Thursday, May 31, 2007
Monday, May 28, 2007
PREMIO LORENZO BONALDI PER L’ARTE – ENTERPRIZE, 4th edition
| 05/28/07 |
GAMeC
One prize, one 3-days symposium and one show at GAMeC, Bergamo
For three days GAMeC will be the meeting point for a whole generation of international young curators: meetings and debates between 15 international curators suggested by 15 institutions and coordinated by the artist Dara Birnbaum to mark the award of Premio Lorenzo Bonaldi per l’Arte - EnterPrize. On the same occasion it will be opened the exhibition Pietro Roccasalva. Truka.
PREMIO LORENZO BONALDI PER L’ARTE – ENTERPRIZE, 4th edition
The Premio Lorenzo Bonaldi per l’Arte – EnterPrize, inaugurated in 2003 by the GAMeC and funded by the Bonaldi family to commemorate Lorenzo Bonaldi’s passion for art and collecting, has reached its fourth year.
This prize, the only one of its kind, is intended to support the work of a young curator under the age of 30 and his or her exhibition project.
GAMeC invited five advisors to nominate each one a young curator:
Sabine Breitwieser (Director Generali Foundation, Wien)
Rafael Doctor Roncero (Director Museo de Arte Contemporáneo de Castilla y León)
Tom Eccles, (Director Center for Curatorial Studies at Bard College, New York)
James Lingwood (Director Artangel, London)
Anton Vidokle (E-flux, New York – unitednationsplaza, Berlin)
The chosen curators are:
Binna Choi
Ovul Durmusoglu
Tom Morton
Manuela Moscoso
Ana Vejzovic Sharp
The projects will be assessed by a jury comprised by:
Dan Cameron (Director PROSPECT.1, New Orleans)
Ralph Rugoff (Director Hayward Gallery, London)
Giacinto Di Pietrantonio (Director GAMeC, Bergamo)
The prize consists in the execution of the winning project at GAMeC in 2008 and publication of a bilingual catalogue.
QUI. ENTER ATLAS – INTERNATIONAL SYMPOSIUM OF YOUNG CURATORS
As part of the fourth Premio Lorenzo Bonaldi per l’Arte – EnterPrize, GAMeC organizes the second edition of Qui. Enter Atlas – International Symposium of Young Curators. The symposium has been organized by GAMeC and S.M.A.K., Gent that will host the second part of it on 19 - 20 - 21 October.
15 international curators under 35, suggested by 15 institutions, will share their experiences around the theme “Art in the Landscape of the Media” coordinated by the artist Dara Birnbaum.
The curators:
Cecilia Alemani (Independent Curator, New York)
Craig Buckley (Independent Curator, New York)
Sarah Carrington (Independent Curator, London)
Binna Choi (Independent Curator, Amsterdam – Seoul)
Sebastian Cichocki (Director Kronika – Contemporary Art Centre, Bytom – PL)
Ovul Durmusoglu (Independent Curator, Austria – Turkey)
Elena Filipovic (Co-Curator at the 5th Berlin Biennial)
Nav Haq (Curator Gasworks, London)
LATITUDES - Max Andrews & Mariana Cánepa Luna (Independent Curators and writers, Barcelona)
Tom Morton (Curator Cubitt Gallery, London)
Manuela Moscoso (Director los29enchufes, Madrid)
Huib Haye van Der Werf (Advisor Visual Arts for the Dutch Government)
Ana Vejzovic Sharp (Director Kantor Feuer Gallery, Los Angeles)
Nina Zimmer (Curator of 19th c. and 20th c. art Kunstmuseum, Basel)
The advisors:
Stacey Allan and Steven Rand (Apexart, New York)
Sabine Breitwieser (Generali Foundation, Wien)
Ann Demensteer (De Appel, Amsterdam)
Rafael Doctor Roncero (Museo de Arte Contemporáneo de Castilla y León)
Yilmaz Dziewior (Kunstverein, Hamburg)
Tom Eccles (Center for Curatorial Studies at Bard College, New York)
Eva González-Sancho (Frac Bourgogne, Dijon)
Jens Hoffmann (Wattis Institute for Contemporary Art, San Francisco)
Maria Lind (IASPIS, International Artists Studio Program, Stockholm)
James Lingwood (Artangel, London)
Joanna Mytkowska (Foksal Gallery Foundation, Warsaw)
Patrizia Sanderetto Re Rebaudengo (Fondazione Sandretto Re Rebaudengo, Turin)
Anton Vidokle (E-flux, New York – unitednationsplaza, Berlino)
Etienne Wynants (Etablissement d'en face projects, Bruxelles)
The symposium is organized with the support of: DARC – Direzione generale per l’architettura e l’arte contemporanee; The Henry Moore Foundation; The Instituto Cervantes; Mondriaan Foundation.
