Timm Rautert. Bildanalytische Photographie 1968 – 1974 | Staatliche Kunstsammlungen, Dresden, Germany


















Timm Rautert, Selbst mit der Kamera gedreht (0° 180°), 1972, Negativmontage, auf Karton. Kupferstich-Kabinett, Copyright: Rautert/SKD, Foto: Boswank



Timm Rautert

Bildanalytische Photographie 1968 – 1974

2 July to 25 September 2016

An exhibition by the Kupferstich-Kabinett at the Residenzschloss Dresden

Timm Rautert's "Bildanalytische Photographie" (Image-analytical photography) counts among the seminal works of German art photography of the 1960s and 1970s. In 2014 the Kupferstich-Kabinett acquired this group of fifty-six works, most of which are composed of several images. They are conceived as unique art works, as each of the images exists in only a single impression. The exhibition will present "Bildanalytische Photographie" for the first time in its entirety.

Timm Rautert worked on "Bildanalytische Photographie" in the period of 1968 and 1974, a time of radical discourse about the role of art in society. He was then a student of Otto Steinert at the Folkwang Art School in Essen, gaining his degree in 1971. During his studies and in the following years Timm Rautert travelled to the United States of America several times, where he was in contact with Andy Warhol's Factory and worked with conceptual artist such as Franz Erhard Walther, Walter De Maria und James Turrell. Influenced by concept art he dedicated his photographic work to questions related to the conditions of the medium, of the photographer's identity as an author and of the role of the viewer - all topics, which had and still have a certain urgency considering photography as a technical means to picture the world, claiming reality and truth in representation.

In "Bildanalytische Photographie" Timm Rautert presents and reflects on the very conditions of producing photographic work, starting with the shot itself up to the emergence of the picture under the enlarger in the dark room. It is a carefully planned ensemble of analogue photographs (both in black and white and in colour), of images juxtaposed with texts, of photographic manuals, and of fragments of technical material. As such it asks basic questions of what photography as a medium is able to achieve, what we may expect from it and how it influences our perception of the world we are living in. The work is clearly driven by a theoretical and conceptual approach, however, it remains accessible for the viewer—not least by means of the artist's subtle sense of humour. A group of unknown sketches and notes from Rautert's archive, here presented to the public for the very first time, shed light on the making and meaning of "Bildanalytische Photographie" and help to clarify its interpretation as a "grammar" of the photographic medium.

By becoming part of the museum's rich collection of prints from the fifteenth to the twentieth centuries, Rautert's work enters an environment that offers new perspectives for a discourse. Questions addressing artistic identity, the relationship of single images versus a series or of manipulation in representation and perception, are threads crucial to printmaking in all its facets. In the exhibition "Bildanalytische Photographie" will be contextualized by showing it alongside a variety of prints. Artists are ranging from Holbein to Rembrandt and Canaletto to Baselitz. This allows a dialogue across the periods about the conditions of the various media, about questions of authorship and techniques, about original and reproduction.

On September 16th and 17th 2016, the Kupferstich-Kabinett will host asymposium on Rautert's Image-Analytical Photography that includes a public evening lecture by Prof. Dr. Peter Geimer (Friday, September 16th, 6:30 pm, Hans-Nadler-Saal). Please note that this event is held in German.

Staatliche Kunstsammlungen
Residenzschloss (Royal Palace)
Kupferstich-Kabinett
Dresden, Germany, Europe


#europe #en


Warren Neidich: The Palinopsic Field | LACE, Los Angeles, USA



Warren Neidich: The Palinopsic Field

Exhibition dates: June 15 – August 14, 2016
Opening Reception: Wednesday June 15th 7-10 PM

LACE presents Warren Neidich: The Palinopsic Field, an exhibition that revisits the Second Red Scare and the Lavender Scare, events following World War II in which Joseph McCarthy's House Un-American Activities Committee directed a witch hunt against many artists and writers suspected of having affiliations with the Communist Party, and many homosexuals who were deemed "sexually perverse." Using painting, neon sculpture and installation, the project resurfaces this history and gives us a fresh outlook through which to view and understand this moment.

The Afterimage Paintings consists of red neon sculptures that spell out the names of blacklisted writers Dalton Trumbo, Lester Cole, Ring Lardner Jr. and Alvah Bessie that incite an afterimage in the eyes of observers. Each sculpture is paired with an unfinished painting of empty stars that mimic those found on the Hollywood Walk of Fame. The neon instigates a palinopsia, or afterimage in the beholder, who can shift their gaze and allow the imaginary image to fall in the empty space of the painted star. Nine out of ten of the original Hollywood Ten do not have stars on Hollywood Boulevard, and through this experience viewers can actively right this historical wrong.

The second work, The Archive of False Accusations, includes an installation of vitrines that highlight The Lavender Scare. Newspaper and magazine clippings, sourced at a variety of LGBT archives in and around Los Angeles, such as the Southern California Library and One National Gay and Lesbian Archives, are displayed and lit by neon lavender light. Outlandish headlines like Perverts in Government, 1950 Inquiry By Senate on Perverts Asked, 1950 and Vice Squads Sex Files Sealed Pending " Hill" Investigation, 1950 expose the role of McCarthyism as it intervened to cleanse the government of homosexual employees.

Together, these two works highlight the injustices perpetrated against those that were considered different. Today, as we find ourselves amidst an election cycle one cannot help but draw connections between these events and the trending right wing attacks on immigrants, people of color, and the LGBT community today.

Warren Neidich is a Los Angeles based artist whose work has been exhibited internationally in such places as the Whitney Museum of American Art, PS 1 MOMA, The Kunsthaus Zurich, Institute of Contemporary Art, London, The Ludwig Museum, The Los Angeles County Museum of Art and the California Museum of Photography, Riverside. He studied photography, video, cognitive neuroscience, medicine and architecture. International awards include the AHRB/ACE Arts and Research Fellowship, UK, 2004; Madrid Abierto Outdoor Sculpture Award, 2004; The Vilem Flusser Theory Award, Transmediale, Berlin, 2010; The Fulbright Scholarship, 2011 and 2013. He is founding director of the Saas Fee Summer Institute of Art. Selected exhibitions in 2016 include The Right to Be Unhappy, Bar Projects and the Tapies Foundation, Barcelona. Forthcoming exhibitions are Centre de la Photographie, Geneva; Manifesta, Cabaret Voltaire, Zurich; Barbara Seiler Gallery, Zurich; Colombia Miami Practicas Contemporaneas; "Aun" 44th Salon Nacional de Artistas, Pereira, and Kunstverein Rosa-Luxemburg Platz, Berlin. His books The Psychopathologies of Cognitive Capitalism Part 3, Archive Press and Resistance is Fertile, Merve Verlag are also forthcoming in 2016.

Image: Warren Neidich, Dalton Trumbo, 2014, From the series of Afterimage Paintings, Warren Neidich ©

LOS ANGELES CONTEMPORARY EXHIBITIONS
6522 HOLLYWOOD BOULEVARD
LOS ANGELES, CA 90028
http://welcometolace.org

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Harun Farocki. Empathy | Fundació Antoni Tàpies museum, Barcelona




Harun Farocki. Empathy
2 june - 16 october 2016

Opening: Wednesday, June 1, 2016, 11h.


Two years after the death of Harun Farocki (Novy Jičin 1944 – Berlin, 2014), this exhibition brings together the films and installations of an author recognised as a filmmaker, artist, critic and activist and as a seminal figure of the second half of the twentieth century.

