#okwui enwezor

[krisis-krinein]

Mao Chenyu, Cloud Explosion: Dongting and the Death of Signifier, 2015. Single channel HDV, color, sound, 78′, produced in Yueyang, Hunan Province, China. Courtesy of the artist.

https://www.aaa-a.org/programs/cloud-explosion-dongting-and-the-death-of-signifier

[anomadiccuration]

60 Words. 60 Years.

An homage to Okwui Enwezor, who would've turned 60 today.

Okwui, oak we

Son of the soil

Born to be free

Son of the toil

Roots aplenty 

Grew to a tree

Fruits aplenty

Seeds sown

God’s own

Words shone

Works shown

Documenta 

Documented

Biennales

Reinvented

Nka nko?

Nsukka 

To Ngor

In life, a light

Shining bright

After life, alight

Shining bright

Out of sight

And yet

Forever

On our minds

[intellectures]

Das Funkeln der Schatten

Teju Cole führt in seinen Essays von Caravaggios Kunst zum Black Empowerment und beleuchtet das Dunkel der Welt. Für die Schattenwelten des Daseins findet er Worte, die diese in ihren Kontexten verständlich machen. Continue reading Untitled

[ikopystiansky]

[arthuntblog]

Eliza Kopec [Poland] (b 1960) ~ 'Sylvia Okwui Enwezor', 2014. Acrylic on wood (150 x 111 cm).

[abwwia]

Adrian Piper wins the Golden Lion for best artist in Okwui Enwezor's biennial exhibition 'All the World's Futures', part of the 56th Venice Biennale, 2015 in Venice, Italy. (Photo by Awakening/Getty Images)

HAPPY BIRTHDAY 💫🌸❤

Adrian Margaret Smith Piper #bornonthisday (born September 20, 1948) is an American conceptual artist and Kantian philosopher. Her work addresses how and why those involved in more than one discipline may experience professional ostracism, otherness, racial passing, and racism by using various traditional and non-traditional media to provoke self-analysis. She uses reflection on her own career as an example. via Wikipedia

(2) Visiting artist, Adrian Piper, lecturing at the Minneapolis College of Art and Design, 133 East 25th Street, Minneapolis, Minnesota

3.Adrian Piper, Catalysis III

4.#AdrianPiper, Catalasys IV

5.Three Untitled Projects (1969), by Adrian Piper

6.Self-Portrait Exaggerating My Negroid Features (1981)

7.Decide Who You Are, #1: Skinned Alive (1991)

#womensart #artbywomen #PalianShow #botd #femaleartist #contemporary #conceptual #conceptualart

[sound-art-text]

Sound at the 56th Venice Biennale (2015)

This is my 5th trip to the Biennale di Venezia, hunting for signs of sound. Happily, with every returning visit there seem to be more and more sonic interventions, and this year sound feels embedded throughout.

It's interesting to notice recurring themes that seem to crop up throughout the mass of works from all over the globe. The 54th Biennale featured an unusal amount of glitter balls; at the 55th I saw alot of ladders. Is this coincidental or symbolic?

At the 55th Biennale, sound art had a very visible presence - making a statement. This year, sound was dotted around… part of a whole… contributing not dominating. I must admit, for a sound art fanatic like me, this was a little dissapointing.

If you've never been to the Biennale, here's the set up:

The whole of Venice is taken over by art. In May, the super rich arrive in their super yachts for the press view - revolting displays of wealth allowed by the sad corruption of the officials. As they descend their mega boats to admire the magic of the arts, the magic of the city is destroyed as views of the sea are blocked by their obscenely huge yachts and the sinking city sinks further.

This year, the Biennale was curated by Okwui Enwezor, important partly because of his role as Artistic Director of Documenta 11, where he enacted his committment to supporting developing countries to present work on the world art stage.

The Biennale takes place in two main venues - the Giardini (gardens) and the Arsenale (old naval base), but throughout the city every gallery, church and empty building houses a treasure hunt of satellite exhibitions. It takes at least 5 x 8 hour days to see the whole lot, and you're exhausted by the end, but it's THE PLACE to be excited and inspired.

In the below, I've documented all the sound works I found, in an attempt to share the experience.

Giardini

Nordic Pavillion

The glass armonica - thought to induce states of ecstasy and arouse sexual excitement'.

