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August 14 2013

Heute Ausstellungseröffnung zum Wettbewerb Copy ‘n’ Paste online und in Lüneburg

Das Post-Media Lab an der Leuphana Universität Lüneburg hat zusammen mit iRights.info in diesem Jahr den Wettbewerb “Copy ‘n’ paste – das Urheberrecht als kreative Herausforderung” durchgeführt. Viele Projekte wurden eingereicht und die Jury hat ausgewählt. Heute ist die analoge und digitale Ausstellungseröffnung mit den Gewinnern des Wettbewerbs.

Die Gewinnerinnen sind drei Frauen: Jule von Hertell mit ihrem Projekt “Videomixtape”, Monika Jarecka mit “Cool Clear Water” und Ulrike Wilkens mit ihrem Werk “G-Cloud”. In der Ankündigung zur Veranstaltung wird das Projekt beschrieben und die Gewinnerinnen gewürdigt:

Im Rahmen des Wettbewerbs „CopyNPaste“ haben sie sich allesamt in origineller Weise mit den neuen Bedingungen von Copyright und digitalen (Rechts-)Regimen und den neuen Bedingungen kultureller Produktion auseinandergesetzt. In unterschiedlichen Formaten – von analogen Raumarbeiten, die das digitale in den gelebten Raum übersetzen, über Videocollagen bis hin zu semi-fiktionalen Arbeiten auf mehreren Monitoren – wird der »digital shift« – also die generelle Verschiebung in eine digitale Kultur, wie die EU jüngst konstatierte – auf jeweils persönliche Weise reflektiert und bearbeitet. Das Projekt CopyNPaste, welches das Post-Media Lab erstmals im Frühjahr im Rahmen der Konferenz »Video Vortex« öffentlich vorstellte, nimmt damit die Spannungen auf, die durch die Allgegenwärtigkeit von digitalen Objekten und Werkzeugen im Rahmen alltäglicher Kulturpraktiken entstehen. Zentrales Anliegen ist es, diese neuen globalen Realitäten zurück in den Raum regional verorteter Kulturproduktion zu spiegeln und aus regionaler Perspektive zu befragen.

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Ab 18 Uhr findet heute die feierliche Eröffnung der Ausstellung statt. Dies in zweierlei Hinsicht:

Die preisgekrönten Projekte werden an diesem Tag gleich in zweifacher Form vorgestellt: als »Realausstellung« für eine regionale Öffentlichkeit in der Musikschule Lüneburg; sowie in Form einer virtuellen Ausstellung für die globale Netzöffentlichkeit. Integraler Bestandteil dieses Doppelkonzeptes ist eine Videodokumentation von 2Spot, die die Künstlerinnen in der Produktionsphase begleiteten und in der die Erstellung der Werke sowie zusätzliche thematische Ein- und Ausblicke für eine virtuelle Ausstellungs- und Dokumentationsumgebung festgehalten wurden.

Philipp Otto, Redaktionsleiter von iRights.info, war Mitglied der Jury und wird heute auch im Rahmen der Ausstellungseröffnung ein paar Worte sagen. Weitere Informationen zur Eröffnung der Ausstellung finden sich auf der Website des Post-Media Labs. Hier gibt es auch den Flyer zur Eröffnung (PDF-Format) sowie nochmal einen Rückblick auf den Wettbewerb. Alle Lüneburgerinnen und Lüneburger sind zur analogen, alle anderen zur digitalen Eröffnung recht herzlich eingeladen.

April 30 2013

Hans-Peter Feldmann: Kunstausstellung / Johnen Galerie, Berlin

Johnen Galerie participated in Gallery Weekend Berlin 2013 with a solo show with works by German conceptual artist Hans-Peter Feldmann. The exhibition Kunstausstellung represents the methodology the artist has developed within the last years. The show includes two installations: Dreigruppen (Trianda); mostly forgotten or unknown artists, mainly paintings from the 19th and early 20th century. Feldmann arranges three images of different traditional subject-matters and techniques. Each viewer may perceive and interpret these constellations in his or her own way. Thus images of clearly defined theme and content are integrated in a network of open and complex relationships. Furthermore the exhibition includes works where the author actually remixes portraits, scenes with small interventions: red noses, crossed eyes and black eyes add a strikingly modern and humorous accent to the dusty and solemn images.

In this video, gallery owner Jörg Johnen introduces us to Hans-Peter Feldmann’s and oeuvre and the artist’s current exhibition.

Hans-Peter Feldmann was born in Düsseldorf in 1941. His works have been shown in numerous exhibitions, lately at Deichtorhallen, Hamburg (2013), Serpentine Gallery, London (2012), Solomon Guggenheim Museum, New York (2011), Pinakothek der Moderne, Munich (2010), Kunsthalle Düsseldorf (2010) and Konsthall Malmö (2010). He lives and works in Düsseldorf.

Hans-Peter Feldmann: Kunstausstellung at Johnen Galerie Berlin (Germany). Interview with Jörg Johnen, April 26, 2013. Video by Frantisek Zachoval.

PS: Watch Hans-Peter Feldmann’s solo presentation within the framework of the exhibition The Endless Renaissance at Bass Museum in Miami Beach.

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April 29 2013

Richard Hughes at Anton Kern Gallery, New York

This video provides you with a walkthrough of British artist Richard Hughes’ solo show at Anton Kern Gallery in New York. Hughes was born in 1974 in Birmingham. He studied at Staffordshire University and Goldsmiths College London. Hughes lives and works in London. The current show at Anton Kern Gallery is Richard Hughes’ third solo exhibition at the gallery. It’s dominated by large sculptures that recall insect legs and seem to be made of lamp posts. The show runs until May 18, 2013. A Richard Hughes monograph was launched at the opening. More information is available after the break.

Richard Hughes. Solo exhibition at Anton Kern Gallery, New York. April 12, 2013. Video: Shimon Azulay.

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Exhibition text:

For his third solo show at Anton Kern Gallery, UK-based artist Richard Hughes has turned the gallery into a stage for a magic dance performed by a street gang of enchanted lamp posts, ice-cream-wafer-like garden walls and broken memorial statues found in the most dilapidated and dark corners of (British) suburbia. With his first artist monograph freshly published by JRP Ringier and two recent solo exhibitions at Tramway Art Space in Glasgow and Firstsite in Colchester, England, Hughes’ work is at the center of public attention.