Antje Ehmann (co-curator) i Carles Guerra (co-curator)

In collaboration with the Institut Valencià d'Art Modern, the Fundació Antoni Tàpies presents the second half of a project that revisits Farocki's militant films from the 1960s and the installations that totally occupied him from 1995. While the selection at IVAM focus on his research on surveillance cameras and the technification of vision, the Fundació Antoni Tàpies is presenting a series of emblematic works analysing new forms of labour arising from capitalist production demand, especially those that require the mobilisation of more subjective and human aspects than those hitherto employed by the systems of exploitation.

The notion of empathy, taken from a text by Harun Farocki, guides the selection of works that will be presented in Barcelona. While in the 1960s Brecht's distancing effect imposed determinism and objectivity in documentary practices, towards the end of his life Farocki questioned why that precious term had been handed over to the enemy, i.e. to the industry of cinema and entertainment. It was necessary to reconsider it and re-appropriate it. This could explain this author's particular vision of the camera as a tool for filming spaces of professional training, business negotiations and working spaces without any judgement or stigmatisation. His films are witness to the meticulous training of the workforce, especially in places where interpersonal communication plays a significant role.

Complementing this selection of works on Farocki's interest in the world of labour, now and in the past, and probably deriving from the cinema's original motifs, the Fundació Antoni Tàpies will present for the first time in Spain a large installation produced by Farocki and Antje Ehmann. Eine Einstellung zur Arbeit / Labour in a Single Shot (2011–14) recollects scenes of workers leaving their workplaces reproduced over more than a century. The production of this large-format installation took place in the context of seminars conducted by the authors in different cities in the world, which indicates that cinematic scenarios can be found wherever a pedagogy of the image exists. Farocki's work is thus founded on an idea of cinema as something that avoids all illusions of an innocent image in favour of ideological transmission through the history of visuality.



Carrer Aragó, 255
08007 Barcelona, Catalonia, Europe


#en #europe

Abstract Socialism | Fundació Antoni Tàpies, Barcelona, Catalonia

Abstract Socialism

4 - 22 May 2016
Fundació Antoni Tàpies museum, Barcelona


What role does artistic practice play today when Utopia seems a thing of the past?

Programme of discussions and artistic projects on the former and current uses of modern art in the Socialist Federal Republic from Yugoslavia

During the early years of the Cold War, the Socialist Federal Republic of Yugoslavia took an unexpected stand in relation to modern art. Artists and intellectuals embraced abstract art, while the country's cultural policy also saw it as a possibility for educating the people and for social progress. Yugoslavia distanced itself from the Soviet Union's condemnation of abstraction, yet was never totally behind the formalist ideas currently fashionable in North America. 

The Yugoslav context has contributed to later generations of artists questioning the basis of what has been called socialist modernity. Yet it also seems that the principle of utopia that nourished this project has never ceased to be recognised and is received as an inheritance with which to challenge the amnesiac state informing museums and the cultural neoliberal policies of today.

Abstract socialism is a programme of conferences and artistic projects on the current and past uses of modern art arising from the Socialist Federal Republic of Yugoslavia. It focuses on contemporary art practices that establish alliances with this legacy, albeit in a disruptive key, as well as historiographical accounts pointing to a critical review of the political and cultural initiatives that previously served to promote modern and progressive art.


4 May 2016 / 6.00 p.m.
Presentation programme and conversation with the artists
With Jasmina Cibic, Fokus Grupa and Søren Thilo Funder
Free admission — Auditorium. Limited places


4 May 2016 / 6.30 p.m.
11 and 18 May 2016 / 5.30 p.m.
Programme of projections
Featuring works by Jasmina Cibic, Søren Thilo Funder and Doplgenger
Free admission — Auditorium. Limited places


13 May 2016 / 5.00 p.m.
14 May 2016 / 10.00 a.m.
Lectures
With Andreja Hribernik, Ljiljana Kolešnik, Dalibor Martinis, Aleksandra Sekulić, Barbara Steiner and Ana Dević from What, How & for Whom/WHW.
Free admission — Auditorium. Limited places

4 - 22 May 2016
Artistic intervention by Fokus Grupa in Antoni Tàpies. Collection, 1955–65
Permanent Collection. Level 1.

Project curated by Oriol Fontdevila under the European project Performing the Museum.




Fundació Antoni Tàpies
Carrer Aragó, 255
08007 Barcelona, Catalonia

Mónica Cabo | There will be a battle tomorrow | MARCO, Vigo, Galiza

MÓNICA CABO. THERE WILL BE A SEA BATTLE TOMORROW [PROBLEMATICS: ARTISTS IN THE INCOMPLETE STORY]

29 April 2016 - 26 June 2016

MARCO, Museo de Arte Contemporánea de Vigo, in collaboration with "Unidade de Igualdade, Universidade de Vigo"

Curator:  Chus Martínez Domínguez

PROBLEMATICS. Artists in the Incomplete Story
Programme of exhibitions curated by Chus Martínez Domínguez

Starting April 29, a new programme of exhibitions is housed in the Annex at MARCO, a space transformed into a project room in 2015. Faithful to the MARCO trademark programming style, this new line highlights MARCO's self-produced projects, both regarding site-specific works and cycles of exhibitions in which a single curator organises a year-long programme of exhibitions. All along 2016, art critic and curator Chus Martínez Domínguez presents the programme 'PROBLEMATICS. Artists in the Incomplete Story'.

Taking as a starting point the problematic realities and circumstances which arise from the interaction between women artists and the art system, the programme here poses different questions regarding artistic theory and practice. Through four site-specific proposals the cycle materializes research, concepts, and poetics surrounding the works of each woman's proposal.

Proposals by creators of different generations and genres ranging from visual arts to architecture or audio visual art — Mónica Cabo (Oviedo, 1978), Pascuala Campos de Michelena/Ana Gallego Palacios (Jaén, 1938/Cáceres, 1975), Xisela Franco (Vigo, 1978) and Elena Blasco (Madrid, 1950) — conform this exhibition programme of intertwined stories about representation, identity, politics and territory from a perspective which is filled with criticism, humour, subversion and memory. These are just a few questions of an extended discourse about the work by women artists, which always seems to be disposed or imposed in an incomplete stage, under construction and re-vindication.

The Annex at MARCO becomes the perfect metaphor of the spaces women artists are so familiar with: working in the margins, in resistance, in the hidden corners of the system. However, this project wants to rephrase the questions and insist on those places, to transform them into stories scripted by the artists themselves, using them as an opportunity to propose new realities by reacting against circumstances which limit, condition, and debilitate. Transversal thoughts in the form of actions; a present in which the question of genre is still taken as problematic.

On the occasion of the opening day, Friday April 29 at 7:30pm, an open meet-and-greet with the audience will be led by the artist Mónica Cabo and the curator Chus Martínez Domínguez.

Programming and calendar:

Mónica Cabo
29 April – 26 June 2016

Pascuala Campos de Michelena/Ana Gallego Palacios
8 July – 11 September 2016

Xisela Franco
23 September – 20 November 2016

Elena Blasco
2 December 2016 – 26 February 2017

MARCO, Museo de Arte Contemporáneo de Vigo
Príncipe 54 | 36202 Vigo, Galiza.


