Venice - News

My Art Guides Venice Meeting Point: An Ocean Archive

7 hours ago

My Art Guides Venice Meeting Point takes place during the four days of the Venice Biennale openings May 9-12 at the Navy Officer’s Club, just around the corner from the Arsenale entrance. This year, for the first time, Mara Sartore, Lightbox director and My Art Guides editor-in-chief, has worked in collaboration with MAP Office (Laurent Gutierrez and Valerie Portefaix), an artist duo based in Hong Kong, for the selection of artists on display.

The theme of the ocean has contaminated the whole Meeting Point which has become: “An Ocean Archive”, affecting and influencing the selection of artists. All were invited because of their work connected to the sea or the oceans: the video by Patty Chang “Invocation for a Wandering Lake” where the artist washes the corpse of a dead sperm whale in an act of ablution and mourning; Heman Chong presents two paintings “The Coral Island” and “Don Sturdy in the Port of Lost Ships”, part of his ongoing series of canvases using graphical interfaces as invented book covers; a wax painting Liquid Land | Solid Sea by MAP Office is a visual exploration of the current island dispute in the South China Sea; Mariana Hahn presents a textile site-specific installation titled “Kolpus, and then She Makes Threads”; Benedetto Pietromarchi displays a couple of sculptures from the series “Of Saints and Sailors” which the artist produced touring his long trip on a cargo boat crossing the Atlantic Ocean; “Land XIII [Lampedusa]” and “Okeanos” are two beautiful iron plates presented by Ignazio Mortellaro and a video still from the commissioned video “from many sides” by Olivia McGilchrist created for the second Davidoff Limited Art Edition. The art works inside the Venice Meeting Point are meant to create the right atmosphere in order to stimulate reflection and dialogue on an ocean theme; the daily programme is also enriched by two performances: “Escuela de Oficios: Antilles para los Antillanos” by Jorge González and Monica Rodríguez; and “Inferno” by Romina de Novellis, curated by Kreëmart in collaboration with Galleria Alberta Pane, Venice.

The opening reception on the 9th of May, co-hosted by the VMP cultural partner Davidoff Art Initiative, will also be the occasion for the official launch of “Our Ocean Guide”. The programme will end on the afternoon of the 12th with “An Ocean Archive” Symposium and cocktail, which will be the perfect occasion to discuss many of the themes presented in “Our Ocean Guide” and to invite dialogue between guest artists and curators.

For more information and the detail program please visit the website http://myartguides.com/venicemeetingpoint/

Carla Ingrasciotta

  • My Art Guides Venice Meeting Point My Art Guides Venice Meeting Point
  • Courtesy of MAP Office Courtesy of MAP Office
News

Venice Biennale 2017 – My Art Guides App Now Online

8 hours ago

Are you coming to Venice for the 57th Art Biennale?
Navigate through the city with My Art Guides free App.
Enjoy the 57th Venice Biennale and discover the exhibitions and events in town.

Agenda

Build your agenda, never miss an event you want to attend during the busy days of the Biennale.

National Participations

Discover the countries participating at the 2017 Venice Biennale with pavilions in the Arsenale, Giardini and around town

Official Collateral Events

Get to the Venice Biennale’s collateral events, held in various venues around town.

Exhibitions

Check out the shows held in galleries, museums and institutions around town.

Events

Find out the unmissable conferences, talks, festivals to enjoy your free time in Venice.

Leisure

Choose where to sleep, eat and drink during the hectic Biennale days.

Elena Scarpa

  • Allora & Calzadilla, Under Discussion, 2005. Copyright Allora & Calzadilla; Courtesy Lisson Gallery Allora & Calzadilla, Under Discussion, 2005. Copyright Allora & Calzadilla; Courtesy Lisson Gallery
Mexico City - Interviews

Food, Time Consumption and Transformation: an Interview with Raul Ortega Ayala

8 hours ago

During our visit to Zona Maco 2017 in Mexico City, we interviewed artist Raul Ortega Ayala who is presenting the results of his anthropological studies with a solo show at Proyectos Monclova, titled “Food for Thought” running at the gallery from May 4 to June 10, 2017.

Mara Sartore: Can you tell me about the origin of Babel Fat Tower?