Richard Hughes is known for his exceptional skill to turn ordinary, sometimes slightly repulsive objects that might be found in a hovel of a rooming house or unceremoniously dumped by the side of the road — bleak monuments to abused domestic or public spaces — into narrative sculptures. Their placement in a gallery space instantly invites questions as to its recent history, use, and function, or imminent action. Upon closer inspection, all objects reveal themselves as casts, meticulously crafted replicas of every-day things injected with an element of fantasy. The beauty within this ostensibly abandoned world lies in the moment of surprise when materials reveal themselves as “fakes.” This is the moment when hidden images and cultural memories become visible and intelligible, when the vernacular becomes a universal language. Hughes’ sculptures are not ready-mades. As facsimiles of common objects it’s not the object that is transformed but its reappropriated meaning and ability to reconfigure the object for the viewer. Gradually, these objects-turned-sculptures reveal their inherent capacity to tell stories, to evoke narratives that are charged with everyday-life experience and humor.

Richard Hughes has had solo exhibitions at Tramway, Glasgow (2012); Sculpture Court, Tate Britain (2006); The Showroom, London (2004); and is currently presented at Firstsite, Colchester, UK, in an exhibition entitled Time is over, time has come. His work has been exhibited internationally, including presentations at the François Pinault Collection, Punta della Dogana, Venice (2009); the Schirn Kunsthalle, Frankfurt (2008); and the Museum Abteiberg, Mönchengladbach, Germany (2006). Hughes was selected for the 55th Carnegie International, Carnegie Museum, Pittsburgh (2008); the fourth Liverpool Biennial (2006), and the British Art Show 6 (2005). He was nominated for the Beck’s Futures award in 2006 and was the recipient of the EAST International award in 2003.

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March 09 2013

Lita Albuquerque and Mollie McKinley at Spring/Break Art Show 2013

In this video, the artists Lita Albuquerque and Mollie McKinley talk about their collaboration for Spring/Break Art Show 2013 in New York. Their project is curated by Natalie Kovacs.

Interview with Lita Albuquerque and Mollie McKinley at Spring/Break Art Show 2013. New York, March 5,2013.

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March 06 2013

Spring/Break Art Show New York 2013: New Mysticism

Spring/Break Art Show in an old schoolhouse in Mott Street, New York, is a curator-driven art fair. The fair is in its second year. For 2013, the title is New Mysticism. 22 curators show work by more than 80 artists, who, according to the organizers, explore how digital semiotics, the internet and technology at large, combined with the old relics of 20th century visual culture, inform a new formal intuition. This video provides you with a walkthrough on the occasion of the preview on March 5, 2013.

Spring/Break Art Show: New Mysticism. Preview, March 5, 2013.

PS: Coming soon: Interview with the artists Lita Albuquerque and Mollie McKinley.

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Steve Turner Contemporary: Proyecto Basurto

Proyecto Basurto is an exhibition project conceived by the Los Angeles-based gallery Steve Turner Contemporary. Proyecto Basurto is a pop-up exhibition in Mexico City, featuring works by seven artists: Parker Ito, Edgar Orlaineta, Sarah Rara, Pablo Rasgado, Javier M. Rodriguez, Rafaël Rozendaal and Fabiola Torres-Alzaga. The exhibition is held in the historic Edificio Basurto, a landmark 1944 art deco apartment building in Colonia Condesa.

Steve Turner Contemporary: Proyecto Basurto. Interview with Steve Turner, February 22, 2013.

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March 05 2013

How Do I Look? Group Show at Roots & Culture Contemporary Art, Chicago

The group show How Do I Look? at the art center Roots & Culture in Chicago presents drawing, photography, video, and sculpture by the artists Edie Fake, Erin Leland, Aay Preston-Myint, Michael Sirianni, Latham Zearfoss. The press release explains that “the five artists in this show are together concerned with the physical construction of interiority, the confinement to oneself that nevertheless has a public appearance, and among other things, the richness of erotic encounters and their spatial dynamics. Employing sidelong glances, coded gestures and secret language, both in tactics of display and in attitude, the artworks of How Do I Look? continue both the feminist project of de-neutralizing domestic space and the queer project of de-pathologizing promiscuity. As a collection of encounters, How Do I Look? elicits desire from fluid erotics enacted relative to public disclosure, through the evocative interplay formed in moving from the openness of light to the cloaking of darkness. How Do I Look? is at once a self-obsessed trifle and an ever-prescient interrogation: “How do you see me? How do I see everything else?”. The exhibition runs until March 23, 2013.

Roots & Culture is a nonprofit contemporary art center. The mission of Roots & Culture Contemporary Art Center is to provide exhibition opportunities for leading-edge emerging artists and to develop the city of Chicago’s cultural community as a center for art production and a destination for artistic discourse.

How Do I Look? Group Show at Roots & Culture Contemporary Art, Chicago. Opening reception, January 22, 2013. Video by Francisco Cordero-Oceguera.

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March 01 2013

Michelle Grabner: DRAFT / Autumn Space, Chicago

DRAFT is the first exhibition of artist Michelle Grabner’s work at Autumn Space Gallery in Chicago. In this show, Michelle Grabner presents five large scale works and an edition. Included in the exhibition are a monochromatic woven gesso relief and a collaborative sculpture with Michelle Grabner’s husband Brad Killam.

Michelle Grabner is a Professor and Chair of the Painting and Drawing Department at The School of the Art Institute of Chicago. She is represented by Shane Campbell Gallery, Chicago and runs The Suburban and The Poor Farm with her husband Brad Killam. She will co-curate the 2014 Whitney Biennial at the Whitney Museum of American Art. Her work is included in the permanent collections at the Walker Art Center, Minneapolis; Museum of Contemporary Art, Chicago; MUDAM – Musée d’Art Moderne Luxemburg; Milwaukee Art Museum, Milwaukee, Wisconsin; Daimler Contemporary, Berlin; Smithsonian American Art Museum, Washington DC, and the Victoria and Albert Museum, London.

