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martedì 22 novembre 2016

PinchukArtCentre e il Future Generation Art Prize



Da diversi anni PinchukArtCentre assegna a Venezia, durante il periodo della Biennale, il  Future Generation Art Prize.

Ieri è stata annunciata la lista degli artisti selezionati per il round finale, eccovi il comunicato stampa :

PinchukArtCentre today announced 21 artists shortlisted for the 4th edition of the Future Generation Art Prize, established by the Victor Pinchuk Foundation in Kyiv, Ukraine in 2009.
Selected from 4,421 entries by artists from 138 countries, they are:
  • Nijdeka Akunyili Crosby, 33 (Born: Nigeria 1983, Country of residence, United States)
  • Iván Argote, 32 (Born: Colombia, 1983. Country of residence: France)
  • Firelei Báez, 35 (Born: Dominican Republic, 1980. Country of residence: United States)
  • Dineo Seshee Bopape, 35 (Born: South Africa, 1981. Country of residence South Africa)
  • Phoebe Boswell, 34 (Born: Kenya, 1982. Country of residence: United Kingdom)
  • Vivian Caccuri, 30 (Born: Brazil, 1986. Country of residence: Brazil)
  • Sol Calero, 34 (Born: Venezuela, 1982. Country of residence: Germany)
  • Asli Çavuşoğlu, 34 (Born: Turkey, 1982. Country of residence Turkey)
  • Vajiko Chachkhiani, 31 (Born: Georgia, 1985. Country of residence: Germany)
  • Carla Chaim, 33 (Born: Brazil, 1983. Country of residence: Brazil)
  • Christian Falsnaes, 35 (Born: Denmark, 1980. Country of residence: Germany)
  • EJ Hill, 31 (Born: United States, 1985. Country of residence: United States)
  • Andy Holden, 34 (Born: United Kingdom, 1982. Country of residence: UK)
  • Li Ran, 30 (Born: China, 1986. Country of residence: China)
  • Ibrahim Mahama, 29 (Born: Ghana, 1987. Country of residence Ghana)
  • Rebecca Moss, 25 (Born: United Kingdom, 1991. Country of residence UK)
  • Sasha Pirogova, 29 (Born: Russia, 1986. Country of residence Russia)
  • Kameelah Janan Rasheed, 31 (Born: United States, 1985. Country of residence United States)
  • Martine Syms, 28 (Born: United States, 1988. Country of residence United States)
  • Kemang Wa Lehulere, 32 (Born: South Africa, 1984. Country of residence South Africa)
  • Open Group (Yuri Bieliey, born 1988; Pavlo Kovach, born 1987; Stanislav Turina, born 1988; Anton Varga, born 1989, Ukraine)
The shortlisted artists were chosen by an international Selection Committee. The Open Group from Ukraine were nominated for the shortlist as winners of the PinchukArtCentre Prize 2015, a national contemporary art prize awarded to young Ukrainian artists up to the age of 35.
The Shortlist Selection Committee members are: Elise Atangana, Independent curator & producer Paris; Daniela Castro, Independent curator and writer based in São Paulo (Chairwomen of the selection committee); Björn Geldhof, Artistic Director, PinchukArtCentre (Kiev) and YARAT (Baku); Shabbir Hussain Mustafa, Senior Curator, National Gallery Singapore; Diana Nawi, Associate Curator, Pérez Art Museum Miami; Anna Smolak, Curator, Future Generation Art Prize 2017; Gaia Tedone, Independent Curator, PhD Candidate, Centre for the Study of the Networked Image, London South Bank University
Daniela Castro, Chair of the Selection Committee, said: "The selection committee assessed a pool of thousands of applications submitted by young artists from all over the world. The difficulty of selecting just twenty practices from this list was not just because of the amount of work entailed in such an endeavor but by the excellence of each project we had to carefully look at. Merit was one of the many variants we considered in order to conduct a fair analysis: geography, gender, media also had their say. As such, we understand that the shortlisted artists for the Future Generation Art Prize are representatives of a wider landscape of outstanding art practices emerging throughout the world.”
The Future Generation Art Prize established by the Victor Pinchuk Foundation in 2009 is a worldwide contemporary art prize created to discover, recognise and give long-term support to a future generation of artists. Judged by a distinguished jury, the Prize with a cash value of $100,000, aims to make a major contribution to the careers of younger artists involved in the dynamic cultural development of societies in transition, many of whom have found it difficult to get their voices heard. The competition is open to all artists up to the age of 35 of all backgrounds, working in any medium, anywhere in the world. 
An exhibition of the work of the twenty one shortlisted artists will go on show at the PinchukArtCentre in Kyiv on 25 February – 16 April 2017. The winner will be announced at an Award Ceremony in Kyiv in March. The exhibition will be presented as an official collateral event at the Palazzo Contarini Polignac Venice Biennale opening on Thursday 11 May 2017.

