Irlanda con Richard Mosse

Confermata la presenza di Richard Mosse per l'Irlanda che troverà spazio presso il Fondaco Marcello, sestiero di San Marco 3415 (Calle dei Garzoni). Qui sarà allestito il progetto multimediale "The Enclave".

Ecco l'ultimo comunicato stampa:

Kilkenny, Ireland, 11 March 2013 – Richard Mosse will represent Ireland with The Enclave, a major new multi-media installation at the 55th International Art Exhibition – La Biennale di Venezia. The Commissioner and Curator is Anna O’Sullivan, Director of the Butler Gallery, Kilkenny, Ireland. Ireland at Venice is an initiative of Culture Ireland and the Arts Council/An Chomhairle Ealaíon. 

Throughout 2012, Richard Mosse and his collaborators Trevor Tweeten and Ben Frost travelled to Eastern Congo and inserted themselves as journalists within armed rebel groups in a war zone plagued by frequent ambushes, massacres and systematic sexual violence. The resulting installation, The Enclave, is the culmination of Mosse’s project, Infra,which employs a discontinued military reconnaissance film that registers infrared light – an invisible spectrum – and was originally designed for camouflage detection. Mosse uses this film to reveal a cancerous yet unseen humanitarian tragedy with a disturbing psychedelic palette, posing aesthetic questions in a situation of profound human suffering.

Making The Enclave, North Kivu, Eastern Congo, November 2012  Trevor Tweeten operating an Arriflex 16mm camera mounted on  Steadicam in the conflicted pastureland of Masisi Territory Page 1 of 3The resulting imagery, shot on 16mm colour infrared film by Trevor Tweeten, renders the Sub-Saharan jungle

war zone in sickly hues of crimson, purple, teal blue and hot pink. Ben Frost’s ambient audio composition, comprised entirely of organic Congolese sound recordings, hovers bleakly over the unfolding tragedy. At the work’s heart is a series of first hand women’s witness testimonies, calmly recounting horrific massacres. These tragic soliloquies are laid over imagery of posturing rebels.

“I am beginning to perceive this vicious loop,” Mosse writes from Goma, “of subject and object. The camera provokes an involuntary unraveling, a mutual hijack of authorship and autonomy.” Neither scripted nor directed, Congolese rebels return the camera’s gaze in a distinctly confrontational and accusatory manner. The lens seems to  mesmerise and provoke everyone it encounters in The Enclave, including rebels fighting under the command of those sought for trial by the International Criminal Court. This precarious face-off reveals inherent ambiguities of masculinity,defiance,vulnerability, and indictment. 

These narratives defy human comprehension, and push past the boundaries of adequate representation. The

Enclave is an attempt to recoup ethical agency for aesthetics. Disregarding the rules and protocol of journalism, and working independently of humanitarian and UN infrastructures, Mosse, Tweeten and Frost have created a discomfiting and sinister world to penetrate sensibilities and make this ineffable nightmare visible.  

About the Artist 

Richard Mosse’s (b. Kilkenny, Ireland, 1980) practice resides at the intersection between documentary photography and contemporary art. Drawing from the Romantics, Surrealism, psychedelia, punk, and modern military  reconnaissance technologies, he seeks to challenge and transgress traditional conventions of war photography through unmitigated aesthetic strategies in situations of tragedy and conflict. His work has been exhibited at the Akademie der Künste, Berlin; Barbican Art Gallery, London; Bass Museum, Miami; Centre Culturel Irlandais, Paris; Kemper Museum of Contemporary Art, Kansas City; Kunsthaus Munich; Musée des beaux-arts de Montréal;  Museum of Contemporary Art Chicago; Open Eye Liverpool; and the San Francisco Museum of Modern Art. 

Mosse has been the recipient of a Guggenheim Fellowship, a Leonore Annenberg Fellowship in the Performing and Visual Arts, and a Visual Arts Bursary from the Irish Arts Council. Mosse holds an MFA in photography from Yale University and a postgraduate diploma in fine art from Goldsmiths College, London. He also holds a first-class BA in English literature from King’s College London and an MA in cultural studies from the London Consortium (ICA, AA, Tate, Birkbeck). Aperture Foundation and the Pulitzer Center on Crisis Reporting co-published his first monograph, Infra, in 2012. Mosse is represented by Jack Shainman Gallery, New York. He will represent Ireland at the 55th International Art Exhibition – La Biennale di Venezia in 2013.

About the Commissioner and Curator Anna O’Sullivan (b. Dublin, Ireland, 1958) is the Director and Chief Curator of the Butler Gallery, in Kilkenny, Ireland where she also manages the Butler Gallery Permanent Collection. Prior to joining the Butler Gallery in 2005,  O’Sullivan spent over twenty years in New York, first as Performance Curator at the avant-garde arts venue Franklin Page 2 of 3Furnace and then as Director of the Robert Miller Gallery and Danese Gallery. O’Sullivan has worked with many internationally-renowned artists and artists’ estates to realize projects and exhibitions including Alice Neel, Eva Hesse, Lee Krasner and Patti Smith at the Robert Miller Gallery, and Hans Op de Beeck, Ian Burns, Louise Bourgeois,

Werner Herzog, Tony O’Malley, Barry McGee, Jeanne Silverthorne and Eve Sussman at the Butler Gallery, Kilkenny. O’Sullivan has published several catalogues on Irish artists including Tony O’Malley, Barrie Cooke, Michael Beirne and Gypsy Ray. O’Sullivan graduated from the National College of Art & Design Dublin and the Whitney Museum of American Art Independent Study Program in New York. She will be Commissioner and Curator of the Pavilion of Ireland at the 55th International Art Exhibition – La Biennale de Venezia in 2013.