Raul Ortega Ayala: A few years ago I conducted a research focused on what food is beyond bodily sustenance. The focus was on its political content, on the effects that it has on individual and collective identity, its religious connotations, on the added values that are given to it by the food industry and on its cycles and patterns of consumption. At some point during this investigation I found a strange pamphlet by Otto F. Fleiss titled “Art Made of Fat”, in which he narrates how butchers made sculptures with fat to decorate their shop display windows. He even talks about competitions they had for this ‘art’ during that period. I decided to try then this technique to make a work for this series and that’s how “Babel Fat Tower” came to be.

MS: One aspect of this piece that I am very interested in is that it has no definitive moment, much less a conclusion. It’s as valid when it’s built, as when it collapses. It oscillates between optimism and pessimism, with neither of the two moments being more important than the other, its reason for being is in constant flux.  When did you begin to work on this project?

ROA: The food project began in 2009. Normally I do research for long periods of time within a particular world and theme and based on my experience in this immersion I develop each project. The period of investigation for the series about food is already over, and almost all of the works have been produced although a few remain unrealized for lack of funds or time to produce them. Right now I am working on another project focusing on the concept of Social Amnesia and the detritus of history.

MS: I know that you were taking cooking classes…can you tell me a bit more about that experience?

ROA: Part of the strategy that I use to involve myself further into the context that I’m researching is to look for ways to physically involve myself within that world. In this case I used the anthropological methods of “participant observation” and what is called “embodiment of knowledge”. In this instance that translated to working within the restaurant industry, and to taking cooking and butchering classes.

MS: Have you been left with anything from this experience? Have you become an incredible chef? Do you still have this passion?

ROA: Yes, for me an effective immersion is the one in which I leave different than how I entered. In the case of the food [project] I obtained different abilities that I still use and developed interests and passions that I continue to cultivate even though the development of the series is now concluded.

MS: Do you have any other pieces that have anything to do with food?

ROA: Yes, in total there are about 30 to 40 elements in the series that include work and field notes that I accumulate during the research process. For example, I made a piece that is a two-screen video installation. On one side there is a projection of a video that documents La Tomatina in Spain, in which thousands of people throw 5 tons of tomatoes at one another for one hour, and on the other side of the screen there is a video that shows a competitive eater ingesting 40 hotdogs in 10 minutes. This is a piece that explores a few of the multiple excesses of our time in relation to food through the juxtaposition of these two real-life examples.

MS: Your interest in cooking was not so much gastronomic as political, a way of exploring society.

ROA:  Yes, I think that there are sufficient extraordinary chefs in the world that explore this part of food and I’m not interested in competing with or exploring that side of food. I was more interested in what happens around food, its aura, if you want to call it that, and there are a few pieces in the series that work with this aggregated value. For example, I made a piece that every time I make it the title changes because it is titled after a woman who gives me some of her breast milk to make cheese which I then serve during the opening of the exhibition. This piece tries to literally put on the table a food that for many has a strongly symbolism that goes beyond its mere function. Another example is a piece that is titled “Melting Pots that examines the cycle that some of the residue of the structure of the Twin Towers was subject to after the September 11 attack. This material was discretely sold to companies in various parts of the world; some of them used this material to make utensils for cooking. I serve a buffet on trays and with utensils made in the area where the companies that purchased the material [from Ground Zero] were. This meal is based on a found image of a buffet served in the iconic restaurant Windows on the World, which was on the top floor of the Twin Towers.

MS:  Do you cook any specific dishes?

ROA: Every time that this work is realized I work with a local chef to make the menu for the buffet based on the image that I found. Every chef has the liberty to interpret the dishes based on what they see in the image and/or investigate what was served at the restaurant and from that they propose what to serve on each tray.

MS:  Where has this happening/installation been enacted?

ROA: This piece has been presented in three places: in Holland twice and in London once, but this is the fist time that this work has been presented in Mexico and in this continent.

MS: This is my first time in Mexico and I am fascinated by Mexican food and also the relationship between the people and the food in this country. I would like to know how you have been involved in the cooking process as well as your relationship with Mexican cooking – if you do have a specific relationship with Mexican cooking – and if this was part of your reflection or not?

ROA: You can learn a lot about a culture through its stomach and food in my personal life and in Mexican culture is very important, but this in a way is tangential to the project. What I was interested in was in looking at food from another point of view, and to not focus on taste or sustenance, but rather to examine what could be called its “transubstantiation” which is a term used by the Catholic church to explain how bread can be transformed into the body of Christ and the wine into his blood. In a similar way, food suffers every day some sort of transubstantiation into something sacred, into culture, into some sort of identity, or in a utopia.