Michelle Grabner: DRAFT / Autumn Space, Chicago. Opening, February 23, 2013. Video by Francisco Cordero-Oceguera.

PS: Watch also: Brad Killam and Zach Cahill: Five Drills / Performance at NADA Cologne 2012.

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> On YouTube:

michelle-grabner-022313

February 25 2013

Gutai: Splendid Playground. Retrospective at Guggenheim Museum, New York

Splendid Playground is the title of a retrospective at the Guggenheim Museum in New York that highlights the work of Japan’s avant-garde collective Gutai. Gutai (具体) was founded by Yoshihara Jirō in 1954. From 1954 until 1972, the Gutai group totaled 59 Japanese artists, who explored new art forms combining performance, painting, and interactive environments. The name “Gutai” literally means “concreteness” and stands for the direct engagement with materials its members were experimenting with. One of the major works on display is Motonaga Sadamasa’s Work (Water) (1956/2011), a large scale sculptural installation made of polyethylene tubes filled with brightly-colored water that the artist recreated for the rotunda of the Guggenheim museum. This video provides you with a walk through the exhibition. More information on the exhibition is available after the break. The exhibition Gutai: Splendid Playground at the Guggenheim Museum in New York runs until May 8, 2013.

Gutai: Splendid Playground. Retrospective at Guggenheim Museum, New York. Opening, February 14, 2013. Video by Shimon Azulay.

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Excerpt from the press release (English):

(NEW YORK, NY – February 11, 2013) — From February 15 to May 8, 2013, the Solomon R. Guggenheim Museum will present Gutai: Splendid Playground, a retrospective of the Gutai Art Association (1954–72), the radically inventive and influential Japanese art collective whose innovative and playful approaches to installation and performance yielded one of the most important international avant-garde movements to emerge after World War II. Based on fifteen years of research, Gutai: Splendid Playground provides a critical examination of both iconic and lesser-known examples of the collective’s dynamic output over its two-decade history and explores the full spectrum of Gutai’s creative production: painting, performance, installation art, sound art, experimental film, kinetic art, light art, and environment art. Gutai: Splendid Playground is the first North American museum exhibition devoted to the Gutai group and offers a comprehensive interpretation of the convention-defying movement.

Comprising approximately 145 works by 25 artists and spanning two generations of Gutai artists, Gutai: Spendid Playground is organized into six chronological and thematic sections presented along the Guggenheim ramps:

Play: An Uninhibited Act
Concept: Can a Piece of Cloth Be a Work of Art?
Network: To Introduce Our Works to the World
The Concrete: The Scream of Matter Itself
Performance Painting: Pictures with Time and Space
Environment: Gutai Art for the Space Age

The exhibition also includes documentary films of the group’s historic outdoor exhibitions and stage events and offers a focus on their eponymous journal as a platform for international artistic exchange. A centerpiece of Gutai: Splendid Playground is a site-specific commission of Work (Water) (1956/2011) by the late Motonaga Sadamasa. Prior to his death in 2011, Motonaga reimagined his iconic early Gutai outdoor installation, made of plastic tubes filled with colored water, for the Guggenheim rotunda.

Gutai: Splendid Playground is co-curated by Ming Tiampo, Associate Professor of Art History, Carleton University, Ottawa, and Alexandra Munroe, Samsung Senior Curator of Asian Art, Solomon R. Guggenheim Museum. Assistance was provided by Asian Art Curatorial Fellow Lyn Hsieh.

Gutai: Splendid Playground is supported in part by the Henry Luce Foundation.

Additional funding is provided by the National Endowment for the Arts, The Japan Foundation, the E. Rhodes and Leona B. Carpenter Foundation, Mitsubishi Corporation (Americas), the W.L.S. Spencer Foundation, Tokio Marine Holdings, the United States–Japan Foundation, and the Dedalus Foundation, Inc.

The Leadership Committee for Gutai: Splendid Playground is gratefully acknowledged for its support: Hauser & Wirth, Yoko Ono Lennon, Axel Vervoordt Gallery, Rachel and Jean-Pierre Lehmann, Cindy and Howard Rachofsky, Tina Kim and Jae Woong Chung, Marianne Boesky Gallery, Richard Roth, and those who wish to remain anonymous.

Exhibition Overview
The Gutai Art Association was founded in 1954 by the influential artist, teacher, and critic Yoshihara Jiro in the town of Ashiya, near Osaka. The group spanned two generations, totaling fifty-nine artists over its eighteen-year history. The name “Gutai” literally means “concreteness” and captures the direct engagement with materials its members were experimenting with around the time it began.

Against the backdrop of Japan’s World War II militarism and defeat, the American Occupation, and Japan’s postwar reconstruction as a democratic state, Yoshihara directed Gutai as an experimental environment for his protégés to explore the potential of their creative free will. Yoshihara’s call “Do what no one has done before!” pushed Gutai to break through borders between painting and performance, object and process, and between art, the ordinary public, and everyday life. He championed art making as an act of freedom, a gesture of individual spirit, a rite of destruction to create something new. Unbridled invention led the Gutai artists to experiment with new methods and materials: they painted with watering cans, remote-control toys, homemade cannons, and bare feet; made ephemeral site-specific works using the sky, water, sand, lightbulbs, and torn paper screens; and staged exhibitions in public parks, on the beach, and in bombed-out ruins. Gutai artists gained critical attention for their use of the body and for their experimentation with technology and nature.

The Gutai group grew out of both a rich local cultural context and critical engagement with international contemporaries. The local context, arising from the cosmopolitanism of the Kansai region, included prewar modernism, theater design, traditional Japanese festivals, children’s art education, and avant-garde calligraphy. The international context included Abstract Expressionism, Art Informel, Gruppe Zero, Happenings, and environment art—all movements with which Gutai intersected both at home and abroad. Gutai: Splendid Playground seeks both to examine Gutai’s aesthetic strategies in the cultural, social, and political context of postwar Japan and to further establish the group in an expanded, transnational history and critical discourse on modern art.