The convention programme will be published on http://www.gamec.it
ELDORADO. PIETRO ROCCASALVA. TRUKA
6 JUNE – 29 JULY 2007
The prizegiving will be followed by the opening of the solo show Pietro Roccasalva. Truka, the first one by a museum. For the occasion Roccasalva has produced three new works: a 35mm film, a sculpture and a large soft pastel.
The project will be documented in the first monograph of the artist, published by JRP I Ringier and including texts by B. Schwabsky and A. Rabottini and E. Gnemmi. The catalogue is promoted by the Fondazione Davide Halevim, Milan.
We are grateful to Zero..., Milan
GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo
via San Tomaso, 53
24121 Bergamo (Italy)
tel. +39 035 270272 – fax +39 035 236962
http://www.gamec.it
Sunday, May 27, 2007
L'Avventura
Michelangelo Antonioni's starkly beautiful L'avventura is one of the great masterpieces of European art cinema, though at Cannes in 1960 it baffled and enraged its first audience. The plot is simple: a woman disappears while visiting a tiny, remote island with friends and it's as if they don't notice that she's gone. What has happened to her? L'avventura disclaims the conventions of narrative cinema in the most radical way: it never provides an answer to this question.
Antonioni has often been labelled 'pessimist' but, as Geoffrey Nowell-Smith argues, his work is not judgemental and is better described as sceptical, concerned with truth rather than consolation. 'L'avventura seems indifferent to either progress or decadence,' Nowell-Smith writes: 'its characters are placed fairly and squarely where they are, with no past to return to or future to advance to. Stripped of consoling certainties, existentially alone, they are observed with a meticulousness that takes nothing for granted.'
Geoffrey Nowell-Smith
The dissonant chord which concludes L'avventura says it all, or nearly all. The film is a love story. But it is one which ends with the lovers not marching into the sunset but facing an uncertain dawn. Just as the final chord (a major seventh) does not resolve but remains agonisingly poised, so Claudia's and Sandro's relationship is also on a knife edge. To the uncertainty of what has happened to Anna is added the uncertainty of whether Claudia's and Sandro's affair has any future. It is not a happy end, but not a tragic one either. The flux of life has been halted at a particular moment, in what James Joyce called an epiphany. Life will resume its flux; it is just the story which has ended at this moment.
Stories are not everything, and L'avventura, like most films of substance, is not just a story. The universe it creates has a consistency which is only partly dependent on the events that form its plot and, as it happens, terminate at a particular point. Of course the characters' destiny, as revealed (to the extent that it is revealed) at the end of the film, is important, but no films (even Hitchcock films) exist solely to be concluded.
As well as a love story, L'avventura is a film about consciousness and its objects, the consciousness that people have of other people and of the environment that surrounds them. At the centre is Claudia, and radiating out from her are her immediate circle, wider society, the built environment, and on the outside nature. The natural environment is indifferent, sometimes seen as benign, but more often as hostile. The hostile aspect is most apparent in the island sequences. The sun beats down on a barren soil, waves crash against rocks, wind whips up a waterspout. The island is uninhabitited, except by a solitary shepherd (we never see his sheep). Even on the mainland there are no cultivated fields, and gardens exist only in the immediate vicinity of houses. Landscape is pure, distant, objectified. Human activity is reflected in a built environment, separated from nature, but itself objectified. The first scene of the film shows suburban sprawl engulfing the outskirts of Rome. Later, the deserted village imposes an alien rectangular geometry on the hill side in which it is incongruously situated. No grass grows in its empty streets. The baroque facades of Noto are a decaying monument. Perceived by Sandro as an emblem of a civilisation ease with itself, they also represent a past which, like that of the deserted village, has been relegated to a liminal status, between the natural and the human.
Stories are not everything, and L'avventura, like most films of substance, is not just a story. The universe it creates has a consistency which is only partly dependent on the events that form its plot and, as it happens, terminate at a particular point. Of course the characters' destiny, as revealed (to the extent that it is revealed) at the end of the film, is important, but no films (even Hitchcock films) exist solely to be concluded.
