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domenica 26 maggio 2013
National Pavilion of Kuwait at the 55th International Art Exhibition – la Biennale di Venezia
The National Council of Culture, Arts, and Letters presents Kuwait’s first Pavilion at the55. International Art Exhibition – la Biennale di Venezia. Under the general theme of“The Encyclopedic Palace”, proposed by Massimiliano Gioni director of this edition, the exhibition National Works explores two major works by sculptor Sami Mohammad (b. 1943) along with a new photographic production by Tarek Al-Ghoussein (b. 1962). Curated by Ala Younis, National Works disassembles symbols of grandeur in paused/post glorious times, in an attempt to re-interpret Kuwait’s modernization project.
(fonte http://www.artkuwait.org/)
Title of the exhibition: National Works
Exhibitors: Sami Mohammad, Tarek Al-Ghoussein
Commissioner: Mohammed Al-Asoussi (National Council of Culture, Arts, and Letters)
Curator: Ala Younis
Venue: Palazzo Michiel dal Brusà, Cannaregio 4391/A / Strada Nova
Opening reception: 30 May 2013 at 6 pm
Dates: open during the preview days (29, 30 and 31st) and for the public from 1 June – 24 November 2013
domenica 19 maggio 2013
The Grand Canal - evento collaterale
(Italiano sotto)
The Grand Canal
of China, a living cultural heritage and the theme of this collateral
exhibition, was dug to open up the exchange of human and material resources,
and led to an encyclopedic dissemination of art, ideas and culture consistent
with today’s globalization. This exhibition shows the fusion of contemporary
Chinese art, history, tradition and the material world. In an exploration of
the Grand Canal’s cultural and practical significance, Chinese artists deal
with complementary dichotomies including manmade/natural,
traditional/contemporary, male/female and material/spiritual.
Artists: Bai
Chongmin,Gao Jie,He Haoyuan,Huang Rui,Peng Xiaojia,Qiu Zhijie,Shi Qing,Wang
Du,Irrelevant Committee (Gao Fei, Chen Zhiyuan, Li Liangyong, Ye Nan,Guo Lijun,
Jia Hongyu, Niu Ke, Wang Guilin), Xiao Lu, Xu Bing, Zhang Yangzi
Curator: Xiao Ge
(Italiano)
Il Canal Grande
di Cina, un patrimonio culturale vivente, è il tema di questa mostra
collaterale. Esso è stato ricavato per aprire gli scambi di risorse umane e
materiali e ha portato a una diffusione enciclopedica dell’arte, delle idee e
della cultura coerenti con la globalizzazione di oggi. La mostra evidenzia la
fusione di arte cinese contemporanea, storia, tradizione e mondo materiale. In
un’esplorazione del significato pratico e culturale del Canal Grande, gli
artisti cinesi affrontano le dicotomie complementari come fatto a
mano/naturale, tradizionale/contemporaneo, maschio/femmina e materiale/spirituale.
Museo Diocesano,
Sale espositive, Castello 4312
1 giugno - 24
novembre
Organizzazione:
National Youth Center of the Chinese Central Government Organs; China Grand
Canal Application for World Heritage List Office in Yangzhou; West Lake International
Artists Association; Jiangdu District Government of Yangzhou, Jiangsu
Province (China)
martedì 14 maggio 2013
Romanian Pavilion at the 55th International Art Exhibition – la Biennale di Venezia Giardini della Biennale
“Solid things can be nomadic but never movement.” (Mykki Blanco)
An Immaterial Retrospective of the Venice Biennale takes the entire history of the Venice Biennale and reflects it in a national pavilion as in a fragment of a mirror. The retrospective can be seen as an ephemeral monument to the biennale, a critique of its Euro-centrism, vain display of power and luxury or of mere conservatism but also a celebration of its openness for experiments, for the coexistence of virtually all the trends, media, genres, that art uses or represents. Yet, it is also something more.
