16.9.10
links
Ai Weiwei - Herzog & de Meuron - Chris Dercon - Francis Alys
Herzog & de Meuron:
Tate Modern 2, Bankside, London (ca. 2012)
An iconic new building will be added at the south of the existing gallery. It will create more spaces for displaying the Collection, performance and installation art and learning, all allowing visitors to engage more deeply with art, as well as creating more social spaces for visitors to unwind and relax in the gallery.
Haus der Kunst. München.
Under the direction of Chris Dercon the program came to include architecture, design, fashion, photography and film. Outstanding exhibitions and projects in these fields were those of Herzog & de Meuron, Konstantin Grcic, Maison Martin Margiela, Andreas Gursky and Apichatpong Weerasethakul (Golden Palm in Cannes 2010 for his film project that began in 2009 with an installation in the Haus der Kunst).
The Tate Modern already demonstrated their recognition of Chris Dercon in 2006 by overtaking his exhibition, "Amrita Sher-Gil. An Indian Artist Family of the Twentieth Century." Now Chris Dercon will be responsible not just for the Tate Modern's exhibition program but also for its collection.
Herzog & de Meuron:
Tate Modern 2, Bankside, London (ca. 2012)
An iconic new building will be added at the south of the existing gallery. It will create more spaces for displaying the Collection, performance and installation art and learning, all allowing visitors to engage more deeply with art, as well as creating more social spaces for visitors to unwind and relax in the gallery.
Haus der Kunst. München.
Under the direction of Chris Dercon the program came to include architecture, design, fashion, photography and film. Outstanding exhibitions and projects in these fields were those of Herzog & de Meuron, Konstantin Grcic, Maison Martin Margiela, Andreas Gursky and Apichatpong Weerasethakul (Golden Palm in Cannes 2010 for his film project that began in 2009 with an installation in the Haus der Kunst).
The Tate Modern already demonstrated their recognition of Chris Dercon in 2006 by overtaking his exhibition, "Amrita Sher-Gil. An Indian Artist Family of the Twentieth Century." Now Chris Dercon will be responsible not just for the Tate Modern's exhibition program but also for its collection.
Thinking Practices
/theories-of-art-practices-as-research/
Thinking Practices seminars and this collaborative blog are facilitated and published by paula roush, University of Westminster. Individual posts are written by students in the University of Westminster’s MA programme in Art and Media Practice.
Thinking Practices seminars and this collaborative blog are facilitated and published by paula roush, University of Westminster. Individual posts are written by students in the University of Westminster’s MA programme in Art and Media Practice.
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Avant-garde 前卫
From ArtSpeak China (ASC) Wiki
Avant-garde is a descriptor originally applied to innovative French art of the mid-19th century. It has since come to be synonymous with radically original modern art and has been widely used in connection with contemporary Chinese art of the past 25 years. Signifying an embrace of Western art forms, rejection of Socialist-Realism, and utilization of an international art "language" that makes it comprehensible on a global stage, avant-garde is also a noun referring to those who produce such art.Origins & History
Avant-garde came to be applied to the visual arts in mid-19th century Paris, when artists such as Gustave Courbet and Edouard Manet vociferously rejected painting historical events in favor of depicting contemporary life. Such a departure from accepted practice also cut them off from official support, that is, the patronage of church and state. This rejection of conventional sources of income and a shift in identity from servant of powerful interests to independent appraiser and social commentator, embodied a radical transformation of the economy and purpose sof art itself.
Virtually all modern artists pioneering new artistic approaches during the next century would be described as avant-garde. With the term, came the badge of honor--the "starving artist" marching only to his own radical beat. The term lost its currency when modernism itself flagged during the third quarter of the twentieth century. The post-modern rejection of progress in art, marked by fast-changing stylistic "isms," fatally undermined the bedrock idea of modern, avant-garde originality.
Significance
By contrast, the radical transformation of the economy and purposes of art that accompanied the liberalization of the Chinese economy in the 1980s fostered historical circumstances not unlike those of early modern Paris. Instead of state support, artists sought financial support in the artworld's international marketplace. Instead of the prescribed artistic approach of Socialist Realism, artists have grown increasingly free to pursue artistic approaches from oil painting and traditional ink painting, to video and performance art, and thematic content as varied as can be imagined.
Probably not coincidentally, the most contentious and notorious exhibition in PRC history was the large China/Avant-Garde show at Beijing's National Gallery, which opened and closed, and opened and closed again, in February 1989. In retrospect it seems an emblem of the near-opening of the PRC to the liberal exchange of ideas, as well as commerce.
References
Robert Atkins, ArtSpeak: A Guide to Contemporary Ideas, Movements, and Buzzwords, 1945 to the Present.
15.9.10
About Artistic Production as Speech-Acts...(shared reading)
In the video Chillida (Forms & Feelings) (2006) Falke Pisano examines her affective relation to a series of David Finn’s photographs of sculptures by Eduardo Chillida, a Basque sculptor. Going through the pages of a photo-book, she traces the relationship between the characteristics of specific objects, their depiction, the experiences of the photographer and his daughter, as well as her own preoccupations and emotional responses to the images.
"Part of communication is the making of a divide between what is kept private and what is made public. Transparency does not necessarily have a relation to performativity and some of the questions that I ask myself at the moment relate to this :
The question of effectivity : How does something (a work, a speech-act etc.) function an a public space?
To what extent can one construct (make visible) conditions of production as a way of creating meaning and to what extend are they predetermined ?
