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30.5.15
KHANABADOSH | ZURICH UNIVERSITY OF THE ART
25.5.15
FREIRAUM QUARTIER21 INTERNATIONAL
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24.5.15
CASTELLO DI RIVARA | 1985 - 2015
"MUSEO D'ARTE ITALIANA 1985-2015"
30 ANNI D'ARTE CONTEMPORANEA
domenica 24 maggio 2015
dalle ore 10.00 Per onorare la coincidenza che spesso collega i luoghi particolarmente densi di valore con una curiosa ciclicità storica, domenica 24 maggio, al Castello di Rivara - Museo d’Arte Contemporanea, Franz Paludetto inaugurerà l’apertura della stagione espositiva e festeggiando i tre decenni di attività del Castello con una nuova serie di room installation, suggerendo, trent’anni dopo, una chiusura di quel cerchio che si iniziò a tracciare nel 1985 quando, pioniere visionario, insieme all’amico Aldo Mondino, Franz scoprì l’esistenza del Castello (allora in condizioni che soltanto un pioniere visionario avrebbe potuto proiettare nell’immagine che oggi abbiamo negli occhi) e decise di trasformarlo nella sede principale della sua attività di gallerista, curatore, mentore, scopritore di talenti. In questi trent’anni anni esperienze appassionate, di storia dell’arte, di vita, il Castello si è arricchito di una immane quantità di tracce, di segni di quei numerosi e significativi passaggi umani ed artistici che si sono susseguiti, conferendo a quel luogo un fascino ed un valore incommensurabili. Come dimenticare le mostre “Sei Artisti Tedeschi” del 1989 (con le opere di Stephan Balkenhol,Bernd&Hilla Becher, Isa Genzken, Candida Höfer,..); “Itinerari” del 1991 (con la sala di Felix Gonzalez-Torres); “Viaggio a Los Angeles” del 1992 (vengono presentate per la prima volta in Italia la “Giostra” di Charles Ray, la “Bang-Bang Room” di Paul McCarty ed i lavori – Disegni – di Raymond Pettibon); la mostra “Una Domenica a Rivara” del 1992 (di cui è ancora visibile l’azione/installazione “La Fuga” di Maurizio Cattelan) e le mostre personali di Aldo Mondino (1985-1991-2005), Gianni Piacentino (1988), Dan Graham (1991), Gordon Matta Clarck (1991), August Sander (1992), Paul Thek (1992), Allan McCollum (1993), Joseph Beuys (1993), Candida Höfer (1994), Pia Stadtbäumer(1995-2007-2010), Hermann Pitz (1990-1997-2012) e Sergio Ragalzi (1988-1998-2010), … Del resto, tornando alle coincidenze, circa centotrent’anni prima, in quello stesso spazio, si consumava una storia con moltissime analogie rispetto a quella di Franz e dei suoi artisti: l’istrionico artista ed intellettuale Carlo Pittara, infatti, innamoratosi del luogo, chiamava a sé un cenacolo di artisti provenienti da diverse parti di quella che di lì a poco sarebbe stata l’Italia e da altri Paesi europei, dando vita ad un vero e proprio movimento artistico e culturale di respiro internazionale. Nello stesso spirito internazionale, ma con sguardo calato sulle esperienze maturate in ambito italiano, Franz mette oggi a disposizione del territorio quel patrimonio enorme costituito dalle opere del Museo d’Arte Italiana, ospitato nel Castello Medievale (o Castel Vecchio) del complesso di Rivara, arricchito da nuove room installation, a cura degli artisti che hanno animato il movimento torinese tra gli anni ’80 ed oggi, come Francesco Sena (Il pasto di ogni giorno), Sergio Ragalzi (Black-Out), Domenico Borrelli (Zero gradi), Paolo Grassino (T), Nicus Lucà (Insulti), Maura Banfo (La Torre dei Sogni), Paolo Leonardo (Urban Icons), Adriano Campisi (Un gesto irriducibile), Carlo D'Oria (Interferenze), Enzo Bodinizzo (Decima), Bartolomeo Migliore (The Circle Soundz), Salvatore Astore (Amnesia), Jessica Carroll (Pianta Acquatica), Alessandro Bulgini (Decoro Urbano…), Bepi Ghiotti (Compensating Filters), Nicola Bolla, Plinio Martelli (Non c'è il tempo di morire) e Pierluigi Pusole… e nuovi giovani proposte come quelle di