Gutai artists perceived early on that the canvas had become a contested arena internationally, and inspired by Yoshihara’s ethic of originality and individualism, they literally leapt through the picture plane in their search for new forms of art. During their first phase (1954–61), Gutai constructed self-expression as an assertion of the individual against the mass-conformist legacies of wartime totalitarianism. Not only did they lead by example, performing powerful acts of self-expression, but they sought to develop the autonomy of others—of their audience, the general public, and especially of children—by provoking them to think, create, and imagine for themselves. The exhibition features Tanaka Atsuko’s interactive sound-art installation Work (Bell) (1955 [refabricated 1993]), where visitors activate a cacophony of bells ringing sequentially across the Guggenheim’s Ramp 2; and “performance paintings” by Murakami Saburo, Shimamoto Shozo, and Shiraga Kazuo. For Shiraga, painting with his feet enabled an unmediated encounter with the material and a direct bodily form of artistic expression, seen in such paintings as Untitled (1957) and Wild Boar Hunting II (1963) and in his performance Challenging Mud (1955), where the artist “painted” with his entire body in a pile of grit, directly engaging with raw matter.

During the group’s second phase (1962–72), Gutai assessed and experimented with new technologies, seeking ways to counter the perceived dehumanization caused by Japan’s rapid growth and evaluating its cultural impact. The exhibition highlights artists from this later period of Gutai production, who have long been neglected in scholarship, such as Imai Norio, Imanaka Kumiko, Kikunami Joji, Matsuda Yutaka, Matsutani Takesada, Mukai Shuji, Nasaka Senkichiro, Nasaka Yuko, and Yoshida Minoru. Exploring the relationship between art, its environment, and the viewer, Gutai’s intermedia works incorporate optical illusion, light projection, and movement. Artists frequently motorized their sculptures, turning exhibition spaces into dens of screeching, pulsing, machinelike organisms. Yoshida‘s erotic machine-sculpture Bisexual Flower (1970) mines the psychedelic effects of this approach.

During the group’s lifetime, Gutai artists showed on four continents and distributed their magazine, the Gutai journal, to contacts around the world. In 1962, Yoshihara established the Gutai Pinacotheca, which became the center of the group’s activities, functioning as an exhibition space and a site for international engagement. In 1958, the Gutai group was featured in their first exhibition in the United States, at the legendary Martha Jackson Gallery in New York. It was not until 1965, however, when Gutai was included in a show at the Stedelijk Museum in Amsterdam on the Nul and Zero movements that Gutai’s role as a pioneer of intermedia experimental art was fully recognized. Long misunderstood abroad as a painting movement by virtue of the group’s 1957–65 collaborations with French Informel critic Michel Tapié, the full spectrum and historic contexts of Gutai’s highly innovative cross-genre approaches to art making within an international context have remained understudied.

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February 21 2013

Ferdinand Hodler at Fondation Beyeler

Ferdinand Hodler is considered as the best-known Swiss painter of the 19th century. Hodler is known for his portraits and nature and landscape images, especially those of the Swiss mountains and lakes. Hodler’s paintings had a major influence on Switzerland’s picture and perception of itself. At the same time, he was one of the most important representatives of the transition from the 19th century to modernism. The Fondation Beyeler in Riehen (Basel, Switzerland) currently presents a comprehensive exhibition of the late work of Ferdinand Hodler. The show has been organized in conjunction with the Neue Galerie in New York and is curated by Ulf Küster (Fondation Beyeler) and Jill Lloyd (Neue Galerie). In this video, Ulf Küstler provides us with a guided tour of the exhibition. He presents highlights of the show and talks about the life and work of the artist. (This video is an excerpt. The full-length versions in English and German language are coming soon on this page. They are already available on Fondation Beyeler’s YouTube channel.).

The exhibition at Fondation Beyeler, which focuses on the late work of the Swiss painter Ferndinand Hodler, comprises some 80 works and includes loans from renowned Swiss and American private collections and major national and international museums. The show is complemented by a extensive supporting program such as lectures, readings, and a dance performance.

Ferdinand Hodler at Fondation Beyeler. Tour with curator Ulf Küster, February 6, 2013.

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February 20 2013

Jake & Dinos Chapman: Chicken / PinchukArtCentre, Kyiv (Ukraine)

The exhibition Chicken by Jake & Dinos Chapman at the PinchukArtCentre in Kiyv (Ukraine) presents the specially produced new installation The Sum of all Evil, that represents a synthesized reflection upon the central themes such as the Holocaust, violence, and death. The Chapman brother’s fascination with sharp subversive humor and unbridled aggression is apparent throughout their work. The Sum of all Evil is an enormous miniature scenery, which is composed of four encased dioramas. It is a continuation to Chapman’s’ earlier epic nine-part installations, Hell (1999-2000) and Fucking Hell (2008). Jake & Dinos Chapman: Chicken brings together many of the artist’s most celebrated works: early iconic sculptures such as The Chapman Family Collection (2002), Sex I (2003) and From the Blackened Beyond (2011). In this video we attend the opening reception of the exhibition, and Eckhard Schneider, (General Director of the PinchukArtCentre) provides us with an introduction to the exhibition. Finally, Jake & Dinos Chapman talk in detail about the work The Sum of All Evil. The show runs until April 21, 2013.

Jake & Dinos Chapman: Chicken at PinchukArtCenter, Kyiv (Ukraine). Interview with Eckhard Schneider, Jake & Dinos Chapman, February 15, 2013. Video by Frantisek Zachoval.

PS: Watch also: Tony Oursler: agentic iced etcetera. Solo Show at PinchukArtCentre in Kyiv, Ukraine.

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Eckhard Schneider, General Director of the PinchukArtCentre:


“Jake and Dinos Chapman’s work continually verges on the breaking of taboos. It can be extremely offensive in its use of black humor and subversive jokes, addressing issues of violence, war, the Holocaust, genetic manipulation and death in all their inhumanity. It seems they are always ultimately concerned with generating a moral panic. The selection of work in this case fulfills such claims in a very specific manner, in that they will be premiering a new work, Sum of All Evil, which references the Babi Yar massacres in Kiev.”



