Showing posts with label T Practise. Show all posts
Showing posts with label T Practise. Show all posts
16.7.11
Piccadilly Community Centre: Broken Britain invades Westminster
Compared to Elmgreen & Dragset, Büchel is literal-minded. But Piccadilly Community Centre is nevertheless impressively discombobulating. I have no idea how much it cost, and it clearly gives something to locals and other visitors who take it at face value. So what is this? Installation art? Community art? A tableau-vivant? Or a kind of immersive theatre in which we are the unwitting actors? Is it art – or life just tweaked a bit? All of the above. See you at the tea dance.Read further
And more...
And more...
13.4.11
suspence
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7.3.11
Please Note The views expressed on this blog are those of Ai Weiwei and the individuals he quotes or retweets. We do not represent the artist and while we make every effort to ensure accuracy in translation, we cannot guarantee it; we are simply providing this site as a service for English speakers. Image via Wikimedia Commons.
About Us
Community-based translations of Chinese artist Ai Weiwei (@aiww) into English. Follow us on Twitter at @aiwwenglish.This a group effort, and we welcome your participation, feedback and commentary either in the comments or in our ask page.
Please Note
The views expressed on this blog are those of Ai Weiwei and the individuals he quotes or retweets. We do not represent the artist and while we make every effort to ensure accuracy in translation, we cannot guarantee it; we are simply providing this site as a service for English speakers. Image via Wikimedia Commons.Who We Are
Our contributors come from all parts of the world, with different levels of experience in Chinese language and contemporary art and culture. See our full list here.Join Us
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28.2.11
ai weiwei's blog: vertaald uit chinees
2011 MITTpress
"The opinions expressed in this book are all those of the autor. (...) The Internet became the primary source for such annotations, and as this book was assembled in China, fact checking necessitated "leaping over the Great Firewall", which in 2008-2009 was constantly updating its Internet-monitoring software and methods. At last, using a VPU allowed access to almost all websites otherwise unavailable to the average mainland browser (including Twitter, YouTube, Facebook, Vimeo, and occasionally Flickr). But once over the firewall, a more serious challenge was posed in reconciling the often extreme differences between Western and Chinese sources. These discrepancies are perhaps the last vestiges of the Cold War. I hope that through more translations like this one, our two civilizations can reconcile the 'facts'." Lee Ambrozy
"The opinions expressed in this book are all those of the autor. (...) The Internet became the primary source for such annotations, and as this book was assembled in China, fact checking necessitated "leaping over the Great Firewall", which in 2008-2009 was constantly updating its Internet-monitoring software and methods. At last, using a VPU allowed access to almost all websites otherwise unavailable to the average mainland browser (including Twitter, YouTube, Facebook, Vimeo, and occasionally Flickr). But once over the firewall, a more serious challenge was posed in reconciling the often extreme differences between Western and Chinese sources. These discrepancies are perhaps the last vestiges of the Cold War. I hope that through more translations like this one, our two civilizations can reconcile the 'facts'." Lee Ambrozy
12.2.11
3.2.11
Artists slingshot sunflower seeds into Ai Weiwei’s Sunflower Seeds
Sunflower Seeds on Sunflower Seeds from IOCOSE
Artists slingshot sunflower seeds into Ai Weiwei’s Sunflower Seeds
On January 29th, armed with slingshots and translucent surgical gloves, the four members of artist group IOCOSE shot real sunflower seeds into Ai Weiwei’s installation of 100 million hand-made porcelain sunflower seeds housed in the Tate Modern. A gesture that embraced Ai’s own philosophy of “what you see is not what you see, and what you see is not what it means,” IOCOSE also replaced the exhibition sign with a rendition of their own, which read “IOCOSE’s Sunflower Seeds on Sunflower Seeds.” The intervention has been greeted by some as “cheap publicity hack on a [much better known] artist” and as a “hit,” the product of “mischievous” artists.
The group IOCOSE has been working in Italy and Europe since 2006. It organizes actions in order to subvert ideologies, practices and processes of identification and production of meanings. It uses pranks and hoaxes as tactical means, as joyful and sound tools. IOCOSE thinks about the streets, internet and word of mouth as a battlefield. Tactics such as mimesis and trickery are used to lead and delude the audience into a semantic pitfall.
27.1.11
15.1.11
Changing Agenda - Performatik 2011 - Kaaitheater
CHANGING TENTS
Please employ the CHANGING AGENDA here to the very right ----- You can bring in your proposal until 22:00 the day before. Send an e-mail to radical_hope or pass by the tents !!!
INSTALLING: Mo 17/01, from 8:00
USING: Tu 18 > Sa 22/01, 08:00-00:00
COLLAPSING: Su 23/01, 14:00
Welcome to our world of six tents and one vehicle:
> the performing tent for changing ideas
> the co-working tent for changing business
> the currency tent for changing systems
> the biography tent for changing facts
> the kitchen tent for changing products
> the fashion tent for changing bodies
> a demobilised car for changing problems...
Please employ the CHANGING AGENDA here to the very right ----- You can bring in your proposal until 22:00 the day before. Send an e-mail to radical_hope or pass by the tents !!!
INSTALLING: Mo 17/01, from 8:00
USING: Tu 18 > Sa 22/01, 08:00-00:00
COLLAPSING: Su 23/01, 14:00
Welcome to our world of six tents and one vehicle:
> the performing tent for changing ideas
> the co-working tent for changing business
> the currency tent for changing systems
> the biography tent for changing facts
> the kitchen tent for changing products
> the fashion tent for changing bodies
> a demobilised car for changing problems...
