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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.

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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.

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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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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.

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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.

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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.

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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.

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Complete interview (23:10 Min.):

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February 04 2013

Mandla Reuter at Kunsthalle Basel

This video provides you with a walkthrough of Mandla Reuter’s solo exhibition at Kunsthalle Basel in Basel, Switzerland. It’s the first solo exhibition of the German artist in Switzerland. Mandla Reuter confronts the visitor with an exhibition that features sculptures, objects, photographies and film, and is separated into a sequence of rooms with distinct characters. Mandla Reuter was born 1976 in Nqutu, South Africa. The artist lives and works in Basel (Switzerland) and Berlin (Germany).

Mandla Reuter at Kunsthalle Basel. Opening reception, January 17, 2013.

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Excerpt from the press release:

In his enigmatic works and architectonic installations, Reuter often explores the function of rooms, which he subtly or remarkably transforms and restructures, and whose utility and perimeters are consequently altered. As such, the artist makes explicit the visual, physical, and psychological potential in controlling a space. To that end, Reuter might block doors or impede staircases and entire galleries and museum spaces in order to grant them an intimacy—alternately aggressive and pathos-laden—otherwise missing, turning them into private rooms in the process.
In this manner he sensitizes the visitor towards the public, sometimes sterile institutional space and highlights the architectural as well as the aesthetic and social conditions for the production of art. Confronted with Reuter’s alterations, the spectator is forced to find new ways through the exhibition space and experience its galleries in altogether different ways. Through simple, exacting gestures, the artist renders visible the power dynamics that shape each architectural environment, and points out the structures (institutional, personal) that form and inform our ever-artificial surroundings.

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January 31 2013

Art Los Angeles Contemporary 2013 Art Fair

In this video we have a look at the art fair Art Los Angeles Contemporary that run January 24-27, 2013 at the Barker Hangar in Santa Monica. The fourth edition of Art Los Angeles Contemporary presented 70 international and emerging galleries from around the world, with a strong focus on Los Angeles galleries.

Art Los Angeles Contemporary 2013 Art Fair. Opening Night, January 24, 2013. Video by Jacinto Astiazarán.

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January 29 2013

Zulkifli Yusoff at T.H.E.O. Arts at Art Stage Singapore 2013

Zulkifli Yusoff is a Malaysian artist who is recognized for his sharp commentary and deep insights into the Malay/Malaysian psyche and historical situation through his art. He is the second Malaysian to show at the Venice Biennale (Don’t Play During Maghrib, 1997, mixed media installation & painting, Modernities & Memories: Recent Works from the Islamic World). At Art Stage Singapore, Zulkifli Yusoff’s work has been shown at T.H.E.O. Arts. Yusoff is also represented at the Singapore Art Museum’s group show The Collectors Show: The Weight of History.

The pieces on display at T.H.E.O. Arts at Art Stage Singapore 2013 are part of the artist’s Rukunegara series. In this video, Seah Tzi-Yan (Director, T.H.E.O. Arts Professionals PL) provides us with information about the artist and the works on display.

Zulkifli Yusoff: Rukunegara 2: The Voice at T.H.E.O. Arts at Art Stage Singapore 2013. Art Stage Singapore, January 25, 2013.

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“Rukunegara is derived from the artist’s ongoing dialogue on nation-building and the making of people. Quickened by the deep trauma of May 13, 1969, Zulkifli examines the reactionary five guiding principles of governance of an emerging nation struggling to mould its diverse and sometimes dissolute ethnicities into one. The second precept in Rukunegara is ‘Loyalty to King and Country’.”

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January 28 2013

Kara Uzelman: 2013 at Sommer & Kohl, Berlin

The exhibition 2013 by Canadian artist Kara Uzelman is her second solo show at Sommer & Kohl Gallery in Berlin. Uzelman has a background in urban planning and archaeology. In her works, Kara Uzelman explores an object’s potential for alternative sources of meaning and constructs pseudo-historical narratives for discarded items through collecting and assemblage. In this video, Patricia Kohl (co-director, Sommer & Kohl) provides us with an introduction to the exhibition, and Kara Uzelman talks in detail about her creative process and the title of the exhibition. The show runs until February 23, 2013.

