View allAll Photos Tagged Recontextualization
2006 | 17th Annual James A. Porter Colloquium
Art, Artists, and Activism: The Black Arts Movement Revisited, Recontextualized. Photos by Barbara F. Wallace. www.portercolloquium.org/schol_2006.htm
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
A contemporary recontextualization of The medium is the massage, a book by media theorist Marshall McLuhan.
"This experimental website shows, in a symbolic way, our total immersion in the informational media, and the way it influences not only our minds but also our bodies and self image. The various body postures onto which information is projected symbolize various facets of our relationship with media and technology."
Ramona Todoca, SCAD'11
A contemporary recontextualization of The medium is the massage, a book by media theorist Marshall McLuhan.
"This experimental website shows, in a symbolic way, our total immersion in the informational media, and the way it influences not only our minds but also our bodies and self image. The various body postures onto which information is projected symbolize various facets of our relationship with media and technology."
Ramona Todoca, SCAD'11
Michele is honoring our mother. Coni Porter Uzelac, James Porter's daughter took this photograph
2006 | 17th Annual James A. Porter Colloquium
Art, Artists, and Activism: The Black Arts Movement Revisited, Recontextualized. . www.portercolloquium.org/schol_2006.htm
Melissa Peterman, right, is wearing a 19th century style ball gown made from material similar to that which Julie Andrews' character used to make childrens' clothes from old drapes. She interviews one of a family all dressed in night clothes, who are becoming Updated My Favorite Things for the costume contest. A person who is apparently the father holds up his favorite thing, on a sign that resembles millions of favorite things carried (mostly to no avail) through the streets of the world.
That's Charmian Carr on the left. She played Liesl in the movie. She's still youthful looking and generally fun.
This bunch didn't win. The winners were three adorable children dressed up as tea with jam and bread.
Sing-A-Long Sound of Music, Hollywood Bowl, September 16, 2007.
Motion capture data mapped onto an object. Project done with Adrian Herbez and Pei-Yi Ko in fall 2003.
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Aesthetic Objectives
This software system is designed to explore the translation of human movement onto non-human objects, in the process separating bodily movement from its original source and recontextualizing it. By re-mapping human motion and analyzing its dynamics in time, space and shape, we will explore perceived humanness within gestures and the essence of expressive motion.
By creating our own application, we will be able to provide an environment that allows the viewer to engage the data in three dimensions and interact with it in real time. This application also has the potential to serve as a choreographic tool to create aesthetically enchanting composition of movements.
Technical Objectives
The project must be able to read CSM files and render them in realtime 3d. The CSM is read into an internal representation that includes both the positional data it contains as well as angles of joints that are extrapolated from the positions of the markers. In other words, this application takes the CSM point data and translates it into angles.
Also, we will define a custom file format to represent the manner in which the human-based motion of the CSM is re-mapped onto a non-human subject. This file type will be referred to as "BOD" (for body, as opposed to motion) and is composed of human-readable text.
The BOD format contains:
- positional data offset that maps the position of markers on a human body to the position they would occupy on the non-human object/subject
- a mapping of the angular values of the translated CSM onto parts of the non-human subject
By Carrie Fonder
Located next to DO302
Expanding traditional gender roles. Materials that are traditionally soft are recontextualized in steel. Traditional "women's work" -quilting, and weaving- is replaced with welding.
All faces light up at the beautiful word “earn.”
Hans-Peter Feldmann walked up and down the aisles between the booths of the 2015 Art Cologne art fair with this sign. He ironically alluded to how the thought of money makes people's faces light up, how the prospect of earnings lifts the spirits. In his performance, Feldmann criticised how art becomes a luxury commodity at fairs: something that confers status and whose value is expected to grow constantly. Throughout his life, he was preoccupied with the factors and trends that determine the art market and how little they have to do with art itself at times.
The "Hans-Peter Feldmann. Art Exhibition" at the Kunstpalast Düsseldorf is a significant retrospective dedicated to the work of the influential German artist (1941–2023). Spanning his 60-year career, the exhibition is a comprehensive survey featuring around 80 works, including early photographs from the 1970s, sculptures made from everyday objects, painted-over paintings, and expansive installations. The presentation, which occupies ten rooms of the museum, is notable as the first major exhibition following Feldmann's death in May 2023, and it holds the special distinction of being the final museum show he was actively involved in planning, with the title itself coming directly from the artist.
Feldmann's oeuvre consistently revolves around fundamental questions: What is art? Where do its boundaries lie? The exhibition powerfully illustrates his rejection of the traditional distinction between "art" and "everyday life," showcasing how he elevated the seemingly banal and incidental to the realm of high art. Recurring themes throughout his work include social clichés, voyeurism, and consumerism, often approached with a direct, playful, and humorous sensibility. Key works on display highlight his artistic strategies of appropriation, alienation, and recontextualization, inviting viewers to re-examine familiar objects and images from a new perspective.