#europe #en

The modern art: 1960-2000 | The State Tretyakov Gallery | Moscow, Russia

THE MODERN ART: 1960–2000
15 april — 1 september 2017

Krymsky Val, 10, Halls 39-42
How to Get Here, Opening Times

One of the most important functions of a museum is to find and include into its collection the best and most important key works of the modern art. The new version of the permanent exhibition of the modern art demonstrates the diversity of artistic trends in the art of the second half of the XX century. The exhibition has the purpose to overcome the viewers' misunderstandings and mistrust towards contemporary art, to acquaint them with the most interesting works, to create an adequate idea of the vast cultural period, forming the art space around us.

The State Tretyakov Gallery
Lavrushinsky Lane, 10
Moscow, Russia, 119017

#asia #en

Thomas Struth | Nature & Politics | Museum Folkwang, Essen, Germany


Thomas Struth. Seestück, Donghae City 2007 © Thomas Struth


Thomas Struth | Nature & Politics
4. März – 29. Mai 2016

Forschungseinrichtungen, ein Erlebnispark, sakrale Räume – es sind höchst unterschiedliche Orte, die Thomas Struth in den letzten Jahren fotografiert hat. Alle diese Orte wurden von Menschen geschaffen und sie haben eines gemeinsam: Sie sind hochkomplex, auch wenn sie sehr unterschiedliche Zwecke erfüllen. Die Maschinen in den Laboren zum Beispiel dienen den Erfordernissen der wissenschaftlichen Forschung.

Festgehalten in großformatigen Bildern bleiben sie trotz des Detailreichtums geheimnisvoll. Die Technik ist sichtbar, doch die konkrete Funktionsweise bleibt verborgen. Dabei zeigen diese Fotografien Apparaturen und Konstruktionen, die für die Öffentlichkeit meist unzugänglich sind. Struth hat diese Objekte in leuchtenden Farben und großformatig abgebildet. Doch er interessiert sich auch für die Ideen hinter den Kabeln, Leitungen und Plastikverkleidungen.

Die Bilder zeugen von der Vorstellungskraft und dem technischen Können des Menschen. Doch in Struths Werken zeigt sich auch die Möglichkeit der Überforderung durch Technik und Fortschritt: Nur wenige können diese Maschinen bedienen. Wenngleich bei der Nutzung der Hebel und Schläuche Expertenwissen gefragt ist, einen Eindruck der unglaublichen Leistungen ihrer Erbauer vermitteln sie auf jeden Fall.

Thomas Struth (*1954) zählt zu den international wichtigsten Künstlern seiner Generation. Er studierte in den 1970er Jahren an der Kunstakademie Düsseldorf, zunächst Malerei bei Gerhard Richter, danach Fotografie bei Bernd und Hilla Becher. Zusammen mit weiteren Becher-Schülern, darunter Andreas Gursky, Thomas Ruff und Candida Höfer, bildet er die sogenannte Düsseldorfer Schule. Struth lenkt den Blick auf Strukturen der Gegenwart, die er mit Detailschärfe dokumentiert und hinterfragt. Seine Aufnahmen von Landschaften, Straßenzügen oder auch Museumsbesuchern gleichen Studien, die historische, funktionale und soziale Zusammenhänge abbilden.

Die Ausstellung ist anschließend im Martin-Gropius-Bau, Berlin, im High Museum of Art, Atlanta/GA, und im Saint Louis Art Museum, St. Louis/MO, zu sehen.


#de #europe

La militarización de la cultura visual en México | Nasheli Jimenez | Espai10, Barcelona



La militarización de la cultura visual en México por Nasheli Jimenez

Espai 10 : Laboratorio de Arte Contemporáneo invita el día Martes 26 de Abril a las 19.30 horas en Abaixadors 10 Born, Barcelona a un encuentro con Nasheli Jimenez, investigadora y profesora en Estudios Visuales en el Instituto de Investigaciones Estéticas de la Universidad Nacional Autónoma de México (UNAM),quien nos presenta los colosos de Calderón,  una recopilación de imágenes de las Fuerzas Armadas y de la Policía Federal a partir de la temática del militarismo en la cultura visual mexicana durante el sexenio del ex presidente Felipe Calderón Hinojosa. Partiendo de un estudio de la iconografía política en el México contemporáneo (2006-2012), localizando la emergencia en el discurso nacional de la visibilidad de las fuerzas armadas y su normalización en la esfera pública mexicana. Retomando los argumentos de Nicholas Mirzoeff (2009 & 2011) y Giorgio Agamben (2005) sobre la normalización de la cultura militarista en el contexto del estado de excepción, esta presentación enfatizará la relación entre la producción de imágenes públicas y el ejercicio político de un régimen en búsqueda de legitimarse.

Palabras clave: cultura visual mexicana; iconografía política; militarismo; guerra al narcotráfico

Nasheli Jiménez del Val (México) es investigadora y profesora en Estudios Visuales en el Instituto de Investigaciones Estéticas de la Universidad Nacional Autónoma de México (UNAM), en donde lleva a cabo la investigación "Muerte violenta. Imágenes de escarmiento, sensacionalismo y denuncia en México (1994-2012)". Del 2012 al 2014 fue investigadora posdoctoral Beatriu de Pinós en el grupo de investigación Arte, Globalización, Interculturalidad, del Departamento de Historia del Arte de la Universitat de Barcelona, bajo la dirección de Anna Maria Guasch. Previamente, fue becaria posdoctoral del Instituto de Investigaciones Estéticas de la UNAM, en el programa Becas Postdoctorales en la UNAM, México (2011-2012), y profesora en Estudios Hispánicos y Latinoamericanos en la Universidad de Stirling, Reino Unido (2010). Obtuvo su doctorado en Estudios Culturales de la Universidad de Cardiff, Reino Unido, y su maestría y licenciatura—en Estudios Políticos y Sociales (2005), y Comunicación Gráfica (2002), respectivamente—de la UNAM. Sus líneas de investigación se centran en la relación entre imágenes y poder, con especial énfasis en: otrificaciones y el cuerpo, pensamiento decolonial y teoría cultural latinoamericana, y cultura visual, activismo y movimientos sociales en México. Ha publicado artículos científicos en diversas revistas académicas y compendios arbitrados. Actualmente está editando el libro Body between Materiality and Power. Essays in Visual Studies (en preparación, 2016).

Espai10: Laboratorio de las artes contemporáneas
Calle Abaixadors 10  Local 1
08003 Borne, Barcelona
http://espai10.us3.list-manage.com/track/click?u=5afca4a632c8eb717b43c1e0e&id=497b69438f&e=2957310977
info@espai10.com

 
#es #europe

Exposition Guillaume Bottazzi « Wonderland » | Hong Kong Central Library, Hong Kong

Guillaume Bottazzi « Wonderland »

Du 21 mai au 5 juin 2016

66 Causeway Road, Causeway Bay
Hong Kong Central Library
Hong Kong

Du lundi au dimanche : 10h00 – 20h00
Sauf le mercredi : 13h00 – 20h00


Cet événement induira le visiteur à évoluer dans un univers irréel, un monde qui sollicitera notre imaginaire et notre créativité. Dans un espace de 565 m2, la « Hong Central Library » accueillera du 21 mai au 5 juin 2016 la première exposition publique des A cette occasion, 23 peintures récentes seront présentées, dont des œuvres de 3 mètres par 2 mètres et de 2 mètres par 2 mètres.

