Opportunities: Open Call for the International Creator Residency Program 2015 at Tokyo Wonder Site, Tokyo

Image courtesy of Tokyo Wonder Site, Tokyo. © TOKYO WONDER SITE

at Tokyo Wonder Site

Deadline: 31 March 2015

Tokyo Wonder Site Residency program is the platform of creation and research for international creators in diverse fields of creation. Young emerging, middle standing, international leading
creators gather and explore their ideas in the heart of Tokyo, where global creative city with multi-layers of creativity from traditional culture to cutting edge technology. Tokyo Wonder Site Residency program has been organized by the partnership and collaboration with art centers and cultural institutions around the world since its establishment in 2006.

We intend to strengthen the network of creators from Asia. This open call program ‘International Creator Residency Program’ is for established and productive international creators in the field of Visual Art. We provide financial support to allow participants approximately three month work in residency culminating in a presentation and participating TWS art programs. Through this program, creators will expand their activities in Japan, and gain a jumping board to the international art scene. We are now calling for creators who can perform new creative activities during their programs at TWS Residency for three months.
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The Unfinished Conversation: Encoding/Decoding at The Power Plant, Toronto

John Akomfrah, still from The Unfinished Conversation, 2012. Collection of the Tate: Jointly purchased by Tate and the British Council, 2013. Courtesy the artist; Smoking Dogs Films; and Caroll/Fletcher, London.


23 January – 18 May 2015
The Power Plant, Toronto

ARTISTS: Terry Adkins, John Akomfrah, Sven Augustijnen, Shelagh Keeley, Steve McQueen, and Zineb Sedira
CURATERS: Gaëtane Verna and Mark Sealy MBE

The Power Plant presents The Unfinished Conversation: Encoding/Decoding in partnership with Autograph ABP. The winter exhibition takes cultural theorist Stuart Hall’s (1932 – 2014) essay “Encoding and Decoding in the Television Discourse” as its point of departure, exploring how meaning is constructed, how it is systematically distorted by audience reception and how it can be detached and drained of its original intent to produce specific or slanted narratives.
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Sophie Calle “For the Last and First Time”; Simon Starling “Metamorphology”; Allan Sekula & Noël Burch “The Forgotten Space” at Musée d’art contemporain de Montréal

Sophie Calle, The Last Image. Blind with embroidery, 2010 (detail)
Simon Starling, Autoxylopyrocycloboros, 2006
Allan Sekula & Noël Burch, The Forgotten Space, 2010

Sophie Calle, The Last Image. Blind with embroidery, 2010 (detail) One color photograph under Plexiglas cover, one color photograph with metal frame, one text with metal frame © Adagp, Paris 2014. Courtesy Galerie Perrotin, Paula Cooper Gallery

Simon Starling, Autoxylopyrocycloboros, 2006. 38 color transparencies, Götschmann medium format slide projector, and flight case 4 minutes Projected dimensions variable Courtesy the artist and The Modern Institute/Toby Webster Ltd, Glasgow

Container Ship Image from the film Allan Sekula & Noël Burch, The Forgotten Space, 2010 112 minutes Photo: Courtesy of Icarus Films

For the Last and First Time

5 February – 10 May 2015

“I went to Istanbul. I spoke to blind people, most of whom had lost their sight suddenly. I asked them to describe the last thing they saw.”

French artist Sophie Calle , one of the most important artists of her generation, makes her debut at the MAC with For the Last and First Time. The exhibition, which reveals great artistic sensibility, consists of two recent projects: The Last Image (2010), a series of photographs accompanied by texts, and Voir la mer (2011), a series of digital films.

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Mathew Sawyer “Please Take All Your Rubbish With You” at Maria Stenfors, London

Mathew Sawyer, FUCK YOU to the future (without me), 2014, C-Type Print, 103 x 70 cm. Courtesy the artist and Maria Stenfors, Lonodn

Please Take All Your Rubbish With You

16 January – 21 February 2015
Maria Stenfors, London

I meet with friends
no one but me is aware
I’ve tied one of my shoelaces
tighter than the other
it’s barely noticeable
but at times all-consuming
I bury the words FUCK YOU
set in concrete
to be discovered at some unknown point in the future
how big is the invisible trap?
I stack pennies
37 precarious
one from each year I’ve been here
the newest the brightest
stupid music
I drink myself drunk as I walk
collecting feathers
in the morning a sculpture
please take all your rubbish with you
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Review: The Visual Semiotics of Discourses and Theories

© Bernadette Corporation, Hell Frozen Over (2000), in the context of D’un discours qui ne serait pas du semblant/Actors, Networks, Theories (2014). With the collaboration of Electronic Arts Intermix. Photo : Sara A. Tremblay