About the Future Generation Art Prize
All artists up to the age of 35 of all backgrounds, working in any medium, anywhere in the world are encouraged to apply for the Future Generation Art Prize. Supporting the application process, more than 600 correspondents all over the world nominate artists for the prize and over 50 Partner Platforms worldwide are ambassadors for the Prize to encourage artists within their regions to apply.
The main prize will be awarded by an international jury in the amount of US$ 100,000, split between $60,000 in cash and $40,000 investment in the production of a new work. In addition US$ 20,000 will be awarded to up to five Special Prize winners, nominated by the Jury. A Public Choice winner will be selected through online voting and announced at the Award Ceremony.
The members of the international jury selecting the winner are:
  • Nicholas Baume, Director and Chief Curator, Public Art Fund, New York
  • Iwona Blazwick, Director, Whitechapel Art Gallery, London
  • Björn Geldhof, Artistic Director, PinchukArtCentre, Kiev and YARAT, Baku
  • Mami Kataoka, Chief Curator, Mori Art Museum, Tokyo and Curator, 21st Biennale of Sydney 2018
  • Koyo Kouoh, Founding Artistic Director, Raw Material Company, Dakar
  • Jérôme Sans, Co-Founder, Palais de Tokyo Paris and Artistic Director, Perfect Crossovers, Paris-Beijing

Specchi nei Paesi Nordici



Saranno sei gli artisti per il prossimo padiglione nordico, Siri Aurdal, Nina Canell, Charlotte Johannesson, Jumana Manna, Pasi “Sleeping” Myllymäki, e Mika Taanila. In tal modo i tre paesi saranno parte di un progetto collettivo intitolato "Specchio" dei Padiglioni Nordici" un progetto che vuole evidenziare la cultura artistica dei paesi partecipi, Norvegia, Svezia e Finlandia.



English

'The artists in "Mirrored" present a mapping of connections that override the national and regional boundaries, and instead track a more multi-faceted view of how artistic practice may connect', says curator Mats Stjernstedt.

The exhibition 'Mirrored' attempts to avoid a topical approach, to focus on challenging a self-image reflected in, or stereotypes projected on, the Nordic countries. 'Mirrored' thus suggest a 'placeless place', to borrow Guiliana Bruno’s allegory on mirrors.

Siri Aurdal (b.1937), Charlotte Johannesson (b.1943), and Pasi “Sleeping” Myllymäki (b.1950) are innovators who, to some extent, have created and articulated the artistic realms they later came to work within. All three artists can be described as atypical for the Nordic Pavilion’s extended architecture, as much landscape and outdoor experience as an enclosed space. Their works are examples of urban art and urbanity that was ahead of its time in exploring industrial material, digital space, or design experiments with moving images. Aurdal’s module-based sculptures challenge the sculpture medium and establish new premises for it. Johannesson took her cue from traditional textile crafts and translated the logical setup of tapestries into computer-based pixels. Before giving up his film practice, Myllymäki produced forty-four super-8 films from 1976 to 1985; these films explore a wide range of elements from graphic design to performative actions.

A similar interest in urban subject matter, expressed, for instance, through material transformation or political content, intersects the works of the following artists: Mika Taanila (b.1965) is primarily recognised for producing temporal artworks in film, video and sound. For the present exhibition, Taanila uses montage technique to create a cut-out project in cinematic literature. Nina Canell’s (b.1979) experimental mode of relating to sculpture and installation, considers the place and displacement of energy. However, like Taanila’s film and sound work, they have a temporal quality, as Canell converts sculpture’s often fixed form into open-ended processes. The works of Jumana Manna (b.1987) explore how power is articulated through relationships, often focusing on the body and materiality in relation to narratives of nationalism, and histories of place. In her sculptural work, Manna indirectly unfolds representation, creating a visual language of absence and substitutes.



The Nordic Pavilion 
The Nordic Pavilion, by Norwegian architect Sverre Fehn, was completed in 1962 and has since been a space for collaboration between three nations – Sweden, Finland and Norway. For the past three biennials, a format was introduced which involved the solo commissioning of a project by each country in turn. For the period 2017–2021, the art in the Nordic Pavilion will be presented as a joint project, where the three countries are represented on equal terms. The countries will alternate as principal commissioner and manager of activities at the Nordic Pavilion as follows: 2017, Moderna Museet, Sweden; 2019, Frame Contemporary Art Finland, Finland; 2021, Office for Contemporary Art Norway (OCA).


Siri Aurdal 
Siri Aurdal (b.1937) lives and works in Oslo, Norway. Aurdal has exhibited at Oslo Kunstforening, Kunstnernes Hus, Oslo, and Murray Guy, New York, and has participated in group exhibitions at Arkiv för dekorativ konst / Skissernas Museum, Lund, the 15th Biennial, Antwerp, Kunsthall Oslo, and Stavanger Kunsthall. A major sculptural work, Wavelengths – Recomposed, was installed in Oslo’s Vigeland park in 2016, as a joint project between Kunstnernes Hus and OSLO PILOT, Kulturetaten, the City of Oslo.


Nina Canell 
Nina Canell (b.1979) lives and works in Berlin, Germany. Canell has exhibited at Kunsthalle Fridericianum, Kassel, Hamburger Bahnhof, Camden Arts Centre, London, Douglas Hyde Gallery, Dublin, Moderna Museet, Stockholm, Arko Art Center, Seoul, and in 2017 at Museum Tamayo, Mexico City. She has participated in various group exhibitions at several art institutions, including Biennale de Lyon, Sydney Biennale, Palais de Tokyo, Paris, Museum of Modern Art, New York, Liverpool Biennale, Tate Liverpool, and Manifesta 7, Rovereto. Canell was an Edstrandska Stiftelsen laureate in 2011, and was awarded the ars viva Prize for Visual Arts the same year.

