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March 29 2011

Interview with Žilvinas Kempinas

On the occasion of Žilvinas Kempinas’ exhibition at Vartai Gallery in Vilnius / Lithuania, VernissageTV had the chance to speak with the artist about his life in New York, the exhibition at Galerija Vartai, and new works and future projects. In this video, which is an excerpt, Žilvinas Kempinas talks about the sources of inspiration and the creative process. The complete video (17:20 min.) is available after the jump.

Interview with Zilvinas Kempinas, Galerija Vartai / Lithuania. February 22, 2011.

PS: See also: Zilvinas Kempinas at Galerija Vartai, Vilnius / Lithuania; Zilvinas Kempinas Magnetic Tape Installation / Remix; Zilvinas Kempinas: TUBE / Lithuanian Pavilion / Venice Biennale 2009; Manifesta 7. The Rest of Now. Bolzano/Bozen, Italy / Part 1/2.

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Full-length video (17:20 min.):

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February 17 2011

Edith Dekyndt: Dieu rend visite à Newton / Fri Art – Centre d’Art de Fribourg, Switzerland

Belgian artist Edith Dekyndt’s solo show “Dieu rend visite à Newton” at Fri Art – Centre d’Art de Fribourg is the first major exhibition in Switzerland. The show presents works specifically produced for the Centre, as well as other recent work. For the central project, A T P A P B L L E E, Edith Dekyndt has worked with a nanotechnology scientist from the Adolphe Merkle Institute to produce new pieces that question the ethical limits of science regarding the manipulation of living creatures.

VernissageTV had the chance to speak with Edith Dekyndt on the occasion of the press conference. In this interview, Edith Dekyndt talks about the works on display, the idea behind the A T P A P B L L E E project, her background and her interest in art and science, the collaboration with scientists, and the creation process. This segment is an excerpt of the 30 minutes interview. The complete interview is available after the jump.

Apart from A T P A P B L L E E, the other works on display are Radiesthesic Hall, Discreet Piece, Ground Control, and Myodesopsies.

Edith Dekyndt was born in 1960 in Belgium, where she lives and works. Her work was presented in several prestigious international institutions, notably with the personal exhibition Les ondes de Love at the Mac’s du Grand Hornu in Belgium (2010) or the collective exhibitions On Line. Drawing Transforming through the 20th Century at the MOMA in New York (2010); A l’ombre d’un doute at the FRAC Lorraine in Metz, France (2010); Silence, a composition at the Hiroshima Contemporary Art Museum (2009). Her work appears in several public collections, amongst which the MOMA, the Rotterdam Witte de With, several FRAC in France and the collections of the Hainaut Province.

Edith Dekyndt: Dieu rend visite à Newton / Fri Art – Centre d’Art de Fribourg (Kunsthalle Freiburg), Switzerland. Walkthrough and interview with Edith Dekyndt, February 11, 2011.

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Full-length interview:
Photo set:

From the press release:

From February 13, 2011, Fri Art presents Edith Dekyndt’s Dieu rend visite à Newton – the internationally acclaimed Belgian artist’s a first major Swiss exhibition. Within the framework of this project, which explores shifts in perception between the visible world, beliefs and knowledge, Dekyndt presents art especially produced for the occasion, as well as other recent work.

Edith Dekyndt focuses on elements that are difficult to perceive without targeted attention, as well as on the scale ratio between the infinitesimal and the infinite. Her approach of hypotheses leads her quite naturally towards science, a discipline where she privileges the research process to the detriment of the result. Despite her sometimes high-tech scientific approach, her work displays an intimate feel, both discreet and delicate, more of a development of a question than a real answer, and based on hypothesis rather than assertion.

For her new project, especially conceived for this exhibition at Fri Art, A T P A P B L L E E, Edith Dekyndt has worked with a nanotechnology scientist from the Adolphe Merkle Institute to produce new pieces that question the ethical limits of science regarding the manipulation of living creatures. The project, which is illustrated by several pieces, explores the variations between the microscopic and the nanoscopic, as well as the shifts that take place in the particle proprieties of the infinitesimal. Thus, objects that are perfectly distinct on human scale can encounter at the particulate level , mingle and generate a new object. Through this project, the artist seeks to amalgamate the respective matters of a table and an apple – which shares the same scale ratio with a nano-particle as the Earth and an apple.

