23.9.10

 
THOMAS HIRSCHHORN
Philosophical Battery

Listening to Thomas Hirschhorn talk about art, it's hard to resist the sensation that all the other artists have got it wrong. Not that he's critical of their work -- in fact, I've never heard him mention another living artist by name. It's more a matter of getting caught up in his enthusiasm. Thomas Hirschhorn is a fanatic. His ardor for the thinkers after whom he names many of his works -- Ingeborg Bachmann Kiosk, Deleuze Monument, Bataille Monument, and most recently, 24h Foucault -- is evident not only in these works' devotion to their subjects' writings, but also in the sheer volume of material deployed toward this end.

"I'm interested in the 'too much,' doing too much, giving too much, putting too much of an effort into something. Wastefulness as a tool or weapon."

Thomas Hirschhorn

Urban Interventionism

In the 1980s he worked in Paris as a graphic artist. He was part of the group of Communist graphic designers called Grapus. These artists were concerned with politics and culture, displaying impromptu creations and posters on the street mostly using the language of advertisement. He left Grapus to create the hypersaturated installations he is known for today, using common materials such as cardboard, foil, duct tape, and plastic wrap. These installations are often site specific and outside the gallery, and/or interactive. Unlike much total installation work, the viewer is an observer not an actor in the spaces he creates because of the way he continues to offer messages in his work as he did with Grapus. Austrian author and Nobel laureate Elfriede Jelinek takes issue with the artist's views on Marxism. In a 2008 interview the artist said that he was not aware of her concerns.
For his piece Cavemanman, he transformed a gallery space into a cave using wood, cardboard, and tape and put various philosophical and pop culture symbols throughout it.

He received the (2000/2001) Marcel Duchamp Prize and the Joseph Beuys Prize in 2004. His works are held in the collections of the Museum of Modern Art, the Walker Art Center, and the Tate.

He presented a lecture as part of the "Image & Text: Writing Off The Page" lecture series through the Visiting Artists Program at the School of the Art Institute of Chicago in Spring, 2006.

In summer 2009 his work Cavemanman was recreated for the exhibition Walking in my Mind at London's Hayward Gallery.

20.9.10

La Chinoise de Godard (nouvelle vague)

Bijschrift toevoegen
Telle est la maxime écrite sur un mur trop blanc de La Chinoise là encore, dès le début du film, maxime écrite en forme de dazibao et donc éminemment prescriptive de ce simple fait : « il faut confronter les idées vagues avec des images claires ». Reformulant une maxime dont l’esprit est explicitement brechtien, Godard énonce là une exigence matérialiste, paradoxale en ce que dans cette confrontation c’est une idée qui doit entrer en dialectique avec l’image ; mais où de plus, l’idée requise ne doit nullement présenter la netteté de la découpe qui traditionnellement confère à l’idée sa puissance d’intelligibilité. Idée vague, mais dont la dialectique avec l’image doit jeter le trouble sur cette dernière, sur ce qu’elle véhicule de cliché et de fausse évidence, trop claire comme on le dit d’un œuf qui ne pouvait être fécondé. Toute la force de cette dialectique ira donc à soutenir qu’il est possible de produire des effets d’une vérité jusque sur ce qui s’y refuse par nature. Tel est l’optimisme inentamable et véritable de la Nouvelle Vague telle qu’elle trouve son expression chez un certain Godard : de ne rien considérer comme susceptible de pouvoir l'arreter.(


Jeff Wall : The Outburst

18.9.10

Beuys



Back to Information Office

POLITICAL ACTIVISM




"CAPITAL is at present the work sustaining ability. Money is not an economic value though. The two genuine economic values involve the connection between ability (creativity) and product. That explains the formula presenting the expanded concept of art: ART=CAPITAL." -Joseph Beuys, 1985

17.9.10

China

History

Religion, Folk Beliefs, Death

People, Families, Customs

Life (Society, Homes, Food, Sex)

