BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

 

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

 

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

 

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

 

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

 

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

 

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

 

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

 

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

 

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

 

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

 

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

  

Boscastle flood of 2004

 

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

 

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

 

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

 

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

 

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

 

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

 

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

 

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

 

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

 

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

 

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

 

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

 

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

 

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

 

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

  

Boscastle flood of 2004

 

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

 

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

 

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

 

Attachment theory describes several behavioural systems, the function of which is to regulate human attachment, fear, exploration, care-giving, peer-affiliation and sex. Attachment is defined as any form of behaviour that results in a person attaining and retaining proximity to a differentiated other. The primary caregiver is the source of the infants stress regulation and, therefore, sense of safety and security. Attachment theory emphasises the role of the parent as mediator, reflector and moderator of the childs mind and the childs reliance on the parent to respond to their affective states in ways that are contingent to their internal experience, a process often referred to as secure base/safe haven functioning. Within the close parent-child relationship neural networks dedicated to feelings of safety and danger, attachment and the core sense of self are sculpted and shaped. These networks are conceptualised as internal working models of attachment.

 

Characteristic patterns of interaction operating within the familys caregiving-attachment system give rise to secure, insecure and disorganized patterns of attachment. These discrete patterns have been categorized using the Strange Situation research procedure, which observes the young childs behaviour when separated and reunited with his or her primary caregiver. Attachment patterns are represented in the childs internal working models of self-other relationships. Secure attachment is promoted by the interactive regulation of affect, which facilitates the recognition, labelling and evaluation of emotional and intentional states in the self and in others, a capacity known as reflective function or mentalization. The recognition of affects as having dynamic, transactional properties is the key to understanding behaviour in oneself and in another. The child comes to recognize his or her mental states as meaningful self-states via a process of parental affect mirroring and marking. Secure children are able to use sophisticated cognitive strategies to integrate and resolve their fear of separation and loss.

 

When the parent is unavailable, inconsistent or unpredictable, the infant develops one of two organized insecure patterns of attachment: avoidant or ambivalent-resistant. These defensive strategies involve either the deactivation or hyper-activation of the attachment system. Deactivation is characterized by avoidance of the caregiver and by emotional detachment. In effect, the avoidant child immobilizes the attachment system by excluding thoughts and feelings that normally activate the system. Hyper-activation is manifested by an enmeshed ambivalent preoccupation with the caregiver and with negative emotions, particularly anger. However, in common with the avoidant child, the ambivalent child appears to cognitively disconnect feelings from the situation that elicited the distress. Disorganised-disoriented attachment is discussed below.

 

Attachment research, then, demonstrates that discrete patterns of secure, insecure, and disorganized attachment have as their precursor a specific pattern of caregiver-infant interaction and their own behavioural sequelae. Repeated patterns of interpersonal experience are encoded in implicit-procedural memory and conceptualized as self-other working models of attachment. These mental models consist of generalized beliefs and expectations about relationships between the self and key attachment figures, not the least of which concerns ones worthiness to receive love and care from others.

 

In sum, the care-giving environment generally, and the infant-caregiver attachment relationship particularly, initiate the child along one of an array of potential developmental pathways. Disturbance of attachment is the outcome of a series of deviations that take the child increasingly further from adaptive functioning. Child abuse and cumulative developmental trauma violate the childs sense of trust, identity and agency and have pernicious and seminal influences on the developing personality. In essence, internal working models of early attachment relationships provide the templates for psychopathology in later life, which may include violent, destructive and self-destructive forms of behaviour. In attachment theory, the main purpose of defence is the regulation of emotions. The primary mechanisms for achieving this are distance regulation and the defensive exclusion of thoughts and feelings associated with attachment trauma.

 

Early trauma in the form of abuse, loss, neglect and severe parent-child misattunement compromises brain-mediated functions such as attachment, empathy and affect regulation. From an attachment theory perspective, patterns of attachment are encoded and stored as generalized relational patterns in the systems of implicit memory. These are conceptualized as cognitive-affective internal working models which are seen as mediating how we think and feel about ourselves, others and the relationships we develop. Although open to change and modification in the light of new attachment experiences, whether positive or negative, these non-conscious procedural models, scripts or schemas within which early stress and trauma are retained, tend to persevere and guide, appraise and predict attachment-related thoughts, feelings and behaviours throughout the life cycle via the implicit memory system. Psychopathology is seen as deriving from an accumulation of maladaptive interactional patterns that result in character traits and personality types and disorders.

 

Disorganised attachment may occur when the childs parent is both the source of fear and the only protective figure to whom to turn to resolve stress and anxiety. In such instances, neither proximity seeking nor proximity avoiding is a solution to the activation of the childs attachment and fear behavioural systems. If the trauma remains unresolved and is carried into adulthood, it leaves the individual vulnerable to affect dysregulation in interpersonal conflict situations that induce fear, hate, shame and rage. In such cases, alcohol and illicit drugs are often resorted to as a maladaptive means of suppressing dreaded psychobiological states and restoring a semblance of affective equilibrium.

 

Findings show that disorganised attachment developed in infancy shifts to controlling behaviour in the older child and adult, reflecting an internalized mental model of the self as unlovable, unworthy of care and support, and fearful of rejection, betrayal and abandonment. Disorganised attachment is associated with a predisposition to relational violence, to dissociative states and conduct disorders in children and adolescents, and to personality disorders in adults. This state of mind constitutes a primary risk factor for the development of borderline, anti-social and sociopathic personality disorders. The rate of such disorders in forensic settings is particularly high. Clinically, dissociated traumatic experience is unsymbolized by thought and language, being encapsulated within the personality as a separate, non-reflective reality which is cut off from authentic human relatedness. The information contained in implicit memory may be retrieved by state-dependent moods and situations. Dissociated archaic internal working models are then activated, influencing and distorting expectations of current events and relationships outside of conscious awareness, particularly in situations involving intense interpersonal stress. In such situations, the self is felt to be endangered, thereby increasing the risk of an angry and potentially violent reaction.

  

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

DARLING, FRANK, architect; b. 17 Feb. 1850 in Scarborough Township, Upper Canada, son of William Stewart Darling, a Church of England clergyman, and Jane Parsons; d. unmarried 19 May 1923 in Toronto.

 

The eldest son of the rector of Scarborough and later of the Church of the Holy Trinity in Toronto, Frank Darling was educated at Upper Canada College in Toronto and Trinity College School in Weston (Toronto). In 1866, after a short time as a bank teller, he joined the architectural office of Thomas Gundry and Henry Langley* as an apprentice. In late 1869 or early 1870 he left Toronto to train in London with one of the greatest architects of the age, George Edmund Street. Before returning in 1873, he also worked briefly with Arthur William Blomfield. This British experience had a profound effect on Darling. From Street he learned that the principles of Gothic architecture could form the basis of modern design. From Street’s students Richard Norman Shaw, William Eden Nesfield, and Philip Speakman Webb he saw how historical forms could be skilfully adapted to meet the needs of contemporary life.