The other pieces featured at the exhibition question the notion of perception via simple means that range from observation and fundamental science to parallel sciences, challenging the limits between belief and knowledge.

Radiesthesic Hall, a piece presented at the Grand Hornu (Belgium) in 2010, is a large installation that renders magnetic currents in the art centre visible via a coded colour system. It will be carried out in collaboration with a local diviner.

With Discreet Piece, an installation based on a simple system of light and projection, Edith Dekyndt gives life to dust particles that dance in the rays of light.

Ground control is a large black ball that defies the laws of gravity by floating through the exhibition space, set in motion by variations in pressure and temperature. Filled with a subtle mixture of air and helium, this object – both autonomous yet sensitive to the visitors’ presence – is endowed with a singular eeriness.

Myodesopsies is an installation on a glass screen that reveals the opaque filaments that are naturally present within the glassy body of the eye, and which we are rarely aware of.

Edith Dekyndt was born in 1960 in Belgium, where she lives and works. Her work was presented in several prestigious international institutions, notably with the personal exhibition Les ondes de Love at the Mac’s du Grand Hornu in Belgium (2010) or the collective exhibitions On Line. Drawing Transforming through the 20th Century at the MOMA in New York (2010); A l’ombre d’un doute at the FRAC Lorraine in Metz, France (2010); Silence, a composition at the Hiroshima Contemporary Art Museum (2009). Her work appears in several public collections, amongst which the MOMA, the Rotterdam Witte de With, several FRAC in France and the collections of the Hainaut Province.

Partnership with the AMI (Adolphe Merkle Institute)
Inspired by her interest in nano-technology, the artist’s project has sprung from a collaboration with the Adolphe Merkle Institute, a hub for scientific research in Fribourg. This partnership is a premiere for Fri Art, and reflects our profound interest in the perception of reality within the field of the visual arts and beyond. The exhibition also emphasises Fri Art’s commitment regarding various poles of excellence within the Fribourg region, and its desire to develop collaborative projects.


January 30 2011

Agathe Snow: All Access World / Deutsche Guggenheim Berlin / Interview with Agathe Snow

In her major solo exhibition titled All Access World at Deutsche Guggenheim in Berlin, the New York-based Corsican artist Agathe Snow focuses on monuments, trademarks, and historical sites and investigates how they leave their mark on collective memory and national identity. The exhibition presents large-scale collages, and mobile sculptures. For the sculptures Agathe Snow has taken familiar motifs such as the Eiffel Tower, Stonehenge, the New York skyline, and the bright yellow McDonalds arch and mixed them together. The sculptures are placed on a distorted pink world map and the visitors to the Deutsche Guggenheim are invited to move them around.

VernissageTV attended the opening of the exhibition and did an interview with Agathe Snow. The above video is an excerpt of the interview, the full-lenght version is available after the jump. The artist gives us an introduction to the exhibition and her work and talks about the basic idea and the elements of the show, and her working method.

Agathe Snow’s work group is the 16th artist’s commission for the Deutsche Guggenheim. The series was initiated in 1997. Since then, artists such as James Rosenquist, Jeff Wall, Anish Kapoor, and Julie Mehretu have created works for the Deutsche Guggenheim. Agathe Snow’s All Access World continues this series of large-scale installations.

For the exhibition at Deutsche Guggenheim, Snow founded the fictional enterprise “All Access World” with the stated goal of “a more democratic approach to monument ownership and distributiona.” In this conceptual context, monuments are transformed in an irreverent process into consumer products that reflect the respective taste, interest, and experiences of their “owner.”

For more information see also “All Access World” at DB ArtMag.

Agathe Snow: All Access World at Deutsche Guggenheim Berlin. Opening reception and interview with Agathe Snow. Berlin / Germany, January 27, 2011.

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Interview with Agathe Snow (full-length version):
Photo set on Flickr:


January 04 2011

Ulrich Fischer: Walking the Edit: Innovative System to “Walk a Movie” / Interview

As part of the platform Image-Mouvement, the Centre d’Art Contemporain Genève presents “Walking the Edit“, an innovative system to “walk a movie”. Conceived by Ulrich Fischer, the system allows the user to create an individual video using already existing images that are connected to a certain place via geotagging. Depending on which route one takes and how fast the user walks, an individual movie is created.

Technically, “Walking the Edit” is based on GPS, geotagging, iPhone app and iPhone. By walking through the streets, the iPhone reveals and collects the audiovisual memory of the place. While walking you hear the movie that you are just editing. Once the movie is finished, you can watch it online on the website and share it with other people.

