACHAL INDIA www.facebook.com/pages/Sundeepkulludotcom-Sundeep-Bhardwa...
NAGGAR BHUNTER KULLU MANALI HIMACHAL INDIA www.facebook.com/pages/Sundeepkulludotcom-Himachalcultura...
MANSOURA DOHA QATAR www.facebook.com/pages/Sundeep-Bhardwaj-World-Photography...
EVENTS
GROUPS
www.facebook.com/groups/853406461360492/
OTHER Must Watch URL'S on Tumblr Blogger Google LinkedIn Twitter Flickr Fluidr FlickrFlu Flickr River
Flickr Set Unforgettable Himachal : www.flickr.com/photos/wittysam/sets/72157626451639890/
Flickr : www.flickr.com/photos/wittysam/
Flickr Full Screen Slide Show : www.flickr.com/photos/wittysam/show/
Blogger : blog.sundeepkullu.com/
Flickr River : www.flickriver.com/photos/wittysam/popular-interesting/
www.youtube.com/sundeepbhardwajkullu
Tumblr : tumblr.sundeepkullu.com/
in.linkedin.com/in/sundeepkullu
www.google.com/profiles/wittysam
www.blogger.com/profile/01479612002532675556
Flickrflu : flickeflu.com/photos/wittysam
Fluidr : www.fluidr.com/photos/wittysam
Wordpress : sundeepkulludotcom.wordpress.com/
Tumblr Archive : tumblr.sundeepkullu.com/archive
Flickr Interesting Stats : www.flickr.com/search/?q=wittysam&ss=2&s=int
F
Flickr Photostream Full Screen Slide Show Unforgettable Himachal : www.flickr.com/photos/wittysam/sets/72157626451639890/show/
Elisian Park, "Frogtown"
Featuring
The Bowtie Project, curated by the ClockShop, including the work of Michael Parker and Rosten Woo
Interpretive walk: bowtiewalk.org
The studios of artists
Pearl C. Hsiung and Lara Schnitger
Rosten Woo: is a designer, writer, and educator living in Los Angeles. He produces civic-scale artworks and works as a collaborator and consultant to a variety of grassroots and non-profit organizations. including the Advancement Project, the American Human Development Project, the Black Workers Center, Los Angeles Alliance for a New Economy, and Esperanza Community Housing Corporation, as well as the city of Los Angeles and Los Angeles County. His work has been exhibited at the Cooper-Hewitt Design Triennial, the Venice Architecture Biennale, Netherlands Architectural Institute, Storefront for Art and Architecture, Lower East Side Tenement Museum, and various piers, public housing developments, tugboats, shopping malls, and parks in New York and Los Angeles. His work has been supported by grants from the National Endowment for the Arts, The Los Angeles Department of Cultural Affairs, and the Los Angeles County Arts Commission. He is co-founder and former executive director of the Center for Urban Pedagogy (CUP), a New York Based non-profit organization dedicated to using art and design to foster civic participation, winner of the 2016 National Design Award for institutional achievement. His book, "Street Value," about race and retail urban development, was published by Princeton Architectural Press in 2010.
He teaches art and design at the California Institute of the Arts, Pomona College, and Art Center College of Design and has lectured internationally at such institutions as the Netherlands Architectural Institute, Brown University, the University of Chicago, MIT, Princeton, the Maryland Institute College of Art, the California College of the Arts, and the Chicago Art Institute. He has served on the boards of the Los Angeles Forum, Place in History and Groundswell Community Mural Project.
Michael Parker: (b. 1978, New York City; lives and works in LA) received a BA from Pomona College and an MFA from USC. He currently teaches sculpture at California State University, Long Beach. Recent exhibitions include Steam Work at Southern Exposure, San Francisco; Attractions at High Desert Test Sites (HDTS), Utah; R.S.V.P. Los Angeles at the Pomona College Museum of Art; Remembering Victor Papanek at the Armory Center for the Arts, Pasadena; Shitwork with Machine Project at HDTS, California; Juicework at Human Resources, Los Angeles; and The Unfinished at the Bowtie Project, Los Angeles. He is a recipient of the California Community Foundationâs Emerging Artists Fellowship, a Center for Cultural Innovation Artistsâ Resource for Completion grant, and a Printed Matter Award for Artists.
Pearl C. Hsiung : born in 1973 in Taiwan, explores the space that lies between representation and abstraction. Hsiung creates a surreal realm of absurd anthropomorphism and metaphor--where humanity may be absent, yet symbolic traces still linger. Her intensely colorful large-scale canvases, small studies, and performance videos challenge the banality of the pristine images that dominate post-minimalist contemporary art. Even so, her compositions draw on the histories of painting, alluding to European fauvism and surrealism, Chinese landscape painting, American abstraction, and pop aesthetics. Pearl C. Hsiung received her BA at the University of California, Los Angeles (1997) and her MFA at Goldsmiths College, London (2004). Hsiung's work has been featured in the 2006 California Biennial and Disorderly Conduct: Art in Tumultuous Times (2008), both at the Orange County Museum of Art; and the 2006 Busan Biennale in South Korea. Hsiung lives and works in Los Angeles.
Lara Schnitge: (born 1969 in Haarlem, Netherlands) is a Dutch-American sculptor and painter, living and working in Los Angeles and Amsterdam. Schnitger studied at the Royal Academy of Art (The Hague) from 1987 to 1991 and spent a year on a residency at the Kitakyushu Centre for Contemporary Art in southern Japan.
Schnitger works in knitted and sewn textile sculptures, videos and photographs, and has produced a book about art created from mundane materials such as fabric, titled Lara Schnitger: Fragile Kingdom.
Schnitgerâs work has been shown internationally at galleries and museums such as Magasin 3 in Stockholm, the Chinese European Art Center in Xiamen, the Santa Monica Museum of Art, Kunstwerke in Berlin, the UCLA Hammer Museum in Los Angeles, P.S. 1 Contemporary Art Center in New York, The Power Plant in Toronto, and the Royal Academy in London. She participated in the Liverpool Biennial in 1999 and the Shanghai Biennial in 2002. She is represented by Stuart Shave/Modern Art in London, Anton Kern Gallery in New York as well as by Galerie Gebr. Lehmann in Dresden and Berlin.
The Bowtie Project is a partnership between Clockshop and California State Parks to activate an 18-acre post-industrial lot along the LA River. Since 2014, Clockshop has executed over 35 artist projects, performances, and events at the Bowtie.
Bowtie Project
2780 W. Casitas Ave.
Los Angeles, CA 90039
MAP
Formerly a massive rail yard and switching station, the Bowtie was purchased by CA State Parks in 2003 to be developed as a public park and greenway. The Bowtie Project is curated by Clockshop, in close collaboration with CA State Parks. Invited artists are commissioned to create temporary artworks or performances that consider the unique physical properties of the site and engage in timely conversations about the future of the LA River.
Public Programs including the LA River Campouts and Reading By Moonrise provide opportunities for Angelenos of all ages to gather under the stars for traditional campfire programs and readings of new work from contemporary writers.
The Bowtie was formerly the site of a Southern Pacific Railroad train yard and maintenance facility. The railroad closed the facility in 1985, and the structures were razed shortly after, although some concrete foundational relics remain on site. The Bowtie is located along the 7.5-mile Glendale Narrows stretch of the LA River, which connects Los Feliz Boulevard with Figueroa Street. The Glendale Narrows portion of the river is âsoft-bottom,â meaning that it features a naturalized rather than a concrete bed. The site has been identified as a key location for river revitalization.
Through an exclusive partnership formalized in 2015, Clockshop and CA State Parks will continue producing cultural programs at the Bowtie Project for the next several years.
The CCF Fellowship for Visual Artists is celebrating 28 years of playing an active role in supporting local visual artists in Los Angeles.
Los Angeles County is rich with creativity. We are a community where cultures converge to create a beautiful mélange of originality, diversity, synchronicity and dissonance. This energy has helped establish L.A. as a world-class art capital and a place where we proudly practice, support and value a wide array of artistic endeavors.
The CCF Fellowship for Visual Artists is just one of many ways that the California Community Foundation supports the arts by supporting those responsible for its very creation â artists.
The Fellowship brings together artists, arts patrons, and the community, creating a mutually beneficial program that has supported 274 artists over the last 28 years. We invite you to get involved and celebrate an artist today.