Charlotte Johannesson 
Charlotte Johannesson (b.1943) lives and works in Skanör, Sweden. She has exhibited at Galerie S:t Petri, Lund, Konstmuseet, Ystad, Galleri Glemminge, Gelmmingebro, Galerie Green, Malmö, Dexter Bang Sinister, Kunsthall Charlottenborg, Copenhagen, and Galleri Petra Lilja, Malmö, and has participated in various group exhibitions, including the 32nd São Paolo Biennale, the Van Abbemuseum, Eindhoven, Barbican Art Gallery, London, Göteborgs Konstmuseum, Norrköpings Konstmuseum, Museum of Modern Art, Toyama, Pratt Center, New York, Academy of Art College Gallery, San Francisco, Musée d’Art Moderne, Paris, Air Gallery, New York, Malmö Konsthall, and Kulturhuset, Stockholm. Johannesson was awarded the Royal Swedish Academy of Arts scholarship in 1976. In 2016, she was a laureate of the Aase & Richard Björklund Fund.

Jumana Manna 
Jumana Manna (b.1987) lives and works in Berlin, Germany. She has exhibited at SculptureCenter, New York, Chisenhale Gallery, London, and Beirut Art Center. She has participated in group exhibitions at Kunsthalle Wien, the Liverpool Biennial, the 20th Biennale of Sydney, Marrakech Biennale 6, the Jerusalem Show VII, Al Ma’mal Foundation, and Henie Onstad Kunstsenter, Bærum. Manna’s films have been screened at festivals and institutions such as M+, Hong Kong, the 54th Viennale International Film Festival, Guggenheim, New York, Filmlab: Days of Cinema, Ramallah, Tate Modern, London, Performa13 Biennial, New York, and IFFR Rotterdam. She was awarded the A.M. Qattan Foundation’s Young Palestinian Artist Award in 2012, and is the ars viva Prize for Visual Arts laureate in 2017. In 2017, she is engaged in commissions for the Satellite Program 10, Jeu de Paume, Paris and CAPC Bordeaux, and for The HighLine, New York.


Pasi “Sleeping” Myllymäki 
Pasi “Sleeping” Myllymäki (b.1950) is a filmmaker based in Hämeenlinna, Finland. Myllymäki’s films have been screened widely at festivals and art institutions in Finland and internationally, including Unica, Baku, The Kitchen, New York, Hämeenlinna Art Museum, Moderna Museet, Stockholm, Rajaton Elokuva Event, Joensuu, Avanto Festival, Kiasma, Helsinki, Nordisk Panorama, Oulu, VIDEO-EX, Zürich, Kauniita uneksijoita-event, Kino Kaiku, Malmitalo, Helsinki, Avant Goes Witty, Karlstad, IFFR, Rotterdam, Kinos Festival, Lahti, AAVE Festival, Helsinki, Rakkautta ja Anarkiaa Film Festival , Helsinki, and VIDEOMEDEJA Film Festival, Novi Sad.


Mika Taanila 
Mika Taanila (b.1965) lives and works in Helsinki, Finland. Taanila has exhibited at Kiasma Museum of Contemporary Art in Helsinki, Contemporary Art Museum St. Louis, Migrosmuseum, Zürich, and Badischer Kunstverein, Karlsruhe. He has participated in the following selected group exhibitions: documenta (13), Kassel, Aichi Triennale, Nagoya, Manifesta 4, Frankfurt-am-Main, and Shanghai Biennale. Taanila’s films have been screened at numerous international film festivals and special events, including the Toronto International Film Festival, IFFR Rotterdam, Berlinale, CPH:DOX, International Short Film Festival Clermont-Ferrand, Midnight Sun Film Festival, Sodankylä, and Oberhausen Kurzfilmtage. In 2015, he was presented with the Ars Fennica Award.


Mats Stjernstedt has been Director of Kunstnernes Hus in Oslo since 2011, and was appointed Director for Malmö Konsthall from January 2017.

martedì 15 novembre 2016

Padiglione Italia, Calò, Cuoghi e Husni-Bey



Giorgio Andreotta Calò, Roberto Cuoghi e Adelita Husni-Bey, questi gli artisti selezionati da Cecilia Alemani per la prossima Biennale di Venezia per rappresentare l’Italia.


La curatrice ha dichiarato 

«Con le loro opere, Giorgio Andreotta Calò, Roberto Cuoghi e Adelita Husni-Bey rappresentano modi complementari e distinti di fare arte in Italia oggi.  I tre artisti sono nati in Italia tra la metà degli anni ‘70 e degli anni ’80 e sono emersi sulla scena artistica nazionale e internazionale nello scorcio di questo nuovo secolo, raggiungendo diversi livelli di notorietà: dalla giovane promessa Husni-Bey al lavoro più maturo di Cuoghi.