A central thread of the exhibition is Feldmann's profound fascination with visual imagery and the photographic medium. His artistic practice, which he described as a three-stage process of cutting out, collecting, and gluing, began with his archive of found photographs, postcards, and newspaper clippings. Notable works that embody this approach include his "Zeitserien" (Time Series), which document simple, everyday moments in sequence, and his collection of 156 international newspaper front pages from September 12, 2001, which collectively explore the impact of mass media and the power of image-text combinations in shaping public perception.
Beyond the formal presentation of works, the exhibition maintains Feldmann's desire to break with institutional conventions and engage a broad audience. It features interactive and participatory elements, such as his large installation "Schattenspiel" (Shadow Play, 2002), where shadows of rotating toys and found objects are fantastically distorted, and a "Feldmann Shelf" (or "Swap Shelf") where visitors can engage with his ethos of value and exchange. The retrospective ultimately celebrates Feldmann's enduring legacy as an artist who humorously and radically questioned the mechanisms of the art world and the formation of taste, proving the continuing relevance of his playful, anti-establishment spirit.
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
So familiar... but what is this? Mixing comedy with tragedy, Nathan Mabry's "Process Art (B-E-A-G-G-R-E-S-S-I-V-E)" is a mash-up of Rodin's "The Burghers of Calais" with the heads of sports team mascots (mask-arts?). Mabry refers to this work as "recontextualized metaphor". Striking, alarming and humorous... See MY mash-up photo next door (stage right).
This installation is at the Savannah College of Art & Design Museum of Art: www.scadmoa.org/art/exhibitions/2014/nathan-mabry-sculptu....
Nathan Mabry's bio and examples of his other works can be found here: www.skny.com/artists/nathan-mabry/bio/..
More about Mabry and "The Burghers of Calais": www.cherryandmartin.com/content/File/NM_1304_StarTelegram....
Standing right in the doorway, covering up any glimpse of the murals from the corridor: "the murals in this gallery... are evidence of the widespread postwar effort by former Confederates to justify and glorify the Confederacy known as the Lost Cause... intentionally denied the central role of slavery as a cause of the conflict... As with most monuments and memorials, these paintings tell us more about the intentions and values of the people who created them than about the historical subjects they depict."
Project Maybach Concept (2021)
We saw this at the Mercedes-Benz Pebble Beach display.
The following text is from a December 1, 2021, Mercedes-Benz Media Group press release mourning the loss of designer Virgil Abloh.
“Mercedes-Benz is devastated to hear of the passing of Virgil Abloh. Our sincere thoughts are with Virgil’s family and teams. Now opening the world of our collaboration, and Virgil’s unique vision, to the public we want to respectfully celebrate the work of a truly unique design talent, who created endless possibilities for collaboration through his unbridled imagination and inspired all that knew his work.” Mercedes-Benz AG.
Introducing Project MAYBACH
A design unlike anything that has been developed by Mercedes-Benz, every element of Project MAYBACH has been built from scratch. Abloh, collaboratively with Gorden Wagener, has interpreted Mercedes-Maybach’s luxury identity with a new design language and pushed the boundaries of function, style, and collaborative creativity. Inspired by the great outdoors and recontextualizing a traditionally urban brand within a distinctly off-road environment, the 2-seater, battery-electric off-road coupé combines huge Gran Turismo proportions, large off-road wheels and distinctive attachments.
Key for both Abloh and Wagener was a responsible vision of future design. Complete creative freedom – untethered by production requirements - enabled the design teams to conceptualize what the future of electric travel could look like. Under the transparent surface of the show cars front hood for instance are solar cells that increase the imagined range of the Project MAYBACH.
Never afraid to spark conversation through provocative design, Project MAYBACH channels Abloh’s passion to challenge the status quo and re-write the rulebook of aspirational design. The X-Factor nature of Project MAYBACH results not only from its breathtaking size - almost six meters long - and characteristics, but above all from its unique contrasts; most notably through how naturally authentic Mercedes-Maybach design elements are harmoniously combined with a new Outdoor Adventure design motif.
The power of Abloh’s work is not only from the product design, but also the exploratory conversations that his work ignited. Whilst the Project MAYBACH show car was inspired by how one could explore nature within a uniquely luxury context with Maybach, the Mercedes-Benz teams thank Virgil Abloh for the inspiration to explore every day the power of cross-industry dialogue to imagine a better, more inclusive future.
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Mercedes-Benz vehicle exhibit. After some great auction viewing at Gooding & Company, we visited the nearby Pebble Beach Concours d'Elegance exhibit and vendor tents.
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Had a blast with our auto-enthusiast friend and neighbor, Fred, at Monterey Car Week 2022.
