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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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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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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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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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January 09 2013

15 Years Fondation Beyeler. Interview with Director Sam Keller

When the Fondation Beyeler opened its museum in 1997 as new home for the collection of art dealer Ernst Beyeler no one would have predicted the enormous success the institution achieved over the years. Fondation Beyeler in Riehen near Basel is the most attended art museum in Switzerland, and also the most international. In 2011, Fondation Beyeler saw a record admittance of 426,856 visitors. The museum attracts art lovers with exhibitions of the permanent collection, which comprises of major works by artists such as Bacon, Calder, van Gogh, Matisse and Picasso, and temporary shows with contemporary artists such as Jeff Koons and Philippe Parreno, and public art projects by Louise Bourgeois, Jenny Holzer, and other renowned artists.

On the occasion of the 15th Anniversary of the museum, VernissageTV spoke with the director of Fondation Beyeler, Sam Keller. The former director of the art fair Art Basel became the director of Fondation Beyeler in 2008. In this video, Sam Keller looks back at 15 years of Fondation Beyeler, talks about the mission and main activities of the museum, and provides us with an outlook on the upcoming projects and strategic goals of the foundation and the museum. The video above is an excerpt. The complete video and excerpts from the transcript are available after the break.

15 Years Fondation Beyeler. Interview with Director Sam Keller. Fondation Beyeler, Riehen (Switzerland), December 19, 2012.

For more videos on Fondation Beyeler, click here!

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Complete video (22:51 Min.):

Fondation Beyeler immediately caught the attention of the art world with its exceptional building that was designed by Renzo Piano, and Christo and Jeanne-Claude’s Wrapped Trees project in the park of the museum and its surroundings. Over the years, the museum has grown considerably. Today, Fondation Beyeler is not only preserving and showing the collection of Ernst and Hildy Beyeler, but also active in the fields of special exhibitions, public art projects, conservation, and education. The museum collaborates in many ways with other museums and institutions on a national and increasingly international level. Fondation Beyeler is lending artworks to other institutions, and collaborates with other collections such as the Calder Foundation and the Daros Collection.

The Fondation Beyeler’s collection comprises works by Francis Bacon, Georg Baselitz, Constantin Brancusi, Georges Braque, Alexander Calder, Paul Cézanne, Marc Chagall, Eduardo Chillida, Christo, Edgar Degas, Jean Dubuffet, Max Ernst, Luciano Fabro, Sam Francis, Alberto Giacometti, Vincent van Gogh, Vasily Kandinsky, Ellsworth Kelly, Anselm Kiefer, Paul Klee, Fernand Léger, Roy Lichtenstein, Jacques Lipchitz, Henri Matisse, Joan Miró, Piet Mondrian, Claude Monet, Barnett Newman, Pablo Picasso, Jackson Pollock, Neo Rauch, Robert Rauschenberg, Auguste Rodin, Mark Rothko, Henri Rousseau, Georges Seurat, Frank Stella, Antoni Tàpies, Mark Tobey, and Andy Warhol. The Beyeler Collection was accumulated by Hildy and Ernst Beyeler during more than fifty years as gallery owners. The collection consists of around 230 paintings and sculptures by modern masters. Through temporary exhibitions with artists such as Jeff Koons, Jenny Holzer, Beatriz Milhazes, Richard Serra, and Philippe Parreno the Fondation Beyeler repeatedly creates links between the permanent collection and contemporary art.

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Here are some excerpts from the interview:

Sam Keller on how he would describe the development of the museum over the last 15 years.

“In the beginning I think no-one could have envisioned that in such short term it would get on the map as being one of the most important museums not only in Switzerland, but also having an international reputation as being a house which shows art at the highest quality. So the development has been a quite steady one and steadily growing and to our big satisfaction this is something that has even continued after the passing away of the founders. So it has also made a transition from a private initiative, very much the vision of Ernst Beyeler, the founder, and is has kept those values and has kept those virtues, but has now become an institution which relies on many people’s know-how and commitment, and it has steadily attracted more and more people who are supporting the museum…”

Sam Keller on the things he discussed with Ernst Beyeler when he became director of the museum.