Venezuela

'Words are sound, sign & image that join our memory & lit rememberances of path through life'

France

Trees that generate harmonies with low-voltage electric current.

Not sure where I am now, but I have accidentally become a performer in a reading rehearsal...

Poland

In the Polish Pavilion, two artists 'revisit Herzog's mad idea' [to] bring opera to the tropics.

Spain

'Stepping into this piece requires an unbalanced perspective' - microphones dangle in Pepo Salazar's work.

Arsenale

Terry Adkins' sculptural forms from instruments at Arsenale.

Chanting and mysterious sine tones in My Epidemic (Small Bad Blood Opera) by Lili Reynaud Dewar

Ayoung Kim haunting sound work with diagrams

Bells gently tingling in the fields... Christian Boltanski

Various unused pianos in separate works - bourgeois symbol?

Mexico

Deceptive rumblings of rain from behind the steel walls.

Slovenia

'The violent necessity for the embodied presence of hope'

IILA-Latin American Pavilion

Sounds of Amerindian languages threatened with extinction.

Satelite exhibitions

Hong Kong

'Are we not straying through an infinite nothing?' sound environment

Listening to paintings at Brian Eno and Beezy Baily's exhibition.

[jcmarchi]

The MIT Press announces Grant Program for Diverse Voices recipients for 2024

New Post has been published on https://thedigitalinsider.com/the-mit-press-announces-grant-program-for-diverse-voices-recipients-for-2024/

The MIT Press announces Grant Program for Diverse Voices recipients for 2024

Launched in 2021, the Grant Program for Diverse Voices from the MIT Press provides direct support for new work by authors who bring excluded or chronically underrepresented perspectives to the fields in which the press publishes, which include the sciences, arts, and humanities.

Recipients are selected after submitting a book proposal and completing a successful peer review. Grants can support a variety of needs, including research travel, copyright permission fees, parental/family care, developmental editing, and other costs associated with the research and writing process. 

For 2024, the press will support five projects, including “Our Own Language: The Power of Kreyòl and Other Native Languages for Liberation and Justice in Haiti and Beyond,” by MIT professor of linguistics Michel DeGraff. The book will provide a much-needed reassessment of what learning might look like in Kreyòl-based, as opposed to French-language, classrooms in Haiti. 

Additionally, Kimberly Juanita Brown has been selected for “Black Elegies,” which will be the second book in the “On Seeing” series, which is published in simultaneous print and expanded digital formats. Brown says, “I am thrilled to be a recipient of the Grant Program for Diverse Voices. This award is an investment in the work that we do; work that responds to sites of inquiry that deserve illumination.”

“The recipients of this year’s grant program have produced exceptional proposals that surface new ideas, voices, and perspectives within their respective fields,” says Amy Brand, director and publisher, the MIT Press. “We are proud to lend our support and look forward to publishing these works in the near future.”

Recipients for 2024 include: 

“Black Elegies,” by Kimberly Juanita Brown

“Black Elegies” explores the art of mourning in contemporary cultural productions. Structured around the sensorial, the book moves through sight, sound, and touch in order to complicate what Okwui Enwezor calls the “national emergency of black grief.” Using fiction, photography, music, film, and poetry, “Black Elegies” delves into explorations of mourning that take into account the multiple losses sustained by black subjects, from forced migration and enslavement to bodily violations, imprisonment, and death. “Black Elegies” is in the “On Seeing” series and will be published in collaboration with Brown University Digital Publications.

Kimberly Juanita Brown is the inaugural director of the Institute for Black Intellectual and Cultural Life at Dartmouth College, where she is also an associate professor of English and creative writing. She is the author of “The Repeating Body: Slavery’s Visual Resonance in the Contemporary” and “Mortevivum.”

“Our Own Language: The Power of Kreyòl and Other Native Languages for Liberation and Justice in Haiti and Beyond,” by Michel DeGraff

Kreyòl is the only language spoken by all Haitians in Haiti. Yet, most schoolchildren in Haiti are still being taught with manuals written in a language they do not speak — French. DeGraff challenges and corrects the assumptions and errors in the linguistics discipline that regard Creole languages as inferior, and puts forth what learning might look like in Kreyòl-based classrooms in Haiti. Published in a dual-language edition,“Our Own Language” will use Haiti and Kreyòl as a case study of linguistic and educational justice for human rights, liberation, sovereignty, and nation building.

