martedì 31 gennaio 2017
mercoledì 25 gennaio 2017
Sarà la novantenne artista Geta Bratescu, ha rappresentare la Romania alla prossima Biennale, il progetto si intitola "Apariţii" (Presenze), avrà la curatela di Magda Radu.
Era già stata selezionata nel 2013 per la Biennale di Gioni, oltre ad essere stata proposta nei principali musei internazionali.
Sul sito di Artforum viene segnalato il progetto di Mark Bradford per supportare, in collaborazione con la cooperativa Rio Terà dei Pensieri nel periodo della Biennale di reintegrare uomini e donne incarcerati.
Mark Bradford Partners with Nonprofit to Help Prisoners Re-Enter Society for 2017 Venice Biennale
American abstract painter Mark Bradford will embark on a six-year collaboration with Rio Terà dei Pensieri—a Venice-based social cooperative and nonprofit—to reintegrate incarcerated men and women in Venice into society by providing them with employment opportunities. Titled “Process Collettivo,” the initiative will establish a sustainable longterm program that aims to spread awareness about the limitations of the penal system. Bradford will help develop a storefront located in the Frari district into a venue where artisanal goods made by inmates will be sold.
The project will coincide with the artist’s US pavilion at the Fifty-Seventh Venice Biennale. Opening in May, the exhibition “Tomorrow is Another Day” will feature a multilayered narrative exposing contradictory histories. Cocurated by Christopher Bedford and Katy Siegel, the director and the senior programming and research curator at the Baltimore Museum of Art, the show will present new and existing works.
“Mark’s approach to the US pavilion project—encompassing both his exhibition and ‘Process Collettivo’—exemplifies his distinctly material approach to contending with social issues, particularly those impacting the margins of society,” Bedford said. “Just as Mark will actualize social change beyond the walls of the pavilion, the BMA aims to bring contemporary art beyond our walls and into our local community.”
Polys Peslikas sarà l'artista che allestirà lo spazio del Padiglione di Cipro, con lui parteciperanno anche il collettivo Neoterismoi Toumazou, la scrittrice Mirene Arsanios e il ceramista Valentinos Charalambous, in un progetto corale che vuole essere ampio e condiviso.
The Culture Department of the Ministry of Education and Culture announce that the artist Polys Peslikas will be representing Cyprus at the 57th Venice Biennale of Art. The exhibition of the Cyprus Pavilion, coming to life through the medium of painting, will also act as host to a number of contributions and exchanges by these guests: artist group Neoterismoi Toumazou, artist writer Mirene Arsanios and ceramist Valentinos Charalambous.
#JanVerwoert, curator for Cyprus in the upcoming edition of the Biennial, writes:
“In response to the open call, Peslikas proposed a series of ideas that most strongly resonated with the spirit of the curatorial concept:
On the basis of his practice, Peslikas made a strong case for the power of painting to convey the intensity of elementary experiences. He jokes: "A painting remembers you sneezed in front of it and it will sneeze back at you one day". Yet, Peslikas equally emphasized that this experiential potential may be most strongly felt when painting veils itself, chiaroscuro lets the eyes wander, colours become atmospherical, spectral even. So the peculiar appearance of painting in the envisioned exhibition space may be akin to the ghost of a theatre curtain, which stays present before your eyes, even when the play is already in progress. Thereby, Peslikas projected a vivid image of how the exhibition at the Cyprus pavilion can take shape: The presence of his work will create the atmosphere, define the key and set the stage for the exchanges to happen in the show. His paintings will act as hosts towards the viewers and designated guests of the exhibition.
Equally well versed in the arts of painting and socially collaborative practice, Peslikas is uniquely prepared to interpret the role of a painter as that of a host to guest artists and writers. Parallel to painting, he worked jointly with choreographers in the field of dance, and he opened up to the art community the exhibition space Volks, which he runs in Nicosia. He knows what it means to pursue your own practice while setting the scene for others to appear.
As an integral part of the scenario laid out in the curatorial concept, the exhibition will become a site for hosting exchanges of poetic knowledge; it will trade in the colours of life. A series of publications and events provide the framework for these transactions. Three parties have been invited as guests of honour to raise their voices and share their experience:
Few would embody the local intelligence of international transaction better than artist group Neoterismoi Toumazou (Maria Toumazou, Marina Xenofontos, Orestis Lazouras). Named after a store trading in miscellaneous goods and novelities run by one of the member's grandfather in Nicosia, this group is fluent in many languages — poetry, performance, music, fashion and object-art. The Neoterismoi speak of experiences gathered in lives lived in transit between places, and of love lost and found, styles adapted and transformed, on the way. The Neoterismoi Toumazou set up shop on the crossroads between languages and material influences. On this crossing they meet Peslikas and the two further guests:
Mirene Arsanios is an artist writer from Beirut, based in New York, who tells the story of moments where biography meets history. As everyday lives continue while historical events occur, memories come to be embodied in particular ways. Beirut summers come into focus around a moist black bathing costume. After a bomb went off the neighbour's dog won't bark anymore. Cairo comes to visit in the guise of an ancient grand-aunt who knows about goddesses and feeds pidgeons in Venice. In her stories, Arsanios renders the experiences in colour which shape seasons, cities and people.