Valeria Vaccaro (What remains ) e Simone Benedetto (Together Alone). Una storia complessa lunga trent’anni, nata sotto la buona stella di un significativo precedente storico, raccontata da Franz Paludetto per essere “restituita” al luogo caleidoscopico che l’ha resa possibile. Hanno dato il loro contributo e sostegno in questi primi trent’anni: Jean-Cristophe Ammann, Mirella Bandini, Renato Barilli, Heinz Baumüller, Luca Beatrice, Giorgina Bertolino, Sebastiano Brizio, Daniel Buchholz, Benjamin H.D. Buchloh, Herbert Burkett, Kate Bush, Dan Cameron, Pierandrea Casati, Saretto Cincinelli, Gail Cochrane, Vittoria Coen, Claudia Colasanti Canovi, Emanuela De Cecco, Alessandro Demma, Edoardo Di Mauro, Paolo Fossati, Alan Friedman, Rudi Fuchs, Alessandra Galletta, Albino Galvano, Olga Gambari, Elio Grazioli, Marlis Grùterich, Martin Hentschel, Fritz Heubach, Anthony Iannacci, Roberto Lambarelli, Corrado Levi, Dirk Lukow, Kate Macfarlane, Gregorio Magnani, Robert Nickas, Hans-UIrich Obrist, Luca Piciocchi, Francesco Poli, Anne Rorimer, Gabriella Serusi, Serena Simoni, Raimund Stecker, Ursula Trüdenbach, Giorgio Verzotti, Marisa Vescovo, Angela Vettese, Vera Vita Gioia, Emilio Villa, Benjamin Weil, Denys Zacharopoulos, Alberto Zanchetta… Hanno lasciato a Rivara una traccia della loro presenza artisti come: Mario Airó, Stefano Arienti, John M. Armleder, Polly Apfelbaum, Salvatore Astore, Michael Bach, Stephan Balkenhol, Gisela Bullacher, Angela Bulloch, Miriam Cahn, Maurizio Cattelan, Umberto Cavenago, Giorgio Ciam, Elvio Chiricozzi, Maureen Connor, Grenville Davey, Anke Doberauer, Jürgen Drescher, Ulrich Erben, Andreas Exner, Sylvie Fleury, Dominique Gonzales-Foerster, Peter Friedl, Felix Gonzalez-Torres, Dan Graham, Candida Höfer, Honert Martin, Michael Landy, Nicus Lucá, Eva Marisaldi, Marco Mazzucconi, Gordon Matta-Clark, Plinio Martelli, Matthew McCaslin, Allan McCollum, Paul McCarthy, Aldo Mondino, Hermann Nitsch, Marcel Odenbach, Julian Opie, Raymond Pettibon, Gianni Piacentino, Hermann Pitz, Bernhard Prinz, Pierluigi Pusole, Sergio Ragalzi, Charles Ray, Paul Renner, Wiebke Siem, Wolfgang Schlegel, Pia Stadtbäumer, Rudolf Stingel, Andreas Schön, Michael van Ofen, Maurizio Vetrugno, Luca Vitone, … Quando: 24 maggio – 8 novembre 2015 (opening su invito 24 maggio 2015 dalle ore 10.00) Orari: ven 15 – 15 | sab-dom. 10 -13 15 – 19 o su appuntamento Dove: Castello di Rivara – Museo d’Arte Contemporanea | Piazza Sillano 2 | 10080 Rivara (To) Info: +39 0124 31122 | www.castellodirivara.it | info@castellodirivara.it |
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19.5.15
DIA ART FOUNDATION
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17.5.15
JULIUS VON BISMARCK | STUDIO VISIT
Article by Jessyca Hutchens; Studio Visit Photographs by Conor Clarke
http://www.berlinartlink.com
It’s easy to feel far removed from the city in this place. I’m looking out of a window over a large grassy field, the scene is quiet but for the low drone of a doom band rehearsing in a nearby studio.Julius von Bismarck’s studio, which he shares with a number of close peers, is a large industrial hall, filled to the brim with the detritus of art production; scraps of metal, wood and plastic litter the floors. Situated in the Malzfabrik, a former malt factory turned cultural complex, the scale of the studio space is impressive, even by Berlin standards. The only discernible artwork I pick out is a photograph from von Bismarck’s Punishment I series, an image of him vainly “punishing” the landscape, striking an oncoming wave with a large black leather whip (the real-life whip sits on a shelf just below the framed picture). The faint doom music, the chaotic industrial space, the menacing whip and the artist’s own metal-band-worthy beard all contribute to the sense that this will be one epic studio visit.
