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Visualizzazione post con etichetta Pavilion. Mostra tutti i post
Visualizzazione post con etichetta Pavilion. Mostra tutti i post
martedì 26 febbraio 2019
News by Pavilion of Switzerland at the 58th International Art Exhibition – La Biennale di Venezia
domenica 7 maggio 2017
Padiglione Austria
BRIGITTE KOWANZ ERWIN WURM
IN THE AUSTRIAN PAVILION AT THE
57th INTERNATIONAL ART EXHIBITION – LA BIENNALE DI VENEZIA 2017
9 February 2017. Christa Steinle, Commissioner of the Austrian Pavilion in 2017, is presenting Brigitte Kowanz and Erwin Wurm, two artistic positions who focus on examining and refining the concept of sculpture in the international art discourse.
With their oeuvres, Brigitte Kowanz and Erwin Wurm – who have both received the Grand Austrian State Prize for their extraordinary work – operate at the intersection between sculpture and architecture. Both react to changes in our perception and experience of space brought about over the past two hundred years by machines, media and new materials.
“Although the most famous phase of Wurm’s work is known as performative sculpture and Brigitte Kowanz’s works as light installations, thus causing them to appear to be worlds apart in terms of designation, they nevertheless work in the same sphere, i.e. on the expansion of the arts ushered in by the rejection of the image. Through the aid of her light installations, Brigitte Kowanz has immaterially redefined space and architecture. With his famous house paraphrases, from ‘House Attack’ (2006) to ‘Narrow House’ (2010), Erwin Wurm has transformed architecture into sculpture, consistently evolving the performative turn of sculpture with his ‘One Minute Sculptures’. Kowanz’s light objects and light spaces with their inherent writing and signs constitute an autonomous achievement for art. With their innovative and independent contributions, Kowanz and Wurm form part of an international movement within the spectrum of an extended concept of sculpture and
space”, as Christa Steinle comments on her aesthetic concept for the Austrian pavilion.
RELATIONS BETWEEN LIGHT, LANGUAGE AND REFLECTION
Brigitte Kowanz’s position in recent art history is a distinctive one. Since the 1980s, her work
has centred on light as an artistic medium that she investigates in relation to space and in
combination with signs, codes and language. She uses light as a means of transcending and adding precision in order to question the conventional concept of image and painting and to hone a new, integrated relation between work, space and viewer. In doing so, carrying on the tradition of reflection on the media, she concentrates on dealing with the fundamental parameters of art: visibility, perception and the production of meaning. Light makes everything visible, but remains invisible itself. Light determines places, but knows no place itself. In “Light Never Stays / Knows No Place / Is Continually Changing / With Its Environment“ (2003/2005), for example, Kowanz explores the unfathomable and ephemeral with analytical passion. Light defies capture, light is in motion, light is everywhere.
The result is conceptual, but poetic objects and installations emerge, in which she also investigates the mechanisms of language. This mutual mirroring of light and language is often accompanied by actual mirrors, that cause reality and virtual mirror image to pervade each other in her exhibition enactments, blurring the boundaries between artwork and viewer.
In her space-forming mirror installations (e.g. MUMOK Vienna 2010), she thus breaks open the boundaries of three-dimensional, architectural space, adding virtual spaces to it.
Kowanz deploys mirrors as a kind of metamedium of visual transfer: by penetrating real space and virtual space, mirrors contain an infinite number of images, transcending and dematerialising the boundaries of space.
Light, language and mirrors constitute the trinity of themes that, combined with each other,
effectively multiply the possibilities of transcending one’s own bounds and mutual penetration to the point of infinity. In these virtual spaces, Kowanz also confronts the viewer with current socio-political issues. In one of her latest pieces, “Maastricht 07.02.92 01.11.93“ (2016), she formulates her concern about the breakdown of the European Union. In this case, the mirror serves, quite literally, as a medium of reflection in which viewers find themselves.
Brigitte Kowanz’s art is conceptual poetry. To her, light as the origin of all life is information, the shaping of space-time.
SCULPTURE AS AN OPEN FIELD OF ACTION
With his sculptures, Erwin Wurm makes a globally acknowledged autonomous contribution to an international trend: sculpture as a form of action. To begin with, Erwin Wurm reinterprets the classical criteria of sculpture – volume, weight, stasis, gravity, form and mass. Instead of the threedimensional object on a plinth, Erwin Wurm focuses on the human being himself and his actions with everyday objects in unusual positions, capturing this minimal period of time in photographs.