Mara Sartore

  • Gloucester, United Kingdon, 2015, photo Roberto Rubalcava Gloucester, United Kingdon, 2015, photo Roberto Rubalcava
  • Tomatina-Tim, From the series Food for Thought 2010 - 2013, 2016, Film still Tomatina-Tim, From the series Food for Thought 2010 - 2013, 2016, Film still
  • Tomatina-Tim, From the series Food for Thought 2010 - 2013, 2016, Film still Tomatina-Tim, From the series Food for Thought 2010 - 2013, 2016, Film still
  • Babel Fat Tower, From the series Food for Thought, 2010 – 2013 2010, Photo: Roberto Rubalcava Babel Fat Tower, From the series Food for Thought, 2010 – 2013 2010, Photo: Roberto Rubalcava
Venice - News

The 57th Venice Biennale: International Jury Announced

1 day ago

On the proposal of the Curator Christine Macel, the Venice Biennale Board of Directors, chaired by Paolo Baratta, nominated the International Jury of the 57th International Art Exhibition which is composed of:

Francesca Alfano Miglietti (Italy), curator of exhibitions and conferences. She lives in Milan and her research focuses on the many issues of contemporary transformation. She is also a theorist and art teacher.

Manuel J. Borja-Villel (Spain), – President of the International Jury – is director of the Museo Nacional Centro de Arte Reina Sofía, former director of Fundació Antoni Tàpies of Barcelona and the Museu d’Art Contemporani de Barcelona (MACBA).

Amy Cheng (Taiwan), curator and writer based in Taipei, co-founder of TheCube Project Space, an independent space dedicated to research, production and contemporary art exhibitions.

Nathan Edjabe (Cameroon), journalist and DJ, founder of Chimurenga (a Pan-African Art, Culture and Politics publication headquartered in Cape Town) and the Pan African Space Station (PASS) and winner of the Prince Claus Awards’ Principal Award In 2011.

Mark Godfrey (Great Britain), Senior Curator of International Art at Tate Modern, where he organized various exhibitions on Sigmar Polke, Francis Alys, Richard Hamilton and the installation of Abraham Cruzvillegas in the Turbine Hall. In 2015 he won the Absolut Art Writing Award.

 

Carla Ingrasciotta

  • Manuel Borja-Villel Manuel Borja-Villel
Venice - Interviews

Giorgio Andreotta Calò: Venice through an Artist’s Perspective

1 day ago

Mara and Teresa Sartore: The title of the Italian Pavilion “The Magic World” is inspired by the anthropological work of Ernesto de Martino. Can you tell us how it came about? Which came first, the title or the selection of the artists?

Giorgio Andreotta Calò: I think that Cecilia Alemani recognised, in the practice of a few artists, a reference to a way of investigating reality inspired by the dimension of magic. Here, “magic” has a deeper and more complex anthropological reference with respect to what we have grown used to in everyday language. Magic is a way of recognising the world that surrounds us, or at the very least, it is a way to rationalise it where the tools of scientific investigation can’t give us an explanation.

MTS: After finding out that you were selected to represent Italy at the Biennale, how did the idea of the work that you will present come about?

GAC: The work began with a trip in September 2016 to l’Aquila because I was interested in studying scaffolding…

MTS: Why were you interested in studying scaffolding?

GAC: I needed to see some architectural structures like scaffolding. From l’Aquila we then went to Amatrice, where the earthquake had hit a week earlier and the road to get there was completely empty; there were only Civil Defence supply vehicles that were on their way out, there was a very strong sense of anguish. When we got there I didn’t recognise my town: it seemed like a war was going on, there had just been a catastrophe, houses had completely collapsed. It was a very hard sight to see, very distressing. In front of such a strong image I wondered: “what can we do to exorcize it?” The seed of my work is contained in this question. Inside of us we need to resort to something stronger than an explanation, at times the tools that we have are not enough to face something like this, for that we need to move in another dimension, otherwise we succumb.