What is the most effective relation that can be made between predetermined and unavoidable structures of representation, power, institutions, and the intention of the artist as a speaker?
What other kind of space is created when one makes a (different) division betwen artist and spectator and what consequences would that have for the visibility of the conditions connected to the moments of communication. What would gthe effect be on the potential of engagement at these entrances?" (p. 23)
Fragments from : Falke Pisano, Figures of Speech, 2010, Christophe Keller Porductions, Zurich
(aquired by Lieve in Wiels 9/2010)
13.9.10
Jan van Eyck - call for applications (1 oct.)
| JVE | ||||
Receptive recruitment Annually, the Jan van Eyck organises a receptive recruitment campaign. Candidates are requested to submit proposals for research and/or production and to indicate the length of the desired research period (minimum 1 month, maximum 24 months). Candidates can apply for a one or two year period starting at the academic year on 1 January each year. The selection is carried out departmentally (Fine Art, Design, Theory). In other words, candidate researchers are asked to relate to a particular discipline – this does not necessarily mean the submitted proposal has to fit within the generally valid definition of the chosen discipline: it is all to do with the independently formulated relationship to the discipline in question. Through this receptive recruitment the Jan van Eyck can accommodate unique individual research proposals which cannot be realised elsewhere. Pro-active Apart from the receptive recruitment of (advising) researchers the Jan van Eyck also applies a pro-active approach to recruitment. Like the receptive recruitment – the formulation of the research proposal is the task of the candidate researcher – the pro-active recruitment is not carried out according to a particular format. A recruitment and research trajectory is designed per subject and/or per involved party – internal and/or external (advising) researchers; partners in The Netherlands and abroad. A research project can be proposed by a partner institute, after which the recruitment of (advising) researchers is started. Alternatively, a research project may be initiated by an advising researcher or it can be realised together with one or more researchers, whether or not especially recruited to this end. A research project can also be defined by an ad hoc committee, making a pronouncement on what is seen to be an urgent theme within a particular discipline at a given moment in time. In all cases, selection takes place after candidate researchers have applied and have been interviewed by the selection committee. The length of the research period is dependent on the objectives of the research project.  | ||||
The Red Mansion Foundation
The Red Mansion Foundation is a not-for-profit organisation, which promotes artistic exchange between China and Great Britain through exhibitions, exchange programmes, publications and the Red Mansion Art Prize.
THE MATERIALISTS ARE ALL ASLEEP
Lu Chunsheng, a retrospective, curated by Hans Ulrich Obrist
6th Feb 2008 - 20th April 2008
The Red Mansion Foundation, London, UK
Open Monday to Friday by appointment only
In February 2008 Hans Ulrich Obrist, Co-Director, Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery curated a solo exhibition of Lu Chunsheng. Lu Chunsheng studied at China National Academy of Fine Art, and currently lives and works in Shanghai. Lu Chunsheng's brooding films and photographs up to 2003 appear preoccupied with industrial-era and communist history. However, the stories told via his films are more mystic than nostalgic, and deal more in the narrative imagination than anything that could be verified. The young men who act out the scenarios employ only basic costume and no dialogue; the sets are more chosen for their symbolic or evocative importance than their actual historical relevance.
THE MATERIALISTS ARE ALL ASLEEP
Lu Chunsheng, a retrospective, curated by Hans Ulrich Obrist
6th Feb 2008 - 20th April 2008
The Red Mansion Foundation, London, UK
Open Monday to Friday by appointment only
In February 2008 Hans Ulrich Obrist, Co-Director, Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery curated a solo exhibition of Lu Chunsheng. Lu Chunsheng studied at China National Academy of Fine Art, and currently lives and works in Shanghai. Lu Chunsheng's brooding films and photographs up to 2003 appear preoccupied with industrial-era and communist history. However, the stories told via his films are more mystic than nostalgic, and deal more in the narrative imagination than anything that could be verified. The young men who act out the scenarios employ only basic costume and no dialogue; the sets are more chosen for their symbolic or evocative importance than their actual historical relevance.
 Lu Chunsheng Hey! Lana! 2000 |  Lu Chunsheng C-Print 2005 'One of the most foolish attacks against science fiction is the opinion that it cannot forecast the future' |
Huang Du
China
Role: Curator
Chinese programme of Move On Asia (MAAP 2006: out of the internet)
Huang Du (Ph.D.) was born in Lintong, China, in 1965. He now lives and works as a curator and art critic based in Beijing. He is an editor of Avant-garde Today. He worked as an editor for Meishu, Fine Arts from 1988 to 2001. In 1997 he was the recipient of the Art Prize from Munich's Lebnach-Hous Museum of Art.
His major curatorial projects include: curator for Chinese Pavilion of the 26th Sao Paulo Biennale, Sao Paulo, 2004; Co-Curator for The 7th International Antique Biennale of Parma, Parma, 2004; Assistant Curator for Chinese Pavilion of the 50th Venice Biennale, 2003; Contributing Curator for The 2nd Seoul International Media Art Biennale, Seoul, 2002; Curator of Making China, New York, 2002; Curator for Post Material: Interpretations of Everyday Life by Contemporary Chinese Artists, Beijing, 2000; Curator for The Chinese Pavilion of the 1st Melbourne International Biennial, Melbourne, 1999; Curator for Space and Vision: The Impression of Transmuting Daily Lives in Beijing, Beijing, 1998; and Co-Curator for Open Your Mouth, Close Your Eyes: Beijing-Berlin Art Communication, Beijing, 1995.