 

Darling began private practice in Toronto in 1873, when he entered into partnership with Henry Macdougall. His first commissions came from the city’s Anglicans, and included the churches of St Matthias (1873-74), St Thomas (1874), and St Luke (1881) as well as the convocation hall (1877) and chapel (1884) of Trinity College. This early work was mostly executed in brick in a manner reminiscent of Street, Shaw, and Nesfield. Other projects show Darling in a continuing state of artistic experimentation: the Home for Incurables (1879-81) is an exercise in Shaw’s eclecticism and the Victoria Hospital for Sick Children (1889) reveals the influence of American Henry Hobson Richardson.

 

In 1880 Darling, who was then in partnership with Samuel George Curry (a Port Hope native), had submitted a design modelled on Street’s plan for the Law Courts in London to the competition for Ontario’s new parliament buildings. Although Darling placed first, delays and back-room deals meant that his plan would never be built [see Kivas Tully*]. The competition nonetheless brought him recognition and, in 1885, the chance to do something new: a branch in Toronto for the Bank of Montreal. Its obtusely angled site at the corner of Front and Yonge was difficult, but he responded with a masterful essay in the newly fashionable classical mode, in which a carefully ornamented stone façade introduced a stunning glass-domed hall [see Joseph McCausland*]. Functional and stylish, the bank was a success for Darling. In it he anticipated the taste for monumental public architecture that would sweep North America in the first decades of the 20th century.

 

After 1885, Darling’s commissions, besides the hospital, included the Toronto Club (1888) and additions to Trinity College. In 1892 he took into partnership an associate from the hospital project, the British-trained John Andrew Pearson*, who would work with him for the rest of his career. The years of Darling’s greatest achievement began in 1898, when he was retained by the Canadian Bank of Commerce to design branches in Winnipeg and Toronto. Like its competitors, the Commerce found architecture an effective vehicle for self-promotion. Darling subsequently designed dozens of branches for the Commerce, as well as for the Metropolitan, Sterling, Dominion, Union, and Nova Scotia banks. Most of the Commerce buildings featured façades of stone and brick and were grandly classical in the manner of the English baroque or the French École des Beaux-Arts. They ranged from impressive structures with giant columns and massive stone entablatures, as in Montreal (1903-8), Vancouver (1906-8), and Winnipeg (1910-12), to handsome pavilions scaled to the needs of small towns and city neighbourhoods. Particularly charming were a series of prefabricated frame branches in frontier towns across the west that had been produced, shipped, and erected by the British Columbia Mills, Timber and Trading Company [see John Hendry*]. Darling’s work for the Commerce brought social and financial success and offers of patronage, especially from a small circle of powerful Toronto businessmen. Besides George Albertus Cox* and Byron Edmund Walker, both presidents of the Commerce, this group included a childhood friend, Dominion president Edmund Boyd Osler, as well as meat packer Joseph Wesley Flavelle*, for whom he designed a house at Queen’s Park (1901-2). Among his other important projects from this period were Convocation Hall at the University of Toronto (1904-7), the Royal Ontario Museum (1909-14), the Toronto General Hospital (1909-13), the Winnipeg Grain and Produce Exchange (1909-10), new buildings for Dalhousie University in Halifax (1912-15), and the headquarters of Sun Life Assurance in Montreal (1916-18).

 

The scale of this production had an enormous impact on the look of Canada’s towns and cities. At a time when many businessmen preferred to hire American architects for high-profile commissions, Darling’s bank architecture became recognizable for its balance of English and North American trends. For many buildings he modulated his characteristically classical language to suit specific conditions, as in his frequent use of Romanesque motifs on the campus of the University of Toronto. His accomplished, thoughtful approach to design, artistic confidence, and high standard of execution won him the admiration of his peers. He was made a member of the Royal Canadian Academy of Arts in 1886, president of the Ontario Association of Architects in 1895, and a director of the Toronto Guild of Civic Art in 1907. Darling claimed to abhor professional infighting, but, as president of the OAA, he became enmeshed in the association’s unsuccessful efforts to secure compulsory registration, a step not all architects supported. He nevertheless remained a popular figure, known increasingly for his bold projects. Named to the federal planning commission for Ottawa and Hull in 1913, he was awarded the gold medal of the Royal Institute of British Architects two years later (the only Canadian architect so recognized) and honorary doctorates from the University of Toronto (1916) and Dalhousie (1922). Darling’s professionalism generated equal respect among his clients. In his ongoing work for Dalhousie, which included Shirreff Hall (1920-21) [see Jennie Grahl Hunter Shirreff], Darling, in the estimate of university historian P. B. Waite, was “ingenious, flexible, sensitive to local conditions, and best of all, willing to listen to suggestions.” A close friend, architect C. Barry Cleveland, maintained that he stood “for absolutely straight and upright dealing.”

 

Darling combined a quiet charm with refined tastes. According to one biographer, “He had a good-natured tolerance, and on occasion he was master of the mordant phrase. A poor story-teller, but a good listener, geniality and wit went hand in hand with him, more especially when he could be provoked into exercising his ability as an architectural critic.” His collection of etchings and prints was strong in 17th-century French portraiture; his architectural library represented 20th-century modernists and landscapists as well as earlier revivalists. He was an enthusiastic golfer and clubman, and a conservative in politics. A lifelong bachelor, he was decidedly loyal to his family and friends; his widowed mother lived with him for several years before her death in 1909, and he took a particular interest in his nieces and nephews. In his will, Darling, who deeply regretted his inability to speak French and German, left a sum for a great-nephew’s education, especially in the “modern languages.” Valued at more than $183,000, his estate would be distributed largely among his relatives, his servants and chauffeur, and J. A. Pearson. Provision was also made for the continued residential and financial needs of an old Scarborough acquaintance and her separated daughter. After eight months of poor health due to heart trouble, Darling died in May 1923 at his home at 11 Walmer Road. He was buried in the family plot at St John’s, Norway (Toronto).

 

Darling had avoided controversy and written little. Others championed his architecture. Critic and professor Percy Erskine Nobbs* saw in his work support for his own belief that Canadian architecture could develop a distinctive voice only by charting a middle ground between the architectural cultures of Britain and the United States, with careful attention to local needs. This approach had been Darling’s modus operandi. At a time of rapid architectural change, his ability to combine ideas, materials, and techniques from London, New York, and Chicago into a unified whole (without copying) was exceptional. Buildings such as his Bank of Nova Scotia in Winnipeg (1907-8) display a hybrid quality that was expressive of the complex patterns of Canadian intellectual and cultural life in the years leading up to World War I. The new houses of parliament in Ottawa (1916-27), designed by Pearson and Jean-Omer Marchand*, reflect in their spirit of progressive traditionalism, blend of references, and balance of old and new the substantial impact of Darling and his office. By adapting the fashions of the day to the wishes of his clients, he had helped shape an independent voice for Canadian architecture and lay the foundation for the creative exploration of Canadian themes by such architects as John MacIntosh Lyle* in the 1920s.

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

JARVIS, SAMUEL PETERS, militia officer, office holder, and lawyer; b. 15 Nov. 1792 in Newark (Niagara-on-the-Lake), Upper Canada, eldest surviving son of William Jarvis* and Hannah Peters*; m. 1 Oct. 1818 Mary Boyles Powell, daughter of Chief Justice William Dummer Powell*, in York (Toronto), and they had five sons and four daughters; d. 6 Sept. 1857 in Toronto.