Les visiteurs pourront voir des huiles sur toiles et des œuvres au plâtre fin sur tissu. Seront également présentés des œuvres in-situ, une spécialisation de l'artiste, qui a signé plus de 40 projets dans l'espace public, dont la plus grande peinture du Japon pour le MIMAS (Miyanomori International Museum of Art). Son plus récent, une peinture de 200 m2, prend place dans le parcours artistique de Paris La Défense, le plus grand ensemble d'art moderne et contemporain à ciel Quatre documentaires seront présentés, dont un inédit, réalisé par le Musée International d'Art Miyanomori. Ce film a été tourné pendant la réalisation de cette peinture de 900m2 réalisée par Guillaume Bottazzi sur toutes les façades du musée en 2011.

Cette exposition introduit également une récente recherche scientifique au sujet des effets produits par les œuvres de Guillaume Bottazzi. Cette étude montre comment les peintures de Guillaume Bottazzi nous apportent du plaisir et du bien-être. Créé en 1993, Le French May est l'un des plus grands événements culturels d'Asie. Avec plus de 120 programmes présentés sur 2 mois, c'est une scène culturelle incontournable à Hong Kong, qui touche plus d'un million de visiteurs chaque année.

http://2016.frenchmay.com/programmes/event.aspx?name=GUILLAUMEBOTTAZZI

#asia #fr

A Japanese Constellation: Toyo Ito, SANAA, and Beyond | MOMA, New York

A Japanese Constellation: Toyo Ito, SANAA, and Beyond
Through Monday, July 4
Floor 3, Architecture and Design Galleriesa
MOMA, New York, USA

A Japanese Constellation focuses on the network of architects and designers that has developed around Pritzker Prize winners Toyo Ito and SANAA. Providing an overview of Ito's career and his influence as a mentor to a new generation of Japanese architects, the exhibition presents recent works by internationally acclaimed designers, including Kazuyo Sejima, Ryue Nishizawa, Sou Fujimoto, Akihisa Hirata, and Junya Ishigami. Departing from one of Ito's pivotal works, the Sendai Mediatheque, completed in 2001, as well as SANAA's 21st Century Museum of Contemporary Art, Kanazawa (2004), the 44 featured designs range in scale from small houses to museums. Organized through intersecting spaces separated by translucent curtains, drawings, models, and images reveal the structural invention, non-hierarchical thinking, and novel uses of transparency and lightness that link these practices. Exploring a lineage of influence and cross-pollination that has become particularly relevant at the start of the 21st century, the exhibition highlights the global impact and innovation of contemporary architecture from Japan since the 1990s. With its idea of a network of luminaries at work, A Japanese Constellation is intended as a reflection on the transmission of an architectural sensibility, and suggests an alternative model to what has been commonly described as an individuality-based "star-system" in contemporary architecture.



The Museum of Modern Art
11 West 53 Street
New York, NY 10019-5497
United States of America

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Martin Puryear | Multiple Dimensions | Art Institute of Chicago

One of the most renowned artists working today, Martin Puryear is celebrated for his elegant but playful sculpture and his devotion to craft. Lesser known is the extensive iterative process of drawing and printmaking that is essential to the artist's studio practice. This exhibition is the first to draw back the curtain on that practice. Featuring over 100 drawings and prints as well as 12 sculptures—many borrowed directly from the artist and never displayed before—the presentation offers an unprecedented look into Puryear's inspirations, methods, and transformative process.

Martin Puryear has had a long relationship with Chicago and the Art Institute. He lived in the city for 12 years,
and the museum has long been supportive of his work—acquiring key pieces in the 1980s, organizing an extensive survey in 1991, and conserving many of his fire-damaged early prints and drawings after that show. Puryear has responded in kind, giving the museum a double-sided drawing for his sculpture Sanctuary and participating
generously and closely in the development of this exhibition, including loaning many works that he has never shared publicly before.

Uniting these rarely seen drawings, several sculptures, and selections from his sketchbooks, Martin Puryear: Multiple Dimensions traces the artist's career from his student days at Catholic University in the early 1960s through the present, with works created as recently as 2014. Critical to Puryear's development were his formative years spent with the Peace Corps in Sierra Leone (1964–1966), a period in which he was inspired by and gave expression to buildings, flora, insects, animals, and children—the entirety of his environment. Since then, Puryear has returned to many of these themes, experimenting with scale, materials, and varying levels of abstraction. In the exhibition, visitors can witness
this evolution of thought—how a sketch of a house in Sierra Leone is transformed 10 years later into an abstracted proto-sculptural form, or how a head-like shape is reworked in bronze, wood, black Conté crayon, and graphite.

By bringing to life the artist's uncanny ability to make forms that are suggestive, playful, and transformative, all while remaining anchored in the world, this display of Puryear's explorations across visual ideas and media offers a 360-degree view of the creative process of a contemporary master.

Sponsors

Martin Puryear: Multiple Dimensions is organized by the Art Institute of Chicago.

Support for the exhibition is provided by the Morton International Exhibition Fund and the Kemper Educational and Charitable Fund.

Annual support for Art Institute exhibitions is provided by the Exhibitions Trust: Kenneth Griffin, Robert M. and Diane v.S. Levy, Thomas and Margot Pritzker, Betsy Bergman Rosenfield and Andrew M. Rosenfield, the Earl and Brenda Shapiro Foundation, and the Woman's Board.



Art Institute of Chicago
111 South Michigan Avenue
Chicago, Illinois 60603-6404
United States of America


#America #en

Jean Dubufet | Metamorphosen der landschaft | Fondation Beyeler, Basel

Le commerce prospère, 1961, Oil on canvas, The Museum of Modern Art, NY, Mrs. Simon Guggenheim Fund, Foto: © 2015. Digital image, MoMa © 2015, ProLitteris, Zurich


JEAN DUBUFFET – METAMORPHOSEN DER LANDSCHAFT 31. JANUAR - 8. MAI 2016

Jean Dubuffet (1901–1985) gehört zu den prägenden Künstlern der zweiten Hälfte des 20. Jahrhunderts. Inspiriert von den Werken künstlerischer Aussenseiter, gelang es ihm, sich von überkommenen Traditionen zu befreien und die Kunst gleichsam neu zu erfinden. Dubuffets Einfluss ist in der zeitgenössischen Kunst und der Street Art noch deutlich zu spüren, beispielsweise bei David Hockney, Jean-Michel Basquiat oder Keith Haring.

Anhand von über 100 Werken des überaus facettenreichen und vielschichtigen Schaffens präsentiert die Fondation Beyeler die erste grosse Retrospektive Dubuffets in der Schweiz im 21. Jahrhundert. Dabei geht die Ausstellung von seiner faszinierenden Deutung von Landschaft aus, die sich bei ihm auch in Körper, Gesichter und Objekte verwandeln kann. In seinem Werk experimentierte der Künstler mit neuen Techniken und Materialien wie Sand, Schmetterlingsflügeln, Schwämmen und Schlacke, um daraus ein ganz eigenes und einzigartiges Bilduniversum zu kreieren.

Ernst Beyeler zeigte sich von Dubuffets Kunst sehr beeindruckt, es entstand eine intensive Zusammenarbeit, die zu einem Exklusivvertrag mit dem Künstler führte. Über 750 Werke Dubuffets wurden im Laufe der Jahrzehnte über die Galerie Beyeler verkauft. In besonderem Masse spiegelt sich Ernst Beyelers grosses Interesse für Dubuffet auch in der Sammlung der Fondation Beyeler wider, die zahlreiche Hauptwerke des Künstlers bewahrt.

