martedì 17 gennaio 2017

Rock, Paper, Scissors: Positions in Play per UAE

Un gioco per il padiglione degli Emirati Arabi Uniti.

Col titolo “Rock, Paper, Scissors: Positions in Play” il padiglione dell’UAE allestirò una mostra con cinque artisti: Nujoom Alghanem, Sara Al Haddad, Vikram Divecha, Lantian Xie e Mohamed Yousi.


Titled 'Rock, Paper, Scissors: Positions in Play' and curated by Hammad Nasar, a curator and writer, and most recently served as Head of Research and Programmes at Asia Art Archive, Hong Kong (2012-2016), this exhibition will explore a strand of artistic practice in the UAE through the analogy of play. Featuring existing works, re-fabrication of "lost" works and new commissions, the exhibition will stage a set of nested questions: where does "playfulness" in artistic practice come from? How and where is "play" nurtured? What does "play" do?
The exhibition will present works by five artists who are nationals and long-term residents who call the UAE home: Nujoom Alghanem, Sara Al Haddad, Vikram Divecha, Lantian Xie and Dr. Mohamed Yousif.
The accompanying publication will serve both as an additional site of the exhibition, and as its speculative expansion, with newly commissioned texts by contributors including: Aisha Bilkhair; Uzma Rizvi; and Murtaza Vali; with further contributors to be announced shortly. Artists, architects and creative writers have also been invited to intervene, and respond to the themes of the exhibition, with new commissions by: Ramin Haerizadeh, Rokni Haerizadeh & Hesam Rahmanian; Deepak Unikrishnan; and, WTD magazine.
Series of Programs
In line with the curatorial premise, several cultural institutions across the UAE have been invited to act as interlocutors in exploring the themes of the exhibition. Some of the confirmed institutions include Sharjah Art Foundation, The Art Gallery at NYU Abu Dhabi, Alserkal Programming, Tashkeel, Maraya Art Centre and Warehouse421. By developing these themes in ways they deem relevant, this will serve to extend, expand, critique, reflect and respond to the myriad issues that the exhibition may catalyze. More information on the institutions’ programs will be announced soon; you can also follow the story using the hashtags #positionsinplay, #uaeinvenice and #nationalpavilionuae.
Commissioned by the Salama bint Hamdan Al Nahyan Foundation and supported by the UAE Ministry of Culture and Knowledge Development, the exhibition will run from May 13 to November 26, 2017 at the 57th International Art Exhibtion of la Biennale di Venezia, with a preview from May 10 to 12, 2017.
To join the conversation follow National Pavilion UAE on Facebook | Instagram | Twitter and use the hashtags #uaeinvenice, #positionsinplay and #nationalpavilionuae

#positionsinplay, #uaeinvenice and #nationalpavilionuae.

sabato 14 gennaio 2017

Boris Mikhailov per l'Ucraina

Sarà  Boris Mikhailov a intervenire nel Padiglione Ucraino alla prossima Biennale di Venezia, con un progetto dal titolo "Parlamento" in cui la sua attività fotografica guarderà alla comunicazione e al suo uso. 

martedì 10 gennaio 2017

J. F. Huang per il Tuvalu

Sarà Vincent J. F. Huang ha rappresentare il Tuvalu, unica isola del Pacifico a partecipare alla prossima  Biennale di Venezia. 

Il progetto che verrà realizzato sarà multimediale e cercherà di costituire una comunità di relazioni umane. 

