Mentre prepariamo la nostra prossima mostra, potete sfogliare e scaricare il catalogo di Naturalia et artificialia in versione digitale dalla nostra pagina (per il momento, in italiano, in English coming soon!):
Scaricare direttamente / direct dowload
Sflogliare sulla pagina / browse on website
Les limites du vivant is a new publication that addresses the question of the living in its complexity from an interdisciplinary perspective, with contributions by
Hicham-Stéphane Afeissa, Geneviève Azam, Roberto Barbanti, Silvia Bordini, John Baird Callicott, Andrea Caretto et Raffaella Spagna, Catherine Chomarat-Ruiz, Gilles Clément, Jean-Patrice Courtois, Catherine Larrère, Raphaël Larrère, Marion Laval-Jeantet et Benoît Mangin, Ivana Adaime Makac, Philippe Nys, Sylvie Pouteau, Lydie Rekow-Fond, Jacques Testart, Lorraine Verner, Tiziana Villani.
Curated by Roberto Barbanti and Lorraine Verner, Éditions Dehors.
For more information on the publication (French) please click here.
For more information on Ivana Adaime Makac please click here.
Respire (Breathe) is a contextual installation in laminated glass by Baptiste Debombourg at the Saint-Séverin Gallery in Paris.
Curator: Yves Sabourin.
Courtesy Galerie Patricia Dorfmann.
Opening thursday 15 December from 7 to 9PM.
On view 24 hours a day from 16/12/2016 to the 12/02/2017
Galerie Saint-Séverin
4 rue des Prêtres-Saint-Séverin 75005 Paris
M° Cluny, Saint-Michel
For more information on Baptiste Debombourg, please click here.
Jane Grant; Suspension (1998). Double projection, video-tape, silent, looped.
Jane Grant is an artist and writer. Her work explores ideas in art and science, specifically astrophysics, neuroscience and the history of scientific ideas.
Her sonic artwork Ghost was premiered at ISEA Istanbul, this work explored the temporal, topological networks and pathways of the cortex in conjunction with brain hallucination or ‘neural ghosts.’ Jane sometimes works collaboratively creating award winning works such as The Fragmented Orchestra, a vast sonic artwork based on neuronal firing patterns in the brain, which won the PRSF Award for New Music and an Honorary Mention at Prix Ars and Plasticity which was premiered at the BFI, onedotzero festival and Google Campus, London. She recently created Fathom, a huge artwork that sonically immersed participants in an underwater sound environment by creating a sonic surface 6ft above the floor.
Jane is currently working on a triptych of artworks, Other Worlds, One Hundred Million Ghosts and How to Disappear Completely, which are about longing, black holes and the multiverse.
Jane writes about noise, the mutability of matter, desire and astrophysics. She is Associate Professor (Reader) in Digital Arts at Plymouth University where she is co-director of the research group Art and Sound and Principle Supervisor in the Planetary Collegium, CAiiA-Node.
For more information on the artist please click here.
About Suspension (1998):
‘Suspension traces the endeavors of technological progress; somber reflections on the hopeless attempt to defy gravity, to lift off, to take flight from the human inevitable. This looped work is given continuity through repetition, the suspension or extension of an instant. The work avoids preludes and outcomes, hovering in the midst of an event-less presence like lost, found or isolated film footage’.
Emma Posey (1998) in the exhibition catalogue Still, Jane Grant, published by Chapter, Wales.
The Crawling Armageddon by Tomislav Brajnović (Zagreb, 1965), offers a cross section of works created from the end of the 1990s onwards. Many of these works have rarely been presented in public. This kaleidoscopic display gathers approximately twenty works, including installations, objects, ready-made series, videos and acoustic compositions. It represents a relatively short, turbulent history of the new millennium, in which totalitarian elements of the past century return to us like timed bombs. From Odyssey (2004), to The Law of Love, to Soldier in Ripe Wheat (2015), these works reflect on the consequences of frenetic production and exploitation of material resources. Sometimes they express a sound of transcendence, a transcendence that seems elusive in the agony of everydayness, where the clashes of reality are conveyed into the anxious feeling of time flow, moving from silence to turbulence. Hence, the need for reversing the dictate of time and finding a better future becomes crucial, but there is an open question of how to attain this. The author says: The only (im)possible revolution is the revolution of consciousness. Human consciousness today does not differ much from the consciousness that existed before or after the French or October Revolution. Nothing has changed here; the only progress that has been made is the progress in HD broadcast of the never-ending revolution… The idea of Earth as Eden and the question of who (if anyone) can reach it and how, represents the core of my artistic personality.
Curated by: Ksenija Orelj
The exhibition and the accompanying catalogue will be presented in the Istria Museum of Contemporary Art in 2017.
Acknowledgements: Muzej – Museo Lapidarium, Novigrad; the Rovinj Heritage Museum
Support: The Ministry of Culture of the Republic of Croatia, The County of Istria, The City of Rijeka, The City of Rovinj
Photo: Tomislav Brajnović, Wooden Angel , video, 2005.
