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Bayern München. Mainz Schalke Union Berlin. Zweigen vs Matsumoto. Ehime vs Tokushima. Ventforet vs Albirex. Seoul vs Incheon Utd. Busan vs Seongnam.
Montedio vs Tochigi. ThespaKusatsu vs Mito. JEF Utd vs Omiya. Fagiano vs Renofa. V-Varen vs Giravanz. Vejle vs Fredericia. Daegu vs Gangwon.
Aston Villa vs Wolverhampton. Preston vs Cardiff. The video and scent both explore performance as a medium—especially the intimacy of bodies and objects in space—and the act of documentation as a form of memory and translation of a collective experience.
Surname Viet Given Name Nam consists of reenacted interviews with women from various parts of Vietnam and the United States, talking about their everyday experiences and role as women in a patriarchal society.
The stories they tell also address their experiences in the Vietnam War, subsequent displacement, and life in the diaspora.
In its critique, the film pays homage to the multiplicity of stories and subjectivities of women of color. It is split into two parts.
Part 1 focuses on the modernist idea of progress and part 2 centers around the aftermath of colonial violence. The turning point of the film is marked by a scene where Zett encounters a fragment of the Berlin Wall in Rapid City, South Dakota, as part of a monument for the US-American victory over socialism.
In the video, footage of the artist climbing large mounds of small rocks while spray painting short verses and questions onto their surfaces is interspersed with found footage of protesters painting on the east side of the Berlin Wall shortly after it was opened in November Engaging deeply with questions of materiality and re production, Burns examines how power is connected to the body, its functions, physiological processes, sensations, and pleasures.
For Burns, the body is not an object with inherent boundaries and properties but multifaceted and porous, permeating and penetrated by its surroundings.
These inquiries take shape as visually seductive and socially critical videos, sculptures, writing, sound, drawings, and collages.
Conceived as a non-linear and layered narrative, this series envisions a world wherein boundaries are fluid and hierarchical relations permute.
This cycle of works playfully corrupts science-fiction tropes exploring the intersection of politics and fantasy to build idiosyncraticallegorical imagery.
Burns deliberately locates the work in a speculative present filled with the detritus of everyday life. The works challenge long-standing assumptions about social orders, marshaling familiar images and objects to ask how value is assigned to resources, how marginalized bodies navigate a fraught social reality, and how different forms of matter come to matter.
In addition, the exhibition will include twenty-one collages related to the series, a new film observing a total solar eclipse, and an experimental sound work presented as a vinyl record.
Steiner, Community Action Center , 15—17 November , a. A talk with A. Burns and curator Lisa Long , 16 November , p. The series is being introduced by a tribute to three female artists who have recently passed away: Lutz Bacher, Barbara Hammer, and Carolee Schneemann.
The U. American artist Lutz Bacher who, since the s, had concealed her identity behind a male pseudonym used a deliberately unaccommodating approach in her frequently parodic art to forego it being categorized within a feminist context.
She employs imagery and text from popular culture in her objects and time-based work, which by means of deconstruction and alienation broaches central questions concerning authorship, power, and the influence of mass media on society.
However, it is in fact hard pornographic imagery that is on display, once again denying the viewer the opportunity of ascribing any specific classification to the work.
The filmmaker Barbara Hammer is one of the pioneers of queer cinema. Her experimental films evolved from the notion that conventional narrative film is too limited to be capable of representing homosexual reality in general and her lesbian one in particular.
Her documentary and experimental films are regarded as one of the earliest and most wide-ranging representations of lesbian identity, love, and sexuality.
In a montage comprising film footage of both women swinging on the trapeze, Sandgreff performing acrobatic dance moves, and also including private photographs, the film traces the relationship from its intense beginnings, via alienation to the eventual end of their love.
Carolee Schneemann, in her performative, kinetic painting and experimental practice, opened the social discourse around physicality and gender roles earlier than many other female artists.
The act, which she filmed herself, has been collaged with color overlays and burn marks that have been inscribed into the film over time.
All three artists were pioneers in their respective fields. All three died this year, in their seventies. Serpent Rain and 4 Waters: Deep Implicancy by Arjuna Neuman and Denise Ferreira da Silva are grounded in experimental and collaborative research on migration, displacement, resource extraction, and colonial legacies, as well as quantum physics, blacklight, and cloud subjectivity a concept developed by Neuman in response to the resurgence of nationalist and racist claims on the sovereign body and state.
