Mrevlje-Pollak per la Slovenia

JAŠA (Mrevlje-Pollak) sarà l'artista del padiglione Sloveno alla 56. Biennale di Venezia. Curatori: Michele Drascek e Aurora Fonda. Production: Weare/Rosa Lux. Comissioner: Simona Vidmar.

Info http://www.jasha.org

JAŠA (Mrevlje-Pollak) will be the artist of the slovenian pavillon at the 56th Biennale di Venezia. Curators: Michele Drascek e Aurora Fonda. Production: Weare/Rosa Lux. Comissioner: Simona Vidmar.

Info http://www.jasha.org

Tsibi Geva selected to represent Israel at the 56th International Art Exhibition – la Biennale di Venezia

Ecco le ultime informazioni sul Padiglione Israele che presenterà il lavoro "Archeologi of the  Present" di Tsibi Geva, artista 63 enne, un'installazione fra interno ed esterno che utilizzerà il Padiglione stesso come elemento strutturale. 

Tsibi Geva has been selected to present Archeology of the Present for the Israeli Pavilion at the 56th International Art Exhibition – la Biennale di Venezia. Geva, who lives and works in Tel Aviv, is one of Israel’s most prominent and influential artists, and has exhibited extensively in major exhibitions across Israel, America, and Europe. Geva works in diverse media, his work often pushing beyond its physical limits into unique large-scale site- specific installations.

Archeology of the Present will cover both the exterior and interior of the Pavilion, and will encompass the formal and thematic characteristics of Geva’s work as it has evolved throughout his career. In a year when curator Okuwi Enwezor, proposes to focus on All the World’s Futures, Geva’s site-specific, all-encompassing installation may also be read with regard to the current state of humanity and the world.

Geva’s work contains numerous layers of significance shaped by processes of figuration and abstraction, revelation and concealment. The question of painting in particular, and of the art object in general, is present in his work alongside political and cultural questions, which simultaneously camouflage and enhance one another. Employing disruption and displacement, repetition and accumulation, Geva makes hybrid works that open up new discursive channels.

Archeology of the Present will present paintings alongside sculptural installations and abandoned and manipulated objects, while abolishing the hierarchical distinctions between artistic mediums and structure. In doing so, it will give expression to Geva’s ongoing concern with elements related to the notion of ‘home’ – including terrazzo tiles, windows, shutters, lattices, cement blocks; elements which exist as fragments of what once was or could in principle constitute a home. The work will destabilise the familiar division between inside and outside, the functional and the representational, high and low. Through this presentation, the project will raise self-reflexive artistic concerns and epistemological questions, as well as political and cultural questions of locality and immigration, hybrid identity, existential anxiety and existence in an age of instability.

Curator Hadas Maor said, ‘With interior and exterior present both formally and metaphorically, the entire pavilion will be a distinct sphere – an archive of consciousness, and an accumulation that reflects a sense of anxiety and threat. The physical layout will create sharp transitions between experiences of blockage, discomfort, and spatial ambiguity and between intimate, poetic moments, so that fragility and crudeness, lyricism and violence, are inextricably intertwined. Tsibi Geva’s long-term engagement with issues of the stratified structure of identity, and Archeology of the Present in particular, will offer an opportunity to explore this notion within the wider narrative of nationality as proposed by the Venice Biennale.’

Artist

Tsibi Geva is one of Israel’s most prominent and influential artists. Born in 1951 on Kibbutz Ein Shemer, Israel, he lives and works in Tel Aviv. Since 1979 he has exhibited solo shows in numerous venues around the world, including the Kunsthaus Zürich; Orangerie Herrenhausen, Hannover; the Institute of Contemporary Art, Boston; The American University Museum, Washington, DC; Macro Testaccio Museum, Rome (travelling to Mönchenhaus – Museum of Modern Art in Goslar, Germany, in July 2015); the Haifa Museum of Art; the Ashdod Art Museum, Monart Center; The Israel Museum, Jerusalem; and a retrospective at the Tel Aviv Museum of Art. Geva was represented in 1990–2006 by Anina Nosei Gallery in New York, where his work was featured in numerous solo exhibitions. He has participated in group exhibitions in major museums and galleries worldwide, including White Cube, New York; Palazzo Reale, Milan; Martin-Gropius-Bau, Berlin; Espacio Aglutinador, Havana, Cuba; The Israel Museum of Art; Tel Aviv Museum of Art; Museum on the Seam, Jerusalem; and CCA Andrtax, Mallorca. He is a professor at the University of Haifa and at Hamidrasha School of Art, Beit Berl College. He is the recipient of numerous awards and grants, including the Sandberg Prize from the Israel Museum, Jerusalem; the Pundick Prize from the Tel Aviv Museum of Art; and a Lifetime Achievement Award from the Israeli Ministry of Culture.

www.tsibigeva.com

Curator

Hadas Maor is a contemporary art curator based in Tel Aviv. She received her academic training in art history and photography, as well as critical theory and hermeneutics. Since the late 1990s, she has been working with Israel’s leading contemporary art museums (among them the Tel Aviv Museum of Art, the Haifa Museum of Art, the Herzliya Museum of Contemporary Art, and the Israeli Center for Digital Art, Holon); she has curated solo shows for Israeli and international artists, as well as large-scale thematic group exhibitions such as Embroidered Action, (after), Temporally, History of Violence, Living Room, showtime and others. These shows included works by artists such as Nelly Agassi, Carlos Amorales, Kader Attia, Janet Cardiff, Jordi Colomer, Tsibi Geva, Mona Hatoum, Michal Heiman, Sigalit Landau, Maria Marshall, Ernesto Neto, Chiharu Shiota, Naama Tsabar, Wang Wei, Gal Weinstein and others. Her curatorial work often addresses theoretical notions that pertain to contemporary existence, and strives to identify significant relations between Israeli and international art while interlinking the work of emerging young artists with that of established ones. A major emphasis in her work is promoting the creation of new, large-scale and site-specific works. Hadas Maor regularly contributes essays to artist’s books, catalogues, and various publications.

www.hadasmaor.com

Commissioners

The Israeli Pavilion is realised under the auspices of the Ministry of Culture, Science and Sport and of the Ministry of Foreign Affairs, Israel.