Info al sito


Tuvalu announces Curator and Artist at the 2017 Venice Biennale

Artist and climate activist Vincent J. F. Huang (Taiwan) will represent the Pacific Island nation of Tuvalu at the 2017 Venice Biennale. Aida Yuen Wong (United States/Canada/Hong Kong) has been appointed the Tuvalu Pavilion Curator. Responding to the biennale theme, “Viva Arte Viva,” the Tuvalu Pavilion will serve as the physical heart of a worldwide “social sculpture” called the Global Interactive Program to be realized through on- and off-line projects designed to rouse the global community to tackle the climate crisis that currently threatens to destroy the biennale’s smallest participating country.
The only small Pacific Island Nation to participate in the Venice Biennale, Tuvalu is best known for its low elevation and its designation, according to the United Nations International Panel on Climate Change, as the likely first victim to the rising sea level. Though it has thrived for thousands of years as a self-sufficient fishing community now numbering just under 10,000, it is paying the price of global industrialization and indifference. As Huang points out,  this tiny island country and Venice share a common troubling future.

Huang divides his creative life between Venice and Taipei and has focused his art and 
activism on a single question: “When extreme weather rages around the world, how 
could art take a stand, and furthermore, play a role in social reform?” Huang creates 
art as a catalyst capable of turning the experience of global warming into personal and 
public action, while at the same time being transcendent aesthetic events that awaken 
passion for global ecology.
Huang has been visiting Tuvalu since 2010. In 2012  he represented Tuvalu at the 
United Nations Climate Summit UNFCCC COP, and in 2013 and 2015 he exhibited 
at the Venice Biennale. It was his 2015 contribution, “Crossing the Tide,” which came 
to be known as “the flooded national pavilion” that made Tuvalu’s fate of interest to 
journalists from the mainstream as well as the art press all over the world. In 2017, 
he will be turning to a range of cultural forms, from myths and story-telling to the 
immersive poetry of installation in order to keep our eyes on the catastrophic future 
of a tiny island nation.

From the front lines of climate change in the South Pacific island and the Arctic Circle, Vincent J.F. Huang has enlisted remarkable creativity to look deeply at global climate crisis and challenge us to answer the question: “Are contemporary cultural developments leading to a beautiful new tomorrow or hurrying us towards a disastrous and crashing end?”

Vincent Huang was born in Nantou, Taiwan, in 1971 and received his MFA from 
Gray’s School of Art in Scotland in 2001. He taught at the Department of Visual 
Communication Design at Shu-te University in Kaohsiung from 2001 to 2006. 
He has been artist-in-residence at the Shanghai Duolun Museum of Modern Art, 
Chiyoda Art Center in Tokyo, ARTSPACE in Australia, and the Arctic Circle Project. 
In 2013, in acknowledgment of his sustained art activism in support of global 
environmental issues, he was honored with Taiwan’s most prestigious cultural 
award—the Presidential Cultural Award.

Aida Yuen Wong, Nathan Cummings and Robert B. and Beatrice C. Mayer Chair in Fine Arts is the Chair of the Department of Fine Arts at Brandeis University, Waltham, Massachusetts (U.S.A.). She specializes in transcultural exchanges in modern/contemporary East Asia and is currently writing on the recent history of ink painting in China, Hong Kong, and Taiwan. Dr. Wong was awarded the Taiwan Fellowship from the Ministry of Foreign Affairs (ROC) (2015–2016) and the American Council of Learned Societies (and NEH) American Research in the Humanities in China Fellowship (2012–2013; 2002–2003). Among her publications are Parting the Mists: Discovering Japan and the Rise of National-style Painting in Modern China (2006); Visualizing Beauty: Gender and Ideology in Modern East Asia (2012); The Other Kang Youwei: Calligrapher, Art Activist, and Aesthetic Reformer in Modern China (2016); and the forthcoming Fashion, Identity, and Power in Modern Asia.

giovedì 5 gennaio 2017

Vajiko Chachkhiani per il Padiglione della Georgia

L'artista Vajiko Chachkhiani è stato selezionato dal Ministero della Cultura della Georgia, fra una rosa di venti progetti proposti a seguito di un bando, per il padiglione della Georgia.

martedì 3 gennaio 2017

Dirk Braeckman per il Belgio

Dirk Braeckman occuperà gli spazi del padiglione belga alla prossima biennale. 