MTS: It’s a way to survive reality…

GAC: It is magic that manages to take us back to the rational dimension via other routes. De Martino’s work is interesting in this sense because it delivers a rational “historical” explanation to what would otherwise have been relegated to a folkloristic fact or mere “belief.” The studies that he carried out in Lucania gave a voice to populations that otherwise would have lived in complete oblivion and isolation from history because they would not have been understood.
Magic is the manner by which even whole communities are founded and on which political life is also structured; it is the way in which a single individual succeeds in finding their own physical and spiritual integrity, whereas in a moment of crisis this is less so. De Martino was involved by believing that the aspect of magic should be investigated on a sociological and political level, finding it within the practices of several artists. Personally, I find that in a moment of crisis such as this, the call to magic isn’t intended as a way out or a way to escape the reality that surrounds us, but on the contrary, it’s a different way of investigating it and to be able to give back a rational vision of what is happening, since this rational vision is, by now, lost and gropes around in the dark.

MTS: On your journey, what has been your relationship with magic, if there has been one?

GAC: There hasn’t been one directly, but I have realised that through some works this aspect has indeed been investigated, even if only unintentionally. The inspiration and form of a work are something that you can’t always completely control. Only when the work is finished can you look at it and to try to understand its genesis. In the moment in which it is in progress some mechanisms are almost unconscious, of course you start with an idea and you want to make it happen, but in the middle there is that creative journey of constructing the work that can end with different results. When it is finished you can think about it, look at it, revisit it. At this stage you can also find some answers or ask yourself some new questions.

MTS: So, to face this theme in a “conscious” way was also an opportunity to look at your work in a different way?

GAC: Absolutely, in some works it is very obvious that there is a call to the magic dimension, however, let me repeat, always understood in its deeper, anthropological meaning. I have studied different works by De Martino and “La fine del mondo” (The end of the world) particularly, I found very interesting. All of his work has given me ideas to work with.

MTS: A year ago you returned to Venice with your family to begin this work. In the past you have described this city as a mother’s womb, an amniotic fluid that envelops… What has it been like to come back here to live? Will you remain here or will you leave? Have you found it changed, does it still manage to surprise you?

GAC: What I have felt most strongly in Venice this year is the climbing movement of the tide, which has followed me with both great fullness and great emptiness. Also, the form that my work takes is connected to the possible sceneries of this city, where, I feel there are strong warning signs and signals that must be heeded and that also tell us how to treat this place, how it must be preserved, and that speak of its biorhythms and of the dynamics that govern it, and that we are climbing over with both feet, that recount its identity and all that has made it possible.

MTS: Indeed, this has been a very peculiar year for the tide. It has been very small, reaching some historic lows. There were some days when there was almost no water in the canals…

GAC: This too is worrisome… I believe that to feel this city means to become part of its organic life, of its operation. This year I really felt it a lot: I have perhaps been too in sync with Venice, I have become Venice. I think this can be dangerous because it means that you also absorb all the tragic and unhealthy aspects of an overloaded and exploited city that is so neglected. Here there is a continuous passage, as the tide enters also flows and masses of people enter, like the oysters attached to the canals that swarm everywhere like the plague. This type of tourism is so damaging. I came back in April 2016 and the massive waves caused by the cruise ships immediately began. I found the streets completely changed, the area where my parents live has changed, new economies have sprung up, a use of spaces that is also surely connected to money laundering.
There are also some positive aspects: Venice is a place where you can still measure modernity, even if, paradoxically, it seems stuck in this past from which it doesn’t look like it can escape.

MTS: For us, Venice is the city of the future…

GAC: Venice condenses the present, it can be seen in all its worse aspects, but also in its best ones.

MTS: What are the best aspects of Venice for you?

GAC: The best aspects I find where only a few manage to go. The night is a moment in which Venice / cadaver is left to the cockroaches. I remember an image: one night I was walking Arturo, my dachshund, next to Piazza San Marco and from the stairway of a church I saw loads of cockroaches, the whole staircase was black and moving, but suddenly they disappeared, returning to the cracks from which they came. The masses of people that invade Venice are like those cockroaches, it is as if they make their way to a carcass to eat it then all of a sudden they disappear into the folds of the city; like the water that fills up and then empties. At night, until dawn, Venice is calm, emptied, silent, you can still see it: the city stratified by time and shapes loses itself behind a mask.

MS: When they told you that you had been selected as one of the artists for the Italian Pavilion, did you already have an idea of what you would have brought with you before moving here? If yes, how has that changed thanks to the tide and the influence of Venice?