“It’s a lot about how can we educate, reach and educate the public. He always said: We are not afraid of success. He said, we shouldn’t do things for ourselves, we should really do it for the public. He trusted the public, that the public is actually willing and capable to follow even a program which is very ambitious.”

Sam Keller on how the museum is embedded in the art scene in the region.

“Basel is an art city, and then you are not an art city because there is just one great museum, you are because you have an art scene and you have many good museums. So between the Fondation Beyeler, the Kunstmuseum, the Tinguely Museum, the Vitra Design Museum, the Kunsthalle, the Museum für Gegenwartskunst, the Schaulager and many of the other institutions, we actually collaborate, we collaborate in Marketing, we are collaborating in looking how our exhibitions can complement each other, we are very generous in lending each other works and giving each other all kinds of support.”

Sam Keller on the future of the museum:

“I think one of the most important things was this transition, you know, from a private initiative to a really like the public institution, so, that will continue. Another thing is the question is it going to be a mausoleum or a museum. Is it once the founders of this museum have passed away, is it just going to be stuck, is it going to remain, or is it going to develop. I think we have given the answer, it’s going to continue to develop and of course there’s a lot of work ahead of us. Most important is the collection, and how can we develop the collection. So strategically we want to continue to acquire especially contemporary art by leading artists. Also, Ernst Beyeler was always collecting and exhibiting both like historical and contemporary art, but the contemporaries of his time and his friends were Picasso and Giacometti and many artists that now are not living any more. So how is the museum going to have a relationship with the leading artists of today. So this is why we do have a strong contemporary art program and we work with artists such as Jenny Holzer or with Richard Serra or with Jeff Koons, with Philippe Parreno, in the future Mauricio Cattelan.”

“Then of course, one of the big questions is: how is the digitalization of the world changing also museums. So this is why also over the last years, we have built up a very strong website, where a lot of our programs, for example we have a lot of artist talks, concerts, performances, etc., people can follow that over the internet, prepare their visit, but also people who are far away and can visit only once in their life can continue to follow the museum. So this is something that’s going to continue in the future.”

“I think the first fifteen years of the museum is only the beginning, we think there is a lot of potential of people we can reach and bring to art, of collaborations with artists we can do, and one of the things that have marked the history of the museum and that we would like to do more in the future is to have public art projects. So here a lot of people come to see art, but we also think that the art has to go out to the public.”

January 07 2013

Irvin Morazan Performance at Untitled Art Fair Miami Beach 2012

In addition to the regular gallery section, Untitled, the new art fair in Miami Beach that took place for the first time during Art Basel Miami Beach week last December, presented special projects with installations and performances by various artists. The Brooklyn-based artist Irvin Morazan is known for his fantasical sculptural headdresses that combine both old tribal aesthetics and urban street style, and that he wears in his performances, photographs and videos. This video documents Irvin Morazan’s performance on the opening night of Untitled 2012.

Irvin Morazan Performance at Untitled Art Fair Miami Beach 2012. Vernissage, December 3, 2012.

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From the press release:

Irvin Morazan creates fantastical sculptural headdresses that he wears during performances, photographs and videos. He intertwines old tribal traditions with urban Street aesthetics to create new personas that blur the boundaries of stereotypes. In consequence the performances are often hybrid rituals that intend to cross the metaphysical space through spectacle and absurdity. The work draws upon multiple associations and meanings while valuing history, theory and their relationship to contemporary culture.