For more information on the exhibition please click here.
For more information on Tomislav Brajnović please click here.
Axel Straschnoy will present a new project at ARS17 exhibition in Kiasma Museum of Contemporary Art, Helsinki opening March 2017.
On November 2, Kiasma disclosed the list of participating artists:
Ed Atkins (1982 Iso-Britannia)
Andrey Bogush (1987 Venäjä)
Nina Canell (1979 Ruotsi)
Cécile B. Evans (1983 USA/ Belgia)
Lizzie Fitch & Ryan Trecartin (1981 USA & 1981 USA)
Melanie Gilligan (1979 Kanada)
Juha van Ingen (1963 Suomi)
Yung Jake (2011 Internet)
Ilja Karilampi (1983 Ruotsi)
Nandita Kumar (1981 Mauritius)
Tuomas A. Laitinen (1976 Suomi)
LaBeouf, Rönkkö & Turner – Shia LaBeouf (1986 USA), Nastja Säde Rönkkö (1985 Suomi), Luke Turner (1982 Iso-Britannia)
Reija Meriläinen (1987 Suomi)
Katja Novitskova (1984 Viro)
Jaakko Pallasvuo (1987 Helsinki)
Aude Pariset (1983 Ranska)
Jon Rafman (1981 Kanada)
Charles Richardson (1979 Iso-Britannia)
Rachel Rossin (1987 USA)
Jacolby Satterwhite (1986 USA)
Hito Steyerl (1966 Saksa)
Anna Uddenberg (1982 Ruotsi)
Julia Varela (1986 Espanja)
Artie Vierkant (1986 USA)
David Blandy (1976 Iso-Britannia)
Cécile B. Evans (1983 USA)
Ed Fornieles (1983 Iso-Britannia)
Juha van Ingen (1963 Suomi)
Rachel Maclean (1987 Iso-Britannia)
Florian Meisenberg (1980 Saksa)
Reija Meriläinen (1987 Suomi)
Pink Twins, Juha Vehviläinen & Vesa Vehviläinen (1978 & 1974 Suomi)
Angelo Plessas (1974 Kreikka)
Jon Rafman (1981 Kanada)
Tuomo Rainio (1983 Suomi)
Charles Richardson (1979 Iso-Britannia)
Jarkko Räsänen (1984 Suomi)
Axel Straschnoy (1978 Argentiina)
Jenna Sutela (1983 Suomi)
Amalia Ulman (1989 Argentiina)
Ed Atkins (Iso-Britannia)
Florentina Holzinger ja Vincent Riebeek (Itävalta, Hollanti)
Rodrigo Sobarzo (Chile)
Otso Huopaniemi ja Pilvari Pirtola (Suomi)
WAUHAUS, Samuli Laine, Jussi Matikainen, Jarkko Partanen (Suomi)
Jacolby Satterwhite (USA)
Anne-Mari Karvonen ja Anni Puolakka (Suomi)
Eeva Muilu ja Jaakko Pietiläinen (Suomi)
The theme of the ARS17 exhibition is the global digital revolution whose impacts are evident in culture and the economy, as well as in human identity and behaviour. Opening in March 2017, the exhibition will showcase artists of the new millennium and offer a fresh approach to contemporary art by also expanding the viewing experience into the online realm.
ARS17 will feature works by several Finnish and international contemporary artists. The names of the participating artists will be announced during the autumn and winter.
Digital technology has become an important part of everyday life. In addition to its purely technological applications, digitality also plays a role in the management of social relations, in community formation, and in communication. One of the key themes of the exhibition is how artists have responded to this transformation that touches us all. Art also plays the role of a pioneer in the digital revolution of culture.
Although it is highly reliant on the digital revolution, contemporary art regards its impacts with a certain scepticism, while also helping us to understand the world around us. The Internet is addictive and powerful: how radically has our worldview been altered by digitalisation and social media?
ARS17 will serve as a platform for Kiasma to develop the accessibility of art and the methods for its presentation, as well as the museum’s collection practices. As part of ARS17, the museum will launch a website, ARS17+ Online Art presenting online works by approximately 20 artists.
Today, an increasing amount of interesting work is being produced specifically for online viewing. Artists are using the internet and social media in many ways for their art. ARS17 will showcase several online works in order to engage the audience and extend the experience beyond the confines of the museum walls.
The ARS exhibitions are a series of major surveys of international contemporary art that have been organised since 1961. In total, the exhibitions have had more than half a million visitors, presenting work by about 600 artists or groups. ARS17 is the ninth exhibition in the series, and the fourth to be held in the Museum of Contemporary Art Kiasma.
For more information on ARS17 please click here.
For more information on Axel Straschnoy please click here.