Fulguration of “the Magritte Dove” on the Mao Zedong Portrait at Tiananmen Square (2008), Beijing
Von Bismarck originally attracted widespread attention with his work using the Image Fulgurator(2007-2008), a self-invented device which allows an image to be surreptitiously added to another person’s photograph. Onlookers taking photographs of the Mayor of Berlin, the Pope and Barack Obama were astonished to find new symbols transposed into their snapshots, and the resulting images predictably went viral. Works employing a similar knack for technological innovation have included the Perpetual Storytelling Device (2008); a machine that draws an endless series of pictures from the U.S Patents database and The Space Beyond Me (2010); a UV light projector that tracks the original camera movements of a film, leaving behind a glowing trace on the walls of a circular room. The innovation evident in such works makes them immediately impressive, but what takes them beyond mere novelty is in their dedication to strong visual output, the technological and aesthetic elements form a cohesive whole. The most circulated image from the Fulgurtaor series is of a simple transparent white dove transposed onto the famous portrait of Mao Zedong at Tiananmen Square. The image, strong and simple, provides an elegant access point into the broader context of the work (and the ideal re-blogging fodder).
Perpetual Storytelling Device (2008)
It is not surprising then, that in 2012, von Bismarck was chosen to be the first ever artist-in-residence at CERN—the world’s largest particle physics laboratory. As a place associated with the most obtuse and philosophically abstract ideas that science can produce, von Bismarck, an artist skilled at creating visual cohesion from technological complexity, seems a particularly suitable choice. Indeed, the main work he produced for the residency seems almost a meditation on this. The work, Versuch Unter Kreisen (2012), consists of four lights hanging from a ceiling, swinging in apparent chaos before suddenly appearing perfectly in harmony. What seems at first random reveals itself as carefully pre-meditated and technically precise. The work both exploits technology and allegorizes the role it plays—to reach beyond our perceptual and mental capabilities and strive for greater perfection.
In more recent work, von Bismarck has moved away from his reliance on technology, turning his attention towards the natural world. In Punishment I, von Bismarck travelled the world, seeking epic landscapes upon which to enact his whipping performance, repeatedly striking until physically exhausted. For some pigeons are more equal than others (2012), von Bismarck and artist Julian Charriere took ordinary grey pigeons and dyed their feathers, releasing the birds back into their original urban environments in Berlin, Venice and Copenhagen. As with his former work, there is a strong sense of intervention. The artist places unexpected new information into our field of vision. When we spoke about this, Julius described how most of his works have two kinds of audiences: one with prior knowledge and one without. A person walking down a Copenhagen street may have been amazed to see an exotic bright blue bird amongst a group of plain pigeons, while another may have roamed the city searching for such a sighting. The artworks address different spectators at different times, and it is this enlarged scope and context that interests von Bismarck. In a recent work, von Bismarck planted a sculptural replica of a birch tree in a forest near Berlin. While I was initially skeptical about the literalness of such an intervention, I was later convinced by its simplicity—those that stumble across it are likely be both confounded and intrigued by the false tree.
some pigeons are more equal than others (2012); in collaboration with Julian Charriere, Copenhagen, Venice.
