Wednesday, May 24, 2017

Venice – Around Town – Collateral Events: Palazzo delle Zattere – V-A-C Foundation - Space Force Construction

Palazzo delle Zattere

V-A-C Foundation - Space Force Construction
V-A-C Foundation presents Space Force Construction, organized with the Art Institute of Chicago, for the launch of V-A-C’s new Venetian headquarters at Palazzo delle Zattere, is curated by Matthew Witkovsky and Katerina Chuchalina, with Anna Ilchenko, until August 25.  Space Force Construction is a conversation between contemporary artists and historic works. Over 100 works from the 1920s and ‘30s by key Soviet artists are brought into dialogue with new site-specific commissions and recent works by contemporary artists, including Cuban performance artist Tania Bruguera noted for her strong political messages, Mikhail Tolmachev, a young artist from Moscow who explores the subject of memory through photographic archives, renowned American artist Barbara Kruger, German photographer Wolfgang Tillmans and Russian multi-media artist Kirill Savchenkov, amongst many others.
Vladimir Gel’freikh
Design for a monument to Vladimir Lenin in Leningrad
Cultural production
is one of the fundamental aims of V-A-C and nearly all of the contemporary artists in the exhibition have produced new site-specific works. Each new piece, we believe, offers the potential for new interpretation and new reflection on the current global condition. And when these reflections come to life in the shared space of a show like Space Force Construction, they inevitably start a new conversation. In trying to find new answers to the problems posed by our contemporaneity, we create spaces where people are free and motivated to engage with an art that makes them feel part of the discussion. With this show, as always, we hope to demonstrate that the social spirit of art is still alive and that the engines of its motor for change are running at full speed.”
Teresa Iarocci Mavica
Director of the V-A-C Foundation

Performance - Isasthenai
Cuban sculptor - Tania Bruguera

Barbara Kruger – Untitled (Surrounded)

Performance - Stomach It

Taus Makhacheva

Uniformed servers offer guests dishes on the politics of food: edible paper, two carrots wrapped in a poem by Bolshevik poet Vladimir Mayakovsky, bread made from flour of dried leaves and hay…

Wolfgang Tillmans – The State We’re In, A

Melvin Edwards – Ana’s Corner
Dedicated to the memory of Pateh Sabally

  Sergey Sapozhnikov - Dance
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Monday, May 22, 2017

57 Venice Biennale: Arsenale – Viva Arte Viva – Christine Marcel

  Photo by Jacopo Salvi – courtesy La Biennale di Venezia
The 57 Venice Biennale
The Golden Lion  
Viva Arte Viva - Franz Erhard Walther

Arsenale: Golden Lion for the Best Artist of the 57th International Art Exhibition Viva Arte Viva, curated by Christine Marcel goes to to Franz Erhard Walther for his work, which brings together forms, color, fabrics, sculpture, performance and continues to activate the viewer in engaging ways; for the radical and complex nature of his oeuvre that has an impact on our time and suggests a way of living in transit.
The Jury was chaired by Manuel J. Borja-Villel (Spain): Francesca Alfano Miglietti (Italy), Amy Cheng (Taiwan), Ntone Edjabe (Cameroon), and Mark Godfrey (Great Britain).

“This moment of manipulation and action as a component of the work, or as the work itself – became my main theme. The decisive fundamental idea was to build up an oeuvre from action”
Franz Erhard Walther

57th International Art Exhibition Biennale
Viva Arte Viva
Curated  - Christine Macel

“...the title Viva Arte Viva immediately sets the tone of this Biennale: an exhibition which, even if it addresses complex political and social issues, has its own particular energy and dynamism. I chose it to inspire a lively interest in the public: Viva is a celebratory exclamation but also an expression of exuberance, and so it encourages a feeling of engagement with the exhibition.”
Christine Macel

President of La Biennale di Venezia, Paolo Baratta with the curator of Viva Arte Viva, Christine Marcel

Viva Arte Viva
The work of art and produced in solitude, but is a sediment of cultures accumulated in millennia of collective experiences”
Maria Lai

Se il cielo fosse in terra l’avrebbero rinchiuso pure - 1997
Il the sky were on the ground, they would have locked it up as well


Viva Arte Viva
Maria Lai

Enciclopedia Pane – 2008
17 bread books

Viva Arte Viva
“Construction and construction materials appeal to me because
of their deep-rooted familiarity, the way that we are immersed in them and the possibilities of their re-shaping through use.”
Martin Cordiano