PinchukArtCentre is an international center for contemporary art of the 21st century in Kyiv, the capital and largest city of Ukraine. It was opened in 2006 by the Victor Pinchuk Foundation. Jake Chapman was born in 1966 in Cheltenham and Dinos Chapman in 1962 in London. They live and work in London. They have exhibited extensively, including solo shows at the The State Hermitage Museum, St Petersburg (2012); Museo Pino Pascali, Polignano a Mare (2010); Hastings Museum (2009); kestnergesellschaft, Hanover (2008); Tate Britain, London (2007); Tate Liverpool (2006); Kunsthaus Bregenz (2005); Museum Kunst Palast Dusseldorf (2003); Modern Art Oxford (2003) and the P.S.1 Contemporary Art Center, New York (2000); upcoming in November 2013 will be a solo show at the Rudolfinum, Prague. Group exhibitions include the 4th Moscow Biennale of Contemporary Art (2011); the 17th Sydney Biennale (2010); Meadows Museum, Dallas (2010); Rude Britannia, Tate Britain (2010); Bundeskunsthalle, Bonn (2010); Hareng Saur: Ensor and Contemporary Art, S.M.A.K, Ghent (2010); the National Centre of Contemporary Art, Moscow (2009); Kunstverein Hamburg (2009); British Museum, London (2009); Palais des Beaux Arts de Lille (2008); Haus der Kunst, Munich (2008); ICA, London (2008); Annenberg Courtyard, Royal Academy of Arts, London (2007); Museum of Contemporary Art Kiasma, Helsinki (2006) and the Turner Prize exhibition, Tate Britain (2003).

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PinchukArtCentre представляє першу персональну виставку в Україні Джейка та Діноса Чепменів під назвою «Курча». Проект побудований довкола нової масштабної інсталяції художників «Усе зло світу» (2013), що формує цілісний погляд на головні теми творчості братів – Голокост, жорстокості та смерть. Також, виставка включає в сеье відомі арт-об’єкти Чепменів, гостре почуття гумору та неприборкана агресія яких провокують конфлікт та піддають сумніву табу, що існують у сучасному світі.

February 18 2013

Lichtenstein. A Retrospective. Tate Modern, London

With the exhibition Lichtenstein. A Retrospective, the Tate Modern in London currently presents a full-scale retrospective of one of the great American artists of the 20th century. The show brings together 125 of Roy Lichtenstein’s most definitive paintings and sculptures. Lichtenstein is known for his works based on comic strips and advertising imagery. His paintings are colored with his signature hand-painted Benday dots. Lichtenstein. A Retrospective showcases key paintings such as Whaam! (1996), Drowning Girl (1963), and Look Mickey (1961). This video takes you on a walk through the exhibition on the occasion of the press preview.

Lichtenstein. A Retrospective. Tate Modern, London (UK). Press preview, February 18, 2013.

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February 17 2013

Tony Oursler: agentic iced etcetera. Solo Show at PinchukArtCentre in Kyiv, Ukraine

Tony Oursler’s exhibition agentic iced etcetera at the PinchukArtCentre in Kyiv, Ukraine is the first major solo exhibition by the artist in Eastern Europe. Tony Oursler: agentic iced etcetera presents specially produced new works, including a Ukrainian speaking installation, as well as some of the most iconic pieces of the artist. The New York–based artist has been a pioneer of New Media and video art. Tony Oursler is especially known for projecting moving images onto objects. In this video, Eckhard Schneider (General Director, PinchukArtCenter) talks about the mission of PinchukArtCentre, Bjorn Geldhof (Deputy Artistic Director, PinchukArtCenter) speaks about the significance of Tony Oursler’s work. Finally Tony Oursler talks in detail about the specially produced new works. The show runs until April 21, 2013.

As Eckhard Schneider, General Director of the PinchukArtCentre states:

“Tony Oursler (born 1957) is one of the pioneers of the genre. For Oursler video is a medium comparable to water in its extreme fluidity, one that had remained imprisoned within television for fifty years. He has not only succeeded in liberating video from the screen, but also in developing it into video sculpture. His works are introspections on the human psyche under the influence of mass media. The majority of the work that will be on show has been created especially for the PinchukArtCentre – a dramatic labyrinth of sensations.”

PinchukArtCentre is an international centre for contemporary art of the 21st century in Kyiv, the capital and largest city of Ukraine. It was opened in 2006 by the Victor Pinchuk Foundation.

Tony Oursler: agentic iced etcetera at PinchukArtCenter, Kiev (Ukraine). Interview with Eckhard Schneider, Tony Oursler and Bjorn Geldhof, February 15, 2013. Video by Frantisek Zachoval.

PS: Watch also our 2009 coverage of Tony Oursler: Cell Phones Diagrams Cigarettes Searches and Scratch Cards at Metro Pictures, New York

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Oursler is today among the most important as well as the most influential artists of the present day. Formally, Oursler has developed a wide-ranging use of materials such as resin, glass, fabric, steel and various found objects, which are kaleidoscopically overlaid with projection, light and sound, forming a unique embodiment of his themes.

Projecting moving images onto objects, Oursler moves beyond traditional uses of media such as cinema, television and the computer and creates something akin to “living” sculptures. The scenarios he devises are often full of poetic and humorous performances, incorporating all manner of physical and auditory representations of the human form.

Tony Oursler graduated from the California Institute of the Arts in 1979 and is currently based in New York. Oursler’s works have been widely exhibited internationally, including solo shows at the ARoS Aarhus Kunstmuseum (2012); Padiglione d’Arte Contemporanea, Milan (2011); Whitney Museum of American Art, New York (2010); Kunsthaus Bregenz (2009); Kunstforeningen GL Strand, Copenhagen (2006); Musee d’Orsay, Paris (2004) and many more. Group exhibitions include the Museum of Art and Design, New York (2012); Cincinnati Art Museum (2011); Carnegie Museum of Art, Pittsburgh (2010); Whitney Museum of American Art, New York (2010) and the Museum of Modern Art, New York (2008). 1 Elizabeth Janus, “Talking Back – A Conversation with Tony Oursler”, in Tony Oursler: Introjection (Williamstown: Williams College Museum of Art, 2010).