Adrian Ghenie per la Romania

Il pittore Adrian Ghenie è stato selezionato per rappresentare la Romania alla prossima Biennale di Venezia 2015 Arti Visive.

Info e foto sull'artista dalla Galleria Pace 

Adrian Ghenie (b. 1977, Baia Mare, Romania) graduated in 2001 from the University of Art and Design, Cluj, Romania. He has been the subject of solo exhibitions at museums including the Museum of Contemporary Art Denver (2012–2013); Stedelijk Museum voor Actuele Kuns (S.M.A.K.), Ghent (2010–2011); and National Museum of Contemporary Art, Bucharest (2009–2010). His work has been included in exhibitions at the Palazzo Grassi, François Pinault Foundation, Venice; Tate Liverpool; Prague Biennial; San Francisco Museum of Modern Art; and Fondazione Palazzo Strozzi, Florence, among others. Ghenie’s work is held in a number of public collections, including the Hammer Museum, Los Angeles; Museum of Contemporary Art, Los Angeles; Museum van Hedendaagse Kunst, Antwerp; SFMOMA; and S.M.A.K., Ghent. In 2005, Ghenie co-founded Galeria Plan B, a production and exhibition space for contemporary art. He lives and works in Cluj and Berlin. Ghenie joined Pace in 2011.

Possessing Nature - Tania Candiani e Luis Felipe Ortega per il Messico all'Arsenale

Ecco il progetto del Padiglione Messicano che quest'anno sarà all'Arsenale.

Mexico and Venice share and yet differ from their own condition as amphibious cities. 

Their urbanization histories and mutation rhythms vary but there is also a ‘memory’ that connects them. The project starts from a specific idea: tracing the course across the venues that have hosted the Mexican Pavilion in Venice during the twenty first century. Recovering the value of the trace, violently reveals the relation between architecture and aquatic space, reflecting the power that obsessively ambitions to possess nature: city of canals, city of drains.

Tania Candiani is interested in strategies and practices of translation between linguistic, visual and phonic systems where there is a continuous yearning for the obsolete that conveys the discursive content of artifacts. She regularly integrates interdisciplinary collaborations in her work to obtain poetic intersections of language, the materiality of sound and the history of science. Selected exhibitions include: Five Variations of Phonic Circumstances and a Pause, Laboratorio Arte Alameda, Mexico City (2012) & KIBLA Festival, Slovenia (2014); The Future of Fashion is Now, Museum Boijmans Van Beuningen, Rotterdam (2014); Serendipia, Artium, Centro Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz (2013); Prix Ars Electronica Distinction Award for Hybrid Arts (2013); Sonorama: Hi-Fi to Mp3, Museo Universitario del Chopo, Mexico City (2013); XI Bienal de Cuenca, Museo de Arte Moderno (2011); Espectrografías. Memorias e Historia, MUAC Museo Universitario de Arte Contemporáneo, Mexico City (2010); XI Cairo Bienial, Palace of Arts (2008). Candiani is a Guggenheim Fellowship Recipient (2011).

Luis Felipe Ortega graduated from the Faculty of Philosophy at the National Autonomous University, UNAM. From his early work he has traversed reflections and speculations concerning time, space and silence in continuous reference to philosophy and literature. He has ventured into various languages and media (video, actions, sculpture and drawing) as resources to approach the present. Selected exhibitions include: (notes for the inclusion of silence), Marso Gallery, Mexico City (2013);God Only Knows Who the Audience Is: Performance, Video and Television Through the Lens of La Mamelle, CCA Wattis Institute for Contemporary Arts, San Francisco (2011); So It Is, Now Is Now, Laboratorio Arte Alameda, Mexico City (2010); IP Détorunement. Les rendezvous du Forum, Series Voir/Revoir: 2, Centre d’Art Pompidou, Paris (2010); 4th Prague Biennial, Karlin Salon, Thamova, Prague (2009); La era de la discrepancia, MALBA, Buenos Aires/Pinacoteca do Estado de São Paulo (2008); Before the Horizon, MAAC, Brussels (2006); After the Act, MUMOK Museum Moderner Kunst, Vienna (2005) and Gwangiu Biennale, Korea (2002).