Photography and video become a medium of sculpture. With these famous One Minute Sculptures, the audience become participants in designing the sculpture and the sculpture becomes an open field of action. Taking a further step, Erwin Wurm offers the audience various instructions for making sculptures in the museum space, subversively encouraging the individual to take part in social action. By consistently expanding the concept of sculpture, Erwin Wurm demonstrates that he can find an answer to the moods and social conditions of our time in an intrinsically artistic manner – sometimes sublime, often philosophical – in images and objects. Wurm’s concept of sculpture, that
revolves around a wide range of materials and media, makes explicit reference to the traditions of the “Neo-Avantgarde”, in which provocation and venture always played a role.
In other distinct bodies of work, we see the insights gained from the action sculptures transferred back to static objects. One example is “Narrow House“ (2010), an intervention in public space that was on show at the Biennale di Venezia in 2011, a work with which Erwin Wurm spectacularly sums up the confinement of the petit bourgeois family. Here again, Erwin Wurm uses his largeformat sculptures in public space to pan out new options in the aesthetic examination of sculpture and architecture.
All of his works refer to a critical, media-analytical consideration of the concept of sculpture by transcending the boundaries between object and performance, sculpture and photography, between artist and audience. Hence, his works also offer a wide basis for reflection on sociocultural and socially relevant questions. Where once sculpture was above all stasis, since the advent of kinetics it is dynamics. As “social sculpture” (J. Beuys), sculpture is equally action. Wurm turns sculpture into the audience’s form of action.
Christa Steinle has contributed significantly to and enriched national and international
developments in contemporary art through her activities as Director of the Neue Galerie in Graz / Universalmuseum Joanneum or as Austrian Commissioner of the Cairo Biennale in 2004, among others. She has been consistently committed to promoting young artists, critically examining artistic patterns of thought and the art industry.
AUSTRIAN PAVILION, LA BIENNALE DI VENEZIA 2017
Commissioner Christa Steinle
Artists Brigitte Kowanz Erwin Wurm
Padiglione Australia
In 2017, Australia will be represented by Tracey Moffatt at the Venice Biennale. Tracey’s exhibition MY HORIZON, will comprise all new work including large-scale photography and film. Tracey is one of Australia’s most successful artists and creates highly stylized narratives and montages to explore a range of themes. These themes include the complexities of interpersonal relationships, the curiousness of popular culture, and her own deeply felt childhood memories and fantasies.
Tracey will be working alongside internationally renowned Curator, Natalie King. Aside from curating the exhibition, Natalie will edit the accompanying publication of the same name, to be published by Thames & Hudson. This will be the first time an artist representing Australia at the Venice Biennale will have a globally distributed accompanying publication.
Australia’s commissioner of the 2017 Venice Biennale is business leader and entrepreneur, Naomi Milgrom, AO.
Australia’s representation at the Venice Biennale began in 1954, and since then 38 distinguished contemporary visual artists have exhibited under the Australia banner. Click here to see all the Australian representations at the Venice Biennale.
This will be the second exhibition in the award-winning Australian Pavilion in Venice’s Giardini.
With just over six weeks until the official launch of the 57th International Art Exhibition of the Venice Biennale, the Australia Council for the Arts has revealed the photograph ‘Hell’ - one of the extraordinary works that will feature in Tracey Moffatt’s exhibition MY HORIZON at the Australian Pavilion in Venice.
This exhibition of entirely new work will be officially launched in the second week of May 2017 in Venice. It features two major large-scale photographic series and two video works. The exhibition explores journeys – both legal and illegal – and alludes to issues of race and gender, sexuality, desire, identity, and human connection and estrangement.
‘Hell’, the work revealed by Moffatt at her Sydney studio today, is one of 12 large scale photographs from the series Passage which is set in a mysterious dockland. A mother, a motorcycle police officer and a sharply dressed character whom the artist calls ‘the middleman’ enact a drama that is, as Moffatt says, as “old as time itself. People throughout history and across cultures have always escaped across borders to seek new lives.”
On MY HORIZON, Moffatt said:
“I have taken my camera into unknown locations and created photodramas, using models, actors and people I find on the street. My stories meld fiction, fact and some aspects of my family history but I have wanted to extend my filmic narratives into imaginary realms. The horizon line encapsulated in the title MY HORIZON can represent a yearning for escape to another place.”