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From the press release:

The PinchukArtCentre (Kyiv, Ukraine) presents the first major solo exhibition by Tony Oursler in Eastern Europe entitled “agentic iced etcetera”. The exhibition combines specially produced new works, including a Ukrainian speaking installation, with some of the most iconic pieces of the artist. Themes within the exhibition include chance in everyday life, endorphin fuelled relationships, and the tendency for magical thinking to name a few. The human face and the way it simultaneously communicates and masks emotions is also a key theme in Oursler’s work.
Eckhard Schneider, General Director of the PinchukArtCentre: “Tony Oursler (born 1957) is one of the pioneers of the genre. For Oursler video is a medium comparable to water in its extreme fluidity, one that had remained imprisoned within television for fifty years. He has not only succeeded in liberating video from the screen, but also in developing it into video sculpture. His works are introspections on the human psyche under the influence of mass media. The majority of the work that will be on show has been created especially for the PinchukArtCentre – a dramatic labyrinth of sensations.”
From his earliest videos and installations, the mutability of human nature has been the central theme of Tony Oursler’s work, fuelled by his fascination with the inner workings of the psyche and belief systems . The resulting sculptures, videos and installations challenge the viewer’s preconceptions of rationality, schizophrenia and culturally constructed notions of good and evil.
Formally, Oursler has developed a wide-ranging use of materials such as resin, glass, fabric, steel and various found objects, which are kaleidoscopically overlaid with projection, light and sound, forming a unique embodiment of his themes. Oursler’s work invites viewers to question their relationship with mass (multi-) media and reaches from an examination of television (and its surrounding structures) to a questioning of the psychological effects of digital communication tools like mobile phones and the Internet.
Projecting moving images onto objects, Oursler moves beyond traditional uses of media such as cinema, television and the computer and creates something akin to “living” sculptures. The scenarios he devises are often full of poetic and humorous performances, incorporating all manner of physical and auditory representations of the human form. The works incorporate a spectrum of voices reflecting numerous performative and literary approaches – florid poetics, interior monologues, tortured fragments or scientific jargon. Viewers are invited to complete the script as they move through the exhibition and confront open-ended, often existential constructs.
Oursler also explores the interaction between sculpture and spectator. He is aiming for a conversational structure in which the object not only speaks but also provokes the viewer’s imagination.
The human face reoccurs as subject in “Caricatures” (since 2002), works in which biomorphic sculptural objects become caricature-like forms literally brought to life by videos of eyes and mouths that take over the unnatural proportions of the sculptural object. These works explore the viewer’s empathic relationship and echo the history of caricature, ranging from early sculptural forms such as the Venus of Willendorf to the ubiquitous smiley face.
The artist’s so-called “micro works” are almost like living embodiments of thought structures. Oursler’s interest in memory, construction and new scientific discoveries and ontological systems form the basis of these wildly imaginative microcosms. Landscape, architecture, found objects and amorphic materials are overlaid with tiny projections which complete the surreal, microscopic world. Elaborately edited looping structures cover these small forms and upturn the relationship with the spectator. Each micro-world is displayed at eye level and mirrors the scale of the human cranium.
On the other hand, the overwhelming scale of “Lock” (2011) semi-forces the viewer into a total, physical experience of image and sound. Viewers are dwarfed by the three enormous characters who make up the work and as they pass through the maze of this projected world, they experience three layers of interlocking characters: the first representing free will and agency; the second representing the status quo and human error; the third representing mathematical symmetry and death. This monumental installation involves key performances by artist/filmmaker Tony Conrad, vocalizations by singer/performer Chanique Rogers, a sound collaboration with Dan Lloyd (Brownell Professor of Philosophy at Trinity College, Hartford) and musical compositions generated from functional MRI (Magnetic Resonating Image) readouts of psychological test subjects. The installation has the appearance of a secretive yet familiar system, loosely divided between the mind, body and environment, in which synchronized images shift to form a colourful game.
Finally, the exhibition features a screening room of music-themed video. The screening includes numerous collaborations, including those with Sonic Youth, Beck, Kim Gordon, Stephen Vitiello and Glenn Branca as well as featuring Oursler’s recently released music/video collaboration with David Bowie.

The exhibition will be open from February 16 till April 21, 2013 in the PinchukArtCentre. Admission is Free.

February 15 2013

Yoko Ono. Half-A-Wind Show. Retrospective at Schirn Kunsthalle

Yoko Ono: For most people she is just the widow of John Lennon, or even the woman who broke up the Beatles. What most people don’t know is her work as an avant-garde artist. With the large retrospective Yoko Ono. Half-A-Wind Show. Eine Retrospektive, the Schirn Kunsthalle in Frankfurt am Main in Germany wants to highlight her pioneering role as an artist, as a groundbreaking protagonist of the early conceptual, film and performance art. This video provides you with an exhibition walkthrough, an introduction by curator Ingrid Pfeiffer, and an excerpt of Yoko Ono’s statements at the press preview. In this excerpt, Yoko Ono emphasizes the importance of the artist, and talks about politicians, the search for truth, and what she believes the individual can do to make this world a better place.

The retrospective Yoko Ono: Half-A-Wind Show at Schirn Kunsthalle in Frankfurt presents around 100 objects, films, installations, photos, drawings, and text based work. The exhibition focuses especially on Yoko Ono’s works from the 1960s and 1970s. On display are installations and objects such as Half-A-Room (1967), Air Dispensers (1971), Water Event (1971), Danger Box (1971), and Amaze (1971); films such as Film No. 4 (Bottoms) (1966), Fly (1970), and Film No. 5 (Smile) (1968); and Yoko Ono’s music, presented in a special music room. Among the newer works on display are Franklin Summer Drawings (1995-), Vertical Memory (1997), En Trance (Revolving Door Version) (1998), Touch Me (2008/2009) – and a work that Yoko Ono has developed specifically for the exhibition in Frankfurt, the installation and performance Moving Mountains. The exhibition runs until May 12, 2013.