GAC: I had thought a little about what I would have done if they had called me one day. I wondered how I could approach the physical space that, for a few years now, has been fixed at the Arsenale, but for a long time was at the Gardens and then was also empty. They are difficult spaces because they are oversized. For me, it was interesting to make a strong, simple and symbolic gesture because even when I had taken part in the International Show in Carlo Scarpa’s Garden of Sculptures, I was interested in finding a simple dimension that had a layered reading, but at the same time, also one that everyone could understand.

MTS: Have you given a title to the work that you will present?

GAC: No, it doesn’t have a title. In reality, I have one but I don’t know yet if it will be the one I use because I must see the finished work. It’s like when a daughter is born, you have a thousand names in your head but you must see her first before you decide.

MTS: I imagine it’s difficult right now to think about what happens after, but when the work is there and you will step back from it, do you think that you will stay in Venice?

GAC: Definitely, when the Biennale ends I won’t stay in Venice and I don’t know if I will go back to Amsterdam. I would have liked to stay, also because I made a big effort to return here and to get used to it again, to find my own space here again. You can live in Venice, but not as a Venetian. Venetians don’t exist anymore.

MTS: I would like to ask you if there is something that you feel you could wholeheartedly recommend to the people who will come to Venice for the Biennale?

GAC: If it were possible, I would say to stay for fifteen days, one month, more time, not the usual two days… To try to live the city. It’s a suggestion that I would give in general, but here it becomes a necessity. An image of Venice has been created to easily sell to the herds that come here to graze, a business that facilitates the commodification of this image. This isn’t the true Venice, it is something else, but in order to see it you have to look for it, it is not found quickly, it isn’t easily caught, luckily.

MS: Is there a place in particular that you love? Is there a place where you find yourself most at home?

GAC: In the lagoon there are different places, when it’s hotter I like to be in the shallows. They are submerged places that emerge at certain times and you can walk there, like in the rice paddies, to collect clams. They are places that, luckily, can only be reached if you have a boat and if you know where to go. I think that the most beautiful places are the less accessible ones and with less accessible I mean everything that is within reach but that you don’t see because it has been disguised, like Venice.

Learn more about the Italian Pavilion at the 57th Venice Biennale.

Mara Sartore

  • Giorgio Andreotta Calò, Photo credits: Nuvola Ravera Giorgio Andreotta Calò, Photo credits: Nuvola Ravera
  • Untitled (Laguna Sud), Giorgio Andreotta Calò, 2007, Laguna Sud, Venice, Italy Untitled (Laguna Sud), Giorgio Andreotta Calò, 2007, Laguna Sud, Venice, Italy
  • Monument to the fallen, Giorgio Andreotta Calò, 2010, Comune di Bologna, Italy Monument to the fallen, Giorgio Andreotta Calò, 2010, Comune di Bologna, Italy
  • Giorgio Andreotta Calò, 22nd july 1911 -22nd july 2011, Teatro Margherita, Bari, Italy Giorgio Andreotta Calò, 22nd july 1911 -22nd july 2011, Teatro Margherita, Bari, Italy
  • From Sunset to Sunrise ,Giorgio Andreotta Calò, 2006, intervento luminoso, Torre del Parlamento,17° piano, 13/11/2005, Sarajevo, Bosnia ed Erzegovina From Sunset to Sunrise ,Giorgio Andreotta Calò, 2006, intervento luminoso, Torre del Parlamento,17° piano, 13/11/2005, Sarajevo, Bosnia ed Erzegovina
New York - News

1:54 Returns to New York for Its Third Edition

2 days ago

The 2017 New York edition, running May 5-7, is welcoming 19 galleries from Angola, Cote d’Ivoire, France, Ghana, Italy, Kenya, Morocco, the UK, the US and South Africa, exhibiting more than 60 contemporary artists of emerging and established profile.

1:54 New York 2017 is enriched by an educational and artistic programme, “Forum”, curated by Koyo Kouoh, including lectures, film screenings and panel discussions with international curators, artists and art professionals.

Check out the full list of exhibitors and participating artists.

1:54 New York 2017
Opening Hours

Fri, 5 May, 12pm – 8pm
Sat, 6 May, 12pm – 8pm
Sun, 7 May, 12pm – 8pm

Venue
Red Hook, Brooklyn at:
Pioneer Works
159 Pioneer Street
Brooklyn, NY 11231

Carla Ingrasciotta

  • Nú Barreto, Disunited States of Africa (DSA), 2010 Nú Barreto, Disunited States of Africa (DSA), 2010
Los Angeles - News

Frances Stark Presents her 2015 Absolut Art Award-Winning Project at LACMA

6 days ago

Frances Stark is unveiling her digital film adaptation of Mozart’s opera “The Magic Flute”. The 2015 Absolut Art Award-winning project will premiere at LACMA in Los Angeles this Friday 28 April 2017.