Le loro opere e i loro linguaggi sono globali ma intimamente legati alla cultura del nostro Paese. Ho scelto di invitare un numero ridotto di artisti rispetto al passato per allineare il Padiglione Italia agli altri padiglioni nazionali presenti in Biennale.
Per questo il mio progetto non cerca di rappresentare uno sguardo completo su tutta l’arte italiana: piuttosto vuole guardare in profondità al lavoro di tre artisti – voci originali che si sono distinte e imposte negli ultimi anni – dando loro spazio, tempo e risorse per presentare un grande progetto ambizioso che costituisca un’occasione imperdibile nella loro carriera e che possa presentare al pubblico un’opportunità di immergersi nella mente e nel mondo degli artisti.
Spero che questo Padiglione possa proporre un’immagine dell’Italia attuale e cosmopolita, non più vista solo attraverso la lente nostalgica delle generazioni precedenti, ma che guardi al futuro con entusiasmo e con la capacità critica di confrontarsi con nuovi linguaggi e con le esperienze di altre nazioni»


lunedì 14 novembre 2016

Nika Autor per la Slovenia



Nika Autor rappresenterà la Slovenia per il 2017 alla Biennale di Venezia collaborerà come curatore Andreja Hribernik, della Slovenia’s Koroška Gallery.

Bernardo Oyarzún per il Cile



Bernardo Oyarzún è l’artista selezionato dal Consiglio Nazionale della Cultura e dell’Arte del Cile, selezionato da una rosa di candidati che avevano presentato un progetto, lo affiancherà il curatore Ticio Escobar. L’artista che opera spesso con uno sguardo antropologico presenterà nel padiglione un lavoro con le maschere tradizionali cerimoniali Mapuche, intitolato Werken.

Info http://bienalvenecia.cultura.gob.cl/

lunedì 31 ottobre 2016

Anne Imhof per la Germania





La Germania  scelto la giovane  Anne Imhof e Preis der Nationalgalerie 2015.

Sharon Lockhart per la Polonia




La Polonia ha selezionato Sharon Lockhart, artista americano che da diversi anni realizza il progetto Little Review, che narra di un periodico giovanile polacco, ideato da Janusz Korczak, uscito nei primi decenni del novecento.

Jordi Colomer per la Spagna




Da pochi giorni è giunta la nomina dell’artista che interverrà nel padiglione spagnolo, sarà Jordi Colomer.

L’artista che vive a Barcellona è noto per i suoi lavori installativi che ha proposto nelle principali realtà espositive internazionali, dal Jeu de Paume al Bronx Museum.


Il curatore sarà Manuel Segade, direttore del Centro Dos de Mayo Art di Madrid.

Next Taiwan Pavilion at the 57th Venice Biennale


Il Padiglione di Taiwan, gestito dal Taipei Fine Arts Museum, presenterà il lavoro di Tehching Hsieh, titolo “Doing Time”.




MEDIA GATHERING Taiwan Pavilion at the 57th Venice Biennale
Speaker: Artist Tehching Hsieh and Guest Curator Adrian Heathfield
Time/Date: 2PM, November 21 (Monday)
Location: B1 Library, Taipei Fine Arts Museum

We cordially invite you to join us for the first media gathering for the Taiwan Pavilion at 2PM on November 21 as Taipei Fine Arts Museum (TFAM) proudly announced Tehching Hsieh as the sole artist to represent Taiwan with an exhibition to be curated by Adrian Heathfield at the upcoming Venice Biennale 2017. Tehching Hsieh and Adrian Heathfield will share their insights on the planning of the upcoming show in Venice.

lunedì 24 ottobre 2016

L'evoluzione delle pratiche di intervento sul patrimonio urbano.



Domani, alle 9,30,  prende avvio "Venezia 1966-2016: L'evoluzione delle pratiche di intervento sul patrimonio urbano. Restauri e nuove tecniche" un incontro organizzato in collaborazione con Comune di Venezia e Università IUAV di Venezia presso Ca’ Giustinian, Sede della Biennale di Venezia, San Marco 1364/a - Venezia, Sala delle Colonne.





giovedì 22 settembre 2016

VIVA ARTE VIVA




Il Presidente della Biennale di Venezia, Paolo Baratta, accompagnato dalla Curatrice della 57. Esposizione Internazionale d’Arte, Christine Macel, ha incontrato oggi a Ca’ Giustinian i rappresentanti di 57 Paesi. La 57. Esposizione si svolgerà dal 13 maggio al 26 novembre 2017 (vernice 10, 11 e 12 maggio) ai Giardini e all’Arsenale nonché in vari luoghi di Venezia.

Il tema scelto da Christine Macel per la Biennale Arte 2017 è: VIVA ARTE VIVA


Christine Macel ha presentato i temi della prossima edizione con questa dichiarazione:

«L’arte di oggi, di fronte ai conflitti e ai sussulti del mondo, testimonia la parte più preziosa dell’umano in un momento in cui l’umanesimo è seriamente in pericolo. È il luogo per eccellenza della riflessione, dell’espressione individuale e della libertà, così come dei fondamentali interrogativi. È un “sì” alla vita, a cui certamente spesso segue un “ma”. Più che mai, il ruolo, la voce e la responsabilità dell’artista appaiono dunque cruciali nell’ambito dei dibattiti contemporanei.