Kara Uzelman was born in Vancouver (Canada) in 1978. The artist lives and works in Vancouver. Kara Uzelman graduated at Emily Carr University in 2004. Her solo exhibitions include: Warblers, AKA Gallery (with Jeffrey Allport), Saskatoon, Saskatchewan, (2012); Si vous recevez ceci, vous serez bientôt couverts de gloire, Le Commissariat Paris, (2011); If you receive this, you will soon bask in glory, Mercer Union – A Centre For Contemporary Visual Art Toronto, (2010); Fire Watcher, Liste 09 Basel (2009); The Cavorist Projects, Sommer & Kohl Berlin, (2009); Fire Watcher, The Bodgers’ and Kludgers’ Art Parlour Vancouver, (2007); You look like you whereas I tend to look like me, Art Projects Gallery Regina, (2005); Clubhouse, Access Artist Run Center Vancouver, (2005).

She has attended residencies at The Klondike Institute of Art, Dawson City, CA; Triangle, Marseille, FR and Mains D’oeuvres, Paris, FR. She completed a mentorship in Archaeology at Simon Fraser University, Vancouver, CA. Recent exhibitions include The Power Plant, Toronto, CA; Le Commissariat, Paris, FR; Temporäre Kunsthalle, Berlin, DE and Mercer Union, Toronto, CA.

Kara Uzelman: 2013 at Sommer & Kohl, Berlin (Germany). Interview with Patricia Kohl & Kara Uzelman, January 11, 2013. Video by Frantisek Zachoval.

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Press release:

As an artist with a background in urban planning and archaeology, Uzelman works with scavenged materials exploring the possible histories embedded in found objects. Her growing body of work has consistently evaluated the object’s potential for alternative sources of meaning, constructing pseudo-historical narratives for discarded items through collecting and assemblage.

The artist has recently moved to a remote region of Saskatchewan, CA. Influenced by this, 2013 is a new body of work that builds on a heritage of renegade communities which have historically populated this remote area such as the Harmony Industrial Association in Moosomin SK, 1897–1900, which regarded the existing capitalist ideology as being one of greed and exploitation, and proposed its co-operative system as a model to show how human beings should live together in peace and harmony. From 1951–1961 the ‘psychedelic’ movement originated in Weyburn SK and undertook first experiments with LSD. More recently back-to-the-land movements are (re) discovering the region. Working with materials and equipment sourced from dumps, garage sales and haphazard excavations in combination with regional homesteading techniques, Uzelman formulates a material language of salvaged and reassembled twentieth-century refuse. It is through this material language that a collection of fabricated artifacts and documented site-works come to life.

Since graduating from Emily Carr University in 2004, Uzelman’s process-based sculptures and site-specific installations have been shown internationally in both group and solo exhibitions. She has attended residencies at The Klondike Institute of Art, Dawson City, CA; Triangle, Marseille, FR and Mains D’oeuvres, Paris, FR. She completed a mentorship in Archaeology at Simon Fraser University, Vancouver, CA. Recent exhibitions include The Power Plant, Toronto, CA; Le Commissariat, Paris, FR; Temporäre Kunsthalle, Berlin, DE and Mercer Union, Toronto, CA.

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January 27 2013

Tisna Sanjaya: I Like Kapital – Kapital Like Me. Performance at Art Stage Singapore 2013

Tisna Sanjaya is one of the artists which are featured in Art Stage Singapore’s Indonesian Pavilion Feature Exhibition. During the whole duration of the art fair, Tisna Sanjaya worked on his installation that is one of the largest pieces in the Indonesian Pavilion. The work is titled I Like Kapital – Kapital Like Me and deals with pollution of the environment in the artist’s home town. In this interview with London-based art critic Zehra Jumabhoy, Tisna Sanjaya talks about his work.

Tisna Sanjaya was born in 1958 in Bandung, West Java, where he currently lives and works. The artist studied etching and lithography at the Bandung Technology Institute. In the mid-1990s Tisna Sanjaya studied at the University of Art in Braunschweig, Germany. His work often deals with social and environmental issues.

Tisna Sanjaya: I Like Kapital – Kapital Like Me. Art Stage Singapore 2013, Marina Bay Sands, January 23, 2013.

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January 26 2013

Xu Bacheng: Moving Art Museum Series at L-Art Gallery at Art Stage Singapore 2013

At Art Stage Singapore 2013, L-Art Gallery presents a solo exhibition with works of the Chinese artist Xu Bacheng 徐跋骋. Xu Bacheng works in various media such as painting, installation, video and sculpture. The centerpiece of his solo show is a mixed-media installation of his Moving Art Museum Series, which is basically a moveable miniature art museum that can be equipped by the artist with changing miniature exhibitions, depending on the location. In this video we have a closer look at Xu Bacheng’s piece, and Rain of L-Art Gallery tells us more about the artist and the work on display at Art Stage Singapore 2013.