Neben bedeutenden Gemälden und Skulpturen aus den zentralen Schaffensphasen Dubuffets zeigt die Ausstellung dessen spektakuläres Gesamtkunstwerk Coucou Bazar, in dem Malerei, Skulptur, Theater, Tanz und Musik zusammenfinden.

Die Ausstellung wird durch Leihgaben aus internationalen Museen und Privatsammlungen sowie der Fondation Dubuffet in Paris ermöglicht und von Dr. Christoph M. und Sibylla M. Müller grosszügig unterstützt.

Der Kurator der Ausstellung ist Raphaël Bouvier.



JEAN DUBUFFET – METAMORPHOSES OF LANDSCAPE JANUARY 31- MAY 8, 2016

Jean Dubuffet (1901–1985) is one of the defining artists of the second half of the 20th century. Stimulated by the work of artists on the margins of the cultural scene, Dubuffet succeeded in liberating himself from traditions and in reinventing art. Dubuffet's influence can still be felt today in contemporary art and street art, for example in the work of David Hockney, Jean-Michel Basquiat and Keith Haring.

In the first large-scale Jean Dubuffet retrospective in Switzerland this century, the Fondation Beyeler presents the artist's richly facetted and multilayered oeuvre on the basis of more than 100 works. The exhibition thereby starts from Dubuffet's fascinating idea of landscape, which in his hands can transform itself into a body, a face or an object. The artist experimented with new techniques and materials, such as sand, butterfly wings, sponge and slag, and thereby created a wholly individual and unique visual universe.

Ernst Beyeler was deeply impressed by Dubuffet's art. A close collaboration ensued, which led to the signing of an exclusive agreement with the artist. More than 750 of Dubuffet's works were sold through the Galerie Beyeler over the decades. Ernst Beyeler's great interest in Dubuffet is also reflected in the Beyeler Collection, which contains numerous major works by the artist.

Alongside important paintings and sculptures from all the major phases of the artist's oeuvre, the exhibition is also showing Dubuffet's spectacular Coucou Bazar, a multimedia work of art combining painting, sculpture, theatre, dance and music.

The exhibition has been made possible by loans from international museums, private collections and the Fondation Dubuffet in Paris and generously supported by Dr. Christoph M. and Sibylla M. Müller.

The exhibition has been curated by Raphaël Bouvier.


FONDATION BEYELER
Baselstrasse 101
CH-4125 Riehen / Basel
Switzerland

#de #en #europe

Galerie du temple | Collange | Lourmarin, France

 

 

www.galeriedutemple.com/

 

 #fr #europe

 

 


'Apontamentos', Pedro Quintas | Galeria Fernando Santos, Porto, Portugal



Apontamentos | Pedro Quintas

Galeria Fernando Santos| Rua Miguel Bombarda, 526 4050-379 Porto, Portugal

Pedro Quintas apresenta nesta exposição uma seleção de pinturas e fotografias de pequena escala que o artista intitula de "Apontamentos". "Apontamentos", porque na realidade estas peças pontuam, e por isso representam o percurso do artista. Normalmente habituado a trabalhar em escalas maiores, estas pequenas pinturas servem de pesquisa para novos caminhos ou para amadurecer ideias existentes e ou em prática.

Tal como a pintura, a fotografia ocupa uma parte importante no trabalho de Pedro Quintas. Normalmente, e como na pintura, as fotografias são apresentadas em escalas maiores. No entanto, o artista apresenta-nos aqui estas duas expressões em pequeno formato como um diário visual, onde as composições que o despertam são captadas sem o rigor mimético, mas mesmo assim – e talvez por isso – com toda a expressividade. Este tipo de registo fotográfico é uma atividade diária e constante na pratica artística de Pedro Quintas e serve igualmente para estudar novas possibilidades na fotografia ou mesmo indicações para a pintura. Uma – a pintura – não é separável da outra – fotografia -, sendo por isso natural, e até de certa forma, aconselhável, que fotografias e pinturas sejam apresentadas ao público, simultaneamente. Só assim este consegue ter um entendimento mais  abrangente da obra e, acima de tudo, da experiência do artista.

Alguns trabalhos são como sementes que, organicamente, dão origem a novos trabalhos e assim sucessivamente podendo este processo ficar concluído, ou não. Outros apontamentos sobrevivem por si só. Não são estéreis, mas não necessitam de uma desmultiplicação, pelo menos não imediato. Muitos são por vezes recuperados anos mais tarde. Não obstante este carácter didáctico, experimental, académico que atribuímos aos apontamentos e aos diários visuais – como estudos para "a obra" (e como se existissem obras menores que outras numa escala muito própria de medição da legitimidade das obras em se afirmarem enquanto tal) – as peças e o processo encontra-se encerrado. As obras aqui apresentadas assumem-se, não obstante os nossos conceitos, acabadas. Está tudo consumado.

Pedro Quintas nasceu em Lisboa em 1972, onde vive e trabalha. Concluiu o Curso Avançado de Artes Plásticas do Ar.Co em 2001 e tem desde então apresentado com regularidade trabalhos de pintura, fotografia e vídeo.

Entre diversas participações em exposições podemos destacar, Sincronías: Artistas Portugueses na Coleção António Cachola - Curadoria de Isabel Pinto e Patricia Machado | MEIAC | Museo Extremeño Iberoamericano de Arte Contemporaneo, Badajoz - España (2013), Entre memoria e o Arquivo - Curadoria de Ruth Rosengarten | Museu Colecção Berardo, Lisboa (2013), Não te posso ver nem pintado - Curadoria de Eric Corn | Museu Colecção Berardo, Lisboa (2008), Quel Air Clair... - Obras da colecção do Ar.Co / Parte II - Curadoria de Manuel Castro Caldas | Palácio Galveias, Lisboa (2008), Desenhos no Século - Continuação 3 - Curadoria de João Pinharanda | Sociedade Nacional de Belas Artes, Lisboa (2003).

Pedro Quintas está representado em diversas coleções públicas e privadas, como a Colecção Museu Berardo,  Colecção António Cachola, Colecção PMLJ,  entre outras.

Exposició "Vida Toxica" de Plastic Pollution Coaliition al metro de Barcelona




Exposició d'art "Vida Toxica" al metro de Barcelona. 

Espai Mercè Sala | Roselló / Rbla. Catalunya.

Inauguració: 16-02-2016 a les 11h. 

Exposició vigent fins a finals de març del 2016.



Art Exhibit "Vida Toxica" in Barcelona.

Opening: 16-02-2016 at 11,00 am.

Until the end of March 2016.

Espai Mercè Sala | Metro of Barcelona: Roselló / Rbla. Catalunya.


‪#‎vidatoxica‬
www.solerarpa.com

Hi col.labora:

Alvaro Soler, Arpa Plastic Soup Foundation, Europe Algalita Marine Research i Education 5 Gyres Mission, Blue Salesforce Conservation International, Greenpeace España, MAHALA Comunicación.

Més info:
www.plasticpollutioncoalition.org
@senseplastics


Book: 'Sculptures and Objects' of Jhemp Bastin #free




VERÖFFENTLICHUNG

Vom Kunsthaus Zendscheid wurde das Buch „Skulpturen + Objekte" von Jhemp Bastin veröffentlicht.
Auch dieses Buch kann im Internet unter dem folgenden Link kostenlos gelesen und angeschaut werden.

