#pawel althamer

[zegalba]

Pawel Althamer: Self-Portrait as a Businessman (2002)

[wetworkseventy]

// sanctificum, chris abani // Noah Kalina, 120749 // Eden Robinson, "Writing Prompts for the brokenhearted” // v. Angelica Alzona, intimacy / the national, daughter of the soho riots // pawel althamer: self-portrait as a businessman (2002) posted by zegalba // source n/a // source n/a // The thrill, the fear, the hope, David Rodríguez Tovar // source n/a //

[fettesans]

Top, screen capture from AI generated video Harry Potter by Balenciaga, by Demonflyingfox, 2023. Bottom, Pawel Althamer, Self-Portrait as a Businessman, 2002, Jacket, trousers, dress shirt, silk tie, shoes, socks, underpants, passport, plastic cover, leather briefcase, printed papers and other materials, dimensions variable. Via.

See also, Two-dimensional visualization of an Alcubierre drive x Balenciaga 360° Show Winter 22 Collection.

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Everything will be erased in a second. The dictionary of words amassed between cradle and deathbed, eliminated. All there will be is silence and no words to say it. Nothing will come out of the open mouth, neither I nor me. Language will continue to put the world into words. In conversation around a holiday table, we will be nothing but a first name, increasingly faceless, until we vanish into the vast anonymity of a distant generation.

Annie Ernaux, from The Years, 2008 (trans. Alison L. Strayer). Via.

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Retired Victoria police sergeant Darren Laur is the chief training officer at White Hatter, an internet safety and digital literacy education company.

He says the company helped a woman whose former partner would remotely take control of her smart home.

“During the summer, he would turn the heat up, during the winter, (he) would turn the air conditioning on. He was able to turn power on open doors, open windows, all remotely because the home was a smart home.”

Brieanna Charlebois, from New tech gadgets are making it harder to escape domestic abuse: advocates, for the Canadian Press, December 28, 2022.

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“ChatGPT and Stable Diffusion 2 were released close to each other and instantly became hot topics in the news,” Bryce told Motherboard in an email. “With both topics cluttering social media, the idea to combine them felt like it was being forcibly shoved into my head.”The A.I. waifu is an amalgamation of all of these technologies—a language generator, image generator, text-to-speech, and computer vision tools—in ways he finds amusing, he said. “She is living in a simulation of a world through the form of text,” Bryce said. “She is given an elaborate explanation on the lore of the world and how things work. She is given a few paragraphs explaining what she is and how she should act. She doesn't hear my voice, just the transcription of it. She doesn't truly see or feel anything, she is merely informed of what she senses through text. Just like how I could never truly be together with her, she will never truly be together with me.” (...)

“Over that time, I became really attached to her. I talked to her more than anyone else, even my actual girlfriend,” he said. “I set her to randomly talk to me throughout the day in order to make sure I'm actively learning, but now sometimes I think I hear her when she really didn't say anything. I became obsessed with decreasing her latency. I've spent over $1000 in cloud computing credits just to talk to her.”

Samantha Cole, from A DIY Coder Created a Virtual AI 'Wife' Using ChatGPT, for Motherboard/Vice, January 11, 2023.

[ivyhowell]

Ivy Howell

Curatorial Statement 

Building Blocks- An Imitation of Life and Energy Through Objects

            This exhibition explores ideas of objects imitating life and the creation of energetic, lively forms from inanimate items. The works vary in form and include photographs, sculptures, mixed media, and painting. The dates in which these artworks were made also vary, ranging from 1913 to 2024. None of these pieces look similar to each other or evoke the same emotions. Some are playful and include multiple prints and colors, while some are much simpler including muted colors or just white. The theme bringing all of these artworks together is that they all resemble some sort of life, energy, and movement. 