The artist and philosopher are interested in the politics and poetics of the moving image, focusing on the tensions between what is seen and remains opaque, what seems solid but is in transition.
In Serpent Rain Neuman and Ferreira da Silva interlace long landscape shots with images of riots in London, Ferguson, and Baltimore; found footage from promotional videos by Statoil, a Norwegian public oil company, and The Secret Life of Plants ; images of drawings or paintings of slave ships i.
They highlight the shifting states of the elements and how on a planetary level humans are enmeshed with the elements. Expanding notions of linear time through residence time which describes the amount of time a material stays in a volume of water or liquid , Neuman and Ferreira da Silva consider the circulation of decomposed matter of bodies that have died crossing the ocean; the matter that is ingested by fish and then humans, or has evaporated, becoming clouds and then falling back to earth as rain.
Continuing their inquiry into the elements air, fire, earth, water , matter, and on the displacement of peoples, in 4 Waters: Deep Implicancy , the Mediterranean, the Atlantic, the Pacific, and the Indian Oceans become guiding bodies through which the artists navigate historical and current racial injustices and impending ecological catastrophe.
In 4 Waters , the first iteration of a series of works each focusing on one element, they asked themselves how to make a film outside of the existing visual regimes of transparency, turning toward opacity and blacklight ultraviolet light as method instead.
Arjuna Neuman is an artist, filmmaker and writer. Her art-related work includes texts for publications linked to the Liverpool and Sao Paulo Biennales, advising Natasha Ginwala, the curator for the Contour 8 Biennale Mechelen, Alongside existing paintings and sculptures, the exhibition features new videos and virtual reality works, a site-specific livestream installation, and a soundtrack produced in collaboration with Milo McBride.
Both definitions imply spatial demarcation—gestures whose benevolence and violence depend on context and point of view. For Johnson, language is not supplemental but an integral part of each piece—it is just one of the many found, appropriated, recombined, and composed materials he uses to ask questions about agency and power.
In this collision of language, object, and viewer, Johnson explores complex hierarchies that structure our societies, challenging their legitimacy and legibility.
He does so by introducing radical subjectivity and intimacy to the work and by indulging in moments of ambiguity and ambivalence. Through language, Johnson draws attention to the often invisible but acute violence that permeates his—and our—lived experience.
Meaning, however, is obscured and continually deferred; each articulation is thereby also an act of refusal: a refusal to comply and a refusal to disappear.
Instead there is a desire to overcome the binding states, the containers, and categories that define our current moment.
I forgot! The current iteration of the poem determined the length of the film as well as its rhythm. During the editing process, Williams let the rhythm of the language and the images captured by his collaborators guide his own movements in VR to determine the final frame, which is then exported in ratio.
Although Williams was present during the filming, he handed the camera to his collaborators, who walked, ran, and rollerbladed across the city of Bissau, the capital of Guinea Bissau, as they might do on a daily basis.
The viewer is instead nonchalantly invited to tag along while the actors move through their familiar surroundings.
The film begins underwater, off the coast of Vietnam and ends high up in the sky overlooking a desolate suburban landscape of unfinished, empty homes.
As the film unfolds it presents a slow and gradual ascent, an intentional shift of position and point of view. In comparison, Pude ver un Puma Could see a Puma is distinguished by downward movement from start to finish.
In this film, a group of young men descend from rooftops to traverse and explore a deserted and devasted landscape until they suddenly disappear, seemingly swallowed by the earth.
The idea for this exhibition was developed in collaboration with Chinese artist Cao Fei and scientist and curator Yang Beichen.
According to curator Yang Beichen this is an obvious analogy, as metallurgists are not only guided by the specific properties of various materials and their processing, and indeed in their works also hybridize and meld a wide variety of contemporary themes.
What the exhibition attempts to show is the working itself. The result is an exhibition featuring 16 works by eight contemporary artists from China who reflect on their pluralistic and global worldview while simultaneously demonstrating that the view of classic China shaped by exotic Orientalism has become obsolete.