Info al sito http://www.irelandvenice.ie/

kremlino

Il progetto Kremlino strutturato da Luca Rossi si sta evolvendo per la prossima Biennale di Venezia 

Tutte le persone che desiderano parteciparvi, contribuire seguire trovano tutte le info al blog :http://kremlino.blogspot.it/

Spagna con Lara Almarcegui

Ecco la conferma per Lara Almarcegui che rappresenterà la Spagna alla 55. Esposizione internazionale d’arte - la Biennale di Venezia

Comunicato stampa ufficiale: 

Octavio Zaya, nominato curatore del Padiglione Spagnolo dall’Agenzia spagnola per la Cooperazione Internazionale e lo Sviluppo (AECID) nell’ottobre 2012, ha selezionato l’artistaLara Almarcegui per rappresentare la Spagna alla 55. Esposizione Internazionale d’Arte - la Biennale di Venezia.

Itziar Taboada, Direttore Generale delle Relazioni Culturali e Scientifiche dell’AECID, ha convocato nel giugno scorso un Comitato consultivo per l’arte contemporanea con l’obiettivo di selezionare il curatore del Padiglione Spagnolo alla 55. Esposizione Internazionale d’Arte. Il comitato, composto da José Guirao (Direttore di Casa Encendida, Madrid),Teresa Velázquez (Responsabile Mostre del Museo Reina Sofia, MNCARS, Madrid), Estrella de Diego (Docente di arte contemporanea, Universidad Complutense, Madrid) eAlberto Ruiz de Samaniego (Curatore del Padiglione Spagnolo alla Biennale di Venezia del 2007), ha consigliato la scelta di Octavio Zaya come curatore del Padiglione Spagnolo.

Per tutto il mese di luglio 2012, Zaya ha concentrato la sua attenzione sul lavoro di Lara Almarcegui, scelta per sviluppare il progetto che rappresenterà la Spagna alla 55. Esposizione Internazionale d’Arte – la Biennale di Venezia, uno dei più prestigiosi eventi del calendario artistico internazionale, che si terrà dal 1° giugno al 24 novembre 2013.

Secondo il curatore spagnolo, “Almarcegui lavora da tempo al confine tra rigenerazione e decadimento urbano, realizzando progetti espositivi che rendono visibile ciò che sfugge alla nostra attenzione e anche alla nostra consapevolezza. Dalla metà degli anni 1990, ha esplorato e studiato gli spazi transizionali in cui ordine urbano e naturale si incontrano: i processi della pianificazione urbana e della trasformazione delle periferie incolte delle città determinata da interessi e cambiamenti economici, sociali o politici. Al contempo, ha analizzato luoghi storici e caratteristiche urbane e architettoniche che notiamo a malapena o sui quali raramente, se non mai, concentriamo la nostra attenzione. Operando come un’archeologa del presente che compie ricerche sul campo, Almarcegui documenta le indagini attraverso guide, cartine e brochure, nel tentativo di concentrarsi su elementi o aree marginali nell’ambito della complessità della nostra realtà urbana, rivelando i legami che ci guidano nel rapporto tra passato e futuro. Analogamente, decostruendo edifici, costruzioni e altri luoghi storici, Almarcegui chiarisce la nostra comprensione del vivere lo spazio, mostrando i materiali inarticolati e spogli di cui sono fatti gli edifici, o scoprendo i prodotti riciclati che essi riutilizzano e che, a loro volta, finiranno per diventare, avvicinandoci così alla natura intrinsecamente entropica della civiltà. In ultima analisi, queste opere collegano l’esterno con l’interno, e l’interno con la sua propria autoconsapevolezza, in un processo dialettico di conoscenza.”

Lara Almarcegui, nata a Saragozza, Spagna, vive e lavora a Rotterdam. Ha studiato Belle Arti all’Università di Cuenca e alla De Ateliers di Amsterdam. Ha all’attivo mostre personali in importanti musei e istituzioni in Spagna e all’estero, tra cui MUSAC, León (2013); CA2M, Madrid (2012); Künstlerhaus, Bremen (2012); the Secession, Vienna, e Ludlow 38, New York (2010); Galleria Ellen de Bruijne Projects, Amsterdam (2008); Il Centro di Arte contemporanea di Málaga (2007); il FRAC Bourgogne, Digione (2004); e INDEX, Stoccolma (2003).  Recentemente, ha esposto nelle seguenti mostre collettive: Manifesta 9, Genk; TRACK, Ghent (2012); Radical Nature, Barbican Art Centre, Londra (2009); Biennale di Atene (2009); Biennale di Taipei e Gwuangyu (2008); Biennale di Sharjah (2007); la 27a Biennale di San Paolo (2006); la 2a Biennale di Siviglia (2006); (Public Act),Lunds Konsthal, Lund (2005); la Biennale di Liverpool (2004). Almarcegui è rappresentata dalla Galleria Parra y Romero di Madrid e dalla Galleria Ellen de Bruijne Projects di Amsterdam.

Octavio Zaya, nato nelle Isole Canarie, Spagna, è uno scrittore, curatore ed editor che vive negli USA dal 1978. È direttore di Atlántica: revista de arte y pensamiento, pubblicata dal Centro Atlántico de Arte Moderno (CAAM), Las Palmas, Spagna. È Curator at Large del Museo di Arte contemporanea (MUSAC) di Castiglia e León, e Guest Curator del CAAM. È membro del Comitato consultivo di Performa, New York, e di NKA: Journal of Contemporary African Art, Duke University Press; redattore di Flash Art; e scrive regolarmente su varie pubblicazioni d’arte, come Art Agenda, New York, e ART-IT, Tokyo. È stato uno dei curatori di Documenta11, sotto la direzione di Okwui Enwezor, e curatore della 1a e 2a Biennale di Johannesburg. Ha curato oltre 25 mostre in musei come il Centro de Arte Reina Sofia, MNCARS, Madrid; Guggenheim Museum, New York; Helsinki City Art Museum; MARCO, Vigo, Spagna; Nordjyllands Kunstmuseum, Aalborg, Danimarca; e Palau de la Virreina, Barcellona. Ha pubblicato più di 20 monografie e cataloghi dedicati ad artisti contemporanei, tra cui Cerith Wyn Evans, Paul Pfeiffer, Shirin Neshat, Georges Adéagbo, Candice Breitz, Yinka Shonibare, e Miki Kratsman, oltre ad aver contribuito a molte altre pubblicazioni.

