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
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
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
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.”
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).
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).
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”).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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).
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).
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”).
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
May
20
“No Soul For Sale - Festival of Independents,”
Tate Modern, London (The Suburban/Milwaukee International), May 14-16, 2010
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
Tate Modern, London (The Suburban/Milwaukee International), May 14-16, 2010
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
May
19
2008年12月，妹岛出现在香港2008设计运营商周的讲坛上。起初，还在陆陆续续进场的观众们并没有留心到台上那个用蹩脚英语演讲的瘦小女人，直到大屏幕显示出日本金泽21世纪美术馆——一个浮在森林中的半透明碟形建筑物——他们纷纷驻足观看，人群中开始发出一阵阵惊叹。
其实在国际建筑学界、评论界，妹岛和世早已是超级巨星。很多建筑评论人把妹岛和世与伊东丰雄、安藤忠雄相提并论，因为在他们的作品中都不约而同的流露出对明净、空旷、匀质这些词汇的迷恋，并且在对建筑这一名词具体化实施的进程中往往能挖掘出更多的空间内涵。
妹岛和世的设计哲学
作为为数不多的世界顶尖女建筑师，妹岛和世是典型的工作狂。素颜，一副普通的黑框眼镜，简单设计的圆领黑色印花连身裙，平底鞋。她每天工作到凌晨，次日上午十点左右起床，建筑设计可以说是她唯一的兴趣，连她自己都承认建筑以外的兴趣只有购物，川久保玲的commes des garcons是她最钟爱的时装品牌。
妹岛和世1956年出生于日本茨城县，在日本女子大学获得硕士学位后在1981年进入伊东丰雄建筑设计事务所，之后又在1995年与西泽立卫合作成立共同事务所SANAA。随后，SANAA在国际舞台上屡获殊荣。在威尼斯获得金狮奖没多久，他们又在Lausanne联邦工科大学(EPFL)学生中心国际指名竞赛中打败一干明星建筑师而大获全胜，让·努维尔(法国)、赫尔佐格德梅隆(瑞士)、OMA(荷兰)、扎哈·哈迪德(英国)全部都败在这对日本组合下。除此之外，同时进行的大项目还有西班牙的巴伦西亚近代美术馆扩建项目，以及位于法国北部小镇Lens的“卢浮宫第二”项目，预计这座卢浮宫的“乡村版”建筑也将沿袭他们一贯的手法，将建筑放在公园之内，在2009年开放。
“是一个人与城市沟通的媒介”。这是妹岛在采访中反复提到的一句话，也是“妹岛哲学”的核心。无论是金泽21世纪美术馆还是正在建造中的法国卢浮宫Lens分馆，妹岛始终一丝不苟的履行着她“创造公共活动场地的职责”。开放式的空间规划、大量的透明材料的使用使得人们之间的阻隔更少。
“博物馆也好，美术馆也好，这些公共场所都应该如同一个街心公园，”妹岛在接受采访时说，“这些场馆并非为一些特定人群服务，相反的，它们应该能够包容下不同种族，不同阶层的市民，让他们自由的休憩，谈话，直接跟城市对话而不是对着冷冰冰的电脑屏幕和手机听筒。”
但是妹岛的开放透明设计并非是一丝不挂的裸露，而是一种亚洲式的，含蓄的暧昧。根据她自己的描述，她的设计就像是一件朦胧的半透明的晚礼服，一些半透明材料的运用和巧妙的空间间隔使得场馆既不存在丧失私密性的危险，又获取了自然的力量——阳光和空气。
金泽的透明“细胞”
金泽21世纪美术馆是妹岛和世和她的伙伴西泽立卫(SANAA)在2004年共同完成的项目。自从SANAA中选这个项目，它就一直是人们关注和议论的话题，其建筑模型已经多次参加日本和海外国际性展览，最后这个设计获得了2004年威尼斯双年展的金狮奖最佳方案奖，把妹岛和世推上了顶峰。
美术馆是一个非常低矮的圆形建筑，像一个飞碟悬浮在金泽市的中心绿化地带。360度透明开放的玻璃幕墙，让室外风景自然融入室内，有着强烈的开放感觉，建筑体的存在感在不知不觉中消失，四周的植物和清新的空气和室内陈列的艺术品浑然一体。漫步其中，不知内外。它的内部结构以一个偏心圆为中心，周围游移着19个正方体的展示厅，这些立方体的箱子都有一定的比例，平面尺寸有三种基本类型：1∶1、黄金比率、1∶2，而天顶的高度为四种基本型：4.5、6、9、12米。看似随意的立方体箱子，而实际上有着严格的规范。传统美术馆空间在妹岛手下被解体，取而代之的是一种有秩序的解构。由于建筑的采光和透明设计，室内空间被柔和自然光所包围。粼粼波光，斑驳树影，通通被溶解到这座白色建筑之中，远远看去，就如同一个流动着的细胞，轻盈、圆润，静静地漂浮在林海之中。