Minorities

Tibet

Arts, Culture, Media

Sports, Recreation, Pets

Government, Military, Crime

Education, Health, Energy, Transportation

Economics, Business, Agriculture

Nature, Science, Animals

Travel Info, Festivals, Activities, Web Sites

Places

Lhasa Mt.Everest Tibet kashgar Xinjiang Qinghai Southern China Shenzhen Guangzhou Guilin Yunnan Sichuan Xian Central China Eastern China Shanghai Yangtzu River Yellow River Beijin Inner Mongolia Northeast China North Central China
Click a place for articles on that place

why art can not be taught

boek

shangai

http://www.mocashanghai.org/index.php

bam

foto's





beelden

foto's

'This modern world?'

http://www.kask.be/index.php?/agenda/artikel/this_modern_world_in_shanghai/

Free workbook MANIFESTA



Free download workbook manifesta 8 october 2010 Murcia

chambres d'amis

21.06... 21.09.1986

Chambres d'amis

pdf's

Ai Weiwei

Under Construction

Ai Weiwei

Parkett 81-2008

Ai Weiwei

16.9.10

appartment art

Xiao Lu firing the gun in her performance piece "Dialogue" (1989)
Xiao Lu firing the gun in her performance piece "Dialogue" (1989)
Artists who participated in the Apartment Art movement include Xiao Lu, Song Dong, Yin Xiuzhen, and Qiu Zhijie.

Acclaimed curator and founder of Apartment Art, Gao Minglu, says the movement was made up of “art that responded to the moment, the condition of making art in the early 1990s in China.”[1] What began with artists transforming their apartments and homes into private galleries to compensate for the lack of commercial gallery support, resulted in a full-blown underground art movement. In addition to restricted space, artists were limited to the materials readily available to them. What resulted was a “Dada-influenced movement” that “relied on ready-made objects, performances and Zen Buddhism.”[2]

Because of the limitation of space and materials, these apartment-confined works of art were small in scale, as well as audience. The small audience that was involved, consisting of primarily the artists themselves, spread news of “exhibitions” via postcard announcements, sent only to those involved in the Apartment Art scene. 
(link via appartment art )

onderzoek in de kunsten (KASK)

onderzoeksproject 

Het debat over onderzoek in de kunsten

Henk Borgdorff
Amsterdamse Hogeschool voor de Kunsten


Download (.doc)

resonance in shangai

Resonance

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. 

A A A

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.


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.  

Meanings Avant-garde originates from the military term meaning "Advance guard." This reference to "looking forward" suggested a rejection of the authority of the past in favor of the present, that is the emerging modernity sweeping a rapidly industrializing Europe. It also implied the popularly-accepted idea of an artist being ahead of his time, while art historians reject the very possibility of any individual acting outside of history, independent of the constraints of a particular historical moment and milieu.


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.

(中文)

artspeak china

ArtSpeak China (ASC) is a bilingual, online resource devoted to contemporary Chinese art. It is comprised of a wiki, a collaboratively authored, encyclopedia of contemporary Chinese art and a timeline of related historical and social events. A complementary website, the ASC archive, is under construction and will function as a repository for primary source material contributed by subjects of ASC entries--scanned images of everything from documents and artworks to photographs and artifacts related to contemporary Chinese art.
Founded in 2009, ASC operates as a non-profit organization established through the financial support of Studio Door China, an online presentation platform for member galleries and advisors worldwide. 
 

Pages in category "Institution"

The following 98 pages are in this category, out of 98 total.

1

7

8

A

B

C

C cont.

D

E

F

G

H

I

J

K

M

N

N cont.

O

P

Q

R

S

T

U

V

Y



15.9.10

francis alys

http://www.francisalys.com/

Fake

http://www.smak.be/tentoonstelling.php?la=nl&y=&tid=&t=&id=496

Piero Gilardi au Centre de Création Contemporaine de Tours : ‘Art politique et politique de l’art’(1)

kunsthart.org :: Piero Gilardi au Centre de Création Contemporaine de Tours : ‘Art politique et politique de l’art’(1) :: HART International :: Tijdschrift over hedendaagse kunst in Belgïe en omgeving

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.


"An 'artist-generated' structure is not public as a whole, but parts are made visible in constructed public moments, pertaining to specific instances of the artist's choice. These moments are part of an exchange happening on the surface which is the place where affect is produced. Moreover, it can be said that each moment of communication embodies an entrance, and as such, it can prompt the addressed party in the communication to an engagement that activates a larger part of this structure." (p.17)

"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)

nude



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.



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.

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

RECTO:VERSO

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’."