Michel DeGraff is an MIT professor of linguistics, co-founder and co-director of the MIT-Haiti Initiative, founding member of Akademi Kreyòl Ayisyen, and in 2022 was named a fellow of the Linguistic Society of America. 

“Glitchy Vision: A Feminist History of the Social Photo,” by Amanda K. Greene

“Glitchy Vision” examines how new photographic social media cultures can change human bodies through the glitches they introduce into quotidian habits of feeling and seeing. Focusing on glitchiness provides new, needed vantages on the familiar by troubling the typical trajectories of bodies and technologies. Greene’s research operates at the nexus of visual culture, digital studies, and the health humanities, attending especially to the relationship between new media and chronic pain and vulnerability. Shining a light on an underserved area of analysis, her scholarship focuses on how illness, pain, and disability are encountered and “read” in everyday life.

Amanda Greene is a researcher at the Center for Bioethics and Social Sciences in Medicine at the University of Michigan.

“Data by Design: A Counterhistory of Data Visualization, 1789-1900,” by Silas Munro, et al.

“Data by Design: A Counterhistory of Data Visualization, 1789-1900” excavates the hidden history of data visualization through evocative argument and bold visual detail. Developed by the project team of Lauren F. Klein with Tanvi Sharma, Jay Varner, Nicholas Yang, Dan Jutan, Jianing Fu, Anna Mola, Zhou Fang, Marguerite Adams, Shiyao Li, Yang Li, and Silas Munro, “Data by Design” is both an interactive website and a lavishly illustrated book expertly adapted for print by Munro. The project interweaves cultural-critical analyses of historical visualization examples, culled from archival research, with new visualizations. 

Silas Munro is founder of the LGBTQ+ and BIPOC (Black, Indigenous, and people of color)-owned graphic design studio Polymode, based in Los Angeles and Raleigh, North Carolina. Munro is faculty co-chair for the Museum of Fine Arts Program in Graphic Design at the Vermont College of Fine Arts.

“Attention is Discovery: The Life and Work of Henrietta Leavitt,” by Anna Von Mertens

“Attention is Discovery” is a layered portrait of Henrietta Leavitt, the woman who laid the foundation for modern cosmology. Through her attentive study of the two-dimensional surface of thousands of glass plates, Leavitt revealed a way to calculate the distance to faraway stars and envision a previously inconceivable three-dimensional universe. In this compelling story of an underrecognized female scientist, Leavitt’s achievement, long subsumed under the headlining work of Edwin Hubble, receives its due spotlight. 

Anna Von Mertens received her MFA from the California College of the Arts and her BA from Brown University.

[kopystiansky]

Igor and Svetlana Kopystiansky: Incidents (1996/7)

Igor and Svetlana Kopystiansky: Projects

Igor and Svetlana Kopystiansky: The Day Before Tomorrow (1999)

Svetlana Kopystiansky: Works and Projects

Igor Kopystiansky: Works and Projects

Igor and Svetlana Kopystiansky: Archive Documents

Video Works. Vimeo

Video Works. YouTube

Bibliography

Books by Igor and Svetlana Kopystiansky

Works by Igor and Svetlana Kopystiansky are represented in permanent collections of the Museum of Modern Art, Metropolitan Museum and Whitney Museum of American Art  in New York, Art Institute of Chicago, Museum of Fine Arts, Houston, Smithsonian American Art Museum, Washington D.C.; Henry Art Gallery in Seattle; Zimmerli Art Museum, Rutgers University, New Jersey; Musée National d'Art Moderne Center Pompidou, Paris; Musée d'Art Moderne de Saint-Etienne Métropole, France; Tate Modern, London; Art Gallery of New South Wales, Sydney; Museo Nacional Reina Sofia; Folkwang Museum in Essen; Ludwig Forum for International Art, Aachen; Berlinische Galerie; Museum für Moderne Kunst, Frankfurt am Main; MUMOK Vienna, Austria; Centre for Contemporary Art Luigi Pecci, Prato, Italy; Frac Corsica, France; MOCAK, Museum of Contemporary Art Krakow, Poland;  Muzeum Sztuki Lodz, Poland (Svetlana); Muzeum Sztuki Lodz (Igor); The Lithuanian National Museum of Art. Vilnius, Lithuania.