Legendary ceramic artist Valentinos Charalambous joins the conversation. By virtue of his long life lived, as an artist, in places including Baghdad, he has many stories to tell. Gathering an unique body of knowledge in the process of creating his art, he has become a teacher and inspiration to many who visited him in his studio. He knows how Cypriot earths act when turned into pigment, what Peggy Guggenheim's perfume smelled like, and how to most contagiously share a deep love for the ancient arts of Mesopotamia. Indeed, such love may be louder than bombs. And there is a lot to learn from how Charalambous teaches the possible depth of influences
Appearing on the atmospheric scene set by Peslikas' paintings, these guests will converse with him and the audience. In terms of the images evoked, stories told, material influences and stylistic inspirations shared — yet also in terms of the very form in which this exchange will take place — the exhibition invokes a particular spirit: It speaks of the Eastern Mediteranean as a zone where travellers meet as routes cross. Passages open up between Nicosia, Berlin, London, Famagusta, Baghad, Limasol, New York, Cairo and Beirut, as a poetic knowledge is created that may deepen the understanding of the past and render the future in a different colour.“
Polys Peslikas (b. 1973, Limassol) lives and works in Berlin. His practice centres on painting, proposing a meticulous relationship with the medium. Peslikas views the canvas as a space to negotiate the concept of time and often works with fragments of images and pre-existing elements within the realm of human activity and the history of art. In this context, he invents new relationships with existing narratives and incorporates these in his painting through references to other visual means. To understand painting, he often turns to other disciplines: he has collaborated with dance performers, taught in public schools, and formed part of the creative core of an art and culture publication, Ysterografo magazine, while curating solo and group shows of other artists. For the past three years he has been artistic director at VOLKS, a newly established art space in Nicosia. His most recent solo exhibitions have been held at Künstlerhaus Bethanien, Berlin, and VOLKS, Nicosia. He has participated in numerous group shows, among others at Halle 14, Leipzig, NiMAC and Point Center for Contemporary Art, Nicosia.
For the upcoming edition, the Cyprus pavilion will be housed at Associazione Culturale Spiazzi, Castello 3865, 30124 Venezia, close to the Arsenale, one of the two main exhibition venues of the Venice Biennale. Complete exhibition programme to follow.
The 57th edition of the event, directed by Christine Macel, opens on 10 May 2017 for the Media and accredited professionals and on 13 May for the general public.
(Photo by Javier Folkeborn)
A Venezia nei giorni della Biennale ci sarà anche l’artista Shezad Dawood col progetto Leviathan. Si tratta di una serie di video, in forma di storia narrativa, realizzato in dieci episodi. Un viaggio epico fra culture e forme naturali estreme.
FONDAZIONE PRADA PRESENTA A VENEZIA “THE BOAT IS LEAKING. THE CAPTAIN LIED.”, UN PROGETTO ESPOSITIVO CON ALEXANDER KLUGE, THOMAS DEMAND E ANNA VIEBROK, CURATO DA UDO KITTELMANN, DAL 13 MAGGIO AL 26 NOVEMBRE 2017
Venezia, 25 gennaio 2017 - Fondazione Prada presenterà nella sede veneziana di Ca’ Corner della Regina “The Boat is Leaking. The Captain Lied.” dal 13 maggio al 26 novembre 2017.
Questo progetto espositivo transmediale è il risultato di un approfondito confronto tra lo scrittore e regista Alexander Kluge, l’artista Thomas Demand, la scenografa e costumista Anna Viebrock e il curatore Udo Kittelmann. La mostra si svilupperà al piano terra e nei due piani nobili del palazzo settecentesco e includerà opere filmiche e fotografiche, ambientazioni spaziali e prestiti da collezioni pubbliche e private.
Riferendosi a una citazione dalla tragedia Giulio Cesare di William Shakespeare “Soffia ora, vento; gonfiatevi, onde; sta bene a galla, barca: scatenata è ormai la gran tempesta, e tutto adesso è rischio”, Udo Kittelmann osserva come questa collaborazione sia originata “dalla comune consapevolezza, a livello emotivo e teorico, delle criticità del nostro presente e della complessità del mondo in cui viviamo”.