Dettagli dal Belgio con Berlinde De Bruyckere e J.M. Coetzee

Ecco il progetto del Belgio che aveva scelto Berlinde De Bruyckere affiancata dallo scrittore J.M. Coetzee. 

Ecco il comunicato stampa: 

Berlinde De Bruyckere regularly exhibits her work in major museums and other institutions in Belgium and abroad. There is currently an exhibition of her work at the Kunsthaus and the St Dominikus Kapel in Graz (Austria). In 2012 she had solo exhibitions at Arter in Istanbul, the Australian Centre for Contemporary Arts (ACCA), Melbourne, and a dialogue exhibition with the work of the deceased artist Philip Vandenberg at Stichting De Pont in Tilburg (The Netherlands). In 2011 she was invited to show work at the Kunstmuseum Bern (Switzerland), the DHC/ART Foundation for Contemporary Art in Montreal, and the Kunstmuseum Moritzburg in Halle (Germany).

For her participation in the Venice Biennale, Berlinde De Bruyckere will be entering into an unusual form of cooperation with the author J.M. Coetzee, winner of the Nobel Prize for Literature, who will be the curator of the exhibition. He will not perform the traditional task of an artistic curator, but will act as a source of inspiration and a partner in dialogue. He is also closely involved in compiling the exhibition catalogue. Berlinde De Bruyckere and John Coetzee have admired each other’s work for years. In 2012 they published the book Allen Vlees (All Flesh), which combined her images with his writings. Their collaboration in Venice is a logical extension of this previous successful project.

In addition to J.M. Coetzee, Berlinde De Bruyckere has also asked Philippe Van Cauteren to be co-curator. He has been the artistic director of S.M.A.K., the Museum of Contemporary Art in Ghent, since 2006. Under his directorship the museum has held major monographic exhibitions by Lois Weinberger, Kendell Geers, Paul McCarthy, Mark Manders, Dara Birnbaum, Jorge Macchi, Nedko Solakov, and Joachim Koester, as well as exhibitions in the public space like TRACK. Philippe Van Cauteren is currently working on a retrospective of the work of Berlinde De Bruyckere, which will be shown at the S.M.A.K. in 2014 and at the Gemeentemuseum in The Hague (The Netherlands).

S.M.A.K., the Museum of Contemporary Art in Ghent is responsible for organising the Pavilion of Belgium at the 55th International Art Exhibition – la Biennale di Venezia.

The official catalogue of the Belgian presentation will be published by Mercatorfonds. It includes contributions by J.M. Coetzee, Philippe Van Cauteren, Herman Parret, professor emeritus at the Higher Institute of Philosophy at Leuven University (Belgium), and Berlinde De Bruyckere.

Commissioner: Joke Schauvliege, Flemish Minister of Environment, Nature and Culture

Curator: J.M. Coetzee, novelist, essayist, literary critic, linguist, translator

Co-curator: Philippe Van Cauteren, artistic director of S.M.A.K., the Museum of Contemporary Art, Ghent 

Organizer: S.M.A.K., the Museum of Contemporary Art, Ghent

Joke Schauvliege, the Flemish Minister for Environment, Nature and Culture, appointed Berlinde De Bruyckere to be the Belgian representative at the 55th Venice Biennale of visual art. The Minister chose Berlinde De Bruyckere because of her profound human commitment as an artist; because she has a consistent oeuvre that is still in the midst of development and has the power to transform her participation in the Biennale into a lasting international career.

Berlinde De Bruyckere (b. 1964, Ghent) draws and creates sculptures in an individual and expressive visual idiom that is highly physical. Such elements as vulnerability, mortality and solitude are threads running through her oeuvre. De Bruyckere uses the bodies of horses, and trees and human and animal bodies cast in wax, which she then shows in a twisted or damaged state. She takes inspiration from literature and film history, but in her sculptural work also displays a great affinity for such old masters as Lucas Cranach and Antonello da Messina.

Ariel Guzik per il Messico

Dal Messico giunge la segnalazione sull’artista Ariel Guzik che realizzerà un suo intervento sonoro, dal titolo Cordiox, nella chiesa di San Lorenzo, in zona Castello. Guzik è una poliedrica figura che opera soprattutto in ambito performativo sonoro, l’opera proposta è suono prodotto da un “sistema sonoro” che si espande e riverbera nei suggestivi spazi.

Artista: Ariel Guzik

Curatore: Itala Schmelz

Luogo: Chiesa di San Lorenzo, Castello

The Book Affair, piccola fiera editoriale indipendente

  

Dal 29 al 31 Maggio, nei giorni di apertura della Biennale si svolgerà, presso Biblioteca di San Lorenzo, una nuova edizione di “The Book Affair” realizzata con con A plus A – Centro Espositivo Sloveno e la Municipalità di Venezia Burano e Murano. Una evento fieristico dedicato all’editoria indipendente. Inaugurazione Mercoledì 29 dalle 18 alle 21.