 

Samuel Peters Jarvis enjoyed an initial advantage in the emerging colonial society of Upper Canada. His father, who had gained the patronage of Lieutenant Governor John Graves Simcoe*, was the first provincial secretary and registrar, and, while the Jarvis family was not wealthy, it did enjoy the comparative luxury of three servants to minister to household needs. Young Jarvis was educated along with many of his peers by the Reverend John Strachan* at his Cornwall grammar school. In 1810 he was articled to Attorney General William Firth*, but his law studies in York were interrupted by the War of 1812. He joined Captain Stephen Heward’s flank company in the 3rd York Militia which assisted Major-General Isaac Brock* at the capture of Detroit in August 1812 and at Queenston Heights in October. After that battle he acted as one of the pallbearers for Lieutenant-Colonel John Macdonell* (Greenfield) when he was interred with Brock at Fort George (Niagara-on-the-Lake). Jarvis later saw action in the engagements at Stoney Creek and Lundy’s Lane. He also obtained several minor administrative posts during the war: in January 1814 he was commissioned to act as assistant secretary and registrar to his father, and that December, in the absence of John Powell, he was made clerk of the Legislative Council.

 

Jarvis was called to the bar in 1815. Two years later he was appointed clerk of the crown in chancery, an administrative post in the House of Assembly which he was to hold for the next 20 years. His real ambition, however, was to follow in his father’s footsteps as provincial secretary and registrar, a position which he seemed to feel should be his by right of succession as the eldest Jarvis male. Circumstances and his own personality thwarted that ambition. Jarvis possessed a fiery temperament and an impetuous nature combined with a strong sense of family and personal honour. Such traits involved him in a number of incidents, most of which came to nothing. In 1817, however, the feud which had simmered for a decade between the Ridout and Jarvis families came to a head when Samuel quarrelled with 18-year-old John Ridout, a son of Surveyor General Thomas Ridout*. On 12 July Jarvis and Ridout, accompanied by their seconds Henry John Boulton* and James Edward Small*, confronted each other just north of the town of York, and Ridout was killed. The duel badly split the local élite: the Ridouts certainly never forgave Jarvis for his part in the affair. The timing of the duel was also unfortunate for the development of his career, since his father died that August while Samuel was in jail awaiting trial. Although the courts exonerated him in the fall, his position at the centre of controversy temporarily ruined his chances for preferment. Duncan Cameron was appointed to the coveted secretaryship, though Jarvis briefly filled the position in Cameron’s absence. He also succeeded Cameron as civil and private secretary to the acting lieutenant governor, Samuel Smith*, and served in that capacity until August 1818.

 

During the summer of 1818 Jarvis moved to Queenston and pursued an active career in law there and later in Niagara. In 1824 he returned to York where, nearly a decade after the fatal duel, he again became enmeshed in a cause célèbre. On 8 June 1826, in response to the vitriolic and sometimes personal attacks of the Colonial Advocate, a group of tory young bloods invaded William Lyon Mackenzie*’s shop, damaging the interior and scattering his printing type. Mackenzie, who had been facing bankruptcy, received damages of £625 in the ensuing trial, and the award was collected by subscription from disgruntled senior members of the “family compact” and from York lawyer Samuel Peters Jarvis, now almost 34 years old, who on that June evening had led the group of young men in their late teens and early twenties. His hot temper and misplaced sense of pride had once again led to his involvement in a questionable affair with negative consequences for the cause he espoused. Despite this second blot on his public character he obtained the position of deputy provincial secretary and registrar through an involved rearrangement of government posts in 1827. The following year Lieutenant Governor Sir Peregrine Maitland pointed out in a memorandum to his successor, Sir John Colborne*, that although Jarvis’s “very imprudent Act” had had “an effect injurious to the Government,” Maitland did not feel that his past actions should interfere with his chances for advancement.

 

Jarvis occupied the position of deputy secretary until 1839, but he was not destined to succeed to the secretaryship itself. Instead, he had to content himself with the post of chief superintendent of Indian affairs for Upper Canada, to which Lieutenant Governor Sir Francis Bond Head* had on short notice seconded him in June 1837 when it had become evident that the Indian Department’s aged incumbent, James Givins*, was growing senile. With the outbreak of the rebellion of 1837–38 a few months later, Jarvis was active in defending the established order and in hunting down suspected rebels. In December 1837 he raised and commanded a unit of militia volunteers named the Queen’s Rangers and at the end of the month he witnessed Andrew Drew* and his men setting fire to the rebel steamer Caroline at Navy Island. On his return from Niagara early the following year he acted as commandant of the Toronto garrison and in March was president of the court martial which tried the American Patriot, Thomas Jefferson Sutherland. That September, Provincial Secretary Duncan Cameron died. Jarvis’s frustration must have been great when Lieutenant Governor Sir George Arthur refused to recognize his services or consider his pleas about the temporariness of his Indian Department position. The provincial secretaryship was granted to Richard Alexander Tucker*, the former chief justice of Newfoundland, who had recently arrived in Upper Canada; Jarvis remained chief superintendent of Indian affairs.

 

During Jarvis’s term of office (1837–45) no government department was to be examined so closely or so often as Indian affairs. The first inquiry took place in 1839. Sir George Arthur commissioned Judge James Buchanan Macaulay to take over the inquiry begun by Tucker and act as a one-man board of investigation. Macaulay thought the department’s chief problem was attracting “persons sufficiently diligent, active and zealous” to supervise its programs. His report of April 1839 was followed in January 1840 by a second one, composed as part of a general examination of all departments of the government which had been carried out by several committees. The Indian Department was reviewed by committee no. 4, whose three members, Macaulay, Vice-Chancellor Robert Sympson Jameson, and William Hepburn, a former clerk in the department under Givins, congratulated Jarvis for the vigour with which he carried out his official duties. The chief superintendent appeared to have passed his first two tests with flying colours. These appearances, however, were deceptive: Jarvis was a close friend of Macaulay’s, whose views were reflected in both reports. A third investigation was to have very different results.

 

In 1842 Governor Sir Charles Bagot* established a three-man royal commission to inquire into the structure of the Indian Department in the new province of Canada. Its first report, delivered in January 1844, was directly responsible for Jarvis’s being stripped of his official rank in all but name that May and for his forced retirement the following year. Chaired by Rawson William Rawson, the governor’s civil secretary, the commission found the department’s administration chaotic and the chief superintendent incompetent and possibly dishonest. Indian Department accounts could not explain the whereabouts of more than £4,000, a sum which was later adjusted to an amount in excess of £9,000 and then again revised downwards. Jarvis’s attempts to defend himself only resulted in new evidence being gathered against him. In contrast to the two previous inquiries, the commission found him evasive and uncooperative, a view that would be shared by Rawson’s successor as civil secretary, James Macaulay Higginson*, who assumed responsibility for the Indian Department on 15 May 1844.