Together, we help L.A. artists thrive.
Disinformation – “Closed Circuit” – architectural + immersive sound installation in “Sounds & Shapes” exhibition at Drawing Matter, Somerset, curated by Matchett & Page, July 2021, poster by Denman & Gould.
“If we sit and talk in a dark room, words suddenly acquire new meanings and different textures. They become richer, even, than architecture, which Le Corbusier rightly says can best be felt at night.” – Marshall McLuhan “Understanding Media” 1964
“Architecture is the simplest means of articulating time and space, of modulating reality and [of] engendering dreams” [1], and, perhaps paradoxically, in the silo at Shatwell, a familiar architectural form is re-purposed to create a kind of strange laboratory, within which, through the manipulation of architectural acoustics, of auditory and haptic sensations, the formal aesthetics and symbolism of pure geometry, interact with (equally primal) tactile resonances and symbolism, to evoke long-forgotten reflexes, sense memories, and (arguably, to some extent) even dreams. Extrapolating the assertion that “architecture in general is frozen music” [2], the installation at Shatwell is created not only within the building, but by the building, with the building itself functioning as a massive loudspeaker, as a kinetic artwork, and as a musical instrument, generating “sound” which is heard through the fingertips, drawing visitors into an amniotic sound world of gently pulsing vibration and breath-like rhythms.
In geometric terms, the curvilinear surface of a cylinder is effectively infinite, while in projective geometry, a cylinder can be defined as a cone whose apex rests at infinity [3] – a grain silo is in effect a giant tin of beans, and every child who’s built a tin-can-telephone is familiar with at least some of the acoustic properties of plate steel. “In every art it is the most elementary and primitive means that achieve the most profound and beautiful effects” [4], and “Closed Circuit” – the sound installation by artist project Disinformation – uses simple microtonal tuning techniques to create a rhythmically active and dynamic sound mass, which oscillates around a core frequency of 40Hz. This is, in neurological terms, the exact frequency of so-called Gamma waves which is most strongly associated with the integration of visual consciousness and dreams [5][6], and is the exact frequency most used in the field of vibro-acoustic therapy [7].
“We move within a closed landscape whose landmarks constantly draw us toward the past. Certain shifting angles, certain receding perspectives, allow us to glimpse original conceptions of space, but this vision remains fragmentary. It must be sought in the magical locales of fairy tales and Surrealist writings: castles, endless walls, little forgotten bars, mammoth caverns, casino mirrors…” [1]
“Arnold began telling Alan about his recurrent childhood dream, or nightmare rather, in which he felt himself suspended in absolutely empty space while a strange noise would start, growing ever louder, until he woke up in a sweat. Alan asked what kind of noise it was, but Arnold could not describe it… Alan imagined the old hangar on the RAF camp… and made up a science fiction story… in which the hangar was itself a brain.” [8]
[1] Ivan Chtcheglov “Formulary for a New Urbanism” October 1953
[2] Friedrich von Schelling “Philosophie der Kunst” 1802
[3] en.wikipedia.org/wiki/Cylinder
[4] Rudolf Arnheim “Radio” 1936
[5] Francis Crick and Christof Koch “Towards a Neurobiological Theory of Consciousness” Seminars in the Neurosciences, vol. 2, 1990
[6] Rodolfo Llinás and Urs Ribary “Coherent 40Hz Oscillation Characterizes Dream State in Humans” PNAS, vol. 90, 1993
[7] en.wikipedia.org/wiki/Vibroacoustic_therapy
[8] Andrew Hodges “Alan Turing, The Enigma” 1983
“Closed Circuit” by Disinformation is commissioned and installed at Shatwell Farm, Somerset as part of the exhibition “Sounds & Shapes”, curated by Matchett & Page. The installation is open by appointment at weekends, 11am to 5pm, Saturday 17th July to Sunday 1st August 2021.
drawingmatter.org/disinformation-closed-circuit/
matchett.page/sounds_and_shapes
Initial site visit 22 Feb 2020, installation date 29 May 2021
Text by Joe Banks, copyright © 2 June 2021
Saba curates the tight selection of artisanal confections and specialty biscuits sold at the store, carrying no more than one product per artisan. French expats or Francophiles will be delighted to find everything from cushiony-thick and eggy-fresh Madeleines from the French Pyrenees, Provence’s marzipan-like calissons, almond macarons and rose biscuits from Champagne, to chocolates from Lyon’s Voisin chocolatiers. All goods are sold by weight or as sweets platters in the cafe portion of the space.
Douce France
2471 Yonge Street
Toronto, ON
(647) 779-6965
Owner: Christel C. Saba
Introducing in TorontoLife:
www.torontolife.com/daily-dish/coffee-and-tea/2013/06/28/...
eros/thanatos
Curated by Tricia Lawless Murray
Project coordinator Stephanie Allespach
Participating Eros/ thanatos Artists
Marc Adelman, Stephanie Allespach, Nancy Buchanan, Carolyn Castaño, Krista Chael, Victor Cobo, Anne Colvin, Catherine Daly, Adrienne Fernandez, Amber Fox, Phyllis Green, Jason Hanasik, Evah Hart, Micol Hebron, Elise Irving, Zsolt Kadar, Ellina Kevorkian, Ali Kyeradyar, Tricia Lawless Murray, Elizabeth Looke-Stewart, Leigh McCarthy, Lucas Michael, Museum of Viral Memory, Claudia Parducci, Christopher Picon, Nancy Popp, Joseph Roseberry, Jessica Rosen, Amy Sampson, Pascal Shirley, Jessica Skloven, David Sotelo, Felis Stella, Casey Stroud, Karen Stuke
Contact:
TriciaLawlessMurray.com
Allespach.com
e_ros
—noun
1. In psychoanalytic theory, the sum of all instincts for self-preservation.
2. sexual drive; libido.
than_a_tos
—noun
Psychoanalysis. (usually lowercase) the death instinct, esp. as expressed in violent aggression.
Last Summer HK Zamani approached me about showing my work in his September Kamikaze Shows at Pøst, a gallery space located within my studio building. I took it as an opportunity to put together a group show based on the themes that frequently appear in my work: Eros/Thanatos, or the life and death drives that Freud associated with desire.
More recently these drives have been reassessed and resurrected by Teresa De Lauretis in her book Freud’s Drives: Psychoanalysis, Literature and Film, in which she applies concrete interpretations of these elusively abstract drives to current literature and film. She suggests that these drives, which are premised upon the coexistence of conflicting life and death drives, offer a model of contemporary subjectivity that enables “survival” through the “gnawing, dull pain of betrayal.” It is as if one end is constantly in contest with its opposite to make way for a different, if not difficult, compromised reality.
As a self-professed feminist I have had to come to terms with the dogma that once invigorated and conversely bound me. What I find in Freud’s drives is a (permeable) model that contains within itself the mechanism for its preservation and its unraveling or undoing. This process is apparent in the competing and sometimes conflicting elements that comprise Eros/Thanatos, and which for me is the quintessential representation of desire.
Tricia Lawless Murray
Sia Aryai
“Scent of the Earth “
Curated by:
Martha De Perez
Contact:
Martha De Perez
www.katalystfoundation@gmail.com/
Dates:
September 7 – Oct 1 2009
Artist reception: Sat., Sep 19 , 2009 6-9 PM
Location:
Phantom Galleries LA on 3rd
346 E. 3rd Street, Long Beach CA 90802
Born in Tehran, Iran, Sia Aryai displayed an interest in art from early childhood. Surrounded by a stringent cultural environment, as a child, Aryai secretly sketched female figures from smuggled foreign magazines. As the rumblings of an Islamic revolution increased in the mid 70's, Aryai left Iran for England, where he received an education and gained freedom for his artistic passion Later, he ventured on to the United States, where in the mid 80's he discovered the medium of photography gave him the perfect means to capture the beauty of women
."Sia Aryai's artwork captures the sensual delicacy of the feminine mystique combined with a rough, course embellishment suggestive of Ancient Persia and modern day women, transcending time and place, in a subconscious space that attracts us all,"says NoHo Gallery LA Curator Daniel DeBevoise.