Comunicato stampa:

Biblioteca di Castello

–San Lorenzo,

Castello 5065, Venezia

“The Book Affair” è una fiera di due giorni dedicata all’editoria indipendente organizzata in occasione della 55. Biennale d’Arte di Venezia dalla casa editrice Automatic Books in collaborazione con A plus A Centro Espositivo Sloveno e la Municipalità di Venezia Burano e Murano, Servizio Cultura e Sport.

Dopo il successo della prima edizione (1–3 giugno 2011), “The Book Affair” si terrà nuovamente a Venezia il 30 e 31 maggio 2013 presso la Biblioteca di San Lorenzo, vicino all’Arsenale e a pochi passi da piazza San Marco, il cuore della città. Aperta al pubblico (ingresso libero), la fiera ospiterà più di trenta espositori, selezionati tra editori internazionali, distributori e collezionisti che si dedicano alla produzione di libri, edizioni limitate, cataloghi d’arte, monografie, periodici e ‘ fanzines’. “The Book Affair” avrà luogo in concomitanza con l’inaugurazione della Biennale di Venezia, uno dei più importanti eventi d’arte contemporanea al mondo, che conta circa 20.000 presenze tra artisti, curatori, giornalisti, critici e operatori del settore.

La fiera nasce quindi con l’idea di offrire agli editori l’occasione unica di esporre i propri progetti in giornate cruciali per il mondo dell’arte.

“The Book Affair” si propone come piattaforma per una discussione critica sull’editoria artistica, in un crocevia di diverse discipline tra cui le arti visive, la letteratura e il design radicale, costituendo uno spazio di indagine per dar vita a pratiche interdisciplinari, collaborazioni e co-produzioni.

La fiera sarà l’occasione per raccontare l’editoria facendola dialogare con le arti visive, la letteratura e il graphic de sign, promuovendo il dibattito, lo scambio e la presentazione di idee e progetti. Durante i due giorni di fiera saranno inoltre organizzati una serie di progetti speciali, conferenze, mostre ed eventi con l’obiettivo di analizzare e raccontare il ruolo del libro all’interno dell’arte contemporanea, in continuità con il ciclo di conferenze dedicate al libro d’artista svoltesi nell’ottobre 2012 a Venezia dal titolo “The Seller, the Publisher and the Artist”.

La lista completa degli espositori e un programma dettagliato degli eventi verrà al più presto pubblicato su www.thebookaffair.org

Automatic books è una casa editrice indipendente con sede a Venezia. Nasce all’inizio del 2009 con un duplice scopo: essere un editore d’arte indipendente e un progetto curatoriale. Ogni fase del processo di produzione è il risultato di un lavoro congiunto tra i membri del team e l’artista, dalla selezione degli autori alla scelta dei materiali. Per questo motivo, Automatic books è un progetto di collaborazione curatoriale, basata sull’idea che la rete è un modo per condividere interessi comuni, nonché un metodo per organizzare le attività produttive.

Automatic books non si concentra su un preciso stile e gusto, ma piuttosto cerca di porre in rilievo modi nuovi e diversi per raccontare una storia, in cui croce estetica, critica e narrazioni si incontrano.

La bilblioteca di San Lorenzo/Castello ha sede nel chiostro di un ex convento medievale, situato tra la chiesa di San Lorenzo e la Scuola Dalmata di S. Giorgio degli Schiavoni che ospita anche gli uffici della Municipalità di Venezia Murano Burano, La biblioteca di Castello possiede un patrimonio librario di 18.500 volumi con una sezione Basaglia di 880 titoli che si sviluppa su un solo piano ma con spazi separati.

Per maggiori informazioni contattare:

The Book Affair tba@automaticboooks.org

Automatic Books

San Polo 2811b

30125 Venice, Italy

E print@automaticbooks.org

T +39 041 52 45 285

W automaticbooks.com

A plus A

Centro Espositivo Sloveno

Calle Malipiero,

San Marco 3073, Venice, Italy

T +39 041 27 70 466

E press@aplusa.it

W aplusa.it

Padiglione Palestinese

Ecco li progetto palestinese che si svolgerà presso  Liceo Artistico Statale di Venezia (LASV) of Palazzo Ca' Giustinian Recanati,Dorsoduro 1012, con gli artisti  Bashir Makhoul & Aissa Deebi , titolo del progetto Otherwise Occupied

Comunicato stampa:

Otherwise Occupied is an exhibition of Palestinian artists organized by al Hoash as part of the 55th International Art Exhibition at Venice Biennale 2013. Curated by Bruce Ferguson and Rawan Sharaf, the exhibition features two internationally renowned Palestinian artists; Bashir Makhoul and Aissa Deebi. Both artists were born inside the 1948 borders, in the margins of another state in their homeland and outside the occupied West Bank and the centres of contemporary Palestinian culture and have emigrated to become citizens of other states operating in a globalised art world. They still think of themselves as Palestinians and are in continuous search of new ways to imagine the nation from a distance.

Palestine, long under occupation, has been constructed by the imaginary of widely fragmented communities across the world; a far-flung diaspora, a huge population of refugees, as well as members of an indeterminate territorial authority under occupation and even a large number of Israeli citizens. There exist simultaneously no Palestinian state and many Palestinian states. It is the quintessence of Benedict Anderson’s classic formulation of nationhood as ‘imagined communities.’

Art is capable of occupying cultural spaces that are otherwise inaccessible or invisible. Otherwise Occupied describes other ways of imagining the nation outside and beyond the conflict; it is therefore a means of artistic and critical thinking through the de-territorialization of Palestine.