Karla Jasso holds a PhD in Art History from the Faculty of Philosophy at the National Autonomous University, UNAM. For over fifteen years her work has explored the history of technology as well as the language of new media and art. Jasso is a member of the curatorial and programming committee at MUAC, University Museum of Contemporary Art, Mexico City. She was curator in chief at Laboratorio Arte Alameda, INBA (2007-2013). Selected curatorial projects include: Tania Candiani’sFive variations of phonic circumstances and a pause (2012) which obtained the Prix Ars Electronica “Award of Distinction” (Linz, Austria, 2013); Dynamic (In)Position organized by Festival de la Ciudad de México at Laboratorio Arte Alameda, Centro Cultural España and MUAC in collaboration with Ars Electronica (2010); Contra Flujo: Independence and Revolution, Rubin Center, University of Texas, El Paso (2010) and Distortions: Contemporary Media Art From Mexico, The College of New Jersey (2009). Author of Arte y Tecnología: Arqueología, Dialéctica y Mediación (WebPress, 2014), co-author of(ready)Media: Towards an Archeology of Media and Invention in Mexico (INBA, 2012); Machina- Medium-Apparatus, (in press, 2015).

ARMENITY Padiglione Armeno

below English

In quest’anno simbolico, 2015, il Ministero della Cultura della Repubblica dell’Armenia dedica il suo Padiglione partecipante alla 56. Esposizione Internazionale d’Arte della Biennale di Venezia agli artisti della diaspora armena, collocato per l’occasione al Monastero Mekhitarista dell’Isola di San Lazzaro degli Armeni e servito da vaporetti pomeridiani con partenza dai Giardini.

La mostra ARMENITY curata da Adelina von Furstenberg.

Il concetto curatoriale di Armenity, rafforza la nozione di dislocamento e di territorio, di giustizia e di riconciliazione, di ethos e di resilienzacosi, indipendentemente dal loro luogo di nascita, ciascuno degli artisti parte di questo progetto porta con sé la memoria, l'identità e la verità delle sue origini. Un’adunata "transnazionale" sotto l’insegna di un’identità frammentata e dispersa, ricostruita e rinnovata con il talento di questi artisti, nipoti di coloro che sono sfuggiti al Genocidio Armeno nel 1915, il primo del XX secolo. Il loro radicato interesse nei confronti dell’identità e della memoria si sovrappone sapientemente alle nozioni di territorio, confine e geografia. Che siano nati a Beirut, Lione, Los Angeles o al Cairo e ovunque essi vivano, questi cittadini globali mettono costantemente in discussione e reinventano la loro armenità.

 AIVAZIAN Hastayžm Yas¸žyorum (I am sick, but I am alive), 2014

Gli artisti presenti saranno:

Haig Aivazian, Libano; Nigol Bezjian, Siria/USA; Anna Boghiguian, Egitto/Canada; Hera Büyüktaşçıyan, Turchia; Silvina Der-Meguerditchian Argentina/ Germania; Rene Gabri & Ayreen Anastas, Iran/Palestina/USA; Mekhitar Garabedian, Belgio; Aikaterini Gegisian, Grecia; Yervant Gianikian & Angela Ricci Lucchi, Italia; Aram Jibilian, USA; Nina Katchadourian, USA/Finlandia; Melik Ohanian, Francia;Mikayel Ohanjanyan, Armenia/Italia; Rosana Palazyan, Brasile; Sarkis, Turchia/Francia; Hrair Sarkissian, Siria/UK. 

 AIVAZIAN Hastayžm Yas¸žyorum (I am sick, but I am alive), 2014

Il catalogo pubblicato da Skira, Milano, presenterà riproduzioni a colori e testi in inglese e armeno. Prefazioni, introduzione e testo curatoriale saranno seguiti da pagine dedicate a ciascuno degli artisti, con testi degli artisti stessi, o saggi di critici d’arte e autori (Ruben Arevshatyan, Cecile Bourne, Ginevra Bria, Adam Budak, David Kazanjian, Berthold Reiss, Gabi Scardi, Hrag Vartanian) e altre pagine con le immagini, disegni e collages delle opere. La terza parte del catalogo conterrà saggi della storica d’arte e curatrice indipendente con base a New York, Neery Melkonian, e di Stephanie Bailey, scrittrice d’arte e editor di Ibraaz di Londra. In calce al volume vi sarà una sezione contenente le traduzioni in armeno di tutti i testi.

Oltre al catalogo, sarà pubblicato un libro di poesie composto di una selezione di poemi di 12 poeti armeni nati dopo il genocidio armeno e la rivoluzione russa e tradotto in francese dal poeta svizzero-armeno Vahé Godel. Il libro comprenderà un saggio dell'autore e una selezione di traduzioni armene delle poesie. 

 

 GABRI E ANASTAS This State is sinking

Nel contesto di Armenity, verranno presentati all’Anfiteatro dell’Arsenale dal 5 all’11 settembre una serie di performance, dibattiti e video proiezioni di artisti, poeti e registi indipendenti originari dell’Asia Minore.


English

Armenity/Hayoutioun

The National Pavilion of the Republic of Armenia

Opening: May 6, 2015, 7–9pm

The Island of San Lazzaro degli Armeni

Venice

www.armenity.net

Contemporary artists from the Armenian Diaspora

Haig Aivazian, Lebanon; Nigol Bezjian, Syria/USA; Anna Boghiguian Egypt/Canada; Hera Büyüktasçiyan, Turkey; Silvina Der-Meguerditchian, Argentina/Germany; Rene Gabri & Ayreen Anastas, Iran/Palestine/USA; Mekhitar Garabedian, Belgium; Aikaterini Gegisian, Greece; Yervant Gianikian & Angela Ricci Lucchi, Italy; Aram Jibilian, USA; Nina Katchadourian, USA/Finland; Melik Ohanian, France; Mikayel Ohanjanyan, Armenia/Italy; Rosana Palazyan, Brasil; Sarkis, Turkey/France; Hrair Sarkissian, Syria/UK

Curated by Adelina Cüberyan v. Fürstenberg*

Opening May 6, 2015, from 7 to 9pm

Special shuttle service ACTV vaporetto from the Giardini to the Island of San Lazzaro. ACTV vaporetto Number 20 from San Marco Zaccaria to San Lazzaro

In this symbolic year 2015, on the occasion of the 100th commemoration of the Armenian Genocide, the Ministry of Culture of the Republic of Armenia has dedicated its pavilion to the artists of the Armenian diaspora. It will be located at the Mekhitarist Monastery on the island of San Lazzaro degli Armeni.