Kilpisjärvellä is a film for planetariums, and a photo series by Axel Straschnoy. It tells the story of 2 explorers who travel to north Lapland to record the Northern Lights. The film is shot in time lapse, with an extreme wide angle lens, which gives it a peculiar look.
The Northern Lights are an usual subject in planetariums. However, they are mostly treated in a scientific manner and the point of view of the camera recording them is abstract. Kilpisjärvellä presents the Northern Lights in the context in which they can be seen, including the nature, the weather and the time it takes to travel there.
Nordic Film Days Lübeck
The Nordic Film Days Lübeck, first presented by the Lübeck Film Club in 1956 and taken over by the Hanseatic City of Lübeck in 1971, has one of the longest traditions of any film festival worldwide. It is the only festival in Germany, and the only one in Europe, which is entirely devoted to the presentation of films from the North and Northeast of Europe.
Feature films, documentaries and short films from Denmark, Estonia, Finland, Iceland, Latvia, Lithuania, Norway and Sweden are presented at this five-day event every year at the beginning of November. In addition, there is an extensive children’s and youth film programme and a retrospective devoted to important eras, specific genres or famous persons of film history. The section Filmforum presents films from North Germany. Accompanying the film programme are seminars, discussions, roundtable talks, concerts and readings.
This year the Festival runs from November 2 through the 6.
For more information on Kilpisjärvellä screenings program please click here.
For more information on Axel Straschnoy please click here.
Fino all’età di 21 anni Luger ha vissuto a Caracas, Venezuela. Ha studiato pittura alla Scuola d’Arte “Armando Reveron” e con Adriana Cifuentes; social communication, graphic design, fotografia e commercio internazionale. Per anni ha vissuto in varie città europee per poi stabilirsi a Milano, dove ha aperto la Federico Luger Gallery.
Negli anni la ricerca artistica di Federico Luger si è concentrata sempre più sul sistema dell’arte e la sua fruizione: in quale contesto l’opera diviene oggetto d’arte? Per Luger anche il progetto della galleria è stato un atto artistico, un processo attraverso il quale trovare risposta a numerosi interrogativi sul fenomeno dell’arte.
Interessato in particolare a determinati aspetti della vita contemporanea – sharing economy, flussi di informazione, decentramento della produzione, la coesistenza di culture diverse, il diluire dell’ego – nella sua pittura si manifesta una riflessione sulla fine del Monocromo attraverso i suoi elementi formali più essenziali, il colore e la materia.
Nei lavori esposti, prodotti nell’ultimo anno, emerge la sua interpretazione dell’intervento artistico, quale elemento catalizzatore di cambiamento.
Ironico e dissacrante, Federico Luger include però anche un aspetto poetico nelle sue immagini che realizza con medium e tecniche differenti, funzionali alla contestualizzazione dell’opera.
La mostra rimarrà allestita fino a sabato 10 dicembre 2016.
Inaugurazione mercoledì 2 novembre, ore 18.30
Opere Scelte
via Matteo Pescatore 11/D, Torino.
Per maggiori informazioni su Federico Luger si prega di cliccare qui.
una performance di Armando della Vittoria (direttore di E IL TOPO) e Steve Piccolo.
Venerdì 21 ottobre, ore 19.
ECCENTRIC Art & Research
presso MyOwnGallery|Superstudio Più
via Tortona, 27 Milano
E: info@ec-centric.eu
W: ec-centric.eu
12-21 ottobre
lun-ven, ore 13-20, o su appuntamento.
APPUNTO / EXACTLY
Steve Piccolo for ECCENTRIC
To all participants and guests of the exhibition Naturalia et artificialia
A tutti i partecipanti e invitati alla mostra Naturalia et artificialia
ITALIANO
Siete pregati di usare con insolita frequenza la parola “appunto”, abituandovi a pronunciarla in modo eccessivo, appunto, nei giorni prima dell’inaugurazione e cercando – appunto – di farla diventare un vero e proprio tic. Appunto all’inaugurazione, avrete la possibilità di dimostrare i risultati di quest’allenamento, e di condividere – appunto – le vostre esperienze. Suggeriamo a tutti di mettere un post-it con la parola “APPUNTO” sulla propria scrivania o in altro luogo ben visibile in casa. Grazie, appunto!
ENGLISH
We would like to ask you to use the word “exactly” as often as possible in the next few days, exactly before the opening of the exhibition. Train yourself as exactly as possible to overuse this word until it becomes a meaningless verbal tic, exactly a very bad habit, exactly like the word “like,” for example. At the opening you can show off exactly how well you have trained yourself, and share your experiences exactly with others. English speakers have a special option in this exercise: you can choose between “exactly,” “precisely,” “definitely” and “absolutely.” Choose the word that comes most “naturally” and make it come all too naturally, as a matter of habit – precisely! We suggest putting a post-it with your exactly selected word on the edge of your computer, or in an exactly and constantly visible place in your home. Thanks! Absolutely!