To be otherwise occupied is to be busy elsewhere, to be engaged in activities outside the programme. For these artists this means making work that does not necessarily comply with the agendas determined by the occupation. The ‘otherwise’ for them is an imaginary, parallel space beyond the claims of nationalism that is opened up by global cultural events such as the Venice Biennale. They are extending this idea in thinking of the exhibition as an ‘otherwise occupied’ space within the city and the Biennale which at the same time engages with the concept of the imaginary museum and the perpetually deferred utopian optimism of the ‘Palazzo Enciclopedico’.

Bashir Makhoul

Giardino Occupato

Bashir Makhoul will be occupying the garden of the Liceo Artistico Statale di Venezia with thousands of cardboard box houses. The occupation will be partly made by members of the public during the exhibition, who can view the growing cardboard shanty-town but will also be able to construct their own house from a stack of flat boxes.

This piece is a further exploration of Makhoul's large-scale installation Enter Ghost Exit Ghost, which consists of a full-sized, interior maze and a large cardboard model of an Arab town or refugee camp and raises questions about the kinds of spaces that have emerged in sites of conflict and in the urban margins of globalization. This piece will be emphasizing the performative aspects of occupation – the act of getting there and of filling the space.

Bashir Makhoul is a Palestinian artist based in the UK. Over 20 years of work he has developed a body of work in a range of media which explored aesthetics of modernism and post-modernism as well as offering nuanced political critiques on topics of economics, nationalism, identity, war and torture. His work is widely exhibited in Britain and internationally. Makhoul is currently the Head of the Winchester School of Arts – Southampton University.

Aissa Deebi

The Trial

A two-channel installation, HD/DVD 15 minute loop, accompanied by 24 drawings

This two-channel installation consists of a re-enactment in English of a speech by Daoud Turki at the Haifa court house in 1973, when he was a defendant during a military trial. Turki, a Palestinian-Arab citizen of Israel, had been arrested by the Israeli military with four other members of the “Red Front” and charged with espionage and collaboration with the enemy. In this speech, Turki tried to advance an idea against the paranoid Zionist fantasy of conflict toward the larger idea of a socialist class struggle, proclaiming solidarity with “…all workers, peasants and those persecuted in Israel society.” The brilliance of his rhetoric and the fullness of his reasoned argument, in which he criticizes Zionism for pitting Jews against Arabs, is caught as an address almost from Franz Kafka’s “The Trial” which echoes throughout as the tone of an idealist caught in the jaws of the heinous militaristic state.

Aissa Deebi is a Palestinian artist and scholar based in Cairo and New York. His works investigates a range of notions around immigration and alienation, Diaspora as a creative space and cultural-migration. Deebi held several positions teaching art and design in international institutions, and has been involved in the establishment and running of art organizations. He is the Director of the Visual Cultures Program at the American Universtity in Cairo.

About Al Hoash Al Hoash is a Jerusalem based, non-profit Palestinian organization that seeks the development and elevation of the status of visual arts as a substantial and critical tool for communication, innovation, pleasure, free expression and national pride. Al Hoash seeks to produce and disseminate knowledge through programs that are research based, community linked and provide platforms for education, discourse and critical analysis.

Sponsors Winchester School of Art, University of Southampton American University in Cairo

info al sito www.alhoashgallery.org o  www.palestineatvenice.com  

Galles ponderando la partecipazione e il progetto

Un incontro di presentazione e riflessione sulla partecipazione del Galles alla prossima edizione si svolgerà il prossimo 15 Marzo al St Fagans National History Museum a Cardiff.

Ecco il comunicato stampa: 

Bedwyr Williams and the Starry Messenger

An Amateur Convention in Consideration of Wales in Venice

“If you don’t mind I would like you to take a few moments and withdraw from this communiqué and imagine yourselves as moles. I would like you to zone out, take your fingertips away from the track-pad, breathe out and relax. Picture yourselves as velvety pelted big-clawed moles. Your personalities and your interests should remain unchanged. It’s you but as a clever mole with an interest in visual art. In my head I’ve kitted you out in plain white t-shirts and jeans but if you wish to customise your appearance, and as people of the arts I guess that you will, then by all means do so. 

Let’s get out of here. We will be going down and then out. We tunnel briefly through the concrete, which will be hard going for some of you but some of you stronger ones can front the peloton for now to get us going.

Some clay, rubble, the predictable cache of clay pipes with their snapped stems and some dark and smelly organic material that is disconcertingly easy for you to tunnel through that makes you panic and gag at the same time. I can’t tell you what it is but you are soon through it. 

After an hour or so we surface in the back garden of a semi-detached house. The evening air is cool and your keen noses pick up the smell of a supermarket some 500 yards away but we aren’t here for that.

I have brought you to the garden of a keen amateur astronomer and if I can ask you to turn towards the house, you will make him out in the kitchen window drinking coffee, looking out into the night. The mug is a scaled-down replica of a reflector telescope.

He appears in silhouette to you, but you can tell that he is a middle-aged man.

We are going to try and get into the house for a closer look. There is good cover for you moles if you stick close to the flower beds but for your own sakes please be quiet and let’s try not to trigger the security light.

If you moles could pair up we will enter in through the slightly grubby cat flap. I’m asking you to do this in twos so that you can exert enough pressure to open the flap.

You plop neatly onto the doormat and then congregate behind the bin, which in terms of its shape is not dissimilar to a mole-sized observatory.

The astronomer is stood in the window in a kind of half trance because he is getting a buzz from seeing his observatory with a starry night above it. So whilst he should be in there with his telescope, breathing through his nose chomping on the eyepiece with his baggy eye he’s actually getting some pleasure from looking at his hobby. The brochure he had thumbed for months showed a scene not unlike this. 

This man is observing his observatory.”

In anticipation of the 2013 Cymru yn Fenis Wales in Venice exhibition, MOSTYN and Oriel Davies present a Pre-Venice Convention, Bedwyr Williams and The Starry Messenger.

