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30.11.11

CAROLYN CHRISTOV-BAKARGIEV | DOCUMENTA 13



Nommée directrice artistique de documenta 13, Carolyn Christov Bakargiev est actuellement conservateur en chef duCastello di Rivoli. Critique d’art, Elle vit entre  Rome, Turin et New York. Carolyn Christov-Bakargiev a travaillé sur les relations art et littérature et a d’abord oeuvré comme commissaire d’exposition indépendant ,et elle continue de concevoir, à travers le monde, des expositions qui marquent la scène artistique internationale. Ainsi, est-elle emblématique d’une nouvelle génération qui s’affirme aujourd’hui et enrichit sa pratique en transgressant les frontières traditionnelles entre critique et conservateur, commissaire indépendant et responsable d’institutions.
En 2004, elle a organisé au Musée d’Art Contemporain de Sydney une rétrospective majeure consacrée à William Kentridge présentant son œuvre dans toutes ses dimensions (peintures, sculptures, films…). Cette exposition permet également de mettre en relation le travail de l’artiste, avec l’histoire tourmentée de l’Afrique du Sud et des interrogations essentielles sur les incertitudes de la nature humaine. Auparavant, elle avait assuré en 2002 le commissariat de l’exposition Janet Cardif, un bilan de l’œuvre au Musée d’art contemporain de Montréal et été conservatrice au PS1, de New York entre 1999 et 2001. En 2005, elle était nommée co-commissaire de la premièretriennale de Turin.
.Si elle s’est donc beaucoup investi dans des expositions consacrées à un artiste, elle a également travaillé sur des projets thématiques, en particulier à la Villa Médicis où trois années durant (1998, 1999 et 2000), en compagnie de Laurence Bossé et de Hans Ulrich Obrist, elle a successivement présenté les volets d’une trilogie : La Ville, le Jardin, la Mémoire.
Membre du jury international de la Biennale de Venise, Carolyn Christov Bakargiev est également l’auteur de livres et d’articles, dont les ouvrages Arte Povera. (Phaidon. 1998) et Moderns, I Moderni. (Skira).

17.11.11

ALLORA & CALZADILLA | LISSON GALLERY

from lissongallery.com / press release

Lisson Gallery is pleased to present Allora & Calzadilla’s third solo show at the gallery ‘Vieques Videos 2003-2011’. Made over the course of a decade Returning a Sound (2004), Under Discussion (2005) and Half Mast/Full Mast (2010) are now shown here together for the first time. Each video addresses the complicated history of Vieques, an inhabited island of Puerto Rico that was used by the United States Navy as a bomb-testing range from 1941 until 2003. The Navy was forced to evacuate by a civil disobedience campaign waged by local residents, with supporters throughout the world. Allora & Calzadilla contributed to the visual culture of this campaign with a long-term, multi-sited project entitled ‘Landmark’, informed by the following questions: ‘How is land differentiated from other land by the way it is marked? Who decides what is worth preserving and what should be destroyed? What are strategies for reclaiming marked land? How does one articulate an ethics and politics of land use?’






In Vieques the future of the reclaimed land remains uncertain and largely insulated from democratic claims. Returning a Sound (2004) was made at the beginning of the process of demilitarisation, decontamination, and future development and at once celebrates a victory and registers its precariousness. The video addresses not only the landscape of Vieques, but also its soundscape, invoking the memory of the sonic violence of the bombing. It follows Homar, an activist, as he traverses the island on a moped with a trumpet welded to the muffler. The noise-reducing device is diverted from its original purpose: with every jolt of the road and spurt of the engine, the trumpet might summon up the siren of an ambulance, Luigi Russolo’s Futurist Intonarumori or experimental jazz. In his circuit Homar acoustically recapitulates areas of the island formerly exposed to ear-splitting detonations.



Scarred with bomb-craters and with its ecosystem contaminated, the former military land has been designated as a federal wildlife refuge. This designation entails further violence by marginalising the demands of island residents for decontamination and municipal management – the point of departure for Under Discussion (2005). An overturned conference table has been retrofitted with an engine and rudder grafted from a small fishing boat. A local activist uses the motorized table to lead viewers around the restricted area of the island, re-marking the antagonisms that haunt the picturesque coast and bearing witness to the memory of the Fisherman’s Movement, which initiated the first acts of civil disobedience against the ecological fall-out of the bombing. The hybrid device explores the absurd political inequalities of the situation: the table, a common trope for the non-violent resolution of conflict, is forcibly reliant on local navigation.