In un dialogo di costellazioni e riferimenti polifonici tra i contributi di ciascun artista, la mostra attraversa diversi linguaggi come il cinema, l’arte e il teatro. La convergenza di spazi visivi e scenografie in grado di creare una varietà di atmosfere trasforma lo storico palazzo di Ca’ Corner della Regina in un luogo metaforico nel quale scoprire i mondi in cui viviamo e le nostre attitudini personali sviluppate nei loro confronti.
La mostra intende fornire una visione completa delle produzioni di Alexander Kluge, Thomas Demand e Anna Viebrock. I loro sforzi artistici si sono sempre estesi oltre ai campi dell’estetica e dell’immaginativo in quanto concepiti con chiare intenzioni storico-politiche. I tre autori si rivelano così pionieri e investigatori, testimoni e cronisti dei tempi passati e presenti.
Grazie a questo approccio la mostra è concepita come uno spazio in cui vivere esperienze e incontri. Questo ambiente stratificato e visivamente potente conferisce un’analisi e un significato al quotidiano e ai mondi di ieri e oggi sospesi tra apparente normalità e catastrofe, in una società divisa tra slancio vitale e perdita di fiducia, tra estrema angoscia e speranza senza limiti.
Come sostiene Kittelmann, “è una fortunata coincidenza che la produzione filmica di Alexander Kluge, l’opera fotografica di Thomas Demand e le scenografie di Anna Viebrock siano riunite in questo progetto collettivo, combinando forme di espressione artistica solitamente distinte. Finora l’impegno nei loro diversi ambiti creativi non ha consentito loro di creare una collaborazione così simbiotica, nonostante si conoscano personalmente e abbiano spesso messo a confronto le loro idee”.
La mostra “The Boat is Leaking. The Captain Lied.” sarà accompagnata da una pubblicazione illustrata curata da Udo Kittelmann ed edita dalla Fondazione Prada.
domenica 22 gennaio 2017
martedì 17 gennaio 2017
Un gioco per il padiglione degli Emirati Arabi Uniti.
Col titolo “Rock, Paper, Scissors: Positions in Play” il padiglione dell’UAE allestirò una mostra con cinque artisti: Nujoom Alghanem, Sara Al Haddad, Vikram Divecha, Lantian Xie e Mohamed Yousi.
FIVE ARTISTS ANNOUNCED FOR 'ROCK, PAPER, SCISSORS: POSITIONS IN PLAY', THE UAE'S EXHIBITION FOR THE 2017 VENICE BIENNALE
Titled 'Rock, Paper, Scissors: Positions in Play' and curated by Hammad Nasar, a curator and writer, and most recently served as Head of Research and Programmes at Asia Art Archive, Hong Kong (2012-2016), this exhibition will explore a strand of artistic practice in the UAE through the analogy of play. Featuring existing works, re-fabrication of "lost" works and new commissions, the exhibition will stage a set of nested questions: where does "playfulness" in artistic practice come from? How and where is "play" nurtured? What does "play" do?
The exhibition will present works by five artists who are nationals and long-term residents who call the UAE home: Nujoom Alghanem, Sara Al Haddad, Vikram Divecha, Lantian Xie and Dr. Mohamed Yousif.
The accompanying publication will serve both as an additional site of the exhibition, and as its speculative expansion, with newly commissioned texts by contributors including: Aisha Bilkhair; Uzma Rizvi; and Murtaza Vali; with further contributors to be announced shortly. Artists, architects and creative writers have also been invited to intervene, and respond to the themes of the exhibition, with new commissions by: Ramin Haerizadeh, Rokni Haerizadeh & Hesam Rahmanian; Deepak Unikrishnan; and, WTD magazine.
Series of Programs
In line with the curatorial premise, several cultural institutions across the UAE have been invited to act as interlocutors in exploring the themes of the exhibition. Some of the confirmed institutions include Sharjah Art Foundation, The Art Gallery at NYU Abu Dhabi, Alserkal Programming, Tashkeel, Maraya Art Centre and Warehouse421. By developing these themes in ways they deem relevant, this will serve to extend, expand, critique, reflect and respond to the myriad issues that the exhibition may catalyze. More information on the institutions’ programs will be announced soon; you can also follow the story using the hashtags #positionsinplay, #uaeinvenice and #nationalpavilionuae.
Commissioned by the Salama bint Hamdan Al Nahyan Foundation and supported by the UAE Ministry of Culture and Knowledge Development, the exhibition will run from May 13 to November 26, 2017 at the 57th International Art Exhibtion of la Biennale di Venezia, with a preview from May 10 to 12, 2017.