The curatorial concept of armenity** implies the notion of displacement and territory, justice and reconciliation, ethos and resilience. Regardless of their place of birth, the selected artists carry within their identity the memory of their origins. Through their talent and willpower, these grandchildren of survivors of the Armenian Genocide—the first genocide of the 20th century—rebuilt a “transnational assembly” from the remnants of a shattered identity. Their ingrained concern for memory, justice and reconciliation skillfully transcends notions of territory, borders and geography. Whether they were born in Beirut, Lyon, Los Angeles, or Cairo and wherever they may reside, these global citizens constantly question and reinvent their armenity.

Armenity is being held in a setting of special significance for the Armenian diaspora. It was on the Island of San Lazzaro, located between San Marco and the Lido and facing the Giardini of the Biennale, that in 1717 the Armenian monk Mekhitar established the Mekhitarist Order. It was here that in the early 19th century Lord Byron studied the Armenian language. Many important works of European literature and religious texts were first translated into Armenian on this scenic island. Over its 300-year history the Monastery of San Lazzaro with its gardens, former print shop, cloisters, museum and library, has helped to preserve Armenia’s unique cultural heritage, much of which might otherwise have been lost.

An accompanying catalogue published by Skira, Milan will contain colour reproductions and texts in English and Armenian. An introduction, forewords and curatorial texts will be followed by four pages dedicated to each of the 16 artists: one page of text by each artist and essays by international art critics and writers such as Ruben Arevshatyan, Cecile Bourne, Ginevra Bria, Adam Budak, David Kazanjian, Berthold Reiss, Gabi Scardi, Hrag Vartanian and three pages with images and drawings of the works. The third part of the catalogue will contain essays by New York-based art historian and independent curator Neery Melkonian and London-based art writer and Ibraaz editor Stephanie Bailey. The catalogue will end with the Armenian translations of the texts.

The Lyon-based Bullukian Foundation is proud to be a partner of Armenity.

*Adelina Cüberyan von Fürstenberg is a renowned international curator. A pioneer in the field, she is known for broadening contemporary art to include a multicultural approach. Founder and first Director of the Centre d’Art Contemporain de Genève, she directed as well the MAGASIN–Centre National d’Art Contemporain in Grenoble. In 1996 she founded ART for The World, a unique NGO working with contemporary art, independent cinema and human rights.

**Armenity derives from the French word Arménité, a notion which expresses the particular characteristics of the grandchildren of Armenian Genocide survivors. These include a state of constant flux, a diversity of self-definition, and a modern and often subjective sense of being-in-the-world.

UAE at Venice

NATIONAL PAVILION UNITED ARAB EMIRATES LA BIENNALE DI VENEZIA
ANNOUNCES FEATURED ARTISTS FOR THE
 56TH INTERNATIONAL ART EXHIBITION – LA BIENNALE DI VENEZIA

Curator Sheikha Hoor bint Sultan Al Qasimi selects work by 14 Emirati artists:
 Ahmed Al Ansari, Moosa Al Halyan, Mohammed Al Qassab, Abdul Qader Al Rais, Abdullah Al Saadi, Mohammed Abdullah Bulhiah, Salem Jawhar, Mohammed Kazem, Dr. Najat Meky, Abdulraheem Salim, Hassan Sharif, Obaid Suroor, Dr. Mohamed Yousif, and Abdulrahman Zainal.

1980 – Today: Exhibitions in the United Arab Emirates will explore the emergence of contemporary art practices in the UAE over the past four decades.

Drawing upon extensive historical research, Sheikha Hoor bint Sultan Al Qasimi, curator for the National Pavilion United Arab Emirates (UAE) la Biennale di Venezia and President and Director of the Sharjah Art Foundation, will present a diverse assemblage of work by key figures in the country’s art history at the 56th International Art Exhibition – la Biennale di Venezia. Titled 1980 – Today: Exhibitions in the United Arab Emirates, the exhibition features 14 featured artists, including Ahmed Al Ansari, Moosa Al Halyan, Mohammed Al Qassab, Abdul Qader Al Rais, Abdullah Al Saadi, Mohammed Abdullah Bulhiah, Salem Jawhar, Mohammed Kazem, Dr. Najat Meky, Abdulraheem Salim, Hassan Sharif, Obaid Suroor, Dr. Mohamed Yousif, and Abdulrahman Zainal. The National Pavilion UAE la Biennale di Venezia is commissioned by the Salama bint Hamdan Al Nahyan Foundation, and supported by the UAE Ministry of Culture, Youth and Community Development.

This exhibition will present a selection of works from different decades highlighting the emergence of art practices in the UAE. The Emirates Fine Arts Society, a non-profit association that was formed in 1980 in Sharjah, has served as a main point of focus and inspiration for research.

1980 – Today: Exhibitions in the United Arab Emirates is built upon extensive research involving archives of newspaper articles, artists’ writings, and catalogues, as well as interviews with artists and cultural practitioners. Reflecting personal and geopolitical trajectories, the research focused on the underexposed historical record and evolving practices of some of the UAE’s most important modernist and contemporary artists.

