#tumblr/Documenta 15

[sexypinkon]

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Another year of highest highs and devastating lows greeted us in 2022. We had much for which to be happy and hopeful, sad and hurt. But the Art keeps us alive and for that we are all extremely grateful. Here is to 2023. We shall persevere and be stronger than ever because that is what ART does.

[capybaraonabicycle]

For the art ask game, 3, 15 and 16?

Thank you for the ask!! I was so hoping someone would send one in :)

3. What artist do you wish people knew more about?

This is difficult because I am mostly aware of the standard artists you meet in art class - almost all of which are western men - and the most 'niche' of the ones I love would be like Georges Braques and Wassily Kandinsky and Umberto Boccioni and Edward Hopper and Canaletto and Ai Weiwei and Franz Marc - and I feel like for any one of those names I will have people at my throat for mentioning them in a sentence that includes the word 'niche'.

There are two that I can name though, that I don't know from art class and I believe they are at least somewhat niche:

There is Kent Monkman, a contemporary queer Cree artist who I was introduced to at uni. He uses a multitude of art forms (and you can check them out on his website) but I am most familiar with his paintings, especially the "Shame and Prejudice" exhibition that we looked at in class.

The exhibition features Monkman's genderqueer alter ego Miss Chief Testickle who tells Canadian history from her perspective and the paintings are, in my opinion, very clever and impactful. I analysed "The Subjugation of Truth" for class and there is a ton of subtle symbolism to drive the political message (painting in traditional settler style, putting the viewer into the position of the indigenous men, having the queen hover menacingly above it all) in the art work.

This is it:

Another really famous of the works is "Resurgence of the people" which references an old settler image with George Washington replaced by Miss Chief:

I'm not sure whether this one is the exact reference but it quotes some picture like this:

I really like Monkman's style and I think his images are very strong and often for the topic of indigenous history with settlers, the violence in them is palpable. Another impressive one would be "The Scream" :

Then I would like to mention the possibly most important artist of my childhood, Estonian-Swedish illustrator Ilon Wikland. She illustrated most of Astrid Lindgren's books and her style is just - so cozy and soft, I want to live in her art.

I feel like many people do know the books and her art, but few will know her name. So she counts :) (she's still alive btw, I had to look that up and was surprised)

15. Share a photo of your favorite contemporary artwork

I'm not sure I have one special favourite art work but this is something I saw at the documenta exhibition semi-recently and it really stuck with me. Unfortunately, I don't seem to be able to find the title, but I remember it was something similar to "deep belly breath".

(It's the blue one in the front)

It's a pretty big plastic, higher than I am tall and it is fluffy and blue and there is water in the middle. I love it mostly for looking like an alien being, but the fluffyness has a nice feel to it too (or rather 'a nice look', I obviously didn't touch it). Together with the title and the water and the dark fur on the inside, there is a sort of desperation and drowning feeling to it, softened by the fact you really want to hug it and climb into the water and be safe in your cocoon.

No idea whether any of this was intentional, but I had to stick with it for a good 10 min before being able to walk on (even though I was already tired) and I had to come back multiple times. I also had my aunt take a picture of me with the art and I am wearing a dw shirt so it's perfect :)

The work was made by someone from the art collective *foundationClass, an organisation based in Berlin who prepare students for art school. They made a bunch of cool, often political, art for the documenta

I have to say I am also particularly fond of the Möbiusship, though, that has been circulating on tumblr

16. What museum or gallery do you want to visit?

I really want to visit the Munch museum! He is one of my favourite artists and when I was in Oslo once, the museum was closed for renovation. But now it should have reopened, so I just need to get myself to Norway and reserve a full day for Munch :)

[fashionbooksmilano]

