John Isaacs “The Architecture of Empathy” at Travesía Cuatro, Madrid

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John Isaacs, Ngorongoro, 2013. Glazed ceramic. Courtesy the artist and Travesía Cuatro, Madrid

John Isaacs
The Architecture of Empathy

19 September – 20 November 2013
at Travesía Cuatro, Madrid

Just as in the works of the exhibition, John Isaacs suggests that empathy is constructed from parallel stories of existence. An architecture which flows through time and space like gravity, binding all together with an invisible power. The architecture of empathy could be subterranean, built underneath our aspirational towers and skyscrapers, channeled through the very foundations of our utopias and constructed from the blood of millions of severed umbilical cords. Here there is no visible landscape other than the peaks of human kindness, and the dark valleys where evil deeds lurk. We, you and I, are fused in this way more profoundly than an other and though it is so, it is often forgotten. All to easily we become lost in a labyrinth constructed of paths burned deep like scorched brands mapping out our daily route to the waking reality of existence. A route which I shaped above ground, in history, by the murderous and the insane, yet that we follow blindly, or look upon with closed eyes.
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Opportunities: Les Verrières Studio Residency in Pont-Aven, France

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Image courtesy of Les Verrières Résidences-atelieres de Pont-Aven

Les Verrières
Studio Residency in Pont-Aven

France

Deadline: 31 October 2013

The municipality of Pont-Aven welcomes collaborative groups, fine artists and art critics of all nationalities in order to facilitate their artistic and research projects. The goal is to support artists in the development, research and communication of contemporary art concepts.
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Zabriskie Point (Redacted), film by Stephen Connolly

Zabriskie_Redacted_still_01_Miwa Film still from Zabriskie Point (Redacted), 2013, by Stephen Connolly. © bubblefilm 2013

Zabriskie Point (Redacted)
film by Stephen Connolly
27’ HD © 2013

Forthcoming screenings:
London Film Festival 2013
ICA, Screen 1 – Saturday 12 October, 18.50
BFI Southbank, NFT3 – Sunday 20 October, 13.15

Inspired by a visit to Zabriskie Point – a scenic tourist spot in Death Valley, California – this film re-visits and contemporises Antonioni’s 1970 MGM film of the same name. Aligning with Antonioni’s stated intentions – to produce a work as “an idea in landscape” – Zabriskie Point (Redacted) enacts a programme of visual and social research for the earlier film at one remove from the dramatic narrative.
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Extending human vision: Interview with Paul Wombell, guest curator for Le Mois de la Photo à Montréal 13

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Raphaël Dallaporta, CHESME SHAFA. Balkh Province, Afghanistan. From the Achaemenid period (6th–4th century BC) to the Ghorid period (12th–13th century AD), 2011, from the series Ruins (2011). Detail. Chromogenic print on Dibond, 120x150cm. Courtesy of the artist.
© Raphaël Dallaporta

Paul Wombell is an independent UK based writer and curator of photography. Previously directing two of the UK’s top photography institutions as well as curating many photo festivals in Europe, Wombell was invited as guest curator for the 13th edition of Le Mois de la Photo à Montreal, the city’s international photography biennale. In this short interview during the opening event, Wombell talked to M-KOS about his motivations to theme this year’s program under “Drone: The Automated Image” so to suggest the camera is imposing its own agency in relation with humans and thus to further question the meaning of being human in the technology age.

MKOS: How did you start the process of curating Le Mois de la Photo?

Paul Wombell [PW]: This started 26 months ago, a long time ago, I put the proposal in to the biennale and I was quite surprised that they accepted it. The premise was the idea of humans using technology to see or to extend human vision. The key concept was the idea of the drone, which was the idea of using a form of technology to see in the distance, partly with all the military issues with the American government and the idea of surveillance. But I took that as a kind of metaphor to look beyond just the drone. Read more »

Opportunities: Residency program at Campos de Gutiérrez, Medellín, Columbia

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Image courtesy of Campos de Gutierréz

Residency program
at Campos de Gutiérrez, Medellín, Columbia
camposdegutierrez.org

Residency period: 15 January – 31 March 2014 (Minimum six weeks)

Deadline: 1 October 2013

Campos de Gutiérrez is an international residency program for contemporary artists, designers, curators, and art historians housed in a 19th century coffee plantation in the foothills of Medellín, Colombia. Campos emerged from the desire to promote historical preservation, while being unafraid to repurpose historical structures for the present. It seeks to foster cross-cultural interactions both within its diverse groups of participants, and between those participants and the existing cultural communities of Medellín.
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Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo, 1975–1979 at Leonard & Bina Ellen Art Gallery, Montréal

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View from exhibition, ANARCHISM WITHOUT ADJECTIVES: ON THE WORK OF CHRISTOPHER D’ARCANGELO, 1975-1979. Leonard & Bina Ellen Art Gallery, 2013. Photo: Paul LItherland