His major curatorial projects include: curator for Chinese Pavilion of the 26th Sao Paulo Biennale, Sao Paulo, 2004; Co-Curator for The 7th International Antique Biennale of Parma, Parma, 2004; Assistant Curator for Chinese Pavilion of the 50th Venice Biennale, 2003; Contributing Curator for The 2nd Seoul International Media Art Biennale, Seoul, 2002; Curator of Making China, New York, 2002; Curator for Post Material: Interpretations of Everyday Life by Contemporary Chinese Artists, Beijing, 2000; Curator for The Chinese Pavilion of the 1st Melbourne International Biennial, Melbourne, 1999; Curator for Space and Vision: The Impression of Transmuting Daily Lives in Beijing, Beijing, 1998; and Co-Curator for Open Your Mouth, Close Your Eyes: Beijing-Berlin Art Communication, Beijing, 1995.
Ook de opkomende Gentse kunstenaars The Leroy Brothers werden geselecteerd
about us
LplusL started working together on a professional base in 1997. From then on, artistic tools for their art production evolved from painting to photography, animation, marketing, branding and finally Internet.
A constant theme in the work of LplusL is the questioning of the position and the role of the artist. Artists are getting more and more corporate. They recruite specialized employees and easily make use of external services to produce work. The individuality of the artist stays vital, but is backed by a team of professionals and assistants. It isn’t enough to come up with a good idea. The realization of it and the follow-up is at least as important. Therefore, today’s artist needs entrepreneurship and leadership more than ever. Not only a creative mind…
Another returning theme is the mundialisation of the economy and society. Due to several actual phenomena such as booming, formerly isolated markets, boundarylessness, Internet revolution, democratization of commercial air traffic, … it became possible to be present almost everywhere in the world. The work of LplusL highlights the possibilities that this new world offers us.
“Art throughout its history went from simple representation, to symbolization and ended up -as modernism shows us- in pure abstraction. Abstraction, is the last stage in the formation of the mind and psychology of an individual. So, what comes next for art? What comes next for modernism? I dare to say: the end of individualism.
The path of individual creators seems to be reaching an end at least on what regards the traditional arts. And the Internet, as a powerful distribution model with creative technologies available for anyone, is leading towards collective forms of creation. Where the individual follows a guiding theme and offer what they have to say in that context” – Santiago Siri.
In 2004 they launched “Artmann”, an art project aimed to democratize contemporary art. Experimenting with different painting styles created on computer, they employed for the first time Chinese artist studios for the production of the paintings.
LplusL’s latest undertaking, Axel King (www.axelking.com), seemed to be the logical next step. Virtual artist King is the face of a machine producing paintings. In this experiment, LplusL only conceived and then helped to contruct the system. The role of the artists stopped here, supervising and maintaining if necessary.
LplusL is the artist name of the Leroy Brothers. Gregory and Nicolas are responsible for the artistic and creative side of the business, while Gilles is focusing on showing the work to the world. Born in 1975, 1978 and 1979 in Ghent, Belgium, they studied respectively Marketing in Antwerp and Fine Art at the art academy Villa Arson, Nice (France) then at the London Metropolitan University, London. They had several shows in galleries and museums in Belgium, The Netherlands and France, and are preparing their launch in Asia from September 2010 onwards. They will kick-off in Shanghai.
city fantasy
Van 1 september tot 31 oktober 2010
China - Shanghai - Jing An Sculpture Park
met o.a. Jan Fabre, Wim Delvoye, Arne Quinze en The Leroy Brothers
Shanghai's grootste stedelijk beeldenpark bevindt zich in het stadscentrum (Jing An District) en wil de Chinese bevolking vertrouwd maken met wat de hedendaagse kunst te bieden heeft.
Daarvoor werden over de gehele wereld een 40-tal kunstenaars geselecteerd door een team onder leiding van de toonaangevende Chinese curator Huang Du. Naast Amerikanen als Jim Dine en Lawrence Wiener, de Fransman Arman en enkele Chinese zwaargewichten als de Luo Brothers, Yue Minjun of Chen Wen Ling werden ook vijf Belgische kunstenaars weerhouden.
Jan Fabre met o.a. 'De man die de wolken meet', Wim Delvoye met 'Caterpillar', Folon met 'l'Envol' en Arne Quinze met een monumentale cityscapeconstructie 'Red Beacon'. Ook de opkomende Gentse kunstenaars The Leroy Brothers werden geselecteerd. Ze presenteren er hun laatste werk 'Lernaean Storchion or the Ostrich of Lernae', een negenkoppige bronzen struisvogel in wit porseleinlak. De impressionante vogel steekt zijn kop in het zand (allusie naar Europa). Enkele meters verder, en op verschillende plaatsen in Shanghai, komen zijn negen koppen opnieuw te voorschijn (de hergeboorte).
www.jisp.cn
China - Shanghai - Jing An Sculpture Park
met o.a. Jan Fabre, Wim Delvoye, Arne Quinze en The Leroy Brothers
Shanghai's grootste stedelijk beeldenpark bevindt zich in het stadscentrum (Jing An District) en wil de Chinese bevolking vertrouwd maken met wat de hedendaagse kunst te bieden heeft.
Daarvoor werden over de gehele wereld een 40-tal kunstenaars geselecteerd door een team onder leiding van de toonaangevende Chinese curator Huang Du. Naast Amerikanen als Jim Dine en Lawrence Wiener, de Fransman Arman en enkele Chinese zwaargewichten als de Luo Brothers, Yue Minjun of Chen Wen Ling werden ook vijf Belgische kunstenaars weerhouden.