Llibre: escultures + objectes de Jhemp Bastin


PUBLICATION

The Kunsthaus Zendscheid has published the book „Sculptures and Objects"of  Jhemp Bastin.
The book can be viewed with no charge on the Internet using the following link.

Book: Sculptures and Objects of Jhemp Bastin



PUBLICATION

Le Kunsthaus Zendscheid vient de publier le livre: „ Sculptures + Objets" de Jhemp Bastin
Comme nos publications précédantes, ce livre peut être consulté gratuitement en suivant le lien:

Livre: Sculptures + Objets de Jhemp Bastin



Kunsthaus Zendscheid
Dorfstrasse 20a
54655 Zendscheid
www.kunsthaus-zendscheid.de

#europe 






Antoni Tàpies. Collection, 1955–1965 | Fundació Antoni Tàpies museum | Barcelona

19 january - 22 may 2016

Antoni Tàpies. Collection, 1955–1965

To coincide with the exhibition of the fonds of Les Abattoirs in Toulouse, Documents of Action. Works from the Denny and Cordier Collections (1947–65), the Fundació Antoni Tàpies offers a selection of works from its collection centred on the decade when Tàpies became internationally renowned.

With Núria Homs (curator)

The Antoni Tàpies public image acquired an iconic category that connected him to Abstract Expressionism and the desire to turn subjectivity into prime material. While his choice of materials took centre-stage, his capacity for embracing multiple meanings in order to leave behind the narrative and literary contents of the previous era turned Tàpies into a prototype of the modern artist.

In 1954–55, Antoni Tàpies' work experienced a significant change as a result of previous experiences, influences and affinities. This was the beginning of his maturity as an artist. His interest in the expressivity of certain materials, which he had already shown during the 1940s, produced works reminiscent of walls, characterised by the density of the textures and a limited palette dominated by grey, brown and ochre. With these works Tàpies achieved national and international recognition, especially in the late fifties and early sixties.

An important part in the promotion of Tàpies' work was played by the New York dealer Martha Jackson, in whose gallery Tàpies began showing from the end of 1953, and the tandem formed by the French art critic Michel Tapié, the theoretical exponent of Informalism, and Rodolphe Stadler, who opened his gallery in Paris in the autumn of 1955. The exhibition Collection, 1955–65 focuses on that period and includes works and documents from the Fundació's Collection and Archive, as well as some significant loans from private collections. Also included is a screening of the documentary Tàpies, by Clovis Prévost, and produced by Maeght, Paris, in 1969.


#en #europe 

"O meu sol chora / My sun cries" de Sara Bichão | Galería Silvestre, Madrid



Sara Bichão
"O meu sol chora / My sun cries"

"Los trabajos en papel de Sara Bichão, a menudo miniaturas en escala, están llenos de colores vibrantes conteniendo una infinidad de signos, figuras orgánicas o arcos circulares de geometría. Sus patrones laten con energía a través de medios como el grafito, el lápiz y las pinturas acrílicas. Bichão bebe de las historias paralelas del diseño modernista y de la abstracción, desestabilizando las nociones de significado y de autoría."

Boshko Boskovic
 
Podrás visitar esta exposición en
Galería silvestre_Madrid hasta el día 13 de enero.

Cerrado entre el 31 de diciembre de 2015 y 6 de enero de 2016.


Doctor Fourquet, 39  28012 Madrid  t. (+34) 915991918 t. (+34) 600 696 894
www.galeriasilvestre.com

#es #europe

Galeria Inklusa | Inauguração: 30 Dez 2015 | Porto, Portugal

Galeria Inklusa
Inauguração: 30 Dez 2015

Escola EB1 da Sé
Rua do Sol, 14. 2º Andar
Porto, Portugal


#europe #pt

Qui a peur des femmes photographes? 1839 à 1945 | Musée d'Orsay, Paris, France

Madame Yevonde Portrait de Joan Maude© Yevonde Portrait Archive

S'appuyant sur des recherches nouvelles comme sur les nombreuses histoires de la photographie qui, depuis une quarantaine d'années, ont réévalué l'extraordinaire contribution des femmes au développement du médium, cette exposition et la publication qui l'accompagne sont les premières du "genre" en France.

Le phénomène est en effet appréhendé à travers ses manifestations aussi bien en Europe – essentiellement en France, Grande-Bretagne et Allemagne – qu'aux Etats-Unis, de l'invention officielle de la photographie en 1839 jusqu'en 1945.

Commissariat général: Ulrich Pohlmann, directeur de la collection photographique du Stadtmuseum de Munich

Commissariat scientifique: Marie Robert, conservateur au musée d'Orsay


Musée d'Orsay
62, rue de Lille
75343 Paris Cedex 07, France

#fr #europe

Antoni Tàpies: Parla, parla | Les Abattoirs | Toulouse



Antoni Tàpies: Parla, parla
Du 12 février au 22 mai 2016
Les Abattoirs, Toulouse

Vernissage jeudi 11 février à 18h

Plus importante monographie consacrée à l'artiste en France depuis sa disparition en 2012, en collaboration avec la Fundació Tàpies, cette exposition parcourt l'œuvre d'un des principaux artistes européens de la seconde moitié du XXe siècle. Des dessins surréalistes des années 1940, aux grands murs et assemblages de la fin des années 1990, une cinquantaine de pièces seront présentées dans un déroulé à la fois chronologique et thématique.

Expérimentations sur la matière ou inclusion dans le tableau de l'écriture et de la vie quotidienne, le travail de Tàpies accompagne les grands mouvements artistiques de ces cinquante dernières années.

La Fundació Antoni Tàpies (Barcelone) et les Abattoirs (Toulouse) ont un lien commun: l'œuvre d'Antoni Tàpies. Ce dernier est représenté à travers 8 œuvres dans la collection française (dont une rare peinture de sable de 1956), et la Fundació détient un ensemble exceptionnel de ses travaux, de par la volonté même de l'artiste. Davantage encore, c'est sur un moment historique partagé de l'histoire de l'art, celui de l'expérimentation artistique dans l'après-guerre dans un contexte international nourri par les leçons des avant-gardes, que les deux institutions se retrouvent.

Au début de l'année 2016, les Abattoirs et la Fundació Antoni Tàpies collaborent sous la forme d'un échange de leurs collections. Leur ambition est de permettre au public de situer l'émergence et le développement de l'œuvre de Tàpies dans le contexte d'une redéfinition forte de l'art dans les années 1950 et d'approcher le caractère résolument expérimental de son travail sur plus d'un demi-siècle.

À Barcelone, l'exposition "Burri, Dubuffet, Mathieu, Michaux, Shiraga, Tanaka, Tàpies, entre autres" (21 janvier 2015 - 8 mai 2016) de la Fundació Antoni Tàpies propose la présentation d'une soixantaine d'œuvres de la collection des Abattoirs - et plus particulièrement du fonds Anthony Denney, un des premiers collectionneurs de l'artistec'est autour de la notion d'un "art autre" développé par le critique Michel Tapié en 1952. Cette présentation situe l'œuvre dans une constellation où se croisent Henri Michaux, Alberto Burri ou encore les peintres japonais du mouvement Gutaï, tous engagés selon les mots de Michel Tapié dans une "fantastique proposition d'aventure totale de ce que nous savons être notre avenir."