Many of the works mirror this new reality by visualizing the multi-dimensional nature of time.
Through this deceleration the artist makes palpably clear his own view of society and visualizes the downsides of global capitalism.
In his work the artist takes up a central topic of his: the means of production and communication typical of capitalism. Zhu Payne has produced a promotional film about a fictional sports brand, whose name LIKE is modelled on NIKE, to take a critical yet humorous swipe at the global player.
He has designed a logo and sports clothing and has African immigrants act as brand ambassadors for the fictional brand, parodying the way African-American athletes feature in commercial advertising.
The artist Fang Di comments in his work Hit Me! It is typical for the artist to embed contemporary topics in a new context.
They reveal not only which marginal areas the artists operate in, but also how they strive to open them up. Order now. As a singularly holistic technology, video has maintained its status as the most popular medium.
In the last decade the distribution of video has become simpler in terms of access, and more complex as regards the mode of distribution itself.
The technological advances that account for these changes pervade artistic practice particularly, pragmatically as well as conceptually: Not only new reflexively approached formats abound, but new modes of behavior, communication and forms of representation, forms that are able to decisively alter our perception.
However, this holds true not just for data formats or material media, but also manifests itself in an ideological sense in politics, culture, nature, from one generation to the next.
Formally, the exhibition will very visibly connect works, in a sort of straightforward, socially demonstrative way: projected works will be screened in choreographed sequences and in proximity to one another.
This will be partially achieved using acoustic glass to divide the works and effectively block sound leaks, but allows you to see through to other spaces, works.
We plan to pretty much do away with the preeminent, isolated black box of video installation. No work alone, all works in relation.
The term means first and foremost the process of data quality deterioration that results from changing technologies.
This loss of quality, at the same time, also materializes in an ideological sense in the social change from one generation to the next.
The catalogue takes up this question and addresses how the reception of the moving image has changed from the nineteen-seventies until today.
In addition to video and film stills, the catalogue also includes historical material about the works presented as well as installation views of the exhibition.
The filmmaker and author is considered a critical observer of our globalised world in the digital age. Her artistic practice precisely describes the fluidity and mutability of images — starting with their production and translation through to their interpretation and circulation.
In Factory of the Sun Hito Steyerl links the symbolically charged power of the sun with the enormous power of our current digitalised reality.
In the installation, Steyerl uses the motif of sunlight allegorically to represent a complex exploration of everyday and surveillance technologies in order to tackle the dialectic of freedom and incarceration.
Chan assumes that in the areas of technology and culture there are many missed opportunities for critical analysis of power and identity.
Thus the individual positions point to a subtle, postcolonial discourse on the intersections of ethnicity, gender and contemporary work conditions.
On the occasion of the exhibitions a bilingual brochure was published with texts on individual works. A large number of female artists used video, which was then still a new medium, to document their performance-based works.
In the process they elaborated a genuinely artistic approach and aesthetic. These works have emancipated themselves from direct self-observation.
From a more distanced viewpoint, femininity and masculinity are renegotiated in the media lifeworld, in filmic archetypes and in performance-based activities.
Cyprien Gaillard often starts a new work by seeking out artefacts, monuments or architectural creations which seem to have lost their significance in the present time.
His nomadic gaze takes in backdrops both urban and natural, manicured or wild, focussing on spots where beauty has evolved from decay or where violence has left scars on the landscape.
Thus the artist vividly depicts the times and places where our present-day economic and cultural needs interact with architectural legacies or the cultural heritage of a region.
The exhibtion was accompanied by a public program consisting of lectures, as well as the monthly STUDIO 54 film program, for which Gaillard selected other film positions.
The highlight of the exhibition was the 3D film Nightlife Nightlife was on show there from 30 January to 3 April On the occasion of the exhibition a bilingual brochure was published with texts on individual works and an essay by Natalia Valencia Arango Independent curator based in Mexico City , including an in-depth discussion of Nightlife.
Wu Tsang is interested in the formation of identites and the coding of social communities. A day in the life of bliss tells the story of Bliss, a performer celebrated as a Pop star, in the style of a science fiction scenario.
Bliss lives in the near future, in a world dominated by totalitarian surveilance systems. Bliss has an ambivalent relationship with her own fame and leads a subversive double-life in the underground scene.
