Alfredo Jaar, Bringing Forth New Life / Umashimenkana (For Sadako Kurihara and the children of Ishinomaki), 2013. Black boards, video projection. Courtesy the artist and Aichi Triennale 2013. Photo: Fukuoka Sakae
The second edition of Aichi Triennale opened to the public on 10 August in the cities of Nagoya and Okazaki in Aichi prefecture, under the theme “Awakening: Where Are We Standing? – Earth, Memory and Resurrection”. 76 artists from over 25 countries are featured in various locations, spread across five different sites – Sakae; Shirakawa Park; Choja-Machi; Nayabashi (Nagoya) and Okazaki. As the title suggests, this event offers a range of reflections on the socio-political repercussions and the environmental impact of the Great East Japan Earthquake in March 2011. While artists in the triennale ponder on the catastrophic aftermath, Japan still faces a numbers of urgent issues – many Tsunami ravaged areas are still barely re-constructed; Tens of thousands of evacuees from the area around the Fukushima nuclear plant are still unable to go home; tons of highly contaminated radioactive water are still flowing into the Pacific from Fukushima nuclear plant, and the list goes on.
Posted in Biennale/Triennale, Review, Visual Arts
Tagged Aernout Mik, Aichi Triennale, Alfredo Jaar, Cornelia Parker, Goro Hirata, Jun Aoki, Junya Ishigami, Katsuhiro Miywmoto, Kenji Yanobe, Lieko Shiga, Mika Taanila, Nadegata Instant Party, Nagoya, Okazaki, Studio Velocity, Taro Igarashi, Yoko Ono
Roxy Paine, Apparatus, 2013. Installation view. Courtesy the artist and Kavi Gupta, Chicago/Berlin
20 September – 20 December 2013
at Kavi Gupta, Chicago (Elizabeth St.)
Roxy Paine’s work has challenged the perception of visual language and how it affects the understanding of our environments since the genesis of his career in the early nineties. Focusing on objects and their fabrication, Paine strives to evoke a desire to understand how meaning can transcend through time, using our conventional relationships with the visual as an anchor for the exploration of truth. Paine’s contemplative work has ventured into two distinct, yet related, avenues of artistic production. Highly acclaimed for his synthetic replicas of organic forms such as fungi and trees, intricately executed with impressive mastery and ingenuity, and his computer-driven machines programed to auto-produce works of art, Paine presents a complex arena where the balance between what we know to be true and what we can learn from a deeper contemplative observation is considered. A truth dependent on our willingness to accept the beauty in the imperfections within nature and language itself, a balance in paradoxical poetics.
Image courtesy of apexart
Unsolicited Proposal Program
Open Call for curators
Submission period: 11 October – 8 November 2013 (11:59 PM EST — New York time)
apexart’s Unsolicited Proposal Program is an opportunity for anyone, from anywhere, to submit a proposal for an idea-based exhibition at apexart. From October 11 to November 8, 2013, we will accept 500-word group exhibition proposals. Three winning proposals will be presented at apexart in New York City as part of our 2014-15 season. Proposals are only accepted online for anonymous consideration by an international group of more than 100 individuals composed of artists, curators, writers, arts professionals, and individuals from other fields.
Installation view. Courtesy the artist and Maria Stenfors, London
Passage and Pair
4 October – 9 November 2013
at Maria Stenfors, London
Opening: Thursday 3 October, 6.30 – 8.30 pm
Just as reading a text is a journey from start to finish, the reading of an artwork and exhibition is dictated by the same process. Lilah Fowler’s exhibition invites us to explore our relationship to space and our experience of it, the passage of moving through a physical space and experiencing its proportions and elements. Separate elements are disassociated from their original context, creating an unexpected pairing of matter and material. The forced arrangement of space rendering the familiar unfamiliar.
Christopher Kulendran Thomas, When Platitudes Become Form. Courtesy the artist and Mercer Union
Christopher Kulendran Thomas
When Platitudes Become Form
6 September – 12 October 2013
at Mercer Union, Toronto
Through his ongoing enterprise When Platitudes Become Form Christopher Kulendran Thomas reconfigures artworks by some of Sri Lanka’s most celebrated young artists purchased through the new contemporary art gallery scene in Colombo. The dislocation of artworks from one context to another, rather than operating as a seamless transition, is problematised by Thomas who mobilises current aesthetic tropes to translate contemporary art’s mimetic forms from the West. Contemporary art rather than universal becomes a language as material form translated from one context to another.
John Isaacs, Ngorongoro, 2013. Glazed ceramic. Courtesy the artist and Travesía Cuatro, Madrid
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.
Image courtesy of Les Verrières Résidences-atelieres de Pont-Aven
Studio Residency in Pont-Aven
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.
Film still from Zabriskie Point (Redacted), 2013, by Stephen Connolly. © bubblefilm 2013
Zabriskie Point (Redacted)
film by Stephen Connolly
27’ HD © 2013
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.
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
Image courtesy of Campos de Gutierréz
at Campos de Gutiérrez, Medellín, Columbia
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.