Common Places - 2017

Viva Arte Viva
“Space. The work of art no longer has an autonomous form / The work of art adopts the form of nature: swim, dynamics / The work of art has no place (gallery, museum ...) Outside of nature / Its place is nature.”
Nicolas Garcia Uriburu

Hidrocromia Intercontinental – series 1970


Viva Arte Viva
“Time and distance are shrinking with new technology [...] it is the end of geography.”
Julian Charriere

Future Fossil Spaces - 2017


Viva Arte Viva
“A little like a gardener ... has to work with things that are beyond my control.”
  Michel Blazy

Acqua Alta - 2017

Viva Arte Viva
“I have lots of objects. Every object has a story,
which makes me think I should write a story about every object.”
(from an interview by Haley Weiss on Interview Magazine)
Michelle Stuart

In the Beginning – Islas Encantadas – 1981-2015
Dream Collectors Carpinteria – 2002-2012

Michelle Stuart
James Island Logbook (for Herman Melville) - 1982


Viva Arte Viva
“I really believe that art exists in a context, so I don’t see (my sculptures) outside of the spaces where they exist.”
Leonor Antunes

…then we raised the terrain so that I could see out – 2017

Viva Arte Viva
“I feel the form. More so from the inside than from thinking.
I do think about the construction to place the skin. To place the canvas which is the skin.”
Zilia Sanchez
Los Amazonas – The Amazons - 1968


 Viva Arte Viva
“Wanting to be an artist. Being an artist. For forty years I have used the vernacular mass-market object and the hand-made as the site for my work. I would like the work to slip between boundaries, from a recognized use
in the world to another experience of thought or pleasure.”
Nancy Shaver
Standardization, Variation and the Idiosyncratic – 2017 Installation 
Viva Arte Viva
“To a child toys are very important; they store many emotions in them.   Adults have a different way of perceiving things but I think that they are still able to think the same way.”
(from an interview by Anna Mikaela Ekstrand for Art Observed)

Liliana Porter
Man with an Axe – Venice 2017 – 2017
installation - detail

  Liliana Porter - Man with an Axe – Venice 2017 – 2017 - detail

Special Thanks
Biennale Arte Mag





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Friday, May 19, 2017

57 Venice Biennale: Arsenale – The pavilions: Italy – New Zealand - Ireland - Tunisia - Malta - Immigrants

The Italian Pavilion

The Magic World

Giorgio Andreotta Calo - Roberto Cuoghi - Adelita Husni-Bey

ll Mondo Magico - The magical world - presents the work of three Italian artists: Giorgio Andreotta Calo - Roberto Cuoghi - Adelita Husni-Bey, whose practices suggest a new faith in the transformative power of the imagination, and an interest in magic. With references to magic, fancy, and fable, these artists see art as a tool for inhabiting the world in all its richness and multiplicity.

curator: Cecilia Alemani

“For these three artists, magic is not an escape into the depths of irrationality so much as a new way of experiencing the world.”
curator - Cecilia Alemani

The Italian Pavilion

The Magic World

Roberto Cuoghi - Imitation of Christ - 2017

“Superstition is the unconditional need for a meaning. It is a precise characteristic, no animal other than man feels the need to celebrate supernatural forces.”
Roberto Cuoghi

The artist transforms the basilica-like space of the Arsenale into a factory for churning out devotional figures inspired by the Imitation of Christ, an ascetic medieval text that the artist reinterprets from the standpoint of what he calls a “new technological materialism.” Cuoghi introduces us to an experimental process of sculpting matter, reflecting on the magical force of images, the power of repetition, and the iconographic memory of art history.


The Italian Pavilion

The Magic World

Roberto Cuoghi - Imitation of Christ – 2017

The installation – a workshop set up for producing these sculptures from start to finish, from casting the organic material in a single mold all the way to the phase of fixation – does not cease to evolve with the opening of the show: it continues to unfold through decomposition and composition, death and regeneration. The entire process has been conceived so as never to yield the same outcome, creating a sense of dissociation that seems to echo 
the present moment.

