Tag Archives: creation
Dailies and Weeklies, a project of Raul Marroquin for “Inside the City” Weserburg Museum für moderne Kunst, Bremen July 18 – October 12 2015.
Galerie Mark Hachem (Beirut) is proud to present “FINE PIXELS” by Lebanese artist RICARDO MBARKHO. The exhibition opens on Tuesday, 15 of May 2012 and will run until Tuesday, 29 of May 2012.
The exhibition will showcase Ricardo Mbarkho’s images: The artist manipulates different layers of significations by investigating multiple questions related to language, communication, cultural industries, history of art as well as the visual representation within the sociopolitical sphere. Mbarkho’s images are made from texts. The artist uses the computer as a tool to transcend texts into images; the text’s binary codes, those simple digits that computers use to stock information, are transposed into a unique corresponding visual. By this creative process, the shapes and colors of Ricardo Mbarkho’s art are constantly unveiling new facets of the initial texts.
Ricardo Mbarkho’s work stems from the vibrant scene of today’s global digital art practices. Mbarkho divulges alternative readings to issues pertaining to his local cultural and sociopolitical environments, where the latter’s significance and information are embodied and channeled through the artist’s own flux.
Galerie Mark Hachem invites the public to share the artist’s doubts and findings through Ricardo Mbarkho’s solo show, “Fine Pixels”.
The Scottish curator Anne Barlow has announced the 19 participating artists for the fifth Bucharest Biennale. “Tactics for the Here and Now” is due to take place from 25 May to 22 July and include the Croatian artist David Maljkovic, the French/American artist Alexandre Singh, and the American artist Jill Magid. At a press conference in February, Barlow, the executive director of Art in General, New York, said she had looked for artists, “whose agency lies less in overt statements, but rather in investigative, indirect or informal approaches that possess their own kind of power”.
The theme is a legacy of the 2010 biennale in the Romanian capital. “The notion of agency was one that stayed with me from the 2010 edition,” Barlow says. “I wanted to build on the strength of that while thinking about how to engage audiences through a combination of new work created for the 2012 biennial and existing pieces that spoke powerfully, but in different ways—ranging from the tactics of subterfuge, infiltration, and humour, to the use of non-linear narratives and quasi-fictional situations.”
As has been the case in previous years, the biennial will use venues not normally associated with visual art, including, for the first time, Bucharest’s striking Casa Presei Libere (House of the Free Press). A Soviet-style relic, the building acted as the headquarters of the official news media during Romania’s communist era. The Iranian-born artist Abbas Akhavan is creating a work in response to the building for the biennial.
Started by Pavilion, a Bucharest-based magazine and arts centre, the biennale has always been seen as an autonomous event within the Romanian art scene, with funding coming from private rather than public sources. Barlow says among the physical and financial challenge of staging a biennial in Bucharest is that “the artistic environment is in the process of evolution. Producing an ambitious programme with limited resources requires creative thinking at every stage and actually makes the project more relevant and vital.”
Performance of artist Jolanda Jansen
Journalist Rosario Hernandez and Freddy Galeano (De Hoeksteen Team) During CableCasting
Interview with Director of the CCV Utrecht Province Onno Peer by Willem Lust.
Performance of artist Carlos Llavata
Stevens Gallery exhibitions live
Live Interview with the Museum of Contemporary Art of Bogota, Colombia.
Interview with Sebastiaan Capelle by Francois Engers
Martin Verbeert interviewed by Robert Paques
Eric van der Burg interviewed by Tom Compaijen
Live online performance of Colombian Artist Kai Steamer (Miguel Angel Montoya)
Colombian artist Alejandro Ramirez interviewed by Els van der Plas
Owners of Qlick Editions Gallery Esther Munsters and Fleur Shekel interviewed by Francis Beukeveld
Designer Interviewed by Els van Der Plas
Will the Museum of Modern Art’s admission price increase give some visitors sticker-price shock? Of course.
The $5 increase — a 25 percent jump — puts regular adult admission at $25 a person, compared with admission prices of $18 at other major New York institutions like the Guggenheim and the Whitney Museum of American Art. The Metropolitan Museum of Art’s $25 ticket price is only a recommended donation.
But if MoMA’s required admission fee seems inflated, take into account that the museum does not rely on government funding at a time when operating costs, particularly those for insuring and transporting artworks and organizing major shows, have skyrocketed.
The prices of insuring and transporting artworks, as well as organizing major shows, have skyrocketed.
Unlike many other nonprofits, the museum is responsible for bringing in all of its revenue for its operating budget through various sources, of which admission is just one. In 2010, with attendance at 3.09 million visitors, admissions revenue totaled $24.8 million, compared with the reported annual operating costs of $153.8 million for that year. According to the museum’s 2009 report, it received $275,000 in government support, with that figure dropping to zero for 2010. From time to time, the museum may seek government support for specific projects. For instance, the city gave $65 million to support a major expansion and renovation in 2004.