Contributors include Dr. Haley Gomez, Cardiff University, who explores cosmic dust and the secrets of the cosmos; amateur astronomer Moelwyn Thomas considers astrophotography; artist Thomas Goddarddelves into the archive of the Beast of Bala; Daryl Green, St Andrews University, discusses Nasmyth and Carpenter’s 19th century book, The Moon Considered as a Planet, a World, and a Satellite.  

The Convention will be followed by:

A Starry Comedy Night, featuring Bedwyr Williams and guests

8pm till late at Porter’s Cardiff, Cardiff City Centre, CF10 2FE

Bedwyr Williams’s exhibition, The Starry Messenger, will show at the Ludoteca Santa Maria Ausiliatrice, Castello, Venice, 1 June–24 November 2013. 

The project is jointly curated by MOSTYN and Oriel Davies and supported by Arts Council of Wales.

Bedwyr Williams is represented by Ceri Hand Gallery, London

Info http://www.artswales.org.uk/arts-in-wales/venice

Rezistans Ali Kazma Padiglione Turco

Ieri è stato presentato il progetto "Resistence" che l'artista Ali Kazma presenterà al Padiglione Turco presso le Artiglierie all'Arsenale.

Ecco il comunicato stampa ufficiale:

Ali Kazma represents Turkey at the Venice Biennale 2013

The Pavilion of Turkey at the 55th International Art Exhibition, la Biennale di Venezia will present Ali Kazma’s new video series “Resistance” from 1 June to 24 November, 2013. In “Resistance”, Ali Kazma explores the discourses, techniques and management tactics developed for the body today and focuses on the interventions and strategies that both release the body from its own restrictions and restrict it in order to control it. Curated by Emre Baykal, the Pavilion of Turkey is located at Artiglierie, Arsenale, in the main venue of the biennale.

The Pavilion of Turkey is organised by the Istanbul Foundation for Culture and Arts (İKSV), sponsored by FIAT and realised under the auspices of Ministry of Foreign Affairs and Ministry of Culture and Tourism, the Republic of Turkey with the contribution of The Promotion Fund of the Turkish Prime Ministry.

The Pavilion of Turkey at the 55th International Art Exhibition, la Biennale di Venezia was presented at a press meeting on Monday, 25 February at Salon İKSV. The artist Ali Kazma, the curator Emre Baykal, the General Manager of İKSV Görgün Taner and CEO of TOFAŞ Kamil Başaran on behalf of Fiat, participated in the meeting.

The CEO of Tofaş Kamil Başaran delivered a speech on behalf of Fiat: “As Fiat, a brand of Tofaş which has been leading the development of Turkish automobile industry and economy in the past 45 years, we are proud to be the sponsor of this precious art event in 2013, as in 2011.”

Following the speeches, Emre Baykal and Ali Kazma gave detailed information on the conceptual framework of the Pavilion of Turkey and the project “Resistance”.

Emre Baykal, who has collaborated with Ali Kazma on the occasion of several exhibitions and projects since the 7th Istanbul Biennial, 2001, stated that as a multi-channel video installation, “Resistance” grew out of an earlier series, “Obstructions” (Engellemeler) the artist has produced since 2005. In “Obstructions”, Ali Kazma has carried out research into the tense equilibrium between order and chaos, and life and death, into the efforts of the human being to hold together a world inclined towards disintegration and destruction, and the diversity of physical production developed to achieve this, and what such production might mean in the context of human nature. “Resistance” explores how the body is shaped today via scientific, cultural and social tools and how as a performance site it is repeatedly re-produced. In other words, “Resistance” conveys the productive activity of the body as a creative force directly onto the body itself; the producer and the produced, the shaper and the shaped this time unite in the materiality of the body.

Ali Kazma’s work “Jean Factory” from the “Obstructions” series was shown at the press meeting to illustrate how “Resistance” relates to the previous works of the artist.

Ali Kazma explained that the works in the “Resistance” series to be premiered in Venice record the processes that both construct and control the body, and explore the human being’s struggle to break the social, cultural, physical and genetic codes of the human body in order to render it perfect, as well as the processes that transform the body into the conveyor of new symbols and meanings. The almost one year-long filming process of the project was carried out in various parts of the world, in different settings and with different subjects. In “Resistance”, Kazma attempts to read the complex meanings and the enigma produced by the body as a physical and conceptual space from within a broad network of relations. Amongst the various settings of “Resistance” are a film set in Paris, a prison in Sakarya, a school and a hospital operating room in Istanbul, a university where robot production and experimental research is carried out in Berlin, a medical research laboratory in Lausanne, a tattoo studio in London, and a theatre hall in New York.

A book will accompany Ali Kazma’s video installation “Resistance”. Published by Yapı Kredi Publications, the book is designed by Esen Karol who has also designed the communication materials of the project. The book will be available at the launch of the pavilion with two separate editions in Turkish and English and will subsequently be sold in major bookstores.

The Pavilion of Turkey at the 55th International Art Exhibition, la Biennale di Venezia will inaugurate with the opening ceremony to be held on Thursday, 30 May. The biennale will be open for visitors from Saturday, 1 June onwards until 24 November 2013.

Film multicanali per il Padiglione Danese con Jesper Just

Anche qui come per il Padiglione Turco, ci sarà un progetto a più canali il lavoro che Jesper Just presenterà alla prossima Biennale di Arti Visive di Venezia, eccovi il comunicato stampa appena diffuso:

The Danish Arts Council presents Jesper Just’s multi-channel filmic odyssey and architectural intervention for the Danish Pavilion at the 55th International Art Exhibition of la Biennale di Venezia, June  1–November 24, 2013. Collaborating with Project Projects (New York), a graphic design studio, the project will integrate film, digital communications, and the Danish Pavilion’s physical space.