I made a short, slightly stupid movie illustrating the evocative power of recontextualization. Also, since we buy into the metaphor of a desktop in the first place, you really can't say that computers aren't magic.
This is a video clip. You can watch it on Vimeo:
Also on YouTube:
The "Hans-Peter Feldmann. Art Exhibition" at the Kunstpalast Düsseldorf is a significant retrospective dedicated to the work of the influential German artist (1941–2023). Spanning his 60-year career, the exhibition is a comprehensive survey featuring around 80 works, including early photographs from the 1970s, sculptures made from everyday objects, painted-over paintings, and expansive installations. The presentation, which occupies ten rooms of the museum, is notable as the first major exhibition following Feldmann's death in May 2023, and it holds the special distinction of being the final museum show he was actively involved in planning, with the title itself coming directly from the artist.
Feldmann's oeuvre consistently revolves around fundamental questions: What is art? Where do its boundaries lie? The exhibition powerfully illustrates his rejection of the traditional distinction between "art" and "everyday life," showcasing how he elevated the seemingly banal and incidental to the realm of high art. Recurring themes throughout his work include social clichés, voyeurism, and consumerism, often approached with a direct, playful, and humorous sensibility. Key works on display highlight his artistic strategies of appropriation, alienation, and recontextualization, inviting viewers to re-examine familiar objects and images from a new perspective.
A central thread of the exhibition is Feldmann's profound fascination with visual imagery and the photographic medium. His artistic practice, which he described as a three-stage process of cutting out, collecting, and gluing, began with his archive of found photographs, postcards, and newspaper clippings. Notable works that embody this approach include his "Zeitserien" (Time Series), which document simple, everyday moments in sequence, and his collection of 156 international newspaper front pages from September 12, 2001, which collectively explore the impact of mass media and the power of image-text combinations in shaping public perception.
Beyond the formal presentation of works, the exhibition maintains Feldmann's desire to break with institutional conventions and engage a broad audience. It features interactive and participatory elements, such as his large installation "Schattenspiel" (Shadow Play, 2002), where shadows of rotating toys and found objects are fantastically distorted, and a "Feldmann Shelf" (or "Swap Shelf") where visitors can engage with his ethos of value and exchange. The retrospective ultimately celebrates Feldmann's enduring legacy as an artist who humorously and radically questioned the mechanisms of the art world and the formation of taste, proving the continuing relevance of his playful, anti-establishment spirit.
2006 | 17th Annual James A. Porter Colloquium
Art, Artists, and Activism: The Black Arts Movement Revisited, Recontextualized. Photos by Barbara F. Wallace. www.portercolloquium.org/schol_2006.htm
A contemporary recontextualization of The medium is the massage, a book by media theorist Marshall McLuhan.
"This experimental website shows, in a symbolic way, our total immersion in the informational media, and the way it influences not only our minds but also our bodies and self image. The various body postures onto which information is projected symbolize various facets of our relationship with media and technology."
Ramona Todoca, SCAD'11
MaiMai - guitar & electronics / A23H - bassclarinet, pocket trumpet, Kaos Pad / Cheng Xu - electronics / Jun-Y Ciao - altosax & clarinet / Yi Tao - drums & percussion
The Shanghai Quintet emerged in 2011 from the fertile intersections of Shanghai’s improvised scene, bringing together guitarist and electronics player MaiMai, Alfred 23 Harth on bass clarinet, pocket trumpet and Kaos Pad, Cheng Xu on electronics, Jun‑Y Ciao on alto saxophone and clarinet, and Yi Tao on drums and percussion. Their first performances in Shanghai quickly marked them as a distinctive ensemble, blending mercurial electronics, extended instrumental vocabularies, and an urgent collective drive. The group returned the following year for the German Chinese Jazz Improvise Meeting Festival, with concerts in Shanghai, Beijing, and Shenzhen, further underscoring its importance as a cross‑cultural venture. In that same season, Harth—assisted by Jun‑Y Ciao—also appeared in Hong Kong with local musicians under the banner of Struggle For More Freedom, an event emblematic of his engagement with politically charged improvisation in East Asia.
This period culminated in 2014 with Harth’s major KSE release China Collection, a sprawling and audacious 70‑minute assemblage incorporating recordings of the Shanghai Quintet’s Chinese players alongside a wide range of sources. Its dense construction—juxtaposing recontextualized operatic fragments, improvisational passages, reeds, strings, cut‑up voices, turntablist gestures, and electronic textures—resulted in a monumental sound‑sculpture of rare scope. Harth himself provided detailed liner notes, situating each piece within the larger project and affirming the work’s status as both archive and reinvention. For those steeped in the avant‑garde, China Collection resists categorization: more than a sampler of Harth’s Chinese collaborations, it reimagines them as a total artwork.