Irvin Morazan was born in El Salvador, San Salvador in 1976. BFA from the School of Visual Arts 2003 and MFA Hunter College. In 2003 received the Robert Mapplethorpe award for Photography. Attended the Skowhegan School of Painting and Sculpture in 2009. Irvin Morazan has exhibited nationally and abroad including exhibitions in Berlin, Mexico City, El Salvador, Colombia. In New York exhibitions include, Festival of New Ideas (presented by the New Museum), La Mama Gallery, HVCCA Museum, Asya Geisberg Gallery, Art in Odd Places, Exit Art, Rush Arts Gallery, Bronx River arts Center, Jersey City Museum, Sean Kelly Gallery, DCKT Gallery and Jack the Pelican presents. Participated in the El Museo del Barrio S-Files Biennial 2011 which included performances in Time Square, Socrates Sculpture Park and Performa 11. Individual work has been featured on Art in America’s blog, Brooklyn Rail and New York Times. Received a Cisneros grant to attend SOMA residency in Mexico City in 2012. Currently works and lives in Brooklyn, New York.

Performance: Monday, December 3 at 8pm

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January 02 2013

Sandra Peters: Bilateral, Diagonal, Cubical / Aanant & Zoo, Berlin

The exhibition Bilateral, Diagonal, Cubical by Sandra Peters at the gallery Aanant & Zoo in Berlin (Germany) presents in the centre a 140 cm high cube. This piece and another works refer to the concept of space from architect Rudolph Schindler. Slide projections show two of his most important buildings of the twenties: his own house from 1921, and the “How House” from 1925. The open form of the cube and variations of smaller cubes relate to the ceiling structure of the interior of the “How House”. The diagonal in Schindler‘s house enlarges and opens the space, giving the place a direction, and takes on the movement of the two central axes of the building. The horizontals and verticals of the conventional room structure are clearly and tangibly vitalised through the dynamic diagonal. In this video the curator and director of the gallery, Alexander Hahn, talks about the background of the show. Sandra Peters talks in detail about the concept of the exhibition. The show runs until January 26, 2013.

Sandra Peters was born in Bonn (Germany) in 1969. The artist lives and works in Berlin. Sandra Peters studied art at the Dresden Academy of Fine Arts (Germany). Her solo exhibitions include: Interplay, Kunstsaele Berlin, (2011); Bilateral – Diagonal, Y8 Hamburg, (2011); Brick-structure, Villa Aichele, Lörrach (2009); Modification – constantly climbing stones, Kunstverein Ruhr, Essen, (2009); Contemporary drawing V (with Katja Eckert & Karim Noureldin), Kunstmuseum Bonn (2007); Drawings on tracing paper, Villa Aichele, Lörrach (2007); Collage drawings, Königstein, Königstein Sachsen (2003).


Sandra Peters: Bilateral, Diagonal, Cubical at Aanant & Zoo, Berlin (Germany). Interview with Sandra Peters, December 14, 2012. Video by Frantisek Zachoval.

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Official PR:

Sandra Peters “Bilateral, Diagonal, Cubical”
15.12.2012 — 26.01.2013

Sometimes a simple form is enough to make a complex structure experienceable and create an unexpected order between the viewer, work and space. Aanant & Zoo is pleased to present the exhibition “Bilateral, Diagonal, Cubical” by Sandra Peters from 15. December 2012 to 26. January 2013.

In the centre of „Bilateral, Diagonal, Cubical“ is an open, 140 cm high cube. Its surfaces are divided by orthogonal struts in such a way that the points at which the struts meet each other form a diagonal. The diagonal divides each of the surfaces into two unequal halves, and as a result produces a vague impression of inconclusiveness and movement. The struts of the different surfaces, lying next to and behind one another, cross each other and create new structures depending on the angle from which they are viewed. With every step the viewer takes, the grid and lines of the structure change. The logical form, in all its clarity, makes an ephemeral game of the experience. Cube, viewer and space (the space that surrounds the work, as well as the space produced in the work) are interdependent and connect the form to the here and now.

The exhibited cube depicts one of the 8 to the power of 6 possibilities (within the same diagonal configuration) to connect the cube‘s surfaces. The concrete experience is shaped and held together by a concept that implies 262144 alternative permutations.