Viva Arte Viva è quindi un’esclamazione, un’espressione della passione per l’arte e per la figura dell’artista. Viva Arte Viva è una Biennale con gli artisti, degli artisti e per gli artisti, sulle forme che essi propongono, gli interrogativi che pongono, le pratiche che sviluppano, i modi di vivere che scelgono.

La Mostra si sviluppa secondo una linea organica piuttosto che tematica, in una sequenza di padiglioni, di stanze che si susseguono come “stanze” di una poesia e propongono allo spettatore l’esperienza di un viaggio dall’interiorità all’infinito. 


Questi padiglioni o Trans-padiglioni, che riuniscono artisti di ogni generazione e provenienza, si succedono tra loro senza soluzione di continuità, come i capitoli di un libro. Dal “Padiglione degli artisti e dei libri” al “Padiglione del tempo e dell’infinito”, si presentano come una dozzina di universi che propongono un racconto, spesso discorsivo e talvolta paradossale sulla complessità del mondo e la molteplicità di pratiche e posizioni.
La Mostra vuole perciò essere un’esperienza che disegna un movimento di estroversione, dal sé verso l’altro, verso lo spazio comune e le dimensioni meno definibili, aprendo così alla possibilità di un neoumanesimo.

Ogni settimana, durante i sei mesi della Mostra, un artista terrà una Tavola Aperta in cui pranzerà con il pubblico, creando così un occasione di dialogo in cui possa raccontare il suo lavoro. 

Nelle settimane precedenti l’apertura della Mostra, ogni giorno sarà pubblicato un video online sul sito della Biennale, dando la possibilità di conoscere gli artisti prima dell’Esposizione».


Da parte sua il Presidente Paolo Baratta ha dichiarato:

«In gennaio, nell'annunciare la nomina di Christine Macel ebbi a dire che “la Biennale trova in lei una curatrice protesa a valorizzare il grande ruolo che gli artisti hanno nell’inventare i loro universi e nel riverberare generosa vitalità nel mondo che viviamo."
Ispirata a una visione "umanistica", con l'attenzione concentrata sull'atto creativo dell'artista, la Mostra svilupperà anche, in misura nuova e più intensa, il dialogo tra i visitatori e molti degli artisti le cui opere saranno esposte, con un programma di incontri appositamente concepito in spazi dedicati».


La 57. Esposizione Internazionale d’Arte della Biennale di Venezia presenterà, come di consueto, le Partecipazioni nazionali, con proprie mostre nei Padiglioni ai Giardini e all’Arsenale, oltre che nel centro storico di Venezia.

Anche per questa edizione si prevedono selezionati Eventi Collaterali, proposti da enti e istituzioni internazionali, che allestiranno le loro mostre e le loro iniziative a Venezia in concomitanza con la 57. Esposizione.






Intervento di 

Christine Macel - Curatrice della 57. Esposizione Internazionale d’Arte


L’arte di oggi, di fronte ai conflitti e ai sussulti del mondo, testimonia la parte più preziosa dell’umano in un momento in cui l’umanesimo è seriamente in pericolo. È il luogo per eccellenza della riflessione, dell’espressione individuale e della libertà, così come dei fondamentali interrogativi. Sogni e utopie, legami con l’altro e con gli altri, con la natura e il cosmo, così come con la dimensione spirituale, vi trovano uno spazio di predilezione. L’arte costituisce così un ultimo baluardo, un giardino da coltivare al di fuori delle mode e dei personalismi, rappresentando un’alternativa all’individualismo e all’indifferenza. Essa ci costruisce e ci edifica. È un “sì” alla vita, a cui certamente spesso segue un “ma”. Più che mai, il ruolo, la voce e la responsabilità dell’artista appaiono dunque cruciali nell’ambito dei dibattiti contemporanei.


Viva Arte Viva è quindi un’esclamazione, un’espressione della passione per l’arte e per la figura dell’artista. Viva Arte Viva è una Biennale con gli artisti, degli artisti e per gli artisti, sulle forme che essi propongono, gli interrogativi che pongono, le pratiche che sviluppano, i modi di vivere che scelgono.

L’arte e gli artisti sono dunque essi stessi al centro dell’Esposizione che inizia con un interrogativo sulle loro pratiche, sul modo di fare arte, tra ozio e azione, tra otium e negotium. L’otium romano, derivato dalla scholé greca, rappresenta un momento privilegiato, oggi impropriamente tradotto con il termine “ozio”, connotato da una tinta peggiorativa o, in inglese, dalla parola leisure, non troppo lontano da entertainment. L’otium, a differenza del mondo degli affari o del negotium, a cui l’artista non si sottrae, implica al contrario quel tempo libero di inattività e al contempo disponibilità, di inoperosità laboriosa e di lavoro spirituale, di tranquillità e d’azione: il momento in cui nasce l’opera d’arte.

Partendo dai pensieri vagabondi dell’artista, dal suo atelier, dai suoi nutrimenti terrestri e spirituali, dal suo spazio di lavoro fisico e mentale, la Mostra si sviluppa secondo una linea organica piuttosto che tematica, in una sequenza di padiglioni, di stanze che si susseguono come “stanze” di una poesia e propongono allo spettatore l’esperienza di un viaggio dall’interiorità all’infinito.