The Quintet’s trajectory continued with an invitation in 2016 to perform at Shanghai’s Power Station of Art, a milestone reflecting both institutional recognition and the group’s sustained vitality. Harth subsequently released documentation of this appearance as ShangShan / Stone Age Music (KSE, 2017), further expanding the dialogue between live practice and crafted release. In 2019, his solo tour of China reaffirmed long‑standing ties with the region, a relationship that had its roots as far back as 2004, when he undertook a first exploratory journey there with Yi Soonjoo.
Across these exchanges and releases, Harth and the Shanghai Quintet exemplified the fluid networks of the contemporary improvised music world: committed to experimentation, deeply collaborative, and alert to the political, cultural, and historical resonances of performance.
2006 | 17th Annual James A. Porter Colloquium
Art, Artists, and Activism: The Black Arts Movement Revisited, Recontextualized
Photos by Barbara F. Wallace. www.portercolloquium.org/schol_2006.htm
The "Hans-Peter Feldmann. Art Exhibition" at the Kunstpalast Düsseldorf is a significant retrospective dedicated to the work of the influential German artist (1941–2023). Spanning his 60-year career, the exhibition is a comprehensive survey featuring around 80 works, including early photographs from the 1970s, sculptures made from everyday objects, painted-over paintings, and expansive installations. The presentation, which occupies ten rooms of the museum, is notable as the first major exhibition following Feldmann's death in May 2023, and it holds the special distinction of being the final museum show he was actively involved in planning, with the title itself coming directly from the artist.
Feldmann's oeuvre consistently revolves around fundamental questions: What is art? Where do its boundaries lie? The exhibition powerfully illustrates his rejection of the traditional distinction between "art" and "everyday life," showcasing how he elevated the seemingly banal and incidental to the realm of high art. Recurring themes throughout his work include social clichés, voyeurism, and consumerism, often approached with a direct, playful, and humorous sensibility. Key works on display highlight his artistic strategies of appropriation, alienation, and recontextualization, inviting viewers to re-examine familiar objects and images from a new perspective.
A central thread of the exhibition is Feldmann's profound fascination with visual imagery and the photographic medium. His artistic practice, which he described as a three-stage process of cutting out, collecting, and gluing, began with his archive of found photographs, postcards, and newspaper clippings. Notable works that embody this approach include his "Zeitserien" (Time Series), which document simple, everyday moments in sequence, and his collection of 156 international newspaper front pages from September 12, 2001, which collectively explore the impact of mass media and the power of image-text combinations in shaping public perception.
Beyond the formal presentation of works, the exhibition maintains Feldmann's desire to break with institutional conventions and engage a broad audience. It features interactive and participatory elements, such as his large installation "Schattenspiel" (Shadow Play, 2002), where shadows of rotating toys and found objects are fantastically distorted, and a "Feldmann Shelf" (or "Swap Shelf") where visitors can engage with his ethos of value and exchange. The retrospective ultimately celebrates Feldmann's enduring legacy as an artist who humorously and radically questioned the mechanisms of the art world and the formation of taste, proving the continuing relevance of his playful, anti-establishment spirit.
By Carrie Fonder
Located near SC126
Expanding traditional gender roles. Materials that are traditionally soft are recontextualized in steel. Traditional "women's work" -quilting, and weaving- is replaced with welding.
A set of chaotic staircases that mostly serve no function possesses an inherent amusement that stems from their defiance of conventional architectural purpose. Stairs are fundamentally designed for utility: to connect different levels, facilitate movement, and provide access. When this core function is subverted, and staircases lead nowhere, intersect illogically, or terminate abruptly, they become a visual paradox. This absurdity is often delightful because it challenges our innate expectation of order and rationality in built environments. The amusement can arise from the sheer unexpectedness, a kind of architectural non-sequitur that invites viewers to question the designer's intent, or perhaps lack thereof, transforming a functional element into a whimsical, almost sculptural, folly.
Furthermore, the humor in such a structure can be found in its playful disruption of spatial logic. Imagine a staircase that splits into three divergent paths, only for two to end at a wall and the third to lead to a small, isolated platform. This kind of "anti-architecture" forces us to confront the futility of movement, creating a sense of a physical riddle or a visual joke. It might evoke a sense of a labyrinth or an M.C. Escher drawing brought to life, where the rules of perspective and gravity seem to bend. The amusement is derived from the intellectual puzzle presented, the recognition that a common object has been recontextualized to evoke confusion and a chuckle rather than simple navigation.
Finally, the amusement of non-functional, chaotic staircases often lies in their capacity to comment on the nature of design itself, or even life's own irrationalities. They can be seen as a form of artistic expression, a deliberate act of whimsical subversion that pushes the boundaries of what architecture "should" be. In a world often driven by efficiency and practicality, a monument to delightful pointlessness offers a refreshing counterpoint. Such structures are not meant to be efficient; they are meant to be experienced, to elicit a smile, and to remind us that not everything needs a straightforward purpose to be valuable or, in this case, genuinely amusing.