 

What had happened to the man who seemed to be a model administrator as late as 1840? It would be attractively simple to see Jarvis as merely a larcenous official who was found out. A more adequate explanation is that he was unfamiliar with mid-19th-century accounting techniques. He maintained both his private and his official department accounts at the Bank of Upper Canada, of which he was also a director, and juggled money back and forth between the two in the gentlemanly, informal, and confused manner of an earlier period. The Indian Department’s bookkeeping had always been problematic: Jarvis was simply unfortunate enough to be the first chief superintendent asked to provide such a detailed accounting. In this regard he was utterly dependent upon his chief clerk, George Vardon, who may have had reasons of his own for wishing to see Jarvis discredited.

 

As chief superintendent, Jarvis was subjected to strains that would have been intolerable even for an individual whose competence was unquestionable. His official position embroiled him in the affairs of the Grand River Navigation Company, the interests of which were often antithetical to those of the Six Nations Indians on the Grand River Reserve. Indeed, he was president of the company in 1843–44, precisely at the time he was being forced to defend himself against the findings of the Bagot commission. Jarvis, who found the Indian Department confusing enough, was ill equipped to deal with all these matters simultaneously.

 

The office of chief superintendent was abolished on 1 July 1845 and Jarvis retired from the Indian Department in disgrace. He continued the attempt to clear himself of charges of peculation but seems never to have been successful. On the other hand, the government seems never to have forced him to restore the missing funds for which it claimed he was responsible, an indication that the issue of his corrupt behaviour was not as clear as it had first appeared to be. Right up until his death Jarvis was still trying to untangle his complex financial affairs. In order to pay off some of his debts he had hired John George Howard* during the summer of 1845 to subdivide for public sale the 100-acre park lot east of Yonge Street which he had received from his father in 1816. Two years later Hazelburn, the house he had built there for his family 23 years before, was torn down to make way for the street which still bears Jarvis’s name. Yet despite his precarious financial position his last years were spent pursuing the activities of a socially well-connected, semi-retired man of private means: fishing trips to the Gaspé, hunting in the Bruce Peninsula, grand tours of Great Britain and the Continent. In the middle 1850s his health declined; he died in 1857 and was survived by his wife and seven of his children. His eldest son, Samuel Peters Jarvis Jr, had a distinguished career in the British army; other descendants took their places in the professional and business life of Toronto.

 

Samuel Peters Jarvis, attempting the life of an 18th-century tory squire, had become an anachronism. The mid 19th century with its growing emphasis on commerce and industry – and proper bookkeeping and procedures – was an age which he never fully understood. Along with his outdated attitudes went a mediocre intelligence that spelled disaster for him as an administrator. These factors were sufficiently powerful to neutralize the advantages he had enjoyed at the beginning of his career, so that he was left on the fringes of power in the small Upper Canadian community. In Jarvis’s life can be seen a partial answer to the question of what became of the “family compact.”

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

 

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

 

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

 

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

 

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

 

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

 

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

 

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

 

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

 

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

 

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

 

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

  

Boscastle flood of 2004

 

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

 

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

 

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

 

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

 

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

thebass.org/art/haegue-yang/

HAEGUE YANG

IN THE CONE OF UNCERTAINTY

 

NOV 2,2019-APR 5,2020

 

In the Cone of Uncertainty foregrounds Haegue Yang’s (b. 1971, Seoul) consistent curiosity about the world and tireless experimentation with materializing the complexity of identities in flux. Living between Seoul and Berlin, Yang employs industrially produced quotidian items, digital processes, and labor-intensive craft techniques. She mobilizes and enmeshes complex, often personal, histories and realities vis-à-vis sensual and immersive works by interweaving narrative with form. Often evoking performative, sonic and atmospheric perceptions with heat, wind and chiming bells, Yang’s environments appear familiar, yet engender bewildering experiences of time and place.

 

The exhibition presents a selection of Yang’s oeuvre spanning the last decade – including window blind installations, anthropomorphic sculptures, light sculptures, and mural-like graphic wallpaper – taking its title from an expression of the South Florida vernacular, that describes the predicted path of hurricanes. Alluding to our eagerness and desperation to track the unstable and ever-evolving future, this exhibition addresses current anxieties about climate change, overpopulation and resource scarcity. Framing this discourse within a broader consideration of movement, displacement and migration, the exhibition contextualizes contemporary concerns through a trans-historical and philosophical meditation of the self.

 

Given its location in Miami Beach, The Bass is a particularly resonant site to present Yang’s work, considering that over fifty percent[1] of the population in Miami-Dade County is born outside of the United States, and it is a geographical and metaphorical gateway to Latin America. Yang has been commissioned by the museum to conceive a site-specific wallpaper in the staircase that connects the exhibition spaces across The Bass’ two floors. This wallpaper will be applied to both transparent and opaque surfaces to accompany the ascending and descending path of visitors within the exhibition. Informed by research about Miami Beach’s climatically-precarious setting, the wallpaper, titled Coordinates of Speculative Solidarity (2019), will play with meteorological infographics and diagrams as vehicles for abstraction. Interested in how severe weather creates unusual access to negotiations of belonging and community, as well as the human urge to predict catastrophic circumstances, the work reflects a geographic commonality that unconsciously binds people together through a shared determination to face a challenge and react in solidarity.

 

Yang’s exhibition encompasses galleries on both the first and second floors of the museum and exemplifies an array of Yang’s formally, conceptually ambitious and rigorous body of work. Considered an important ‘Light Sculpture’ work and one of the last made in the series, Strange Fruit (2012-13) occupies one of the first spaces in the exhibition. The group of anthropomorphic sculptures take their title from Jewish-American Abel Meeropol’s poem famously vocalized by Billie Holiday in 1939. Hanging string lights dangling from metal clothing racks intertwined with colorfully painted papier-mâché bowls and hands that hold plants resonate with the poem’s subject matter. The work reflects a recurring interest within Yang’s practice, illuminating unlikely, less-known connections throughout history and elucidating asymmetrical relationships among figures of the past. In the story of Strange Fruit, the point of interest is in a poem about the horrors and tragedy of lynching of African-Americans in the American South born from the empathies of a Jewish man and member of the Communist party. Yang’s interests are filtered through different geopolitical spheres with a keen concentration in collapsing time and place, unlike today’s compartmentalized diasporic studies.

 

Central to In the Cone of Uncertainty is the daring juxtaposition of two major large-scale installations made of venetian blinds. Yearning Melancholy Red and Red Broken Mountainous Labyrinth are similar in that they are both from 2008, a year of significant development for Yang, and their use of the color red: one consists of red blinds, while the other features white blinds colored by red light. With its labyrinthine structure, Red Broken Mountainous Labyrinth bears a story of the chance encounter between Korean revolutionary Kim San (1905-1938) and American journalist Nym Wales (1907-1997), without which a chapter of Korean history would not survive to this day. Yearning Melancholy Red references the seemingly apolitical childhood of French writer and filmmaker Marguerite Duras (1914-1996). While living in French Indochina (present-day Cambodia, Vietnam, and Laos), Duras and her family experienced a type of double isolation in material and moral poverty, by neither belonging to the native communities nor to the French colonizers, embodying the potentiality for her later political engagement. Despite their divergent subject matter, both works continue to envelop an interest in viewing histories from different perspectives and the unexpected connections that arise. By staging the two works together, what remains is Yang’s compelling constellation of blinds, choreographed moving lights, paradoxical pairings of sensorial devices – fans and infrared heaters – and our physical presence in an intensely charged field of unspoken narratives.