The above video is an excerpt. Hit the jump to watch the full-length video.

Ulrich Fischer: Walking the Edit. Interview with Ulrich Fischer. Image-Mouvement, Centre d’Art Contemporain Genève, Geneva / Switzerland, December 8, 2010.

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Full-length version:

Ulrich Fischer on Walking the Edit:

“At the end of the road: the film…
The artistic aim of the project is to enable the creation of non-fictional films through a recorded and then analysed walk. In short, each trajectory made by a visitor creates a digital trace which, once analysed by our “editing engine”, will generate an individual and unique film: the reproduced reflection of the recorded path. An important issue for the project is to encourage a non-specialised public to play with the media (the content) and the system (the form). Despite the complexity of the concept and of the interactions between the parts of the system, access to the “nerves” of the project must be as recreational and immediate as possible.
First comes the experience, both intuitive and free from a need to control, then watching the result makes it possible to “digest” and, ideally, to make one wish to plunge once more into the urban space for a new trajectory.”


December 26 2010

Fyodor Pavlov-Andreevich: The Great Vodka River / Installation and Performance

One of the largest and most popular artworks that were presented within the framework of the Art Public sector of Art Basel Miami Beach was mixed-media installation and performance “The Great Vodka River” by Russian artist Fyodor Pavlov-Andreevich.

Fyodor Pavlov-Andreevich has conceived a scaffold-like structure the artist considers as related to constructivist ideas of the 1920s and later 20th century responses to constructivism, such as the Centre Pompidou. The structure houses an aluminum gutter in which the vodka river is channeled down. The vodka rushes downwards, following the winding of the stairs. The text handwritten by the artist on the sidewalls of the gutter is from the storyline Fyodor Pavlov-Andreevich has invented for the project. It involves a the weeds, bacteria, fish, animals, and nymphs that inhabit the Great Vodka River.

VernissageTV documented the project during a performance that was part of the work and that took place each day of the presentation at Art Basel Miami Beach. The “Nymphs of the Great Vodka River” perform a ritual that involves descending the stairs with empty aluminum buckets and ascending them again with buckets filled. The above video is an excerpt, the full-length video (14:00 min.) is available after the jump.

Fyodor Pavlov-Andreevich: The Great Vodka River. Installation / performance, presented by Luciana Brito Galeria, Sao Paulo, Art Public, Art Basel Miami Beach. Collins Park, Miami Beach / USA, December 4, 2010.

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Full-length version (14:00 min.):


December 07 2010

Interview with Konstantin Grcic, Designer of the Year 2010 / Design Miami, Miami Beach

The design fair Design Miami has selected the German designer Konstantin Grcic as this year’s recipient of the Designer of the Year Award. The fair has commissioned him to produce a new piece for the fair, and presented an exhibition of highlights from Konstantin Grcic’s career, curated by Grcic himself.

In this conversation with VernissageTV’s Sabine Trieloff, Konstantin Grcic talks about “Netscape”, the installation he has created for the fair, and his career. The above video is an excerpt, focusing on “Netscape”. The full-length version is available after the jump.

Konstantin Grcic is one of the world’s most influential designers. In 1991 he founded Konstantin Grcic Industrial Design (KGID). The design studio has worked in fields ranging from furniture and product design to exhibition design and architecture-related commissions. Konstantin Grcic’s products have received numerous awards including the Compasso d’Oro for his Mayday lamp in 2001. His designs are part of the permanent collections of museums such as the Museum of Modern Art in New York, the Centre Georges Pompidou in Paris and the Neue Sammlung in Munich.

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Full-length version (17:07 min.):

From the press release (pdf)
:
In keeping with Design Miami/ tradition, Grcic has created an installation for this year’s fair. His piece, entitled Netscape will be presented in an outdoor area in the courtyard of Design Miami/’s Temporary Structure designed by New York-based design studio Moorhead & Moorhead. Given flexible boundaries for the commission by Design Miami/, Grcic chose to create a functional work that visitors to the fair will be able to interact with directly. Playing off this year’s tent design, Grcic created a six-point star-shaped structure from which seats made of netting will besuspended. The hanging chairs will rock slightly when used by visitors and will create a space for guests to engage with one another before entering or leaving the fair. Netscape will seat 24 people at a time.