Commissioner for Australia, Naomi Milgrom AO said:
“It is a special moment in our history, to have Tracey Moffatt’s work represent Australia at this most prestigious international art event. Tracey has forged an extensive, celebrated international career with her meticulously constructed narratives exploring race, gender, sexuality and displacement. Using a language rich with cinematic history and deeply poetic imagery, MY HORIZON deals with many of the issues that occupy our minds today.”
Curator Natalie King said:
“MY HORIZON is capacious, open, expansive and personal – an exhibition that references film, art and the epic history of photography, as well as aspects of her family history.”
Through photography and film, Tracey Moffatt creates highly stylised narratives and montage. She first received critical acclaim with the short film Night Cries which was selected for official competition at the 1990 Cannes Film Festival. Her first feature film, bedevil, was also selected for Cannes in 1993, and in 1997 she was invited to exhibit in the Aperto section of the Venice Biennale. An exhibition at the Dia Centre for the Arts in New York followed, consolidating her international reputation.
Since then Moffatt has exhibited extensively in museums and galleries across the globe, with more than 100 international exhibitions including a highly prestigious 2012 solo show at New York’s Museum of Modern Art.
Accompanying the exhibition will be a major new book co-published by Thames and Hudson and the Australia Council, and edited by Natalie King. ‘Hell’ is the cover image for this definitive survey of MY HORIZON, which features contributions from a range of Australian and international writers and academics. Major essays from Alexis Wright, Djon Mundine OAM and Natalie King respond in powerful ways to MY HORIZON both as an entire exhibition and individual works. The book also charts Tracey Moffatt’s personal inspirations for this new series of work.
Australia Council Chair Rupert Myer AO said that this glimpse into Tracey’s evocative new work confirms why MY HORIZON is such a highly anticipated exhibition.
“This wonderful event has had a profound impact on Australia’s international arts profile through the decades of artists who have come before. Tracey is an extraordinary artist who will richly add to the artistic and cultural legacy of Australia in Venice,” Mr Myer said.
“I would like to thank Naomi, Natalie, Tracey and the Australia Council’s Venice team for their dedication and significant efforts to reach today’s milestone, and wish them well as we approach the opening of MY HORIZON in May.”
Established in 1895, the Venice Biennale is the world’s oldest and most prestigious biennale of international contemporary art. Unique for its dual exhibition model, the Venice Biennale comprises of a curated show and individual exhibitions of ‘national participations’. It is an important platform for countries to affirm their nation’s artistic and cultural identity.
The Australia Council has been proud to support and manage the Australian representation at the Venice Biennale since 1978, leveraging and positioning Australia as a key player in the visual arts internationally. Australia’s representation at the Venice Biennale began in 1954, and since then 38 distinguished contemporary visual artists have exhibited under the Australia
banner with the support of the Australian Council. Past Australian representation has included Fiona Hall (2015), Patricia Piccinini (2003), Bill Henson (1995), Rover Thomas and Trevor Nickolls (1990), Sir Arthur Streeton and Arthur Boyd AC OBE (1958).
sabato 6 maggio 2017
Padiglione Gran Bretagna
Phyllida Barlow has been selected to represent Britain at the 57th International Art Exhibition – La Biennale di Venezia and she presents a major solo show in the British Pavilion.
Best known for her colossal sculptural projects, for over four decades Phyllida Barlow has employed a distinctive vocabulary of inexpensive materials such as plywood, cardboard, plaster, cement, fabric and paint to create striking sculptures and bold and expansive installations that confront the relationship between objects and the space that surrounds them. Drawing on memories of familiar objects from her surroundings, Barlow’s practice is grounded in an anti-monumental tradition characterised by her physical experience of handling materials in an expedient and direct way.
“It is an extraordinary privilege and honour to be invited to represent Britain at the Venice Biennale 2017. I am astonished, thrilled and, of course, hugely excited... The international diversity for which the Biennale is so renowned within the particular context of Venice is a unique and stimulating creative opportunity beyond my wildest dreams."Phyllida Barlow
The Commissioner of the British Pavilion is Emma Dexter, Director Visual Arts, British Council. The exhibition is commissioned by the British Council for the 57th International Art Exhibition of La Biennale di Venezia 2017 and has been made possible with support from Hauser & Wirth.
venerdì 5 maggio 2017
Padiglione Canada
The National Gallery of Canada is very proud to organize, with Kitty Scott, Carol and Morton Rapp Curator, Modern and Contemporary Art, Art Gallery of Ontario, the Canada Pavilion presentation of work by artist Geoffrey Farmer at La Biennale di Venezia 2017 – 57thInternational Art Exhibition, in Venice, Italy.