Sia is also credited with producing artistic product renderings for such major companies as Nike, Kraft and Adidas. His images have also appeared as key set decoration in studio motion pictures.
Sia Aryai's images speak universally and have garnered both national and international acclaim.
Please leave several spaces here
Partners
"The Long Beach Redevelopment Agency is proud to partner with Phantom Galleries LA, not only to revive empty storefronts along our major corridors, but also to showcase the arts and build a sense of community and culture in our Downtown," said Craig Beck, Executive Director of the Long Beach Redevelopment Agency. LongBeachRDA.org
Below is a Separate page and link here. Titled Awards
His art works have shown in galleries and museums throughout the United States.
Awards:
Subagh Khalsa Winkelstern Award at the 49th Chautauqua Nat. Exhibit of American Art July 2006 in New York.
Merit Award at Rosenthal Gallery, Fayetteville State University Nat. Competition Mar 2007 in North Carolina.
Benefactor Award at the Nicolet College Nat. Competition , Rhinelander, WI July 2007.
The Merit A ward at the Minot State University Nat. Competition, ND Aug 2007.
Los Angeles Municipal Gallery LA, CA Aug 13 - Sep 27
Ma vie erotic L A CA 90013 Aug 29 - Sep 15
Autumn Lights LA Pershing Square Sep 19
Lo Pressionism Gallery Melbourne, FL Oct 23-Nov 30
Stephanie Hoppen Gallery London United Kingdom June 5-Sep15
Phantom Gallery Los Angeles, CA Feb 12 - Mar 15
Red Brick Gallery Ventura, CA Jan 25 - Mar 1
Columbia City Gallery Seattle, WA 2008
2nd April Gallery Canton, OH Sep 2008
Gallery Lambardi Austin, TX Aug 2008
Lana Santorelli Gallery New York, NY June 2008
Palm Spring Art Museum Palm Spring, CA Jan 2007
Peninsula Museum of art Belmonth, CA Jan 2007
101 New Blood Pacific Design Center Los Angeles, CA Mar 1999
Mad River Gallery Santa Monica, CA Oct 1997
Weingart Gallery Glendale, CA Aug 1996
Spring St. Gallery Los Angeles, CA Aug 1995
d15 Selection commity announced / but maybe .... :THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
Mitglieder der Findungskommission sind: Ute Meta Bauer, Internationale Kuratorin, Gründungsdirektorin des Centre for Contemporary Art (CCA) in Singapur, Direktorin der 3. Berlin Bienale;
Amar Kanwar, indischer Dokumentarfilmer und Künstler;
Frances Morris, Direktorin des Tate Modern in London;
Gabi Ngcobo, Kuratorin der 10. Berlin Bienale 2018;
Elvira Dyangani Ose, Kuratorin Creative Time in New York;
Philippe Pirotte, Rektor an der staatlichen Hochschule für Bildende Künste, Städelschule in Frankfurt;
Jochen Volz, Direktor der Pinacoteca do Estado in Sao Paulo, Brasilien.
--------------biennalist illustration and inspiration for the commity --------------
illustration documenta 2012 / uusollicited art work "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK "
for the exhibition Global art and the Museum @ GAM @ ZKM MUSEUM / (Peter Weibel and Hans Belting ) came this text
THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
author of the Month (linkk) "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK"
by Thierry Geoffroy / sept 2012 / CL
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
------------------------------
documenta history From Wikipedia,
Documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time,[1] and was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History[edit]
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, dOCUMENTA (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism[edit]
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At dOCUMENTA (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the dOCUMENTA (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors[edit]
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. DOCUMENTA IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
The salary for the artistic director of documenta is around €100,000 a year.[18]
Title Date Director Exhibitors Exhibits Visitors
documenta 16 July – 18 September 1955 Arnold Bode 148 670 130,000
II. documenta 11 July – 11 October 1959 Arnold Bode, Werner Haftmann 338 1770 134,000
documenta III 27 June – 5 October 1964 Arnold Bode, Werner Haftmann 361 1450 200,000
4. documenta 27 June – 6 October 1968 24-strong documenta council 151 1000 220,000
documenta 5 30 June – October, 1972 Harald Szeemann 218 820 228,621
documenta 6 24 June – 2 October 1977 Manfred Schneckenburger 622 2700 343,410
documenta 7 19 June – 28 September 1982 Rudi Fuchs 182 1000 378,691
documenta 8 12 June – 20 September 1987 Manfred Schneckenburger 150 600 474,417
DOCUMENTA IX 12 June – 20 September 1992 Jan Hoet 189 1000 603,456
documenta X 21 June – 28 September 1997 Catherine David 120 700 628,776
Documenta11 8 June – 15 September 2002 Okwui Enwezor 118 450 650,924
documenta 12 16 June – 23 September 2007 Roger M. Buergel/Ruth Noack[19] 114 over 500 754,301
dOCUMENTA (13) 9 June – 16 September 2012 Carolyn Christov-Bakargiev 187[20]
904,992[21]
documenta 14 8 April - 16 July 2017 in Athens, Greece; 10 June – 17 September 2017 in Kassel, Germany Adam Szymczyk
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[22]
Venues[edit]
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for DOCUMENTA IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. DOCUMENTA 12 occupyied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon," or meadow pavilion, designed by French firm Lacaton et Vassal.[23] At dOCUMENTA (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at DOCUMENTA IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[24] For dOCUMENTA (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
View of the Friedrichsplatz with the Fridericianum (2nd Building from the left) and the documenta ticket booth (right)
Permanent installations[edit]
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).------ by BIENNALIST @ documenta kassel 15 /
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
Curated gallery of 9 images available for sale at bentbox.co/showbox?C271PCPT Botticelli never imagined her in LED. “Electric Aphrodite” channels the divine feminine through a lens of synthetic light, sequins, and unapologetic power.
#ElectricAphrodite #PortraitPhotography #DiscoAesthetic #NeonGlam #FineArtPortrait
d15 Selection commity announced / but maybe .... :THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
Mitglieder der Findungskommission sind: Ute Meta Bauer, Internationale Kuratorin, Gründungsdirektorin des Centre for Contemporary Art (CCA) in Singapur, Direktorin der 3. Berlin Bienale;
Amar Kanwar, indischer Dokumentarfilmer und Künstler;
Frances Morris, Direktorin des Tate Modern in London;
Gabi Ngcobo, Kuratorin der 10. Berlin Bienale 2018;
Elvira Dyangani Ose, Kuratorin Creative Time in New York;
Philippe Pirotte, Rektor an der staatlichen Hochschule für Bildende Künste, Städelschule in Frankfurt;
Jochen Volz, Direktor der Pinacoteca do Estado in Sao Paulo, Brasilien.
--------------biennalist illustration and inspiration for the commity --------------
illustration documenta 2012 / uusollicited art work "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK "
for the exhibition Global art and the Museum @ GAM @ ZKM MUSEUM / (Peter Weibel and Hans Belting ) came this text
THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
author of the Month (linkk) "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK"
by Thierry Geoffroy / sept 2012 / CL
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
------------------------------
documenta history From Wikipedia,
Documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time,[1] and was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History[edit]
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, dOCUMENTA (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism[edit]
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At dOCUMENTA (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the dOCUMENTA (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors[edit]
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. DOCUMENTA IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
The salary for the artistic director of documenta is around €100,000 a year.[18]
Title Date Director Exhibitors Exhibits Visitors
documenta 16 July – 18 September 1955 Arnold Bode 148 670 130,000
II. documenta 11 July – 11 October 1959 Arnold Bode, Werner Haftmann 338 1770 134,000
documenta III 27 June – 5 October 1964 Arnold Bode, Werner Haftmann 361 1450 200,000
4. documenta 27 June – 6 October 1968 24-strong documenta council 151 1000 220,000
documenta 5 30 June – October, 1972 Harald Szeemann 218 820 228,621
documenta 6 24 June – 2 October 1977 Manfred Schneckenburger 622 2700 343,410
documenta 7 19 June – 28 September 1982 Rudi Fuchs 182 1000 378,691
documenta 8 12 June – 20 September 1987 Manfred Schneckenburger 150 600 474,417
DOCUMENTA IX 12 June – 20 September 1992 Jan Hoet 189 1000 603,456
documenta X 21 June – 28 September 1997 Catherine David 120 700 628,776
Documenta11 8 June – 15 September 2002 Okwui Enwezor 118 450 650,924
documenta 12 16 June – 23 September 2007 Roger M. Buergel/Ruth Noack[19] 114 over 500 754,301
dOCUMENTA (13) 9 June – 16 September 2012 Carolyn Christov-Bakargiev 187[20]
904,992[21]
documenta 14 8 April - 16 July 2017 in Athens, Greece; 10 June – 17 September 2017 in Kassel, Germany Adam Szymczyk
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[22]
Venues[edit]
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for DOCUMENTA IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. DOCUMENTA 12 occupyied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon," or meadow pavilion, designed by French firm Lacaton et Vassal.[23] At dOCUMENTA (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at DOCUMENTA IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[24] For dOCUMENTA (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
View of the Friedrichsplatz with the Fridericianum (2nd Building from the left) and the documenta ticket booth (right)
Permanent installations[edit]
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).------ by BIENNALIST @ documenta kassel 15 /
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
Contents inside the vitrine dedicated to the project "GRITOS Y SUSURROS. Converses amb els radicals" [CRIES & WHISPERS: Conversations with Radicals], 2009.