New York City is home to the nation’s largest cultural funding agency, which supports 33 city organizations that fall under the umbrella of its Cultural Institutions Group. The expense budget, which includes funding and direct subsidies, is $141 million for the current fiscal year. However, MoMA, unlike the Met and the Museum of Natural History, among other leading institutions, is not on that list.
There is no question that MoMA’s new ticket price will give museum-goers pause, no matter how extraordinary the Picassos, Pollocks and van Goghs inside. On the other hand, with a little extra effort, visitors can cut or avoid the cost altogether. Online ticket buyers receive a discount, and there is no processing fee. CUNY and SUNY students are entitled to free admission with valid identification. And at least once a week, visitors can take advantage of Target-sponsored Free Fridays, when admission is waived during evening hours.
New York’s Carpenters’ Union has already complained about the fair’s labour standards
Following on the heels of a labour dispute brought against Frieze Art Fair by the New York City & Vicinity District Council of Carpenters, the Occupy Wall Street movement has revealed that it is planning a full-on demonstration of the London-based art fair. Members of the subgroup Occupy Museums, the self-described visual arts “affinity group of Occupy Wall Street”, aim to protest what they call “the rampant financialisation of art”.
Occupy Museum members say their action is a criticism of the one-sidedness of the art economy. Their plans involve both a traditional, placard-bearing protest and outreach through “the free exchange of art”, according to Imani Brown and Noah Fischer, the representatives for a movement that rejects the idea of official spokesmen. Brown and Fischer say the demonstrators (many of them artists themselves) will trade their art for whatever the fair-going public wishes to barter in return—time, conversation, even tickets to the $25 entry-fee event. The group held a similar, albeit rather anaemic, “Free Art for Fair Exchange” event at The Armory Show earlier this year.
In interviews, members of the protest movement repeatedly stressed their desire to branch out beyond traditional art world activities like “institutional critique”. “We want to stay away from that term. We want to un-Frieze art,” Fischer says. “We’re not specifically against exchanging art for money. But we do want to point out that the economic reach of an art fair like Frieze benefits a tiny minority of artists in New York and not the larger arts scene.” Brown points out: “artists are not unionised, so part of our outreach is to talk to people who are artists but are not represented in a fair like Frieze—a huge number. Free Art for Fair Exchange can do that because it lays the foundation for artists’ solidarity. This economic model obviously doesn’t work for the vast majority of artists.”
Both Brown and Fischer say they expect far larger numbers at Randall’s Island than attended March’s Armory Show protest on the West Side piers. They cited improved weather in May and sustained outreach for what they anticipate will be crowds “in the hundreds”. Besides explaining that they will set up tables and “a presence” outside the fair’s entrances, they refused to provide further details of the demonstration for “security reasons”. It remains to be seen how the twin entrance and snake-like tent design devised by the architects SO-IL for Frieze New York will stand up to protesting crowds.
The Occupy Wall Street protestors are joining local trade unions, who have already spoken out against Frieze plans to not use union labour on Randall’s Island. The movement has often supported the unions, most visibly in connection with the Teamsters’ protesting Sotheby’s lockout of art handlers. “We’re against breaking unions, like what’s happening at Sotheby’s,” says Fischer. “Frieze, by running away from union labour, is doing something inherently unfair. It’s like they’re trying to turn Randall’s Island into a gated community.”
Last week, the New York City & Vicinity District Council of Carpenters sent a letter to Deutsche Bank, the fair’s main sponsor, claiming that Frieze “and others like them… do not meet labor standards” and use contractors who “do not pay the area standard wages to all their employees including providing or fully paying for health benefits and pension”. Reached by phone, the union’s representative Brian Brady says the organisation attempted to reach management at Frieze New York, before it started a picket line outside Deutsche Bank’s US headquarters at 60 Wall Street on Friday 13 April. “We sent emails, left voice mails, we went to their offices at 41 Union Square; then, we went out to Randall’s Island to talk to them. We were met by two security guards and couldn’t speak to management. They were very annoyed we were there and called the police. These people don’t want any sort of discussion.”
According to a spokeswoman for the fair: “Frieze is aware of the letter sent by the New York City District Council of Carpenters and would like to state that we are not in a labour dispute with them or any other collective-bargaining organisation. Frieze has a track record of producing high-quality art fairs and has contracted reputable local vendors with the appropriate skills and experience to prepare the Randall’s Island site for the upcoming art fair. Frieze is working closely with Randall’s Island, the New York City Parks Department, and many of the City’s museums, galleries and not-for-profit arts organizations from Brooklyn, the Bronx, Queens and Manhattan to engage the community and provide access to artist-focused events during the fair. In our inaugural edition of Frieze New York, we aim to make a positive cultural and economic contribution to the city by creating the best art fair experience for our participating galleries and the public.”
Invoking an instance during the March 2012 fairs when the carpenter’s union resolved a similar dispute with the management of Scope art fair, Brady says: “At that time, they sat down with us and we came to a resolution. For a company from London to come over here to undercut our benefits and everything we’ve worked for is just wrong.” Asked what the District Council of Carpenters will do absent a resolution by fair time, Brady is firm: “We’ll protest. We’re not just going to get pushed around.”