Tailings, 2011
styrofoam, foam core, spray foam, recycled window screens, plywood, HCF, latex paint, cardboard, string, aqua resin
125 inches x 87 inches x 43 inches
Utopia-
From the Greek: οὐ ("not") and τόπος ("place"). The English homophone eutopia, derived from the Greek εὖ ("good" or "well") and τόπος ("place"), signifies a double meaning: "good place" and "no place".
- Wikipedia
My current body of work explores the idea that utopia can be considered not only a place or a goal, but also as the very act of striving for such a target. These hybridized structures are materializations, remnants of an ideal that never was and may never be. As fallen monuments to a utopic philosophy, they function as relics of both a “good place” and “no place.” They nod towards a bright future and a fallen past, recontextualizing and recombining materials that are both nostalgic and futuristic. An embedded sense of naiveté is inherent to the objects, formed from a chemical bond of sunshine and noir that was repeatedly cooled and heated by urban temperament and artifice. Part architectural, part fossil, part potential: these works utilize discarded building materials that appear to have crystallized within a ‘natural’ process—strata that have undergone philosophical transformation yet to be fulfilled.
This process of research began with an interest in the history of the midwestern suburban landscape and culture from my youth, where the middle class idea of “the good life” fueled a massive overhaul of the American landscape that would drastically alter how we live for generations to come. This background, combined with my fascination and love/hate relationship with the city of Los Angeles, where I currently live, has lead me to examine mid-century philosophies of utopia and idealism. Los Angeles has a sordid environmental history as a strange apocalyptic theme park. Its plush, manicured landscape is a reminder of both a forced growth in an otherwise desert geography, and as a monument to human ingenuity made possible by diverting an unfathomable amount of water from distant sources. I am captivated by the hybridized structures and blatant artifice of the city in both its natural and man-made environments where hill top homes float precariously overhead on earth that has a topographical complexity of embedded catastrophe.
REVIEW: FATALE #5
June 12, 2012
As usual, the distinctive look of artist Sean Phillips and colorist Dave Stewart gels with Brubaker’s writing the way Steve Epting’s work did on the writer’s Captain America run. The art wears its ’50s influence on its sleeve, particularly in the first three pages, where a number of the panels look like something John Romita or Tony Abruzzo would draw (and Roy Lichtenstein would then… *ahem* … “recontextualize“).
Written by Andrew Taylor
Teddy Roosevelt Wiki
Teddy Roosevelt Biography
Who is Teddy Roosevelt ?
A statue of Theodore Roosevelt that has stood in front of the American Museum of Natural History in Manhattan for more than 80 years was removed Wednesday, photos show.
The bronze monument depicting the nation's 26th president on horseback flanked by an African man and a Native American, which has sparked protests for glorifying colonialism and racism, was towed away shortly after midnight, leaving only its concrete pedestal.
The controversial effigy will be sent to a library in North Dakota on a long-term loan, officials said.
The $2 million removal, by the museum and the city, comes after the New York City Public Design Commission voted in June to relocate the monument.
Last month, the museum covered the 10-foot-tall statue with an orange tarp before it was shipped to the Theodore Roosevelt Presidential Library in Medora, North Dakota.
One of the former president's descendants, Theodore Roosevelt V, applauded the removal plan last year, saying "it is appropriate that the statue be relocated to a place where its composition can be recontextualized to facilitate difficult, complex and inclusive discussions."
Still, some critics called the relocation a victory for cancel culture — and a blow to history.
The statue came under fire amid nationwide Black Lives Matter protests sparked by the police killing of George Floyd in May 2020.
Pelagie Gbaguidi ( ° Dakar, 1965 ) is a Beninese draughtwoman, painter, performance- and installation artist. Her work is the result of the poetic and political motivation of the artist to spread stories, experiences, myths, poetry and positions. In this sense, it is part of the legacy of the griots. In many African countries, the griot is the custodian of an oral heritage and bears a responsibility to ensure the continuity of stories, events, traditions and legends from one generation to the next. Her work is an anthology of the signs and traces of trauma, and is centred on colonial and postcolonial history. She draws attention to the way in which legacies of oppression are circumvented in official histories – and thus preserved. She aims to reveal the process of forgetting by recontextualizing archives and histories.