Jan Fabre met o.a. 'De man die de wolken meet', Wim Delvoye met 'Caterpillar', Folon met 'l'Envol' en Arne Quinze met een monumentale cityscapeconstructie 'Red Beacon'. Ook de opkomende Gentse kunstenaars The Leroy Brothers werden geselecteerd. Ze presenteren er hun laatste werk 'Lernaean Storchion or the Ostrich of Lernae', een negenkoppige bronzen struisvogel in wit porseleinlak. De impressionante vogel steekt zijn kop in het zand (allusie naar Europa). Enkele meters verder, en op verschillende plaatsen in Shanghai, komen zijn negen koppen opnieuw te voorschijn (de hergeboorte).
www.jisp.cn
Carol Yinghua Lu Accidental Conceptualism
Carol Yinghua, a chinese artcritic writes about Ai Weiwei in next Tate Magazine. See another article of hers where she highlights the relationship between China and Conceptual Art.
"In China, pragmatism has ruled society for a long time and as a consequence anything conceptual or spiritual is deemed insignificant. It fits the principle of a totalitarian state to minimize the power of individual intellectual and rational thought, while at the same time promoting a value system that measures everything according to principles of functional application (...)"
Ai has come to appreciate the enormous potential of such internet tools to reach a large number of young readers. He has been distributing more than 10,000 copies of documentary films he’s made about the private investigations he’s involved in to expose the problems of the political and legal system in the country, his petition for a Chinese activist lawyer, his confrontations with the police and so on. The receivers of these films will show them to their families and friends, and the size of the audience immediately doubles, if not triples. It’s no wonder that he considers his communications on Twitter as a form of education for a younger generation of Chinese people, who had otherwise received a simplified and unified view of the world from schools. “I almost see it as a school,” he has said.
"The complex and multifaceted nature of Ai’s thinking and practice challenges anyone’s understanding of art and the role of an artist. It’s becoming harder and harder to differentiate his public activities from his art-making, and any attempt to make such a distinction seems rather pointless and unimaginative. Ai Weiwei fluidly translates some of his discoveries and perceptions of life through his social engagements into his artistic practice and fuses them with emotion and force. In his solo exhibition at Tokyo’s Mori Art Museum, ‘Ai Weiwei: According to What?’, he created Snake Ceiling, a serpentine installation comprising hundreds of black-and-white backpacks for elementary and junior high school students in memory of the children killed in the Sichuan earthquake. At Munich’s Haus der Kunst, he used 9,000 children’s backpacks to spell out on the façade the sentence “She lived happily for seven years in this world” in Chinese characters, a quote by one of the earthquake victim’s mothers. It was the centrepiece for his solo exhibition, ‘So Sorry’."
"In China, pragmatism has ruled society for a long time and as a consequence anything conceptual or spiritual is deemed insignificant. It fits the principle of a totalitarian state to minimize the power of individual intellectual and rational thought, while at the same time promoting a value system that measures everything according to principles of functional application (...)"
Ai has come to appreciate the enormous potential of such internet tools to reach a large number of young readers. He has been distributing more than 10,000 copies of documentary films he’s made about the private investigations he’s involved in to expose the problems of the political and legal system in the country, his petition for a Chinese activist lawyer, his confrontations with the police and so on. The receivers of these films will show them to their families and friends, and the size of the audience immediately doubles, if not triples. It’s no wonder that he considers his communications on Twitter as a form of education for a younger generation of Chinese people, who had otherwise received a simplified and unified view of the world from schools. “I almost see it as a school,” he has said.
"The complex and multifaceted nature of Ai’s thinking and practice challenges anyone’s understanding of art and the role of an artist. It’s becoming harder and harder to differentiate his public activities from his art-making, and any attempt to make such a distinction seems rather pointless and unimaginative. Ai Weiwei fluidly translates some of his discoveries and perceptions of life through his social engagements into his artistic practice and fuses them with emotion and force. In his solo exhibition at Tokyo’s Mori Art Museum, ‘Ai Weiwei: According to What?’, he created Snake Ceiling, a serpentine installation comprising hundreds of black-and-white backpacks for elementary and junior high school students in memory of the children killed in the Sichuan earthquake. At Munich’s Haus der Kunst, he used 9,000 children’s backpacks to spell out on the façade the sentence “She lived happily for seven years in this world” in Chinese characters, a quote by one of the earthquake victim’s mothers. It was the centrepiece for his solo exhibition, ‘So Sorry’."
11.9.10
9.9.10
Made In China
ideas:
- order a reproduction of the painting 'De Rechtvardige Rechters' (Jan Van Eyck) (Ghent)
- order a reproduction of a work of Ai Weiwei or a portrait of him
- order a reproduction of a work we made ourselfs
...
Reproduction Oil Painting,Original Oil Painting
Product Description:
1. Trademark: Famous Oil Painting, reproduction oil painting, original Oil Painting, Cheap oil plaiting
2. Size: All sizes available
3. Color: Various
4. Quality: Superior
5. Packing: Original packing, tags, label
7. Discount: The more you order, the more dicount you get.
8. Payment: Western union, Bank transfer, Paypal, MoneyGram
9. Drop shipping: Acceptable
10. Transportation: EMS, DHL, FedEx, TNT
11. OEM and customer design are acceptted.
- order a reproduction of the painting 'De Rechtvardige Rechters' (Jan Van Eyck) (Ghent)
- order a reproduction of a work of Ai Weiwei or a portrait of him
- order a reproduction of a work we made ourselfs
...