Yoko Ono. Half-A-Wind Show. Retrospective at Schirn Kunsthalle. Press Preview, February 14, 2013.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.
> On YouTube:

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David Choong Lee: Organic Updates / 111 Minna Gallery, San Francisco

This video provides you with a walkthrough of artist David Choong Lee’s current solo exhibition titled Organic Updates at 111 Minna Gallery in San Francisco. David Choong Lee presents large altar-like wall sculptures. The multidimensional murals combine abstract and figurative elements. He’s been influenced by such diverse sources as Van Gogh, Rembrandt, Sukdo, and underground music DJ scenes. His own artistic style that is a combination of graffiti, collage, portrait, and classical realistic skill with bold graphic elements. The exhibition Organic Updates at 111 Minna Gallery runs until February 23, 2013.

David Choong Lee was born in 1966 in Seoul, Korea. He moved to the USA in 1993. In 1997 he graduated from the Academy of Art University in San Francisco. He has been teaching figurative art at the Academy of Art University in San Francisco from 1998. David Choong Lee lives and works in San Francisco.

111 Minna Gallery is located in the SOMA district of downtown San Francisco in walking distance from SFMOMA. The gallery’s space is an urban industrial warehouse. Established in 1993, 111 Minna Gallery features exhibitions of contemporary art, life performance, film screenings, and DJ’s.

David Choong Lee: Organic Updates. Solo exhibition at 111 Minna Gallery, San Francisco.
Opening Reception, February 1, 2013. Video: Ross Stanley.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.
> On YouTube:

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February 13 2013

President’s Young Talents and The Collectors Show: Weight of History at Singapore Art Museum

Singapore Art Week in January was packed with art events: the international art fair Art Stage Singapore 2013, a myriad of exhibition openings in art institutions, private galleries, and art centers such as Gillman Barracks. The Singapore Art Museum contributed even two highlights to the arts calendar: the President’s Young Talents show, featuring Singapore’s most promising artists under the age of 35, and the much anticipated Collectors Show: Weight of History.

Now in its third year, The Collectors Show presents contemporary art from private collections in Asia. The 2013 edition is titled Weight of History. Curated by SAM curator Michelle Ho, the exhibition features more than 20 works that show how artists perceive, and re-conceive the multiple facets of history in the Asia-Pacific region. The exhibition runs until May 5, 2013.

The President’s Young Talents show was inaugurated by Singapore Art Museum in 2001. Its aim is to feature Singapore’s most promising artists under the age of 35. The artists are selected by an independent curatorial committee of local art professionals and are mentored through the entire process of art creation. This year the selected artists are Boo Junfeng, Liao Jiekai, Zaki Razak, Grace Tan, Ryf Zaini and Robert Zhao Renhui. The exhibition runs until September 15, 2013.

In this video, we provide you with an exhibition walkthrough on the occasion of the opening reception of both The Collectors Show: Weight of History, and President’s Young Talents on January 24, 2013.

Coverage of last year’s shows is available in our archive: The Collectors Show: Chimera at Singapore Art Museum and The Singapore Show: Future Proof at Singapore Art Museum at 8Q

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> On YouTube:

Featured artists in The Collectors Show: Weight of History are Tony Albert, Jumaldi Alfi, Montien Boonma, Kawayan de Guia, Sakshi Gupta, Shilpa Gupta, Gonkar Gyatso, Aisha Khalid, Li Songsong, Morimura Yasumasa, Francis Ng, Chatchai Puipia, Sudarshan Shetty, Shahzia Sikander, Tang Da Wu, Yuken Teruya, Tu Wei-Cheng, Vertical Submarine, Xu Bing, Yee Sookyung, Zulkifli Yusoff, and Zhang Huan. The works come from the collections Hady Ang, Apeejay Surrendra Group, Mimi Brown, Disaphol Chansiri, Aliya & Farouk Khan, Leeum Samsung Museum of Art Seoul, Lekha and Anupam Poddar, Michelangelo and Lourdes Samson, Tatsumi Sato, Peggy Scott and David Teplitzky, Mike Tay, Tay Yu Jin, The Rose Trust, and other private collections.

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February 10 2013

James Franco: Gay Town at Peres Projects Berlin

Gay Town is American actor, filmmaker, writer and artist James Franco’s second solo show in Berlin with the gallery Peres Projects. The exhibition that is presented in a temporary project space on the historic Karl-Marx-Allee 87 explores a variety of themes that are central to James Franco’s artistic practice: adolescence, public and private persona, stereotypes, and celebrity. The artist created most of the works for the show over the past two years. He created many of the works in temporary locations such as hotel rooms whilst completing other projects, mainly motion pictures. In this video we attend the opening reception of the exhibition, and gallerist Javier Peres talks about how he and James Franco developed the idea for the exhibition and the basic concept of the show.

Peres Projects regards Gay Town as one of James Franco’s most ambitious installations to date. For Gay Town, James Franco uses a mix of different media including painting, drawing, film, video, sculpture, and photography. The result is an exhibition that is very much autobiographical. As Javier Peres explains:

“All these works are ultimately very autobiographical. With this show one of the things that James was really exploring was the different things that are happening in his life as he is going through them and he’s depicting them in either in film, in the videos, or in the paintings, or even in the blankets. The blankets are all based on drawings that he makes, or collages or fan art or whatever. So it’s all stuff that is happening contemporaneously that he’s experiencing. The whole idea of the show, was to show this aspect of his life. It’s very much like a self portrait.”

James Franco was born in Palo Alto, California, in 1978. He is a successful actor, filmmaker, author and artist. Selected exhibitions include The Dangerous Book Four Boys, Peres Projects, Berlin, and Freeks and Geeks, Air de Paris, Paris. He portrayed Harry Osborn in Sam Raimi’s Spider-Man trilogy and starred as Aron Ralston in 127 Hours. In 2011, he directed The Broken Tower. He earned several Golden Globes and was Nominee for Best Actor in a Leading Role for 127 Hours.

James Franco’s exhibition Gay Town runs until March 9th, 2013. On March 1st 2013 Peres Projects will open its new gallery space on Karl-Marx-Allee 82 with a solo exhibition by David Ostrowski entitled ‘I’m OK.’ Moments later, he was shot.