More about the works of the artist: www.middelheimmuseum.be/en/page/p%C3%A9lagie-gbaguidi
This work of art can be admired at the Middelheim open air museum at Antwerp, during the summer of 2021, as part of the Congoville exhibition: www.middelheimmuseum.be/en/activity/congoville
Pelagie Gbaguidi ( ° Dakar, 1965 ) is een Beninese tekenares, schilder, performance- en installatiekunstenares. Haar werk is het resultaat van de poëtische en politieke motivatie van de kunstenares om verhalen, ervaringen, mythen, poëzie en standpunten te verbreiden. In die zin maakt het deel uit van de erfenis van de griots. In veel Afrikaanse landen is de griot de hoeder van een mondeling erfgoed en draagt hij de verantwoordelijkheid voor de continuïteit van verhalen, gebeurtenissen, tradities en legenden van de ene generatie op de andere. Haar werk is een bloemlezing van de tekenen en sporen van trauma, en is gericht op de koloniale en postkoloniale geschiedenis. Ze vestigt de aandacht op de manier waarop erfenissen van onderdrukking worden omzeild in officiële geschiedenissen - en dus bewaard blijven. Ze wil het proces van vergeten onthullen door archieven en geschiedenissen te hercontextualiseren.
Titel van het werk: De ontbrekende schakel. Dekolonisatie onderwijs door mevrouw Smiling Stone
Meer over de werken van de kunstenaar: www.middelheimmuseum.be/nl/pagina/p%C3%A9lagie-gbaguidi
Dit werk kan tijdens de zomer van 2021 bewonderd worden in het openlucht museum Middelheim in Antwerpen, in het kader van de tentoonstelling Congoville: www.middelheimmuseum.be/nl/congoville
Pelagie Gbaguidi (° Dakar, 1965) est une dessinatrice, peintre, artiste de performance et d'installation béninoise. Son œuvre est le résultat de la motivation poétique et politique de l'artiste à diffuser des histoires, des expériences, des mythes, de la poésie et des positions. En ce sens, elle s'inscrit dans l'héritage des griots. Dans de nombreux pays africains, le griot est le gardien d'un patrimoine oral et a la responsabilité d'assurer la continuité des histoires, événements, traditions et légendes d'une génération à l'autre. Son travail est une anthologie des signes et des traces de traumatisme, et est centré sur l'histoire coloniale et postcoloniale. Elle attire l'attention sur la manière dont les héritages de l'oppression sont contournés dans les histoires officielles - et donc préservés. Elle cherche à révéler le processus d'oubli en recontextualisant les archives et les histoires.
Titre de l’oeuvre: Le chaînon manquant. Éducation à la décolonisation par Mme Smiling Stone
En savoir plus sur les œuvres de l'artiste : www.middelheimmuseum.be/fr/page/p%C3%A9lagie-gbaguidi
Cette œuvre pourra être admirée durant l'été 2021 au musée en plein air Middelheim à Anvers, dans le cadre de l'exposition Congoville : www.middelheimmuseum.be/fr/activite/congoville
Visit with students from Erg (Ecole de Recherche Graphique) and meeting with RYBN artists at the StockOverflow exhibition at iMAL, Brussels.
StockOverflow is an operation (exhibition and conferences) proposed by RYBN to recontextualize the crisis, its mediatic and politic strategies, on the topics of disaster, structural instability and financial markets mythologies.
“Video: Recycled”
Produced by FAR (Foundation for Art Resources)
Feb. 5 – Feb 28, 2011
Opening Reception Feb. 12, 6pm-9pm
D-Block Projects 218 N Promenade, Long Beach, CA 90802
“Video: Recycled” is an exhibition of contemporary video work from artists who find ways to recycle video, film, and printed material that was presumably made for a different intention. The artists in “Video: Recycled” appropriate moving images, recontextualize content, re-examine the aesthetics of video, and address different methods of presentation.
History:
Long Beach, California has a long history of video art, highlighted by the Long Beach Museum of Art that formerly housed one of the largest video art collections in the world. Historically, FAR (Foundation for Art Resources) often collaborated with the museum to contribute to the presentation and creation of video art in Long Beach. FAR would support video art programs such as the “Video Night Series” and other video and film based events. The exhibition “Video: Recycled” continues FAR’s tradition of presenting contemporary and experimental video art.
Artists:
Participating artists include:
Sara Ching-Yu Sun
Ben Coonley
Bill Domonkos
Bryan Konesky
Ryan Lamb
Elizabeth Leister
Kelly Sears
Angie Waller
Animal Charm
Curated by Jeff Chabot
More Info.
info@dblockprojects.com | dblockprojects.com
Media Contacts:
info@farsited.org | farsited.org | (949) 290-1035
Sponsors:
Video: Recyled is made possible by FAR (Foundation for Art Resources), Arts Council Long Beach, Mexicali Biennial, D-Block Projects, and Phantom Galleries.