À Toulouse, l'exposition débute par la présentation complète de la série Història natural (Histoire naturelle) réalisée par Tàpies en 1951. C'est par cette entrée, qu'elle entreprend, à travers une soixantaine d'œuvres, un parcours qui culmine avec Parla, Parla, une des œuvres maîtresses de l'artiste. L'exposition est conduite sur l'hypothèse d'une lecture de l'œuvre qui procède par analogie, par sympathie pour agglomérer à partir de ses formes une suite de discours sur le quotidien, la mémoire, la nature ou encore l'illusion.

L'exposition ne se déroule pas selon un parcours chronologique mais se décline en sept ensembles, déduits à partir d'une œuvre ou d'un groupe de travaux. "Terre d'illusion", "Histoire naturelle", "Complémentaire", "Combinaisons", "Envers", "Dépose" et "Quotidien" sont les sept chapitres de cette exposition.

Si elle est notée comme centrale dans la seconde moitié du XXe siècle, l'œuvre de Tàpies garde une pertinence contemporaine décisive. Aussi, c'est dans une structure conçue par Guillaume Leblon en 2012 (Je jouais avec les chiens et je voyais le ciel et je voyais l'air) que sont présentées certaines de ses sculptures. Ce dialogue est prolongé par la présentation à l'étage inférieur de National Monument, œuvre offerte aux Abattoirs en 2014 par l'artiste français.

76 allées Charles-de-Fitte
31300 Toulouse

#fr #europe

Maud Faivre: 'Rivage' | Lumière d'Encre | Céret




Lumière d'Encre a la joie de vous inviter à l'exposition de présentation de :

Maud Faivre : Rivage
Exposition du 19 janvier 2016 au 6 février 2016

Vernissage le mardi 19 janvier 2016 à partir de 18h30
à la Galerie Lumière d'Encre
47 rue de la République
66400 Céret

Conférence de l'artiste à partir de 18h30

Lumière d'Encre
47 rue de la république
66400 Céret
#fr #europe

Rosa Barba | Spaces for species (and pieces) | Albertinum, Dresden

Rosa Barba, Color Clocks: Verticals Lean Occasionally Consistently Away from Viewpoints, 2012. 35-mm-Film, Motoren, Aluminium, Plexiglas. Installationsansicht: Albertinum, Staatliche Kunstsammlungen Dresden. Copyright: Rosa Barba/SKD, Foto: Oliver Killig.

Rosa Barbaspaces for species (and pieces)

28. November 2015 – 28. Februar 2016
Eine Ausstellung des Albertinum im Salzgassenflügel

Spaces for species (and pieces) ist die erste monografische Museumsausstellung der Künstlerin Rosa Barba in Deutschland nach vielen musealen Ausstellungen im Ausland. Barba, 1972 in Agrigent in Italien geboren und in Deutschland aufgewachsen, lebt und arbeitet in Berlin. Sie studierte Theater- und Filmwissenschaften an der Universität Erlangen und Bildende Kunst und Film an der Kunsthochschule für Medien in Köln, gefolgt von einer zweijährigen Residenz an der Rijksakademie van Beeldende Kunsten in Amsterdam.

Geologische, historische und sozio-politische Phänomene sind oft Ausgangspunkt von Rosa Barbas prozesshaft angelegten Recherchen. Diese finden dann Eingang in ihre Filme, die sie stets selbst aufnimmt, schneidet und mit eigenen Textpassagen und komponierter Musik unterlegt und zu einem dokumentarisch anmutenden, aber stets ganz subjektiv erzählten filmischen Werk mit epischer Qualität entwickelt.

Neben Filmarbeiten sind auch skulpturale Werke in der Einzelausstellung zu sehen. Zentraler Gegenstand dieser konzeptuellen Arbeiten sind Bildprojektionen, sprachliche Erinnerungen, physische und imaginierte Objekte, die in einen diskrepanten und doch schlüssigen Dialog gebracht werden. Es sind Spekulationen über die Natur von Dokumenten, nicht nur als fertig vorgefundenes Produkt, sondern als Gegenwartsreflexion. Dabei interessiert Rosa Barba nicht allein, die Dokumente in Kunst zu übersetzen, sondern kontinuierlich von Material zu Bild und zurück von Bild zu Material zu transponieren. Inhalt wird damit zu Form, Form zu Inhalt.


#europe #de

Pixels of Ubuntu/unhu | National Gallery of Zimbabwe



Pixels of Ubuntu/unhu
National Gallery of Zimbabwe


THE ARTISTS

Chikonzero Chazunguzawas born on 13 January 1967 and raised in Harare, Zimbabwe. In 1987, he won a scholarship to study at the Institute of Pictorial Arts in Sofia Bulgaria, where he earned his MFA and was trained in the classical modes of printmaking, drawing and painting. He spent 7 years in Bulgaria witnessing how the country was going through major changes. In 1994 he returned to Zimbabwe in search of uniting his modern European training with indigenous Zimbabwean art. In 2009 Chiko moved to Canada where he was confronted with the contrasting realities of 'here and there'. Chiko established an artist resource center, Dzimbanhete Arts Interaction on the outskirts of Harare, which is still striving and could be an answer to the future of Zimbabwean contemporary art. He is the recipient of numerous awards and has exhibited in several solo shows in Africa, Europe and North America. He lives and works in Zimbabwe.

Masimba Hwati was born in 1982, and grew up in one of Harare where he attended School. He completed his formal education in Mhondoro and in Highfields, and then went on to embark on a visual arts course at the Harare Polytechnic from 2001 to 2003 where he majored in Ceramics and Painting earning a first class diploma in Fine Art. He has collaborated with several artists from Detroit, South Africa and the Southern African region. His work is in several private collections around the world. Deeply intrigued by the history of cultures in 2013 he undertook an independent study of the Culture and History of black people in Nova Scotia, Canada. He works with historical and contemporary themes experimenting with objects' symbolism and perceptions. Masimba currently lives and works in Zimbabwe working at the Harare Polytechnic where he teaches visual arts, and is currently one of the 3-dimensional art instructors.

Gareth Nyandoro was born in Bikita, Masvingo in 1982. Gareth trained at Masvingo Polytechnic, Harare Polytechnic and Chinhoyi University of Technology. Street life and the human interaction that accompanies it are recurring themes in Gareth Nyandoro's work. Around the world, markets are public places where vendors have a chat and present their wares in the most attractive way possible. In Harare, Zimbabwe this is done on a piece of cloth on the sidewalk, so vendors can quickly grab their things as soon as the police arrive to arrest them for trading illegally. Gareth has exhibited widely both in Zimbabwe, Africa and abroad. He has had more than 5 residencies and is currently on a residency at the Rijksakademie van Beeldende Kunsten in the Netherlands.

THE COMMISSIONER

Mrs. Doreen Sibanda
Doreen Sibanda has been working in the visual arts sector in Zimbabwe for more than thirty years. She began her career in 1981 as the Education Officer at the National Gallery of Zimbabwe, where she was appointed to set up an Education Department for the institution. A critical thinker and a proponent of the role of education in art, Sibanda has been an influential figure in the newly independent Zimbabwe. Her various formal and informal platforms include working as an art critic, private gallery owner, newspaper columnist, published author, artist and curator. Career highlights include being invited to curate the Zimbabwe Pavilion at the first Johannesburg Biennale and participating in numerous exhibitions in Zimbabwe, Mozambique, Germany, the Czech Republic, South Korea, Russia and Mali.