Reproduction Oil Painting,Original Oil Painting
Product Description:
1. Trademark: Famous Oil Painting, reproduction oil painting, original Oil Painting, Cheap oil plaiting
2. Size: All sizes available
3. Color: Various
4. Quality: Superior
5. Packing: Original packing, tags, label
7. Discount: The more you order, the more dicount you get.
8. Payment: Western union, Bank transfer, Paypal, MoneyGram
9. Drop shipping: Acceptable
10. Transportation: EMS, DHL, FedEx, TNT
11. OEM and customer design are acceptted.
print making - The Frans Masereel Centre
The Frans Masereel Centre has two selections per year. Each selection handles residency requests for the subsequent six months. It is therefore important to verify that your desired working period corresponds to the period provided in the selection. You will find dates for the next deadline on the news page.
Be sure to take a look at our website to determine if our way of working and our facilities are suited to the project you are planning. A complete inventory of materials, machinery and products is available on our website.
Only complete files will be processed.
Primary function: Artist in residency programme
The Frans Masereel Centre is a centre dedicated to printmaking. The studios are fully equipped for intaglio printing, screen printing and lithography. The expertise of the FMC is geared to be at the service of the widest possible range of professional contemporary artists who want to realize graphic projects.We receive artists from January until the end of November. The workshops are open between the hours of 8:00 a.m. and 20:00 p.m. Two master-printmakers are at your disposal for technical support and advice. The FMC provides all the most common products, inks, and materials. There is also a paper shop on site.
The FMC offers artists a residency period of maximum three weeks during which the artist has the opportunity to produce a print project in our workshops. Each resident is allocated his/her own fully equipped cottage with open plan kitchen, dining room and sitting area, bathroom and two bedrooms each with two singe beds. Residents may choose to bring an assistant or family. In addition, every artist has a bicycle at his/her disposal.
All residents pay a fee of 75 euro per week. This contribution goes toward financing two annual young curator projects. At the end of the residence each artist donates one print of each edition to the archives of the FMC. The works in the archive are exhibited regularly. The FMC is unable to provide financial support for projects or a subsistence allowance. Artists are also responsible for their travel expenses and for the transport of their work.
8.9.10
Creativity at a Crossroads: Art and Architecture in China
Creativity at a Crossroads: Art and Architecture in China
Creativity at a Crossroads was organized by the USC School of Architecture as part of Visions and Voices: The USC Arts and Humanities Initiative. At this event, independent curator Ai Wei Wei, conceptual photographer Chi Peng, and USC School of Architecture dean Qingyun Ma—three of Chinas most influential figures in the global contemporary arts scene—came together to discuss their work. The event was held on September 17, 2008, in Bovard Auditorium.
Visit the USC Visions and Voices Web site: http://www.usc.edu/dept/pubrel/vision...
Visit the USC School of Architecture Web site: http://arch.usc.edu/
Visit the USC Visions and Voices Web site: http://www.usc.edu/dept/pubrel/vision...
Visit the USC School of Architecture Web site: http://arch.usc.edu/
Categorie: Onderwijs
7.9.10
The Yes Man : Avantgarde or Activists (tout court) ?
See Films of The Yes Man, having their first exhibition in Gallery Circuit/Art School Circuit this fall.Keep it Slick: Infiltrating Capitalism with The Yes Man.
5.9.10
How to import your custom design into BookSmart (Blurb)
How to import your custom design into booksmart:
http://blog.blurb.com/index.php/2007/05/03/how-to-import-your-custom-design-into-booksmart/
http://blog.blurb.com/index.php/2007/05/03/how-to-import-your-custom-design-into-booksmart/
Export PDF in Indesign ready to upload to Blurb for print
You may have to login to you're Blurb-account.
More info on exporting PDF as needed for a Blurbbook:
http://www.blurb.com/guides/pdf_to_book/indesign
More info on exporting PDF as needed for a Blurbbook:
http://www.blurb.com/guides/pdf_to_book/indesign
Where to find Indesign template for Blurb books
You can find all necessary Blurb templates for indesign here:
http://www.blurb.com/make/pdf_to_book/template_indesign
You may have to login to you're Blurb-account.
Our Blurb book format is Standard Portrait.
Upload a package of files at once into Skydrive
For Windows/Pc there is SkyDriveExplorer (SDE)
more info:
http://www.cloudstorageexplorer.com/
For Mac there's no alternative. It's only possible to upload the files one by one on a mac OSX.
more info:
http://www.cloudstorageexplorer.com/
For Mac there's no alternative. It's only possible to upload the files one by one on a mac OSX.