Marco Zamora was born and currently lives and works in Pomona, California. In 2004 he graduated from California Institute of the Arts, with a Bachelor of Fine Art. Using the paintbrush and pen to draw, Marco develops imagery about the urban landscape and the people that inhabit it. Producing a richly complex and experimental image, Marco goes into a neighborhood and shoots a spot, recontextualizing and collaging figures to create each paintings identity. City life, his culture, color/scale experiementation, and the working class have influenced his artwork. Splitting time between his painting and apparel design, Marco's recent work can be seen in a variety of Van's ads and collaboration projects as well as galleries up and down the west coast.
is sf to blame for this? sorry, japan.
this is just outside of tokyu hands, where we saw most of the sf bike scene in 'pedal speed' magazine. chuey, boxdog, freewheel hayes like 100x, jovante, the freight crew, a full pictorial of benders (benders!), the full article on puck... not sure what to make of a glossy shibuya recontextualization of your scene.
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
Secure the Bag, Mint the Soaps and Throw the Bones is a site of exchange that aims to recontextualize the intricate histories of the brown paper bag and Hispano cuaba soap while inviting the audience to play a game of dominoes. This is based on the artist’s ongoing examination of these items found in private and domestic settings. Nonetheless, their combined racialized, colonial and social complexity reverberates in the customs and dynamics of collective space within a black diasporic subjectivity and imagination. To learn more visit www.recessart.org/francheskaalcantara/
From the museum label:
Love, Queen, Adam Pendleton's (b. Richmond, Virginia, 1984; lives in Brooklyn, New York) first solo exhibition in Washington, DC, brings together recent works to highlight the centrality of painting, as well as the translation and transformation of the handmade mark, in his practice. Since he began making art in the early 2000s, Pendleton has developed an expansive approach to art-making that employs gesture, fragment, text, and image to recontextualize histories of painting, abstraction, Blackness, and the historical avant-garde. Deploying collage as model and method, Pendleton places traditionally separate ideas and processes in close proximity, creating a fluid state that opens up new spaces for seeing and thinking.
Love, Queen includes paintings from five bodies of work: Black Dada, Untitled (Days), WE ARE NOT, Composition, and Movement. Challenging convention through their blurring of distinctions among painting, photography, and drawing, Pendleton's visually active and spatially complex paintings give visual form to what the artist describes as the "complex real"—the onslaught of sensory phenomena and often contradictory information that defines contemporary experience.
His painting process begins on paper by exploring the full breadth of mark-making. He layers paint, spray paint, ink, and watercolor, integrating fragmentary text and geometric forms through stenciling techniques. These works on paper are photographed and then layered using a screen-printing process. The resulting paintings—simultaneously expressionistic, minimal, and conceptually rich—feature both stark contrasts and subtle variations in tone and finish. They are a tangible manifestation of his belief in painting as a powerful "visual and conceptual force."
A23H / MaiMai / Xu Cheng / Jun-y Ciao / Yi Tao.
listen to: soundcloud.com/chinasoundresearch/sh-5tet1
The Shanghai Quintet emerged in 2011 from the fertile intersections of Shanghai’s improvised scene, bringing together guitarist and electronics player MaiMai, Alfred 23 Harth on bass clarinet, pocket trumpet and Kaos Pad, Cheng Xu on electronics, Jun‑Y Ciao on alto saxophone and clarinet, and Yi Tao on drums and percussion. Their first performances in Shanghai quickly marked them as a distinctive ensemble, blending mercurial electronics, extended instrumental vocabularies, and an urgent collective drive. The group returned the following year for the German Chinese Jazz Improvise Meeting Festival, with concerts in Shanghai, Beijing, and Shenzhen, further underscoring its importance as a cross‑cultural venture. In that same season, Harth—assisted by Jun‑Y Ciao—also appeared in Hong Kong with local musicians under the banner of Struggle For More Freedom, an event emblematic of his engagement with politically charged improvisation in East Asia.
This period culminated in 2014 with Harth’s major KSE release China Collection, a sprawling and audacious 70‑minute assemblage incorporating recordings of the Shanghai Quintet’s Chinese players alongside a wide range of sources. Its dense construction—juxtaposing recontextualized operatic fragments, improvisational passages, reeds, strings, cut‑up voices, turntablist gestures, and electronic textures—resulted in a monumental sound‑sculpture of rare scope. Harth himself provided detailed liner notes, situating each piece within the larger project and affirming the work’s status as both archive and reinvention. For those steeped in the avant‑garde, China Collection resists categorization: more than a sampler of Harth’s Chinese collaborations, it reimagines them as a total artwork.
The Quintet’s trajectory continued with an invitation in 2016 to perform at Shanghai’s Power Station of Art, a milestone reflecting both institutional recognition and the group’s sustained vitality. Harth subsequently released documentation of this appearance as ShangShan / Stone Age Music (KSE, 2017), further expanding the dialogue between live practice and crafted release. In 2019, his solo tour of China reaffirmed long‑standing ties with the region, a relationship that had its roots as far back as 2004, when he undertook a first exploratory journey there with Yi Soonjoo.
Across these exchanges and releases, Harth and the Shanghai Quintet exemplified the fluid networks of the contemporary improvised music world: committed to experimentation, deeply collaborative, and alert to the political, cultural, and historical resonances of performance.