As well as a love story, L'avventura is a film about consciousness and its objects, the consciousness that people have of other people and of the environment that surrounds them. At the centre is Claudia, and radiating out from her are her immediate circle, wider society, the built environment, and on the outside nature. The natural environment is indifferent, sometimes seen as benign, but more often as hostile. The hostile aspect is most apparent in the island sequences. The sun beats down on a barren soil, waves crash against rocks, wind whips up a waterspout. The island is uninhabitited, except by a solitary shepherd (we never see his sheep). Even on the mainland there are no cultivated fields, and gardens exist only in the immediate vicinity of houses. Landscape is pure, distant, objectified. Human activity is reflected in a built environment, separated from nature, but itself objectified. The first scene of the film shows suburban sprawl engulfing the outskirts of Rome. Later, the deserted village imposes an alien rectangular geometry on the hill side in which it is incongruously situated. No grass grows in its empty streets. The baroque facades of Noto are a decaying monument. Perceived by Sandro as an emblem of a civilisation ease with itself, they also represent a past which, like that of the deserted village, has been relegated to a liminal status, between the natural and the human.
Friday, May 25, 2007
identities 2007
identities 2007 queer film festival
www.identities.at
acilis yazisinda diyor ki:
... let the queer life and appeal in all its diversity become apparent, and not only during the festival week. Vienna should become Amsterdam, Barcelona, Berlin, Istanbul, New York, San Fransisco etc.
Berlin'in ardinda New York' un onunde Istanbul!
www.identities.at
acilis yazisinda diyor ki:
... let the queer life and appeal in all its diversity become apparent, and not only during the festival week. Vienna should become Amsterdam, Barcelona, Berlin, Istanbul, New York, San Fransisco etc.
Berlin'in ardinda New York' un onunde Istanbul!
Sunday, May 20, 2007
ovul in collaboration with kim gordon+jutta koether
process
result
Reverse Karaoke
MAK, Vienna- 15th May'07
result
Reverse Karaoke
MAK, Vienna- 15th May'07
welcome the nightcomers!
nightcomers.
The team of young curators invited by Hou Hanru defines "nightcomers" as follows:
"The project targets a wide profile in terms of viewer and participant and derives its power from individual sentences that are becoming increasingly anonymous, and as they become anonymous, become public and ascend within the public sphere. In other words, social and political content suitable for a wall-mounted newspaper is the defining aspect of the project. The source of the variety sought in the videos is our belief that the way to understand the impulsive force in the production of visual material is observing other fields."
Videos will be shown throughout the night in the streets, and the target is to reach a bigger audience than the Istanbul Biennial does in the daytime.
The young curators have defined the maximum 5 minute video production as the format, and invite everyone "who has something to say" to produce. The video programs will be selected from the pool of videos formed from all videos sent to the Biennial and will be exhibited in different parts of the city on certain days of the week. The "nightcomers" project aims to build a strong communication and relationship with its viewer and invites everyone taking part in the project as producer-viewer to share its name. To go out at night, to share the street and to hear one's own voice en masse... Therefore it defines itself as follows:
"Nightcomers hang out on street corners. They seek their own justice. You feel their breath on your neck. Sleepless � a gang of ghosts."
To engage the Biennial programmes more profoundly and intimately with the real urban life of İstanbul, it's absolutely important to surpass the conventional temporal and spatial framework of an art event. Therefore, the Biennial is conceived not only as an exhibition but also as a process and site of cultural production that goes beyond office hours. Night programs have been designed to integrate the public directly with the Biennial project and to create a platform of democratic participation.
"Electronic Image Dazibao", is referring to "Dazibao", a form of radically democratic street postings of public opinions during the Chinese Cultural Revolution. The impact of these wall-mounted posters in protest, propaganda and popular communication was strengthened by getting in circulation with some local newspapers from time to time. Today, electronic image and video is a basic mean of communication and expression especially among the young people. Thereof, "nightcomers" project aims to have the video works of everyone who wants to tell his ideas and express himself to be sent to Istanbul Biennial.
http://www.iksv.org/bienal/nightcomers/nightcomers.asp
Submissions deadline: 15 June 2007
Curators
Qui Enter Atlas/Gamec Bergamo
Qui Enter Atlas. Convegno Internazionale per giovani curatori in collaborazione con lo SMAK (Stedelijk Museum voor Actuele Kunst) di Gent
Tuesday 5 June 2007
Session II / Panel discussion: The “Public” institutions as a medium: the rules and exceptions of a non-continuous communication
Sarah Carrington, Ovul Durmusoglu, Manuela Moscoso, Huib Haye Van Der Werf
Tuesday 5 June 2007
Session II / Panel discussion: The “Public” institutions as a medium: the rules and exceptions of a non-continuous communication
Sarah Carrington, Ovul Durmusoglu, Manuela Moscoso, Huib Haye Van Der Werf
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