 

A third space of the exhibition will feature work from Yang’s signature ‘Sonic Sculpture’ series titled, Boxing Ballet (2013/2015). The work offers Yang’s translation of Oskar Schlemmmer’s Triadic Ballet (1922), transforming the historical lineage of time-based performance into spatial, sculptural and sensorial abstraction. Through elements of movement and sound, Yang develops an installation with a relationship to the Western Avant-Garde, investigating their understanding in the human body, movement and figuration.

 

Observing hidden structures to reimagine a possible community, Yang addresses themes that recur in her works such as migration, diasporas and history writing. Works presented in In the Cone of Uncertainty offer a substantial view into Yang’s rich artistic language, including her use of bodily experience as a means of evoking history and memory.

 

Haegue Yang lives and works in Berlin, Germany and Seoul, South Korea. She is a Professor at the Staedelschule in Frankfurt am Main. Yang has participated in major international exhibitions including the 21st Biennale of Sydney (2018), La Biennale de Montréal (2016), the 12th Sharjah Biennial (2015), the 9th Taipei Biennial (2014), dOCUMENTA (13) in Kassel (2012) and the 53rd Venice Biennale (2009) as the South Korean representative.

 

Recipient of the 2018 Wolfgang Hahn Prize, she held a survey exhibition titled ETA at the Museum Ludwig in Cologne in the same year, which displayed over 120 works of Yang from 1994-2018. Her recent solo exhibitions include Tracing Movement, South London Gallery (2019); Chronotopic Traverses, La Panacée-MoCo, Montpellier (2018); Tightrope Walking and Its Wordless Shadow, La Triennale di Milano (2018); Triple Vita Nestings, Govett-Brewster Art Gallery, New Plymouth, which travelled from the Institute of Modern Art, Brisbane (2018); VIP’s Union, Kunsthaus Graz (2017); Silo of Silence – Clicked Core, KINDL – Centre for Contemporary Art, Berlin (2017); Lingering Nous, Centre Pompidou, Paris (2016); Quasi-Pagan Serial, Hamburger Kunsthalle (2016); Come Shower or Shine, It Is Equally Blissful, Ullens Center for Contemporary Art, Beijing (2015); and Shooting the Elephant 象 Thinking the Elephant, Leeum, Samsung Museum of Art, Seoul (2015). Forthcoming projects include the Museum of Modern Art (October 2019), Tate St. Ives (May 2020) and Art Gallery of Ontario in Toronto (2020).

 

Yang’s work is included in permanent collections such as the Museum of Modern Art, New York, USA; M+, Hong Kong, China; National Museum of Modern and Contemporary Art, South Korea; Tate Modern, London, UK; The Solomon R. Guggenheim Museum, New York, USA; and The Walker Art Center, Minneapolis, USA. Her work has been the subject of numerous monographs, such as Haegue Yang: Anthology 2006–2018: Tightrope Walking and Its Wordless Shadow (2019); Haegue Yang: ETA 1994–2018 (2018); Haegue Yang – VIP’s Union (2017); and Haegue Yang: Family of Equivocations (2013).

It must have been my day. I used that word in a "Words with Friends" game and got a ton of points for using all my letters. Luck me! The mourning doves are quite tame these days. I think they must be very young, the ones who are holding still for me.

BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

 

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

 

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

 

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

 

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

 

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

 

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

 

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

 

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

 

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

 

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

 

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

  

Boscastle flood of 2004

 

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

 

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

 

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

 

 

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

 

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

 

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

 

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

 

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

 

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

 

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

 

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

 

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

 

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

 

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

 

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

 

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

 

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

 

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

  

Boscastle flood of 2004

 

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

 

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

 

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

 

BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

 

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

 

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

 

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

 

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

 

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

 

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

 

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

 

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

 

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

 

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

 

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

  

Boscastle flood of 2004

 

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

 

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

 

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

 

 

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

11/1 2016

13 x 13 cm

(21 x 21 with frame)

black marker text and drawing on carton

-----

 

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

 

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

 

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

 

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

 

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

 

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

 

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

 

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

 

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

 

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

 

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

 

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

  

Boscastle flood of 2004

 

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

 

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

 

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

 

Spinning through the air at a death-defying pace with goggles askew and a madcap grin on her face, our Aerolist shocks and amazes earthbound onlookers with feats of courage and often sheer insanity. Always an active child, Spitfire took advantage of a natural mechanical aptitude by constructing go-carts for all the neighborhood children. For the next few years, it was a common sight in her sleepy Iowa town to see Spitfire’s oil-spattered visage careening down the quiet streets at the wheel of a clattering vehicle. Not content, however, to limit her adventures to the terra firma, our Aerolist moved quickly from go-carts to planes, and by the age of twelve had managed not only to design and build but also to teach herself to fly a small prop plane in the style of the famed Electra.

Never one to rest on her laurels, more developments soon followed: Spitfire spent hours in the air, pushing her rickety craft and herself to the limits of endurance with an endless display of barrel rolls and nose dives. By the time Spitfire was sixteen, she had mastered all the tricks her little plane could handle, and took to the skies to seek out new adventures.

Spitfire’s first dealings with the Pastime Athletic Club occurred when she fortuitously appeared out of the stormy skies just in time to aid our Climber in a prickly situation in which he found himself enmeshed in a stand-off with an irate herd of mountain goats. Recognizing the value of having a pilot in a pinch, the Pastime Athletic Club extended an offer of membership that was eagerly accepted. Now, the hardy and intrepid Spitfire tackles even the fiercest winds in execution of her duties as official Aerolist, and the Club itself has never flown through its myriad engagements more smoothly.

 

In today's article, I'll tell you a method that actually works to smooth your hair without iron. And the dryer. Many times I wanted to give up my fight against iron. It's as if a professional football team will face against an amateur team. Even sometimes I can not sleep me trying to find a way to stop people using the iron. When I finally fell asleep, the plate appears in my dreams as the worst of nightmares. If it goes well I will be able to start sleep peacefully and dream of more beautiful things. If the weapon I bring you today I can not eliminate the use of the iron I'm willing to give up. If it goes wrong I'm willing to require on a deserted island and not to talk any more about hair or touch another hair in my life.

  

CAN YOU STRAIGHTEN HAIR WITHOUT REALLY IRON?

Many times I was about to tell clients salon "Okay if you want to use the iron is your problem."

 

But I refrained from telling him. Because if a person damages your hair is also my business.

 

To my not give me the same.

   

As I said many times the problem is not so much iron. The problem is that people abuse the iron and once you discover how easy it is to smooth her hair with an iron first start using it once a week. Then two. And so until they finally end up using the iron every day .

   

Can you straighten hair without iron?

 

Yes, you can.