2.9.10
Keywords School
vitamin creative space publications Keywords School-Venice-Handbook of Exercises Before the Stockholm Keywords School, it took about three years to undertake the keywords'searching activity. During this time, we made numerous interviews in Shanghai, Beijing, Guangzhou, Shenzhen, etc., also in New York and Holland. On this basis, we created some audio-visual materials, videos, publications ("Keywords Dictionary" Vitamin Creative Space, 2008), websites (www.xutan-keywords.com), etc. for the preparation of the Keywords School. These materials, which mainly concentrate on the findings from searches in Chinese society, are from research on the basis of Chinese keywords. With the "Keywords School" held all over the world, research on the basis of keywords was extended to a more globalized background; "Keywords School" in Venice is a brand new start. English/Swedish/Chinese | Concept: Xu Tan, Hu Fang | Dimensions: 28 x 19.5 cm | Vitamin Creative Space, 2009 | Pages: 66 P | ISBN 978-988-17864-8-7| Price: 15 Euros |
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doing nothing
vitamin creative space - publications
 Object System: Doing Nothing (O.D.) |
"Object System: Doing Nothing" (O.D. for abbreviation) is Vitamin Creative Space's project for ARCO2004. "O.D" project cited from the philosophy thinking "Doing Nothing" by Chinese philosopher Lao Tse as the conceptual core. " Doing nothing" does not mean really do nothing, but dose mean how to cultivate yourself from tumultuous life into empty field and finally reach the spiritual state of " doing nothing is doing everything". Vitamin sent this proposal to Chinese artists to invite them contributing their ideas and finally 18 artists involved into the project. The publication collects 24 images and texts from the artists Chen Shaoxiong,Chen Wenbo,Chu Yun,Duan Jianyu,Gu Dexin,Hong Hao, Kan Xuan,Liu Chuang,Liu Ding,Lu Hao,Sha Yeya,Song Dong,Yan Lei,Yin Xiuzhen,UNMASK,Xu Tan,Xu Zhen,Zheng Guogu. Publication Concept:Vitamin Creative Space Editor:Hu Fang | Design:Hu Fang Chu Yun | Pages: 48P | Dimensions: 9.2 x 9cm | Price: 9.95 Euros ©Vitamin Creative Space,Artists,2004  |
Perfect Journey
vitamin creative space
publications
publications
| Perfect Journey |
1, Perfect Journey is a series publication, which is exploring the different personal encounters with Chinese social reality. All these personal expressions through images are like a diary to make dialogue with the Chinese social space and life. In the modern society of China, the memory of the context of daily experience is rapid covered and recreated. This publication is trying to catch the social experience in the certain moment of China from different angel and layers. 2, First volume of Perfect Journey is selection of the images by four Chinese photographers (Wang Ningde, Xu Peiwu, Yan Changjiang and Zeng Han), one video work by Hongkong based French architect group Gutierrez + Portefaix(Mapoffice), and a short fiction by writer Hu Fang. 3, Perfect Journey Vol.1 is publication with edition of 100. This publication is exploring an alternative way of collecting. 6 photos are available from each photographer and the whole publication includes 24 photos from 4 photographers, one DVD and a piece of short fiction. The Publication try to encourge people not only collect these visual materials but also can very flexible to use them for mini presentation in different siutations,so the visual material in this publication can be a dynamic platform to share the social/culture experience. 4, Information of the collectionPackage A Material: Matte surface photo paper, Photo size with 20.3 X 30.3cm Package B Material: Glossy surface photo paper,Photo size with 15.2 X 22.5 cm | Limited Edition: 100 | Price: 798 Euros | Note: the publication with the signatures of all the authors 5, Work List of Perfect Journey (Vol.1): PRD Stories, Video,18 min,Gutierrez + Portefaix,2003 | Journey·Daylight Dream, Photo,Wang Ningde, 1998-2004 | Nansha Horizon,Photo,Xu Peiwu,2002 | The World,Photo,Zeng Han, 2004-05 | Night Zoo,Photo,Yan Changjiang,2002 | Asia·Destination,Fiction,Hu Fang,2001 Perfect Journey (Vol.1) Limited Editions:100 | Publication Concept & Editing : Hu Fang | Dimensions: 33x23cm | Price: 800Euros | Design: Vitamin Creative Space © 2005 Vitamin Creative Space, Photographers,Filmmaker &Author |
Hu Fang, Zhang Wei & Xu Tan - nightschool seminar 6
nightschool
Seminar 6: Hu Fang, Zhang Wei & Xu TanThursday June 19th, 7:30PM
Space within space within space
Vitamin Creative Space functions as an alternative working model specifically geared to the contemporary Chinese context. In order to operate independently from institutionalized funding, it is active both as an “independent” art space and as a “commercial” gallery. Vitamin Creative Space is actively challenging preconceptions by merging these two models, which traditionally are opposed strategies for supporting and presenting contemporary art, and is developing new Chinese contributions through research into both: the artistic practice and institutional organization within the new global context.
The seminar will look at the recent practice of Vitamin to explore how it is not merely a physical space, but is an attempt to create a new model for development and distribution of artist's new thinking on creativity.
Friday, June 20th, 7:30 PM
Things to do while you're alive
Accompanied by a slide show of Hu Fang’s recent pictorial collection of adverts, signs, photos from the realm of public media, Hu Fang and Zhang Wei will spontaneously generate a narration of a "life journey" and spatial transformations, outlining global surroundings we are living in and how there can be a possibility of the space for the artistic view of life: a view which proposes an alternative way of transforming reality.
Saturday, June 21st, 3 PM
Keywords School
The “Searching for Keywords” project was initialled from a series of interviews of active people in the Chinese society or people in the active Chinese area. By analyzing the content of these conversations, artist Xu Tan identified certain “keywords,” terms which shed light on values and motivations of contemporary Chinese society. “Keywords” measure the pulse of the current social climate and present an insight into the collective social consciousness of China. “Keywords” looks at connections between the individual speakers, words and the mental tendencies of the society.
In this seminar, Zhang Wei and Hu Fang will invite Xu Tan to discuss his Keywords project and introduce the idea of opening a “Keywords School,” as well as his conceptual approach, method and the larger social landscape made visible by the Keywords – a landscape of “collective consciousness” which actually frames our daily process.