Performance in five episodes, one per week, with an approximate duration of 90 minutes each, held at La Capella, located in the Santa Creu hospital complex (Barcelona). Limited audience, with prior registration and indiscriminate acceptance of requests. Entry subject to a strict dress code and in order of arrival until a maximum of 33 people.
GRITOS Y SUSURROS was a series of five performances that took place at La Capella, Barcelona, the former chapel of the 15th-century Santa Creu hospital complex, before captive audiences of 33 people. Each performance was documented by video and audio recordings. The project shares its main title with a 1972 film by Ingmar Bergman, in which cinematic techniques serve as dark metaphors for Christian allegory and the themes of agony and death. Like Bergman’s film, the performances remorselessly explored bleak subject matter tied to physical and psychic suffering through visually arresting set pieces and a dramatic palette of black, white, and red.
The wardrobe design included religious garments from Catholic religious orders, distinctive neck ruffs that were fashionable in European royal courts of the 16th century, leather military boots, “health goth” attire, and fetish hoods. Readings were performed as though rites were being administered, or invocations declared. At times, crouched figures rocked back-and-forth as if in ritual prayer. A scene around a large round table recalled an apostolic gathering or an aristocratic pageant. Several tableaux featured a hooded male “serf” directed into stress positions, being manacled or having his arms stretched out on a metal gibbet in an evocation of crucifixion. Other elements comprised actions of real physical violence with further echoes of the iconography of masochism and martyrdom. A tattooed performer slashed his side and tongue with blades, drawing blood, and suspended himself with chains and hooks that had been put through his skin at the knees.
In the resulting video piece, these events are all punctuated by harpsichord music: the sarabande from Georg Friedrich Händel’s "Keyboard Suite in D Minor" (1706), a composition derived from a form of dance considered so lascivious during the reign of Philip II of Spain that it was banned and punishable by whipping. This 29-minute video combines footage shot at all five performances. Audio recordings were released as the spoken-word CD "ÀNIMA NEGRA" [Black Soul] (2009) and form part of the audio programme of the present exhibition.
Text by Latitudes.
—
Exhibition by Joan Morey "COLLAPSE. Desiring machine, working machine", Centre d’Art Contemporani de Barcelona - Fabra i Coats, 20 September 2018–13 January 2019. Photo: Latitudes.
Since the late 1990s, Joan Morey (Mallorca, 1972) has produced an expansive body of live events, videos, installations, sound and graphic works, that has explored the intersection of theatre, cinema, philosophy, sexuality, and subjectivity. Morey’s work both critiques and embodies one of the most thorny and far-reaching aspects of human consciousness and behaviour – how we relate ourselves to others, as the oppressed or the oppressor. This central preoccupation with the exercise of power and authority seemingly accounts for the black and ominous tenor of his art.
COLLAPSE encompasses three parts. The first is presented over two floors of the Contemporary Art Centre of Barcelona - Fabra i Coats. ‘Desiring machine, Working machine’ is a survey of ten projects from the last fifteen years of the artist’s work. An exhibition display based around vitrines and video screens deployed as if sarcophagi or reliquaries, is presented alongside a continuous programme of audio works and a schedule of live performance extracts.
The second part of COLLAPSE takes place at the Centre d’Art Tecla Sala, L’Hospitalet de Llobregat (23 November 2018–13 January 2019) and is the definitive version of the touring exhibition ‘Social Body’.
Titled ‘Schizophrenic Machine’, the third and final part of the project comprises a major new performance event which will take place on January 10, 2019 at an especially resonant – yet, for the moment, deliberately undisclosed – location in Barcelona, where live action will be integrated within the longer narrative of the site’s physical and discursive past.
COLLAPSE is curated by Latitudes.
—> info: www.lttds.org/projects/morey/
“4me4you” visits Stolen Space Gallery, which featured a CO-CURATED GROUP SHOW with THINKSPACE LA 'LAX/LHR'
FEATURING artists:Aaron Nagel;
Adam Caldwell;
Alex Yanes;
Alexis Diaz;
Allison Sommers;
Amanda Marie;
Andrew McAttee;
Andy Kehoe;
Angry Woebots;
Anthony Clarkson;
Arth Daniels;
Atsuko Goto;
Baghead;
Beau Stanton;
Bec Winnel;
Ben Frost;
Ben Turnbull;
Brian Mashburn;
bumblebeelovesyou;
Carl Cashman;
Casey Weldon;
Charles Krafft;
Charlie Anderson;
Chie Yoshii;
Chris Stead;
Christine Wu;
Cinta Vidal;
Cleon Peterson;
Craig 'Skibs' Barker;
Cryptik;
Crystal Wagner;
Curtis Kulig;
David Bray;
David Cooley;
Derek Gores;
Drew Leshko;
Drew Young;
EINE
Ekundayo;
Erik Siador;
Evoca1;
Frank Gonzales;
Fumi Nakamura;
Haroshi;
Herakut;
Hueman;
Jacub Gagnon;
James Bullough;
Jana & JS;
Jason Thielke;
Jeff Ramirez;
Jeremy Fish;
Jeremy Hush;
Jim Houser;
Joanne Nam;
Jolene Lai;
Jorge Rodriguez-Gerada;
Joseph Martinez;
Josie Morway;
Kari-Lise Alexander;
Kelly Vivanco;
Ken Flewellyn;
Kevin Peterson;
Ki Sung Koh;
Kikyz1313;
Kojiro Ankan Takakawa;
Kozyndan;
Kwon Kyung-Yup;
Kyle Stewart;
Lauren Napolitano;
Lindsey Carr;
Linnea Strid;
Liz Brizzi;
London Police;
Low Bros;
Luke Chueh
;Mari Inukai;
Mary Iverson;
Matt Linares;
Matt Small;
Matthew Grabelsky;
Meggs;
Meryl Donoghue;
Mike Egan;
Monica Canilao;
Mysterious Al;
Nosego;
Nychos;
Nylon;
Okuda;
Ozabu;
Pam Glew;
Paul Barnes’
Paul Stephenson;
Persue;
Peter Adamyan
;Ramon Maiden;
Reka;
Rone;
Ronzo;
Ryan Callanan;
Sandra Chevrier;
Scott Listfield;
Sean Mahan;
Sebastian Wahl;
Shepard Fairey;
So Youn Lee
;Snik;
Stinkfish; Sylvia Ji; Tony Philippou; Tran Nguyen; Troy Lovegates; Twoone; Von; Will Barras; X-O
CRITICAL RUN IS A DEBATING FORMAT
www.emergencyrooms.org/criticalrun.html
THE 28/03/2012 we debate
IS NAVIGATION A TREAT ?
CAN ART BE CURATED BY A PHONE ?
"IS NAVIGATION BY PHONES AND BANKS A THREAT ?" Critical Run wednesday 28 mars / CPH
The App store has taken over state institutions like staten museum for kunst
Visitors are taking in charge and warmly recommanded to be guided by smartphones or ipods . the team from the museum , curators and directors are employing the word ipad every 3 minutes. their home page sound like they work for FONA .
but Can smart phones or ipad be promoted as inoffensif loving pedagogic tools we should swallow without doubts
is forgetting an active state
is beeing guided a state of apathy .
