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With Rhineland Independent , four of these initiatives will merge for the first time to jointly present their multifaceted programs and conceive new projects.
The strength of this cooperation lies above all in the diversity, respective specialisation, and individual agenda of the given players.
In the end, the multifarious institutional and thematic focuses mirror the diversity of a dynamic artistic discourse. The cooperation will kick off with a presentation of the Guerrilla Girls at Art Düsseldorf.
The project comprises a selection of ten large format posters created by the feminist collective between and Using a combination of researched facts, provocative images and striking messages, the works address the issue of gender bias, ethnical discrimination and other asymmetries of power in the scope of institutions, art history and the art market.
During their actions — targeting among others politics, the film industry and popular culture — the activists wear gorilla masks; none of the artists speak on their own behalf.
Based on this anonymity the focus shifts toward the topics of their work: widespread mechanisms of segregation within the art world, contributing until today to an art and cultural landscape dominated by male protagonists.
The exhibition brings together works in film and video by seventeen artists, spanning over six decades of audiovisual production focused on themes such as cultural history, race, gender identity, circulation of images in the media, and the role of artists in contemporary society.
Self-representation and its strategies, such as self-portrait and the fictionalization of life, emerge in various works, functioning as a potential guiding thread and uniting productions in the exhibition, as well as appropriation, collection, and montage of images from other sources.
These are two possible thematic trends running through the exhibit, serving as useful conceptual cores to navigate it, but which do not exhaust the possibilities of interpreting the works displayed and the relationships between them.
Time kills simply by passing, and there is nothing we can do about that or the veracity of the phrase. Nevertheless, it serves to activate other senses in the context of the exhibition.
Time-based art relates to works of art produced in video, film, audio, or computerized technologies that unfold to viewers over time, with duration rather than space as their main dimension, unlike painting and sculpture although duration is also an element of those two- or three-dimensional art forms.
To collect time-based artworks, one must compress time in analog and digital media. Therefore, exhibiting them requires decompressing those time frames and creating different forms of spatialization, generating displaysof different lengths occurring simultaneously in a group show.
In the case of this exhibit, adding up to ten hours, thirty-one and forty seconds which viewers break down and recombine at will.
Historically, the development of video as an art form occurs in tandem with the spread of the electronic image and its interlacing with everyday life, irreversibly altering our perception of time and space.
Even more so in a context in which it is continuously changing, making us anxious to keep up and directly influencing the way capitalism affects our consumer desires and drives.
The virtualization of our world experience and increasing temporal hence subjective compression are the context the artists must deal with to create their work.
Thus, time not only kills passively, it kills a little more every second. The exhibition comprises three halls for large-scale installations on the fifth floor displaying works by Arthur Jafa, Rachel Rose, and Monica Bonvicini, immersive spaces that offer time-based experiences isolated from their surroundings.
Around these spaces, in the circulation areas, other works establish new relationships with one another. In twin rooms, Hito Steyerl and Ryan Gander investigate the potential of their own images as material for the creation of their works.
The works by Ulay and Lutz Bacher deal respectively with stolen paintings and appropriated photographs, lending new meaning to icons of art history and mass culture.
On the sixth floor, works by Douglas Gordon and Cyprien Gaillard are screened in a kind of diptych, referring to the landscape of corporate architecture around the building and revisiting the narcissistic role of images in the construction of urban icons.
Manipulation of time is one of the features used by the artists to deal with images, from recording to screening, including, naturally, editing.
The curator who exhibits these works enjoys the same prerogative when positioning them in space — and in time. The exhibition constituted the largest presentation of time-based media works in Israel.
As a whole, the collection centers contemporaneity as an active engagement with the here and now. True to this emphasis, this exhibition focuses on the contemporary part of the collection.
The works featured in TURN ON were created in the last decade, in which technology-based media have developed at a dizzying speed.
This is reflected in an astonishing variety of media-based art, showcased in the exhibition via 22 works by 17 artists. These range from performative and theatrical elements in the works to different means of narration.