D’un discours qui ne serait du semblant/Actors, Networks, Theories
25 September – 22 November 2014
Dazibao, Montréal

Text by Cécilia Bracmort

D’un discours qui ne serait du semblant/Actors, Networks, Theories (DDSSANT) denominated Vincent Bonin’s two-part exhibition, focusing primarily on the impact of French theory in contemporary art. The Montréal based independent curator took different aims for each section of his project, with a first show at Leonard and Bina Ellen Gallery (14 November 2013 – 25 January 2014), looking at French thinkers’ influence on North-American artists and writers from the 1970s onwards. Sub-divided into five rooms, this first act confronted works of art with the very texts that inspiring their creation. Alternatively, Bonin’s second program installed at Dazibao (25 September – 22 November 2014), highlighted changes after this assimilation of theory in art became reflective of wider social and cultural developments. Here the Francophile curator adapted his project to Dazibao’s open space to thus enable a perceptible connection between the actors and theories within contemporary art networks. Although the presentation of theory as creative material might have intimidated some viewers – with exhibition constituents involving tightly messed networks of aesthetic and philosophical references – the task was not impossible according to Bonin: “it is not real obscurity, it’s just a lot of homework.” Read more »

Opportunities: Call for Applications – International Fellowship Program for Art and Theory 2015–16, Künstlerhaus Büchsenhausen, Innsbruck

David Rych shooting Déja-vu / Variations on Collectivity, Art and Revolution, short film, 2013. Photo: Tiroler Künstlerschaft.

International Fellowship Program for Art and Theory 2015–16
Künstlerhaus Büchsenhausen,
Innsbruck, Austria

Deadline: 30 January 2015 (Postmark)

Duration: One Semester during 2015-2016
(5 October 2015 – 14 February 2016 or 15 February 2016 – 26 June 2016)

The International Fellowship Program for Art and Theory has taken place in Büchsenhausen since spring 2003. The program is based on the idea of generating and maintaining a context for production and discussion, in which artists and theoreticians can connect and reflect on international art and societal discourses in relation to local topics and issues. At the same time, it offers an artistic laboratory of experimentation, where new artistic practices and strategies may be tried out.
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Review: BNLMTL 2014 – An Archeology of the Future

Anton Vidokle and Pelin Tan, still from Episode 2, 2014 from 2084: A Science Fiction Show, 2012–2014. Three channel video installation. Each episode: 22 mins, total duration: 66 mins. Courtesy of the artists , produced by La Biennale de Montréal for BNL MTL 2014

L’avenir (looking forward)
22 October 2014 – 4 January 2015
Musée d’art contemporain de Montréal
and other venues

* Part of the exhibition at MACM is extended until 8 February 2014. Shirin Neshat’s Illusions & Mirrors remains on view at MBAM through February 1. (For more info, see here)

Text by M-KOS

After undergoing major transformations which involved merging with the Quebec Triennial, partnering with the Musée d’art contemporain de Montréal (MACM) and recruiting Sylvie Fortin (former editor-in-chief of Atlanta-based art magazine Art Papers) as artistic director, the Biennale de Montreal (BNLMTL) opened its eighth edition between 22 October 2014 and 04 January 2015, under the title “L’avenir (looking forward)”. Fortin teamed up with MACM in-house curators Lesley Johnston and Mark Lancôt in addition to guest curators Gregory Burke and Peggy Gale to invite over 50 individual artists and collectives from 22 different countries. Among this wider range of demography, some have critiqued the Biennale’s lack of diversity since a majority of these artists are now based in Canada, USA and Europe. Yet the numerous individual projects do confront local, national and global perspectives, to relate to current issues such as the global economy, climate change, technology, along with a myriad of other approaches to envisage the possible futures yet to come, in and out of western perspectives. M-KOS offers one last opportunity to review this Biennale for ourselves, now in its final days of exhibition.
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Happy New Year 2015!

Oli Sorenson, La société de la place des spectacles, 2014. Detail. Courtesy the artist. © Oli Sorenson

M-KOS wishes a very happy new year to all its readers.

Memorable Exhibitions 2014 [Updated!]

See below for image credits.

For the occasion of our fourth annual survey, M-KOS again invited a telling selection of art professionals to share their most Memorable Exhibitions: art works, performance, events and other moments of this past year. Since this fascinating diversity of choices resonated differently with each individual, there are no ‘Best’ rankings on this list, or other particular order. Hopefully some entries will be debatable, so you may join us in debating this year’s listings, refute the listed as forgettable, or suggest any other must see art in the comment section below. Read more »

Happy Holidays! / Joyeuses fêtes !

Image: Miwa Kojima