To join the conversation follow National Pavilion UAE on Facebook | Instagram | Twitter and use the hashtags #uaeinvenice, #positionsinplay and #nationalpavilionuae
#positionsinplay, #uaeinvenice and #nationalpavilionuae.
sabato 14 gennaio 2017
Sarà Boris Mikhailov a intervenire nel Padiglione Ucraino alla prossima Biennale di Venezia, con un progetto dal titolo "Parlamento" in cui la sua attività fotografica guarderà alla comunicazione e al suo uso.
martedì 10 gennaio 2017
Sarà Vincent J. F. Huang ha rappresentare il Tuvalu, unica isola del Pacifico a partecipare alla prossima Biennale di Venezia.
Il progetto che verrà realizzato sarà multimediale e cercherà di costituire una comunità di relazioni umane.
Info al sito http://www.tuvalupavilion.com/
Tuvalu announces Curator and Artist at the 2017 Venice Biennale
Artist and climate activist Vincent J. F. Huang (Taiwan) will represent the Pacific Island nation of Tuvalu at the 2017 Venice Biennale. Aida Yuen Wong (United States/Canada/Hong Kong) has been appointed the Tuvalu Pavilion Curator. Responding to the biennale theme, “Viva Arte Viva,” the Tuvalu Pavilion will serve as the physical heart of a worldwide “social sculpture” called the Global Interactive Program to be realized through on- and off-line projects designed to rouse the global community to tackle the climate crisis that currently threatens to destroy the biennale’s smallest participating country.
The only small Pacific Island Nation to participate in the Venice Biennale, Tuvalu is best known for its low elevation and its designation, according to the United Nations International Panel on Climate Change, as the likely first victim to the rising sea level. Though it has thrived for thousands of years as a self-sufficient fishing community now numbering just under 10,000, it is paying the price of global industrialization and indifference. As Huang points out, this tiny island country and Venice share a common troubling future.
Huang divides his creative life between Venice and Taipei and has focused his art and
activism on a single question: “When extreme weather rages around the world, how
could art take a stand, and furthermore, play a role in social reform?” Huang creates
art as a catalyst capable of turning the experience of global warming into personal and
public action, while at the same time being transcendent aesthetic events that awaken
passion for global ecology.
Huang has been visiting Tuvalu since 2010. In 2012 he represented Tuvalu at the
United Nations Climate Summit UNFCCC COP, and in 2013 and 2015 he exhibited
at the Venice Biennale. It was his 2015 contribution, “Crossing the Tide,” which came
to be known as “the flooded national pavilion” that made Tuvalu’s fate of interest to
journalists from the mainstream as well as the art press all over the world. In 2017,
he will be turning to a range of cultural forms, from myths and story-telling to the
immersive poetry of installation in order to keep our eyes on the catastrophic future
of a tiny island nation.
From the front lines of climate change in the South Pacific island and the Arctic Circle, Vincent J.F. Huang has enlisted remarkable creativity to look deeply at global climate crisis and challenge us to answer the question: “Are contemporary cultural developments leading to a beautiful new tomorrow or hurrying us towards a disastrous and crashing end?”
Vincent Huang was born in Nantou, Taiwan, in 1971 and received his MFA from
Gray’s School of Art in Scotland in 2001. He taught at the Department of Visual
Communication Design at Shu-te University in Kaohsiung from 2001 to 2006.
He has been artist-in-residence at the Shanghai Duolun Museum of Modern Art,
Chiyoda Art Center in Tokyo, ARTSPACE in Australia, and the Arctic Circle Project.
In 2013, in acknowledgment of his sustained art activism in support of global
environmental issues, he was honored with Taiwan’s most prestigious cultural
award—the Presidential Cultural Award.
Aida Yuen Wong, Nathan Cummings and Robert B. and Beatrice C. Mayer Chair in Fine Arts is the Chair of the Department of Fine Arts at Brandeis University, Waltham, Massachusetts (U.S.A.). She specializes in transcultural exchanges in modern/contemporary East Asia and is currently writing on the recent history of ink painting in China, Hong Kong, and Taiwan. Dr. Wong was awarded the Taiwan Fellowship from the Ministry of Foreign Affairs (ROC) (2015–2016) and the American Council of Learned Societies (and NEH) American Research in the Humanities in China Fellowship (2012–2013; 2002–2003). Among her publications are Parting the Mists: Discovering Japan and the Rise of National-style Painting in Modern China (2006); Visualizing Beauty: Gender and Ideology in Modern East Asia (2012); The Other Kang Youwei: Calligrapher, Art Activist, and Aesthetic Reformer in Modern China (2016); and the forthcoming Fashion, Identity, and Power in Modern Asia.
giovedì 5 gennaio 2017
L'artista Vajiko Chachkhiani è stato selezionato dal Ministero della Cultura della Georgia, fra una rosa di venti progetti proposti a seguito di un bando, per il padiglione della Georgia.