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Igor & Svetlana Kopystiansky Igor & Svetlana Kopystiansky Igor & Svetlana Kopystiansky Igor & Svetlana Kopystiansky
Igor & Svetlana Kopystiansky
Exhibition catalogue
Catalog texts in Lithuanian, English and French. The publication contains documented exhibitions of Igor and Svetlana Kopystiansky at MoMA, Metropolitan, Center Pompidou, Tate Modern, Radvil Palace Museum and other European and American museums whose collections contain works by Igor and Svetlana Kopystiansky.
Compilers: Igor Kopystiansky, Svetlana Kopystiansky
Foreword: Arūnas Gelūnas
Text authors: Michel Gauthier, John G. Hahnhardt
Authors of previously published texts: Kai-Uwe Hemken, Philippe-Alain Maichaud, Anthony Spira, Adam D. Weinberg
Translators: Paulius Balčytis, Isabelle Chandavoine-Urbaitis, Sandra Reid
Editors: Ieva Puluikiene, Albina Strunga
Exhibition and catalog artists: Igor Kopystiansky, Svetlana Kopystiansky
Published by the Lithuanian National Art Museum, 2023
Printed by closed design and publishing AB KOPA
Circulation 400
pages 119
24 x 21 cm
Igor & Svetlana Kopystiansky Igor & Svetlana Kopystiansky Igor & Svetlana Kopystiansky Igor & Svetlana Kopystiansky
Igor & Svetlana Kopystiansky
Parodos katalogas
Katalogo tekstai lietuvių, anglų ir prancūzų kalbomis. Leidinyje pateikiamos dokumentuotos Igorio ir Svetlanos Kopystiansky parodų MoMA, Metropolitan, Centre Pompidou, Tate Modern, Radvilų rūmų muziejuje ir kituose Europos ir Amerikos muziejuose, kurių kolekcijose yra Igorio ir Svetlanos Kopystiansky darbų.
Sudarytojai: Igor Kopystiansky, Svetlana Kopystiansky
Pratarmė: Arūnas Gelūnas
Tekstų autoriai: Michel Gauthier, John G. Hahnhardt
Anksčiau publikuotų tekstų autoriai: Kai-Uwe Hemken, Philippe-Alain Maichaud, Anthony Spira, Adam D. Weinberg
Vertėjai: Paulius Balčytis, Isabelle Chandavoine-Urbaitis, Sandra Reid
Redaktorės: Ieva Puluikienė, Albina Strunga
Parodos ir katalogo dailininkai: Igor Kopystiansky, Svetlana Kopystiansky
Išleido Lietuvos nacionalinis dailės muziejus, 2023
Spausdino uždaroji dizaino ir leidybos AB KOPA
Tiražas 400
119 psl.
24 x 21 cm
Robert Atkins. Art Speak: A Guide to Contemporary Ideas, Movements, and Buzzwords. Appropriation. Who: Mike Bidlo, David Diao, Komar and Melamid, Jeff Koons, Igor Kopystiansky (USSR), Louise Lawler, Sherrie Levine, Carlo Maria Mariani (Italy), Sigmar Polke (Germany), Richard Prince, Gerhard Richter (Germany), David Salle, Julian Schnabel, Peter Schuyff, Elaine Sturtevant. When: 1980's. Where: United States and Europe, Abbeville Publishers. New York, New York. 1990. Pp. 42-43.
www.centrepompidou.fr/fr/recherche/archives?display=Grid
Bibliothèque Kandinsky - MNAM-CCI - Centre Pompidou, Paris
Les fonds d'archives
Les archives conservées à la Bibliothèque Kandinsky sont organisées en plus de 250 fonds et quelques collections, qui occupent environ 4km linéaires de magasin.
Caractérisés par leurs provenances spécifiques, les fonds d’archives se composent de documents de diverses natures (manuscrit, imprimé, photographie, film, vidéo ou son) produits ou réunis par une même personne physique ou morale, souvent un artiste ou une galerie, dont les premières lettres du nom déterminent généralement la cote (DEL pour le fonds Sonia Delaunay, BRAN pour Brancusi, etc.).