Space within space within space
Vitamin Creative Space functions as an alternative working model specifically geared to the contemporary Chinese context. In order to operate independently from institutionalized funding, it is active both as an “independent” art space and as a “commercial” gallery. Vitamin Creative Space is actively challenging preconceptions by merging these two models, which traditionally are opposed strategies for supporting and presenting contemporary art, and is developing new Chinese contributions through research into both: the artistic practice and institutional organization within the new global context.
The seminar will look at the recent practice of Vitamin to explore how it is not merely a physical space, but is an attempt to create a new model for development and distribution of artist's new thinking on creativity.
Friday, June 20th, 7:30 PM
Things to do while you're alive
Accompanied by a slide show of Hu Fang’s recent pictorial collection of adverts, signs, photos from the realm of public media, Hu Fang and Zhang Wei will spontaneously generate a narration of a "life journey" and spatial transformations, outlining global surroundings we are living in and how there can be a possibility of the space for the artistic view of life: a view which proposes an alternative way of transforming reality.
Saturday, June 21st, 3 PM
Keywords School
The “Searching for Keywords” project was initialled from a series of interviews of active people in the Chinese society or people in the active Chinese area. By analyzing the content of these conversations, artist Xu Tan identified certain “keywords,” terms which shed light on values and motivations of contemporary Chinese society. “Keywords” measure the pulse of the current social climate and present an insight into the collective social consciousness of China. “Keywords” looks at connections between the individual speakers, words and the mental tendencies of the society.
In this seminar, Zhang Wei and Hu Fang will invite Xu Tan to discuss his Keywords project and introduce the idea of opening a “Keywords School,” as well as his conceptual approach, method and the larger social landscape made visible by the Keywords – a landscape of “collective consciousness” which actually frames our daily process.
Boris Groys - nightschool seminar: 1
Boris Groys
- Seminar 1: After the Red Square, Boris Groys
- Joseph Cohen: The Spectre of Communism: French Philosophy and the Post-Communist Epoch
- After the Red Square: On Religion After Communism
- Guest Lecture Mikhail Iampolski on Post-Communist Russian Film
- On Eastern European Post-Communist Art
- Boris Groys: Art after communism
- Boris Groys: Workshop
nightschool
Seminar 1: Boris GroysThe contemporary, post-communist situation is mostly understood as a time after the full and final victory of the market over all the attempts to put this rule into question. Accordingly, art is equated to the art market and an individual artwork is seen primarily as a commodity. Under this regime the only way for art to become "serious" is to become "critical", which means that it tries to reflect explicitly on its own character-as- commodity. It is telling that the art of the former Communist or Socialist countries is regarded from this perspective as non-serious because it is non-critical by definition; this art could not reflect on itself as a commodity because it was not a commodity. (It was not a commodity because there was no market, and certainly no art market under Socialism).
But the equation between art and art market, be it critical or not, not only brings about the erasure of a substantial part of the art heritage of the 20th Century; it also - and this is the more important point - ignores the non- market dimensions of contemporary art that functions not only as commodity but also as propaganda (for example: Islamist videos), as a means to organize a new type of communal space and a new type of community itself. The goal of the seminar is to investigate precisely these non-market aspects of contemporary art in its relationship to the long tradition of non-market uses of art, related initially to the Socialist-Communist tradition.
Suggested reading:
Boris Groys, The Total Art of Stalinism, Princeton, 1995
Boris Groys, Ilya Kabakov. A man who flew into the cosmic space. Afterall/MIT, 2006.
Boris Groys (ed.), Dream Factory Communism, Schirn, Frankfurt a.M., 2004.
Jacques Derrida, Marx' Gespenster, Suhrkamp, Frankfurt a.M., 2003
Giorgio Agamben, Die kommende Gemeinschaft, Merve, 2003.
But the equation between art and art market, be it critical or not, not only brings about the erasure of a substantial part of the art heritage of the 20th Century; it also - and this is the more important point - ignores the non- market dimensions of contemporary art that functions not only as commodity but also as propaganda (for example: Islamist videos), as a means to organize a new type of communal space and a new type of community itself. The goal of the seminar is to investigate precisely these non-market aspects of contemporary art in its relationship to the long tradition of non-market uses of art, related initially to the Socialist-Communist tradition.
Suggested reading:
Boris Groys, The Total Art of Stalinism, Princeton, 1995
Boris Groys, Ilya Kabakov. A man who flew into the cosmic space. Afterall/MIT, 2006.
Boris Groys (ed.), Dream Factory Communism, Schirn, Frankfurt a.M., 2004.
Jacques Derrida, Marx' Gespenster, Suhrkamp, Frankfurt a.M., 2003
Giorgio Agamben, Die kommende Gemeinschaft, Merve, 2003.
Born in East Berlin in 1947, Boris Groys studied Philosophy and Mathematics at the University of Leningrad from 1965–71. Then, from 1971 to 1976 Groys worked as a research assistant at various institutes in Leningrad and from 1976–81 he was employed at the Institute for Structural and Applied Linguistics at the University of Moscow. In 1981 Groys emigrated from the former USSR to Germany. 1982–85 he received various grants in Germany and worked as a freelance author from 1986–87 in Cologne. Groys taught as Guest Professor in the States at the University of Pennsylvania, Philadelphia in 1988 and at the University of Southern California, Los Angeles in 1991. He obtained his doctorate in Philosophy from the University of Münster in 1992. Since 1994 Groys has been professor for Philosophy and Media Theory at the Academy for Design in Karlsruhe, Germany. And since January 1st 2001 Groys also serves as vice chancellor at the Academy of Fine Arts Vienna, which has since recieved university status. Member of the Association International des Critiques d’Art [AICA].
