Jul 28
Video ArtVerona  – Flower of Chaos

The aim of this project is to highlight a specific sector of Chinese video art by focussing attention on its particular origins. What do the artists selected see when they look around? Chaos! Overwhelming disorder, which they deal with through their voice: tales and allegories that investigate today's society in an ironic manner, though without being afraid of tackling the heavy ideology.

Like plants growing in a hostile terrain, their roots burrow deep down towards an uncertain source of nutrition, and they proliferate in the depths, beyond naked social distress. They are flowers born from chaos, drunk with the energy that surrounds them, but also fatigued by the continuous and incessant process of urban modernization. In their search for an identity they are forced to elude the oppression that has so harshly tested their very creative survival.

Multimedia experimentation is becoming increasingly popular thanks to the development of new technologies and their resultant easy access, diffusion, and fruition; but this is not the only reason for such a success. Chinese video art emerged and developed only because of certain subtle social and cultural dynamics related to a particular autochthonic context.  Digital technology has powered this trend by definitively breaking down the barriers between the media, in particular when they cohabit in the same digital sphere, as often happens with animation. Here the traditional visual arts that are the starting point for actions unite with interpretations articulated as a result the use of technology.

http://www.artverona.it/articles/view/flowersofchaos

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Video ArtVerona  – Flower of Chaos

下个秋天“Flower of Chaos” 的课题在 ArtVerona, 第一个艺术动画的展览在 意大利 !!!


课题的目标是表现中国视频艺术的具体呈现,提出视频动态的特点起源。
参展艺术家全部来自中国大陆,在他们周围的环境看什么?混乱!
面对这个兴奋的混乱,他们用思想(通过他们的意见,看法,声音)∶讲故事,借喻、反讽地审视现代社会, 更不逃避跟政权的强势意识形态比较。
  
就像野花一样,在新垦地中长大,向更深入的地方生根、寻找营养,穿透了历史、政策、社会的沉寂,生长出体现自我意识的创意。
艺术家的自我特性再次绽放,他们的思维意识在时空的界限中收放自如、游刃有余。

视频艺术迅速成为追寻传统风格思想的重要方式, 而其作为反对世界性沉闷干涉的利刃这一功能更是得到广泛的认可。
最令人兴奋的是视频动态的画符携带并突破了传统视觉艺术的限度,将其引入共同的数位景观。
  

策展人: 茜茜 - Cecilia Freschini
开幕:2010年10月8日
展期:2010年10月8日~11月9日
地点:Veneto Videoart Archive/ 威尼托影像艺术档案馆


策展人: 茜茜 - Cecilia Freschini
开幕:2010年10月14日
展期:2010年10月14日~10月18日
地点:Art Verona Fair 艺术博览会
网址:www.artverona.it


艺术家: 陈劭雄, 吳少英, 靳山, 马永峰, 楊起, 孙逊, 皮三, 吴俊勇, 张小涛

Artists:  Cheng Shaoxiong, Cindy Ng Sio Ieng, Jin Shan , Ma Yongfeng, Qi Yang, Sun Xun, Wang Bo, Wu Junyong, Zhang Xiaotao    


ARTVERONA 交易会

ArtVerona  交易会是意大利关于现代和当代艺术市场最大的焦点之一。2009年的交易会接待了两万人的参观。
今年的第六届交易会展现了很多新的关注视角,同时也延续着它最初的重要性∶连贯性和发展    

VideoArtVerona
视频ArtVerona

从2008年开始,Artverona特意为了视频艺术安排一个专门的单元。
在北京居住了五年的年轻策展人、在中国现代艺术方面具有专业判断的茜茜/Cecilia Freschini ,将她的视频课题注入ArtVerona。
  
http://www.ceciliafreschini.com
Jul 17
Ceal Floyer’s work takes the Readymade aesthetic to its logical conclusion. For Nail Biting Performance, 2001, she walked onto the stage at Birmingham Symphony Hall immediately prior to the beginning of a concert and bit off her fingernails into the microphone. This performance was hosted by the Ikon Gallery Birmingham (England) and an Ikon Gallery text reports: “Her ‘nail biting performance’ took stage-fright as its subject, the artist, bit her fingernails into a microphone for five minutes. The sight of her alone amongst the musicians’ empty chairs, accompanied by the amplified sound of nervousness, was affecting and tense.”

