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Guggenheim Museum, New York, Hans Haacke demonstration protesting art censorship. May 1, 1971
PHOTO COPYRIGHT JAN VAN RAAY
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
www.knme.org - Bill Gilbert at the University of New Mexico holds class for an entire semester in the forgotten outdoors - exploring with students the evolution of Land Arts from its ancient beginnings in rock art - to Earthworks monuments such as the Spiral Jetty - to today's cutting-edge performance art in both rural and urban environments. Watch Artisode 1.2 and get inspired by the wild!
Click the link below to watch the video:
A bronze skeleton of a horse by Hans Haacke, erected on the fourth plinth in Trafalgar Square on 5 March 2015.
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German artist Hans Haacke's sculpture with ticker tape showing London Stock Exchange prices replaces giant blue cockerel on central London square's Fourth Plinth
Guggenheim Museum, New York, Hans Haacke demonstration protesting art censorship. May 1, 1971
PHOTO COPYRIGHT JAN VAN RAAY
Les installations de Hans Haacke empruntent leurs modalités aux institutions culturelles comme aux techniques publicitaires puisque, selon lui, « il faut apprendre de son adversaire ». Haacke considère en effet que le monde de l’art est un des lieux du combat politique, en raison notamment de sa soumission aux pressions du marché. Les symboles qu’il convie lui permettent de mettre en lumière et d’analyser différents rapports de force économiques, idéologiques et sociaux. Que ce soit par un tissu de soie flottant, une ligne de ballons doucement balancée dans les airs ou de l’eau circulant à travers des tubes en plastique au milieu de l’espace d’exposition, Hans Haacke utilise les énergies comme matériaux pour ses œuvres. Lors de son exposition au Massachusetts Institute of Technology (MIT) en 1967, l’artiste a défendu la notion de « système naturel », où l’utilisation des technologies est moindre, afin d’admirer des pièces dont les éléments naturels sont connectés entre eux. Les œuvres, soumises au regard du spectateur – lui-même réduit au statut de témoin – existent par elles-mêmes et se distinguent par leur autonomie et leur indépendance.
« Hans Haacke ne veut pas qu’on qualifie ses œuvres de “sculptures”. Il les appelle des “systèmes” et souligne que ceux-ci “ont été créés avec l’intention explicite de faire physiquement communiquer leurs composants entre eux, tandis que le tout communique physiquement avec l’environnement… Les transformations sont souhaitables et font partie du dessein de l’œuvre – elles ne sont pas provoquées par l’expérience toujours changeante du spectateur” ».
2011-03-23 New York Passive House organized a technical construction seminar on SIGA products. Patrick Haacke presented vapor-permeable roof membranes, vapor-retarding air-sealing membranes, and various air-sealing tapes and mastics. Air sealing to eliminate drafts is an important part of the Passive House low-energy construction standard.
Shown here: SIGA Wigluv tape sealing a pipe penetration through a roof membrane.