Renowned Danish artist Jesper Just will present a film project that will examine themes of architectural pastiche and cultural dislocation for the Danish Pavilion. Commissioned by the Danish Arts Council, Just’s contribution will consist of five films played simultaneously in a looped format as part of one singular, cyclical narrative. The films weave together a depiction of what appears to be Paris due to certain architectural signifiers, but then assumptions are challenged as the landscape becomes uncanny.

Key to all of Jesper Just’s films is the question of representation. How do we create images? And how do these images, in turn, conjure ideas, expectations, and conventions?

In addition to the films, Just will create an architectural intervention on the Pavilion, integrated with the film installation, based on the paradoxical mismatch of the Danish Pavilion’s 1930s neoclassical architecture and its 1960s modernist addition.

An accompanying communications system developed by design studio Project Projects will allow people to experience the pavilion outside of Venice and create a mirrored experience in parallel with Just’s project.

The project is funded by the Danish Arts Council. The project has received additional support from Nørgaard på Strøget, Copenhagen. Jesper Just’s film project is co-produced by Galleri Nicolai Wallner, Copenhagen.

About Jesper Just

Jesper Just was born in Copenhagen in 1974, and he attended the Royal Danish Academy of Fine Art. He currently lives and works in New York.

Recent solo exhibitions include Jesper Just: This Nameless Spectacle (2012), University of Michigan Museum of Art (Ann Arbor, Michigan); Galleri Nicolai Wallner (Copenhagen); and James Cohan Gallery (New York); and Jesper Just: Sirens of Chrome (2011), MobileArtProduction (Stockholm). Recent group exhibitions include No Object is an Island: New Dialogues with the Cranbrook Collection (2011), Cranbrook Art Museum (Bloomfield Hills, Michigan); Time and Place (2011), Inaugural Exhibition, Kunsthalle Detroit (Detroit, Michigan); and Intermission (2011), James Cohan Gallery (New York).

Just’s work is featured in many public collections, including Arario Gallery (Korea), the Solomon R. Guggenheim Museum (New York), the Museum of Modern Art (New York), Musée d’Art Moderne (Luxembourg), Tate Modern (London), and many others. He is also the proud recipient of the Arken Prize Travel Grant (2009), and the Carnegie Art Award (2008) (2nd prize).

Jesper Just is represented by James Cohan Gallery, New York; Galleri Nicolai Wallner, Copenhagen; and Galerie Perrotin, Paris. 

About The Danish Arts Council and la Biennale di Venezia

The Danish Arts Council Committee for International Visual Arts has responsibility for Denmark’s participation in la Biennale di Venezia. Denmark has taken part in the exhibitions of la Biennale di Veneziasince 1895, and its participation is financed with funds from the Danish Arts Council. The Danish Arts Council Committee for International Visual Arts consists of Jette Gejl Kristensen (chairman), Lise Harlev, Jesper Elg, Mads Gamdrup, Lise Harlev, and Anna Krogh.

About Project Projects

Project Projects is a design studio focusing on print, exhibition, identity, and interactive work with clients in art and architecture, in addition to independent curatorial and publishing projects. Founded in 2004 in New York, the studio is led by principals Prem Krishnamurthy, Adam Michaels, and Rob Giampietro.

Project Projects is a two-time Finalist in the Cooper-Hewitt National Design Awards and has received numerous distinctions, including grants from the Graham Foundation and NYSCA for its independent projects.

More information at www.projectprojects.com

Information about the project:

Lotte S. Lederballe Pedersen, The Danish Agency for Culture, +45 33 74 45 37, lsl@kulturstyrelsen.dk

Al via la colletta per il Padiglione Italiano

http://viceversa2013.org

E' online il sito "vice versa" progetto di crowdfunding (colletta suonava troppo italiano) per sostenere il Padiglione Italiano per la Biennale di Venezia, 

Ecco qui il testo per partecipare e sostenere questa lodevole iniziativa.

Anche se leggendolo si rimane un poco perplesso su alcune voci (es: Attività di promozione e comunicazione, tra le quali la realizzazione di una App della mostra vice versa) ma veramente c'è bisogno di queste spese in questo momento così critico per il nostro paese. Poi domanda ovviamente banale ma poi le opere chi se le tiene e se le si vende una parte andranno a sostenere il prossimo padiglione 2015?

Va beh ecco l'elenco:

Al fine di sostenere la mostra vice versa al Padiglione Italia alla 55. Esposizione Internazionale d’Arte della Biennale di Venezia, il curatore Bartolomeo Pietromarchi ha avviato un progetto di crowdfunding sulla scia di alcune recenti esperienze internazionali di successo.

Tale iniziativa è finalizzata al sostegno delle produzioni degli artisti; della mediazione culturale; della promozione e comunicazione; dell’organizzazione di incontri con artisti e opinion leader; di un convegno finale sui temi del Padiglione.

Lo spirito di partecipazione al progetto espositivo sarà riconosciuto con una serie di benefit corrispondenti ai target di supporto: il nome di ogni sostenitore comparirà all’ingresso, sul catalogo e sul sito della mostra vice versa; per l’occasione, sarà realizzata una cartella contenente quattordici stampe a tiratura limitata degli artisti in mostra, numerate e firmate in originale. Sono previste copie del catalogo firmate dal curatore e dagli artisti, visite guidate, accoglienza personalizzata, invito all’inaugurazione, incontri con il curatore e gli artisti, e molto altro ancora.