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Another of her works, H2O Diptych, 2002, consists of two monitors, one showing a pan of water slowly reaching boiling point whilst on the other a glass of fizzy mineral water gradually goes flat. Her most radical works include Garbage Bag, 1996, “a black bin liner filled with air and secured with a twist-tie”, and Monochrome Till Receipt (White), 1999: which is a supermarket till receipt. But it is not a random till receipt, a Time Out commentator noted:
A till receipt attached to the gallery wall is the seemingly inconsequential evidence of a shopping trip. The title however, as is often the case in her work, prompts a closer inspection. Monochrome Till Receipt (White), 1999, lists dozens of items including flour, salt, milk, rice and so forth. In a bizarre twist, the mundane activity of a trip to the supermarket is a knowing reference to the highly aestheticized white paintings of Robert Ryman. (in Peer 2001).

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The Ryman reference is pertinent and one can see an example of his work illustrated left. Floyer’s till receipt is not simply a till receipt but the result of a minimalist-conceptualist shopping expedition, a species of “performance” in which she only purchased items that were white in colour. Accordingly, Till Receipt is not simply a Readymade repetition but an instance of performance art of which the till receipt is a document. What is significant about Floyer’s work is the way in which she reveals that the Readymade is not a simple aesthetic formula that engenders mindless mimicry but, instead, a complex game akin to chess with its aproximately infinite “moves”. It is not possible for the Readymade to be anything else but complex due to the fact that it is a self-reflexive poetics. Like Rauschenberg’s Zen-blank canvases the Readymade points less in the direction of nothingness than it does to the structure of chance (c.f. complexity theory).

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White like black is a quintessentially minimal-conceptualist colour (transparency is another member of this set). Whiteness plus the Readymade status of the Till Receipt (although it was constructed or made by Floyer’s selection of goods) means that it references quite a large swathe of art theory and practice. And one of the key features of deconstructive art theory and practice is that the traditional concept of the artist as genius is backgrounded and the discourse, or system, of art is brought to the fore. Bearing this in mind one has to admit that the sheer humility of Garbage Bag, 1996, prevents it from being a statement of heroic artistic genius. This is reinforced by the fact that being firmly in the Readymade genre it is not entirely original (as if there is any such thing as “entirely original”).

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One might compare Garbage Bag with the interpretation of existing scores provided by classical musicians. But unlike a musical composition Floyer’s interpretation is not of a single work such as Fountain, 1917, but a conceptual framework. And since the 1960s that framework has ramified into a manifold of variations. In addition to the Readymade one also has to note Floyer’s reference to Minimal and Conceptual Art and to the Arte Povera movement which pioneered the sculptural application of ‘poor’ materials.

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In Ceal Floyer’s Nail Biting Performance, 2001, for example, the frame is not simply art history and theory but an institution that lies outside the art gallery or art musteum: the Symphony Hall in Birmingham, England. She is not performing outside of the context of culture but she is indicating that the aesthetic she subscribes to does not begin and end with Duchamp. As commentators have observed her nail biting into the microphone in that musical context resonates strongly with the Fluxus artist John Cage who pursued deconstruction in the domain of music, building on the courageous attempts to escape the harmonic bounds of the diatonic and chromatic scales which seemed at odds with a new age.

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One of Cage’s most radical works is his famous 4′33″, 1952, which consisted of four minutes and thirty three seconds of silence (pointing the listener towards the ambient sounds in the institutional context framing the musical performance). The relationship ofNail Biting Performance to 4′33″ points to the web of what I have termed “deconstructive art” (Coulter-Smith 2006) which has gained increasing hegemony over fine art since the mid-1950s onwards. But what is more significant than observing the viral proliferation of deconstructive art is posing the question how and why it happened.