Guggenheim Museum, New York, Hans Haacke demonstration protesting art censorship. May 1, 1971
PHOTO COPYRIGHT JAN VAN RAAY
"Gift Horse" by Hans Haacke. (The fourth plint, Trafalgar Square) - July 2016 #london #art #trafalgarsquare #fourthplinth #skeletonhorse * * * * #travel #travelgram #instadaily #instagood #photooftheday #travelpassion #beautifuldestination #travelphotography #travelingtheworld #beautifulplaces #neverstopexploring #uk #visitlondon #travelpassion #londonlove #streetphotography #streetartlondon #londonstreetart #canon #canon5dmkii via Instagram ift.tt/2b15ZnI
Guggenheim Museum, New York, Hans Haacke demonstration protesting art censorship. May 1, 1971
PHOTO COPYRIGHT JAN VAN RAAY
"Boule to Braid," curated by Richard Wentworth. Lisson Gallery London, 2009
Francis Alÿs, Carl Andre, Vladimir Arkhipov, Art & Language, David Batchelor, Ila Beka & Louise Lemoine, Vanessa Billy, Terrence Bond, Marcel Broodthaers, Daniel Buren, Scott Burton, James Casebere, Patrick Caulfield, Hussein Chalayan, Alice Channer, Tony Cragg, Dorothy Cross, Richard Deacon, Charlie Engman, Walker Evans, John Frankland, Martino Gamper, Ryan Gander, Liam Gillick, Dan Graham, Colin Guillemet, Hans Haacke, Susan Hiller, Donald Judd, On Kawara, Igor & Svetlana Kopystiansky, John Latham, Bob Law, Sol LeWitt, Sarah Lucas, Bigas Luna, Robert Mangold, Helen Marten, Gordon Matta-Clark, Paul McCarthy, John McCracken, Jeff McMillan, Haroon Mirza, Jonathan Monk, Bruce Nauman, Matt O’dell, Yoko Ono, Tony Oursler, Julian Opie, Giulio Paolini, Bridget Riley, Boo Ritson, Tom Sachs, Roman Signer, Sean Snyder, Lee Ufan, Warburg Archive Material, Franz West, Richard Wentworth, Sharon Ya’ari
In Richard Wentworth's 'Thinking Aloud' artists including Karin Ruggaber, Keith Coventry, Patrick Caulfield, and Simon Starling's pirated do-it-yourself Eames chairs, Tom Sachs and Bruce Nauman came together with a Frank Gehry model, snowed under by an enormous assortment of material harvested from both private and museum sources. The show converged the territories that artists like to discuss: war, economics, technology, history, geography etc. People who saw this exhibition speak of their experience with a giddy reverence.
In 'Boule to Braid', Wentworth will employ similar strategies, this time paying particular attention to Nicholas Logsdail's personal collection and historic works from artists beyond the Lisson's own forty year narrative.Wentworth has remarked "as exhibitionism in private galleries, foundations and museums (both personal and public) have coalesced, I detect a pattern of exhibition making which I associate with the philately of my childhood. I hope to chastise this tendency in the way that 'Boule to Braid' comes together".
Jan van Raay, (me) second from left, between Yvonne Rainer and Jon Hendricks, ( ten days before my son Cassidy Curtis was born), demonstrating at the Guggenheim Museum, NYC, photographer unknown. Hans Haacke found this photo in his files but doesn't know where it came from. Several weeks after this shot was taken I mounted my "Artists in Revolution" exhibition of more than 100 photos at the New York Public Library.
Hans Haacke, Germany b.1936, active United States
The Saatchi Collection (Simulations) , 1987
Mixed-media installation
I guess Charles Saatchi won't adding any Haacke to his collection any time soon.
Guggenheim Museum, New York, Hans Haacke demonstration protesting art censorship. May 1, 1971
PHOTO COPYRIGHT JAN VAN RAAY
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
www.knme.org - Bill Gilbert at the University of New Mexico holds class for an entire semester in the forgotten outdoors - exploring with students the evolution of Land Arts from its ancient beginnings in rock art - to Earthworks monuments such as the Spiral Jetty - to today's cutting-edge performance art in both rural and urban environments. Watch Artisode 1.2 and get inspired by the wild!
Click the link below to watch the video:
Shapolsky et al. Manhattan Real Estate Holdings, a Real-Time Social System, as of May 1, 1971
Hans Haacke, 142
Whitney Museum
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
The South Australian Institute, incorporating a public library and a museum, was established in 1847 in the rented premises of the Library and Mechanics' Institute in King William
Street whilst waiting construction of the Institute building on the corner of North Terrace and Kintore Avenue.
Frederick George Waterhouse offered his services as curator of the South Australian Institute Museum in June 1859 in an honorary capacity. When the Institute building was
completed, the Board appointed him as the first curator, a position he held until his retirement in February 1882. He was succeeded by Wilhelm Haacke, who in January 1883
recommended the South Australian Institute Museum be renamed the South Australian Museum, and the position of Curator be changed to Director. Wilhelm was appointed the first of
eleven Directors of the South Australian Institute Museum.