Xu Bacheng was born in 1983 in Wuxi, Jiangsu Province. Xu Bacheng graduated from the China Academy of Fine Arts. Xu Bacheng’s works have been exhibited in numerous group exhibitions, Biennales and art fairs at home and abroad, including South Korea, Tokyo, Miami, New York, Barcelona, Copenhagen and other cities.

L-Art Gallery is a contemporary art space in Chengdu, China. The gallery focuses on young and middle-aged artists. L-Art gallery has been chosen as one of the top 10 New Galleries in China 2011/2011 by Bazaar Art Magazine.

Xu Bacheng 徐跋骋. Solo presentation at L-Art Gallery at Art Stage Singapore 2013, Project Stage section. January 23, 2013.

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徐跋骋生于江苏无锡,毕业于中国美术学院油画系。自2004年起,徐跋骋的作品在国内外众多群展、双年展及艺术博览会中展出,其中包括韩国,东京,迈阿密,纽约,巴塞罗纳,哥本哈根等城市。在Art Stage Singapore 2013的Project Stage项目中, 徐跋骋在独立空间内用不同的媒介以多元的方式和无限想象力呈现艺术家本人丰富的内心世界,以及艺术家对作品、空间、观念三者间关系的思考与应用。

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January 25 2013

Tintin Wulia: Terra Incognita, Et Cetera

One of the highlights of the 2013 edition of the art fair Art Stage Singapore is the Indonesian Pavilion Feature Exhibition. The show features 36 Indonesian artists and art collectives, which present specially created work ranging from drawing to performance art. One of them is Tintin Wulia. She presents Terra Incognita, Et Cetera, a work that is at the same time mural, installation, and game-performance. The artist invites the fair’s visitors to claim their own land on the map, thus creating a new world map. At the end of the fair that runs from January 24 to 28, 2013, the wall be painted white again, and the map will be erased. In this video, Tintin Wulia talks about her artwork at Art Stage Singapore 2013, and her work in general.

Tintin Wulia: Terra Incognita, Et Cetera. Performance at Art Stage Singapore 2013, Indonesian Pavilion. Interview with Tintin Wulia, January 23, 2013.

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Tintin Wulia (b. 1972, Denpasar) lives and works in Melbourne and Denpasar. Her work is a reflection on borders, and her approach is comparable to critical geopolitics. In her process she often focuses on several icons of borders as points of departure: the wall, the passport, and the map. For and through these icons, she studies the physical-spatial-liminal nature of borders; the relationship between citizenship, mobility, and political power; and between territory, mapping and cartography.

Tintin’s works have been shown in major international exhibitions including at the Istanbul Biennial, Yokohama Triennial, Moscow Biennale, Jakarta Biennale, Gwangju Biennale, Asia Pacific Triennial, Van Abbemuseum, FACT at Liverpool Biennial, Museo de Arte Contemporánea (MARCO) de Vigo, Hiroshima City Museum of Contemporary Art, Institute of Contemporary Art (ICA) London, Institute of Contemporary Arts Singapore (ICAS), ZKM/Center for Art and Media Karlsruhe, Clermont-Ferrand Short Film Festival and International Film Festival Rotterdam. She holds a Bachelor of Engineering in Architecture (Universitas Katolik Parahyangan, Bandung, 1998) and a Bachelor of Music in Film Scoring (Berklee College of Music, Boston, 1997). She is a recipient of the Australian Postgraduate Award for her practice-led research PhD in art at RMIT University, Melbourne.

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January 24 2013

Art Stage Singapore 2013

The third edition of Art Stage Singapore features 131 galleries from 25 countries. The art fair takes place in the exhibition center of Singapore’s spectacular Marina Bay Sands complex. Art Stage Singapore has a strong focus on Southeast Asian art. 75% of the fair’s exhibitors are from the Asia Pacific region, 25% are leading international galleries such as Eigen + Art, Perrotin, or White Cube. This video provides you with a first look at the 2013 edition of the art fair.