By turning the monumental into the immaterial and the object into action, by enacting history, the project also transforms this history; it actualizes it. It is a simultaneous affirmation and undoing, an attempt to archive which is at the same time turned against the weight of the archive, of the storage, of the labels and keys of reading that come with it. The work is appealing to the public’s memory only to reveal its constructed nature and to question how memories are selected, who is reminding us what and by which means.
A retrospective is generally a grandiose and thorough enterprise. In this case, however, by reproducing a variety of works with the means of only a few human bodies, the work changes the scale of what a retrospective can be and implicitly of the biennial itself. It hints at its vastness but it makes it accessible. The bodies of the performers are there present, alive, in tension, contradiction or dependence to one another, exposed to the public.
Throughout this year’s Venice biennale, during its opening hours, the performers in the Romanian pavilion are recreating their version of a world’s exposition, one hundred years of history in a day, every day.
Alexandra Pirici, born in 1982, lives and works in Bucharest, Romania. Alexandra has a background in choreography and performing arts but attempts to work undisciplined, across different mediums, including film and music. Her work has been presented at, among others: Hebbel am Ufer, Berlin; Tanzquartier Vienna; Kanuti Gilde Saal, Talinn; Nottdance Festival, UK; Kunstmule, Germany; Salonul de Proiecte/ MNAC Anexa, Bucharest; Temps d’Images international festival, and the Balkan Dance Platform.
Manuel Pelmuş is one of the most well-known representatives of Romanian dance in the international context. He works in Bucharest and Oslo. His performances have been extensively presented throughout Europe and the United States. In 2011 he founded Căminul Cultural in Bucharest, together with Brynjar Abel Bandlien and Farid Fairuz. Manuel Pelmuş was awarded Berlin Art Prize for Performing Arts in 2012 by the Akademie der Künste Berlin.
“Solid things can be nomadic but never movement.” (Mykki Blanco)
An Immaterial Retrospective of the Venice Biennale takes the entire history of the Venice Biennale and reflects it in a national pavilion as in a fragment of a mirror. The retrospective can be seen as an ephemeral monument to the biennale, a critique of its Euro-centrism, vain display of power and luxury or of mere conservatism but also a celebration of its openness for experiments, for the coexistence of virtually all the trends, media, genres, that art uses or represents. Yet, it is also something more.
By turning the monumental into the immaterial and the object into action, by enacting history, the project also transforms this history; it actualizes it. It is a simultaneous affirmation and undoing, an attempt to archive which is at the same time turned against the weight of the archive, of the storage, of the labels and keys of reading that come with it. The work is appealing to the public’s memory only to reveal its constructed nature and to question how memories are selected, who is reminding us what and by which means.
A retrospective is generally a grandiose and thorough enterprise. In this case, however, by reproducing a variety of works with the means of only a few human bodies, the work changes the scale of what a retrospective can be and implicitly of the biennial itself. It hints at its vastness but it makes it accessible. The bodies of the performers are there present, alive, in tension, contradiction or dependence to one another, exposed to the public.
Throughout this year’s Venice biennale, during its opening hours, the performers in the Romanian pavilion are recreating their version of a world’s exposition, one hundred years of history in a day, every day.
Alexandra Pirici, born in 1982, lives and works in Bucharest, Romania. Alexandra has a background in choreography and performing arts but attempts to work undisciplined, across different mediums, including film and music. Her work has been presented at, among others: Hebbel am Ufer, Berlin; Tanzquartier Vienna; Kanuti Gilde Saal, Talinn; Nottdance Festival, UK; Kunstmule, Germany; Salonul de Proiecte/ MNAC Anexa, Bucharest; Temps d’Images international festival, and the Balkan Dance Platform.
Manuel Pelmuş is one of the most well-known representatives of Romanian dance in the international context. He works in Bucharest and Oslo. His performances have been extensively presented throughout Europe and the United States. In 2011 he founded Căminul Cultural in Bucharest, together with Brynjar Abel Bandlien and Farid Fairuz. Manuel Pelmuş was awarded Berlin Art Prize for Performing Arts in 2012 by the Akademie der Künste Berlin.
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