A publication including previous writings and articles on the art scene in the UAE since the 1980s, as well as some personal memoirs from a number of artists will be presented alongside the exhibition. The 56th Venice Biennale runs from 9 May–22 November 2015, with a preview from 5 May–8 May.  Further details about the pavilion and the artists involved will be announced in early 2015.

To join the conversation follow National Pavilion UAE on Facebook | Instagram | Twitter and use the hashtag #UAEinVenice

*Image: Emirates Fine Arts Society Exhibition - 1981. Image courtesy of the Emirates Fine Arts Society.

Jenny Holzer al Correr

Nei settecenteschi spazi del Museo Correr la Written Art Foundation di Francoforte presenterà una vasta antologica su Jenny Holzer, che proprio a Venezia fu la prima artista americana a rappresentare il suo paese alla Biennale, vincendo anche il premio del Leone d’Oro.

La mostra ripercorrerà la lunga carriera dell’artista con diverse tipologie di opere dai primi lavori più tradizionali alle recenti ricerche multimediali. 

www.gujralfoundation.org

The Gujral Foundation is delighted to announce My East is Your West, a Collateral Event of the 56th Venice Biennale, which unites for the first time at the Venice Biennale the historically conflicting nations of India and Pakistan in a collaborative exhibition by artists from both countries. 

Internationally recognised artists Shilpa Gupta (India) and Rashid Rana (Pakistan) will work together on a shared presentation located in the Palazzo Benzon, in the centre of Venice on the Grand Canal. As neither India nor Pakistan has a permanent national pavilion at the Venice Biennale, this presentation will provide a unique platform for artists from the Indian subcontinent to enter into a dialogue through the arts. My East is Your West is conceived by Feroze Gujral, Director and Founder of The Gujral Foundation, with Natasha Ginwala as Curatorial Advisor and International Curator of Public Programming. The Gujral Foundation have partnered with the Fondazione Antonio Mazzotta on the project with Head Curator, Martina Mazzotta, programming collateral events in Italy. 

“Whilst we share a common history, we have a divided present. We are now working together for a more collaborative future.” 

–Feroze Gujral, Founder & Director, The Gujral Foundation 

Born out of the desire to reposition the complex climate of historical relations between the South Asian nation-states of India and Pakistan, My East is Your West will present these two countries as a singular region within the context of the Venice Biennale. The thought of how the world would have been different had India and Pakistan not been measured by borders lies dormant but is ever present. In view of their practices, and as one artist from each country, Gupta and Rana have been invited to work together to create a unique presentation that will express the integral essence of a people divided, a history which spans antiquity, colonial modernity and a cosmopolitan present entangled in conflict.

This journey towards conceiving a shared platform in Venice builds on the artists’ concerns to negotiate between the individual and the communal in relation to the “everyday” experiences of collective consciousness. Within their practices both artists explore notions of location and dislocation, transnational belonging, and the impact of cultural and political conditioning in determining our relationship to geographical and national territories. With works that challenge the modern nation-state and its divides, Gupta and Rana have developed a material aesthetic that surveys the potential of a common region, separate from the state and its model.

Concept and curation: Feroze Gujral, Founder/ Director, The Gujral Foundation

Artists: Rashid Rana (Pakistan) and Shilpa Gupta (India)

Curatorial Advisor and Public Programmes Curator: Natasha Ginwala 

Italian Partner Foundation: Fondazione Antonio Mazzotta

Advisory Board: Richard Armstrong, Director of the Solomon R. Guggenheim Museum and Foundation, and Amin Jaffer, International Director Asian Art, Christie’s 

My East is Your West

5 May–31 October 2015  Preview: Monday 4 May–Friday 8 May

Palazzo Benzon San Marco 3917 Venice 30124

14 artisti per il padiglione del UAE

Dal sito del http://www.theartnewspaper.com/ condivido questa news

Sheikha Hoor Al Qasimi, the curator of the United Arab Emirates National Pavilion at the forthcoming Venice Biennale, has announced her selection of 14 artists for this year’s event. There is some crossover with those participating in the upcoming Sharjah Biennial (5 March – 5 June), which she also oversees, with Hassan Sharif, Mohammed Kazem and Abdullah Al Saadi exhibiting at both biennials.

Other artists at the UAE’s Venice pavilion will be: Ahmed Al Ansari, Moosa Al Halyan, Mohammed Al Qassab, Abdul Qader Al Rais, Mohammed Abdullah Bulhiah, Salem Jawhar, Dr. Najat Meky, Abdulraheem Salim, Obaid Suroor, Dr. Mohamed Yousif, and Abdulrahman Zainal.

According to a statement, the UAE’s Venice pavilion is inspired by Al Qasimi’s interest in the “underexposed historical record” of work by Emerati artists from the 1980s and 1990s, specifically those affiliated with the Emirates Fine Art Society. The society has played an incubating role for art in the region since it was formed in 1980, long before the area’s current art boom, which is widely seen from the outside as starting in 2005, when major auction houses and art fairs first took root in the region. 

The 50 international artists in Sharjah’s biennial were announced in November. UAE’s Venice pavilion first opened in 2009, but this is the first time an Emirati has served as curator. 