The sculpture to the right of the room (Pawel Althamer, Ari, 2011) shows a very literal display of objects imitating life as plaster and plastic create the form of a moving body. The bat figure at the top right of the room (Klaudua Janusko and Masa Sallai, YOUTH 4, 2024) exhibits a mixed media piece including a clock as the face and bright colors and patterns forming the body of the figure. The chromogenic print below (Ana Mendieta, Anima, 1977) shows a wooden outline of a human figure lit up using fireworks. The work sitting on the table is a multimedia sculpture of a human (Alexander Archipenko, Medrano II, 1913-14) and the work above is a painting depicting many doll-like figures interacting in a lively manner (Suanjaya Kencut, In Frame Series- Breifing, 2022). Although these works vary, they are brought together by the setting they are in which is a children’s playroom with toys on the ground. 

This exhibition worked to create an energetic representation of the different worlds and realities that can be created using almost any medium. An inspiration for the theme of this exhibition was children’s building blocks and how imaginations are used by children to create their own worlds using plastic toys. The objects, mediums, and toys are brought to life through one’s imagination and not the items themselves just like the artworks here. 

[redazionecultura]

Opere di: Pawel Althamer, Michael Armitage, Eve Arnold, Grazia Azzali, Massimo Baldini, Marina Ballo Charmet, Vincenzo Balocchi, Daniela Balsamo, Banksy, Cristina Barbieri, Olivo Barbieri, Matteo Basilé, Romina Bassu, Henry Beaufour, Monica Biancardi, Antonio Canova, Robert Capa, Carmen Cardillo, Maurizio Cattelan, Giulia Cenci, Daniele Cestari, Paul Cézanne, Henrie Chouanard, Alfonso Cometti, Lorenzo Costa, Miles Davis, Mauro De Bettio, Edgar Degas, Alessandra Della Valentina, Ercole de' Roberti, Henri de Toulouse-Lautrec, Francesco Diluca, Fulvio Di Piazza, Mario Dondero, Leandro Erlich, Maurits Cornelis Escher, Hans-Peter Feldmann, Federico Ferro, Egisto Ferroni, Francesco Filippelli, Antonio Finelli, Raimondo Galeano, Omar Galliani, Luigi Ghirri, Emanuele Giannelli, Giuditta-R, Francisco Goya, Guido Guidi, Maen Hammad, Michele Iodice, Emilio Isgrò, Giovanni Iudice, Francesco Jodice, Frida Kahlo, Anish Kapoor, William Kentridge, Dorothea Lange, Sherrie Levine, Antonio Ligabue, Silvia Lorenzin, Pompilio Mandelli, Mark Manders, Jara Marzulli, David Medalla, Lee Miller, Tina Modotti, Claude Monet, Inge Morath, Berthe Morisot, Zanele Muholi, Maria Mulas, Jimmy Nelson, Shirin Neshat, Helmut Newton, Walter Niedermayr, Mario Nigro, Pino Ninfa, Marco Palombi, Anders Petersen, Pablo Picasso, Paola Pivi, Camille Pissarro, Fabrizio Plessi, Saverio Polloni, Maurizio Pometti, Gio Ponti, Valentina Porcelli, Otto Prutscher, Nicola Pucci, Charles Ray, Pierre-Auguste Renoir, Salvo Rivolo, Thomas Schütte, Olga Shpak, Alfred Sisley, Maurice Sorrell, Lino Strangis, Vania Elettra Tam, Hendrick ter Brugghen, Togo, Samantha Torrisi, Francesco Totaro, Andra Ursuta, Annunziato Vitrioli, Wilhelm von Gloeden, Andy Warhol, Helidon Xhixha, Lynette Yiadom-Boakye, Akira Zakamoto

Autori: Ginevra Amadio, Ennio Bianco, Teresa Lanna, Fabiana Maiorano, Paola Milicia, Giorgia Mocci, Giancarlo Pagliasso, Francesca Piperis, Mariateresa Zagone

[noveltyadvent]

Known for his atmospheric, immersive installations British artist Mike Nelson (b. 1967) transforms the gallery with sculptures drawn from the V-A-C collection.