“When I first looked at the design for this year’s Temporary Structure, there was this beautiful part of the tent, just before the entrance,” says Konstantin Grcic. “I knew that I wanted to create something special for the fair—something functional, but also something that incorporated my ideas of what a place like Miami is like in December. The idea for the commission was fairly immediate because the tent design by Moorhead & Moorhead really lent itself to a project like this. It’s a space for people to enjoy.”

In conjunction with Netscape, a small exhibition of Grcic’s work will also be on display inside the fair, near the show’s entrance for Design Talks, the forum for exploring contemporary design practice and collecting. The works in the exhibition, chosen by Grcic himself, will include his favorites, along with seminal pieces from throughout his career. Among the designs on display will be the Blow Table for Established & Sons (2010), the Miura Bar Stool for Plank (2005), and the Tip Waste Bin for Authentics (2003), among others. The fifteen works in the exhibition will be placed on readymade modeling stands placed in front of large-scale digital images taken in Grcic’s studio.

“I wanted to create a display that celebrates the objects that allowed me to win this wonderful award,” says Grcic. “When you place furniture on the floor, people try it out. When you put it in a display like this, it changes the context. We chose to display these 15 pieces in front of images of the studio as a way to invite people into our world. You see the ‘mess’ behind what we do, but also the inspiration.”


December 06 2010

Interview with Beatriz Milhazes / Fondation Beyeler, Art Basel Miami Beach 2010

From January 29 to April 25, 2011, the Fondation Beyeler in Riehen near Basel (Switzerland) will present a solo show with works by Beatriz Milhazes. The exhibition will comprise four monumental paintings, a selection of her major collages, and a mobile.

As a teaser for the upcoming exhibition project, the Fondation Beyeler presented a floor work at Art Basel Miami Beach that covers the whole floor of the booth and for the first time features Beatriz Milhazes cermic tiles.

VernissageTV met with Beatriz Milhazes in Miami to chat about her upcoming show. In this conversation with Sabine Trieloff, the Brazilian artist talks about her project for Art Basel Miami Beach und the upcoming show at the Fondation Beyeler.

Interview with Beatriz Milhazes / Fondation Beyeler, Art Basel Miami Beach 2010. December 1, 2010.

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More info (from the press release):

Beatriz Milhazes is one of the most respected Brazilian artists on the contemporary art scene. The underlying motifs of her work draw on the rich, tropical landscape and the history and culture of her native country, resulting in vibrantly colored paintings. The artist’s formal references, however, play an equally significant role, especially those to early 20th century European modernism. While painting forms the center of gravity of her activity, Milhazes also devotes herself to collages and prints.
 
From January 29 to April 25, 2011, the Fondation Beyeler will present an exhibition project by Beatriz Milhazes, comprising four monumental paintings, a selection of her major collages, and a mobile.
 
The paintings, executed specially for the show, are devoted to the four seasons. Milhazes’s unique painting technique is based on decalcomania. Due to the re-employment of the foils she uses to apply paint to canvas, each painting, like a palimpsest, bears traces of earlier works. Arabesques, floral ornaments, geometric shapes, rhythmical patterns in brilliant colors suffuse her compositions. In her collages, she obtains analogous effects by means of candy wrappers, monochrome colored papers, and patterned, glossy or fluorescent paper. The materials used in the mobile, too, comprise simple decorative elements of the kind that adorn floats in Carnival parades.


November 15 2010

Frank O. Gehry Since 1997 at Vitra Design Museum

The Vitra Design Museum is the first building that Star Architect and Prizker Prize-winner Frank O. Gehry realized in Europe. In total there are four buildings by Frank Gehry in the Basel region: the Vitra furniture factory and the Design Museum in Weil am Rhein, the Vitra headquarters in Birsfelden, and the building on the Novartis campus in Basel. Thus the Design Museum is the perfect location for an overview of Gehry’s most important projects since 1997.

On display are 12 projects, displayed in the form of large competition models, original drawings by the architect, and developmental models from the Gehry Partners archive. Among the projects shown are the Guggenheim Museum in Bilbao, the Walt Disney Concert Hall in Los Angeles, the Guggenheim Abu Dhabi Museum, the DZ Bank Building in Berlin, the Neue Zollhof in Düsseldorf, the AGO Art Gallery of Ontario in Toronto, the Ray and Maria Stata Center in Cambridge, Massachusetts, the Jay Pritzker Pavilion in Chicago, the Fondation Louis Vuitton in Paris, the IAC Building in New York, and the Beekman Street Housing skyscraper in New York.