( i heard once at a DR- news conference that people need to be guided because they are stupid )
should we debate those issues together before to jump
Is the role of the national museum to promotte compagnies that some would also consider as global threat ?
the Critical Run ( run and debate before it is too late ) will take place in Kongenshave 16.15 meet in front t the kids ground ( lejeplads )
we will debate those issues of selectif history and Führung. with a group of artist immigrant in Denmark ( who is guiding whom to where )
every one is welcome with any opinion including hopenhagen believer fona or apple sales man believing in win-win
The Critical Run is in collaboration with BAZART and Critical Run
www.emergencyrooms.org/criticalrun.html
this debate will carry on globally until Documenta Kassel ( " The Next Documenta Should be curated by a phone " .
if you like to be one of the global critical run organisateur please contact : 1@colonel.dk
--------
and because we are talking about a museum exhibiting Jorn a little news from Guy Debord and ( navigation )
library.nothingness.org/articles/SI/en/display/2
CAN ART BE CURATED BY A PHONE ? / CRITICAL RUN the first CRITICAL RUN will take place in Copenhagen and the last in Kassel @documenta get informed of date :www.facebook.com/BIENNALIST or www.emergencyrooms.org/criticalrun.html if you want to be part of the debate and organise a Critical Run where you are please contact 1@colonel.dk
A DELEGATION OF FOREIGN ARTISTS / CURATORS AND FESTIVAL DIRECTORS LIVING IN DENMARK ARE EXPLORING AND DEBATING "DANISH ART " .
HOW IT WORKS .
A DIFFICULT QUESTION INDEED ....
the 28/03/2012 the DELEGATION visited Charlottenborg and Statens Museum for Kunst, did a Critical Run in between the two instutitions
.a video will follow and regular exploration in on plan COLLABORATION WITH BAZART ...more to come soon ....( new people can take contact ...)
THE DELEGATION :
Saied Masoudian
Neringa Abrutyte
Rene Victor Valqui Vidal
Marina Testa Pedersen
Diallo Ibrahima Sory
Pero Pivas
Branka Pivas Onofri
Faranak Sohi
Marcelo Lerer
Maher Khatib
Shohreh Shahrzad
Antonieta Medeiros Urioste
Maia Hauser
Åsmund Boye Kverneland
Thomas Fleurquin
Victor Monchamp
Ada Ortega Camara
Tijana Miskovic
Ginka Rinkova
Thierry Geoffroy
Elizabeth Löwe Hunter
Maja Spangsberg Jakobsen
Juan Fernando Lope
thank you Maja Spangsberg Jakobsen from Bazart /Peter Lind for the name and Marcello Lerer with cards / t6hanks to Claus Handberg Christensen / and the 2 institutions that welcome us //format : Thierry Geoffroy
Various Artists
Wednesday 6 November, 7:00pm - 9:00pm
George Orwell
168 Perth Road
Dundee, DD1 4JS
Join us for a curated evening of Artist short films from around the globe. Based on this year’s festival theme REACT; NEoN has selected a series of films covering topics such as gender, environment and immigration.
Featuring work by BOM Fellow Emily Mulenga and other artists Georgie Roxby Smith, Jenny odell, Elaine Hoey, Chloé Galibert-Laîné, Shelley Lake, John Butler, Kevin B Lee, shawné michaelain holloway, Jennifer Chan, Shelly Lake and Greg Bath.
Full screening notes:
Max Almy, Perfect leader, (1983), 4 mins. 15 secs.
A satire of the political television spot, Perfect Leader shows that ideology is the product and power is the payoff. The process of political image making and the marketing of a candidate is revealed, as an omnipotent computer manufactures the perfect candidate, offering up three political types: Mr. Nice Guy, an evangelist, and an Orwellian Big Brother. Behind the candidates, symbols of political promises quickly degenerate into icons of oppression and nuclear war.
Greg Barth, Epic Fail, (2017), 5 mins. 32 secs.
Epic Fail is an avant-garde essay that questions what happens when political discourse fails to connect with voters, and truth is impacted by fake news. Based on the political events that shook 2016, the film imagines a reality that is both forged and blurred depending on how we perceive it; using existential currents inspired by Jean Paul Sartre’s Nausea.
The result is a surreal political satire that revolves around a vote for world peace that has dramatic consequences.
John Butler, Xerox’s Paradox, (2018), 2 mins.
A new workwear collection for the age of intelligent supertasking. Xerox’s fear of a paperless office led to the GUI, which, in turn, led to an explosion in the amount of printed matter. Xerox’s Paradox is about technology’s broken promises. The more we automate, the harder we must work.
Jennifer Chan, *A Total Jizzfest*, (2012), 3 mins. 22 secs.
A sample of the richest, sexiest men in computer and internet history.
Chloé Galibert-Laîné, My Crush was a Superstar, (2017), 12 mins. 30 secs.
This desktop documentary follows an ISIS fighter through a trail of messages, videos and postings to uncover his existence in both social media and reality. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Elaine Hoey, Animated Positions, (2019), 9 mins. 47 secs.
This work draws reference from 19th century European nationalist paintings and explores the role of art in the portrayal of jingoistic patriotic ideals that have become culturally symbolic in the formation of the nation state. This piece re-animates the war like stances and positions of bodies found within these paintings, using character animation taken from the video game Call of Duty. The work challenges notions of nostalgia for the nation state, creating a contemporary critique of the underlying violence that underpins much of todays nationalistic ideologies.
Shawné Michaelain Holloway, GEAR-REVIEW(1)__BEGINNERS-VEST.MP4, (2016), 1 min. 55 secs.
GEAR-REVIEW(1)__BEGINNERS-VEST.MP4 is a response to internet’s “Gear Review” video genre. Using a video sourced from Youtube’s preparedness community alongside a video of the artist performing live for her leather community, this work asks questions about the ways we get to know, use, and care for our objects. Whether them for war, for sex, or both, we’re obsessed with function and feature, forcing fetish into the realm of the domestic and accessible.
Shelley Lake, Polly Gone, (1988), 3 min. 9 secs.
A day in the life of a robot.
Kevin B. Lee, The Spokesman, (2018), 12 mins. 30 secs.
The Spokesman investigates the online traces of John Cantlie, a British news reporter who was kidnapped in 2012 and later appeared in several Islamic State propaganda videos. Responding to Cantlie’s videos, Kevin analyzes Cantlie’s British accent and professional composure, constructed over many years of media appearances. Part of Bottled Songs, a series of video letters investigating desire, power and terrorism in online and social media. The videos, recorded from the researchers’ desktops, depict and interrogate their subjects’ compulsive engagement in the production of everyday myths and fictions about themselves and others.
Emily Mulenga, Now that we know the world is ending soon…what are you gonna wear?, (2019), 4 mins. 5 secs
Religious imagery and symbols of capitalist excess intertwine under the ever-watchful eye of CCTV cameras. Loneliness occurs even in the most crowded, noisy and colourful of rooms. Fractured identities span the online and offline worlds. Late-stage capitalism has left us with a disconnect from others and from a spiritual centre, and consumerism purports to fill the void; but never truly satisfies. There’s a condition of perpetual information overload in an oversaturated, neon, dystopian cityscape. There’s also a rabbit.
Jenny Odell, Polly Returns, (2017), 3 mins. 2 secs.
Polly Returns is based on Shelley Lake’s 1988 computer animation, Polly Gone, which features an isolated female robot doing everyday tasks inside a futuristic dome house. In my version, the robot has returned in 2017. The soundtrack is inspired by the original from Polly Gone, which itself was based on the soundtrack from The Day the Earth Stood Still.
Georgie Roxby Smith, Lara Croft Domestic Goddess I & II, (2013), 2 mins. 14 secs.
Georgie Roxby Smith’s hacked Lara Croft Tomb Raider video game shows the familiar icon for violent femme fatale bad-assery in the throes of orgasmic housekeeping, a scene that could be read as neo-Friedan, with her “domestic goddess” subject trapped between the banally physical and the extraordinarily virtual. The value judgments are unclear, the equation destabilized, as Croft joyfully irons shirts with a bow and arrow slung over her back, letting out cries that are undiscernibly battle grunts or orgiastic moans.