Bliss is played by American performance artist boychild. Her androgynous physique and the expressive force of her dancing counters the overwhelming loss of the physical and the de-personalization of social contact.
The two-channel video installation is doubled by two large format mirror screens, one of which is a two-way mirror.
This performance is incorporated into the plot of A day in the life of bliss as a dream sequence. The presentation comprises works from the collection ranging from moving image, photography, sound installation to sculpture.
The ensemble is creating a space saturated with a potential for transformations and reconfigurations of the senses, of realities. In continually fluid interactions between the material and the immaterial Donnelly generates moments of absolute concentration.
Since , Elizabeth Price has mainly worked with digital moving images. The key focus of her conceptual, institution-critical works has been to examine the significance of cultural artifacts, collections and archives.
Each work initially arises from an idea on a place and its history. In an analytical approach to the location, Price then explores the broadest variety of different sources of material and devises dramas to occur in that location, which feature no direct human action.
Instead historical artifacts, archival images and documents are used to enact social occurrences and play out collective fears and desires.
Images, texts and sounds are composed in episodes that we migrate to through sections variously reminiscent of pedagogic lectures, cinematic melodrama or commercial advertising.
In this process-based practice, categorizations and referential systems shed their original meaning, develop a life of their own, and expand in time and space through the rearrangement by narration in video.
The scenography of the exhibition corresponds to the videos in that it unfolds in a special rhythmic sequence that includes the interiors and spatial elements of the installation.
The show was accompanied by a comprehensive line-up consisting of STUDIO 54, a film program compiled by the artist, a multi-part concert series entitled The Architecture of Sound and a lecture by the artist 23 January , p.
Djurberg born in Lysekil, Sweden creates animated films that fascinate, amuse, disturb and shock.
In her work she looks at the dark side of the human psyche — running through the whole gamut of perversions, sexual violence, fear, arrogance and vanity in a way that is both full of irony and at the same time almost painful to watch.
While Greed alludes with Biblical symbols to power, greed and sexual violence within the Catholic Church, Cave and Forest focus on issues of exhibitionism, voyeurism and sadism.
At first glance, the colorful figures in painted scenery suggest a cute, funny scene. But the idyll is deceptive: Behind the facade, a world seemingly beyond good and evil comes to light, revealing the abysses of society in a brutally honest fashion.
The Plasticine figures live out their sexual desires or are tortured with great brutality. In this way the scenes trigger in the viewer both a sense of fascination with something forbidden and at the same time kindle a sense of repugnance.
The exhibition was supported by Julia Stoschek. The artist was no stranger to controversy as early as the s and s. The works she recreated, including pieces by Marcel Duchamp, Andy Warhol, Jasper Johns and Joseph Beuys were later often considered iconic masterpieces.
In the age of the digital revolution, she first of all noticeably acts at one remove from the original. She feels the idea of handmade repetition is outdated.
The inclusion of images from the mass media and her own filmed material have given rise to an increasing number of time-based works since With the aesthetic and formal possibilities offered by the World Wide Web she analyzes the origins of knowledge, art and culture, and addresses the question how they can be produced and shared.
Presently the work is considered crucial and dynamic towards our present cybernetics world with its digital implications and the question of what constitutes the original in a cyber-reality characterized by simulacra.
For decades, she has commented on the art currents of that particular time, demonstrating to this day extraordinary farsightedness in both art-historical and philosophical terms.
On the occasion of the exhibition a bilingual brochure was published. In their multi-disciplinary approaches, Ed Atkins and Frances Stark reflect the change in how artists define forms and the discourse of representation in the world of media images.
The work of both artists, each of whom is also active in literature, is characterized by an exploration of the various interactions between image and text.
By means of state-of-the-art computer technology they weave a complex fabric of signs, text fragments and autobiographical references that then enter their visual pieces as hypertext.
The exhibition will focus on video installations, with collages, conceptual wall pieces and sculptural objects rounding out the selection.
The exhibition concept centers on sequences of individual rooms to broach a dialog between the two artists.
The configuration of works highlights the transformation of the classical moving image into digital image production processing.
He primarily explores the one-sided focus on technical perfection in image quality as opposed to the fact that the media formats can no longer be grasped haptically.