 

There is a very effective method to straighten hair without iron coming women of color perfecting hundreds of years ago.

 

Why if there is an effective method to straighten hair are still using the plates?

 

This is a very good question. As I said earlier guess people prefer to use the plates because it is fast and effective.

  

Today people are in a hurry and need solutions to get things done as quickly as possible. In this context, the plate comes to them like a glove. When acquired some practice with the iron you can achieve a totally smooth hair in a matter of 15 minutes or less on the amount of hair.

 

Instead, the method that we will see now requires more time.What's more, it is almost impossible to determine how long you will take this technique will explain now because it depends on several factors such as the type of hair and the climate of your city. In addition although the method is easy to apply it requires some practice to be able to achieve good results. This means that probably the first time you do it is longer. The second time and will take less time and so on.

 

Now let's see exactly which consist of 9 steps to iron the hair without using an iron without using heat.

THE 9 STEPS TO IRON WITHOUT IRON AND HAIR WITHOUT HEAT

Step 1 - Wash Hair

The first step is to wash the hair. Here there is not much to clarify. The important thing is to wash your hair with good quality products at least possible aggressive .

 

A good idea for this method is to use a sulfate-free shampoo and conditioner without silicone.

  

Step 2 - Brush and untangle

Now let's brush our hair and detangle. I recommend using a natural bristle brush . The idea here is that all the hair falls down.

 

Seek to untangle hair well-paying special attention to the tips.

   

Step 3 - horsetail

With the help of a brush, we will throw all our hair back and we will tie into a ponytail.

 

It is important that the hair left on his head this tense well.

  

Step 4 - Peine fine

At this point, we should be like two parts. On the one hand horsetail and on the other the taut hair on our head.

  

Let's spend a fine tooth comb well throughout the hair tight making sure this good.

  

Step 5 - Let dry

Let dry the top of our hair. The idea is that the hair on our head is tense and dry horsetail remains wet .

  

No problem if you do it after a while the horsetail is also dry, you can re-wet.

  

Step 6 - Disarm horsetail

  

This step is very easy. We will disarm the ponytail. It should be all your hair down. The top of your hair should be fairly smooth.

       

Well, we continue to step 7. Before a small clarification.

CLARIFICATION

Actually, step 7 and 8 we will see now are one. I summarize here the general idea and then expand each of the steps.

 

The idea is to grab a tuft of hair 2 0 3 cms. As we Combing and stringing this lock let's go enmeshing him in our head and grabbing him with hooks in at least 3 positions.

Step 7 - Split hair into strands

Now I am not lying. This is the most complex part and where you will need more practice if you want to use this method regularly.

 

Let's grab a lock of hair about 3 cms. In one hand we will hold the mech. With the other hand, we will grab a fine tooth comb.

 

Let's spend a few times comb the lock of hair until completely unraveled.

  

Step 8 - Wrap the strand around the head

  

With the help of the same comb let's roll / wrap around our head lock.

  

Important: It is important that the lock is properly tensioned.Let's grab the lock of hair to the rest of our hair with hair hooks listed above are. I get a picture of the hooks that you understand what we're talking about. Hooks are used for hair.

 

the lock handle in at least three luggers. The more times we catch the more taut strand stay.

  

Let's repeat this step with all the hair (warn you it was not easy),

 

At a time when the locks are to start excimer each other especially if you got a lot of hair. Do not get the problem is normal that happen.

  

When we finish repeating the process with all the hair the result should be something like a hat.

Step 9 - Cover the head with a scarf or shawl

  

The final step. We will cover our head with a scarf, shawl or it can also be an old sheet.Cover the entire head well with the item you choose.

  

Let's let it sit for at least 5 hours.

  

After 5 hours of rest, we will remove the headscarf and then slowly let go disarming the strands.

 

And now if we finish.

  

Finished.

 

Warn you it was not easy.

 

Warn you that it was not fun.

 

But believe me, it is much healthier to iron your hair with an iron or dryer.

 

Surely not something to do every day but with a little effort we can think about doing maybe 2 times a week. I would not be so serious.

  

CONCLUSIONS AND RESULTS

Already you know this method?

 

What are you going to prove or seems too complex?

 

If your answer is that you will not try and you will continue to use the iron's lost the battle against the iron .

 

I feel a failed altogether.

 

(If you keep using the iron I recommend that you evaluate the possibility of using a hair straightener good quality .)

   

However, I hope that many people who read this article feel motivated and try this method because it really works.

 

As I said before, this method is not something I invented because I'm a genius or have a privileged mind. Nothing of that. This method has been using women of color for many years.

 

Women's hair color is usually very little malleable. If this method can operate in a coarse hair, it can function in almost any hair.

  

Before I forget. Remember that if you start applying this method the first few times you might not be perfect. But with practice, you anger improving results.

 

Consider that each of the steps is equally important for the final results.

 

I encourage you to try.

 

After you tell us how it went for you.

  

ustype.com/straighten-hair-without-iron-or-dryer/

Documenta Kassel

  

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.

Program Runtime 73 minutes.

DECASIA by Bill Morrison

USA, 2002, 13 minutes (excerpt), digital projection

In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.

SANCTUS by Barbara Hammer

USA, 1990, 18 minutes, 16mm

In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.

HER FRAGRANT EMULSION by Lewis Klahr

USA, 1987, 11 minutes, 16mm

In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr

HALL OF MIRRORS by Warren Sonbert

USA, 1966, 8 minutes, 16mm

Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.

WARREN by Jeff Scher

USA, 1995, 3 minutes, 16mm

Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.

WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)

1995/7, 20 minutes, 16mm

Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.

Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.

Main image from Decasia by Bill Morrison

Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.

In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.

Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.

  

One of the most vital and richly textured art forms threatened with extinction centers around the practice of avant-garde filmmaking, particularly in 16mm format. These filmmakers treat the celluloid film emulsion as a living organism: it is an organic substance, a shimmering silver onto which they directly imprint the delicacy of their emotions. They work in relative isolation, creating their films with the hand of an artist, rather than as products for consumption by a mass audience. The style of their films most frequently challenges the conventions of linear narrative. These filmmakers recognize not only the ephemeral nature of the celluloid film stock, but also the perilous state of human existence in the modern world. They begin with their direct experiences of everyday reality and often move toward a process of abstraction in their films. They filter found objects from the world around them, and through a wide array of filmmaking techniques, including use of outdated film stock, over- and underexposure, scratching directly on the film emulsion, re-photography, and optical printing – articulate distinct, individually defined processes of creation. They evoke spiritual visions of the world in which their own livelihood is inextricably linked to the vibrancy of the film emulsion – both literally and figuratively – as a matter of life and death.

 

Program Runtime 73 minutes.

 

DECASIA by Bill Morrison

USA, 2002, 13 minutes (excerpt), digital projection

In Bill Morrison’s found footage opus, Decasia, decomposition reaches into the farthest corners of the natural and manmade world, penetrating continents, military and religious powers, the entire animal kingdom, architectural constructions as well as the celluloid film stock itself onto which all these delicate images are imprinted.