Living large, too awesome for just one pipe. He must be famous and super rich!
A little strange photo cart from the days when "cut and paste' meant a scissors and rubber cement.
Taken by Cory Funk.
From the museum label:
Love, Queen, Adam Pendleton's (b. Richmond, Virginia, 1984; lives in Brooklyn, New York) first solo exhibition in Washington, DC, brings together recent works to highlight the centrality of painting, as well as the translation and transformation of the handmade mark, in his practice. Since he began making art in the early 2000s, Pendleton has developed an expansive approach to art-making that employs gesture, fragment, text, and image to recontextualize histories of painting, abstraction, Blackness, and the historical avant-garde. Deploying collage as model and method, Pendleton places traditionally separate ideas and processes in close proximity, creating a fluid state that opens up new spaces for seeing and thinking.
Love, Queen includes paintings from five bodies of work: Black Dada, Untitled (Days), WE ARE NOT, Composition, and Movement. Challenging convention through their blurring of distinctions among painting, photography, and drawing, Pendleton's visually active and spatially complex paintings give visual form to what the artist describes as the "complex real"—the onslaught of sensory phenomena and often contradictory information that defines contemporary experience.
His painting process begins on paper by exploring the full breadth of mark-making. He layers paint, spray paint, ink, and watercolor, integrating fragmentary text and geometric forms through stenciling techniques. These works on paper are photographed and then layered using a screen-printing process. The resulting paintings—simultaneously expressionistic, minimal, and conceptually rich—feature both stark contrasts and subtle variations in tone and finish. They are a tangible manifestation of his belief in painting as a powerful "visual and conceptual force."
What kinds of new knowledge can be invoked from the recontextualization of the most frequently used words within the text? I have begun to work on Banned Written works as a source- the three pieces here are just a starting point.
The pilot stage of Actors of Urban Change has come to an end, and yet it is the beginning of a beautiful friendship since Actors has already become a vivid network of commited people.
From May 8 to 11, the Participants of the first generation and local guest from the participating cities came again to Berlin to celebrate and show their achievements during the Closing Ceremony in the representative office of the Robert Bosch Stiftung.
This was following in depth workshops, evaluating the respective developments within the teams, projects and the program, which were carried out on the premises of the ZKU - Zentrum für Kunst und Urbanistik.
Getting back to real urban challenges, May 10, was filled with three field trips in different districts of the city to recontextualize the Berlin experience.
More information at actors-of-urban-change.eu.
Photo by Panos Georgiou
Carry Me Home is a sculpture created from found bricks and repurposed materials collected from the streets of Tiohtià:ke / Mooniyang / Montreal. Originating from Daniel Gillberg’s exploration of the city upon arrival, this work examines themes of identity, belonging, and the tangible elements that shape our sense of home. The bricks symbolize connection, memory, and labour, transforming them into more than mere construction materials; they become carriers of both personal and collective narratives. The act of collecting and recontextualizing these materials reflects a personal yet universally resonant.
Rooted in the artist’s nomadic experience and informed by a queer perspective, Carry Me Home investigates what it means to inhabit a space in a constantly shifting world. It prompts viewers to consider the essence of home: is it a physical place, a state of being, or something we carry within us? Through the thoughtful integration of discarded materials, the sculpture challenges perceptions of space and identity while engaging with themes of environmental psychology and new materialism.
Gillberg is a Swedish interdisciplinary artist based in Montreal. Through sculpture, photography, and installation, he explores how discarded objects relate to materiality, memory, and cultural identity. Drawing from his background in fine art conservation, he examines how these materials reflect human experiences and societal patterns.
He holds a degree in Conservation and Restoration of Fine Arts from the University of Gothenburg (Sweden) and studied photography at the Nordic School of Photography in Oslo (Norway). His work has been exhibited internationally, including in Norway, Denmark, Sweden, Australia, the United States, and Germany, where he completed a two-year residency at the Centre for Ceramics in Berlin. He is currently a Master of Fine Arts candidate in Sculpture and Ceramics at Concordia University (Montreal), focusing on sustainable practices in material culture.
Art Souterrain 2025, Montréal, Québec.
The pilot stage of Actors of Urban Change has come to an end, and yet it is the beginning of a beautiful friendship since Actors has already become a vivid network of commited people.
From May 8 to 11, the Participants of the first generation and local guest from the participating cities came again to Berlin to celebrate and show their achievements during the Closing Ceremony in the representative office of the Robert Bosch Stiftung.
This was following in depth workshops, evaluating the respective developments within the teams, projects and the program, which were carried out on the premises of the ZKU - Zentrum für Kunst und Urbanistik.
Getting back to real urban challenges, May 10, was filled with three field trips in different districts of the city to recontextualize the Berlin experience.
More information at actors-of-urban-change.eu.
Photo by Panos Georgiou