Archives by Igor and Svetlana Kopystiansky are located at the Centre Pompidou, Kandinsky Library.

Works by Igor and Svetlana Kopystiansky were exhibited at venues including: Henry Art Gallery, Seattle (2017-2018); MFAH Texas (2017); MoMA, New York (2012); Center Pompidou, Paris (2015, 2011, 2010, 2009); Tate Modern London (2010, 2011-2012), Metropolitan Museum, New York (2013-2014, 2010-11, 2001,1997); Center Pompidou Metz (2011-2012); Smithsonian American Art Museum (2015, 2010-11); Art Institute of Chicago, (1996, 1997-1998, 2008); The Museum of Contemporary Art, Chicago (1999); Scottsdale Museum of Contemporary Art, Arizona (2005); Fine Arts Center UMass, Amherst, Massachusetts (2005); Musée d’Art Moderne de Saint-Etienne, France (2010); Tate Liverpool (1999); Whitechapel Art Gallery, London (1999); MMK Frankfurt/Main (2011, 2010,  1999); Kunsthalle Düsseldorf (1992, 1994, 1995); Kunstmuseum Düsseldorf (2000); Folkwang Museum, Essen (2000); Sprengel Museum Hannover(2002); Kunsthalle Fridericianum, Kassel (2005-2006, 1999); Deichtorhallen Hamburg ( 2011-2012), Kunsthalle zu Kiel (2011-12); Kunst-Werke Berlin (1999); Reina Sofia, Madrid (1994-1995); S.M.A.K. Gent (2009); GAMeC, Bergamo (2011);  Museum of Modern Art EMMA, Finland (2007);  AGNSW, Sydney (1992, 2003, 2005, 2008, 2009); Kunsthalle Krems, Austria (2012); MARCO, Vigo, Spain (2007); MUMOK, Vienna, (1989) and others. Igor and Svetlana participated in international exhibitions including Sculpture Projects Münster 1997 (Svetlana), Documenta 11 (2002) and biennials in Venice 1988 (Aperto curated by Dan Cameron), Sydney 1992 (curated by Anthony Bond), Sao Paulo1994, (curated by Nelson Aguilar), Istanbul  1995 (curated by René Block), Johannesburg 1997 (curated by Okwui Enwezor), Lyon 1997 (curated by Harald Szeemann), Liverpool  1999, Triennial of Small Sculpture” Fellbach, Germany 2004 (curated by Jean-Christophe Ammann), Triennial of Small Sculpture Stuttgart 1998 and others.

[kopystianskybooks]

Igor and Svetlana Kopystiansky: Projects

Igor and Svetlana Kopystiansky: Incidents (1996/7)

Igor and Svetlana Kopystiansky: The Day Before Tomorrow (1999)

Svetlana Kopystiansky: Works and Projects

Igor Kopystiansky: Works and Projects

Igor and Svetlana Kopystiansky: Archive Documents

Video Works. Vimeo

Video Works. YouTube

Bibliography

Books by Igor and Svetlana Kopystiansky

Works by Igor and Svetlana Kopystiansky are represented in permanent collections of the Museum of Modern Art, Metropolitan Museum and Whitney Museum of American Art  in New York, Art Institute of Chicago, Museum of Fine Arts, Houston, Smithsonian American Art Museum, Washington D.C.; Henry Art Gallery in Seattle; Zimmerli Art Museum, Rutgers University, New Jersey; Musée National d'Art Moderne Center Pompidou, Paris; Musée d'Art Moderne de Saint-Etienne Métropole, France; Tate Modern, London; Art Gallery of New South Wales, Sydney; Museo Nacional Reina Sofia; Folkwang Museum in Essen; Ludwig Forum for International Art, Aachen; Berlinische Galerie; Museum für Moderne Kunst, Frankfurt am Main; MUMOK Vienna, Austria; Centre for Contemporary Art Luigi Pecci, Prato, Italy; Frac Corsica, France; MOCAK, Museum of Contemporary Art Krakow, Poland;  Muzeum Sztuki Lodz, Poland.

Archives by Igor and Svetlana Kopystiansky are located at the Centre Pompidou, Kandinsky Library.