Photography Kathryn Rattray
d15 Selection commity announced / but maybe .... :THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
Mitglieder der Findungskommission sind: Ute Meta Bauer, Internationale Kuratorin, Gründungsdirektorin des Centre for Contemporary Art (CCA) in Singapur, Direktorin der 3. Berlin Bienale;
Amar Kanwar, indischer Dokumentarfilmer und Künstler;
Frances Morris, Direktorin des Tate Modern in London;
Gabi Ngcobo, Kuratorin der 10. Berlin Bienale 2018;
Elvira Dyangani Ose, Kuratorin Creative Time in New York;
Philippe Pirotte, Rektor an der staatlichen Hochschule für Bildende Künste, Städelschule in Frankfurt;
Jochen Volz, Direktor der Pinacoteca do Estado in Sao Paulo, Brasilien.
--------------biennalist illustration and inspiration for the commity --------------
illustration documenta 2012 / uusollicited art work "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK "
for the exhibition Global art and the Museum @ GAM @ ZKM MUSEUM / (Peter Weibel and Hans Belting ) came this text
THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
author of the Month (linkk) "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK"
by Thierry Geoffroy / sept 2012 / CL
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
------------------------------
documenta history From Wikipedia,
Documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time,[1] and was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History[edit]
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, dOCUMENTA (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism[edit]
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At dOCUMENTA (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the dOCUMENTA (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors[edit]
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. DOCUMENTA IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
The salary for the artistic director of documenta is around €100,000 a year.[18]
Title Date Director Exhibitors Exhibits Visitors
documenta 16 July – 18 September 1955 Arnold Bode 148 670 130,000
II. documenta 11 July – 11 October 1959 Arnold Bode, Werner Haftmann 338 1770 134,000
documenta III 27 June – 5 October 1964 Arnold Bode, Werner Haftmann 361 1450 200,000
4. documenta 27 June – 6 October 1968 24-strong documenta council 151 1000 220,000
documenta 5 30 June – October, 1972 Harald Szeemann 218 820 228,621
documenta 6 24 June – 2 October 1977 Manfred Schneckenburger 622 2700 343,410
documenta 7 19 June – 28 September 1982 Rudi Fuchs 182 1000 378,691
documenta 8 12 June – 20 September 1987 Manfred Schneckenburger 150 600 474,417
DOCUMENTA IX 12 June – 20 September 1992 Jan Hoet 189 1000 603,456
documenta X 21 June – 28 September 1997 Catherine David 120 700 628,776
Documenta11 8 June – 15 September 2002 Okwui Enwezor 118 450 650,924
documenta 12 16 June – 23 September 2007 Roger M. Buergel/Ruth Noack[19] 114 over 500 754,301
dOCUMENTA (13) 9 June – 16 September 2012 Carolyn Christov-Bakargiev 187[20]
904,992[21]
documenta 14 8 April - 16 July 2017 in Athens, Greece; 10 June – 17 September 2017 in Kassel, Germany Adam Szymczyk
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[22]
Venues[edit]
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for DOCUMENTA IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. DOCUMENTA 12 occupyied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon," or meadow pavilion, designed by French firm Lacaton et Vassal.[23] At dOCUMENTA (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at DOCUMENTA IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[24] For dOCUMENTA (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
View of the Friedrichsplatz with the Fridericianum (2nd Building from the left) and the documenta ticket booth (right)
Permanent installations[edit]
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).------ by BIENNALIST @ documenta kassel 15 /
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
Alien She
Photos and Video by Mario Gallucci
Alien She
Sep 3, 2015 – Jan 9, 2016
Alien She, curated by Astria Suparak + Ceci Moss, is the first exhibition to examine the lasting impact of Riot Grrrl on artists and cultural producers working today. A pioneering punk feminist movement that emerged in the early 1990s, Riot Grrrl has had a pivotal influence, inspiring many around the world to pursue socially and politically progressive careers as artists, activists, authors and educators. Emphasizing female and youth empowerment, collaborative organization, creative resistance and DIY ethics, Riot Grrrl helped a new generation to become active feminists and create their own culture and communities that reflect their values and experiences, in contrast to mainstream conventions and expectations.
Riot Grrrl formed in reaction to pervasive and violent sexism, racism and homophobia in the punk music scene and in the culture at large. Its participants adapted strategies from earlier queer and punk feminisms and ‘70s radical politics, while also popularizing discussions of identity politics occurring within academia, but in a language that spoke to a younger generation. This self-organized network made up of teenagers and twenty-somethings reached one another through various platforms, such as letters, zines, local meetings, regional conferences, homemade videos, and later, chat rooms, listservs and message boards. The movement eventually spread worldwide, with chapters opening in at least thirty-two states and twenty-six countries.* Its ethos and aesthetics have survived well past its initial period in the ‘90s, with many new chapters forming in recent years. Riot Grrrl’s influence on contemporary global culture is increasingly evident – from the Russian collective Pussy Riot’s protest against corrupt government-church relations to the popular teen website Rookie and the launch of Girls Rock Camps and Ladyfest music and art festivals around the world.
Alien She focuses on seven people whose visual art practices were informed by their contact with Riot Grrrl. Many of them work in multiple disciplines, such as sculpture, installation, video, documentary film, photography, drawing, printmaking, new media, social practice, curation, music, writing and performance – a reflection of the movement’s artistic diversity and mutability. Each artist is represented by several projects from the last 20 years, including new and rarely seen works, providing an insight into the development of their creative practices and individual trajectories.
Artists: Ginger Brooks Takahashi (Pittsburgh), Tammy Rae Carland (Oakland), Miranda July (Los Angeles), Faythe Levine (Milwaukee), Allyson Mitchell (Toronto), L.J. Roberts (Brooklyn), Stephanie Syjuco (San Francisco) and more.
Archival Materials from: dumba collective; EMP Museum, Seattle; Interference Archive; Jabberjaw; the Riot Grrrl Collection at the Fales Library & Special Collections, NYU; and many personal collections.
Collaborative Projects and Platforms include: Counterfeit Crochet Project, Feminist Art Gallery (FAG), General Sisters, Handmade Nation, Joanie 4 Jackie, Learning to Love You More, LTTR, projet MOBILIVRE-BOOKMOBILE project, Sign Painters and more
Women’s Studies Professors Have Class Privilege / I’m With Problematic, from the series Creep Lez, Allyson Mitchell, 2012.
Altered t-shirts with iron-on transfer and vinyl letters. Courtesy of the artist and Katharine Mulherin Gallery, Toronto.
Alien She is curated by Astria Suparak and Ceci Moss, and organized by the Miller Gallery at Carnegie Mellon University, Pittsburgh
Alien She is presented in two parts:
Museum of Contemporary Craft
724 NW Davis
Portland, OR 97209
511 Gallery @ PNCA
511 NW Broadway
Portland, OR 97209
Both venues are open Tuesday through Saturday from 11am to 6pm.
In her intervention, Lola Lasurt has collaborated with the Biblioteca Pública Arús, a study centre founded in 1895 with outstanding collections related to the labour movement, anarchism, Freemasonry and Sherlock Holmes. The project centres on a series of grisaille paintings forming a pictorial frieze that hangs from the balcony above a presentation of books in the Arús’s display cases. Under the title “Donació” (Donation), 2016, Lasurt departs from 135 publications that once formed the personal library of Assumpta Corbera Santanach that were gifted in 2010 to the Arús after her death. Corbera Santanach identified as a feminist and a Freemason; she was not a public figure. Yet the impulse of Lasurt’s project is not primarily biographic or historiographic, but bibliographic and pictorial. Accordingly, “Donació” attempts to narrate changes in social and cultural attitudes through the selection and redrafting of images that appear on the pages of the bibliographic bequest. Treating the publications as an intimate accumulation of ‘alternative’ knowledge and a representation of a self-education, Lasurt is interested in the portrayal of a private political imagination in the midst of what is now a public collection. – Latitudes
Lola Lasurt (Barcelona, 1983) studied Fine Arts (2005) at the Universitat de Barcelona and obtained a postgraduate in Aesthetics and Contemporary Art Theory, Universitat Autònoma Barcelona (2007) and an MA in Artistic Production and Research (2009). She has been resident at HISK, Ghent; La Ene, Buenos Aires and at the Greatmore Art Studios, Cape Town. She has exhibited individually at ‘Promenade’, 105 Besme, Brussels (2015); ‘Exercici de ritme’, Galeria Joan Prats, Barcelona (2015); ‘Doble autorización‘, as part of the exhibition cycle ‘Arqueología preventiva’, Espai 13, Fundació Joan Miró, Barcelona (2014); ‘Amnèsies’, Espai2, Terrassa (2012), ‘El Gegant Menhir’, Museu Joan Abelló, Mollet del Vallès (2011). Amongst her group shows are ‘Young Belgian Art Prize 2015’, Bozar, Brussels (2015); ‘Write of Spring’, Het Paviljoen, Ghent (2014); ‘Narrativas domésticas: más allá del álbum familiar’, Visiona, Huesca (2013); ‘Los inmutables’, DAFO, Lleida (2012); ‘La gran aventura’, Can Felipa, Barcelona (2012); ‘Learn and Teach’, Greatmore Art Studios, South Africa (2012).