Publications:
Gesamtkunstwerk Stalin, München 1988
Dnevnik filosofa (russ.) (Tagebuch eines Philosophen), Paris 1989
Die Kunst des Fliehens (mit Ilja Kabakov), München 1991
Zeitgenössische Kunst aus Moskau – Von der Neo-Avantgarde zum Post- Stalinismus, München 1991
Über das Neue. Versuch einer Kulturökonomie, München 1992
Utopia i obmen (russ.) (Utopie und Austausch), Moskau 1993
Fluchtpunkt Moskau (Hrsg.), Stuttgart 1994
Die Erfindung Russlands, München 1995
Die Kunst der Installation (mit Ilja Kabakov), München 1996
Kierkegaard. Schriften (Hrsg.), München 1996
Logik der Sammlung, München 1997
Unter Verdacht. Eine Phänomenologie der Medien, München 2000
Politik der Unsterblichkeit. Vier Gespräche mit Thomas Knöfel, München 2002
Liam Gillick - nightschool seminar: 3
nightschool
(rechts klikken om video's te bekijken)Seminar 3: Liam Gillick
Three one-hour lectures. The outline of a possible text. Five parts will be tested and developed quickly.
Thursday, March 27, 7:30 p.m.: The night before closure of an experimental factory.
Friday, March 28, 7:30 p.m.: Redundancy following the promise of infinite flexibility.
Saturday, March 29, 3 p.m.: Reoccupation, recuperation and pointless renovation.
A QUESTION OF WHERE TO COMMENCE NEW STRUCTURES IN LIGHT OF SOME RETURNS AND EMERGENCES:
THE POSTWAR AS A FINISHED MOMENT: IN THE EUROPEAN CONTEXT AND GLOBAL CONTEXT VIA COLD-WAR INDENTIFICATIONS (E.G. ILLUSION OF IDEOLOGICAL VICTORY OF THE RIGHT…)
THE INABILITY OF THE ART CONTEXT TO IDENTIFY WITH THE NEW CONDITIONS.
COALESCENCE OF INDUSTRIAL LABOUR IN CHINA (AMONG OTHER THINGS). THE FRAGMENTATION OF LABOUR IN DETAIL. SPECIFICALLY IN LIGHT OF VARIED SO-CALLED FREE-TRADE AGREEMENTS.
THE NECESSITY TO POSIT A NEW FRAMEWORK OF ACTION THAT CAN ACCOUNT FOR THESE LOSSES AND GAINS AND PREVENT THE MOST DYNAMIC WORK FROM BEING UNDERSTOOD AS OPERATING WITHIN AN INSTRUMENTALIZED TERRAIN. (THAT MAY OR MAY NOT ONLY BE CONNECTED TO THE NOTION OF “POST-WAR” SOCIAL DEMOCRACY)
THE BOOK (THE TEXT AS OBJECT VERSUS THE FILE TO BE EXCHANGED.)
IMMATERIAL LABOUR (CULTURAL CONTEXT OF THE COMMODITY)
ANALOGOUS MAPPING (WHERE DO THE DISCURSIVE MODELS EMERGE FROM IN A HEAVILY INSTRUMENTALISED CULTURAL ENVIRONMENT)
CULTURAL ECHOES (WHAT ARE THE DANGEROUS ECHOES OR PARALLEL MODELS: THE JIM JONES EFFECT?)
SITES OF PRODUCTION (THE SITES OF PRODUCTION STILL REQUIRE WORK. THIS IS THE REASON FOR MISUNDERSTANDINGS AND HIERARCHIES WITHIN EVEN THE MOST DYNAMIC DISCURSIVE MODELS)
AGENCY IN RELATION TO ECO-POLITICS (CARBON EXCHANGE: THE LUKACS QUALITY OF ECO-SELF-CONSCIOUSNESS. THE OVER-RIDING OF THE POLITICSISZED DISCOURSE)
COALESCENCE/RETURN OF CLASSICAL RELATIONS OF PRODUCTION (+ THEIR ERASURE IN A DEVELOPED SENSE – DE-UNIONISZM ETC.)
CONSENSUS MODELS AS A PHANTOM PARALLEL (MODEL OF SOCIALLY RESPONSIBLE BUSINESS – AMELIORATED WORKING ENVIRONMENT…)
DETAILED WORK IN THE CULTURAL FRAME (WHO IS DOING IT? WHERE IS THE CONTEMPORARAY DYNAMIC LOCATED? ART CURATING THEORETICAL FOCUS)
chinese art is hot (selling records)
Chinese Contemporary art is hot. Recent international auctions have far exceeded expectations with one painting recently setting a new record for a contemporary Chinese artist. Among today's most prominent Chinese artists is Yue Minjun, whose signature laughing self-portrait has earned accolades from critics around the world
http://www.youtube.com/watch?v=HljR-cyAAKg
http://www.youtube.com/watch?v=HljR-cyAAKg
FAKE copy
Painters compete during a facsimile match in Dafen Village.
More than 110 contestants make facsimile of portrait or scenery oil painting in the timed match.
http://www.spiegel.de/img/0,1020,681425,00.jpg
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