Dal sito 

Flemish Minister Sven Gatz has commissioned Dirk Braeckman to represent Belgium at the 57th international art exhibition La Biennale di Venezia. For his solo exhibition in the Belgian pavilion, Dirk Braeckman will present exclusively new works. The exhibition will be curated by Eva Wittocx, and it will be organized by M - Museum Leuven. The 57th Venice Biennale runs from 13 May until 26 November 2017.
In his enigmatic photographs, Dirk Braeckman (1958) creates a closed, isolated world in which combines tactility and texture, distance and intimacy. His monumental works tell us nothing; yet they suggest entire stories. Braeckman reflects on the photographic image and challenges the illusions of the medium. In his creative process, the artist experiments with textures and materials. He examines effects such as over- and under-exposure through a variety of printing techniques. His images exceed the moment of capturing and reach beyond their frame. Braeckman finds the subjects for his photographic work in his immediate environment. They are often undefined places or spaces, preferably interior views. For the Biennale, Dirk Braeckman will create a new set of monumental photos and present them tailored to the architecture of the pavilion.
Dirk Braeckman is one of the most prominent Belgian artists of the moment. He has presented his work in numerous solo and group exhibitions both at nationally and internationally.

Mohau Modisakeng e Candice Breitz per il Sud Africa

Saranno gli artisti Mohau Modisakeng e Candice Breitz a rappresentare il  South Africa
Dal sito 
The South African Department of Arts and Culture has appointed Connect Channel to implement the South African pavilion at the 57th Venice Biennale in 2017. It is a pleasure to announce that Candice Breitz and Mohau Modisakeng will represent South Africa at the world’s most prestigious contemporary art event. Breitz and Modisakeng will present a major, two-person exhibition in the South African Pavilion, running from 13 May to 26 November 2017 in Venice, Italy.
This exhibition will be the first Venice Biennale project presented by Connect Channel Pty (Ltd) (‘Connect’). “The team we have assembled brings together Connect as an experienced local production company, accomplished curators and a proven project management company with first-hand experience of the Biennale. Our collective goal is to spearhead a new approach to the South African Pavilion in 2017 by presenting the work of two leading South African artists and to leverage social and popular media to enhance local, public engagement with the South African Pavilion. We thank the Department of Arts and Culture for their support” – Connect CEO, Basetsana Kumalo
Christine Macel, Artistic Director of the 57th International Art Biennale, has outlined a curatorial framework emphasising the important role artists play in inventing their own universes and injecting generous vitality into the world we live in. In response to the Biennale’s theme, the South African Pavilion exhibition will invite viewers to explore the artist’s role in visualising and articulating the notion of selfhood within a context of global marginalisation. What is it to be visible in everyday life, yet invisible and disregarded at the level of cultural, political or economic representation? Placing new works by Breitz and Modisakeng in dialogue, the exhibition will reflect on experiences of exclusion, displacement, transience, migration and xenophobia, exploring the complex socio-political forces that shape the performance of selfhood under such conditions.
“We are truly thrilled that Breitz and Modisakeng will be representing South Africa. Breitz’s photographs and multi-channel video installations offer nuanced studies of the structure of identity under global capitalism, while Modisakeng employs a highly personal language to express ideas about his own identity and the body. This marks the first time that Modisakeng and Breitz will be shown alongside each other in the context of a significant exhibition.” – Curator, Lucy MacGarry.
Mohau Modisakeng is based in South Africa. His award-winning and internationally exhibited photography, film, performance and installation work forms a personal and idiosyncratic exploration of a local narrative. Informed by a coming of age during our country’s violent political transition, his practice grapples with black male identity, body and place within a post-apartheid context. Modisakeng presents critical responses to ideas of nationhood, leadership, inequality and migrant labour that manifest visually as poignant moments of grieving and catharsis central to the current lived experience of contemporary South Africans.
Candice Breitz is an internationally acclaimed artist best known for her moving image installations. Throughout her career, she has explored the dynamics by means of which an individual becomes him or herself in relation to a larger community, be that community the immediate community that one encounters in family, or the real and imagined communities that are shaped not only by questions of national belonging, race, gender and religion, but also by the increasingly undeniable influence of mainstream media such as television, cinema and popular culture. Most recently, Breitz’s work has focused on the conditions under which empathy is produced, reflecting on a media-saturated global culture in which strong identification with fictional characters and celebrity figures runs parallel to widespread indifference to the plight of those facing real world adversities.
As a company, Connect is engaged in improving access and exposure to the creative industries and reflecting local realities in the content they produce. Connect is confident that our country’s Pavilion at the 57th Venice Biennale will be the best articulation and reflection of contemporary thought and visual art produced in South Africa today.