James Franco: Gay Town at Peres Projects Berlin, temporary projects space Karl-Marx-Allee 87. Opening, February 9th, 2013. Video by Frantisek Zachoval.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.
> On YouTube:

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February 07 2013

Mark Shepard: Serendipitor Art Walk Basel

As part of his Sentient City Survival Kit (2010), the American artist and scientist Mark Shepard developed an iPhone navigation app called Serendipitor. The Serendipitor app calculates the ideal route to get you from A to B, but unlike the usual navigation apps, it doesn’t offer you the most direct and fastest way to the destination, but offers detours and delays by way of Fluxus-inspired instructions. The aim is to open the user’s eyes to new and unknown features of the city. On August 31 and September 1, 2012, Mark Shepard offered a guided Serendipitous Walk through Basel. VernissageTV took part in the tour on September 1, and documented the Serendipitor Walk Basel. Previous to the Basel Walk, Mark Shepard presented the app and offered guided tours within the framework of the Venice Architecture Biennale 2012 where he was presenting his work at the US pavilion. The Serendipitor app can be downloaded for free at the Apple app store.

Mark Shepard: Serendipitor Walk Basel, September 1, 2012.

PS: If you are interested in Art Walks, here’s another, quite different one: Hamish Fulton: Limmat Art Walk, Zürich 2012.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.
> On YouTube:

February 06 2013

Mona Ardeleanu: Softskin / Wagner + Partner, Berlin

With Mona Ardeleanu’s Berlin debut, Wagner + Partner open their new gallery premises at Strausberger Platz. Under the title of Softskin, the 28-year old Stuttgart painter exhibits her most recent works. Following her studies under Daniel Richer, Franz Ackermann and Karin Kneffel, Ardeleanu has forged her own unique path in the field of painting. In this video, Cai Wagner (director, Wagner + Partner) provides us with an introduction to the exhibition. Mona Ardeleanu talks in detail about the process of painting. The show runs until March 09, 2013.

Mona Ardeleanu was born in Lörrach (Germany) in 1985. The artist lives and works in Stuttgart. Since graduating from Stuttgart State Academy of Art and Design in 2010, Ardeleanu’s painting have been shown internationally in both group and solo exhibitions. She has attended grants and awards: Graduiertenstipendium des Landes Baden-Württemberg, (2013); Stipendium der Kunststiftung Baden-Württemberg (2012); Arbeitsstipendium Stiftung Kunstfonds Bonn (2011) and Stipendium Junge Kunst 2010 der Alten Hansestadt Lemgo und der Staff-Stiftung (2010). 

Her solo exhibitions include: Puppenruhe, Städtische Galerie im Eichenmüllerhaus Lemgo (2011); Es ist in der Haut, wär’s im Kleide, so wär’s vergänglich, Galerie Rainer Wehr, Stuttgart, (2011); Epidermis (Sieben Häute hat ‘ne Zwiebel), John Doe Projects, Karlsruhe, (2010); Patina, Städtische Galerie im Stapflehus, Weil am Rhein, (2010).

Mona Ardeleanu: Softskin at Wagner + Partner, Berlin (Germany). Interview with Cai Wagner and Mona Ardeleanu, January 25, 2013. Video by Frantisek Zachoval.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.
> On YouTube:

Ardeleanu’s compositions investigate interiors, although other than this fundamental enquiry, everything remains open. The associative references of the collage-like arranged objects are primarily situated within the interior themselves and seldom within the picture’s environment. Nonetheless, Ardeleanu’s paintings are also not entirely abstract. Through her conscious placement of patterns, fabric textures and visual allusions to pieces of clothing, one gains the impression of seeing something familiar. However, the non-referential background or rather the interior of these paintings creates a necessity for revision in the viewer. What remains is uncertainty.

The carefully considered tension between abstraction and realism is also mirrored through forms (shapes, bodies) and material (fabrics, textures). Beyond these formal criteria, it is with questions related to dissociation and transition that the artist concerns herself with. Originating with the epidermis’s function, her paintings question the constraints of what one labels inside or out. What is skin? What is a cover? The series “Schnürungen” (Lacings) 2011 refuses to answer these questions through the use of imaginative, fabric-clad bodies and aims to redefine the body through these means. In this way Mona Ardeleanu’s paintings also encourage a compelling discourse beyond the stereotypes of male and female. In doing so they reveal the aesthetic tensions within the confines of our own patrimonial bodies.

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February 05 2013

Interview with Yann Follain of WY-TO Architects

For the 2013 edition of the international art fair Art Stage in Singapore, the architectural practice WY-TO Architects created the entrance and the VIP lounge of the fair. WY-TO has offices in Singapore and Paris. The key element of WY-TO’s designs The Skeleton for the entrance and The Whirl for the VIP lounge is the oversized loom theme. In this video, the architect, designer and WY-TO founding partner Yann Follain talks about the basic idea and concept of WY-TO’s work for Art Stage Singapore. He also speaks about his background and design philosophy, his ambitions as designer and architect, and the challenges of working between East and West. Finally he provides us with an overview of WY-TO’s projects and an outlook on future projects. The video above is an excerpt, the complete interview is available after the break.

“Combining functionality and dream to create spaces for everyday life as well as exceptional occasions” is WY-TO’s credo. As Art Stage Singapore’s Associate Architectural Partner, WY-TO was responsible for the design of the entrance and the VIP lounge of the fair. WY-TO is based in Paris and Singapore. It was co-founded by Pauline Gaudry and Yann Follain. Both graduated from the Architecture School of Paris-Belleville in 2005. Gaudry and Follain both have a rich multicultural experience. They worked in Hong Kong, Goa, France, and Singapore. Recent projects include the exhibition design for Singapore’s ArtScience Museum’s Andy Warhol Show, and the designs for the new Natural History Museum of Singapore and the New Museum of Contemporary Art in Buenos Aires.

Interview with designer, architect, and co-founder of WY-TO Architects, Yann Follain at Art Stage Singapore 2013. January 25, 2013.

PS: Click here for our coverage of Art Stage Singapore.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.
> On YouTube:

Complete interview (23:10 Min.):

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