Anarchism Without Adjectives: On the Work of Christopher D’Arcangelo, 1975–1979
4 September – 26 October 2013
at Leonard & Bina Ellen Art Gallery, Montréal

Curated by Dean Inkster and Sébastien Pluot in collaboration with Michèle Thériault

“When I state that I am an anarchist, I must also state that I am not an anarchist, to be in keeping with the (….) idea of anarchism. Long live anarchism”
– Christopher D’Arcangelo

Between 1975 and 1979, the North American artist Christopher D’Arcangelo (1955-1979) developed an artistic practice that was notable for its radicality and critical import concerning the role of the artist, the status of the art object and the institutionalization of art. A desire for a radical democratization of the production and reception of art motivated D’Arcangelo’s institutional critique, which he voiced in a statement on anarchism. Recalling the historical expression “anarchism without adjectives,” the statement, which accompanied in various forms the majority of his actions and interventions, contains an ellipsis between brackets in the place of an adjectival descriptor of the noun anarchism.
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DRONE: The Automated Image – Le Mois de la Photo à Montréal 13

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Trevor Paglen, Reaper Drone: Indian Springs, NV; Distance – 2 miles, 2010. Courtesy of the artist; Metro Pictures, New York; Altman Siegel, San Francisco; and Galerie Thomas Zander, Cologne

DRONE: The Automated Image
Le Mois de la Photo à Montréal 13
5 September – 5 October 2013
25 exhibitions in 14 sites across Montréal

Guest curator: Paul Wombell

International photography biennale “Le Mois de la Photo à Montréal” opens its 13th edition on 5 September through to 5 October, to present 25 local, national and international artists on 14 different sites across the city, under the theme of “DRONE: The Automated Image”.

This year’s guest curator Paul Wombell developed this theme by focusing on the materiality of the camera and its changing relationships with human operators, to trace the evolving shapes and characteristics of the camera over the past 40 years which is nowadays adapting more to the advent of drone and other machine behaviours. The artists herein explore human co-authorships with advancing imaging technology, how to creatively deal with intelligent cameras and their transformation into systems that may one day literally capture the imagination. Read more »

Summertime in Japan: Tokyo Art Marathon part 2

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Tomoko Yoneda, Kimusa 02, 2009. C-type print. Courtesy the artist and ShugoArts.

Tokyo Metropolitan Museum of Photography is currently dedicating a perspicacious mid-career retrospective survey (through 23 September 2013) to London-based / Japanese-born Tomoko Yoneda. “We shall meet where there is no darkness” encloses over a decade of pictures within seven individual series as well as one video installation, all painstaking researching and documenting particular places and artifacts that bring back distant memories and preserve deep historical insight of Japan’s relations with its surrounding nations in the past century. Yoneda jointly organized the solo show “Rooms” at ShugoArts – the gallery in Kiyosumi-Shirakawa art complex which represents her – to gather more sets of congruent photographic works such as the “Topographical Analogies” series. (through 7 September 2013)
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Summertime in Japan : Tokyo Art Marathon part 1

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Yayoi Kusama, Love Is Calling, 2013. Installation view. Photo by M-KOS

Summer in Tokyo started off cooler than usual in the first few weeks of our stay, followed by heatwaves shining through the city streets, filled with polyphonic soundscapes of cicadas. Luckily most art spaces were still open despite the solstice mood, for M-KOS to present its Tokyo art marathon report:

Mori Art Museum celebrates its 10th anniversary with the exhibition entitled “All You Need Is LOVE” showcasing about 200 artworks such as modern masters Marc Shagall, Constantin Brancusi and Fridha Karlo, contemporary greats David Hockney, Yayoi Kusama and Jeff Koons, as well as younger generations Richard Billingham, Shilpa Gupta and Masashi Asada and “virtual” popstar Miku Hatsune. The exhibition was laid out over five sub-themed to include: What is Love?; A Couple in Love; Love is Losing; Family and Love; Love Beyond. (through 1 September 2013)
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Graham Ellard & Stephen Johnstone “Everything Made Bronze” at Satellite Gallery, Aichi University of the Arts, Nagoya

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Graham Ellard & Stephen Johnstone, Installation view “Everything Made Bronze”, 16mm film installation, Satellite Gallery, Nagoya, Japan. August 2013. Courtesy the artists.

Graham Ellard & Stephen Johnstone
Everything Made Bronze

9 – 19 August 2013
at Satellite Gallery,
Aichi University of the Arts, Nagoya
(Concurrent exhibition with the Aichi Triennale 2013)

Everything Made Bronze makes compelling use of one of the most renowned of architect Carlo Scarpa’s buildings, the Gipsoteca plaster-cast gallery in the Museo Canova, in Possagno, Northern Italy.

Shot using a static camera, the film follows the play of light in the Gipsoteca over a number of days as it produces a constantly fluid and changing environment for the appreciation of Canova’s plaster-casts and small-scale terracotta maquettes.
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