Half Mast\Full Mast (2010) draws attention to the unfinished political, economic, and ecological reconstruction of the island as inhabitants grapple with the legacy of military occupation. Departing from the noisy dynamism of the earlier videos, Half Mast\Full Mast adopts a slower, more meditative approach. Projected at life-size, the silent video is comprised of 19 partitions; each is split into two landscape views of various sites in Vieques, stacked on top of one another. The horizontal divide is then crossed by two poles, aligned as if a continuous object. In each partition a young man hoists himself up the pole from standing to a horizontal position, and with intenseexertion momentarily becomes an unofficial flag – before endurance gives way to gravity. The gesture functions to reframe specific sites around Vieques significant to the military occupation and subsequent struggles in terms of a deceptively simple semiotic convention: the flying of the flag at half-mast (a sign of mourning) or full- mast (‘normal’ conditions). In ‘becoming’ a flag, however unofficial, absurd or precarious, the performers short-circuit the flag’s symbolic relation between parts and wholes. In Half Mast\Full Mast, the individual body ‘literally’ stands in for the flag, obliterating it as an official place for the collective body of the nation.



Alternating in an unpredictable manner between upper and lower segments of the composition, the appearance sometimes celebrates or salutes a particular site (such as places related to the history of civil disobedience), while in others it indicates a sense of discontent, if not crisis (such as the luxury W hotel recently constructed in Vieques). In other instances, the gesture is ambivalent relative to the sites in question, suspended somewhere between disaster and progress, oblivion and memory, grief and hope – oscillations that rebound on a broader scale between all three Vieques videos.

Allora & Calzadilla
Vieques Videos 2003–2011
23 November 2011 – 14 January 2012

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Lisson Gallery
52-54 Bell Street
London, NW1 5DA
T: + 44(0)20 7724 2739
F: + 44(0)20 7724 7124

LISSONGALLERY.COMAll iamges courtesy of LISSONGALLERY.COM




SELECTED / EXHIBITION / ALLORA & CALZADILLA / VIEQUES VIDEOS 2003/2011 @ LISSONGALLERY.COM

15.11.11

JOHN STEZAKER | ROSENWALD-WOLF

The moodiness of collage nearly overwhelms the show of work by John Stezaker at Rosenwald-Wolf Gallery in his show The Nude and Landscape. But then the sharpness of Stezaker’s intelligence and eye pull it back from the brink, seducing with beauty, complexities, surprises and ideas.
John Stezaker, Pursuit V from the 3rd Person Series, 2011 collage, 5th of 7 parts, 7.9 x 5.4 inches (includes mat); actual image is about an inch!
Stezaker had a recent solo show at London’s Whitechapel Gallery, and he shows at Petzel in New York. (Friedrich Petzel himself was at the sparsely attended opening at Rosenwald-Wolf. Perhaps it was the rain that accounted for the low turnout).
To put this another way, if you’re in a rush, this is not the show for you. But if you have a little time to visit with the work here and get up close and personal, you will be rewarded, not because you have to know so much and be a big art history buff, but rather because this work offers visual and intellectual puzzles based on the ordinary visual culture of our civilization–magazines, photos and newspapers.
John Stezaker, Underworld XVI, 2011, collage, 9.1 x 10 inches
Once I got past the sad undertext of all collage–reused materials, previously rejected and remaindered–I found trippy worlds reimagined. There’s a challenge Stezaker sets for his viewers, and I can’t help but think he’s a bit of a cranky person. But I sure did like these not-quite-friendly collages.
My favorite piece was a series of seven collages (see top image), although calling them collages is a sly trick. The images are simply stamp-size cut-outs from larger images. Each cut out is a single, intact rectangle glued in the center of an approximately 8″ tall mat board.  The images highlight tiny figures in action excised from some corner or background of larger images–the things we rarely pay attention to as our editing eyes and minds focus in on the main subject. The line-up of seven suggests a cinematic storyboard, with a mysterious tale to tell of something momentous about to happen.
John Stezaker, Underworld XV, 2011, collage, 7.1 x 9.9 inches
In an equally puckish approach, Stezaker does a double Duchamp reference in using a ready-made, an old travel postcard, which he presents unaltered. By naming it Nymph, he turns a landscape with a waterfall into a bit of erotica that seems to reference Duchamp’s Étant donnés.
In Underworld XV, a single slice joins pieces of two different landscapes. The upper half, however is an inverted view of land, confusing the eye’s expectation of horizon and sky. Puzzling out the what and the why and the where is pretty wonderful!
John Stezaker, Fall X, 2009, collage, 8.3 x 5.5 inches
The male-female nude mashups might have been more fun if I hadn’t seen similar work from Philadelphia photographer Paul Cava previously.

Exhibit Oct. 13 to Nov. 19, 2011
Monday – Thursday: 10 a.m. - 5 p.m.
Friday: 10 a.m. - 4 p.m.
Saturday – Sunday: CLOSED
Rosenwald-Wolf Gallery
333 S. Broad St.
215 717 6480