Les collections rassemblent quant à elles, pour partie, des documents hors-fonds de provenances diverses acquis notamment auprès de libraires ou en ventes publiques (fonds général photographique FGP et fonds général manuscrit FGM). Le cas de la collection des “petits papiers” de Paul Destribats, entrée par dation en 2020, comprenant 12 000 manifestes, tracts, prospectus et autres ephemeras des avant-gardes du XXe siècle (cotés DEST), est à la fois particulier et remarquable. Le reste des collections se compose d'un large ensemble de 13 000 dossiers documentaires, constitués par collecte au fil du temps pour documenter l’activité d’artistes, de groupes, de galeries, d’institutions, d’événements récurrents ou de thématiques (dossiers AP et "boîtes vertes" BVAP).
Les fonds et collections sont organisés dans le cadre de classement suivant :
An information about the catalog which was published in Lithuania with texts by John Hanhardt, Michel Gauthier and is in three languages: English, French and Lithuanian. In the catalog have been used also quotations from texts about our art published in previous catalogs: from the text by Adam Weinberg, from the text by Philippe-Alain Michaud, Anthony Spira and Kai-Uwe Hemken.
The publication also does contain an information about our various museum projects including presentations of our works at the MoMA, Metropolitan, Tate, Centre Pompidou, Smithsonian American Art Museum, Reina Sofia, Henry Art Gallery, about our installation work “The Day Before Tomorrow” from the Whitney collection.
The information about the catalog is published online:
www.lndm.lt/igor-svetlana-kopystiansky-2/?lang=en
And at: kopystianskybooks.tumblr.com/
Regarding the purchase and shipping of the publication abroad, please contact us by e-mail dovile.zubaviciute@lndm.lt
Title
Igor & Svetlana Kopystiansky / [compiled by Igor Kopystiansky, Svetlana Kopystiansky]
Publisher Vilnius : The Lithuanian National Museum of Art, [2023]
Copyright ©2023
1 copy ordered for Watson Library on 04-12-2024.
Description 119 pages : illustrations (mostly color) ; 25 cm
Notes Published to accompany the exhibition of the same name held at the Radvila Palace Museum of Art, Vilnius, Lithuania, 16 November 2023-9 February 2024
Edition of 400
Contents Pratarm = Foreword = Přface / Arknas Gelknas -- Pagiriamasis ̆zodis dvigubam regjimui = In praise of double vision = ⁹loge de la vision double / Michel Gauthier -- Laiko ̆zaismas: Svetlanos ir Igorio Kopystianskis kkryba = The play of time: the art of Svetlana and Igor Kopystiansky = Le jeu du temps: l'art de Svetlana et Igor Kopystiansky / John G. Hanhardt -- Biblioteka = The library = Bibliotḧque / Svetlana Kopystiansky -- Muziejus = The museum = Muše / Igor Kopystiansky -- Parods dokumentacija = Exhibition documentation = Documentation des expositions -- Rinktin bibliografia = Selected bibliography = Bibliographie šľctive
Bibliography Includes bibliography (pp. 105-113)
Language Texts in Lithuanian, English, and French
Subjects Kopystiansky, Svetlana, 1950- -- Exhibitions
Kopystiansky, Igor, 1954- -- Exhibitions
Additional Authors Kopystiansky, Svetlana, 1950- artist, compiler, author
Gauthier, Michel, 1958- contributor
Hanhardt, John G., contributor
Lietuvos Nacionalinis dailės muziejus, exhibition organizer, host institution
ISBN 9786094261824
6094261828
OCLC 1427975755
emuseum.mfah.org/objects/163837/double-fiction?ctx=74bc48...
Igor and Svetlana Kopystiansky: Double Fiction
Date: 2008
Medium Single channel video, sound
Dimensions: 1 hour 57 minutes, 46 seconds
Edition 2/3 collection of the Museum of Fine Arts Houston. MFAH.