On the occasion of the exhibition, VernissageTV met with Jochen Eisenbrand (Curator, Vitra Design Museum). In the above video (excerpt, complete interview after the jump), Jochen Eisenbrand talks about the concept of the exhibition, the importance of Frank Gehry’s work for architecture, how he got the commission to build the furniture factory and the Design Museum for Vitra, and the “starchitect” phenomenon and the “Bilbao Effect”.

Frank O. Gehry Since 1997 at Vitra Design Museum. Interview with curator Jochen Eisenbrand, November 9, 2011.

For the full-length version of this episode and photo galleries hit the jump.

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

Frank O. Gehry Since 1997 at Vitra Design Museum. Interview with Jochen Hildebrand (Curator, Vitra Design Museum). Full-length version:
Frank Owen Gehry was born in 1929 in Toronto, Ontario. The Canadian-American Pritzker Prize-winning architect lives and works in Los Angeles, California. His buildings, including his private residence, have become tourist attractions, such as the Guggenheim Museum in Bilbao, Spain.

By the mid ’80s, his work had attracted international attention and he was commissioned to build the Vitra furniture factory in Basel, Switzerland, as well as the Vitra Design Museum in Weil am Rhein, Germany. These projects established him as a major presence on the international architecture scene.

A catalogue has been published to coincide with the exhibition and familiarizing readers with all of Frank O. Gehry’s and Gehry Partners’ projects since 1997. The exhibition is organized and produced by La Triennale di Milano. It is conceived by Germano Celant in collaboration with Frank O. Gehry and Gehry Partners, LLP. The exhibition design is by Studio Cerri & Associati.

Photos of the exhibition Frank O. Gehry Since 1997 at Vitra Design Museum:

Photos of the Los Angeles Philharmonic Walt Disney Concert Hall by Frank Gehry:


October 04 2010

Kalup Linzy: Fantasies, Melodramas, and a Dream Called Love / ltd los angeles

Currently the gallery ltd los angeles presents video and performance artist Kalup Linzy’s first solo Los Angeles exhibition, titled Fantasies, Melodramas, and a Dream Called Love. The show features three videos, Keys to Our Heart, Melody Set Me Free (the series Episode 3), Lil’ Myron’s Trade, new works on paper and film stills. The above video shows impressions of the opening and the performance by Kalup Linzy. The exhibition runs through October 23, 2010.

Kalup Linzy, along with some 67 other artists, also participates in the quintennial exhibition Greater New York, organized by Klaus Biesenbach, Connie Butler and Neville Wakefield at MoMA PS1. The exhibition runs through October 18, 2010.

Kalup Linzy: Fantasies, Melodramas, and a Dream Called Love / ltd los angeles. Los Angeles, September 18, 2010.

PS: Kalup Linzy’s channel on YouTube: Click here!

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Full-length version:

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September 09 2010

Topotek 1: Sports Facility Heerenschuerli / Interview with Martin Rein-Cano

In collaboration with Dürig Architects, the Berlin-based landscape architects Topotek 1 designed one of the largest sports facilities in Zürich, Switzerland. The sports facility is located between a nature reserve, a highway crossing, residential housing and large-scale industrial buildings. It comprises twelve football fields and a baseball field complemented by three buildings: an ice-rink, a locker-room building and a workshop.

In this video, Topotek 1 principal Martin Rein-Cano talks about the design concept of the Heerenschürli sports facility. In the full-length version of this episode (available after the jump), Martin Rein-Cano and Jean-Pierre Dürig of Dürig Architects give us an extensive insight into the project and their collaboration.

Topotek 1: Sports Facility Heerenschürli, Zürich / Switzerland. Inauguration, August 21, 2010.

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Full-length interview (21:28 min.):

“The playing fields are all surrounded by high fences, giving the sports arena its architectural status and urban poignancy. The fences form diverse spatial sequences mediated along a simple path layout. The determi- nant connecting function of the orthogonal path axes is interwoven with the sensuality of sport and connected with the spatial and functional core of the complex over a series of rows of trees, avenues and accent-setting groves. The overlapping transparency of the fences creates a unique visual dynamism which is further amplified by the materials used in their construction: the two-ply, wire-mesh walls in various green tones produce a moiré effect which makes the overlapping of the various spatial layers a part of the mise-en-scene of the relationship between athletes and spectators.” (Excerpt from the press release).