Lasurt is represented by Galeria Joan Prats, Barcelona.
––
“Donació” (2016) was commissioned for the second edition of the Barcelona Gallery Weekend (29 September–2 October 2016) as part of the “Composiciones” programme.
Curated by Latitudes for the second time (see 2015 edition), the project further explores Barcelona as a rich fabric of the historic and the contemporary, the unfamiliar and the conspicuous. Resisting an overall theme, and instead developing from the artists’ responses to the specificity of each context—people as well as places—the five art projects form a temporary thread that links evocative locations and public space, running parallel to the Weekend’s exhibitions in galleries and museums.
In its second edition, "Composiciones" presents interventions by Lúa Coderch (Club Billar Barcelona); Regina Giménez (Antigua Fábrica de Can Trinxet, L’Hospitalet de Llobregat); Lola Lasurt (Biblioteca Pública Arús); Robert Llimós (connecting all the participating galleries) and Wilfredo Prieto (Unitat Muntada de la Guàrdia Urbana de Barcelona). Their projects offer moments of intermission, intimacy and bewilderment throughout the weekend, highlighting some lesser-known aspects of the city’s cultural heritage and municipal life.
Conceived and curated by Latitudes | www.lttds.org
Photo: Roberto Ruiz / Courtesy: Barcelona Gallery Weekend.
Info: www.lttds.org/projects/composiciones2016/
Social media documentation: storify.com/lttds/composiciones-five-commissions-curated-...
d15 Selection commity announced / but maybe .... :THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
Mitglieder der Findungskommission sind: Ute Meta Bauer, Internationale Kuratorin, Gründungsdirektorin des Centre for Contemporary Art (CCA) in Singapur, Direktorin der 3. Berlin Bienale;
Amar Kanwar, indischer Dokumentarfilmer und Künstler;
Frances Morris, Direktorin des Tate Modern in London;
Gabi Ngcobo, Kuratorin der 10. Berlin Bienale 2018;
Elvira Dyangani Ose, Kuratorin Creative Time in New York;
Philippe Pirotte, Rektor an der staatlichen Hochschule für Bildende Künste, Städelschule in Frankfurt;
Jochen Volz, Direktor der Pinacoteca do Estado in Sao Paulo, Brasilien.
--------------biennalist illustration and inspiration for the commity --------------
illustration documenta 2012 / uusollicited art work "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK "
for the exhibition Global art and the Museum @ GAM @ ZKM MUSEUM / (Peter Weibel and Hans Belting ) came this text
THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK
author of the Month (linkk) "THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK"
by Thierry Geoffroy / sept 2012 / CL
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
------------------------------
documenta history From Wikipedia,
Documenta is an exhibition of contemporary art which takes place every five years in Kassel, Germany. It was founded by artist, teacher and curator Arnold Bode in 1955 as part of the Bundesgartenschau (Federal Horticultural Show) which took place in Kassel at that time,[1] and was an attempt to bring Germany up to speed with modern art, both banishing and repressing the cultural darkness of Nazism.[2] This first documenta featured many artists who are generally considered to have had a significant influence on modern art (such as Picasso and Kandinsky). The more recent documentas feature art from all continents; nonetheless most of it is site-specific.
Every documenta is limited to 100 days of exhibition, which is why it is often referred to as the "museum of 100 days".[3] Documenta is not a selling exhibition. It rarely coincides with the three other major art world events: the Venice Biennale, Art Basel and Skulptur Projekte Münster, but in 2017, all four were open simultaneously.
Etymology of documenta
The name of the exhibition is an invented word. The term is supposed to demonstrate the intention of every exhibition (in particular of the first documenta in 1955) to be a documentation of modern art which was not available for the German public during the Nazi era. Rumour spread from those close to Arnold Bode that it was relevant for the coinage of the term that the Latin word documentum could be separated into docere (Latin for teach) and mens (Latin for intellect) and therefore thought it to be a good word to describe the intention and the demand of the documenta.[4]
Each edition of documenta has commissioned its own visual identity, most of which have conformed to the typographic style of solely using lowercase letters, which originated at the Bauhaus.[5]
History[edit]
Stadtverwaldung by Joseph Beuys, oaktree in front of the museum Fridericianum, documenta 7
Art professor and designer Arnold Bode from Kassel was the initiator of the first documenta. Originally planned as a secondary event to accompany the Bundesgartenschau, this attracted more than 130,000 visitors in 1955. The exhibition centred less on "contemporary art“, that is art made after 1945: instead, Bode wanted to show the public works which had been known as "Entartete Kunst" in Germany during the Nazi era: Fauvism, Expressionism, Cubism, Blauer Reiter, Futurism and Pittura Metafisica. Therefore, abstract art, in particular the abstract paintings of the 1920s and 1930s, was the focus of interest in this exhibition.
Over time, the focus shifted to contemporary art. At first, the show was limited to works from Europe, but soon covered works by artists from the Americas, Africa and Asia. 4. documenta, the first ever to turn a profit, featured a selection of Pop Art, Minimal Art, and Kinetic Art.[6] Adopting the theme of Questioning Reality – Pictorial Worlds Today, the 1972 documenta radically redefined what could be considered art by featuring minimal and conceptual art, marking a turning point in the public acceptance of those styles.[7] Also, it devoted a large section to the work of Adolf Wolfli, the great Swiss outsider, then unknown. Joseph Beuys performed repeatedly under the auspices of his utopian Organization for Direct Democracy.[8] Additionally, the 1987 documenta show signaled another important shift with the elevation of design to the realm of art – showing an openness to postmodern design.[9] Certain key political dates for wide-reaching social and cultural upheavals, such as 1945, 1968 or 1976/77, became chronological markers of documenta X (1997), along which art's political, social, cultural and aesthetic exploratory functions were traced.[10] Documenta11 was organized around themes like migration, urbanization and the post-colonial experience,[11] with documentary photography, film and video as well as works from far-flung locales holding the spotlight.[7] In 2012, dOCUMENTA (13) was described as "[a]rdently feminist, global and multimedia in approach and including works by dead artists and selected bits of ancient art".[12]
Criticism[edit]
documenta typically gives its artists at least two years to conceive and produce their projects, so the works are often elaborate and intellectually complex.[13] However, the participants are often not publicised before the very opening of the exhibition. At dOCUMENTA (13), the official list of artists was not released until the day the show opened.[14] Even though curators have often claimed to have gone outside the art market in their selection, participants have always included established artists. In the dOCUMENTA (13), for example, art critic Jerry Saltz identified more than a third of the artists represented by the renowned Marian Goodman Gallery in the show.[14]
Directors[edit]