Lucy MacGarry served as Curator of the FNB Joburg Art Fair from 2014–2016. In 2015, she spearheaded the first dedicated programme of experimental film and live performance at the Fair. In 2016, MacGarry initiated and curated an inaugural East Africa Focus. The focus spotlighted artistic practice from Burundi, Kenya, Rwanda, Tanzania and Uganda to Ethiopia, Somalia and Sudan. From 2009–2014 she was Art Director of Yellowwoods Art overseeing the corporate art collections of Spier Wine Estate, Hollard Insurance and Nando’s Global.
Musha Neluheni is currently Acting Chief Curator at the Johannesburg Art Gallery (JAG) and Curator for Contemporary Collections. Neluheni originates and oversees contemporary exhibitions at JAG as well as external exhibitions. She serves on the Standard Bank Visual Arts Committee and the University of Johannesburg Art Advisory Board. She worked as the assistant curator for the Sasol Art Collection from 2006–2009 and was awarded Young Curator of the Year for the 2008 Aardklop Arts Festival. She was the Educations Officer at the Johannesburg Art Gallery from 2010–2013.

Candice Breitz was born in Johannesburg in 1972. She is currently based in Berlin. Breitz holds degrees from the University of the Witwatersrand, the University of Chicago and Columbia University. She has been a tenured professor at the Hochschule für Bildende Künste in Braunschweig since 2007. Breitz has participated in biennales in Johannesburg (1997), São Paulo (1998), Istanbul (1999), Taipei (2000), Kwangju (2000), Tirana (2001), Venice (2005), New Orleans (2008), Singapore (2011) and Dakar (2014). Solo exhibitions of her work have been hosted by the Kunstmuseum Stuttgart, Louisiana Museum of Modern Art (Humlebæk), San Francisco Museum of Modern Art, the National Gallery of Canada (Ottawa), Kunsthaus Bregenz (Austria), The Power Plant (Toronto), Baltic Centre for Contemporary Art (Newcastle), Palais de Tokyo (Paris), Modern Art Oxford, City Gallery Wellington (New Zealand), De Appel (Amsterdam), Musée d’Art Moderne Grand-Duc Jean (Luxembourg), Moderna Museet (Stockholm), Castello di Rivoli (Turin), Bawag Foundation (Vienna), Museo de Arte Contemporáneo de Castilla y León (Spain), Temporäre Kunsthalle Berlin, the Australian Centre for the Moving Image (Melbourne), Standard Bank Gallery (Johannesburg) and the South African National Gallery (Cape Town). Her work has been featured at the Sundance Film Festival (2009) and the Toronto International Film Festival (2013).
Mohau Modisakeng was born in Johannesburg in 1986 and grew up in Soweto. He currently lives and works between Johannesburg and Cape Town. Modisakeng completed his undergraduate degree at the Michaelis School of Fine Art, Cape Town in 2009. His work has been exhibited at the 56th Venice Biennale (2015), MOCADA, Brooklyn New York (2015), Kunstraum Innsbruck, Austria (2015), the Museum of Fine Art, Boston (2014), 21C Museum, Kentucky, Massachusetts (2014), IZIKO South African National Gallery, Cape Town (2014), Saatchi Gallery, London (2012) and the Dak’Art Biennale, Dakar (2012). His work has been placed in numerous private collections both locally and internationally. His work is held by the following public collections: Johannesburg Art Gallery, IZIKO South African National Gallery, Saatchi Gallery and Zeitz MOCAA.