Questi padiglioni o Trans-padiglioni, che riuniscono artisti di ogni generazione e provenienza, si succedono tra loro senza soluzione di continuità, come i capitoli di un libro. Dal “Padiglione degli artisti e dei libri” al “Padiglione del tempo e dell’infinito”, si
presentano come una dozzina di universi che propongono un racconto, spesso discorsivo e talvolta paradossale sulla complessità del mondo e la molteplicità di pratiche e posizioni. La Mostra vuole perciò essere un’esperienza che disegna un movimento di estroversione, dal sé verso l’altro, verso lo spazio comune e le dimensioni meno definibili, aprendo così alla possibilità di un neoumanesimo.

Viva Arte Viva desidera allo stesso modo infondere un’energia positiva e tesa al futuro, rivolta ai giovani artisti ma anche con nuova attenzione a quelli scomparsi troppo presto o ancora poco noti al grande pubblico, malgrado l’importanza della loro opera. Con queste scoperte e riscoperte, verranno esposte le opere di varie generazioni di artisti, esplorando al contempo specifiche aree culturali, come l’America Latina, il Medio Oriente e l’Asia, dedicando uno spazio importante all’Europa fino ai suoi confini orientali e alla Russia.

Oggetti ed eventi paralleli alla Mostra seguiranno la stessa regola: mettere gli artisti al centro. Il catalogo della Mostra sarà dedicato esclusivamente agli artisti, invitati a proporre documenti visivi e testuali incentrati sulle loro pratiche e sul loro universo.

Mettendoli al primo posto, Viva Arte Viva darà anche la parola agli artisti. Ogni settimana, durante i sei mesi della Mostra, un artista terrà una Tavola Aperta in cui pranzerà con il pubblico, creando così un occasione di dialogo in cui possa raccontare il suo lavoro. Due i luoghi dedicati a questi eventi, la parte antistante al Padiglione Centrale dei Giardini e le Sale d’Armi dell’Arsenale.

Uno spazio all’interno dei due luoghi sarà inoltre dedicato al Progetto Pratiche d’Artista, un insieme di video di breve durata realizzati dagli stessi artisti, per far scoprire il loro universo e modo di lavorare. Nelle settimane precedenti l’apertura della Mostra, ogni giorno sarà pubblicato un video online sul sito della Biennale, dando la possibilità di conoscere gli artisti prima dell’Esposizione.

Questi due progetti saranno aperti a tutti gli artisti della Biennale. Ogni Padiglione nazionale sarà invitato a partecipare alla Tavola Aperta durante il resto della settimana, ma anche ad arricchire il database con video sugli artisti e sul loro lavoro.

Grazie a questa partecipazione, Viva Arte Viva desidera rafforzare il legame tra la Biennale e gli artisti.

Infine, il progetto La mia biblioteca, ispirato al saggio pubblicato nel 1931 da Walter Benjamin, consente agli artisti di Viva Arte Viva di riunire in una lista i loro libri preferiti, sia come fonte di conoscenza su ciascuno di loro, sia come fonte di ispirazione per il pubblico (Walter Benjamin, Aprendo le casse della mia biblioteca. Discorso sul collezionismo - seguito dalla lista degli scritti letti e collezionati dall’autore). Sarà visibile sia in Mostra che in catalogo.


Christine Macel 

domenica 28 agosto 2016

Padiglione Polacco - Call for artists


The Minister of Culture and National Heritage and Zachęta – National Gallery of Art announce a competition for the curatorial project for the exhibition in the Polish Pavilion at the 57th International Art Exhibition in Venice in 2017.
The curatorial project should contain the exhibition concept and the original theme of the exhibition, a full scenario of the exhibition with visualisation, a summary of the exhibition scenario and an estimated budget for the production of the project.
The curator of the project, and in the case of a curatorial team at least one person should have:
  • complete higher education;
  • good knowledge of contemporary art, curatorial experience in organizing exhibitions;
  • a good level of English.
An emblem should be placed on the project to serve as a code making secret the identity of the curator of the project.  The project should have attached a closed envelope with the emblem on it, which should contain:
  • copy of the emblem;
  • name of the curator;
  • curator’s postal and e-mail address, phone number;
  • curator’s CV;
  • filled and signed “Curator’s declaration” which is annexed to the competition rules.
After the announcement of the results of the competition, the exhibition concept and the summary of the exhibition scenario of all the submitted projects will become public. Making available a full scenario of the exhibition, together with the visualization of the project may take place only with the written consent of the curator.
The deadline for submitting projects is set for 20th September 2016. In the case of submissions by post or courier service, the date of receipt of the project by the Organizer’s secretariat is decisive. Organizer’s secretariat working hours 10–16 Monday-Friday. Organizer address:
Zachęta – National Gallery of Art
plac Małachowskiego 3
00-916 Warsaw, Poland
with a header “Biennale Sztuki 2017”


sabato 20 agosto 2016

Zai Kuning per Singapore





Il National Arts Council di Singapore ha selezionato l'artista Zai Kuning.

Tema del progetto sarà Dapunta Hyang Sri Jayanasa, il primo Maharaja della regione Srivijaya.

Curatore dell'evento sarà June Yap.
 


