KUMU Art Museum, Tallinn
Open Collections: The Artist Takes the Floor
7.5.19 - 11.10.19
A special project titled “Mutant”, curated by Maria Arusoo and organized by Eha Komissarov at KUMU Kunsti Museum.
In the show Estonian artist Aili Vint’s print series titled "Variations" (1980 - 1987), 19th century prints as well as the oldest work in the show - a painting by an unknown Italian artist which dates back to the 17th century have all been placed in a dialogue with artworks by a New York based Serbian contemporary artist Ivana Bašić. The curated project deals with the dystopian human body of the past and future, taking into account the destruction and alienation of the body in the post-capitalist society of today.
Art Brussels ‘18
I too had thousands of blinking cilia,
while my belly, new and made for the ground
was being reborn
Materials: Wax, breath, bronze, glass, oil paint, weight, stainless steel, pressure
CRASH TEST | Molecular Revolution
curated by Nicolas Bourriaud
The arts in the 2010s have integrated the notion of the Anthropocene, an era dominated by human activities and their impact on the planet. Our representation of the world has thus evolved into a kind of between fields otherwise considered separate in Western thinking: the mineral, the animal, the vegetal, the machine, and the human, which seem to constantly exchange properties. In light of this new promiscuity, the traditional Western division between nature and culture gradually loses its pertinence. Crash Test is born from this revelation.
This exhibition gathers a generation of artists who deal with the Real on a molecular level, organizing connections between physical/chemical realities and human cultures. These artists describe the current world (its societies, its cultures…) by working with the matter that composes it, rather than with strictly social or even personal facts. From this group of heterogeneous fields that are blended today, we also think of the image as a coat that envelops our world—an autonomous atmosphere, a layer of pollution.
The artists in Crash Test thus work with material reality. Whether this reality exists in its most basic or its most synthetic form, it raises the question: does a purely “natural” or purely “human” material still exist? Without adopting a scientific approach, these artists investigate particles that compose the physical universe, chemical compounds and synthetic mixtures. Some artists favour the reduction or pulverization of matter while others value reactions and chemical transformations. These are all then displayed in installations with an experimental nature, from pulverization (the reduction of the visible into basic elements) to solution (the dissolving of elements in a solvent) and finally to precipitation (the formation of molecules from aggregates).
With regard to these radically new approaches, we can speak of a new type of materialism—or analytical realism, which takes note of the West's separation of nature and culture as much as the classic subordination between matter and form, often confused here. A materialism wherein the central question would be: how does a state of matter represent a moment in history?
Dreamlands: Immersive Cinema and Art, 1905–2016
Curated by Chrissie Iles, Anne and Joel Ehrenkranz Curator
Whitney Museum of Art
Dreamlands: Immersive Cinema and Art, 1905–2016 focuses on the ways in which artists have dismantled and reassembled the conventions of cinema—screen, projection, darkness—to create new experiences of the moving image. The exhibition will fill the Museum’s 18,000-square-foot fifth-floor Neil Bluhm Family Galleries, and will include a film series in the third-floor Susan and John Hess Family Theater.
The exhibition’s title refers to the science fiction writer H.P. Lovecraft’s alternate fictional dimension, whose terrain of cities, forests, mountains, and an underworld can be visited only through dreams. Similarly, the spaces in Dreamlands will connect different historical moments of cinematic experimentation, creating a story that unfolds across a series of immersive spaces.
The exhibition will be the most technologically complex project mounted in the Whitney’s new building to date, embracing a wide range of moving image techniques, from hand-painted film to the latest digital technologies. The works on view use color, touch, music, spectacle, light, and darkness to confound expectations, flattening space through animation and abstraction, or heightening the illusion of three dimensions.
Trisha Baga, Ivana Bašić, Frances Bodomo, Dora Budor, Ian Cheng, Bruce Conner, Ben Coonley, Joseph Cornell, Andrea Crespo, François Curlet, Alex Da Corte, Oskar Fischinger, Liam Gillick, Dominique Gonzalez-Foerster, Pierre Huyghe, Alex Israel, Mehdi Belhaj Kacem and Pierre Joseph, Aidan Koch, Lynn Hershman Leeson, Anthony McCall, Josiah McElheny, Syd Mead, Lorna Mills, Jayson Musson, Melik Ohanian, Philippe Parreno, Jenny Perlin, Mathias Poledna, Edwin S. Porter, Oskar Schlemmer, Hito Steyerl, Rirkrit Tiravanija, Stan VanDerBeek, Artie Vierkant, and Jud Yalkut
Immersion in Space and Time
Künstlerhaus Halle für Kunst & Medien, Graz
9.23.2018 - 11.29.2018
Artificial Paradise? Immersion in Space and Time will bring together recent immersive works by twelve international artists with works newly commissioned for the exhibition. The immersion in an image, in its sphere of imagination, is a concern that can be traced far back in art history.
The exhibition focuses particularly on the threshold of submersion into artificially created worlds. Whereas the older genre of landscape painting predominantly offered the imaginary participation in an illusionistic, idealistic nature, the new virtual reality works aim at a—preferably —complete absorption of the viewer. The submersion into artificial surroundings can be accomplished literally by way of spatial installations and environments with sounds. Furthermore, the artistic discussion of the relationship between digital and analog aspects as well as the immersive use of media for military and political strategies will be the subject of the exhibition. Can the belief in progress that is connected with technological development lead to paradisiacal conditions? Or do these virtually perfect worlds also evoke feelings of uncertainty and numbness? The elevation of the beautiful to the sublime, as it had been linked especially to Romantic landscape painting, apparently involves also horror and fear due to its unattainability and perfection. Moreover, the theory of the “uncanny valley” is based on the fact that artificially created bodies and figures of a certain degree of anthropomorphic resemblance can drastically lose credibility in the eye of the viewer. Too real seems to be unsettling. Artificial Paradise? Immersion in Space and Time wants to stimulate the visitors’ conjectures and speculations regarding future artificial worlds. And thus, the exhibition also poses the question, how future artificial paradises could look like.