Ellsworth Kelly  In-Between Spaces 

Works 1956-2002 Fondation Beyeler

Gottfried Boehm, Viola Wiegel

Fondation Beyeler / Hatje Cantz Verlag, Berlin 2002,168 pages, 80 ills., German,English , 28.20 x 31.50 cm, Hardcover, ISBN  978-3905632217

euro 90,00

email if you want to buy booksinprogressmilano@yahoo.it

Ellsworth Kelly belongs among the most important exponents of international post-war art. With abstract expressionism at its peak and based on the traditions of the abstract avant-garde in a dialogue with Colour Field Painting, the American artist developed a painterly vocabulary that leaves traditional panel painting behind. In a conscious questioning of the conditions that underlie our perceptions, he not only explores the relationships of picture and wall, sculpture and space but also, and in particular, the relationship between viewer and work. "In between: this is the shortest formula of his aesthetics", is how Gottfried Boehm, one of the few connoisseurs of Kelly’s work in the German-speaking world and author of the leading essay in this publication, summarizes the central topic of Kelly’s oeuvre. Based on a store of about 40 works, primarily in the possession of the artist, this book is an expert investigation into Ellsworth Kelly’s artistic development that by spans five decades. In an essay, the artist himself traces the enormous importance of his sculptures for his work. The artist: Ellsworth Kelly, born 1923 in Newburgh, New York. In 1941/42, studies of fine arts at the Pratt Institute in New York. In 1946- 1948, studies at the School of the Museum of Fine Arts, Boston. Numerous exhibitions, among them in 1964, 1968, 1977 and 1992. Participation in Kassel the documenta. Lives and works at Spencertown, New York. In my work I wanted to free shape from its ground, and then to work the shape so that it has a definite relationship to the space around it ... the shape finds its own space and always demands its freedom and separateness. In sculpture, the work itself is the form and the ground is the space around it. Ellsworth Kelly Exhibition Schedule: Fondation Beyeler, Riehen/Basel September 15, 2002 - January 19, 2003

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28/02/23

[gc-bfa]

Installations Everywhere: Disorientation and Displacement in Jan Hoet’s documenta IX (1992) Art by Zoe Leonard

Reviews called it “pandemonium,”[1] “the most curious and perhaps the most difficult of Kassel’s postwar spectaculars,”[2] and the “biggest, costliest version yet of the behemoth of contemporary art exhibitions.”[3] With 195 artists and more than 1,000 works, documenta IX was gargantuan in scale. Taking place in the post-Berlin Wall reality of 1992, Jan Hoet, the show’s artistic director, described having the sense that “almost everything is available.” For Hoet, making the visitor aware of his or her subjectivity was fundamental to prompting what he described as “displacement”: “Shifting things out of their accustomed contexts […] the destabilization of one's own standpoint.”[14] Under this logic, objects were showcased in alien and unsettling contexts in order to create disruption. The visitor would thus be prompted to think not only about the objects, but to think through them, about the surrounding conditions, and the act of encounter. Given its timing in 1992, the character of the art displayed in these locations was attuned to the aesthetic, historical, or contextual specificities of the sites. The works in the Neue Galerie, for example, were installed in relation to, or as a commentary on, the existing collection. One would find Zoe Leonard’s work installed there amid the collection: a series of black-and-white photographs of female genitals alongside moralistic 18th-century German paintings. Through this juxtaposition Leonard addresses the familiar critique of painting in terms of the ‘male gaze,’ inserting sex, and the reproductive power of women, into a traditional, restrained, bourgeois narrative.[15]

http://www.on-curating.org/issue-33-reader/installations-everywhere-disorientation-and-displacement-in-jan-hoets-documenta-ix-1992.html#.XZ7j9yVS_OQ

I really like the sense of unease and disruption created by juxtaposing these two very different kinds of image together. Ironically the photographs seem to stare back while the paintings, with the women appearing to look out, seem more passive. 
I like how shes created a conversation between the conflicting images about women and the male gaze. (have had to censor images for tumblr)

[telavivcity-blog]