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September 08 2010

Deitch Art Parade New York 2007 / Remaster/Remix

One of the many highlights of the 5 year long adventure called VernissageTV was attending the Deitch Art Parade in New York today three years ago, on the 8th September 2007. In addition, the video is one of the all time favorites of the VernissageTV’s viewers. That’s why we thought it would be a good idea to make them and ourselves a gift and remaster, reedit and republish the footage in HD. This is the result. Enjoy!

Deitch Art Parade 2007, New York, September 8, 2007. Remaster-Remix.

PS: Video in full length after the jump!

PS: Yes, this is a piece of nostalgia, but maybe some day we see an Art Parade in LA?

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Full-length video (27:08 min.):

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August 13 2010

Less and More. The Design Ethos of Dieter Rams

He is perhaps the most influential living industrial designer of modern times and some call him the Godfather of Apple design: Dieter Rams. For design addicts the similarities in the design philosophy of Dieter Rams’ designs for Braun during the second half of the 20th century and Jonathan Ive’s designs for Apple are obvious, but essential parts of Dieter Rams’ design language and philosophy – or ethos – have been adopted by many other designers as well. His 10 principles of good design have led to pieces of industrial design that stand out and became true classics.

Less and More: The Design Ethos of Dieter Rams is a unique retrospective at the Museum für Angewandte Kunst in Frankfurt / Main. It shows more than 500 exhibits, among them the famous Braun SK 4 record player (popularly called “Schneewittchensarg” / Snow White’s Coffin because of the plexiglass hood) that Dieter Rams created in collaboration with Hans Gugelot; the 606 Universal Shelving System for Vitsœ. An important focus of Less and More: The Design Ethos of Dieter Rams is the historical as well as the design context of Dieter Rams’ oeuvre, that’s why the exhibition also shows works by Peter Behrens, Russian Constructivism, De Stijl, the Deutscher Werkbund (German Work Federation), the Ulm School of Design (Hochschule für Gestaltung), Hans Gugelot, Peter Raacke and Richard Sapper.

The above video is an excerpt of an exhibition walkthrough combined with an interview with the Co-curator of the exhibition and Head of Exhibitions of the Museum für Angewandte Kunst Frankfurt, Prof. Dr. Klaus Klemp. In this excerpt, he focuses on the Design language of the Braun product design.

In the full-length version of this segement, available after the jump, Prof. Dr. Klaus Klemp elaborates on the history of the exhibition, Dieter Rams’ work for Braun and Vitsœ, Dieter Rams and his influence on other product designers, and the essence of Rams’ Design Ethos.

Less and More: The Design Ethos of Dieter Rams. Exhibition walkthrough and interview with Prof. Dr. Klaus Klemp. Museum für Angewandte Kunst, Frankfurt am Main, July 29, 2010.

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> dvd-icon.gif DVD available.

Full-length version (24:41 min.):
Less and More: The Design Ethos of Dieter Rams is an exhibition project realized on the initiative of the Suntory Museum, Osaka, and the Fuchu Art Museum, Tokyo. In 2006, the Suntory Museum invited Prof. Klaus Klemp, Head of Exhibitions at the Museum für Angewandte Kunst Frankfurt, to act as guest curator for a major retrospective on Dieter Rams. Carried out in collaboration with the Suntory Museum’s design curator Keiko Ueki-Polet, the resulting exhibition was first shown in the autumn of 2008 in Osaka, then at Fuchu Art Museum in Tokyo, and then at the London Design Museum. An extensive catalogue in German and English was published in December 2009.

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July 09 2010

Billy Childish: Bomb Grammar at la Maison de la Poésie, Basel / Billy Childish in Conversation with Neal Brown

During Art 41 Basel in June 2010, the British artist Billy Childish created a lot of buzz with the presentation of his paintings at the gallery Neugerriemschneider (Berlin). It seems that with this exhibition at an art fair, the cult figure Billy Childish finally reached the attention of the mainstream art lover. From the art magazines’ coverage of the fair (Art Newspaper, Trent Fine Art Advisory, NYT T Magazine Blog, Tagesspiegel, Monopol, Die Welt etc.), we know that he “still managed to find time to take tea with Bianca Jagger who purchased one of his paintings”, and that “collectors such as Francesca von Habsburg fell prey to his works”. The press compared his “van Gogh-on-acid paintings” to works by Nolde and Munch, that he sold one “to go-painting” “after the other”, and that he “seems incompatible with his time”. And they didn’t forget to mention that he had a relationship with artist Tracey Emin and was a co-founder of the Stuckism art movement.