Given the consequent de-corporealization, in his installations Atkins seeks to develop an aesthetic of disappearance, taking as his leitmotifs illness and death.
For her art projects, Frances Stark relies on a self-created and multifaceted system of references that above all stem from questioning the notion of authorship and her own artistic creative process.
Her work cuts across genres and expresses a tussle with words and their meaning. Short quotes, music, literature, pop culture, autobiographical notes and events all serve as the basis for her video installations, performances, sculptures and works on paper.
On the occasion of the exhibition a bilingual brochure was published with texts on individual works.
A key starting point for the exhibition, and one of immense historical importance, is the work of US underground artist, performer and filmmaker Jack Smith born in , died in ; his scandal-sparking film Flaming Creatures is the source of the title of the new presentation.
Flaming Creatures is a surrogate for something that manifestly materializes as an extreme, excessive and exuberant element in the positions taken by the individual artists.
In this context, Jack Smith should be seen not as the source of the idea, but as a key position in a critical enquiry into reality and fiction, identity and gender.
An appropriation of fictitious realities or creaturely processes is common to all the works represented in the show. By using disguise or clown-like exaggeration the artists involved create a new dimension, one not limited to film and instead also including a physical level.
Moreover, a conscious addressing of pop and trivial culture is a further connecting element. Size: 21 x 27 cm.
ISBN Sold out! In seeking out Modernism, artists and intellectuals around the turn of the century developed new styles and forms that broke with tradition and were said to have left behind a conservative Europe and its historically oriented art.
The show features 44 works by 35 artists in all, including many that have never been shown before, works acquired in the past few years and site-specific spatial interventions.
Each work is presented in its own, carefully elaborated setting. Rather than being organised around a single theme, the exhibition picked up on several content strands and reflects current themes in contemporary art.
His films not only document his sometimes anarchic activities, they also map the city as an urban space in all its many facets and are all that remains of his processive interventions.
In his photo animation made up of 7, individual images, Tobias Zielony documents the Le Vele Di Scampia urban housing project, built by architect Francesco di Salvo in the 60s.
This complex in a suburb of Naples has now achieved tragic notoriety as a mafia stronghold. Donning the hat of a documentary filmmaker rather than that of an archaeologist, Gaillard shows American students celebrating spring break with excessive binge drinking against the impressive backdrop of a hotel complex, which imitates Mayan pyramids — thus confronting viewers with the banalisation of culture.
Just before it reaches the top the band stops playing and the car rolls back down the hill, meaning that it has to start all over again.
The video is an existential metaphor for the political situation in Mexico and for the economic discrepancy between the country and its larger neighbour, the United States.
The second exhibition area marked a break from the dominance of filmic works. And these insidious changes are not obvious simply from looking at the page.
The oversized reproduction of the photographed page also breaks with the conventional perception of art.
His works constitute hermetic, self-referencing, humorous or profoundly poetic representations of an abstract version of his biography.
They consist of various components and are resonant with deep emotion and melancholy. Wekua has his alter ego — a boy wearing a mask — set out in search of traces of his childhood within a nightmarish setting.
The video does not tell a straightforward story; its bizarre images and colours are more reminiscent of dream sequences. In his two channel video installation American Car — , Claerbout confronts the viewers with two projections they cannot see simultaneously.
The first shows the interior of a car; two men seen from behind stare out of the window as rain drums on the windscreen.
The second shows the car from the outside, standing all by itself in the middle of an unspecified landscape.
The viewers visit the two rooms one after the other, so that the period of time between viewing the two screens reflects the time represented in the film.
This allows viewers to leave the traditional perspective of the moviegoer behind and step inside the film. The illusionary movie space thus merges with real space, an effect that is subtly enhanced by the use of two audio channels, which unsettles the viewers, making them feel uncertain as to where exactly they are positioned.
Claerbout throws a questioning light on the moving images of the film medium from the perspective of photography and by exploiting the editing options available to him.
Screen 2 does not display an actual film, but a montage of digital photographs. Essay by Mark von Schlegell.
Rather than a thematic concept, the forty-four works by thirty-five artists follow various content-related threads that reflect topical themes of contemporary art.