More than half of the artists featured in the exhibition are women. This female presence introduces into the exhibition aspects concerning gender, sexuality, and female identity, while accentuating the existential questions underlying the works in the exhibition as a whole.
Implicit subtexts of power struggles — between the sexes, between the individual and society, and between different creative traditions — are present throughout, resulting in an exhibition that is contemplative, seductive and reflective.
The works were displayed as installations that relate to the museum space as a sculptural sphere, presenting the video projections as distinct artistic experiences composed of image, movement, sound, space, and time.
They present and reflect incommensurability and simultaneity as characteristics of our time, as well as revealing a museum space that accommodates itself to the unique qualities of the projected medium.
It is to date the most extensive presentation of time-based art in Israel. The exhibition title derives from TURN ON, an artwork by Adrian Paci made in , and allows countless different levels of association: switch on, trigger, provoke, and a physical turn-on.
It also gives a glimpse of some imagined scenarios of our future. The work presented in the project has been produced since the turn of the last millennium and spans from seminal contemporary classics to very recent productions.
A further chapter will thereafter be presented at Moderna Museet in Stockholm There will be works that explore the growing xenophobia, extremism and religious fundamentalism of our time, and others that remind us of the colonial past and how it continues to affect the way we live together as humans today.
A number of works in this chapter seem to point towards a shift—perhaps a devolution of mankind, or a transformation into something new.
We here enter worlds in which the semantic order seems to implode and we find that language no longer connects to what we see. Known categories dissolve and disparate objects and materials seem to fuse and melt into one another.
New amalgamations are being formed and a future human existence appears fundamentally uncertain. With large-format video works and films as well as multi-channel installations, the exhibition demonstrates conclusively how video art as an artistic medium has lost none of its power in the 50 years of its existence.
Clouds of smoke that rise up from the friction slowly blur the scene. In this creative, high-powered performance a destructive act melds with creative violence to form a threatening contradiction, with man and machine coming up against their limits to the point of complete disappearance.
Painting, sculpture and sound are quite radically manifested in this admixture of roaring high speed and groaning standstill. With this extraordinary exhibition, the ZKM is continuing its tradition of major panoramic shows on video art.
As this book demonstrates, video art, which first emerged five decades ago, has lost none of its vitality.
By focusing on engagement with the contemporary world, the collection seeks to create a panorama of social and cultural tendencies.
The conceptual structure of the exhibition concentrates on media art from the beginning of the s to the present. As of 16 April across a total space of over 2, sq.
The exhibition will focus on pieces on film and video, as is the case for the entire Julia Stoschek Collection.
They are rounded out by sculptures e. The exhibition takes up the Deichtorhallen tradition of presenting major collections. In this case, the collection is one of the most important sets of media-influenced art in Germany, something no doubt related to the age of the collector At the same time, the show links back to the Fire, Earth, Water, Air exhibition, organized at the Deichtorhallen in as part of the Mediale and the first display of media-influenced art at the Deichtorhallen.
Edited by Dirk Luckow. Foreword by Dirk Luckow. Interview with Julia Stoschek by Dirk Luckow. From 16 April till 25 July , works by over 50 artists from this very young private collection will be on display in the Deichtorhallen in Hamburg on a total space of over 2, sq.
Andreas Gursky is known across the globe for his monumental photography in which he reconstructs reality using digitally manipulated images.
Christiane Fochtmann, Andreas Bunte, Manuel Graf, Andreas Korte, Bianca Voss and Jan Wagner develop artistic positions that address the history of art and culture, everyday events and poetry in the media of film and music.
The presentation of their works is in interesting contrast to the architecture of the KIT. With reference to the exterior of the KIT, it shows the seagulls that swarm past on the banks of the Rhine, plummeting greedily to earth to snap up the food the artist has strewn.
Christiane Fochtmann plays with a humorous interaction between image and sound. The work Flower Power , for example, shows flower buds opening and closing in fast motion to the sound of snoring.
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