Connect Channel (Pty) Ltd is a digital content and television production company managed by Basetsana Kumalo, one of South Africa’s most recognised personal brands and production veteran of over 20 years. Over the last three years the company has acquired a great deal of experience in producing television shows of cultural relevance to South African audiences. These shows have developed a loyal and dedicated viewership. Connect’s objective is to leverage off its production resources and know-how to engage with broader creative fields.

Parts & Labour is a multidisciplinary project management studio. They advise on large-scale sculptural projects, public art commissions, museum and art installations and specialist exhibitions to assist clients, artists, architects and designers in the development and realisation of their concepts. The projects Parts & Labour embarks on are by and large, out of the ordinary and defined by new techniques and structural experimentation such as ‘Release’ at the Nelson Mandela Capture Site. Parts & Labour managed the South African Pavilion at the 2015 Venice Biennale.

The South African Department of Arts and Culture’s vision is to create a dynamic, vibrant and transformed Arts, Culture and Heritage sector, leading nation building through social cohesion and socio-economic inclusion. The South African Pavilion at the Venice Biennale is of strategic importance in establishing this goal locally within the sector and promoting South African Arts, Culture and Heritage on an international level.

The Venice Biennale dates back to 1895, when the first International Art Exhibition was organised. It is one of the pre-eminent international bienniales and cultural institutions in the world, introducing hundreds of thousands of visitors to exciting new art every two years. The 57th International Art Exhibition of La Biennale di Venezia (13 May – 26 November 2017) is directed by Christine Macel, Chief Curator at the Musée national d’art moderne – Centre Pompidou in Paris

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sabato 10 dicembre 2016

Jochen Volz curatore per il Brasile

La São Paulo Biennial Foundation ha presentato il curatore del padiglione del Brasile, che sarà Jochen Volz.

Comunicato stampa 

A Fundação Bienal de São Paulo nomeou Jochen Volz como o curador da participação oficial brasileira na 57ª Bienal de Veneza, que acontece de 13 de maio a 26 de novembro de 2017.

Jochen Volz (1971, Braunschweig, Alemanha – vive em São Paulo) foi também o curador da 32ª Bienal de São Paulo (7 de setembro a 11 de dezembro de 2016). O crítico de arte dirigiu ainda a programação da Serpentine Galleries em Londres e atuou como diretor artístico do Instituto Inhotim. Foi curador do Portikus, em Frankfurt, cocurador da mostra internacional da 53ª Bienal de Veneza (2009) e da 1ª Aichi Triennial, em Nagoya (2010), e curador convidado da 27ª Bienal de São Paulo (2006).
Segundo Volz, Veneza é mundialmente reconhecida por ser uma plataforma que promove nas artes visuais a diversidade, o respeito e a liberdade, constituindo-se de um espaço plural de experimentação e educação. “Compartilhando uma aposta forte no potencial transformador da arte e da cultura, estou convencido que vamos organizar uma mostra que dialogará plenamente com as preocupações atuais de artistas do mundo todo”.