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And, in historical terms, it happened quite recently: it happened in the second half of the 20th century. Even in the 1950s there was still little doubt that fine art could be defined in terms of painting and sculpture. What is remarkable is that artists who focus on painting and sculpture today are considered somehow ‘old fashioned’. We can trace this erosion of traditional media back to Duchamp, Dada and Surrealism and a focus on the idea as opposed to the object. But these movements would be nothing if not for their considerable impact on art of the 1960s, evident in a mosaic of elaborations such as: Nouveau Réalisme, Fluxus, Pop Art, Minimal Art, Arte Povera, Land Art, Performance Art, and Conceptual Art. It is radical art of the 1960s that forms the bedrock for art at the turn of the millennium. And the crucial question becomes has this revolution expanded the concept of art or diminished it? And the thoughtful answer has to be that there has been a bit of both.

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The complex structure of nothingness to which Floyer’s work, in part, resonates with two outstanding icons of modernity:Fountain 1917 and Malevich’s Black Square c. 1913. Both works are radical statements that conflate aesthetic and existential anomie and absurdism with an expansion of creative horizons. So contemplating Floyer’s work we return to the idea that the discursive formations of modernism and postmodernism are as important as the individual works of art that feed on them.

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Individual works of art such as Floyer’s function only because they resonate with a complex of ideas and material practices that lie beyond any single individual. The importance of the discourse of art over and above the individual artist was especially foregrounded by the postmodern appropriationist movement that dominated art in the 1980s. One of the key books from the 1980s is Art after Modernism: Rethinking Represenation (Wallis, 1984). But the title (and thesis) of that book ignores the fact that the questioning of represenation lies at the core not only of postmodernist but also of modernist art. One thinks here of Impressionism, Pointillism, Cubism, Expressionism. All these modern movements questioned the possibility of a simple one to one correspondence between reality and representation. The three most significant breakthroughs attained by modern/postmodern art are abstraction, expressionism and conceptualism and all three interrogate the issue of representation.

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The modern period began with the rise of science and the rise of empirical philosophy—Locke, Hume, Berkeley—which laid the basis for modern pyschology. Science penetrated further into nature than was possible with the naked human senses and modern philosophy threw doubt upon common sense presumptions regarding identity and reality. It is only possible to understand the rise of modern/postmodern art in the light of the epistemological revolution that accompanied the evolution of a bourgeois, liberal, secular and democratic society.

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It is significant, therefore, that Floyer produces works that focus on perception: in one of her early works (above left) she projects a slide of a light switch onto a wall, and at the 50th Venice Biennale, 2003, (above right) she projected a video of a small nail hammered into a wall onto a wall. Duchamp also played with perception particularly in his Roto-Relief in which a pattern painted on a flat disk produced a strong illusion of three-dimensionality when spun. In each case the statement seems extremely simple, even too simple. But it is evident that she makes no attempt to hide the illusory nature of her works. The projector is visible and its illusion is obvious. Similarly in another work she places a black plastic bucket in the gallery with a cd-player inside making the sound of water dripping as if there were a leak in the gallery roof. Like her nail and light switch projections this is an illusion without illusion because the cd-player is plainly in view in the bucket.

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Unlike science art can only pose questions and leave the process of creating answers to those who view the work. In the case of Floyer one question seems to be “how can we look beyond a habituated mode of thinking and perceiving”. And in this sense one can compare her work with that of artists such as Olafur Eliasson, Carsten Höller, and Henrik Plenge Jakobsen.