Pamela Rosenkranz allestirà il Padiglione svizzero alla Biennale d’arte 2015

 Pamela Rosenkranz (1979*) curerà il Padiglione svizzero alla prossima Biennale d’arte di Venezia. La manifestazione, una delle principali vetrine per l’arte contemporanea a livello mondiale, avrà luogo dal 9 maggio al 22 novembre 2015.

 Pamela Rosenkranz allestirà il Padiglione svizzero alla prossima Biennale d’arte di Venezia. L’artista originaria del canton Uri è stata nominata dalla giuria per le Biennali della Fondazione svizzera per la cultura Pro Helvetia. La 56. edizione dell’Esposizione Internazionale d’Arte – la Biennale di Venezia, considerata una delle più importanti piattaforme internazionali d’arte contemporanea, aprirà i battenti nel maggio del 2015. L’ultima Biennale ha attirato nella città lagunare oltre 400'000 appassionati d’arte.

 Le opere di Rosenkranz riflettono il pensiero della sua generazione, profondamente influenzato da internet. Con un ampio orizzonte di riferimenti, che si estende dalla politica alla storia, dalla tecnologia alla filosofia fino alla cultura pop, Pamela Rosenkranz traduce questioni complesse in una simbologia che cattura l’attenzione tramite superfici iridescenti. Nei suoi lavori Rosenkranz utilizza pittura a dito dai colori carnati su materiali high-tech, che contrappone a toni di colore di multinazionali, o con i quali riempie bottiglie di bibite gassate e d’acqua. Mette così a confronto il significato sociale di questi prodotti con la loro realtà materiale e il loro aspetto sintetico. Con richiami sorprendenti a temi che permeano la nostra quotidianità debordante di immagini e di informazioni, Rosenkranz stabilisce relazioni che ci permettono di cogliere nessi in precedenza ignorati e che producono un intenso straniamento.

 Il «Salon Suisse» per la quarta volta a Palazzo Trevisan

Parallelamente all’esposizione nel Padiglione svizzero ai Giardini, la Fondazione ripropone anche nel 2015 il «Salon Suisse» a Palazzo Trevisan, nel centro storico di Venezia. Il «Salon», promosso da Pro Helvetia per la prima volta nel 2012, sfrutta le luci della ribalta della Biennale per consolidare le relazioni internazionali della scena artistica svizzera, attirando, con il suo ricco calendario di manifestazioni di grande caratura, artisti, specialisti, studenti e appassionati di cultura da tutto il mondo.

 Maggiori informazioni e immagini ad alta risoluzione su: www.biennials.ch 

 

Informazioni ai media: Claudine Chappuis, Comunicazione,

Tel. +41 44 267 71 36, Fax +41 44 267 71 06, cchappuis(at)prohelvetia.ch

Comunicato stampa della Fondazione svizzera per la cultura Pro Helvetia, 16.04.2014

Ivan Grubanov per la Serbia

Col titolo Nazioni Unite Morte” l'artista Ivan Grubanov svilupperà il Padiglione Serbo, con la curatela di  Lidija Merenik, così da un comunicato uscito oggi sul sito di Artdaily.org 

Testo dal sito http://artdaily.com/index.asp?int_sec=11&int_new=75501#.VKpj6yuG-So

The United Dead Nations project representing Serbia in its Pavilion at the Giardini, by the artist Ivan Grubanov and curator Lidija Merenik, explores the historical and cultural setting of Venice Biennale as the platform for projection and representation of different visions of modernity. 

The installation United Dead Nations aims to establish a dialogue on what does the notion of the nation represent in our post-global times by putting in focus the nations that no longer exist as such, but whose ghosts are still conditioning the geo-spheres they had occupied (Austro-Hungarian Empire, Ottoman Empire, Soviet Union, German Democratic Republic, Yugoslavia, etc.). By doing so, the multifaceted spectrum of desires and conflicts, which the notion of nation embodies, is considered and the questions of nature and permanence of today’s nations are being imposed. Alluding to the United Nations as the supreme form of global organizing, the installation as well raises the question about the role of the UN in the contemporary context, along with its actual influence and sovereignty over the global geo-political discourse. 

United Dead Nations recreate an absent political and enable its alternative life in the aesthetic regime of art by opening new representational relations within the field of the visual, the space where social reality is translated into forms and images. Ivan Grubanov thereby puts the emphasis the process of image making by involving the dead flags as models, means and material during his painting ritual. The artist’s intention lies in the creation of a new symbolical field, which questions the value frameworks of art, at the same time enabling the reestablished authorities of dead nations to continue competing in the domain of the visible. 

The artistic practice of Ivan Grubanov (b. 1976) is marked by a post-conceptual approach to the medium of painting and the articulation of historical memory against the contemporary condition. His process-oriented painterly method evolves into a podium for knowledge production, persistently posing challenging questions about our social and political realities. Educated at the Belgrade Academy of Fine Arts, the Rijksakademie van beeldende kunsten in Amsterdam, Delfina Studios in London and Casa de Velazquez in Madrid, Ivan Grubanov has established his international career throughout numerous solo, group, and biennial exhibitions worldwide, as well as many artistic and scholarly awards since 1997. Dr Lidija Merenik is a professor of art history at the Seminar for Modern Art of the Faculty of Philosophy, University of Belgrade. 

She has performed the position of the curator at Belgrade’s Museum of Contemporary Art. She is the author of numerous exhibitions, monographs, studies and texts on modern and contemporary art. United Dead Nations project in the Serbian Pavilion at the 56th International Art Exhibition - La Biennale di Venezia is supported by the Foundation of the Museum for Contemporary Art Belgrade and Ministry of Culture and Information of the Republic of Serbia.