“The Magic Flute” is one of the most popular operas of all time, written explicitly for an inter-generational audience. Frances’ adaptation of “The Magic Flute” is a 110-minute pedagogical opera, which takes the libretto as its primary visual focus and brings together the fields of contemporary art and popular classical music. She has worked with a number of collaborators to realise the project, including renowned producer H.B. Barnum; conductor Danko Drusko, who adapted Mozart’s original score; and a group of 10-19 year olds who make up the 26-piece orchestra. The project is defined by the idea of artistic exchange across disciplines, generations and genres, resulting in a powerful learning, and teaching experience for all involved.

The vocalists – the defining characteristic of the opera genre – have been substituted with soloists who play the vocal melodies, with each sound uniquely developed to personify each of the 10 characters. The lyrics have also been updated, through Stark’s creation of an amalgam libretto through the study of numerous translations that were then adapted to fit the instrumental melodies while also speaking to both a contemporary audience and the present moment. These animated lyrics appear onscreen, immersing the viewer in the words themselves and enabling a deeper understanding of the wit and relevance of the lyrical content.

Carla Ingrasciotta

  • Frances Stark Behind the scenes of The Magic Flute, 2017 2015 Absolut Art Award Winner for Art Work Courtesy Alexa Karolinski Frances Stark Behind the scenes of The Magic Flute, 2017 2015 Absolut Art Award Winner for Art Work Courtesy Alexa Karolinski
  • Frances Stark Behind the scenes of The Magic Flute, 2017 2015 Absolut Art Award Winner for Art Work Courtesy Alexa Karolinski Frances Stark Behind the scenes of The Magic Flute, 2017 2015 Absolut Art Award Winner for Art Work Courtesy Alexa Karolinski
Kassel - News

The Parliament of Bodies

1 week ago

This is one of the main event of the Public Programs of documenta 14, which comes from the experience of the so-called “long summer of migration” in Europe. The Parliament of Bodies is a site of activism, alliance, and cooperation, gathering an anti-fascist, trans-feminist, and anti-racist coalition. 

PROGRAM
Thursday April 27, 2017
FRIDERICIANUM

3 pm Introduction by Adam Szymczyk and Paul B. Preciado
3:15 pm Boris Buden, Fascism: A Crime in Search of Perpetrators
4 pm iQhiya, Fresh off the Boat
4:45 pm Ulrich Schneider, Facing History and Ourselves: Preserving Memory—Acting Today—Change for the Future
5:30 pm Chto Delat, Here Me Burning
6 pm Evelyn Taocheng Wang, Idle Chatter 2nd – Holzwege

7 pm BREAK

8 pm Dimitris Kousouris, Old and New Fascisms and Antifascisms
8:45 pm Lerato Shadi, Dinonyane tse Pedi
9:15 pm The Apatride Society of the Political Others (Max Jorge Hinderer Cruz, Nelli Kambouri, Margarita Tsomou), Integrated World Capitalism and the Ithagenia Condition: On Indigenous Knowledge in the European Crisis, Migration and Borders, the Coloniality of Contemporary Capitalism, and Self-Determined Otherness
10 pm Zoe Mavroudi, The Witch Hunts of Athens: An Experiment for a New Europe
10:45 pm Raúl de Nieves, La Mosca/The Fly

11:15 pm BREAK

12:30 am Adespotes Skiles, The Waltz of the Dirty Streets
1:30 am LOTIC

Friday April 28, 2017
FRIDERICIANUM

10 am–3 pm Georgia Sagri, Attempt. Come
3 pm Franco “Bifo” Berardi, Questions about the Double-Headed Monster That Is Destroying Life on the Planet, and How to Deal with It
3:45 pm Grada Kilomba, Illusions
4:15 pm Tatiana Roque, Back to the Closet! A Backlash Against Emerging Political Subjectivities
5 pm Zülfukar Çetin, Bodily Autonomy of Refuged Sex Workers and the Moralization of the Sex of the Other
5:45 pm María Galindo, Manifesto and How to Deal with the Feminist Insurrection