In 1939, Haacke’s recommendation was finally realised; legislation was passed that gave the South Australian Museum autonomy from the Art Gallery and Library, and the South
Australian Institute Museum was officially renamed the South Australian Museum.
Canon EOS 5D, 24-70L, AEB
2014
IMG_3168_69_70_
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
A sly little commentary on the Stock Exchange, greed, finance, corporate interests, flogging a dead one... the list goes on... Anyway, the latest sculpture for Trafalgar Square, London
WAREGEM. 23/07/2016. Regenboogstadion. SV Zulte Waregem-NEC. 5-1.
Doelpunten: 13’ Dumic 0-1, 19’ Leye 1-1, 32’ Vetokele 2-1, 38’ Leye 3-1, 81’ Leye 4-1 en 87’ Kaya 5-1
Opstelling Essevee: Bossut, De fauw, Baudry, Derijck, Vetokele (84’ Benteke), Leye (88 De Smet), Mëité (69’ Essikal), Lepoint (46’ Lerager, 72 Kaya), Cordaro (76’ Zaidi), Hamalainen (70’ Verboom), Brebels
Opstelling N.E.C.: Van Duin, Heinloth, Dumic, Golla, Dyrestam, Breinburg, Von Haacke, Bikel, Mauk, Roman, Ofosu
Central Memorial of the Federal Republic of Germany to the Victims of War and Tyranny
The Neue Wache (New Guardhouse) was built in the years 1816 to 1818 on behalf of the Prussian kind, Fredrick William III, according to a design by Karl Friedrich Schinkel. From 1818 until 1918 the Royal Palace Guard was located here.
In 1931, the Prussian Government had the guardhouse redesigned Heinrich Tessnow created a "memorial to those who fell in the world war" in the centre of the room, which was designed to invite reflection, stood a black of granite with a silver wealth of oak leaves.
Shortly before the end of the second world war the Neue Wache was severely damaged by bombs.
From 1960 the restored buildings served the GDR as a "memorial to the victims of facism and militarism." In 1969 an eternal flame was lit in the middle of the room.
In 1969 the mortal remains of an unknown soldier and an unknown concentration camp prisoner were laid to rest here. They are surrounded by earth from the battlefields of the second world war and from concentration camps.
Since 1993 the Neue Wache has served as the central memorial of the Federal Republic of Germany.
The interior design from the time of the Weimar Republic was largely restored. An enlarged replica of the sculpture by Kathe Kollwitz known as "mother with her dead son" stands in the center of the memorial. It was made by Harald Haacke.
The Neue Wache is the place where we commemorate the victims of war and tyranny.
We honor the memory of the peoples who suffered through war. We remember their citizens who were persecuted and who lost their lives. We remember those killed in action in the world ways. We remember those killed in action in the world wars. We remember the innocent who lost their lives as a result of way in their homeland, in captivity, and through expulsion.
We remember the millions of Jews who were murdered. We remember the Sinti and Roma who were murdered. We remember all those who were killed because of their origin, homosexuality, sickness or infirmity. We remember all who were murdered whose right to life was denied.
We remember the people who had to die because of their religious or political convictions. We remember all those who were victims of tyranny and met their death though innocent.
We remember the women and men who sacrificed their lives in resistance to despotic rule. We honor all who preferred to die rather than act against their conscience.
We honor the memory of the women and men who were persecuted and murdered because they resisted totalitarian dictatorship after 1945.
Neue Wache
Unter den Linden 4 10117 Berlin
+49 30 25002333
visitberlin.de
en.wikipedia.org/wiki/Neue_Wache
After German reunification, the Neue Wache was again rededicated in 1993, as the "Central Memorial of the Federal Republic of Germany for the Victims of War and Dictatorship." The GDR memorial piece was removed and replaced by an enlarged version of Käthe Kollwitz's sculpture Mother with her Dead Son. This sculpture is directly under the oculus, and so is exposed to the rain, snow and cold of the Berlin climate, symbolizing the suffering of civilians during World War II.