For the second-half of the studio-visit, Julius took us up onto the rooftop of one of the more dilapidated buildings in the Malzfabrik. Through dark rooms of disintegrating factory equipment and inside one particularly sketchy elevator, we made it onto the roof for panoramic views of Berlin and a closer look at one of von Bismarcks most impressive public artworks: Public Face II (The Fühlometer). The sculpture is an eight metre high smiley face constructed from steel and neon tubing. Formerly installed on a lighthouse in Lindau (2010), the face does not wear a constant saccharine smile, but continually changes its mood. Using software that analyses facial expressions, the sculpture was designed to reflect the emotions of passing citizens, beaming the results for all to see. When I first saw a video of the sculpture in action, I was amazed at the emotional resonance that could be wrought from this giant smiley in the sky—I really felt a little deflated whenever the smile turned down. The effect is similar to that of von Bismarck’s futile whipping exercises inPunishment I—after a time the absurd and humorous begins to feel almost profound–because there is something truly epic about the gesture.
“Punishment 1″ (2011/2012); Video, Germany, Swizerland, Brazil, USA.
Up on the roof we talk more about ideas and interests than individual works, which strikes me as rather pertinent. People are now far less likely to discuss an artist’s style or technique than they are to inquire as to what currently holds their interest, usually in some field outside of art; politics, history, sociology, biology, particle physics. Von Bismarck may be particularly emblematic of this trend, he studied under Olafur Eliasson at the Institut für Raumexperimente, and his work is reflective of current research-based approaches to art-making. His latest series, currently on display at Alexander Levy Berlin, characteristically involves an intervention in the “real world” and then employs a variety of visual strategies to document the event and elucidate its conceptual basis. The work, Unfall am Mittelpunkt Deutschlands, tells the story of a car crashing into a tree in the precise centre of Germany, documented through photographs of the event, local news stories and a police report. The work thus involves an expanded field of inquiry; one where individual artworks serve as project documentation. When I ask Julius about this, he says that such a mode of working comes naturally to him—explaining that as he feels he is not particularly skilled with language, his ideas are best articulated visually. The result is a kind of project-based conceptualism, not an art of ideas, but an art that expands upon ideas in a multi-dimensional way.
“Unfall Am Mittelpunkt Deutschlands” (2013)
Unfall am Mittelpunkt Deutschlands seems the perfect coalescence of many of von Bismarck’s ideas, depicting a literal collision between man, technology and nature that is loaded with political symbolism (von Bismarck explained how he has lately become interested in issues around national borders). The work actually made me recall the rather naf title of the CERN residency: “Collide@CERN: Creative collisions between the Arts and Science.” Everything that is wrong about this title is defied in von Bismarck’s work, which is never a simplistic coming together of art and science. Von Bismarck’s collisions are far more complicated and infinitely more poignant. Instead of didactically illustrating science, von Bismarck uses technologies that best compliment his interests, whether exploiting complex software and engineering to build a city-wide emotional barometer or using a simple black whip to defy nature.
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Additional Information:
See more of Julius von Bismark’s work:
Artist Website:
www.juliusvonbismarck.com
www.juliusvonbismarck.com
Ongoing exhibitions:
ALEXANDER LEVY
“Unfall am Mittelpunkt Deutschlands” – JULIUS VON BISMARCK
Exhibition: Apr. 27 – Jun. 15, 2013
“Unfall am Mittelpunkt Deutschlands” – JULIUS VON BISMARCK
Exhibition: Apr. 27 – Jun. 15, 2013
http://www.berlinartlink.com
A UTOPIAN STAGE | WHITECHAPEL GALLERY
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16.5.15
CAROLYN CHRISTOV-BAKARGIEV | NEW DIRECTOR TURIN ART
Carolyn Christov-Bakargiev appointed Director of GAM Torino and Castello di Rivoli
The Board of Trustees of Fondazione Torino Musei and of Castello di Rivoli announces the appointment of Carolyn Christov-Bakargiev as Director of Castello di Rivoli Museo d’Arte Contemporanea and GAM – Galleria Civica d’Arte Moderna e Contemporanea di Torino, commencing on January 1, 2016.
Christov-Bakargiev succeeds Danilo Eccher and Beatrice Merz, who acted as Directors of GAM (from 2009 to 2014) and Castello di Rivoli (from 2010 to 2014), respectively.