7 pm BREAK

8 pm–10:30 pm ALLIANCES BETWEEN MINOR INSTITUTIONS
Stavros Stavrides, Emergent Common Spaces: Reinventing the Politics of Sharing
Anna Dević/WHW, From Partisan Exhibitions to Exhibitions of Partisanship
Gigi Argyropoulou, (Im)potential Resistances
Emanuele Braga, Beyond Work and Private Property, the Macao Experience as an Institution of the Commons
Maria Mitsopoulou and Mariza Avgeri, Clercking
Vasyl Cherepanyn, Thinking Under Attack: On the International Principles of Contemporary Antifascism
Olga Lafazani, Subverting the Borders Between Host and Hosted. The Everyday Life in City Plaza Project
Chto Delat (Dmitry Vilensky), To be a Dissident: Screening and Questioning

10:30 pm BREAK

11:30 pm Vaginal Davis, No One Leaves Delila
12:15 am Boris Baltschun and Serge Baghdassarians, Backing Track
12:45 am The Boy

Saturday April 29, 2017
FRIDERICIANUM

12 pm Film screening, Aris Chatzistefanou, Fascism Inc, 2015, Greece, 73 min.
Directed by Aris Chatzistefanou, Greek with English/German subtitles

4 pm–6:30 pm ALLIANCES BETWEEN ANTIFASCIST MOVEMENTS FROM ATHENS AND KASSEL
Aris Chatzistefanou
Ayşe Güleç
Dimitris Kousouris
Thanassis Kampagiannis
Kassel postcolonial (Joshua Kwesi Aikins and Evelyn Wangui)
Forensic Architecture (Stefanos Lividis)
Magda Fyssa
Yannis Nifakos
The Society of Friends of Halit and The Initiative of 6th of April (Lilimor Kuht, Serdar Kazak, and Fritz Laszlo Weber)
Eleftheria Tompatzoglou
Natascha Sadr Haghighian
Niovi Zarampouka-Chatzimanou

7 pm BREAK

8 pm Bonaventure Soh Bejeng Ndikung, An Alignment of Contested Bodies and Spaces: On Alterity, Asynchrony, and Heterogeneity
8:45 pm Alfredo Jaar, It Is difficult
9:45 pm Cecilia Vicuña, Breaking the Heart of Creation
10:30 pm Schwabinggrad Ballett & Arrivati, Beyond Welcome

My Art Guides Editorial Team

  • Fridericianum, Kassel Fridericianum, Kassel
Cologne - Interviews

Art Cologne 2017: an Interview with Fair Director Daniel Hug

2 weeks ago

On the occasion of the opening of the 51st edition of Art Cologne, we interviewed fair director Daniel Hug to share with us the news of this year edition and to tell us about the German art scene and market. This year 200 globally renowned galleries will show works by around 2,000 artists.

Carla Ingrasciotta: Let’s start from the origins. How did everything begin? How was the art scene in the city by that time and how did it evolve from there?

Daniel Hug: Art Cologne was started by two galleries – Hein Stünke from Galerie Der Spiegel and Rudolf Zwirner from his namesake gallery. Stünke and Zwirner took their Inspiration from the 1966 Dokumenta, and figured why shouldn’t they organize a huge exhibition on this scale, but with the purpose of selling Art. And so the first Kunstmarkt Köln as it was called then opened in 1967 in the Guerzenich Festival Hall. From this moment on the whole art market changed as we know it. Today there are hundreds of art fairs worldwide.

C.I.: What about your role as fair director? The event is under your direction since 2008. How do you manage the overall organization?

D.H.: I have a great team like Birgitt Schnitzius and Claudia Wendel who are in charge of gallery relations, also Bettina Vonderreck and Claudia Born who are in charge of our visitors program.‎ Most importantly Benjamin Agert, our fair manager, who basically ensures that the fair comes together smoothly, gets built on time, and many others I cannot all list here.

C.I: Which are the moments that marked the fair’s more recent history?

D.H.: When my predecessor introduced the sector “Open Space” and in 2007 when he recreated the famous Kounellis Installation “12 Horses”, with twelve live Horses inside the fair.‎ In 2010, the solo show of the Belgian artist Panamarenko, our collaboration with New York’s New Art Dealers Alliance which began in 2010 and lasted until 2015, the ” Bookmarks” exhibition of Hungarian Avant Garde to post-conceptual Art from 1967 to Today in 2015, the coming cooperation and founding of the new Art Berlin fair this coming September.