3.1.11
Galerie Urs Meile - artist in residence program
In January 2006, Galerie Urs Meile has inaugurated a new location in Beijing's quarter of Cao Changdi. The gallery's showrooms and residential complex include a living and working area for visiting artists.
Within the rapid multiplication in China of exhibitions, biennials, triennials and public spaces, Galerie Urs Meile sees its role to sustainably provide working conditions for contemporary artists which includes the support of artists in various media, experimental approaches, and their ideas.
The artist-in-residence program offers visiting artists a special opportunity to live and work in Beijing. The cultural environment stimulates new experiential horizons, perceptions, and creative processes. It offers thus conditions for the development of new artistic concepts and ideas. As a direct reaction to the unprecedented freedom and economic rewards Galerie Urs Meile is especially fostering critical discussions and developments of contemporary art by offering artists the opportunity to come up with new and interpretative concepts
The artist's residential and working space measures approx. 200 m2. The living area meets modern standards.
Within the rapid multiplication in China of exhibitions, biennials, triennials and public spaces, Galerie Urs Meile sees its role to sustainably provide working conditions for contemporary artists which includes the support of artists in various media, experimental approaches, and their ideas.
The artist-in-residence program offers visiting artists a special opportunity to live and work in Beijing. The cultural environment stimulates new experiential horizons, perceptions, and creative processes. It offers thus conditions for the development of new artistic concepts and ideas. As a direct reaction to the unprecedented freedom and economic rewards Galerie Urs Meile is especially fostering critical discussions and developments of contemporary art by offering artists the opportunity to come up with new and interpretative concepts
The artist's residential and working space measures approx. 200 m2. The living area meets modern standards.
23.12.10
Tate
http://aiweiwei.tate.org.uk/content/635326970001
For Ai Weiwei, voicing opinions and communicating with one another is of great importance.
From October 2010 to May 2011, visitors to Sunflower Seeds can record a video; either asking him their question or answering one from him. All the videos will appear here and Ai Weiwei will respond to a selection of questions.
12.11.10
16.10.10
Copy the helmet of Darth Vader (Michael Rakowitz)
Darth Vader and Star Wars inspired Saddam Hussein Iraq army.
14.10.10
no more excuses
gesprekken over het publiceren van artistiek onderzoek
Maurizio Nannucci (°Firenze, 1939) is een pionier van de concrete en visuele poëzie.
Vanuit zijn thuisbasis Firenze onderhoudt hij sinds 1967 contacten met de internationale neo-avant-garde, en dit ondermeer via zijn alternatieve uitgeverij Exempla Editions, die de basis vormde voor de kunstenaarsgroep Zona en de Zona Archives, een omvangrijk archief van kunstenaarspublicaties en multipels. No More Excuses is Nannucci’s bijdrage aan de gesprekken die Track Report. Cahier voor artistiek onderzoek van de Koninklijke Academie voor Schone Kunsten Antwerpen, organiseert.
Vanuit zijn thuisbasis Firenze onderhoudt hij sinds 1967 contacten met de internationale neo-avant-garde, en dit ondermeer via zijn alternatieve uitgeverij Exempla Editions, die de basis vormde voor de kunstenaarsgroep Zona en de Zona Archives, een omvangrijk archief van kunstenaarspublicaties en multipels. No More Excuses is Nannucci’s bijdrage aan de gesprekken die Track Report. Cahier voor artistiek onderzoek van de Koninklijke Academie voor Schone Kunsten Antwerpen, organiseert.
Beleidsvoerders, docenten en onderzoekers aan de kunsthogescholen hebben al een tijd de mond vol van onderzoek in de kunst. Het ‘ontsluiten’ van de onderzoeksresultaten vormt een belangrijk aspect.
Dat gebeurt ondermeer via periodieke publicaties, tijdschriften en onderzoekscahiers.
Dat gebeurt ondermeer via periodieke publicaties, tijdschriften en onderzoekscahiers.
Maar hoe relevant zijn deze publicaties eigenlijk voor de hedendaagse kunst en het onderzoek in de kunst? Fungeren zij als artistiek platform of enkel als (zelf)promotie? Vervullen zij hun rol als snijpunt van praktijk en reflectie? Hoe verhouden zij zich tot de rijke traditie van neo-avantgarde kunstenaarspublicaties?
Deze en andere vragen komen aan bod op het panelgesprek dat Track Report naar aanleiding van het verschijnen van drie nieuwe nummers (door Johan Swinnen, Lieven Segers, Mark Luyten, Arthur Cools & Nico Dockx) organiseert. In de context daarvan stelden kunstenaar Nico Dockx en kunsthistoricus Johan Pas een tentoonstelling samen met inspirerende periodieke kunstenaarspublicaties van de laatste vijf decennia.
28 oktober 2010,
opening expo 17h, gesprekken 18h
Koninklijke Academie voor Schone Kunsten Antwerpen, Mutsaardstraat 31, 2000 Antwerpen (aula Pand / Wintertuin)
Voorstelling TR10/01 (Johan Swinnen), TR10/02 (Arthur Cools, Nico Dockx & Mark Luyten), TR10/03 (Lieven Segers)
moderatie: Thomas Crombez
Panelgesprek: Koenraad Dedobbeleer, Luc Derycke, Nico Dockx, Wilfried Huet, Els Roelandt en Boy Vereecken
(moderator: Johan Pas)
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