Apart from the regular gallery sector, Art Stage Singapore again showcases work by local Singapore talents in the Singapore Platform section. There’s also the Project Stage that features 33 projects by emerging artists of the Asia Pacific art scene

New this year is the Indonesian Pavilion Feature Exhibition. The exhibition is designed to highlight Indonesian contemporary art. The Indonesian Pavilion features 36 Indonesian artists and art collectives, which present specially created work ranging from drawing to performance art. The Pavilion also includes an Indonesian galleries section, and an education center managed by the Indonesian Visual Art Archive (I.V.A.A.).

Art Stage Singapore 2013. Preview and Vernissage, January 23, 2013.

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> On YouTube:

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January 22 2013

Francisco Leiro: Human Rescources at Marlborough Gallery, New York

On January 9, 2013, Marlborough Gallery New York opened an exhibition of recent work by Spanish artist Francisco Leiro. The solo exhibition titled Human Resources comprises around twenty polychrome wood sculptures: wall pieces, pedestal pieces, and freestanding life-size figures. In this show, Francisco Leiro continues his investigation of the formal possibilities of figurative sculpture.

Francisco Leiro was born in 1957 in Cambados (Spain). The artist studied stonework at the Escuela de Artes y Oficios in Santiago de Compostela, and sculpture and drawing at the Escuela de Bellas Artes de San Fernando, Madrid. Leiro is especially known for his wood sculptures. Leiro’s work can be found in numerous museum collections, including the Akron Art Museum, Akron, Ohio; Asociación de Amigos del Museo Nacional Centro de Arte Reina Sofia, Madrid; Marugame Hirai Museum, Kagawe, Japan; and the Stedelijk Museum, Amsterdam. Francisco Leiro: Human Resources at Marlborough Gallery New York runs until February 2013.

Francisco Leiro: Human Resources at Marlborough Gallery New York. Opening reception, January 8, 2013. Video by Shimon Azulay.

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> On YouTube:

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January 20 2013

Matta. Fictions. Retrospective at Museum Frieder Burda

Matta. Fiktionen (Matta.Fictions) is a retrospective exhibition at Museum Frieder Burda in Baden-Baden, Germany, dedicated to the painter Roberto Matta. The exhibition, curated by Marga Paz, features about 40 mostly large-scale paintings and starts from the surrealistic beginnings of the artist to his Panorama formats. Matta (1911-2002) is regarded as one of the most important painters of the 20th Century. The exhibition runs from January 19 until June 2, 2013.

Matta. Fictions. Retrospective at Museum Frieder Burda. Walkthrough and interview with curator Marga Paz on the occasion of the media preview on January 18, 2013.

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> On YouTube:


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Xomplete video (15:36 Min.):

January 18 2013

Tris Vonna-Michell: Capitol Complex at Galerie Jan Mot, Mexico City

With this video we cover the opening of the exhibition Capitol Complex of the young British artist Tris Vonna-Michell at Galerie Jan Mot in Mexico City. It’s the artist’s first solo exhibition in the Belgian gallery’s space in Mexico. Tris Vonna-Michell is known for his performances and multimedia installations. Tris Vonna-Michell’s exhibition Capitol Complex runs until February 23, 2013.

Tris Vonna-Michell was born in 1982 in Southend-on-Sea (UK). He studied at the Glasgow School of Art and Städelschule in Frankfurt am Main (Germany). He lives and works in Stockholm. His works are included in the collections of Tate Modern (London), Hamburger Kunsthalle (Hamburg), San Francisco Museum of Modern Art, the Centre National des Arts Plastiques (Paris), and FRAC Champagne-Ardenne. Current and upcoming exhibitions with works by Tris Vonna-Michell include 9th Shanghai Biennale, Art and Exhibition Hall of the Federal Republic of Germany in Bonn, Mudam Luxembourg, and Irish Museum of Modern Art in Dublin.

Jan Mot is a gallery with spaces in Brussels (Belgium), and Mexico City. The gallery represents artists such as Rineke Dijkstra, Dominique Gonzalez-Foerster, Douglas Gordon, David Lamelas, and Tino Sehgal.

Tris Vonna-Michell: Capitol Complex at Galerie Jan Mot, Mexico City. Opening reception, December 8, 2012.

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“Capitol Complex is set in Chandigarh, India, once the future city and the architect Le Corbusier’s most momentous assignment, today the government headquarters for two states, Punjab and Haryana. Le Corbusier envisaged Capitol Complex as a sacred place to match the Acropolis, where citizens could meditate on the inter-connected spiritual meanings embedded in his architecture. But as the complex was separated from the rest of the city it became a prohibited zone.