More than a hundred and twenty years after its founding, the Venice Biennale continues to captivate the art world every two years with the spectacle of a truly global survey of the very best of contemporary art.
In 2017 the Biennale will include representation from more than eighty invited nations, all showcasing their leading artists in national pavilions and exposition spaces. The prestigious Golden and Silver Lions, among the most coveted visual arts prizes in the world, will be awarded during the exhibition.
domenica 30 aprile 2017
Padiglione Svizzera
La 57. Mostra internazionale d’arte – la Biennale di Venezia si svolgerà dal 13 maggio al 26 novembre 2017 (vernice per la stampa: 10, 11 e 12 maggio 2017) ai Giardini, all’Arsenale così come in vari luoghi della città. La mostra principale «VIVA ARTE VIVA» è curata da Christine Macel.
Padiglione svizzero
La Fondazione svizzera per la cultura Pro Helvetia ha nominato il curatore Philipp Kaiser per il Padiglione svizzero nel 2017. Per la mostra «Women of Venice» vengono esposte opere inedite, realizzate appositamente per la Biennale di Venezia, di Carol Bove e Teresa Hubbard / Alexander Birchler.
Salon Suisse
Diretto dalla curatrice Koyo Kouoh, il «Salon Suisse» 2017 presenta ATARAXIA, il programma di dibattiti ed eventi che avrà luogo parallelamente all’esposizione allestita nel Padiglione svizzero. Quale partner del «Salon Suisse», la società LAUFEN Bathrooms AG patrocina le manifestazioni a Palazzo Trevisan degli Ulivi.
Padiglione Ungheria
Peace on Earth!
57th International Art Exhibition – La Biennale di Venezia
Hungarian Pavilion
Giardini
13 May – 26 November, 2017
National Commissioner: Julia Fabényi
Curator: Zsolt Petrányi
Organizer: Ludwig Museum – Museum of Contemporary Art, Budapest
We are all concerned about what the future holds for our world. No matter to what extent we believe in the traditional values of Western society, some present-day events seem to question basic principles that were believed to be unchangeable until recently. In a world full of conflicts, world peace seems to be more and more utopian and unachievable; yet, from a historical perspective, we are, in fact, living in the most peaceful period of mankind. Gyula Várnai’s project Peace on Earth! is based on the concept that our faith in the future is relative; its starting point is that the directions we can see now pointing forward in time are determined by the devices, knowledges, and ideologies used today. However, just as it is shown by the example of the now empty slogan used by the Socialist regime in the Cold War period, the validity of these ideas changes with time. Through his installations, Gyula Várnai’s exhibition evokes the ideas of the futurology and the utopias of the past and confronts them with the challenges of the present. His sources are found material and visual elements, which he puts into new contexts in order to shed light on the fact that our vision of the future is the foundation of all the discourses of economics and power, no matter in which era we live in. Furthermore, his works raise the question: what role do remembering and nostalgia play in shaping the following generations’ image of the world? The lessons and emblems of the past determine the times to come, the source of the future is the past, yet, the direction of the changes is unpredictable. Though science, art, and futurology are all concerned with outlining some possibilities, the key to live the present can be to understand the differences between concept, desire, interests, and reality. Várnai, by referring to the past and to the imagined future embedded in it, makes us realize that the movement of the changes is a matter of unpredictably emerging principles. The twenty-first century can bring about paradigmatic changes, technological and historical turns, still, it seems that it is just the desires uttered in the visions of the past that appear in new reincarnations. Zsolt Petrányi, curator
sabato 29 aprile 2017
Padiglione Danimarca
International Art Exhibition — La Biennale di Venezia
May 13 – November 16, 2017
Kirstine Roepstorff
Influenza: theatre of glowing darkness.
Developed by visual artist Kirstine Roepstorff, the exhibition project influenza challenges us to
embrace darkness as a positive force of healing, transformation, and empowerment. To give birth
to our future.