Nuovo padiglione australiano

E' in fase di completamento il nuovo Padiglione australiano nei Giardini della Biennale di  Venezia.

Col vernissage di Maggio si aprirà questo nuovo Padiglione permanente che sostituisce il precedente temporaneo, presente dal 1988. 

Il progetto è dello studio Denton Corker Marshall, che ha ideato un edificio minimale dall'elegante color nero, con elementi ad apertura. 

Inaugurerà con una mostra di Fiona Hall. 

Armando Lulaj per l'Albania

Con la curatela di Marco Scotini, Armando Lulaj interverrà nel padiglione dell'Albania

dal sito del governo albanese

The Ministry of Culture of the Republic of Albania has the pleasure to announce the participation of the Republic of Albania at the 53rd International Art Exhibition in Venice (9 May 2015 – 22 November 2015), with Albanian Trilogy: A Series of Devious Stratagems, a project by Armando Lulaj, curated by Marco Scotini.

Lulaj’s and Scotini’s project was selected through an open call for proposals (21 August – 30 September 2014) announced by the Ministry of Culture, as the commissioner of the Albanian pavilion, a process that marks a first for the Albanian contemporary art scene. Albanian Trilogy: A Series of Devious Stratagems represents for Lulaj the conclusion of many years of research on the Cold War period in Albania and beyond, on the role of the past in the present; as well as on memory and historical experience – research conducted through archive material, and in particular the “trophies” and the gaps of the past. The first work in this series is the film It Wears as It Grows, whereas the second one is Lulaj’s well known project Never – which has been widely exhibited internationally. The third work, Recapitulation, will be produced especially for the forthcoming Venice Biennial.

Albanian Trilogy: A Series of Devious Stratagems was selected unanimously by a prestigious international jury – composed of: Boris Groys, Kathrin Rhomberg, Adrian Paci, Albert Heta, and a representative of the Ministry of Culture – that convened in Tirana during 16 – 19 October 2014 for the occasion. The jury has motivated its decision as follows: From among the number of thoroughly convincing artistic projects submitted for the forthcoming International Art Exhibition in Venice (9 May – 22 November 2015), the jury unanimously decided to recommend Albanian Trilogy: A Series of Devious Stratagems by Armando Lulaj, curated by Marco Scotini, to represent the Republic of Albania.

With Albanian Trilogy: A Series of Devious Stratagems, Armando Lulaj pursues the investigation of available readings of Albanian history from the Cold War to the present day by reintroducing once highly representative and politically charged images and narratives still ingrained in the people’s visual memory, in a way that goes far beyond a subjective questioning of one nation’s history to forcefully account for a general analysis of the ruins and failures of modernity.

Lulaj’s ability to create connections and contexts that are not obvious but at the same time persuasive, the visual appeal of the works themselves (It Wears as It Grows, Never and Recapitulation) as well as the installation, which manages to be both playful and monumental at the same time– a rare achievement, ensure that Albanian Trilogy: A Series of Devious Stratagems will be able to engage a wider public, apart from those who are interested in and informed about Albanian history. 

The pavilion of the Republic of Albania is commissioned by the Ministry of Culture of the Republic of Albania. 

Commissioner: Ministry of Culture of the Republic of Albania

Artist: Armando Lulaj

Curator: Marco Scotini

Location: Arsenale di Venezia

***

THE ARTIST:

ARMANDO LULAJ (1980) is an artist, playwright, and filmmaker living and working in Tirana, Albania.

Following his expulsion from the Academy of Fine Arts in Florence in 2001, as a result of a series of actions aimed at freeing the instution from theoretical and academic conformism, he continued his studies at the Academy of Fine Arts in Bologna, from where he subsequently also obtained an MFA.

His solo shows include UNTITLED (Bologna: Galleria Cavour, 2014); Fiend (Tirana: National Theatre, 2013); Cold Wind (Bologna: Art Fair, 2013; Basel: Volta8, 2012); No More Feelings (Rovereto: Paolo Maria Deanesi Gallery, 2012); No Mercy (Milan: Artra Gallery, 2011); Silent Soziale Corruption (Munich: Stästische Kunsthalle München, 2010); Time Out of Joint (New Zealand: Te Tuhi Center for the Arts, 2007); Mainstream Dissent (Milan: Artra Gallery, 2006); Temporary Autonomous Zones (Tirana: Insurgent Space, 2005).