In all of the pieces shown in „Bilateral, Diagonal, Cubical“, Peters selectively relates to the concept of space from Rudolph Schindler. Slide projections show two of his most important buildings of the twenties: his own house from 1921, and the “How House” from 1925. The slightly adjusted diagonal, which determines Peters‘ open cube, refers to the ceiling structure of the interior of the “How House”. The diagonal in Schindler‘s house enlarges and opens the space, giving the place a direction, and takes on the movement of the two central axes of the building. The horizontals and verticals of the conventional room structure are clearly and tangibly vitalised through the dynamic diagonal. In Peters‘ open cube, the architectonic dynamization meets the clear and sober language of Minimal and Conceptual Art.

The ambivalence between work and concept, planned and experienced space, sculpture and architecture, is focussed on in the smaller cubes exhibited in the front room. The cubes are placed diagonally to each other, grouped as an ensemble, which is evocative of architectural models, prototypes and the works of Sol LeWitt. Another important group of works translates the structure of the façade of the “How House” into precise constellations of individual surfaces that are shifted against each other. The architectonic form is reduced to a concentrated relief, to an essence of the house‘s appearance: room – cube, cube – surface.

Lukas Töpfer, December 2012

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December 21 2012

The Endless Renaissance – Six Solo Artist Projects at Bass Museum of Art, Miami Beach

The Endless Renaissance is the title of the current exhibition at the Bass Museum of Art in Miami Beach that opened concurrent with Art Basel Miami Beach 2012. For the exhibition that runs until March 2013, six solo artist have been invited to present solo projects that deal with the notion of an endless Renaissance. The invited artist are Eija-Liisa Ahtila, Barry X Ball, Walead Beshty, Hans-Peter Feldmann, Ged Quinn and Araya Rasdjarmrearnsook. This video provides you with a walkthrough of the exhibition on the occasion of the VIP reception on December 5, 2012, and a short introduction to the exhibition by the Executive Director and Chief Curator of the Bass Museum of Art, Silvia Karman Cubiñá.

The Endless Renaissance – Six Solo Artist Projects at Bass Museum of Art, Miami Beach. VIP reception, December 5, 2012.

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Press release:

The Bass Museum of Art continues to reinterpret its mission to inspire and educate by exploring the connections between our historical collections and contemporary art, with The Endless Renaissance: Six Solo Artist Projects. In diverse ways, the six artists invited to present solo projects reconsider objects and concepts from art history, showing how works and ideas transform over time and in front of different audiences. In video installations by Araya Rasdjarmrearnsook and Eija-Liisa Ahtila, traditional works of art are presented and reassessed by various audiences, engaging the works in their own terms. Barry X Ball’s interpretations of notable sculptures and Hans-Peter Feldmann’s manipulated paintings demonstrate contemporary examinations of art from the past. The works of Ged Quinn combine anachronistic references to art and literature to the strong traditions of landscape and still-life painting. Walead Beshty’s diverse works also maintain an awareness of their own histories, providing viewers a clear record of their provenance.

Eija-Liisa Ahtila
Presenting her 2010 film installation The Annunciation, Eija-Liisa Ahtila (b. 1959 Hämeenlinna, Finland) usually works in various multimedia formats. Often presenting large-scale, multi-channel installations, Ahtila probes the inner workings of cinema and how it is used to perceive the world. For The Annunciation, Ahtila is exploring the Christian narrative from the Gospel of Luke, a scene which has been thoroughly depicted throughout art history. In the film, characters are played mainly by non-professional actors, and it is set in an artist’s studio. The installation also includes several images of Annunciation paintings, showing Eija-Liisa’s direct engagement of significant art historical works in a contemporary fashion.

Barry X Ball
Directly engaging the historic tradition of the portrait bust, Barry X Ball (b. 1955, Pasadena, California) utilizes digital technologies and unconventional types of stone in creating his body of work. Taking digital scans of his models, which include prominent historical sculptures and contemporary art-world figures, he uses a computer to manipulate and ultimately carve the sculptures. The resulting works provide eerie portraits of their sitters, simultaneously recognizable and obfuscating. The translucent nature of many of the types of stone he chooses gives his works a glowing, ethereal quality – a celestial quality which sculptors have been intensely pursuing throughout art history.