The first four documentas, organized by Arnold Bode, established the exhibition's international credentials. Since the fifth documenta (1972), a new artistic director has been named for each documenta exhibition by a committee of experts. Documenta 8 was put together in two years instead of the usual five. The original directors, Edy de Wilde and Harald Szeemann, were unable to get along and stepped down. They were replaced by Manfred Schneckenburger, Edward F. Fry, Wulf Herzogenrath, Armin Zweite, and Vittorio Fagone.[15] Coosje van Bruggen helped select artists for documenta 7, the 1982 edition. DOCUMENTA IX's team of curators consisted of Jan Hoet, Piero Luigi Tazzi, Denys Zacharopoulos, and Bart de Baere.[16] For documenta X Catherine David was chosen as the first woman and the first non-German speaker to hold the post. It is also the first and unique time that its website Documenta x was conceived by a curator (swiss curator Simon Lamunière) as a part of the exhibition. The first non-European director was Okwui Enwezor for Documenta11.[17]
The salary for the artistic director of documenta is around €100,000 a year.[18]
Title Date Director Exhibitors Exhibits Visitors
documenta 16 July – 18 September 1955 Arnold Bode 148 670 130,000
II. documenta 11 July – 11 October 1959 Arnold Bode, Werner Haftmann 338 1770 134,000
documenta III 27 June – 5 October 1964 Arnold Bode, Werner Haftmann 361 1450 200,000
4. documenta 27 June – 6 October 1968 24-strong documenta council 151 1000 220,000
documenta 5 30 June – October, 1972 Harald Szeemann 218 820 228,621
documenta 6 24 June – 2 October 1977 Manfred Schneckenburger 622 2700 343,410
documenta 7 19 June – 28 September 1982 Rudi Fuchs 182 1000 378,691
documenta 8 12 June – 20 September 1987 Manfred Schneckenburger 150 600 474,417
DOCUMENTA IX 12 June – 20 September 1992 Jan Hoet 189 1000 603,456
documenta X 21 June – 28 September 1997 Catherine David 120 700 628,776
Documenta11 8 June – 15 September 2002 Okwui Enwezor 118 450 650,924
documenta 12 16 June – 23 September 2007 Roger M. Buergel/Ruth Noack[19] 114 over 500 754,301
dOCUMENTA (13) 9 June – 16 September 2012 Carolyn Christov-Bakargiev 187[20]
904,992[21]
documenta 14 8 April - 16 July 2017 in Athens, Greece; 10 June – 17 September 2017 in Kassel, Germany Adam Szymczyk
2012's edition was organized around a central node, the trans-Atlantic melding of two distinct individuals who first encountered each other in the "money-soaked deserts of the United Arab Emirates". As an organizing principle it is simultaneously a commentary on the romantic potentials of globalization and also a critique of how digital platforms can complicate or interrogate the nature of such relationships. Curatorial agents refer to the concept as possessing a "fricative potential for productive awkwardness," wherein a twosome is formed for the purposes of future exploration.[22]
Venues[edit]
documenta is held in different venues in Kassel. Since 1955, the fixed venue has been the Fridericianum. The documenta-Halle was built in 1992 for DOCUMENTA IX and now houses some of the exhibitions. Other venues used for documenta have included the Karlsaue park, Schloss Wilhelmshöhe, the Neue Galerie, the Ottoneum, and the Kulturzentrum Schlachthof. Though Okwui Enezor notably tried to subvert the euro-centric approach documenta had taken, he instigated a series of five platforms before the Documenta11 in Vienna, Berlin, New Delhi, St Lucia, and Lagos, in an attempt to take documenta into a new post-colonial, borderless space, from which experimental cultures could emerge. DOCUMENTA 12 occupyied five locations, including the Fridericianum, the Wilhelmshöhe castle park and the specially constructed "Aue-Pavillon," or meadow pavilion, designed by French firm Lacaton et Vassal.[23] At dOCUMENTA (13) (2012), about a fifth of the works were unveiled in places like Kabul, Afghanistan, and Banff, Canada.[13]
There are also a number of works that are usually presented outside, most notably in Friedrichsplatz, in front of the Fridericianum, and the Karlsaue park. To handle the number of artworks at DOCUMENTA IX, five connected temporary "trailers" in glass and corrugated metal were built in the Karlsaue.[24] For dOCUMENTA (13), French architects Anne Lacaton and Jean-Philippe Vassal constructed the temporary "Aue-Pavillon" in the park.
View of the Friedrichsplatz with the Fridericianum (2nd Building from the left) and the documenta ticket booth (right)
Permanent installations[edit]
Rahmenbau (1977) by Haus Rucker und Co.
A few of the works exhibited at various documentas remained as purchases in Kassel museums. They include 7000 Eichen by Joseph Beuys; Rahmenbau (1977) by Haus-Rucker-Co; Laserscape Kassel (1977) by Horst H. Baumann; Traumschiff Tante Olga (1977) by Anatol Herzfeld; Vertikaler Erdkilometer by Walter De Maria; Spitzhacke (1982) by Claes Oldenburg; Man walking to the sky (1992) by Jonathan Borofsky; and Fremde by Thomas Schütte (one part of the sculptures are installed on Rotes Palais at Friedrichsplatz, the other on the roof of the Concert Hall in Lübeck).------ by BIENNALIST @ documenta kassel 15 /
www.emergencyrooms.org/biennalist.html by www.colonel.dk and www.emergencyrooms.org www.emergencyrooms.org/formats.html about other art format
CRITICAL RUN IS A DEBATING FORMAT
www.emergencyrooms.org/criticalrun.html
THE 28/03/2012 we debate
IS NAVIGATION A TREAT ?
CAN ART BE CURATED BY A PHONE ?
"IS NAVIGATION BY PHONES AND BANKS A THREAT ?" Critical Run wednesday 28 mars / CPH
The App store has taken over state institutions like staten museum for kunst
Visitors are taking in charge and warmly recommanded to be guided by smartphones or ipods . the team from the museum , curators and directors are employing the word ipad every 3 minutes. their home page sound like they work for FONA .
but Can smart phones or ipad be promoted as inoffensif loving pedagogic tools we should swallow without doubts
is forgetting an active state
is beeing guided a state of apathy .
( i heard once at a DR- news conference that people need to be guided because they are stupid )
should we debate those issues together before to jump
Is the role of the national museum to promotte compagnies that some would also consider as global threat ?
the Critical Run ( run and debate before it is too late ) will take place in Kongenshave 16.15 meet in front t the kids ground ( lejeplads )
we will debate those issues of selectif history and Führung. with a group of artist immigrant in Denmark ( who is guiding whom to where )
every one is welcome with any opinion including hopenhagen believer fona or apple sales man believing in win-win
The Critical Run is in collaboration with BAZART and Critical Run
www.emergencyrooms.org/criticalrun.html
this debate will carry on globally until Documenta Kassel ( " The Next Documenta Should be curated by a phone " .
if you like to be one of the global critical run organisateur please contact : 1@colonel.dk
--------
and because we are talking about a museum exhibiting Jorn a little news from Guy Debord and ( navigation )
library.nothingness.org/articles/SI/en/display/2
CAN ART BE CURATED BY A PHONE ? / CRITICAL RUN the first CRITICAL RUN will take place in Copenhagen and the last in Kassel @documenta get informed of date :www.facebook.com/BIENNALIST or www.emergencyrooms.org/criticalrun.html if you want to be part of the debate and organise a Critical Run where you are please contact 1@colonel.dk
A DELEGATION OF FOREIGN ARTISTS / CURATORS AND FESTIVAL DIRECTORS LIVING IN DENMARK ARE EXPLORING AND DEBATING "DANISH ART " .
HOW IT WORKS .
A DIFFICULT QUESTION INDEED ....
the 28/03/2012 the DELEGATION visited Charlottenborg and Statens Museum for Kunst, did a Critical Run in between the two instutitions
.a video will follow and regular exploration in on plan COLLABORATION WITH BAZART ...more to come soon ....( new people can take contact ...)
THE DELEGATION :
Saied Masoudian
Neringa Abrutyte
Rene Victor Valqui Vidal
Marina Testa Pedersen
Diallo Ibrahima Sory
Pero Pivas
Branka Pivas Onofri
Faranak Sohi
Marcelo Lerer
Maher Khatib
Shohreh Shahrzad
Antonieta Medeiros Urioste
Maia Hauser
Åsmund Boye Kverneland
Thomas Fleurquin
Victor Monchamp
Ada Ortega Camara
Tijana Miskovic
Ginka Rinkova
Thierry Geoffroy
Elizabeth Löwe Hunter
Maja Spangsberg Jakobsen
Juan Fernando Lope
thank you Maja Spangsberg Jakobsen from Bazart /Peter Lind for the name and Marcello Lerer with cards / t6hanks to Claus Handberg Christensen / and the 2 institutions that welcome us //format : Thierry Geoffroy