The Italian Pavilion

The Magic World

Roberto Cuoghi - Imitation of Christ – 2017

Maurizio Cattelan, Marta Papini, Stefano Seletti and Ruth Beraha

The New Zealand Pavilion

Lisa Reihana: Emissaries

Lisa Reihana: Emissaries features the artist’s vast panoramic video in Pursuit of Venus [infected], 2015—17, alongside interrelated photo-based and sculptural works. In Pursuit of Venus is a cinematic re-imagining of the French scenic wallpaper Les Sauvages De La Mer Pacifique, 1804—1805, also known as ‘Captain Cook’s voyages’. Two hundred years later – and almost 250 years after the original voyages that inspired them – Reihana employs twenty-first century digital technologies to recast and reconsider the wallpaper from a Pacific perspective. Enlivened with the sights and sounds of performance, cultural ceremonies and encounters, the expansive video panorama is populated by known and invented narratives of encounter amongst the British navigators and astronomers and people drawn from across Aotearoa New Zealand and the Pacific.

curator: Rhana Devenport

Lisa Reihana

The New Zealand Pavilion
Lisa Reihana: Emissaries

Michele Lamy

Photo courtesy – The Pavilion of Ireland

The Pavilion of Ireland
Jesse Jones  - Tremble Tremble

"Did I disturb ye good people? I hopes I disturb ye, I hopes I disturb ye enough to want to see this, your house, in ruins all around ye! Have you had enough yet? Or do you still have time for chaos? Hah? More?"

Beginning with the title itself, a slogan of the Italian feminist movement (Tremble, tremble, the witches are back!), Jesse Jones mixes cinema and performance to exalt the return of the Witch as a feminist, destructive archetype that has the power to change reality. The Pavilion becomes the place of a different jurisprudence, where the multitude is kept together in a symbolic giant body to proclaim the law of In Utera Gigantae.
Installation View
Jesse Jones  - Tremble Tremble – 2017
Film – sculpture – moving curtain – sound and light scenography

Commissioner/Curator: Tessa Giblin


The Pavilion of Ireland
Jesse Jones  - Tremble Tremble 

Tamu Mcpherson

The Tunisian Pavilion
The Absence of Paths

“I didn’t come here of my own accord, and I can’t leave that way. Whoever brought me here, will have to take me home.”
Rumi - 1207-73

The Absence of Paths is a human performance staged across Venice, which, for the duration of the Bienniale, represents an idyllic microcosm of the world: a place where human beings may still flow freely from one nation to the next. This is represented in a physical travel document called a Freesa, produced with the help of Veridos, a leader in producing secure identification papers for countries and companies around the world.

Curator: Lina Lazaar
Curator - Lina Lazaar

  The Tunisian Pavilion
The Absence of Paths
Issuing a Freesa

Freesas are issued at three locations both inside and outside the perimeter of the Biennale.  This installation hopes to empower each and every visitor towards shedding the divisive baggage and classifications imposed upon people. The carefully developed collateral event, at the heart of the pavilion, is the basis of a silent, individual protest.

  Monica Bonvicini, Mariuccia Casadio and Raffaela Cortese

The Malta Pavilion
Homo Melitensis - An Incomplete Inventory in 19 Chapters

Adrian Abela, John Paul Azzopardi, Aaron Bezzina, Pia Borg, Gilbert Calleja, Austin Camilleri, Roxman Gatt, David Pisani, Karine Rougier, Joe Sacco, Teresa Sciberras, Darren Tanti and Maurice Tanti Burlo

Melitensis: An Incomplete Inventory in 19 Chapters combines the work of thirteen artists and a diverse selection of artefacts. Through a non-hierarchical, achronological installation, the exhibition investigates Maltese identity via maps, folkloric objects, historical photographs, and contemporary artworks. Artefacts and paraphernalia intermingle in a series of chapters that reveal stories of nationhood, memory, war, diaspora, dreams, and island life, imagining an identity situated between truth and non-truth. Taxonomically and alphabetically organized in custom-made, spatial arrangements, Homo Melitensis–Maltese man–witnesses the transition from nation-state to an atomized, impenetrable existence, and is perplexed.

Curators: Raphael Vella and Bettina Hutschek

Curators - Raphael Vella and Bettina Hutschek

The Malta Pavilion

Homo Melitensis - An Incomplete Inventory in 19 Chapters
Things People Put on Their Head

Samina Seyed

 The Anonymous Stateless immigrants Pavilion

“We, the Anonymous Stateless Immigrants (A.S.I.), are the initiators of peaceful and civil disobediences, public interventions and performances, spatial occupations, participation and orchestration of demonstrations and virtual sit-ins!”

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