Walead Beshty
Exploring the very art world of which they are a part, the works of Walead Beshty (b. 1976, London, England) are diverse and often conceptually based. Keenly aware of their own histories, Beshty’s FedEx boxes and copper sculptures offer a detailed record of their journey between various locations. The FedEx works are displayed with their packaging, but they also chronicle the cracks and scratches they receive during their shipment. Similarly, Beshty’s copper panels are handled without gloves, allowing fingerprints and smudges to become part of each work’s appearance. As the history of art is concerned very much over a work’s provenance, or its record of ownership, Beshty’s works offer the viewer tangible accounts of their own prior histories gives his works a glowing, ethereal quality – a celestial quality which sculptors have been intensely pursuing throughout art history.

Hans-Peter Feldmann
Throughout his career, Hans-Peter Feldmann (b. 1941, Dusseldorf, Germany) has collected images and objects, exploring how we find meaning and value in various everyday items. His work also examines the way that art functions, including the way it has traditionally increased the social status of its owner or has been used as historical record. In challenging the way that art-world works, Feldmann doesn’t sign his works, give them titles, or allow the use of labels. Using found images and paintings, he tweaks the objects ever so slightly, by adding a clown nose or crossed eyes, for example. In the end, these manipulations are just enough to subvert the original object’s meaning. Feldmann’s use of humor also allows him to question the viewer’s expectations of art throughout his work.

Hans-Peter Feldmann’s presentation was curated by Helena Tatay.

Ged Quinn
In his paintings, Ged Quinn, (b. 1963, Liverpool, England) places elements from literature, history and mythology within pastoral landscapes. Reassessing such landscapes with specific references and allusions to history, literature and mythology, Quinn probes the psychological depths of Romanticism and other schools of painting. Each painting operates on multiple levels, consisting of fragments of information. Disregarding typical linear narratives, Quinn’s works result in complex systems of information that invite endless interpretations. Exposing themes such as mortality, melancholia and transcendence, Quinn’s intensely philosophical and methodical paintings reflect his interest in how ideas travel throughout history.

Araya Rasdjarmrearnsook
Araya Rasdjarmrearnsook (b. 1959, Trad, Thailand) explores the connections between the legacy of Western art and various Eastern cultures. In her works for this exhibition, she engages masterworks from prominent European artists that are well-known to Western audiences. She presents these works to rural Thai villagers and farmers who are likely unfamiliar with the legacies of each work. In doing so, she explores the connections that are created when two diverse realms are instantly intersected. As the Thai audiences approach these works with humor, concern, confusion and delight, several commonalities arise between two seemingly disparate cultures.

The Endless Renaissance – Six Solo Artist Projects: Eija-Liisa Ahtila, Barry X Ball, Walead Beshty, Hans-Peter Feldmann, Ged Quinn and Araya Rasdjarmrearnsook will be on view during Art Basel Miami Beach 2012 with a VIP reception on December 5, 2012 9pm-12am. Special museum hours will be: Thursday, December 6 through Monday, December 10, 2012, 10 a.m. to 6 p.m. and regular museum hours thereafter. The exhibition runs through March 17, 2013.

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December 20 2012

Olinka and Aurora. Two New Exhibitions at Museo Tamayo, Mexico City

Two new exhibitions have recently opened at the expanded and renovated Museo Tamayo in Mexico City: Olinka or Where Movement is Created, and Aurora: A Project by Pia Rönicke. Olinka runs until April 15, 2013, Aurora is on display until February 19, 2013.

Olinka or Where Movement is Created is a group exhibition curated by the director of Kunsthalle Basel, Adam Szymzcyk. He was originally invited in 2010 to curate an exhibition at the Museo Tamayo. The show he came up with is based on a project called “Olinka”, an imaginary international city of culture conceived by the Mexican artist Dr. Atl (Gerardo Murillo 1875–1964).

The exhibition Aurora: A Project by Pia Rönicke is an elaboration and continuation of the artist’s former work Scanning Through Landscapes (2008-2010), which revolves around a small settlement in Los Angeles called Chávez Ravine.