La raccolta fondi ha una durata di 90 giorni con eventi a Roma, Milano, Londra e New York e su web

Destinazione dei fondi raccolti tramite crowdfunding 

I fondi raccolti tramite il crowdfunding saranno destinati, in accordo con il Ministero per i Beni e le Attività Culturali, al finanziamento di varie iniziative della mostra vice versa del Padiglione Italia alla 55. Esposizione Internazionale d’Arte, tra cui:

Additional funding per le produzioni degli artisti
Attività di mediazione culturale
Attività di promozione e comunicazione, tra le quali la realizzazione di una App della mostra vice versa
Organizzazione di incontri con artisti e opinion leader e di un convegno finale sui temi della mostra vice versa

Possibili quote di finanziamento da raggiungere e destinazione dei relativi fondi 

In base ai fondi raccolti, sarà possibile sostenere in modo differente le attività:

Raccolta di €50.000 destinata al sostegno di:

1. Additional funding per le produzioni degli artisti

Raccolta di €70.000 destinata al sostegno di:

1. Additional funding per le produzioni degli artisti
2. Attività di mediazione culturale

Raccolta di €100.000 destinata al sostegno di:

1. Additional funding per le produzioni degli artisti
2. Attività di mediazione culturale
3. Attività di promozione e comunicazione, tra le quali la realizzazione di una App della mostra vice versa

Raccolta di €120.000 destinata al sostegno di:

1. Additional funding per le produzioni degli artisti
2. Attività di mediazione culturale
3. Attività di promozione e comunicazione, tra le quali la realizzazione di una App della mostra vice versa
4. Organizzazione di incontri con artisti e opinion leader e di un convegno finale sui temi della mostra vice versa

News dall'Australia

Ecco le ultime news dal Padiglione Australia che ospiterà l'intervento di Simryn Gill.

Simryn Gill’s latest exhibition project, Here art grows on trees, will be presented in the Australian Pavilion at the 55th International Art Exhibition – la Biennale di Venezia.

Curated by Catherine de Zegher, the exhibition is conceived as a site-specific project featuring significant new work by Gill that is made in her customary way—in the places she lives, and through her many long-standing relationships with makers, assistants, interlocutors and galleries. 

Through their formal presence and the manner of their creation, these works offer a view into our inhabitation of local circumstances in a world that is becoming smaller and flatter. 

“Here art grows on trees presents Gill’s works on paper, being of vegetation, as a cog in the whole system of turning wheels, as a link in the chain, in the string of gems that the world is offering—a cyclic instead of linear worldview,” says de Zegher.

Gill’s processes include methodical collections gleaned from the detritus of daily life, photographing her surroundings, drawing and writing—all thoughtful interventions that instil meaning into ordinary actions and everyday objects.

A new publication will also be launched at the exhibition, featuring extensive colour plates and commissioned essays by Catherine de Zegher, Carol Armstrong, Michael Taussig, Brian Massumi, Kajri Jain, Lilian Chee and Ross Gibson.

The Australian Pavilion is managed by the Australia Council for the Arts, and led by the Australian Commissioner, Simon Mordant AM, a driving force in contemporary art projects both locally and internationally.

About the artist

Simryn Gill was born in Singapore, and lives and works in Sydney and Port Dickson, Malaysia. Gill has had major solo exhibitions at the Museum of Contemporary Art, Sydney; Tate Modern, London; and The Arthur M. Sackler Gallery, Smithsonian Institution, Washington DC. Her works have been included in numerous group exhibitions including Documenta 12 (2007) and dOCUMENTA 13 (2012) in Kassel, Germany. Gill is represented by BREENSPACE, Sydney; Jhaveri Contemporary, Mumbai; and Tracy Williams Ltd, New York.

About the curator

Catherine de Zegher is the Curator for the forthcoming 5th Moscow Biennale (2013). She was previously co-Artistic Director of the 18th Biennale of Sydney in 2012, and Guest Curator in the Department of Drawing at MoMA. Prior to this, de Zegher held various positions in Europe and North America, notably as the Executive Director of the Drawing Center in New York and the Belgian Commissioner for the 47th Venice Biennale. 

About the Commissioner

Simon Mordant AM is Vice Chairman and Managing Director of Greenhill & Co., Inc., a leading global independent corporate advisory firm, and a committed and passionate supporter of the arts. He is the Chairman of the Board of the Museum of Contemporary Art, Australia and also sits on the Board of the Australian Broadcasting Commission (ABC), the Sydney Theatre Company, the Leadership Council for the New Museum, and is a member of the Executive Committee of the Tate International Council and a member of the International Council of The Museum of Modern Art.

About the Australia Council

As the Australian Government’s arts funding and advisory body, the Australia Council has managed and funded Australia’s participation in the Venice Biennale since 1978. The Australia Council is committed to building opportunities for the international presentation and collection of Australian contemporary art, and representation at the Biennale is an important part of this strategy. Australia’s participation in the Venice Biennale has contributed to the professional development of many artists and has opened up significant presentation opportunities internationally.

About the Australian Pavilion 

The Australian Pavilion is positioned within the Biennale Gardens (Giardini della Biennale). The pavilion is one of 29 within the Giardini, all built at different periods by various countries. The Australian Pavilion was designed by renowned Australian architect Philip Cox and opened in 1988. 

Australia’s representation at the Venice Biennale began in 1954 with an exhibition of Sidney Nolan, Russell Drysdale and William Dobell’s iconic works, followed by visual arts luminaries such as Arthur Boyd, Rosalie Gascoigne and Albert Tucker. Other previous Australian representatives include Imants Tillers (1986), Judy Watson, Emily Kame Kngwarreye (1997), Howard Arkley (1999), Patricia Piccinini (2003), Ricky Swallow (2005), Susan Norrie, Daniel Von Sturmer and Callum Morton (2007), Shaun Gladwell (2009) and Hany Armanious (2011).

Info http://venicebiennale.australiacouncil.gov.au/