Making Of: Fiona Tan. Geografie der Zeit

https://telavivcity.co.il/?p=8164&utm_source=SocialAutoPoster&utm_medium=Social&utm_campaign=Tumblr The City that never sleeps Making Of: Fiona Tan. Geografie der Zeit https://telavivcity.co.il/?p=8164&utm_source=SocialAutoPoster&utm_medium=Social&utm_campaign=Tumblr Fiona Tan. Geografie der Zeit MMK 1 17. September 2016 - 15. Januar 2017 Die Künstlerin Fiona Tan zählt zu den herausragenden Künstlerinnen der Gegenwart. Im Mittelpunkt der Werkschau „Geografie der Zeit“ stehen neben Hauptwerken aus ihrem filmischen Œuvre – wie die Doppelprojektion „Rise and Fall“ – die neueste Entwicklung in ihrem Werk hin zu installativen Environments. Fiona Tan hat das Erdgeschoss des MMK 1 in einen Parcours verwandelt, auf dem sich Videoprojektionen, Audio- und skulpturale Arbeiten zu einer dichten Reflexion über das Individuum in einer aus den Fugen geratenden globalisierten Welt verbinden. Zentrale Fragen zur Identität des Menschen im 21. Jahrhundert werden dabei aufgeworfen: Wie sehen wir uns selbst und was bestimmt unsere Perspektive auf das Andere? In filmisch eindrucksvollen Bildern und Installationen erzählt Tan davon, wie die eigene Erinnerung unser Verständnis von Vergangenheit, Gegenwart und Zukunft prägt. In ihren Bildwelten lösen sich die Grenzen zwischen persönlichem und kollektiven Gedächtnis, Innen und Außen, Fiktion und Wirklichkeit auf. Zeit, Erinnerung und Identität waren von Beginn ihrer künstlerischen Karriere zentrale Themen in Fiona Tans Œuvre. Die sieben im MMK 1 gezeigten Werke folgen diesen Leitmotiven, wobei die Künstlerin in den letzten Jahren ihre Arbeit von filmischen und fotografischen Werken auf objektbasierte Installationen ausgeweitet hat. „Mit Interventionen in die Architektur, Objektinstallationen und Archivmaterialien dehnen sich ihre filmischen Welten in den Ausstellungsraum aus. Das MMK freut sich, diese neue Entwicklung in Fiona Tans Œuvre einem breiten internationalen Publikum zu präsentieren“, erläutert Peter Gorschlüter, Kurator der Ausstellung. Fiona Tan wurde 1966 in Pekanbaru (Indonesien) geboren. Sie lebt und arbeitet in Amsterdam (die Niederlande) und Los Angeles (U.S.A.). Ihr Werk wurde in zahlreichen internationalen Ausstellungen gezeigt. 2002 nahm sie an der documenta 11 in Kassel teil. 2009 vertrat sie die Niederlande auf der 53. Venedig Biennale. Die Ausstellung ist eine Kooperation mit dem National Museum of Art, Architecture and Design, Oslo (Norwegen), dem MUDAM, Luxemburg, und dem Tel Aviv Museum (Israel). Mehr Informationen auf www.mmk-frankfurt.de ----------------------------------------­-------- Fiona Tan. Geography of Time MMK 1 17 September 2016 - 15 January 2017 The artist Fiona Tan is among the outstanding artists of the present. The survey “Geography of Time” focuses on major works from her film oeuvre – for example the double projection “Rise and Fall” – as well as on the latest developments in her work, which increasingly takes the form of installation environments. Fiona Tan has transformed the ground floor of the MMK 1 into a parcours in which video projections, audio and sculptural works join in a concentrated reflection on the individual in an increasingly disjointed globalized world. Fundamental questions on the identity of man in the twenty-first century arise in the process: how do we see ourselves, and what determines our perspective on the ‘other’? In filmically striking images and installations, Tan addresses how our own memories influence our perceptions of the past, present and future. In her imagery, the boundaries between personal and collective memory, interior and exterior, fiction and reality dissolve. Time, memory and identity – central themes in Fiona Tan’s oeuvre since the beginning of her artistic career – are also the leitmotifs pursued by the seven works on view at the MMK 1. In recent years the artist has expanded her work from a concentration on film and photographic media to include object-based installations. “With interventions in the architecture as well as object installations and archive materials, her filmic worlds extend into the exhibition space. MMK is excited to be able to present this new development in Fiona Tan’s oeuvre to a broad international public”, explains Peter Gorschlüter, curator of the exhibition. Fiona Tan was born in Pekanbaru (Indonesia) in 1966. She lives and works in Amsterdam (the Netherlands) and Los Angeles (U.S.A.). Her work has been exhibited in numerous shows worldwide. In 2002 she took part in the documenta 11 in Kassel. In 2009 she represented the Netherlands at the 53rd Venice Biennale. The exhibition has been organized in collaboration with the National Museum of Art, Architecture and Design, Oslo (Norway), the MUDAM, Luxembourg, and the Tel Aviv Museum of Art (Israel). For more information visit www.mmk-frankfurt.de source #contemporaryart #FionaTan #MMKMuseumfürModerneKunstFrankfurt #telavivmuseum #tel-aviv TEL AVIV - THE CITY THAT NEVER SLEEPS #museum #Uncategorized

[sexypinkon]

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The biggest exhibition of Art Brut and Outsider Art by Cuban creators to date can be seen from today, 17 August, at INSTAR's space at @documentafifteen. 