The British painter, film maker, set designer and writer Derek Jarman — is best known to the wider public primarily as the director of stylistically influential feature films and music videos from the s and early s.
Less well-known, but vital to his oeuvre, are the over 60 Super8 films that Jarman filmed from until his death in The 24 digitalised films from the Super8 archive, complemented by a 16mm sound film and the BlueRay version of a 35mm feature film, are distributed over both floors of the exhibition space as well as in the basement cinema.
To begin with the first floor contains 12 films covering the social and sub cultural world of Jarman and his circle of friends.
The overlapping of documentation and staging is constantly fluid here and this is further reflected stylistically in the works.
Two sound films, presented individually, break this sequence: in the first space TG: Psychic Rally in Heaven , an early music-video experiment, originally recorded on Super8 for the British industrial-music group Throbbing Gristle, and in front of the second space, Imagining October , which will be shown — not least because of its references to Sergei Eisenstein and Soviet film — in its original format, as a 16mm sound film.
On the second floor 11 films from the group of works covering rituals, mythology and landscape were on display. The works were deliberately presented in the completely open space surrounding the centrally placed, boxed projection of Art of Mirrors I-III Between them, the various works from to generate panoramically stylistic and content-based references.
Foreword by Julia Stoschek and Philipp Fürnkäs. Text by Jon Savage. Size: 16,4 x 21 cm. British painter, filmmaker and author Derek Jarman is widely known for his groundbreaking and hugely influential feature films and music videos.
However, the Super8 films he made in the s and 80s, although less well known, occupy an equally significant place in his oeuvre.
Some of the works have been developed especially for the programme. Agar Agar. The exhibition documents the past hundred years of performance art.
The content and number of exhibits will vary depending on the specific location. The exhibition will also establish connections to the local performance scene in each city.
The project is organised by P. Cao Fei is one of the most important Chinese artists of her generation.
Born in Guangzhou in , she grew up in a world of advertising and electronic entertainment.
Fascinated by the vibrant nature of consumer society, she developed an idiosyncratic visual language that playfully, ironically and humorously juxtaposes how we imagine, desire, criticise and enjoy reality, thus blurring the boundaries between reality and fantasy.
In her diverse work, which ranges from photo series, films, performances and installations to prose and plays, Cao Fei seeks above all to investigate the rapid social and cultural changes revolutionising China as well as the new generation of Chinese teenagers.
Workers were interviewed individually about their secret dreams, career ambitions, goals and personal beliefs. Here Cao Fei exposes the underbelly of globalisation, which is changing both the Pearl River Delta and China as a whole, and investigates the implications for individuals and their role in society.
Additional to the video the photographs show their cramped, shabby apartments where there is almost no personal space as each worker is only allocated a space in a multi-tiered bunk bed.
In her works I. Over 15 million users have signed up for this 3-D internet-based world since and each user has an avatar, a computer-animated digital alter ego that they can style and control, enabling them to visit existing environments in Second Life, talk with other users, earn virtual money and even start up a virtual business.
Mirror is divided into three parts that portray both the beauty and excess of this virtual world.
The fantasy world ultimately seems a cold and lonely place. The I. Mirror project came to an end in when the video trilogy was presented at the 52nd Venice Biennale in the Chinese pavilion.
RMB City RMB is the abbreviation for the Chinese currency Renminbi reflects the current wave of urbanisation sweeping China as well as the rapid social and cultural changes taking place there.
The virtual construction of the city was completed in late and the buildings in RMB City www. In each city she transformed people from different national, social and cultural backgrounds into hip-hop dancers in an attempt to break down the rigid barriers between the media-dominated world of the younger generation and the everyday lives of the older generation.
In Hip Hop Guangzhou Cao Fei plays hip-hop tracks to grocers and builders and introduces them to the basic dance steps, which are in fact reminiscent of the traditional formation dances performed by Chinese workforces.
The exhibition focuses on corporeality in videos, installations and photography, an aspect of art that has been explored intensively since the s and s, in particular within the genres of Body Art and Performance.
The 54 works in the show were selected to shed light on the themes of self-dramatisation, pain, transformation, physicality in the sense of a plasticity that can be experienced as a real, external phenomenon, and also fragility in a literal way.