If the entirety of necessary information pre-exists within all forms, the only action that’s required to
effect change is to dissolve prevailing beliefs – to enter the rumbling, alive unknown. One must be
willing to completely abolish old systems to advance towards new ways of thinking, understanding
and being.
Darkness dissolves form and can be seen as the pregnant void out of which all things
arise. The exhibition will explore the metamorphosis that occurs between the destruction of the
known and the embrace of the new.
Darkness.
At the beginning of all creation.
When everything was just floating energy in complete darkness…
Maybe you remember, which choices you made here?
And what you chose to rehearse and to learn in this life?
How much did you dare to risk in order to grow?
How much darkness did you absorb?
Do you remember?
influenza consists of an immersive theatre and a structural intervention in the pavilion and
surrounding gardens. “theatre of glowing darkness” is a dynamic large-scale installation that uses
darkness, light projections, glass and a dialogue between three protagonists. Using the pavilion
itself as a sculptural form, the artist has created an architectural re-structuring project altering preestablished
borders to mediate with her surrounding landscape intervention.
The exhibition is accompanied by a booklet with contributions by Angela Rosenberg, Sepake
Angiama, Solvej Helweg Ovesen and Ute Meta Bauer. The four contributors form the Consortium
for the exhibition project, and have acted as a ‘sounding board’ for the artist through every stage of
the project’s development.
Biography and selected exhibitions
Born in 1972, Kirstine Roepstorff lives and works in Fredericia, Denmark. She graduated from the
Royal Danish Academy of Fine Arts in Copenhagen. Roepstorff’s artistic practice consists primarily
of mixed media collages pointing out existing power relations, and critically investigating the history
and failures of political ideas. By editing and decomposing original materials, her work generates
new contexts that open up spaces for negotiation and new narratives.
Roepstorff’s practice is
situated in those “in-between” spaces of negotiation.
Selected exhibitions: Andersen’s Contemporary, Copenhagen, DK (2016); Den Frie, Copenhagen,
DK (2015); Kunstverein Göttingen, DE (2014); Museum für Gegenwartskunst, Kunstmuseum
Basel, CH (2010); The National Museum, the Museum of Contemporary Art, Oslo, NO (2010).
In recent years, Kirstine Roepstorff has created several large-scale public art projects,
including "The Gong" for Dokk1 in Aarhus, DK (2015) and "Klangfrø" for the Department of Nordic
Studies and Linguistics at the University of Copenhagen, DK (2014).
Her work is included in the
permanent collections of Museum of Modern Art, New York, USA; The Saatchi Gallery, London,
UK; National Museum of Art, Architecture and Design, Oslo, NO; National Gallery of Denmark,
Copenhagen, DK among others.
The Danish Arts Foundation and La Biennale di Venezia
The Danish Arts Foundation Committee for Visual Arts Project Funding is the Commissioner of the
Danish pavilion and has appointed the artist Kirstine Roepstorff to represent Denmark at the 57th
International Art Exhibition – La Biennale di Venezia.
The Committee consists of Gitte Ørskou
(chair), Lilibeth Cuenca Rasmussen, Bodil Nielsen and Jacob Tækker.
With the generous additional support of:
New Carlsberg Foundation for the “theatre of glowing darkness”.
Kvadrat collaborated on the tapestry and supported the textiles.
Padiglione Finlandia
Artists Nathaniel Mellors and Erkka Nissinen will present their first collaboration, The Aalto Natives, in the Finnish Pavilion at the 57th International Art Exhibition – La Biennale di Venezia. Opening on 13 May, the exhibition is the flagship contemporary art event included in Finland’s official centenary programme. Its patron is Mrs Jenni Haukio, the spouse of the President of Finland.
The Aalto Natives explores national identity
Individually known for their irreverent and often comedic story-driven work, in which a humorous approach deceivingly belies a profound inquiry into contemporary issues of morality and power, Mellors and Nissinen will focus on various clichés surrounding Finnish history and national identity in The Aalto Natives.
The installation will be conceived for the architectural and ideological context of the Finnish Pavilion, designed by architect Alvar Aalto in 1956. Conflating ideas and tropes from archaeology, anthropology and science fiction, it will re-imagine Finnish society.
“The Aalto Natives explores themes such as the invention of national identity and the origins of culture by way of absurdist satire. Dressing its intellectual ambitions in purposefully silly gear, it both addresses the complex challenges our globalized world faces today, and pokes a cheeky kind of fun at the political correctness of its discourse,” says curator Xander Karskens.