“We are delighted that Carolyn Christov-Bakargiev has agreed to become the new director of both museums,” said Patrizia Asproni, President of the Fondazione Torino Musei Board. “Her experience in international cultural institutions, her curatorial leadership and extensive knowledge of the art world, as well as her scholarly credentials, are a great fit for the new course of GAM Torino and Castello di Rivoli.”
“I am honored and pleased to serve as director of two institutions as wonderful as GAM and Castello di Rivoli, and to take part in the process of configuring their merger,” statedChristov-Bakargiev. “I would like to thank the Fondazione Torino Musei and its President Patrizia Asproni for entrusting me with this task. The outstanding collection of contemporary art and unique historical galleries of the 18th-century Rivoli castle, located on the foothills of the Alps in the Piedmont region, has been home to many ground-breaking exhibitions since its opening in 1984. The broad 19th-, 20th- and 21st-century collections of the GAM, hosted in an avant-garde 1950s building, represent the memory of modernity for the industrious city of Turin since the opening of its first city museum in 1863. The bringing together of these exceptional institutions prompts a number of important questions. At this moment in history, characterized by the digital revolution and great scientific progress, but also by the abstraction of experience in the virtual realm and the contradictions of globalization and environmental crises, how can we poetically imagine through art and its alliances with other fields – the sciences, storytelling, philosophy, amongst others – a new set of worldviews for the 21st century? How can such broad questions be made commensurate with the particulars of our daily lives? What is the role of a museum today, and how can it provide for and be nurtured by its local community and art lovers worldwide and – especially – by the artists without whose creations our cultures would be unimaginable? Before taking up the post of director of both institutions on January 1, 2016, I will reflect on these questions during a period of great anticipation and preparation.”
Christov-Bakargiev was appointed from a list of candidates proposed by an international panel including Gabriella Belli, Director of the Fondazione Musei Civici of Venice; Bernard Blistène, Director of the Musée national d’art moderne – Centre national d’art et de culture Georges Pompidou, Paris; and Francesco Manacorda, Artistic Director of Tate Liverpool. She was selected from amongst 171 applicants.
Carolyn Christov-Bakargiev (Ridgewood, New Jersey, 1957) is one of the most authoritative contemporary art curators. She is drafting the 14th Istanbul Biennale (2015) and is Distinguished Visiting Professor in Art Theory and Practice at Northwestern University, Evanston IL (2013–2015) as well as Getty Visiting Scholar (2015). Previously, she was Artistic Director of dOCUMENTA (13) (2008–2013), interim Director of the Castello di Rivoli Museo d’Arte Contemporanea (2009), Artistic Director of the 16th Biennale of Sydney (2006–2008), Chief Curator of Castello di Rivoli Museo d’Arte Contemporanea (2002–2008), and Senior Curator at MoMA P.S. 1 in New York (1999–2001). She is the author of many books including Arte Povera (1999, Phaidon Press) and has curated important exhibitions, includingFaces in the Crowd (2005), William Kentridge (2004), Pierre Huyghe (2004), Franz Kline (2004), The Moderns (2003),Animations (2001), Janet Cardiff: A Survey of Works including collaborations with George Bures Miller (2001), Around 1984: A Look at Art in the Eighties (2000), and Greater New York (2000).
The press conference on the appointment of Carolyn Christov-Bakargiev will take place on Tuesday, September 15, 2015.
Carolyn Christov-Bakargiev, 2015.
Courtesy: Istanbul Foundation for Culture and Arts (İKSV)
http://www.castellodirivoli.org
VENICE BIENNALE | TOP 6 EXHIBITION
The iconic canals of Venice are once again flooded with visitors for the Venice Biennale, a major international contemporary art exhibition. This year we celebrate the 56th festival, which brings an expected 370 000 visitors to see the 89 national pavilions and 44 collateral events in addition to theAll The World’s Futures exhibition. After visiting many of the pavilions and collateral events and having seen many impressive installations, we have chosen our top 6 most memorable ones.
Hito Steyerl – “Factory Of The Sun” (2015), film still; copyright of the artist
Hito Steyerl – “Factory Of The Sun” (2015), film still; copyright of the artist
GERMAN PAVILION
The German Pavilion is altered with a temporary architectural structure that divides the space into installations by Olaf Nicolai, Hito Steyerl, Tobias Zielony, and duo Jasmina Metwaly and Philip Rizk. Called the Fabrik, or Factory, the pavilion explores concepts of economy and work, identifying the human role as an agent of change. In the Fabrik, the artist is responsible for generating images of reality, not passively representing it.