 

SANCTUS by Barbara Hammer

USA, 1990, 18 minutes, 16mm

In Sanctus, Barbara Hammer addresses in compelling fashion the co-fragility of both human existence and the film emulsion, the artist’s raw material onto which she creates images. The filmmaker transforms historic scientific x-ray films into a lyrical journey, reworking this found footage material into a celebration of the body as temple.

 

HER FRAGRANT EMULSION by Lewis Klahr

USA, 1987, 11 minutes, 16mm

In Her Fragrant Emulsion, images of 1960’s B-movie actress Mimsy Farmer float on the surface of the film emulsion, evoking erotic meditations on loves gained and lost. “The images I use are outmoded, and there’s a way that they’re dead. By working with them I’m kind of re-animating them, so I don’t really think of myself as an animator, as much as a re-animator that’s bringing these things back into some kind of life.” – Lewis Klahr

 

HALL OF MIRRORS by Warren Sonbert

USA, 1966, 8 minutes, 16mm

Throughout Hall of Mirrors Sonbert underscores the materiality of film and the self-referential aspect of the filmmaking enterprise. Sonbert incorporates black and white outtakes from a Hollywood movie with new scenes that he photographs in color; the filmmaker works the exposed leader of the film rolls in the fabric of his movie, and captures his own reflected image while shooting one of his protagonists (Warhol superstar Gerard Malanga) in artist Lucas Samaras’ Mirrored Room. Hall of Mirrors begins and ends with the protagonists’ movements enmeshed within multiple reflecting mirrors. The film’s imagery, combined with the rock and roll soundtrack, underscores the sense of visual entrapment of the characters in their respective environments, in a manner that conveys both youthful longing and human vulnerability.

 

WARREN by Jeff Scher

USA, 1995, 3 minutes, 16mm

Jeff Scher turns the table on his former teacher and mentor, Warren Sonbert (at a time when Sonbert was secretly afflicted with AIDS), creating an intimate dialogue between friends and colleagues, as well as a tense battle of directorial wills.

 

WHIPLASH by Warren Sonbert (restoration editor: Jeff Scher)

1995/7, 20 minutes, 16mm

Whiplash is a compelling, multilayered portrayal of filmmaker Warren Sonbert’s struggle to maintain equilibrium in his physical self, his perceptual reality, and the world of friends and family around him, as his own mortality pressed upon his psyche. In it, Sonbert articulated the ideas and values by which he intended to be remembered. Most important among these is the theme of love between couples.

 

Prints courtesy of The Film-Makers’ Cooperative, Barbara Hammer, and Gartenberg Media Enterprises.

Main image from Decasia by Bill Morrison

 

Jon Gartenberg is an archivist, distributor, and programmer. He began his career on the curatorial staff of The Museum of Modern Art, followed by jobs in the business sector both at Broadway Video and Golden Books. In 1998, he established Gartenberg Media Enterprises (www.gartenbergmedia.com), a company that is dedicated on the excavation, repurposing, and distribution of library assets in film, television, photographic, and print media.

In terms of experimental cinema, Gartenberg acquired avant-garde movies for the permanent collection of MOMA’s Film Department and restored the films of Andy Warhol. He also initiated a film preservation project with the Estate Project for Artists with AIDS, which culminated in the conservation of films by artists Warren Sonbert, David Wojnarowicz, Curt McDowell, and Jack Waters.

Currently, his company distributes avant-garde films on DVD and licenses them as well for documentary film productions. GME also advises and supports cutting edge filmmakers on the economics of experimental film production, distribution and exhibition. Gartenberg has programmed experimental films for the Tribeca Film Festival since 2003.

 

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

 

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary

BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

 

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

 

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

 

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

 

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

 

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

 

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

 

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

 

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

 

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

 

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

 

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

  

Boscastle flood of 2004

 

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

 

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

 

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

 

BOSCASTLE

Three Inns, three Rivers, three Churches, and a most popular harbour. Boscastle is a great day out in Cornwall, with excellent facilities, historic harbour, parking, public toilets, shops, cafes, pubs, restaurants, stunning scenery and breathtaking views.

Boscastle is a medieval harbour and village hidden in a steep sided valley. This natural harbour on the North Cornwall coastline was created by the confluence of three rivers. Boscastle is an excellent base for touring the area, all of Cornwall or North Devon, including moorlands, sheltered wooden valleys and coastal footpaths offering magnificent views.

 

From the harbour the visitor can explore the beautiful surrounding area with its ancient woods, the old village of Boscastle with cottages dating back to the 15 th Century, the site of the Norman Castle and the medieval strip farming system which is still in operation on the cliff top. And there is much, much more, not least the stunning coastal views.

 

Boscastle's small harbour now provides shelter to a number of little fishing boats. It was once a hive of activity with trade taking place between Wales, Bristol and the south of England.

 

From the harbour a lovely valley heads inland; a path follows a fast flowing burbling stream which leads to several hidden churches allowing you to discover the little known connection between North Cornwall and Thomas Hardy.

 

The Elizabethan Harbour, built in 1584 by Sir Richard Grenville of 'Revenge' fame, has been the scene of many acts of heroism and treachery over the years with privateers and volunteers, smugglers and wreckers.

 

An hour before low water, with a rough sea that is, you can see and bear a splendid blow hole rendering water and spray across the harbour mouth.

 

Along this stretch coastline lives the legend of King Arthur, the Knights of the Round Table, the Quest for the Holy Grail. The Chapel of St. James is believed to have been built on the ancient pilgrim route to Compostella in Spain.

 

The Rivers Jordan, Valency and Paradise flow through the village. The Valency Valley is a fine walk around to the dark and intriguing Minster Church, almost enmeshed by rare trees and shrubs looking for light. Jordan Vale is the steep hill running from the Bottreaux House Hotel to the Wellington. A walk up or down takes one "back in time".

 

Forrabury Church stands high up to the south of Boscastle and not too far off the coastal path. The site of "Botreaux Castle" is at the top end of the village dating back to 1100 AD, and the views over Boscastle are quite magnificent when approaching from this direction. It' s worth turning around and going back again should you be travelling upwards.

 

The castle of Bottreaux, from which Boscastle gained its name, has, alas, vanished but it is said that much of the village was built from its stone. Indeed there are stone windows in the Wellington that are reputed to have come from the Castle. A tiny opening and a road near here takes you down past Minster church through a valley to Lesnewth and St. Juliots Church.

 

Thomas Hardy fell in love with Boscastle when working as an architect on the renovation of St. Juliots Church. He also fell in love in Boscastle, to Emma Gifford, whom he married after a four year courtship—it was not a successful relationship and ended in tragedy after 30 years. Hardy was not daunted but returned to the land he loved and wrote some of his most moving poetry. A copy of "A Pair of Blue Eyes" will describe all the valleys and cliffs up to High Cliff (731 ft), the highest in Cornwall.

 

The Museum of Witchcraft in Boscastle, Cornwall, houses the world's largest collection of witchcraft related artefacts and regalia. The museum has been located in Boscastle for over forty years and is amongst Cornwall's most popular museums.