Olinka and Aurora. Two New Exhibitions at Museo Tamayo, Mexico City. Opening, December 11, 2012. Video by Jacinto Astiazarán.

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Press release:

The recently expanded and renovated Museo Tamayo is pleased to announce two new projects opening as 2012 draws to a close: Olinka or Where Movement is Created, a group exhibition curated by Adam Szymzcyk, guest curator, and Aurora: A project by Pia Rönicke, curated by Magnolia de la Garza, Associate Curator at Museo Tamayo.

Szymczyk was originally invited in 2010 to curate an exhibition at the Museo Tamayo. Since then, he has become interested in the concept of Olinka, a project conceived by the Mexican artist Dr. Atl (Gerardo Murillo 1875–1964). “Olinka” is Dr. Atl’s name for his imaginary international city of culture, where artists, poets, philosophers and scientists would gather to plan human evolution. Olinka comes from the word Ollin, which is Nahuatl for movement, change and earthquake.

The imaginary conception of Olinka is transferred to the exhibition space seen as a place in movement. The curatorial discourse proposes a dialogue between contemporary artists and the works and documents of Dr. Atl and Nahui Ollin; two relevant characters in the artistic scene of Mexico during the 1940s. The exhibition features works by Nairy Baghramian, Ross Birrell and David Harding, Mariana Castillo Deball, Kate Davis, Thea Djordjadze, Susan Hiller, Paulina Olowska, Manuel Rodríguez Lozano, Vivian Suter, Tercerunquinto, Danh Vo and Elisabeth Wild.

In spite of the differences between the original contexts in which these works were made, every piece in this exhibition shares a peculiar relation with the past. Far from considering history as a collection of facts accumulated in memory, Olinka or Where Movement is Created perceives history as an unstable territory in constant movement, with the possibility of becoming materialized when being reinterpreted or evoked.

Aurora: A project by Pia Rönicke, is an elaboration and continuation of her former work Scanning Through Landscapes (2008–2010), a story that revolves around the site in Los Angeles called Elysian Park, a place hidden in the hills of the park that used to be the home of a small settlement called Chávez Ravine, which established there in the early 1900s.

Chávez Ravine was an urban settlement largely inhabited by descendants of Mexican immigrants. In 1949, the Los Angeles government negotiated the purchase of the houses from the owners, who were promised to receive a new home from the new public housing program said to be developed in that land. However, the plans were abandoned, leaving many of the members from this community homeless. In 1960 the area was used for the construction of the stadium for the Los Angeles Dodgers and Angels baseball teams. Nevertheless, the residents who remained in the neighborhood tried to resist eviction; Aurora Vargas was one of the last residents who refused to abandon her house, which led to her imprisonment in 1959.

The installation Aurora at the Museo Tamayo consists of two videos and two slide projections, all of which complement each other. The double-slide projection includes archival photographs and documents chosen by the artist to show the Chávez Ravine settlement from the 1940s and the territory as it exists today. The video shows eviction records of the last residents, including that of Aurora Vargas.

Lastly, the film Aurora is based on archival documents, excerpts from television broadcasts of the Chavez Ravine settlement, as well as newspaper articles and interviews with its former residents. Pia Ronicke combines this information to create a narrative that is read through a series of letters by the artist to Aurora, and which takes place at an indefinite time between 1959 and 2012. In this way the boundaries between fiction and reality are blurred as the documents and facts are presented within an imaginary structure.

These projects have been accomplished thanks to the support of Fundación Olga y Rufino Tamayo, Fundación Colección Jumex, Grupo Habita and the Danish Arts Council.

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December 17 2012

Art Openings Beijing November 2012, part 2

ShanghART Beijing presents ‘Zero’, the premiere of Zhu Jia latest photography and film work. The artist introduces a collage and overlap of images, which seem isolated in chronological order. Coming from the fragmentized remembrance of family history, the images emphasize the gap between memory and the construction of today’s reality and the self.