The German Pavilion is altered with a temporary architectural structure that divides the space into installations by Olaf Nicolai, Hito Steyerl, Tobias Zielony, and duo Jasmina Metwaly and Philip Rizk. Called the Fabrik, or Factory, the pavilion explores concepts of economy and work, identifying the human role as an agent of change. In the Fabrik, the artist is responsible for generating images of reality, not passively representing it.
In the lower part of the central room, visitors can sit on white plastic lounge chairs and watch Hito Steyerl’s ‘The Factory of the Sun.’ The film is stunning and a comprehensive collage of the digital information age presented with a dry humour – including everything from mock commercials to Deutsche Bank drones, using motion capture technologies to mediate the interaction between the human body and the virtual.
Hito Steyerl – “Factory Of The Sun” (2015), film still; copyright of the artist
Hito Steyerl – “Factory Of The Sun” (2015), film still; copyright of the artist
FRENCH PAVILION
In the French Pavilion, Celeste Bousier-Mougenot confronts viewers with a surreal scene in the exhibit ‘revolutions’: an installation of three living evergreen trees, two outside the pavilion and one inside, that move very slowly and produce a deep noise. The metabolism of the trees – variations in sap flow, or changes in light – is registered by technologies and translated into motion and sound, creating a cyborg creature – part organic, part technology. Visitors are immersed in a marvellous and theatrical garden, in which Boucier-Mougenot tests the relationship of the natural and the technological and contests determinist notions.
In the French Pavilion, Celeste Bousier-Mougenot confronts viewers with a surreal scene in the exhibit ‘revolutions’: an installation of three living evergreen trees, two outside the pavilion and one inside, that move very slowly and produce a deep noise. The metabolism of the trees – variations in sap flow, or changes in light – is registered by technologies and translated into motion and sound, creating a cyborg creature – part organic, part technology. Visitors are immersed in a marvellous and theatrical garden, in which Boucier-Mougenot tests the relationship of the natural and the technological and contests determinist notions.
Céleste Boursier-Mougenot – “revolutions” (2015), installation view at the French Pavilion; photo by Laurent Lecat
Céleste Boursier-Mougenot – “revolutions” (2015), installation view at the French Pavilion; photo by Laurent Lecat
‘THE UNION OF FIRE AND WATER’ COLLATERAL EVENT
Almagul Menlibayeva – “Fire talks to me” (2015), installation view, 10 channels video installation, 17 min; ©Almagul Menlibayeva, photo: Berlin Art Link
Almagul Menlibayeva – “Fire talks to me” (2015), installation view, 10 channels video installation, 17 min; ©Almagul Menlibayeva, photo: Berlin Art Link
In the grandiose but noticeably crooked space of the Palazzo Barbaro, visitors can find a Collateral Event titled ‘The Union of Fire and Water.’ The beautiful historic building now houses the multiple channel video and sculpture installation by Amagul Menlibayeva and Rashad Alakbarov. The artists explore how architecture withstands, sustains and traces major cultural conflicts, exchanges, and transformations of history though the example of the Mukhtarov’s Palace in Azerbaijan.
Almagul Menlibayeva – “Fire talks to me” (2015), video still, 10 channels video installation, 17 min, ©Almagul Menlibayeva, all rights reserved, photo courtesy of the artist and YARAT
Almagul Menlibayeva – “Fire talks to me” (2015), video still, 10 channels video installation, 17 min, ©Almagul Menlibayeva, all rights reserved, photo courtesy of the artist and YARAT
Representative of the superimposition of two cities – Azerbaijan and Venice – the Mukhtarov Palace was built in 1912, inspired by the Venetian Gothic style. Over the course of the last century, the building withstood a series of significant transformations and several changes to its function and ownership. A beautiful and memorable installation, the many layered narrative of the space is unfolded in a complex exploration of cultural plasticity.