Works by Igor and Svetlana Kopystiansky were exhibited at venues including: Henry Art Gallery, Seattle (2017-2018); MFAH Texas (2017); MoMA, New York (2012); Center Pompidou, Paris (2015, 2011, 2010, 2009); Tate Modern London (2010, 2011-2012), Metropolitan Museum, New York (2013-2014, 2010-11, 2001,1997); Center Pompidou Metz (2011-2012); Smithsonian American Art Museum (2015, 2010-11); Art Institute of Chicago, (1996, 1997-1998, 2008); The Museum of Contemporary Art, Chicago (1999); Scottsdale Museum of Contemporary Art, Arizona (2005); Fine Arts Center UMass, Amherst, Massachusetts (2005); Musée d’Art Moderne de Saint-Etienne, France (2010); Tate Liverpool (1999); Whitechapel Art Gallery, London (1999); MMK Frankfurt/Main (2011, 2010,  1999); Kunsthalle Düsseldorf (1992, 1994, 1995); Kunstmuseum Düsseldorf (2000); Folkwang Museum, Essen (2000); Sprengel Museum Hannover(2002); Kunsthalle Fridericianum, Kassel (2005-2006, 1999); Deichtorhallen Hamburg ( 2011-2012), Kunsthalle zu Kiel (2011-12); Kunst-Werke Berlin (1999); Reina Sofia, Madrid (1994-1995); S.M.A.K. Gent (2009); GAMeC, Bergamo (2011);  Museum of Modern Art EMMA, Finland (2007);  AGNSW, Sydney (1992, 2003, 2005, 2008, 2009); Kunsthalle Krems, Austria (2012); MARCO, Vigo, Spain (2007); MUMOK, Vienna, (1989) and others.

Igor and Svetlana participated in international exhibitions including Sculpture Projects Münster 1997 (Svetlana), Documenta 11 (2002) and biennials in Venice 1988 (Aperto curated by Dan Cameron), Sydney 1992 (curated by Anthony Bond), Sao Paulo1994, (curated by Nelson Aguilar), Istanbul  1995 (curated by René Block), Johannesburg 1997 (curated by Okwui Enwezor), Lyon 1997 (curated by Harald Szeemann), Liverpool  1999, Triennial of Small Sculpture” Fellbach, Germany 2004 (curated by Jean-Christophe Ammann), Triennial of Small Sculpture Stuttgart 1998 and others.

[nunc2020]

Post Art, Torsten Meyer

Die Krise, die den Übergang in die nächste Gesellschaft markiert, ist für die Kunst eine Katastrophe. Das hatte Régis Debray in seiner „Geschichte der Bildbetrachtung im Abendland“ (Debray 1999) schon angekündigt. In gedanklicher Nähe zur Idee der nächsten Gesellschaft entlarvt er die Kunst (oder bes- ser DIE Kunst) als ein Symptom der durch Buchdruck und Zen- tralperspektive geprägten Mediosphäre. Kunst ist demnach „kein unveränderlicher Bestandteil der conditio humana“ und auch keine „transhistorische Substanz“, die sich als anthro- pologische Konstante unverändert durch die Kulturgeschich- te zieht, sondern ein erst „spät im neuzeitlichen Abendland“ aufgetauchter Begriff, dessen Fortbestand „keineswegs“ gesichert ist. Kunst – so Debray – „das reißerische einsilbige Wort stellt sich jedem Erklärungsversuch in den Weg, der die Wandelbarkeit von Bildern im Auge hat. Es stellt ein Artefakt als Natur vor, einen Augenblick als etwas Wesentliches und die Folklore als universell Gültiges.“ (Debray 1999, 149)