C.I:. This year Art Cologne is enriched by a a young contemporary art section “Neumarkt”. Could you tell us about the new concept of this edition?

D.H.: Until last year, we have had a sector for young galleries called New Contemporaries, and a sector for curated and joint gallery projects called Collaborations, and we wanted to offer a third option to young galleries to present a solo artist presentation in slightly smaller booths, to create a new name for this new sector would have made everything much more confusing, so we decided to rebrand the entire third floor of the fair, and have all these various sectors in one hall under this new name “Neumarkt”.‎ Neumarkt will offer every possible options, combinations and configurations of booths for young galleries, it will make it possible for galleries to really customize their booths, taylor the booths to their specific needs.

C.I: This year, the fair is taking place in concomitance to the Gallery Weekend Berlin. Berlin is also inaugurating the new Art Berlin fair this September and the city has a strong influence in the art scene. Do you think that this may affect the fair’s audience attendance or damage the market in some way?

D.H.: That Art Cologne and Gallery Weekend Berlin overlap two days has turned out to be a blessing in disguise, it has attracted a lot more visitors from abroad to Germany to see the two most important events concerning the German art market. The new Art Berlin is being organized by us, Art Cologne, and the organizers of the Gallery Weekend and will improve the preexisting abc fair, into a more substantial art fair in fall for Germany. This will only strengthen both Cologne and Berlin’s roles as Germany’s most important art centers.

C.I: Opening its 51st edition, Art Cologne is the oldest international art fair and has a strong background. How does the fair changed during the years and how differs from the other fairs? What are your hopes and expectations after this edition?

D.H.: Nine years ago, when I started in Cologne, the Art Cologne was an undefined white elephant, important galleries were missing, and it was spread out over four halls, everything was mixed together, it was hard to navigate. As inspiration, I looked at what Art Cologne was like in the decade from 1985 to 1995, the highpoint of Art Cologne when it was the most important fair for contemporary art world wide. The fair you see today, is very much like it was in this important time: A dynamic mix of established and young galleries, International and German covering art of the 20th and 21st century. All other art fairs are based on this model established in Cologne in 1967, so my job was really just to refine the quality, reduce the size, move into a more suitable hall reminiscent to the old halls from that time. Art Cologne is really the classic and original model Art Fair. We do not need to reinvent this, but continue in this tradition.

Daniel Hug is the leading director of Art Cologne since 2008. Born in 1968, has Swiss-American dual citizenship and has lived most recently in Los Angeles. Notably, he is the grandson of the famous Hungarian constructivist and Bauhaus artist László Moholy-Nagy. Having studied art history at the School of the Art Institute of Chicago, he curated a number of exhibitions between 1998 and 2001 in project rooms and art venues. During this period, he took part as a gallery director in events including Liste Basel, Art Forum Berlin and Art Chicago.

Carla Ingrasciotta

  • Time Drifts Cologne © Philipp Geist / VG Bildkunst 2016 Time Drifts Cologne © Philipp Geist / VG Bildkunst 2016
  • Daniel Hug, Art Cologne Fair Director Daniel Hug, Art Cologne Fair Director
Brussels - News

Art Brussels 2017: From Discovery to Rediscovery

2 weeks ago

Belgium’s leading art fair ever, Art Brussels brings something different to the international art fair practices by privileging solid artistic content and profiling surprising artistic practices The fair welcomes a large number of important international established galleries.

145 galleries are divided into the following sections:
Discover: with a special focus on young, emerging and lesser-known artists showing recent works (2014-2017).
Prime: focusing on established artists from modern to contemporary.
Rediscovery :dedicated to art from 1917 to 1987, presenting living or deceased artists who are underestimated or forgotten.
In addition, there will be Solo presentations offering a more in-depth approach of the work of an artist.

As part of the event, the participating galleries located in town will open their doors to Art Brussels visitors on Friday 21 April 2017, from 6 to 9 pm for a special Gallery Night.

Check the full exhibitors list.

Dates:
21 – 23 April 2017

Opening hours:
Thu 20 April: 5 pm – 10 pm (Vernissage)
Fri 21 April – Sun 23 April 11 am – 7 pm

Venue:
Avenue du Port 86c
1000 Brussels, Belgium

Carla Ingrasciotta

  • Art Brussels Art Brussels