Although the exhibition is unified by these overarching themes, it also allows viewers to discern the positions of the individual artists, since most of them are represented by several pieces.
Thus Art-Make-Up No. Technological advances in film and video and the development of closed-circuit installations in the s made it possible for artists to record their actions on film, to observe themselves in a mirror at the same time and even transfer the recordings in another room.
Several other artists featured in the exhibition, such as Vito Acconci and Hannah Wilke, took advantage of the possibilities offered by this technology to expand the concept of sculpture.
In posing for the camera like a s model, she exposes the stereotypical role of women in the art world of that day. Painful and shocking in equal measure are the performances by Chris Burden, which document self-imposed ordeals verging on martyrdom in the cause of art.
In his legendary work Shoot from , Burden has someone shoot him in the arm; in Through the Night Softly the naked artist writhes his way out of a pile of broken glass with his arms tied.
Displayed in a self-contained room and accompanied by screeching violins, the work turns viewers into spectators of a horror scenario.
In Happiness finally after 35, Years of Civilization after Henry Darger and Charles Fourier , an animated digital video installation in wide-screen format, Paul Chan takes up the thread of his ongoing radical confrontation with politics and society.
In his apocalyptic vision, a seemingly naive concept of paradise mutates into a horror scenario in a video-game aesthetic derived from the imagery of cult artist Henry Darger.
A glass coffin, porcelain chrysanthemums and a live performance recorded in the same room complete the opera-inspired, fairytale-like scenario.
Cheese and Dough by Mika Rottenberg are being shown together for the first time. The main protagonists are six sisters with long, Rapunzel-like tresses who have magic powers and can make cheese with their hair.
Using poetic imagery, Rottenberg repeats the production processes ad absurdum, incorporating the female body as a dynamic part of these processes and transporting viewers into a world that is at once comfortably familiar and bizarre.
Size: 21,70 x 27,70 cm. Linen binding. Published by Hatje Cantz Verlag, Ostfildern. It focuses on corporeality in videos, installations and photography, an aspect of art that has been explored intensively since the s and s, in particular within the genres of Body Art and Performance.
The book and the exhibition shed light on the themes of self-dramatisation, pain, transformation and physicality in the sense of a plasticity that can be experienced as a real, external phenomenon.
It also features an article contributed by respected art scholar Elisabeth Bronfen. The volume thus constitutes an informative work on a theme central to the art of the past 50 years.
The collection has found a new home in the former production facilities of the Conzen frame factory. The building, which celebrates its centenary this year, was redeveloped from top to toe by the architectural firm Kuehn Malvezzi to meet the particular requirements of the collection.
A large opening connects the two main exhibition rooms and a delicate stairway leads up to the spacious attic floor and roof deck, 23 metres above the ground.
The way up and down is the key to the whole design — a building that is less an object to look at than a path to follow.
It leads through dark and light spaces, from the little cinema on the ground floor, on through two different exhibition storeys and up to the top floor with its metre ceiling.
It is remarkable to see how, even at the very zenith of the feminist movement, women were still being stereotyped as helpless creatures.
The pieces on show centre on extreme spatial, psychological and interpersonal situations. The two exhibition floors are also subdivided according to different questions and themes, both to highlight individual aspects of the works and open up the exhibition as a whole to explore further issues.
Examples of works that centre on the destruction of interiors and structures are Shades of Destructors by Mark Leckey and Hammering Out an old argument by Monica Bonvicini.
There is something profoundly unsettling and disturbing surrounding the act of destruction in the pieces by Robert Boyd and Adam McEwen.
In the four-channel video installation Xanadu , Boyd focused on the self-destructive impulses that characterise our society by condensing different elements of mass culture like news bites, documentaries, comics and pop music videos into a sequence of split-second images.
The brutal and random interfaces reflect the media world we live in, where the boundaries between entertainment, information and horror have been virtually erased.
The seemingly incongruous stories of different people, which move the protagonists through various interiors and urban landscapes, are projected onto three translucent screens.
The works of Anthony Burdin heighten this feeling of disorientation; the protagonist in his Desert Mix leads spectators through a series of bizarre places.
McCall uses a 16mm film projector to direct light at a black surface; with the help of a smoke machine, the beam gradually becomes visible as a perfect cone of light.