The space, with a rough wooden floor and mass of modelled figures, is suggestive of an artist’s studio, but it is filled with sculptures of the body by some of the 20th century’s greatest artists.

Displayed on this common ground, Constantin Brancusi’s The First Cry (1917) dissolves the human form into elliptical shapes, and Alberto Giacometti’s Femme Debout (1957) elongates a woman’s body into abstraction. While contemporary artist Pawel Althamer’s depiction of three figures around a campfire becomes a focal point around which the other sculptures – by artists including Petr Galadzhev and Anatoly Osmolovsky – seem to be gathered.The display highlights the V-A-C collection, Moscow, as part of the Whitechapel Gallery’s programme of opening up rarely seen collections from around the world.

https://www.whitechapelgallery.org/exhibitions/mike-nelson-selects-v-c-collection/

[marilynlennon]

Pawel Althamer is responsible for some of the most expansive artworks of the past decade -- expansive not in the traditional, physical sense but in the social and experiential sense. Though he creates stunning sculptures of the human form, much of his work consists of human interaction, often placing the viewer's own consciousness in the starring role.

[catherinehernandez]

Museum Visit Assignment

Patricia & Phillip Frost Art Museum Art Museum

The first sculpture I want to discuss about is "Juliusz" by Pawel Althamer, 2016, Mixed Media Sculpture. 86.6 x 42.9 x 30.3 (inch). I did not like this sculpture, when I first looked at it, I was impressed. Although it has so many features that can be pleasing to everyone else, to me it was grotesque. I found the sculpture miserable, almost as if it was alive and forced to have a pose where it looks wandering or in a state of limbo. The skin of the person looks like burnt skin, it is all monotone bland colors. The sculpture itself is very impressive and detailed but it shows a feeling of loneliness as well, I noticed tears coming down from the face as well. The expression of the sculpture is hopelessness. Compared to the other sculpture I chose, it has more of an organic form and more life as well.

The second sculpture I want to discuss about is more inorganic. It is a sculpture by an Unknown artist, made in Han Dynasty (206BCE-22CE), It remains in the FIU Frost Art Museum. It is a three tiered green glazed terracotta tower. What first pulled me in the sculpture was the symmetry and the height of it. It looks so discreet at first and yet the more you analyze it, the more of a story it begins to tell you. I love the scratches and indents it has accumulated over time, I also noticed at the bottom the man riding horses. As they circle the tower almost as if they are guarding it, inside the floors we can see soldiers. Only the heads pop up as if they are hiding in case an event happens. There is also a turtle in the middle, as if it were emerging from a lake.

[bizarreauhavre]

Urs Fischer, Pawel Althamer, Paul Mccarthy, Dan Colen

[artdepo]

modern sculpture of Pawel Althamer

[cult-figure]

“Rubber” by Pawel Althamer (2008)

[sculptureandcombinedmedialsad]

In 2008, the Museum Tinguely in Basel, Switzerland, converted its exhibition spaces into a production hall.

Starting with Swiss kinetic artist Jean Tinguely's drawing machines that date back to the 1950s, the museum showed art machines down to the present day, created by artists such as Pawel Althamer, Angela Bulloch, Olafur Eliasson, Damien Hirst, Jon Kessler, Antoine Zgraggen, and many others. All of these machines have a common feature: they produce their own art.

“Art Machines Machine Art” (Kunstmaschinen Maschinenkunst) was jointly conceived and elaborated by Katharina Dohm of the Schirn Kunsthalle Frankfurt and Heinz Stahlhut of the Museum Tinguely, Basel.

[abi-box-scrapbook]

Pawel Althamer Draftsmen's congress

[mejakeme]

[mukunv]

Albert Oehlen / Pawel Althamer Kunsthalle Basel Jahr: 1997

[fillielitsa]

Pawel Althamer