Dal sito NAC 

 The National Arts Council (NAC) today announced the appointment of Singapore multidisciplinary artist, Zai Kuning, and curator and art historian, June Yap, as the artistic team representing Singapore at the 2017 Venice Biennale from 13 May to 26 November 2017. Their proposal, Dapunta Hyang, is a culmination of over 20 years of Zai’s research on Malay culture and history in Southeast Asia, as part of a broader inquiry on identity that includes his having spent more than a decade with and creating work on the Orang Laut (sea gypsies) — the pre-nation and pre-colonial inhabitants of both island and sea in the region.

The exhibition for the Biennale extends a series produced in recent years that takes as its vantage point Dapunta Hyang Sri Jayanasa, the first Maharaja of the early kingdom of Śrīvijaya. Considered the first large state of ‘world economic stature’ of its time in Southeast Asia, the empire of Śrīvijaya stood at the crossroads of the maritime route between China and India, where merchant vessels plying their trade brought about an exchange of cultural influences, religious ideas, and goods. The success and influence of the empire is captured within Zai’s work in a symbol of voyage central to the exhibition.

Besides the history of the Śrīvijaya empire, Dapunta Hyang also points to the history of the Malay language and the establishment of Old Malay as the region’s lingua franca. The transmission and spread of the Malay language is a subject that has also surfaced in Zai’s work on the Orang Laut and his documentation of what remains of the Mak Yong opera in Riau, in that the Mak Yong may be traced to the Pattani kingdom via its Pattani-Kelantan Malay dialect. Having been immersed in Ghazal music and Zapin dance performance, and appreciating the livelihoods and cultures of the Riau islands from a young age, Zai considers the Mak Yong opera as a crucial and much neglected part of the region’s cultural history and relationships. Where artefact may not survive the passage of time, in language we find the traces of cultural development and transmission, in this instance also calling to mind Austronesian connections.

As the only Singaporean artist exploring our collective regional history through the pre-Islamic Śrīvijaya era, Zai explains, "Dapunta Hyang allows me to delve deep into a history and heritage of Southeast Asia not commonly found in history books on the Malay peoples and culture. As an aesthetic project, however, it is not a presentation of history in material and object, or as ideology and in politics. Rather it is about a sense of fellowship and solidarity that arises from knowing who we are. I am keen to have audiences spend time reflecting upon the elements the work combines: of craft in the sculpture of the ship, the subject of knowledge as embodied in the waxed books, the portraits of islanders and Mak Yong, and the voice of the Mak Yong master who speaks in a language rarely heard now in Singapore and Malaysia, even Indonesia.

As for the concept of transmission of knowledge, it is not merely about a passing of information. Instead the receiver’s imagination is essential to this process. But even received knowledge and their interpretation should not simply be taken as given. Dapunta Hyang is thus a prompt and a means to attend to this history and the knowledge that go back in time. Not just from 50 or 200 years ago, but centuries, back to the 7th century, in order to understand what and who we are, and the actions and even accidents that brought us here."

Ms. Kathy Lai, CEO of NAC and Co-Chair of the Commissioning Panel, adds, “Dapunta Hyang invites us to reflect on the region we are in, its past and how its heritage has been transmitted through the trajectories of empire, language and culture. Zai’s proposal stood out strongly as it spotlights forgotten stories of a people whose culture influenced what we recognise as ‘Southeast Asian’ today. The uncovering of forgotten histories will, I believe, strike a chord with the international audience at the Venice Biennale.”

Continuing from Zai’s series of installations that were previously presented at Ota Fine Arts (2014), the Institute of Contemporary Arts Singapore (2014), Esplanade – Theatres on the Bay (2015), Art Basel Hong Kong (2015) and Palais de Tokyo (Paris, 2015), Dapunta Hyang will be his most complex and intricate installation to date. Audiences in Singapore will have the opportunity to preview the work in progress and interact with Zai at the studio space in Gillman Barracks, before it leaves for the Venice Biennale.

More details about the public programmes in September 2016 will be available on gillmanbarracks.com and nac.gov.sg.

lunedì 8 agosto 2016

Curatori per Malta



Arts Council Malta has announced that Raphael Vella and Bettina Hutschek will be the two artist-curators for the Malta Pavilion at the Biennale di Venezia to be held between 13th May and 26th November 2017.