He participated in many international group shows, such as: Territories (Graz: centre for contemporary art, 2014); Utopian Days (South Korea: Total Museum of Contemporary Art, 2014); Lost in Landscape (Rovereto: MART Museum, 2014); Les Rencontres Internationales (Paris: Palais de Tokyo, 2014); The Empty Pedestal (Bologna: Museo Civico Archeologico, 2014); The Aesthetics of the Small Act (Thessaloniki: Action Field Kodra, 2013); Off Side (Locarno: La Rada Space for Contemporary Art, 2013); 63. Berlinale Film Festival (Berlin, 2013); 6th Berlin Biennial for Contemporary Art (Berlin, 2010); 8th Baltic Biennale of Contemporary Art (Szczecin, 2009); Italian Vision Film Festival (Bologna: Cineteca, 2007); October. Art from the East (Milan: Artra Gallery, 2007); 52th Venice Biennial, Albanian Pavilion (Venice: Palazzo Malipiero, 2007); 4th Gothenburg Biennial (Gothenburg: Roda Sten, 2007); Prague Biennial 3 (Prague, 2007); Laws of Relativity (Torino: Fondazione Sandreto Re Rebaudengo, 2007); Opening Hours (Athens: Rebecca Cahmi Gallery, 2007); Onufri 06 (Tirana: National Gallery, 2006); Bunker no Bunker (Mexico: Ramis Barquet Gallery, 2006); AYOR. No Man’s Land (Athens: Hellenic Foundation, 2006); Action Field Kodra (Thesaloniki: Boundary Lines, 2006); Mini Tirana Biennal (New York: Apexart, 2006); Tirana Biennale 3: Episode 1 – Temptations & Episode 3 – Democracies (Tirana: National Gallery, 2005); Glokal (Kosova: National Gallery, 2004); Post-Albania (Hamburg: Kunst Raum Gallery, 2004); Tirana Biennale 2: U-Topos, Endurance-Transmigration (Tirana: Debatikcenter of Contemporary Art); Prague Biennale 1 (Prague: Wetricki Palace, 2002); Cosi lontani cosi vicini (Firenze: Amerigo Vespucci Airport, 2002); Onufri 02: Small Brother (Tirana: National Gallery, 2002); BalkanArt02 (Novi Sad: National Gallery, 2002); Networking 1 (Siena: Magazini del Sale, 2002); Rotte Metropolitane 3 (Firenze: Galleria Biaggioti, 2001); Till I Collapse (Firenze: Gallery of Academy, 2001). Short films include: ; Living in Memory (2004); Problems with Relationship (2005); It Wears As It Grows(2011), and NEVER(2012). His screenplays include: The Tristidia Rhapsody (2010); Firefly (2011), and 100 Euros (2012).

Lulaj has been an artist in residence at (Graz, 2014), TICA – AIRLAB (Tirana, 2012) IASPIS (Stockholm, 2010); Villa Valberta (Munich, 2009); Action Field Kodra (Thessaloniki, 2006). His work has been awarded first prizes at the Marco Magnani Prize, 2011; Premio Paolo Parati, 2011; Premio Carmen Silvestroni 2008; Onufri Prize 2006. In 2014 he was awarded with the Albanian prize for Visual Arts  “Danish Jukniu”.

THE CURATOR:

MARCO SCOTINI is an independent curator and art critic based in Milan. He is the Director of the

department of Visual Arts and Curatorial Studies at NABA in Milan. He is Editor-in-Chief of the magazine No Order: Art in a Post-Fordist Society (Archive Books, Berlin), and Director of the Gianni Colombo Archive (Milan). He has been recently appointed as Artistic Director of PAV in Turin for the year 2015. He is one of the founding members of Isola Art and Community Center in Milan.

His writings can be found in periodicals such as Moscow Art Magazine, Springerin, Flash Art, Domus, Manifesta Journal, Kaleidoscope, Brumaria, Chto Delat?/What is to be done?, Open!, South as a State of Mind, and Alfabeta. He is the editor of a book dedicated to film documentary and archive, Politics of Memory (Rome: DeriveApprodi, 2014; Archive Books, 2015) with contributions by John Akomfrah, Eric Baudelaire, Ursula Biemann, Yervant Gianikian e Angela Ricci Lucchi, Khaled Jarrar, Lamia Joreige, Gintaras Makarevicius, Angela Melitopoulos, Deimantas Narkevicius, Lisl Ponger, Florian Schneider, Eyal Sivan, Hito Steyerl, Jean-Marie Teno, Trinh T. Minh-ha, Wendelien van Oldenborgh, Clemens von Wedemeyer, Mohanad Yaqubi.

His most recent exhibitions include the ongoing project Disobedience Archive (Berlin, Mexico DF, Eindhoven, Karlsruhe, Nottingham, Bucharest, Riga, Zagreb, Atlanta, Boston, Umea, Copenhagen, Turin, Madrid, Istanbul 2005–2014); Da Capo: Deimantas Narkevicius (Zagreb: MSU, 2014); Vegetation as a Political Agent (Turin: PAV, 2014); The Empty Pedestal: Ghosts from Eastern Europe (Bologna: Archeological Museum, 2014); A History of Irritated Material (London: Raven Row, 2010) co-curated with Lars Bang Larsen and Gianni Colombo (Turin: Castello di Rivoli, 2009), co-curated with Carolyn Christov-Bakargiev. He is working on a major exhibition dedicated to art from the Middle East, Too Early, Too Late for Pinacoteca Bologna, 2015.

He has curated more than 100 solo shows or retrospective exhibitions of artists such as: Santiago Sierra, Deimantas Narkevicius, Jaan Toomik, Ion Grigorescu, Regina Josè Galindo, Gianni Motti, Anibal Lopez, Said Atabekov, Alimian Jorobaev, Vangelis Vlahos, Maria Papadimitriou, Armando Lulaj, Bert Theis, and many others. He has also dedicated numerous exhibitions to the artistic scene from Eastern Europe, including: A Sense of Wellbeing: Loss, History and Desires (Karlovy Vary: Palace of the Imperial Thermal Baths, 2001); Revolutions Reloaded (with Mihnea Mircan, Berlin & Milan, 2003–2004) Der Prozess: Collective Memory and Social History (Prague Biennale 3, 2007); October: Exit, Memory and Desire (with Andris Brinkmanis, Milan, 2007); The Empty Pedestal: Ghosts from Eastern Europe (Bologna: Archeological Museum, 2014). His collaboration with Armando Lulaj lasts since 2001 and he has supported and collaborated with the artist ever since.