Art in the City
Outdoor sculpture exhibition in the Egmont Park
Since 2009, the City of Brussels supports the fair by acquiring an outdoor sculpture for the improvement of the public space projects. Each year one of the artists participating in “Art in the City” is invited to create an outdoor sculpture for a specific public space for the city of Brussels. The artists in the exhibition are represented by galleries showing in the fair.
The exhibition takes place in the idyllic Egmont Park, located in the heart of Brussels, next to the Hotel (formerly the Hilton hotel). The prize winner will be announced at the official opening on Thursday morning.
- Winner 2011: Sven’t Jolle, (Casse-toi alors) pauvre canard!, 2010, Laurent Godin (FR)
- Winner 2010: Maarten Vanden Eynde, Oil-Peak, 2010, Meessen De Clercq (BE)
- Winner 2009: Thomas Lerooy, Not enough brain to survive, 2009, Rodolphe Janssen (BE) & Nathalie Obadia (BE & FR)
Participating artists 2012
1. Frédéric Platéus, Network, 2011, Marion Meyer Contemporain (FR)
2. Satch Hoyt, Kush Yard Totem, 2011, NOMAD (BE)
3. Erwan Mahéo, Vlot (monument à la dérive), 2011, VidalCuglietta (BE)
4. Nadja Frank, Heavy Metals (Cubic green)/Heavy Metals (Delta gray) , 2010, 401contemporary (DE)
5. Henk Visch, You cannot escape the consequences of your choice, 2012, Tim Van Laere (BE)
6. Valérie Mannaerts, Fountain, 2012, Elisa Platteau & Cie (BE)
7. Arnaud Rivieren, Rocket Planes, 2012, Isabelle Van den Eynde (UAE)
8. Didier Marcel, Sans titre (cervidé) , 2012, Michel Rein (FR)
9. Xavier Mary, Rock Round Donut , 2011, Baronian_Francey (BE)
10. Neal Beggs, White balloons, 2008, aliceday (BE)
11. Philippe Van Wolputte, A Glimpse from Below, 2012, Elaine Levy Project (BE)
12. John Cornu, Wolk#01, 2012, Ricou Gallery (BE)
Participating artists 2011
Julien Berthier – Georges-Philippes & Nathalie Vallois (FR)
Aldo Chaparro Winder – OMR (MX)
Johan Creten – Almine Rech (BE-FR)
Marlon de Azambuja – Max Estrella (ES)
Edith Dekyndt – VidalCuglietta (BE)
Wouter Feyaerts – Transit (BE)
Johan Gelper – Sebastien Ricou (BE)
Simon Gush – Michael Stevenson (ZA)
Sven’t Jolle – Laurent Godin (FR)
Markus Karstiess – Van Horn (DE)
Nadia Naveau – Base-Alpaha (BE)
Mick Peter – Grimm (NL)
Fabrice Samyn – Meessen de Clercq (BE)
Steve Schepens – Van de Weghe(BE)
Oscar Tuazon – Dependance (BE)
Joris van de Moortel – Hoet Bekaert (BE)
Clemens Wolf – Galerie Steinek (AT)
Participating artists 2010
Virginie Bailly – Transit (Mechelen)
Olaf Brzeski – Czarna (Warsaw)
Anneke Eussen – Tatjana Pieters (Ghent)
Thomas Houseago – Xavier Hufkens (Brussels)
Zuzanna Janin – Lokal 30 (Warsaw)
Jone Kvie – Nils Staerk (Copenhagen)
Erwan Mahéo – FDC Satellite Filles du Calvaire (Brussels)
Renato Nicolodi – Ron Mandos (Amsterdam)
Jaume Plensa – Galerie Lelong (Paris)
Stefan Rinck – Sorry we’re closed (Brussels)
Bernardi Roiq – Maurio Mauroner (Vienna)
Spazio Visivo – Mario Mazzoli (Berlin)
Katja Strunz – Almine Rech (Brussels-Paris)
Gavin Turk – Aeroplastics (Brussels)
Marteen Vanden Eynde – Meesen de Clercq (Brussels)
Hannes Vanseveren – Hoet Bekaert (Ghent)
Winner : Maarten Vanden Eynde / Oil-Peak
Participating artists 2010
Etienne Desmet – Zwarte Panter (Antwerp)
Xavier Mary – Baronian-Francey (Brussels)
Patrizia Karda – Scharmann (Köln)
Ugo Rondinone – Almine Rech (Brussels)
Bas de Wit – Figge von Ronsen (Köln)
Paul Morrison – Maruani & Noirhomme (Brussels)
David Adamo – Hoet Berkaert (Ghent)
Thomas Lerooy – Janssen & Obadia (Brussels&Paris)
Michaël Aerts – Deweer (Otegem)
Victor Man – Gladstone (Brussels)
Filip Vervaet – Gentils (Antwerp)
Paul Casaer – Koraalberg (Antwerp)
Per Kirkeby – Bo Bjerggaard (Copenhagen)
Herbert Hamak – Studio La Citta (Verona)
Winner:Thomas Lerooy / Not enough brain to survive