In The Aalto Natives, the artists, who share an interest in the capacity of absurdism and transgression to critique power structures and the status quo, bring together Nissinen’s intuitive, do-it-yourself attitude to image production and his penchant for naïve musicality, with Mellors’ writing-based approach to filmmaking, and integration of sculpture.
“We wanted to take a cosmic perspective on nationalism — a comic-cosmic perspective on national identity, creation mythology, transnational movement, bureaucracy and class & racial stereotyping. We started with the idea of creation mythology – it seemed both absurd and necessary. We took a trip to the Ateneum in Helsinki, looked at the Kalevala paintings and talked about the role of the egg-laying duck. We realized that Finland is part of a broader genus of egg-based civilizations,” say the artists.
The 57th Venice Biennale opens on 13 May
The Venice Biennale, located in the Giardini and Arsenale directly in the historic centre of Venice, will open to the public on 13 May. The Art Biennale, which rotates with the Architecture Biennale every other year, is expected to attract approximately half a million visitors. Along with the national exhibitions, the Biennale hosts a large main exhibition of 120 artists in the Italian Pavilion. This year the main exhibition Viva Arte Viva is curated by Christine Macel, Chief Curator of Centre Pompidou in Paris.
“The Venice Biennale is the oldest and one of the most prestigious international exhibitions of contemporary art, which always manages to capture the zeitgeist of the world in a magical way. The Aalto Natives exhibition is by far the most international production we have ever seen in the Finnish Pavilion. With their very special take on the global state of affairs, Erkka Nissinen and Nathaniel Mellors will provide us with a viewpoint like no other,” says Raija Koli, Director of Frame and the commissioner of the exhibition.
The Aalto Natives to be exhibited at the Cobra Museum and Kiasma after Venice
The Aalto Natives installation will be seen both in the Netherlands and Finland right after the Biennale ends in November. In addition to being presented at the Cobra Museum in Amstelveen in the Netherlands in December 2017, The Aalto Natives will be included as part of a major exhibition featuring Erkka Nissinen and Nathaniel Mellors at the Kiasma Museum of Contemporary Art in Helsinki in spring 2018.
mercoledì 26 aprile 2017
Padiglione USA
Mark Bradford’s exhibition for the U.S. Pavilion at the Biennale Arte 2017 is born out of his longtime commitment to the inherently social nature of the material world we all inhabit. For Bradford, abstraction is not opposed to content; it embodies it. His selection of ordinary materials represents the hair salon, Home Depot, and the streets of Los Angeles—both the culture industry and the grey economy. Bradford renews the traditions of abstract and materialist painting, demonstrating that freedom from socially prescribed representation is profoundly meaningful in the hands of a black artist.
Bradford’s longtime social and intellectual interests will be present in the Pavilion, most notably in his concern for marginalized people, both their vulnerability and their resiliency, and the cyclical threat and hope of American unfulfilled social promise. Coming at a moment of terrible uncertainty, Tomorrow is Another Day is a narrative of ruin, violence, agency, and possibility, a story of ambition and belief in art’s capacity to engage us all in urgent and profound conversations, and even action.
Following its debut in Venice, Mark Bradford: Tomorrow Is Another Day will be on view at The Baltimore Museum of Art from September 2018 through January 2019.