O anúncio do curador foi realizado nesta segunda-feira, 5 de dezembro, na Fundação Bienal, com as presenças do Ministro das Relações Exteriores, José Serra, do diretor de Promoção Internacional do Ministério da Cultura, Adam Muniz, que representou o Ministro da Cultura, Roberto Freire. O ato demonstra o estreitamento da parceria entre o Ministério das Relações Exteriores, o Minstério da Cultura e a Fundação Bienal.
Para o Ministro José Serra, “elemento imprescindível para a diplomacia cultural é a continuidade; somente com a difusão constante e permanente da produção cultural brasileira é possível atingir o objetivo maior de consolidação da imagem do Brasil. Neste sentido a participação contínua do Brasil na Bienal de Veneza é um sinal claro da relevância da promoção cultrual para a política externa brasileira”.
Na avaliação do Ministro Roberto Freire, “a repactuação desta parceria representa o esforço do Ministério da Cultura, do Ministério das Relações Exteriores e da Fundação Bienal na difusão da cultura brasileira em um dos maiores espaços de divulgação de arte do mundo, reforçando o interesse do Brasil em intensificar seus esforços para a internacionalização da cultura nacional”.

“A organização da participação brasileira nas Bienais de Veneza já faz parte da tradição da Fundação Bienal, uma instituição independente, respeitada internacionalmente e comprometida com o pensamento e a produção da arte contemporânea”, afirma Luis Terepins, comissário da exposição e Presidente da Fundação Bienal de São Paulo.

Sobre a participação brasileira na Bienal de Veneza 
O pavilhão do Brasil, construído em 1964, é o espaço no qual o próprio país escolhe e expõe artistas que a cada nova edição o representam. Desde 1995, a responsabilidade por essa escolha foi outorgada pelo governo Brasileiro à Fundação Bienal de São Paulo, a segunda mais antiga no gênero em todo o mundo. A partir da mesma data, as participações brasileiras no evento são organizadas em colaboração conjunta entre o Ministério das Relações Exteriores - mantenedor do pavilhão brasileiro -, o Ministério da Cultura – por meio do aporte de recursos da Fundação Nacional de Artes (Funarte) - e a Fundação Bienal de São Paulo - responsável pela escolha do curador e produção das mostras.

Participação do Brasil na 57. Esposizione Internazionale d'Arte – la Biennale di Venezia  de 13 de maio a 26 de novembro de 2017  

Comissário: Luis Terepins, Presidente da Fundação Bienal de São Paulo 

Curador: Jochen Volz

Local: Pavilhão do Brasil Endereço: Giardini Castello, Padiglione Brasile, 30122 Veneza, Itália 

Curador geral da 57. Esposizione Internazionale d'Arte – la Biennale di Venezia: Christine Macel


giovedì 8 dicembre 2016

Padiglione Iran

Fra gli otto artisti che rappresenteranno il padiglione dell'Iran ci sarà anche Francis Alÿs.

Dal sito :

The Ruya Foundation is pleased to announce the participating artists for the National Pavilion of Iraq at the 57th Venice Biennale in May 2017. The exhibition, ‘Archaic’, will display the work of eight Modern and contemporary Iraqi artists in dialogue with ancient Iraqi artefacts. It will also include a new commission by internationally acclaimed Belgian-born artist Francis Alÿs on the subject of war and the artist.

The exhibition will be curated by Tamara Chalabi, Chair and Co-Founder of the Ruya Foundation, and Paolo Colombo, Art Adviser at the Istanbul Museum of Modern Art. It will interrogate the notion of the ‘archaic’, which has a dual meaning whereby it can simultaneously refer to an ancient cultural heritage and a fragile contemporary political entity. The exhibition will draw out this duality and explore the opportunities and restrictions presented to artists in Iraq by the country’s momentous ancient inheritance.

The exhibition will present works by Iraqi artists living in both Iraq and the diaspora. Luay Fadhil (b. 1982) is based in Baghdad, Sherko Abbas (b. 1978) and Sakar Sleman (b. 1979) are based in Sulaymaniya, and Ali Arkady (b. 1982) is based in Khanaqin. Both Sadik Kwaish Alfraji (b. 1960) and Nadine Hattom (b. 1980) are Baghdad-born but are now based in the Netherlands and Germany respectively. The two Modern artists represented in the exhibition will be Jawad Salim (1919–1961), widely considered the most influential artist of the Iraqi Modern period, and Shaker Hassan Al Said (1925–2004), his pupil and friend.