Video Bureau shows video works by Huang Xiaopeng and Jean-Philippe Toussaint, with an artist talk by Huang Xiaopeng for the opening day. His art is based on the possibilities of post-production video editing, emphasizing on image, sound and subtitles. Jean-Philippe Toussaint focuses on the adventure of travelling in China, where he feels can be wild, chaotic and experimental while shooting.

‘Rose – Cloud’ at ARTMIA Gallery, displays the latest series of Cai Zhisong. Roses communicate the artist interpretation about love, incorporating historical issues into the discussions of human affections. Clouds is a review on karma and the unpredictability of life. Five sets of clouds were displayed at 54th Venice Biennale, the other four are included in this exhibition, where the viewer can get deeper into the spiritual aspects of Cai’s work.

Art Openings Beijing November 2012, part 2, Caochangdi Art District, 艺术开口,北京,2012年11月。. November 23, 2012. Video by Diana Coca.

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Jon Kessler: The Future Was Perfect / Interview at Salon 94, Art Basel Miami Beach 2012

Mixed media sculptor Jon Kessler takes us on a tour of his solo presentation at Salon 94′s booth at Art Basel Miami Beach 2012. The exhibition is titled The Future Was Perfect and showcases Jon Kesssler’s latest kinetic artworks.

Jon Kessler is best known for his kinetic sculptures that combine old analog mechanisms with digital technology such as surveillance cameras. VernissageTV is currently working on a re-master / re-edit of the short documentary of his 2007 show Blue Period at Arndt & Partner in Berlin, which is scheduled to be published in early 2013.

For more videos featuring Jon Kessler visit our archive.

Jon Kessler: The Future Was Perfect / Interview at Salon 94, Art Basel Miami Beach 2012. Miami Beach, December 5, 2012.

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December 14 2012

Alexander Calder at Fondation Beyeler and Art Basel Miami Beach 2012

At Art Basel Miami Beach 2012, Fondation Beyeler presented two major works by Alexander Calder, Snow Flurry (1948) and Untitled (c. 1939). In this video, the president of the Calder Foundation, Alexander S.C. Rower, talks about the two exceptional mobiles, revealing some exciting background knowledge on the works.

Alexander Calder’s hanging mobile Snow Flurry is one of his most popular works. The delicate white kinetic sculpture is reminiscent of snowflakes. It comes from the artist’s own collection and has been widely exhibited. In contrast, the untitled black standing mobile had its first public appearance at Art Basel Miami Beach 2012. It has been famously photographed by the Swiss photographer Herbert Matter outside Alexander Calder’s studio in 1940, but has never been on public view before.

Alexander Calder at Fondation Beyeler and Art Basel Miami Beach 2012. Interview with Alexander S.C. Rower (Chairman and President, Calder Foundation), December 5, 2012.

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December 12 2012

Art Openings Beijing November 2012

Chambers Fine Art presents ‘Like Moths to a Flame: Recent works by Ye Nan’, a solo exhibition of painting and performance, where Ye Nan (Hangzhou, 1984) combines his creative process with the principle of moths flying into flames, as if to signify some sort of inner connection between his work and the spirit of the moths. He covers the canvas surface with red phosphorous, turning the canvas into a large matchbox striker. Then, he strikes matches on the canvas like magical paintbrushes, creating light and energy in the dark.

‘Chi Ming – JS Tan: Testing Freedom’s Temperature’ at Atkins & Ai Gallery, displays the works by Chi Ming (Yan Tai, 1984) and JS Tan (Hong Kong, 1986) curated by Nikolaus Ellrodt. Both artists, associated with their country’s leading art professors and two of the world’s finest art colleges, CAFA in Beijing and Rhode Island School of Design in USA, explore processes of freedom and liberty through their artistic expression, the power of choice and self-determination. Placing their works side-by-side, it is interesting to witness the sensual quality of Tan’s ink and charcoal works, full of discipline and unambiguity, together with the hot-headed Chi Ming’s oil paintings, captive of his desires and intimate scenarios.

Art Openings Beijing 北京 November 2012, November 16/17, 2012. Video by Diana Coca.

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