  

Boscastle flood of 2004

 

A flash flood on 16 August 2004 caused extensive damage to the village. Residents were trapped in houses as the roads turned into rivers: people were trapped on roofs, in cars, in buildings and on the river's banks. and the village's visitor centre was washed away.

Two Royal Air Force Westland Sea King rescue helicopters from Chivenor, three Royal Navy Sea Kings from Culdrose, one RAF Sea King from St Mawgan and one Coastguard S61 helicopter from Portland searched for and assisted casualties in and around the village.

 

The operation was coordinated by the Aeronautical Rescue Coordination Centre (ARCC) based at RAF Kinloss in Scotland in the largest peacetime rescue operation ever launched in the UK. A total of 91 people were rescued and there were no fatalities, only one broken thumb. Around 50 cars were swept into the harbour and the bridge was washed away, roads were submerged under 2.75 m of water, making communication effectively impossible until flood-waters subsided. The sewerage system burst, and for this range of health and safety reasons Boscastle was declared temporarily inaccessible.

 

Boscastle was flooded again on 21 June 2007 although the scale of destruction was not nearly as serious as in 2004.

 

 

------------------

 

This time, the BIENNALIST is looking into the notion of uncertainty which is the main theme for Bienal de São Paulo this year titled INCERTEZA VIVA (Live Uncertainty).

 

The program of Bienal de São Paulo is focusing "on notions of “uncertainty” to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainties"

BIENNALIST is an art format that responds and questions the themes of biennials with artworks. Thierry Geoffroy/COLONEL have since 1988 been on location testing the pertinence of the biennales. Instead of questioning the canvas, the pigment or the museum, the artist questions the staged art events and their motivations. The theme of each biennial is taken seriously and studied in order to contribute to the debate the biennales want to generate.

 

www.emergencyrooms.org/biennalist.html

 

us11.campaign-archive1.com/?u=22fa5c727ad97382f987f60c8&a...[UNIQID]

  

-----------------the 32nd Bienal de São Paulo concept and artists ---

  

Titled Incerteza viva (Live uncertainty), the 32nd Bienal de São Paulo means to reflect on the current conditions of life and the strategies offered by contemporary art to harbor or inhabit uncertainty. The exhibition, curated by Jochen Volz and the co-curators Gabi Ngcobo (South Africa), Júlia Rebouças (Brazil), Lars Bang Larsen (Denmark) and Sofía Olascoaga (Mexico), will be held from September 10 to December 11, 2016 at the Ciccillo Matarazzo Pavilion, featuring approximately 90 artists and collectives, 54 of which are announced below:

 

Alia Farid; Anawana Haloba; Bárbara Wagner; Bené Fonteles; Carla Filipe; Carolina Caycedo; Cecilia Bengolea; Charlotte Johannesson; Cristiano Lenhardt; Dineo Seshee Bopape; Ebony G. Patterson; Eduardo Navarro; Em’kal Eyongakpa; Erika Verzutti; Felipe Mujica; Francis Alÿs; Gabriel Abrantes; Gilvan Samico; Güneş Terkol; Heather Phillipson; Helen Sebidi; Henrik Olesen; Hito Steyerl; Iza Tarasewicz; Jorge Menna Barreto; José Antonio Suárez Londoño; José Bento; Kathy Barry; Koo Jeong A; Lais Myrrha; Lourdes Castro; Luke Willis Thompson; Mariana Castillo Deball; Michal Helfman; Misheck Masamvu; Nomeda & Gediminas Urbonas; OPAVIVARÁ!; Öyvind Fahlström; Park McArthur; Pia Lindman; Pierre Huyghe; Pilar Quinteros; Priscila Fernandes; Rachel Rose; Rikke Luther; Rita Ponce de León; Ruth Ewan; Sandra Kranich; Ursula Biemann; Víctor Grippo; Vídeo nas Aldeias; Vivian Caccuri; Wilma Martins; William Pope.L

 

The exhibition sets out to trace cosmological thinking, ambient and collective intelligence, and systemic and natural ecologies. “Art feeds off uncertainty, chance, improvisation, speculation and, at the same time, it attempts to count the uncountable and measure the immeasurable. It makes room for error, for doubt and risk—even for ghosts and the most profound misgivings, without evading or manipulating them,” says curator Jochen Volz. “In order for us to objectively confront the big questions of our time, such as global warming and its impact on our habitat, the extinction of species and the loss of biological and cultural diversity, economic and political instability, injustice in the distribution of the earth’s natural resources and global migration, perhaps it’s necessary to detach uncertainty from fear.”

 

As part of the research for the 32nd Bienal de São Paulo and inaugurating its public activities, four Study Days will be held between March and May of 2016, combining visits to cultural institutions and initiatives, local communities, ecological reserves, artists’ studios, and research centers with four conferences, open to the public and conducted by invited lecturers and professionals at the different locales where they are to take place:

 

Cuiabá, Mato Grosso, Brazi, one of the richest and most fragile biomes in the world, a land of depleted soil, of monoculture, of species vanished and knowledge forgotten, selected for a conference discussing extinction and preservation, abundance and drought; Santiago, Chile, for a conference focusing on cosmologies and the enmeshed relationships between art and science, myth and history from a present-day perspective; Accra, Ghana, a point of return for many slaves from Brazil, a locale of bonds and renewals, projections and collective dreams; and the Peruvian Amazon, where the objective is to work with education, connections between the human race and nature, and to address questions about what is natural and original.

 

To mark the cycle, a seminar will be held at the Bienal building in São Paulo in June, interlacing the themes and proposals developed during these collaborative investigations. Registers of the Study Days and the seminar in São Paulo will be published on the Bienal website and in a specific publication.

 

Seeking to actively participate in the continuous and collective construction of the Ibirapuera Park as a public space, the exhibition sees itself as an extension of the garden inside the pavilion. Conversely, numerous artistic projects will be commissioned for the park. The firm Álvaro Razuk Arquitetura has been invited to develop the exhibit’s architectural project and exhibition displays.

 

Curator: Jochen Volz

Co-curators: Gabi Ngcobo, Júlia Rebouças, Lars Bang Larsen and Sofía Olascoaga

 

--------other biennale --

 

other Biennale :(Biennials ) :

  

Venice Biennial , Documenta Havana Biennial,Istanbul Biennial ( Istanbuli),Biennale de Lyon ,Dak'Art Berlin Biennial,Mercosul Visual Arts Biennial ,Bienal do Mercosul Porto Alegre.,Berlin Biennial ,Echigo-Tsumari Triennial .Yokohama Triennial Aichi Triennale,manifesta ,Copenhagen Biennale,Aichi Triennale

 

Yokohama Triennial,Echigo-Tsumari Triennial.Sharjah Biennial ,Biennale of Sydney, Liverpool , São Paulo Biennial ; Athens Biennale , Bienal do Mercosul ,Göteborg International Biennial for Contemporary Art

  

#thierrygeoffroy #colonelartist #Biennalist #VeniceBiennale# BiennaleArte2015 #artecurator l#biennalecritic #biennialcritic #32bienal @bienalsaopaulo #32bienal #32bienaldesaopaulo #arte #art #contemporaryart #IncertezaViva @

#biennial #biennale #emergencyart #ultracontemporary