HONG KONG PAVILION
The exhibit ‘The Infinite Nothing’ at the Hong Kong Pavilion is a narrative journey of transformation, represented in four separate video installations by artist Tsang Kin-Wah. The work explores Nietzsche’s concept of eternal recurrence and Buddhist beliefs of reincarnation, reflected in the layout of the pavilion which brings the viewer back to the first room at the end. Tsang makes creative montages of text based visuals and moving projections in otherwise empty rooms. Visitors are taken through a cyclical journey through shimmering projections that result in a deeply affective experience of self inquiry and contemplation.
The exhibit ‘The Infinite Nothing’ at the Hong Kong Pavilion is a narrative journey of transformation, represented in four separate video installations by artist Tsang Kin-Wah. The work explores Nietzsche’s concept of eternal recurrence and Buddhist beliefs of reincarnation, reflected in the layout of the pavilion which brings the viewer back to the first room at the end. Tsang makes creative montages of text based visuals and moving projections in otherwise empty rooms. Visitors are taken through a cyclical journey through shimmering projections that result in a deeply affective experience of self inquiry and contemplation.
Tsang Kin-Wah – “The Infinite Nothing: 0″ (2015), single-channel video and sound installation, 6 min. 20 sec, dimensions variable; photo: Berlin Art Link
Tsang Kin-Wah – “The Infinite Nothing: 0″ (2015), single-channel video and sound installation, 6 min. 20 sec, dimensions variable; photo: Berlin Art Link
URUGUAY PAVILION
Marco Maggi – “Global Myopia (Pencil & Paper)” (2015), installation view; photo courtesy of the artist and Ugo Carmeni
Marco Maggi – “Global Myopia (Pencil & Paper)” (2015), installation view; photo courtesy of the artist and Ugo Carmeni
The pavilion by Marco Maggi is notable for its profound and thoroughly considered simplicity. Walking into the room, it at first appears empty, maybe with slightly textured white walls. Only once the viewer comes right up to the wall does it become evident that the entire room is covered in an intricate collage of white paper bits, folded, curled, in small geometric shapes or strips and neat arrangements of perfectly sharpened pencils. Literally made from paper and pencil, this work is a representation of the potential to represent, without actually representing anything. By being insignificant, the work attains a certain freedom by not being prescribed with any possible meaning or signifying function, and this freedom is visible in the whimsical twists of paper that appear animated with a playful energy.
Marco Maggi – “Global Myopia (Pencil & Paper)” (2015), installation view; photo courtesy of the artist and Ugo Carmeni
Marco Maggi – “Global Myopia (Pencil & Paper)” (2015), installation view; photo courtesy of the artist and Ugo Carmeni
LUXEMBURG PAVILION
Filip Markiewicz – “Paradiso Lussemburgo” (2015), installation view; photo by Sven Becker, Atelier d’images
Filip Markiewicz – “Paradiso Lussemburgo” (2015), installation view; photo by Sven Becker, Atelier d’images
At the Luxembourg Pavilion, there appears traces of the same rock influence that we saw two years ago with Catharine Lorent’s installation. The pavilion this year houses the work of Filip Markiewiez, titled ‘Paradiso Lussemburgo’, referencing both Dante’s Divine Comedy and the film ‘Cinema Paradiso’ by Giuseppe Tonatore. Markiewiez has used all 6 rooms of the pavilion for an exploration of the various facets Luxembourg’s contemporary national image as a contemporary paradise – both a tax haven and a haven for immigrants. This exploration manifests in different forms: including drawings, political cartoons, DJ sets with a dance floor, a film, and a speaker’s corner/karaoke.
Filip Markiewicz – “Sorry” (2015), crayon sur papier, 250 x 130 cm; copyright of the artist
Filip Markiewicz – “Sorry” (2015), crayon sur papier, 250 x 130 cm; copyright of the artist
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Additional Information
LA BIENNALE DI VENEZIA
“All Tomorrow’s Futures” – 56th International Art Exhibition
Exhibition: May 9 – Nov. 22, 2015
“All Tomorrow’s Futures” – 56th International Art Exhibition
Exhibition: May 9 – Nov. 22, 2015
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Article by Berlin Art Link in Venice, Friday, May. 15, 2015
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