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When Duchamp succeeded in placing his urinal into an art exhibition he translated it from the condition of urinal into that of sculpture, we could also say he reframed it, or recoded it. These processes lie at the crux of what we call conceptualism and it is important to understand this because whereas we seem able to accept abstraction as a valid aesthetic framework we still baulk at the Readymade aesthetic, or “conceptualism”. Of course, when we fully understand conceptualism it will be over, in the same way that when we fully understood abstraction to the point where its variations became repetitions it was over—although it may have become recoded into conceptualism.
Jun 10
d-No.3 Video Art Exhibition

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Tags:
May 30
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May 20
“No Soul For Sale - Festival of Independents,”
Tate Modern, London (The Suburban/Milwaukee International), May 14-16, 2010

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Milwaukee International One-Minute Video Fair
Tate Modern No Soul


featuring

Stephanie Barber • Peter Barrickman • Chelsea Beck • Jennifer
Bolande • Club Nutz • Brad Fischer • Nicholas Frank • Jack Goldstein •
Amy Granat & Emily Sundblad • Naotaka Hiro • Jessica Jackson
Hutchins • Stefan Lenhart • Josh Mannis • Shana Moulten • Ernesto
Oroza • Will Pergl • Jefferson Pinder • Emanuel Rossetti • James Sham •
Kristina Solomoukha • Ben Stone • Spencer Sweeney • Oliver Sweet •
Nico Vascellari • Steve Wetzel • Robert Wilson • Ma Yongfeng

NO SOUL FOR SALE FESTIVAL OF INDEPENDENTS
TATE MODER LONDON 14-16 MAY 2010


Milwaukee International
Tate Modern • Starr Auditorium
16 MAY 2010 • 16.00-16.30
30 videos 30 minutes

program

Jack Goldstein, “MGM” (thank you)
Peter Barrickman, “Krickets” (Green Gallery, Milwaukee)
Spencer Sweeney, “Is This Thing On,”excerpt (Gavin Brown’s Enterprise,
New York)
Chelsea Beck, “Golden Boots” excerpt (Contemporary Arts Museum Houston)
Brad Fischer, “Siren” (Small Space, Milwaukee)
Steve Wetzel (Green Gallery/Inova, Milwaukee)
Stephanie Barber, “HOME” (Inova, Milwaukee)
Robert Wilson, “A Moment In Time” (Dan Ollman, Milwaukee)
Ma Yongfeng, “The Swirl” (Inova, Milwaukee)
James Sham, “Mission: Goodwill Towards Men” excerpt (Contemporary Arts
Museum Houston)
Nico Vascellari, “untitled song” (Hilary Crisp London/Los Angeles)
Kristina Solomoukha, “Christmas Trip” (Inova/Green Gallery Milwaukee)
Nicholas Frank, “Rock Faces” (Green Gallery, Milwaukee)
Naotaka Hiro, “Night Fog, Yellow Volcano” (Misako Rosen, Tokyo)
Emanuel Rossetti, “Columns with Pattern for Thomas Sauter I” (Karma
International, Zurich)
Josh Mannis, “Variations” (Thomas Solomon Gallery, Los Angeles)
Amy Granat & Emily Sundblad, “Drunk” (Green Gallery, Milwaukee)
Jessica Jackson Hutchins, “Children of the Sunshine” (Derek Eller/Laurel Gitlen,
New York)
Oliver Sweet, “Technosnake Experience” (John Riepenhoff Experience,
Milwaukee)
Stefan Lenhart, “Name It” (Tanzschule, Munich)
Ernesto Oroza, “Bertoia Chair” (Espacio Provisional, Havana/Miami)
Jefferson Pinder, “Invisible Man” (Inova, Milwaukee)
Will Pergl, “Rock” (Milwaukee Institute of Art & Design)
Jennifer Bolande, “Spin Cycle” excerpt (Inova, Milwaukee)
Shana Moulten, “Mountain Where Everything Upside Down” (Milwaukee
International)
Club Nutz Classicks vol. 85 (Club Nutz, Milwaukee)
Ben Stone, “Bernie Circuits” (Club Nutz, Milwaukee)
Jack Goldstein, “MGM”

Milwaukee International is a guest of The Suburban
thank you to all participants
special thanks to Brad Killam and Michelle Grabner
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