The show features pieces by Samuel Feijóo, Antonio de la Guardia, Alberto Casado, Carlos Rodríguez Cárdenas and a selection of 30 artists from the Art Brut Cuba Project. 

For this seventh cycle and during the dates of the "Academia del Bejuco", we have organised a daily public programme with presentations by specialists from all over the world on current topics in Art Brut and Outsider Art to which all are invited, both in person and virtually through INSTAR's official channels.INSTAR - instar.orgWhere your ideas become civic actions𝑾𝒉𝒆���𝒆 𝒚𝒐𝒖𝒓 𝒊𝒅𝒆𝒂𝒔 𝒃𝒆𝒄𝒐𝒎𝒆 𝒄𝒊𝒗𝒊𝒄 𝒂𝒄𝒕𝒊𝒐𝒏𝒔Facebook: (@instarCuba)Instagram: @instar_cubaYoutube: INSTAR_Cuba

[sexypinkon]

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                 Luis Vasquez La Roche featured at Documenta 15

read more here-:https://documenta-fifteen.de/en/lumbung-members-artists/alice-yard/

andhere -: https://documenta-fifteen.de/en/calendar/how-to-jump-the-rope-the-right-way/

[sexypinkon]

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           Trinidad and Tobago Artist Christopher Cozier @ Documenta 15

[sexypinkon]

~Sexypink~ Fifteen years into the Alice Yard conversation, it's intriguing, challenging, and fun to find ourselves working and imagining with everyone in the documenta fifteen Lumbung. It's yet another chance to reflect on what we've been doing, how, and why, and the concepts we keep returning to: generosity, autonomy, friendship, play, responsiveness, curiosity. It's going to be a busy year, and we're looking forward to all the conversations and surprises to come.

[fashionbooksmilano]

Enzo Cucchi e Ettore Sottsass

Salvatore Lacagnina 

testi di Roberto Giustini, Barbara Radice, Enzo Cucchi

Charta, Milano 2001, 64 pagine, 21 x 30 cm, 60 ill.di cui 52 a colori, Italiano/English, ISBN  978-8881583638

euro 15,00

email if you want to buy :booksinprogressmilano@yahoo.it

Siracusa, Galleria Civica d'Arte Contemporanea Montevergini, 15 settembre - 10 dicembre 2001.

Two subversive creators propose a dialogue inspired by a land they both love: Sicily. The artist Cucchi and the architect Sottsass met for the first time in 1999; this book documents the drawings, projects and sketches they have realized together since then.

Enzo Cucchi (Morro d'Alba, 1949) e Ettore Sottsass (Innsbruck, 1917) , due sovversivi, due ribelli naturali, ci propongono un dialogo nel segno di una terra amata da entrambi: la Sicilia. Se l'immaginario di Cucchi è vicino al sentimento mitologico e alla sacralità di cui è tradizionalmente ricca la cultura siciliana, il lavoro di Sottsass ha sempre tratto linfa e suggestioni dai colori, dal paesaggio e dall'architettura mediterranei. Si incontrano per la prima volta nel 1999 su un terreno comune di riflessioni e di visioni, ma nel dialogo intrapreso, le loro voci hanno sempre conservato un carattere chiaro e sempre nettamente distinto. Il volume documenta le opere a quattro mani in due anni di collaborazione: i disegni, i progetti, gli schizzi, fino all'allestimento nella Galleria Civica d'Arte Contemporanea Montevergini di Siracusa, dove Sottsass ha realizzato una struttura per ospitare due sculture greche del V secolo a.C., e Cucchi ha dipinto due grandi stuoie di canne fluviali che pendono leggere dal soffitto.

12/11/22

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