lunedì 21 dicembre 2015
Kirstine Roepstorff per la Danimarca
Il sito Artnews comunica che l'artista Kirstine Roepstorff rappresenterà la Danimarca alla prossima Biennale di Venezia 2017
sabato 9 maggio 2015
giovedì 7 maggio 2015
PIZZA PAVILION - Venice Biennale #56
PIZZA PAVILION - Venice Biennale #56
Alma Alloro / Anthony Antonellis / Rachael Archibald /
Kim Asendorf & Ole Fach / Paul Barsch /
Dineo Seshee Bopape / Matteo Ceretto Castigliano /
Debora Delmar / Jack Fisher / Luc Fuller / Shiyu Gao /
Jason Hirata / Tilman Hornig & Anselm Ruderisch /
Sascha Hundorff / Simona Lamparelli / Lorna Mills /
Yorgos Sapountzis / Sydney Shen / Santiago Taccetti
Grand Opening: May 7, 8pm May 7 - Nov. 22, 2015
@ 'Pizza Al Volo', Campo Santa Margherita, Venezia, Italia
www.pizzapavilion.net
martedì 5 maggio 2015
Museum - Lithuanian Pavilion
The Ministry of Culture of the Republic of Lithuania, the Lithuanian Council for Culture, and the Nida Art Colony of Vilnius Academy of Arts have the pleasure to invite you to the opening of
Dainius Liškevičius’ project MUSEUM
in the Pavilion of Lithuania at the 56th International Art Exhibition – la Biennale di Venezia
on Wednesday, 6 May 2015, at 5 pm with the artist’s performance
The Lithuanian pavilion and the opening ceremony will be in the garden of the Palazzo Zenobio, Fondamenta Soccorso, Dorsoduro 2596, Venezia
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Museum, which originated in 2012 as a black cube intervention in the Lithuanian National Gallery of Art in Vilnius (formerly the Museum of the Revolution of the Lithuanian SSR), has arrived in Venice as an artist-created institution which can tell and do what ordinary museums cannot. The artist’s ways of storytelling and rhetoric simulate the phenomenon of a museum itself, with its rules and methods. In this way, a discursive space with overlapping subjective and objective interpretations of time is created. As the Lithuanian national pavilion, Museum seemingly alludes to the idea of the curator Okwui Enwezor that a national pavilion is “the most anachronistic exhibition model”. At the same time, it offers a relevant model of conduct for today’s world, full of national and geopolitical conflicts.
The multi-layered collection that has been put together by the artist works as an elliptical time loop. It simultaneously takes us back to the recent Soviet past, questions the present, and projects our anxieties on to a future that is full of cultural and geopolitical tensions. Museum is essentially a one-off piece of artistic research, but it is not only relevant in exploring the depths of the Soviet totalitarian regime. It is also a possible model for dealing with present-day hegemonic powers, and their impact on the public discourse and the freedom of the artist. We can also interpret Museum as a new kind of patriotism, which rethinks the new democracies’ national myths, and their attempts to create legitimacy for a contemporary nation-state.
In his vision of Lithuanian (art) history, revamped with subtle irony, the artist offers an unexpected version of the archaeology of objects. Here, every object has both a personal and a collective history that conveys the signs of the times, and allows us to travel in time. Within the space of Museum, Liškevičius’ own life story intertwines with those of dissident revolutionaries and idealised cultural figures (such as Jean-Paul Sartre), further erasing the thin line between subjective and objective forms of storytelling.
Tours to Museum will be given by Lithuanian, English (and sometimes Italian) speaking guides, who will help viewers to find the intersecting multi-linear narratives in it. The printed English guide will help to uncover the stories behind the three revolutionary personalities and some of the exhibits. There is also a book Museum (2013), with full commentaries on the project and extensive illustrations.
Commissioner/Curator of the Lithuanian Pavilion dr. Vytautas Michelkevičius
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Dainius Liškevičius (born 1970 in Kaunas, lives and works in Vilnius) is one of the most prominent Lithuanian artists, who started his artistic career with Lithuania’s independence. With the incredible socio-political changes since 1990, his creative work has evolved through very different media and styles. Performativity and the fluctuating identity of the artist, both as a theme and as a form, are among the main keywords describing his work. The artist studied sculpture and later postgraduate studies at Vilnius Academy of Arts, and is an active participant in national and international shows. www.liskevicius.lt
Lithuania's representation at Venice in 2015 is organised by the Nida Art Colony of Vilnius Academy of Arts.
Check www.museo.lt to find out more about the Lithuanian pavilion at the 56th International Art Exhibition – la Biennale di Venezia.
The Lithuanian pavilion will run daily (except Tuesdays) from 7 May until 30 September, 10am to 6pm.
For additional information, please contact the producer of the pavilion Ms. Daina Pupkevičiūtė daina@nidacolony.lt
The main sponsors of the pavilion are the Ministry of Culture of the Republic of Lithuania and the Lithuanian Council for Culture.
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The bi-annual international art exhibition la Biennale di Venezia has taken place in the Giardini and the surrounding city since 1895. This year, the 56th international art exhibition is scheduled to be open to the public from 9 May to 22 November. The preview days are on 6-8 May.
Vilnius Academy of Arts is the only university-level state institution for higher education in art in Lithuania. The Nida Art Colony is a department of Vilnius Academy of Art, and runs residencies and educational and art production programmes in the resort town of Nida on the coast of the Baltic Sea.
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