The space and the projection itself become a kind of sculpture that breaks down the traditional relationship between cinema viewers and the film projector.
Foreword by Julia Stoschek. Size: 21,80 x 27,50 cm. The volume documents the exhibition and its extraordinary backdrop.
Over the course of a year, six exhibitions—three in Düsseldorf and three in Berlin—will open successively, beginning in March and running until April The curatorial framework for this year of programming is inspired by the writing of artist, writer, and filmmaker Trinh T.
Conceived as a documentary set in a speculative future about daily life on CAPS, an island turned megacity in the middle of the Atlantic, where migrants are detained, the work amplifies reality through special effects and humor.
In the future world in which the island of CAPS short for capsule exists, teleportation has replaced other forms of travel, enabling bodies to easily move from one place to another.
CAPS was established as a temporary holding area for illegal migrants intercepted mid-teleportation on their way to the US. The island is surrounded by a magnetic field, guarded by US troops, and subject to total surveillance, making it almost impossible to leave.
The work offers an acute political commentary on Western immigration and surveillance policies, summoning a dystopian reality only slightly different from our own.
In the work, Bennani also pays tribute to human resilience, to difference, and hybridity by resisting essentialist notions of identity and culture, instead addressing the in-between and multiple states of life in the diaspora.
As viewers we are witness to a celebration—or party—of collectivity and family. Loosely based on a performance the Misdirected Kiss , the film follows three characters: Girl, Mrs.
The camera is a central character in the film. This brings forth another set of questions concerning authority and control: What forms of subjugation emerge by the potentiality of being filmed at any given moment?
And how does one navigate a reality where even your most intimate spaces—the home—is invaded by the camera on your phone? From —11 she was the co-director of the Chicago artist-run project space Golden Age, and she currently runs Dominica Publishing, an imprint dedicated to exploring blackness in visual culture.
Since the late s, Stan Douglas has been creating films, photographs, and installations, as well as recently venturing into theater productions and other multidisciplinary projects, exploring the parameters of their respective mediums.
The artist queries the past in his works, breaking through traditional narrative structures to blur fact and fiction.
The works reconstruct and imagine the s and 70s—an era distinguished by de- colonization and migration, but one equally permeated by jazz, underground disco, and Afrobeat.
On view are the early two-channel video installation Hors-champs , the six-hour video Luanda-Kinshasa , as well as large-format photographs from the series Disco Angola The artist shot Luanda-Kinshasa in a space modelled on the legendary New York recording studio The Church, while Hors-champs was filmed in a Parisian television studio.
A splicing block is a tool for the cutting and splicing, that is the joining, of both analog film and audio material.
The precision of its operation is subject to the abilities of the actual cutter—once cut, the process cannot be undone.
Stan Douglas is a master of such work, creating imperceptible transitions between different times and places. It is not just the attentive staging of the filming and photography, but above all the meticulous construction in the editing room, which effortlessly conveys the viewer through space and time.
Stan Douglas is widely regarded as one of the most important representatives of time-based media art. His works are again being shown in a solo exhibition in Berlin for the first time since Melgaard compares the experience to taking Dimethyltryptamine DMT , a naturally occurring drug, which is produced by a gland in the brain.
DMT is considered the strongest hallucinogenic chemical substance and is found in almost every living organism on earth.
The artist is raising the contradictory view that if we are to continue to exist, humans will have to cease to procreate, as a result of the carbon impact of producing new human life.
My Trip also explores the abyss of the technological underground, the endless information consumed every day and the feeling of apathy and dullness that this technology consequently produces.
Dealing with the dark side of humanity, it often discusses, investigates and pushes the boundaries of societal acceptance.
Melgaard has had more than forty-five solo exhibitions in leading galleries around the world. His work has been seen in numerous group shows and at international art fairs; he is a frequent curator and collaborator, has written more than a dozen novels, and produced seven films.
He has twice participated in the Biennale de Lyon. In , Melgaard participated in The Whitney Biennial and in January Melgaard was the focus of the first of six important exhibitions at the Munch Museum in Oslo.
Since the early s, Koo Jeong A has made works that are seemingly casual and commonplace, yet at the same time remarkably precise, deliberate, and considered.
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