Sibanda has been the Executive Director of the National Gallery of Zimbabwe since 2004. She has navigated the institution through its most difficult times, managing through her positive outlook to maintain a vibrant exhibition program with more than twenty shows each year. She is the author of Zimbabwe Stone Sculpture: A Retrospective 1957 – 2004 and co – author of The National Gallery of Zimbabwe: Celebrating 50 Years, 1957 – 2007. She was the Commissioner of the first and second Zimbabwe Pavilions in Venice at the Venice Biennale in 2011 and 2013. She has contributed an essay to a book on local photographer Calvin Dondo, published by Africalia in 2013.

THE CURATOR(S)

Raphael Chikukwa
Raphael Chikukwa was born in Zimbabwe and worked mainly as an independent curator for many years before joining the National Gallery of Zimbabwe mid 2010 as its Chief Curator. He is the founding Zimbabwe Pavilion curator in 2010 - 2011 and curated the 1st and 2nd Zimbabwe Pavilion in 2011 and 2013 at the 54th and 55th Venice Biennale respectively. Chikukwa recently curated Basket Case II a travelling exhibition, with Christine Eyene. He has taken part in a number of Forums that include, ICI Curatorial Intensive in Addis Ababa 2014, Future Generation Art Prize Committee 2014 and Johannesburg Art Fair 2013 (SA). Chikukwa is also the founding coordinator of the 1st Zimbabwe curatorial workshop and forum and has also contributed to number of journals and catalogues that include, African Identities Journal, Savvy, and Art South Africa etc. He is a 2006 - 2007 Chevening Scholar and holds an MA Curating Contemporary Design from Kingston University London.

Tafadzwa Gwetai
Tafadzwa Gwetai is a Zimbabwean visual artist, painter, sculptor and emerging curator. He holds a Btech; Creative Art & Design (hons) Degree from the University of Chinhoyi, Zimbabwe. Gwetai has been actively involved in the arts since 2001. He has participated in various local as well as international exhibitions including, Between the Sheets Artists Books (Gallery East, Australia), and the exhibition, Colour Africa (Munich).  He has also had four solo exhibitions to date, with the most recent being, "Con artist- The purpose of illusion" (2014) "Aesthetic Codes: When Science meets Art" (2012). He reintroduces and redefines mathematics with science and logic to create a new language.  A language that challenges the very core of industry and its relevance to mankind.  He views our existence as having been transformed into a virtual reality based paper work and documentation.

Tafadzwa Gwetai explores the human condition and how mankind has redefined themselves and their basic existence. Existentialist philosophy such as that of Rene Descartes and Plato who challenged the existence of man and founded the concept of 'I think therefore I am'. This influenced his line of thought to that of challenging the purpose and meaning of mankind's existence.


#africa #ennasl

Making Africa: Un continent de disseny contemporani | Centre de Cultura Contemporània de Barcelona CCCB

© Victor Omar Diop, 2014. Cortesia de Magnin-A Gallery, París

Making Africa
Un continent de disseny contemporani

23 març - 31 juliol 2016

http://makingafrica.net

El CCCB presentarà l'any vinent l'exposició Making Africa. Un continent de disseny contemporani, que es pot visitar actualment al Vitra Design Museum. Concebuda per aportar una nova visió sobre el disseny africà contemporani, l'exposició mostra l'obra de més de 120 artistes i dissenyadors i il·lustra com el disseny acompanya i impulsa els canvis econòmics i polítics del continent. Àfrica es presenta com un centre d'experimentació que genera nous enfocaments i solucions de rellevància mundial, així com una força impulsora per a un nou debat sobre el potencial del disseny en el segle XXI.

Quan l'auge d'Àfrica apareix als mitjans de comunicació, els informes tendeixen a centrar-se en el trepidant creixement econòmic del continent o en la ràpida expansió de la classe mitjana, fenòmens que romandran a la base de canvis fonamentals en les properes dècades. Tanmateix, un altre desenvolupament ha alterat ja la vida quotidiana de tots els africans i té una influència significativa en el treball d'artistes i dissenyadors. En l'actualitat, hi ha ja més de 650 milions de telèfons mòbils registrats a Àfrica, més que a Europa o els EE.UU. Molts d'aquests dispositius tenen accés a Internet i creen així una plataforma per a la comunicació  i l'intercanvi d'informació. Aquest portal al món ha permès el canvi de perspectiva en el que se centra Making Africa. Un continent de Disseny Contemporani. L'exposició mostra una nova generació d'emprenedors, pensadors i dissenyadors africans o de procedència africana que, com a «nadius digitals», es dirigeixen a una audiència global i proporcionen al món una nova perspectiva del seu continent. Sovint treballen en diverses disciplines alhora i trenquen amb les definicions convencionals de disseny, art fotografia, arquitectura i cinema.

Making Africa presenta una gran quantitat d'obra que transita per una àmplia varietat de mitjans, com les ulleres escultura de l'artista kenyàCyrus Kabiru, els mobles del malià Cheick Diallo i les fotografies del moçambiquès Mário Macilau i el nigerià J.D. 'Okhai Ojeikere.

L'exposició mostra l'arquitectura de Francis Kéré, David Adjaye iKunle Adeyemi, les extraordinàries maquetes urbanes de Bodys Isek Kingelez i l'art d'animació de Robin Rhode, un sud-africà amb seu a Berlín. Totes les obres presentades se sustenten en una cerca que aborda qüestions de la cultura material i l'estètica quotidiana - en resum, qüestions de disseny. Els objectes mostren que el disseny a Àfrica s'entén d'una forma molt més inclusiva que en les societats occidentals i són la prova de què aquesta concepció pot produir nous enfocaments innovadors per al disseny.

Making África parteix d'una mirada retrospectiva als inicis de l'era postcolonial. En els '60, fotògrafs com  Seydou Keita i Malick Sidibé o la revista sud-africana «Drum» van mostrar un continent més enllà de les guerres, les crisis i les catàstrofes. L'arquitectura produïda durant aquests primers anys d'independència també personifica el sorgiment d'una nova era de confiança en un mateix que en gran part es va dissipar en les dècades següents. Aquests documents històrics s'emparellen al llarg de l'exposició amb les obres contemporànies, mostrant com les joves generacions les han tingut sovint com a referència conscient i han creat un vincle amb el sentiment positiu d'aquesta època passada.  

Un dels signes distintius de l'exposició és el seu propi procés de desenvolupament. Durant un període de recerca de dos anys, es van dur a terme nombroses trobades i entrevistes amb grups d'experts en les principals ciutats africanes, com Lagos, Dakar, Ciutat del Cap, El Caire i Nairobi. Durant aquestes sessions, es van consultar uns 70 dissenyadors, artistes, investigadors, arquitectes, galeristes i curadors. En el procés, es va recopilar un material de recerca primària sobre disseny africà únic, que recolza i enriqueix l'exposició i el catàleg que l'acompanya.

L'exposició ha estat comissariada per Amelie Klein, Curadora del Vitra Design Museum, amb l'assessorament d'Okwui Enwezor, Director de la Haus der Kunst de Munic i de la 56ª Biennal de Venècia, 2015.

Making Africa és una exposició de Vitra Design Museum i Guggenheim Bilbao.



CCCB
Centre de Cultura Contemporània de Barcelona
Montalegre, 5  
08001 Barcelona, Catalunya


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