Just a few steps away from the fair, Billy Childish had another presentation in a space that felt like a parallel universe. Titled “Bomb Grammar”, the presentation at Betty Leirner’s “La Maison de la Poésie” focused on Billy Childish’s poetic and polemic text-based works. Curated by the artist Betty Leirner, a selection of sign-written placards, distressed posters, books and other publications by Childish’s publisher and London gallery L-13 have been on display. “These wordworks exude a raw, direct, sometimes brutal, sometimes gentle power that offers both a challenging audacity and an unusual, captivating beauty, ranging from the visionary ‘Unknowable but Certain’ placard to the confrontational and humorous ‘Love the Art Hate / Hate Box’ from last year’s ‘National Art Hate Week‘ as well as material concerning the ‘World Art Hate Day 2010′.” (Excerpt from the press release).

VernissageTV recorded a conversation between Billy Childish and Neal Brown at La Maison de la Poésie. Neal Brown is an artist and writer. He has written for most UK and many international art magazines. He curated the exhibition ‘To The Glory of God; New Religious Art’ at the 2002 Liverpool Biennial, and is author of the book Tracey Emin published by Tate Publishing. Neal Brown has written a critical study of Childish’s working practice (Billy Childish: A Short Study)

The above video is an excerpt. Hit the jump for the full-length version (28:31 min.). See also VernissageTV’s coverage of Billy Childish’s solo exhibition at White Columns in New York in April 2010.

Billy Childish was born in 1959 in Chatham, Kent. In a twenty year period the painter, poet, and song-writer has published over 40 collections of his poetry, recorded over 100 full-lengh independent LP’s and produced over 2000 paintings.

Works curated by Betty Leirner, produced by L-13. Show hosted by les amis de la maison de la poésie, Basel. June 12, 2010.

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Complete interview (28:31 Min.):

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July 07 2010

Galeria Plan B at Liste 15 / Olga Stefan in Conversation with Director Mihai Pop

Plan B is a gallery that opened in September 2005 in Cluj, the main city of the Romanian province of Transylvania. Initiated by Mihai Pop and Adrian Ghenie, Plan B functions as a production space for contemporary art; at the same time it is a research center focusing on the Romanian art of the last 50 years, by revealing works of remarkable artists without previous international exposure. In September 2008 Plan B opened a permanent gallery in Berlin. The new 260 sqm exhibition space is located in a former 20th century industrial building, on Heidestrasse 50. In 2010 Plan B Berlin beneficiates from the financial support of The Romanian Cultural Institute Berlin, within the framework of the strategic partnership between the two institutions.

The gallery is participating in several art fairs, such as The Armory Show New York, Liste Basel, Art Forum Berlin and Frieze Art Fair London. Olga Stefan met with one of the directors, Mihai Pop at Liste 15 in Basel, Switzerland, who gives us some insight into the gallery’s concept and program.

The above video is an excerpt, the complete interview (9:20 min.) is available after the jump.

The name of the gallery – Plan B – is a reference to the general situation of art spaces in Romania: as these are mostly reliant on insufficient public resources, the “plan B” fallback is animated by individual involvement, a different understanding of the institutional and a coherent managerial policy. Plan B was the organizer of the Romanian pavilion at the 52nd Venice Biennale, 2007.

Galeria Plan B, interview with Director Mihai Pop at Liste 15, June 20, 2010.

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

Complete interview:

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May 14 2010

Interview with Dan Perjovschi at Fumetto Festival Lucerne

As part of the Punkte 10 art in public space program of Fumetto Comix Festival Luzern, Dan Perjovschi has been invited to use the Lucerne Theater facade for his popular drawings. In this conversation with Olga Stefan, the Romanian artist talks about why he draws, the ephemerality of art, what he misses in current contemporary art, and why he couldn’t compete with the swans of Lake Lucerne. The video above is an excerpt, the full-length version (9:58 Min.) is available after the jump.