The story is lead by the protagonist, Traveller, who sees himself as a modern-day flaneur and extends his leisurely strolls to also experiencing the city by night in order to induce a greater intensity and anxiety of urban architecture. After his nocturnal explorations in the single-zone sectors of Chandigarh he starts to grow weary and changes his course from architectural appreciation to searching for crevices and enclosures to rest, reflect and observe. Urban fixtures of obstruction, surveillance and derailment direct his passages of exploration and rest, until an alteration occurs and Traveller loses his belongings. He finds himself bartering with law officers as he attempts to conjure up authorisation documents to gain access into the prohibited Capitol Complex. Once inside the government headquarters he returns to his habitual strolling and loses himself within the vast expanses of Le Corbusier’s master plan, which is surrounded by a makeshift colony of waste- merchants.”

Tris Vonna-Michell, Stockholm 28 November 2012

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January 11 2013

Guy de Cointet: Tempo Rubato at Fundación / Colección Jumex

The exhibition Tempo Rubato at Fundación / Colección Jumex in Mexico City is dedicated to the French-born artist Guy de Cointet. Curated by Magalí Arriola, Guy de Cointet – Tempo Rubato features set design, performance art, prints and drawings, as well as documents relating to the artist’s life and work. Guy de Cointet was born in Paris in 1934. He moved to New York in 1965, and then to Los Angeles in 1968. He lived in Los Angeles from 1968 until his death in 1983. His work is said to have influenced that of Paul McCarthy, Mike Kelley, and others. The exhibition Guy de Cointet – Tempo Rubato at Fundación / Colección Jumex in Mexico City runs until February 24, 2013.

Guy de Cointet: Tempo Rubato. Retrospective at Fundación / Colección Jumex in Mexico City. Opening reception, November 30, 2012.

PS: From January 16, LACE Los Angeles Contemporary Exhibitions will present the exhibition LA Existancial. The show is organized by curator Marie de Brugerolle and brings together international artists such as John Baldessari and Andrea Fraser to explore the legacy of Guy de Cointet.

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From the press release:

After discussing the Italians’ skill of performing with their hands while they’re talking as if improvising on a melody, Rosa and Butch—the main characters in Guy de Cointet and Robert Wilhite’s IGLU—converse about what they understand by tempo rubato. In their exchange, the musical term that refers to the expressive and rhythmic freedom of the performer who shapes music by introducing variations to the tempo of the original score, is now a matter of performative speech. This very sense of practiced spontaneity in the production of meaning is what gives substance to Guy de Cointet’s synesthetic practice, whose associations of shapes, words, and body language, manage to undermine the social values and cultural codes that administer our day-to-day lives.

The exhibition Guy de Cointet – Tempo Rubato features prints and drawings, performance art and set design, as well as various documents relating to the life and work of Guy de Cointet, a French artist born in 1934 who lived in Los Angeles from 1968 until his death in 1983. The show includes a wide range of works: from his first encrypted drawings and books, to his later monologues and theatrical productions inspired by the current events of his time, mass media, and popular culture. Growing up in a military family, de Cointet had a marked fascination for the encrypted languages used during World War II, and the everyday dynamics generated around them, that he further associated with the manipulative character of the media. After traveling to New York City where he frequented Andy Warhol’s Factory, he moved to Los Angeles where he worked as an assistant to sculptor Larry Bell. This was where de Cointet began to use the dialogue in Mexican radio soap operas, the world of fashion, and the communication codes that mediate people’s interactions, as some of the main sources for his work.

Finding inspiration in such diverse territories as domestic conversations, literary passages and pre-Columbian codices, de Cointet conceived, over the years, a series of situations in the form of graphics and performable texts that, like lost or misplaced moments, manage to escape the routine of daily life. In these situations, words generate images that become stories without a plot. These narratives-in-the-making are deployed in space as characters activate objects and as the identity of these objects shifts, making them acquire a life of their own that manages to unsettle and transcend the ordinary.

This exhibition, unprecedented in Mexico, represents not only an occasion for the work to travel to a territory that was familiar to the artist, but it provides viewers with the opportunity to delve into a seldom-explored terrain, one where painting, sculpture, storytelling and performance intermingle, and one that has acquired renewed relevance in the art making of recent years.

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