An excerpt from the "Double Fiction"(2008) by Igor and Svetlana Kopystiansky based at "The Birds" by Alfred Hitchcock: vimeo.com/user16505543
…“Two revelatory pieces taken from the classical narrative cinema, Spellbound (2009) and Birds (2008), rework canonical Alfred Hitchcock films employing the same technique used in Pink and White. In this case, the moving image is not found footage but a finely crafted example of the classical cinema, created by a director employing elaborately staged action, cinematography, a script, acting, lighting, composition, and sound. In the case of Spellbound, a three-minute loop superimposes a sequence from the film played forward with the same scenes played in reverse. The two sequences come together in the middle and then continue on to either the conclusion or beginning of the sequence. Narrative anticipation and the intense drama of the action reaches its climax as a single scene. Time folds upon itself as we watch, but also as we recall what we already know. This method is elaborated further in The Birds, in which the entire Hitchcock film is shown with sound, from beginning to end and over again in reverse, from the end to the beginning. (The credits have been removed.) At the mid-point, the film becomes one as the superimposed films line up and become a single film. A work of astonishing simplicity and originality, it takes the meta-cinematic work of such artists as Douglas Gordon and Stan Douglas and the treatment of language in Gary Hill’s videotapes into the complex terrain of narrative, storytelling, and perception. The anticipation and remembrance of time and events through the conventions of storytelling, as we see in the Birds, also becomes a means to provide new insight into that film’s apocryphal vision of nature and human relationships. Early scenes are joined with later scenes, and it is almost as if the film itself is dreaming its own narrative as it unfolds. Birds is a brilliant choice, since it heightens the dramatic intensity of the narrative cinema and the nuance of the performances in a deconstruction of the meanings of the original film. It also places the viewer before the screen as an active participant. In a sense, the film haunts itself, as the action that unfolds anticipates its own conclusion, and the relationships between the characters become tragically predicted and realized. The destruction that is foreshadowed actually appears in the film at its beginning.
Igor and Svetlana Kopystiansky have created a dialectical process by integrating the point of view of the camera and the play of time. The viewer becomes engaged in active looking and creates meaning out of moving images through that cognitive process. These artists have created an aesthetic text that is haunted by memory, whether represented by found footage, by the chance recordings of plastic bags blowing along on the sidewalk or the movement of people on the street, or by the rediscovery of scenes from well-known movies. Time erases itself as scenes overlap and change, in the process refashioning the moving image into an aesthetic text of timeless fascination.”
Excerpt from: The Play of Time: The Art of Svetlana and Igor Kopystiansky
By John G. Hanhardt, Senior Curator for Media Arts, Smithsonian American Art Museum.
Published in:
Igor & Svetlana Kopystiansky. The Lithuanian National Museum of Art. Texts by Michel Gauthier, John G. Hanhardt. Quotations from texts about Kopystiansky’s by Kai-Uwe Hemken, Philippe-Alain Michaud, Anthony Spira, Adam D. Weinberg. ISBN 978-609-426-182-4, 2023.
Kopystiansky. Double Fiction/Fiction Double. Musée d’Art Moderne de Saint-Étienne. Texts by John G. Hanhardt, Philippe-Alain Michaud. Les Presses du Réel, 2010.
www.lespressesdureel.com/EN/ouvrage.php?id=1817&menu=0
Book are available at Printed Matter NYC:
www.printedmatter.org/catalog/65103/
and at Walther König Germany:
Robert Morris (d.1931, Kansas City, Missouri; ö. 2018, Kingston, New York) 1960 sonrası sanat tarihinde önemli bir figürdür. Birçok çalışma örneğinin getirildiği anket modelinin aksine çeşitliliği veya çeşitliliği göstermek için birlikte, Robert Morris. Algılayan Vücut, her biri tek bir enstalasyonu veya bir grup ilgili nesneyi içeren yedi ayrı odadan oluşan bir takımyıldız olarak organize edilmiştir.
60'lar ve 70'ler boyunca, Morris artık Minimal ve Postminimal sanatın kanonik eserleri olarak kabul edilen eserleri üretti. Eserler öncelikle yapma ve izleme eylemleriyle ilgiliydi. Morris (ve daha sonra başkaları tarafından) tarafından büyük ölçüde inşaat endüstrisinden alınan malzemelerden ve araçlardan yapılmıştır. Biçim olarak, bu nesneler, modernist soyutlamanın bileşimsel geleneklerinden kaçınır, bunun yerine tekrar, permütasyon ve şans ilkelerine dayanır. Ölçekte, heykelsi nesne ile sanatçının ya da gözlemcinin bedeni - 'algılayan beden' arasında doğrudan, 1: 1 bir ilişki gözlemlerler. Özne ve nesne arasındaki bir karşılaşmaya yapılan bu vurgunun kökleri gelişmiş sanat çevrelerinde bulunur. Robert Morris'in yakından çalıştığı performans ve dans. Doğrudan zemine yerleştirilen nesneler anıtsal değildir, ancak odanın alanını tamamen kaplayacak kadar büyüktür: yüzleşirler, engeller veya müdahale ederler.