An internationally renowned artist, Dan Perjovschi creates site-specific and ephemeral works of art that are composed of countless images and texts, applied directly onto internal or external architectural surfaces. He gets his inspiration from the context in which he finds himself at the time of the project, and incorporates these local flavors into his personal historical and cultural lexicon. Dan’s biting humor and sharp perception are combined with his extensive knowledge of current events to create profound political and social commentary about the world in general, and contemporary developments and issues in particular.

Dan Perjovschi was born in Sibiu, Romania in 1961. He lives and works in Bucharest. He has shown his work in single exhibitions in institutions such as the MoMA, New York; Kunsthalle, Basel; Tate Modern, London. He was also Romania’s official representative at the Lyon Biennale (2009), Sydney (2008), Venice and Istanbul (2005).

Dan Perjovschi: White on Black. Punkte 10, Fumetto Festival. Interview with Dan Perjovschi at Fumetto Festival Lucerne.

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

Full-length version:


April 01 2010

On Gluttony. Panel Discussion at Independent, New York

“French society, and especially Parisian, is gluttonous,” Claude Lévi-Strauss has famously said, “Every five years or so, it needs to stuff something new in its mouth.”

The same goes for the contemporary artworld: It is about new things to satisfy age-old desires. Is gluttony in art consumption contagious? The panel discussion at the art fair Independent in New York seeks to answer provocative questions on the pleasures and sins associated with art and food, as well as on the artworld’s gluttonous appetite for novelty.

This is an excerpt of the discussion at Independent New York, presented by Kreemart Salon, on March 6, 2010. Moderated by Jovana Stokic, art historian. Introduction by Elizabeth Dee, gallery owner and co founder of Independent. Participants: Raphael Castoriano, art advisor; Will Cotton, artist; Anthony Haden Guest, journalist and writer; Rachel Lehmann, gallery owner; Jennifer Rubell, food artist; Linda Yablonsky, journalist and writer. The complete conversation is available as 720p HD file on USB Flash Drive. Send an e-mail to Karolina at contact at vernissage.tv if you are interested.

On Gluttony. Panel discussion at Independent, New York, March 6, 2010.

PS: Review by Nicole Caruth at Art21 Blog.

PPS: Coming soon: Interview with Jennifer Rubell.

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

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March 30 2010

Environments and Counter Environments: Experimental Media in “Italy: The New Domestic Landscape”, MoMA 1972 / S AM Basel

The exhibition “Italy: The New Domestic Landscape”, curated in 1972 by Emilio Ambasz at the MoMA in New York was a huge success. The show featured a selection of work, theory and historical background of twelve Italian designers and architects at a peak of the Italian radical design movement of the 1960s, early 1970s: Archizoom, Gae Aulenti, Mario Bellini, Joe Colombo, Ugo La Pietra, 9999, Gaetano Pesce, Alberto Rosselli, Ettore Sottsass Jr., Gruppo Strum, Superstudio, Marco Zanuso / Richard Sapper. The exhibition was curated by Emilio Ambasz, who from 1970 to 1976 was curator of design for MoMA in New York.

The current show at the Swiss Architecture Museum S AM in Basel, Switzerland, is an exhibition about an exhibition. It was presented last year in New York at Columbia University’s Buell Center at the Graduate School of Architecture, Planning and Preservation (GSAPP) in collaboration with the Museum of Modern Art (MoMA). “Environments and Counter Environments: Experimental Media in ‘Italy: The New Domestic Landscape’, MoMA 1972” brings together for the first time since 1972 the entire set of films produced for the original exhibition. The related design documents show a range of attitudes toward the conception and theoretical imperatives of the environments themselves and in this respect the current exhibition encounters again medias and environments and their potential for thinking anew the boundaries of architecture, domestic spaces, their conditions and territories. The show has been curated by Peter Lang, Luca Molinari and Mark Wasiuta.

VernissageTV covered the Preview of the exhibition and produced interviews with two of the curators of the show, Peter Lang and Luca Molinari. The interviews with Peter Lang and Luca Molinari are available after the jump (Interviewer: Linda Cassens Stoian, MA (S AM Tours).

Environments and Counter Environments: Experimental Media in “Italy: The New Domestic Landscape”, MoMA 1972 / S AM Basel. Preview, March 27, 2010.

> Right-click (Mac: ctrl-click) this link to download Quicktime video file.
> Click this link to watch Quicktime video in new movie window.

Luca Molinari in conversation with Linda Cassens Stoian, MA (S AM Tours):

Peter Lang in conversation with Linda Cassens Stoian, MA (S AM Tours):

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