Banz & Bowinkel
Gerriet K. Sharma
Jakob Kudsk Steensen
Athens Biennale ‘18
10.26.18. - 12. 9.18
Curators: Stefanie Hessler / Poka-Yio / Kostis Stafylakis
Enter ANTI: ANTI is a preposition, a position, a person. ANTI is indulgent, ascetic, libertarian. ANTI invests in bitcoins and detests political correctness. ΑΝΤΙ is a contraestablishment politician, a humanist, a creature of our time.
The 6th Athens Biennale flirts with the term, the attitude, the (im)possibility of ANTI. It asks: How does opposition play out today? And what kinds of identities does it forge? At present, an oppositional stance, an attitude of ANTI—an “antitude”—seems to encompass wide arenas of social life including cultural expressions, identity politics, art labor, media and scripted protagonist impersonations on Netflix as well as “weird advertising”, videogames and music video productions. In other words, attitudes of resistance, non-conformity and marginality are rapidly becoming canonized and commodified. ANTI is adored and detested as pre-eminent role model. The imagery of the cunning villain, the proactive manipulator, the taboo perpetrator, is one of today’s most fascinating characters in institutional and counter-establishment politics, tactical resistance and pop culture.
57. Belgrade Biennale / OCTOBER SALON
The Marvelous Cacophony
Belgrade City Museum
Curated by Gunnar B. Kvaran and Danielle Kvaran
The Marvellous Cacophony is based on the idea of diversity. This concept puts the Serbian and the Belgrade art scenes into an international context, but at the same time, refers to the complex cultural and socio-political situation in the region. At the beginning of 21st century, despite the fact that the Western notion of contemporary art has become an universal model of reference, no single common denominator has emerged. The art world has many centres, multi-layered activities, a plurality of ideas about what art is and what it can be, and an impressive number of heterogeneous works. This Marvellous Cacophony reflects the richness of the world. It is a positive condition, creating energies that can include dissonance and even conflicting ideas and expressions. It involves the coexistence of multiple identities and permanent relational flows, conveying notions of miscellany and openness, and creating meaningful narratives about art and culture, social issues and politics. The Marvellous Cacophony will explore worldwide artistic production, looking into diverse art scenes and different generations of living artists. It will bring together a constellation of works that express, through their forms, structures, materials, techniques, devices and content, the extraordinary richness of contemporary artistic expression.
Belgrade Biennale Website
FROM NAM JUNE PAIK TO HIROSHI ISHIGURO
NRW-Forum Museum, Dusseldorf
3.29.19 – 5.5.19
When the film The Thieving Hand was released in 1908, the filmmaker had no idea how quickly prostheses and human machines would develop in the future. This early silent cinema fantasy about an obstinate kleptomaniac hand kicks the exhibition Körperwende - from Nam June Paik to Hiroshi Ishiguro off. Video excerpts from Nam June Paik's first non-human action artist, Robot K456, and Erika Kiffl's photographs of Paik's robot works at the 1993 Biennale are also on display, as well as Hiroshi Ishiguro's humanoid robot conductor, Alter 3, and Nick Ervinck’s futuristic 3-D sculptures of androids. Martina Menegon’s VR work addresses the split between real and virtual, flesh and data; Pinar Yoldas' Kitty AI proclaims a postapocalyptic, sociopolitical and economic manifesto. From the phenomenon of phantom limb pain in Oscar Santillan’s work to Ivana Bašić’s wax sculpture that exposes “healthy” and “deformed” bodies as ideological constructs, the exhibition explores the limits of the body and body image, the self and the other, and the perception of the body in space. Somewhere between artificial production, imaginative candor, and the fragility of the body, the works create atmospheres between amazement, alienation, fear fantasies, and beauty.
Nam June Paik
9.15.17 - 10.27.17
Harm van den Dorpel
Cécile B. Evans
In 1922, under the slogan ‘immortalism and interplanetarism’ the Moscow bio-cosmists demanded nothing less than the immediate elimination of the temporal and spatial limits of human life. They follow in the footsteps of Russian philosopher Nikolai Fyodorov (1829–1903). He speculated about the abolition of mortality and the resurrection of all humans by the technology of art under the auspices of a state becoming a museum. Fyodorovs ideas influenced theorists, scientists and activists in pre- and early soviet times. The cosmists share the belief in a rational evolution of mankind, finding its completion in the overcoming of death and the conquest of space.
Today developments in artificial intelligence and biotechnology fuel transhumanist utopias of eliminating the temporal limits of human life. It comes as no surprise that Calico – the Califoria Life Company a subsidiary of Alphabet Inc. – set itself the business objective to prolong human life. Yet, whereas Russian cosmists regarded the achievement of human immortality as a collective, ‘common task’ many current transhumanist aspirations are aimed at self-optimisation.
The exhibition Immortalismus (Immortalism) brings together works by contemporary artists that open up different perspectives on visions, technologies and ideologies to overcome death. It takes the utopian ideas of Nikolai Fyodorov and the Russian avant-garde movement of the cosmists as a historical starting point.