Sergi, Untitled (3Ls) (1965/1970) ve Untitled (Mirrored Cubes) (1965/1971) gibi sanatçının çalışmalarının ünlü örneklerini ve kontrplak, fiberglas ve çelik ağda çeşitli erken 'geniş formlu' yapıları içermektedir. ışığı tutan, ileten veya yansıtan. Ayrıca yumuşak keçe kullanan süreç temelli çalışmalar ve kısmen John Cage'den (d. 1912, Los Angeles; d. 1992, New York). Son olarak, Untitled (Portland Mirrors) (1977) aynalı büyük bir enstalasyondur - tek noktalı perspektif ilkesini hem çağıran hem de ortadan kaldıran çok sayıda alanın geniş bir yanılsaması.
Morris’in çalışması, gördüklerimizle bildiklerimiz arasındaki ilişkiyle ilgilidir. Bazen bu dönemdeki pratiğini, neredeyse bilimsel bir amacı ifade eden, filozof Ludwig Wittgenstein'dan (d. 1889, Viyana; ö. 1951, Cambridge) ödünç alınmış bir terim olan bir dizi 'araştırma' olarak tanımladı. Yine de çalışmanın başka çıkarımları var. Örneğin, Morris ilerlemesinden felsefi şüpheyle çerçevelenmiş olarak bahsetti. Çalışmalarının, politik otoritenin halkın muhalefet dalgalarına maruz kaldığı, Amerika Birleşik Devletleri'nde yoğun bir kültürel kargaşanın yaşandığı Vietnam'daki savaşa Amerikan katılımı döneminde üretildiğini not ediyoruz. Morris ve çağdaşlarının çalışmalarının önermesel doğası - her nesnenin bir tür deneyi, bir 'eğer' önermesini temsil ettiği fikri - Amerikan kültürel solundakiler arasındaki anti-otoriterlik havasına karşılık gelir.
Son olarak, tüm yöntemsel kesinliğine rağmen, Morris'in pratiği araştırıyordu, hatta son derece özneldi. Nitekim, bu yirmi yılın çalışmaları, vizyonun bedensel duyumdan ayrılamaz olduğu fikrine dayanırken, 1970'ler, yönelim bozukluğu, körlük ve yanılsama gibi yeni faktörlerin ve temaların ortaya çıktığını gördü. Sanatçının yazılarına göre, bu unsurlar yoğun bir içselliğe, bir benlik arayışına yapılan vurguyu yansıtıyor. Morris, çok daha sonra, erken dönem çalışmalarının, çocukluğuna - yaklaşan nesneler ve gizli odalarla karşılaşmaların silinmez anılarına - açıklanmayan, hatta alegorik referanslar içerdiğini öne sürdü. Bu şekilde, işin mekanı duygusal ya da sembolik bir biçim olarak ele aldığı söyleniyordu.
MUDAM, Luxemburg
El pianista y compositor italiano Andrea Vanzo ofreció una emotiva presentación de su “Intimacy Tour Vol. 2” en el Teatro de la Ciudad Esperanza Iris, donde cautivó al público con su estilo postminimalista y una profunda sensibilidad musical. Con un sonido cálido, íntimo y cinematográfico, Vanzo fusionó elementos del pop y la música neoclásica contemporánea, creando una velada que celebró el poder evocador de la música en la #CapitalDeLaTransformación.
An information about the catalog which was published in Lithuania with texts by John Hanhardt, Michel Gauthier and is in three languages: English, French and Lithuanian. In the catalog have been used also quotations from texts about our art published in previous catalogs: from the text by Adam Weinberg, from the text by Philippe-Alain Michaud, Anthony Spira and Kai-Uwe Hemken.
The publication also does contain an information about our various museum projects including presentations of our works at the MoMA, Metropolitan, Tate, Centre Pompidou, Smithsonian American Art Museum, Reina Sofia, Henry Art Gallery, about our installation work “The Day Before Tomorrow” from the Whitney collection.