“我不是为了使用透明而透明，”她一边用手比划着，一边解释金泽美术馆的设计理念，“像美术馆这样的公共场合，并不只有展览作用，更多的时候，这些地方是人接触城市的平台，所以在我眼里，如何温和地和城市融为一体，如何用一种亲切感吸引公众是一个重要的议题。这也是我使用透明以及圆形为元素的原因。”
纽约街角的东方禅味
在纽约的Bowery, 初来乍到的人们会容易遇见一堆白色积木块——七个长方体组合成一幢七层楼高的建筑，在一整片低矮晦暗的Prince Street 建筑群中格外显眼。
这便是去年才对外开放的New Museum, 一个新的当代艺术馆。白色立方体组合的概念直接源自项目招标时的要求：这是一个野心勃勃的当代艺术馆，它必须跳出这个狭促的街区，给人们一个舒适自由的参观空间。
妹岛和世和她的SANNA做到了。事实上她做得更好。她不仅在一片狭小的区域插下了一幢让人印象深刻的建筑，在建筑内部她放弃用墙壁和立柱间隔各个展厅，取而代之的是错落有致的平台。不同高度的台阶连接着各个平台，人们就像水一样在高低不平的河床上流动。在霓虹绚烂的夜晚，点点灯光从博物馆的墙隙中散落出来，宛若天空中忽明忽灭的星光，散发着东方浓浓的禅味。
“打破土地面积的局限是一件十分困难的事情，”妹岛和西泽立卫说，“我们试图在这无序的街区提供一个有序而宽敞的空间。于是长方体组合的方案就应运而生了。整个画廊的尽量采用了自然光，透过落地窗你可以看见纽约街道的角角落落，表达了一种“外面是纽约，里面是世界”的涵义。
尽管足迹踏遍全世界各地，设计过无数博物馆的妹岛和世却对中国的博物馆没有留下任何印象。当被问及最喜欢中国哪个博物馆的时候她支吾了约莫一分钟才撑着下巴像小女孩一样问记者“台湾的故宫算不算？”她认为，风格的缺失是当代中国建筑设计问题之一，所以她鼓励中国本土设计师，尤其是年轻设计师要尝试着宣扬自己，建立独特的东方个性才是立足国际建筑界的最佳方法。
关于：妹岛和世
（罗马拼音：Kazuyo Sejima、日文假名：せじまかずよ；1956年─﹚是一位近代日本的知名女建筑师，出生于日本茨城县。现任庆应义塾大学理工学部教授。
她在1981年从日本女子大学硕士班毕业之后，就进入了日本名建筑师伊东丰雄的事务所工作，14年后，与西泽立卫成立了SANAA建筑设计事务所。2004年，两人以金泽21世纪美术馆赢得了当年的威尼斯建筑双年展的金狮奖。
妹岛和世的建筑风格逐渐的受到世人注目，她与SANAA建筑设计事务所的作品，多带有重要的“穿透性”风格。大量的运用玻璃外墙等材质，让建筑感觉轻而且飘浮。亦有报导称其为“穿透、流动”式的建筑。
May
3
Dongxi - Things
Kunstverein Baden,Vienna,Austria
05/22/2010 - 04/07/2010
Cathy Busby. Can / Kerstin von Gabain. A / Chan Kok Hooi. Malaysia / Elaine W. Ho. USA / Ulrike Johannsen. A / Johann Neumeister. A / Ma Yongfeng. PRC / Evelyne Leblanc-Roberge. Can / Ralo Mayer. A / Shen Yi Elsie. PRC / Michael Yuen. Aus & Yam Lau. Can /
curated by Ulrike Johannsen
Vernissage: Fri, 21 May 2010, at 18 clock
Es spricht: Ulrike Johannsen
Opening: Councillor Hans Hornyik
http://www.kunstvereinbaden.at/
Dongxi mean a thing / object but also east and west.
The changes in China at an accelerated rate, the economic, political and social developments in all its contradictions and the almost industrial-looking art production Beijing into one of the most exciting places in the world.
Since 2008, the federal government maintains the Austrian there a foreign studio. The scholarship Ulrike Johannsen has months in Beijing spent some and now loads fascinating positions of international artists in the Kunstverein Baden, with different aspects of the city of Beijing and the PR China deal.
If the Culture Clash on T-shirts do want production of Chinese or You may be interested in what hutongs on the issue of cultural exchange to have a say Beijing residents, we would like to invite the exhibition at the Kunstverein Baden Dongxi visit. You can interactively walk through Beijing to take on Ronald Mc Donald in a traditional Beijing opera or on the DICA - Donkey Museum of Contemporary Art,
das am 21.5. Baden besuchen wird.
Treffpunkt ist um 18h vor der Galerie des Kunstvereins, Beethovengasse 7.