Arts Council Malta has announced that Raphael Vella and Bettina Hutschek will be the two artist-curators for the Malta Pavilion at the Biennale di Venezia to be held between 13th May and 26th November 2017.
With their concept Homo Melitensis: An incomplete inventory in 19 chapters, the two artist-curators will present the Malta Pavilion as a poetic compilation of unique things that supposedly define the imaginary of the Maltese identity.
The exhibition will be designed in collaboration with an architectural team led by Tom Van Malderen (Architecture Project). A transmedia storyworld developed in collaboration with Stefan Kolgen will augment Homo Melitensis by creating an interactive and expanding online fictional space that communicates with, yet also transcends, the physical exhibition space in Venice.
Bettina Hutschek is a visual artist, filmmaker and curator who lives and works between Malta and Berlin. Raphael Vella is an artist, curator and educator based in Malta. Both have extensive curatorial and artistic experience and have exhibited their work internationally. 
The international call for the engagement of a curator/curatorial team to curate the Malta Pavilion at the 57th International Art Exhibition - La Biennale di Venezia 2017 was published by Arts Council Malta, in its capacity as Pavilion Commissioner, in collaboration with MUŻA (Malta’s National Museum of Fine Arts, Heritage Malta), under the auspices of the Ministry of Justice, Culture and Local Government.
A total of 22 applications were received in response to the open call; of these, 14 were deemed eligible. All the eligible projects were given the opportunity to pitch in front of the jury committee.
The winning project was unanimously selected by the jury committee, which included a mix of high profile international names and local expertise on the culture sector. The Jury Committee chaired by Albert Marshall, Arts Council Malta chair, was made up of the following members:
  • Fulya Erdemci, an international curator and writer based in Istanbul
  • Alfredo Cramerotti, director of MOSTYN Visual Arts Centre, Wales
  • Vince Briffa, artist and researcher, Head of Department of Digital Arts at the University of Malta
  • Alexander Debono, senior curator, National Museum of Fine Arts and Project Lead for MUŻA.
“I am delighted that Raphael Vella and Bettina Hutschek have been selected to curate Malta’s Pavilion at the Biennale Arte 2017,” said Arts Council Malta chair Albert Marshall. “Their exploration of a concept related to identity promises to be relevant to both local and international audiences. Their project will also involve collaborations with other artists, ensuring that the Biennale also serves as a means to an end.”
In their first comments to the media after the announcement of the result, the two artist-curators stated they were honoured to be appointed curators with the proposal of Homo Melitensis. “It is not simply an exhibition about various elements of Maltese identity. It is also about the presentation of these elements in various social and international contexts; in other words, it seeks to show how cultural traditions are presented in public manifestations and internalised by a public. Given the self-critical as well as creative function, the role of the artist-as-curator as an agent of deconstruction of canons, traditions and the actual processes of public presentation is central to the proposed Malta Pavilion.”
Next year’s Malta Pavilion will see Malta officially returning to the Biennale di Venezia after an absence of 17 years. It has so far participated with a special exhibition of Maltese Artists in 1958 and a National Pavilion in 1999.
Malta’s Pavilion at the Biennale di Venezia is one of the 70 actions which is being implemented as part of Strategy2020, Arts Council Malta’s five-year strategy for the cultural and creative sectors. It also formed part of government’s electoral programme.
The declared aim of the Malta Pavilion is to offer a platform through which Maltese contemporary artistic practices understood within the broadest sense of the term can be exposed, contextualised and presented to an international audience.
The Maltese Pavilion will also form part of the Cultural programme of the Maltese Presidency of the Council of the European Union in 2017. The project will also bridge with the contemporary art programme of Valletta as European Capital of Culture in 2018.
ARTIST CURATORS’ BIONOTES
Bettina Hutschek is a visual artist, filmmaker and curator who lives and works between Malta and Berlin. After studying Art History and Philosophy (BA) in Florence and Augsburg, she received her MA from Universität der Künste (UdK) Berlin and her MFA in Fine Arts from HGB Leipzig. She trained and worked in Art Mediation and spent one year as Visiting Scholar at the Department of Performance Studies at NYU Tisch School of the Arts. Bettina’s work has been exhibited internationally; since 2013, she is also founder and director of FRAGMENTA Malta, a project to organize pop-up exhibitions in the public space of the Maltese islands.
Raphael Vella is an artist, curator and educator based in Malta. He received his PhD in Fine Arts at the University of the Arts London and is an academic at the University of Malta, where he lectures in art education, practice and theory. He has exhibited his work internationally and has been active as curator since 2002, working with emerging and established artists in institutional as well as alternative settings both locally and internationally. He has initiated several artistic and educational projects, including the Valletta International Visual Arts festival (VIVA), the Curatorial School organised by Valletta 2018 and Divergent Thinkers organised by the youth agency Aġenzija Żgħażagħ. 

Cody Choi per la Corea



Il Artasiapacific sito  annuncia la selezione di Cody Choi per il padiglione della Corea 

Seoul-based curator Daehyung Lee, notable for having organized the 2009 and 2010 iterations of the “Korean Eye” exhibition series (2009–12) at London’s Saatchi Gallery, has been appointed curator of the Korean Pavilion for the 2017 Venice Biennale. The Korean Pavilion, which has mainly featured presentations of solo artists in recent years, will comprise a group exhibition featuring Lee Wan, Cody Choi and Mr. K—two artists and a journalist, respectively—for its 2017 edition.
In an email to ArtAsiaPacific, Lee described his curatorial concept for the Pavilion as “presenting semi-fictive worlds that reinvent reality and engage our imagination, trigger our empathy, and pique our curiosity through understated means that overall emphasize our human nature and psychological complexity.”
For the exhibition, Lee Wan will create an installation that retells the life of Mr. K, an anonymous journalist who lived through nearly a century of Korea’s tumultuous modern history. As Daehyung Lee explains, using Mr. K’s biography and personal archive of roughly 1,400 photographs, Lee Wan will “explore Korea’s national history, cultural specificity and identity in a manner that is not prescriptive or propagandistic but inquisitive and open-ended,” and also push viewers to “question the universal mechanisms and symbolic strategies by which individuals construct personal meaning as well as national narratives.” Incidentally, the true identity of Mr. K—other than that he was an amateur journalist from Korea—is being kept under wraps until later this year....