The information about the catalog is published online:
www.lndm.lt/igor-svetlana-kopystiansky-2/?lang=en
and at: kopystianskybooks.tumblr.com/
Regarding the purchase and shipping of the publication abroad the museum does ask to use: dovile.zubaviciute@lndm.lt
An information about the catalog which was published in Lithuania with texts by John Hanhardt, Michel Gauthier and is in three languages: English, French and Lithuanian. In the catalog have been used also quotations from texts about our art published in previous catalogs: from the text by Adam Weinberg, from the text by Philippe-Alain Michaud, Anthony Spira and Kai-Uwe Hemken.
The publication also does contain an information about our various museum projects including presentations of our works at the MoMA, Metropolitan, Tate, Centre Pompidou, Smithsonian American Art Museum, Reina Sofia, Henry Art Gallery, about our installation work “The Day Before Tomorrow” from the Whitney collection.
The information about the catalog is published online:
www.lndm.lt/igor-svetlana-kopystiansky-2/?lang=en
and at: kopystianskybooks.tumblr.com/
Regarding the purchase and shipping of the publication abroad the museum does ask to use: dovile.zubaviciute@lndm.lt
An information about the catalog which was published in Lithuania with texts by John Hanhardt, Michel Gauthier and is in three languages: English, French and Lithuanian. In the catalog have been used also quotations from texts about our art published in previous catalogs: from the text by Adam Weinberg, from the text by Philippe-Alain Michaud, Anthony Spira and Kai-Uwe Hemken.
The publication also does contain an information about our various museum projects including presentations of our works at the MoMA, Metropolitan, Tate, Centre Pompidou, Smithsonian American Art Museum, Reina Sofia, Henry Art Gallery, about our installation work “The Day Before Tomorrow” from the Whitney collection.
The information about the catalog is published online:
www.lndm.lt/igor-svetlana-kopystiansky-2/?lang=en
and at: kopystianskybooks.tumblr.com/
Regarding the purchase and shipping of the publication abroad the museum does ask to use: dovile.zubaviciute@lndm.lt
The first New York City exhibition of text based works by Svetlana Kopystiansky at the Cable Gallery New York.
With participation of
Svetlana Kopystiansky
Brenda Miller
Collier Schorr
In 1983 Nicole Klagsbrun opened Cable Gallery in partnership with Clarissa Dalrymple, renowned for introducing young artists from varying backgrounds of nationality and discipline, establishing the work of such artists as Ashley Bickerton, Christopher Wool, Barbara Ess, Haim Steinbach and Dan Graham.
In 1983, Clarissa Dalrymple and Nicole Klagsbrun opened Cable Gallery in New York City. Cable Gallery was the site of early solo exhibitions of Ashley Bickerton, Steve DiBenedetto, Collier Schorr, Haim Steinbach, Phillipe Thomas, Christopher Wool, Tyler Turkle and others. In 1986, Dalrymple and Klagsbrun invited artist Robert Gober to curate an exhibition at the gallery, Gober's first curatorial project.[2]
Cable Gallery closed in 1988.
Fonds Igor et Svetlana Kopystiansky/Archive Igor and Svetlana Kopystiansky
Centre Pompidou
Location: Bibliothèque Kandinsky - MNAM-CCI - Centre Pompidou, Paris
An information about the catalog which was published in Lithuania with texts by John Hanhardt, Michel Gauthier and is in three languages: English, French and Lithuanian. In the catalog have been used also quotations from texts about our art published in previous catalogs: from the text by Adam Weinberg, from the text by Philippe-Alain Michaud, Anthony Spira and Kai-Uwe Hemken.
The publication also does contain an information about our various museum projects including presentations of our works at the MoMA, Metropolitan, Tate, Centre Pompidou, Smithsonian American Art Museum, Reina Sofia, Henry Art Gallery, about our installation work “The Day Before Tomorrow” from the Whitney collection.
The information about the catalog is published online:
www.lndm.lt/igor-svetlana-kopystiansky-2/?lang=en
and at: kopystianskybooks.tumblr.com/
Regarding the purchase and shipping of the publication abroad, please contact dovile.zubaviciute@lndm.lt