Of the six living artists, five have been commissioned by Ruya to create new work for the Pavilion. A great number of artists working in Iraq today continue to abide by an orthodox aesthetic tradition that has been limited by mid-century education trends and the lack of cultural exchange in Iraq in recent decades. All of the Ruya Foundation’s work seeks to nurture and promote artists who move beyond these paradigms and the selection of contemporary artists for the Pavilion reflects that mission. Hattom and Sleman will both present installation work, Abbas, Alfraji and Fadhil will present video work and Arkady will present photography.

Each of their Pavilion works will engage with Iraq’s heritage and history, creating different resonances with the archaic theme. These themes will interplay with the two Modern Iraqi artists, who were amongst the first to strive for a new kind of Iraqi art in the 20th century that would both engage with the European avant-garde and create a distinctly Iraqi vernacular responding to the country’s unique ancient heritage.

Francis Alÿs’ commission will accompany the main exhibition and has been the product of a longstanding dialogue between the artist and the Ruya Foundation. In early 2016 Ruya organised a visit for the artist to Baghdad and the refugee camps in northern Iraq. He followed this visit with another expedition in October 2016 in which he was embedded with a Kurdish battalion on the Mosul frontline, during the ongoing campaign to liberate Mosul. The main line of enquiry for his new work will be the role of the artist in war, whilst he will also examine themes of nomadism.

Further details of the artist commissions, along with information about the ancient artefacts on display, will be announced in 2017.


Australia Council announces Tracey Moffatt’s 2017 Venice Biennale exhibition

The Australia Council for the Arts today announced the exhibition title for Tracey Moffatt’s solo exhibition in the Australian Pavilion at the 57th Venice Biennale. Moffatt will present MY HORIZON. The installation will comprise all new work, including large-scale photography and film.

MY HORIZON is very open and can be read in many ways,” said Moffatt. “The horizon line can represent the far and distant future or the unobtainable. There are times in life when we all can see what is ‘coming over the horizon’. This is when we make a move. Or we do nothing and just wait for whatever it is to arrive.”

Through photography and film, Moffatt creates highly stylized narratives and montage to explore a range of themes including the complexities of interpersonal relationships, the curiousness of popular culture, and her own deeply felt childhood memories and fantasies.

“This will be an insightful and deeply moving exhibition, one that extends Tracey’s acclaimed body of work and cements her position as one of Australia’s most successful artists - someone who consistently takes the tempo of our times,” said Naomi Milgrom AO, Australia’s Commissioner for the 2017 Venice Biennale.

The exhibition, to be launched in May 2017, will be accompanied by a major new book, published and distributed by Thames & Hudson. This will be the first time an artist representing Australia at the Venice Biennale will have a globally distributed accompanying publication.

Exhibition Curator and publication editor Natalie King said, “MY HORIZON will present a compendium of texts that reflect on Tracey’s highly political and deeply personal fictions, allowing readers to ponder what might be over the horizon.”

Moffatt first received critical acclaim with the short film Night Cries which was selected for official competition at the 1990 Cannes Film Festival. Her first feature film, bedevil was also selected for Cannes in 1993, and in 1997 she was invited to exhibit in the Aperto section of the Venice Biennale.

An exhibition at the Dia Center for the Arts in New York followed, consolidating her international reputation. Since then Moffatt has exhibited extensively in museums and galleries across the globe, with more than 100 international exhibitions including a highly prestigious 2012 solo show at New York’s Museum of Modern Art. She also received the 2007 Infinity Award for Art from New York’s esteemed International Center of Photography.

Moffatt will be the second artist to exhibit in the award-winning Australia Pavilion in Venice’s Giardini.

The Australia Council for the Arts is the Australian Government’s principal arts funding and advisory body. Australia’s participation at the Venice Biennale began in 1954, and has been managed by the Australia Council since 1978.


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.


'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»