Auch die Chefkuratorin der weltweit größten und bedeutends- ten Ausstellung für zeitgenössische Kunst bezweifelt inzwi- schen, „dass die Kategorie Kunst eine gegebene Größe ist. Nichts ist einfach gegeben“, meint Carolyn Christov-Bakargiev und erklärt, dass sie im Rahmen der documenta 13 die Gewiss- heit erschüttern will, „dass es ein Feld namens Kunst über- haupt gibt.“ (Christov-Bakargiev 2012, 62) Die Konzeption von Kunst, „die Farbe mittels Farbe untersucht, Form mit Form, Geschichte mit Geschichte, Raum mit Raum“, bezeichnet sie als „bourgeoise, eurozentrische Idee“ und ist sich deshalb „ehrlich gesagt“ nicht sicher, ob das „Feld der Kunst“ – be- zogen auf die große abendländische Erzählung – „auch im 21. Jahrhundert überdauern wird.“ (Christov-Bakargiev 2011, 27) Entsprechend versammelte sie in Kassel auch Kunst von Outsi- dern: Von Menschen, die keine (professionellen) Künstler sind oder sein wollen und das „Feld der Kunst“ eher nur von der Außenseite kennen (Outsider Art), und – wie das seit Okwui Enwezors documenta 11 in solchen Kontexten angemessener Standard ist – von Menschen, die außerhalb eurozentrischer Kulturhoheiten leben (Global Art).

Die nächste Kunst verlässt das „bourgeoise, eurozentrische“ Feld und die gewohnten Mechanismen der Ein- und Ausschlie- ßung. „Sie sprengt ihre hochkulturellen Fesseln und verlässt das Gefängnis ihrer Autonomie. Sie wird sich“, so Dirk Baecker im Gespräch mit Johannes Hedinger, „neue Orte, neue Zeiten und ein neues Publikum suchen. Sie wird mit Formaten expe- rimentieren, in der die gewohnten Institutionen zu Variablen werden.“ (Baecker 2012)

Die nächste Kunst ist nicht mehr Kunst. Sie ist darüber hinaus. Jerry Saltz hat hier den schwer fassbaren Begriff Post Art ein- gebracht: „Post Art – things that aren’t artworks so much as they are about the drive to make things that, like art, embed imagination in material [...] Things that couldn’t be fitted into old categories embody powerfully creative forms, capable of carrying meaning and making change.“ (Saltz 2012b) Er hat da- bei Dinge im Sinn, „that achieve a greater density and intensity of meaning than that word usually implies“ – zum Beispiel das Hinweisschild neben den kleinen, unscheinbaren Landschafts- malereien im Brain der documenta 13, das darüber informiert, dass der Künstler und Physiker Mohammad Yusuf Asefi in den späten 1990er und frühen 2000er Jahren ca. 80 Gemälde der National Gallery in Kabul vor der Zerstörung durch die Taliban bewahrt hat, indem er die menschlichen Figuren, deren Abbil- dung unter dem fundamentalistischen Regime verboten war, in den Landschaften sorgfältig und akribisch reversibel über- malt hat: „A number of things at documenta 13 that weren‘t art took my breath away, in ways that turned into art.“ (Saltz 2012a)

[the-angi-love]

Built on the vision of late curator Okwui Enwezor, the Sharjah Biennial 15: ‘Thinking Historically in the Present’ offers a critical reframing of postcolonial narratives through major new commissions

Source: https://www.wallpaper.com/art/sharjah-biennial-15-2023

[artbookdap]

Congratulations El Anatsui, winner of this year's @tate Turbine Hall Comission. Images and spreads here are from 'The Reinvention of Sculpture,' published by @damiani_books by Okwui Enwezor & @chikaokekeagulu⁠ ⁠ @artforum writes: Ghanian-born multimedia artist El Anatsui, widely known for his fluid, cascading tapestries constructed from bottle caps and copper wire, has been tapped to create the next Hyundai Commission at Tate Modern’s Turbine Hall, London. “Repurposing found materials into dazzling works of abstract art, Anatsui’s work explores themes that include the environment, consumption and trade,” Tate said in a statement. The commission, most likely a work at massive scale, will be unveiled October 10 and will remain on view through April 14, 2024.⁠ ⁠ @elanatsui_art #elanatsui #turbinehall #elanatsuiturbinehall #elanatsuitate⁠ ⁠ ⁠ https://www.instagram.com/p/CpDB0BruLCY/?igshid=NGJjMDIxMWI=

[ikopystiansky]

[pho---to---graph]

Life & Afterlife in Benin edited by Alex Van Gelder and essav bv Okwui Enwezor. In this book, Alex and Okwui collected photographs of Beninese artists who went deep into forgotten cities of the Republic of Benin, covered with dark dramas and deep mysticism to discover subiects who as a result, ended up having their first and last encounter with a camera.

[artruby]

“Grief and Grievance: Art and Mourning in America,” at the New Museum, originally conceived by Okwui Enwezor (1963-2019).