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Almanza’s viscous oil paintings rely on a process of application and removal of paint. While the paintings are still wet, he traverses the canvas with a thin strip of plywood—simultaneously scraping away paint with the swipe of a line and adding paint that is carried across on the plywood. This forms a pattern of hard parallel lines that reveals underlying ghosted abstractions perpetually in limbo.
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Opening today: Comrades of Time / Project Space Tilburg |
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Boven: Federal School of the Confederation of German trade unions (1928–1930), aerial photo ca. 1930. Onder: Laubenganghäuser, 5 buildings for workers built by the Spar- und
Baugenossenschaft Dessau (Savings and Building Cooperative Dessau),
1929/1930
Working from 1927 at the Bauhaus Dessau and being director until 1930
Hannes Meyer fostered left-wing discourse at the Bauhaus. After his
dismissal he went to the Soviet Union, where he worked in urban planning
and architecture along a group of enthusiast migrants. The growing
Stalinist pressure forces him to leave Moscow in 1936 and he manages to
avoid the fate of his spouse Margarete Mengel (executed in 1938) and
fellow migrants like Heinrich Vogeler.
Mengel, Vogeler and many other German passport holders wer not able to
leave the Soviet Union, since as communists they would have been
immediately imprisoned/executed by the Nazis. (via Nothere)
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The Most Realistic Robotic Ass Ever Made |
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In the never-ending quest to bridge the uncanny valley, Japanese scientists have turned to one area of research that has, so far, gone ignored: the robotic ass. Built by Nobuhiro Takahashi and a team at the Tokyo University of Electro-Communications,
this is Shiri. Shiri, of course, means buttocks in Japanese, and the
researchers claim that it "represents emotions with visual and tactual
transformation of the muscles". Right. While that might not be the most convincing statement you've ever
read, the video certainly delivers: this is one mighty realistic ass. The moves and twitches are made possible by a system of inflatable
air bags, and the researchers believe that a user may even feel a
simulated sense of fear when they trigger its twitch. Which is,
obviously, demonstrated by good, firm buttock slap.
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Genomineerden Wolvecampprijs 2012 |
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Arjan van Helmond , Peggy Franck en Aukje Koks zijn genomineerd voor de Wolvecampprijs 2012.
De Wolvecampprijs is een tweejaarlijkse nationale prijs voor de schilderkunst en is bedoeld als oeuvre-/ stimuleringsprijs voor schilders tot veertig jaar die minimaal vijf jaar in Nederland wonen. De prijs wordt op 27 september uitgereikt.
De jury bestaat uit Anna Tilroe (voorzitter), Lex ter Braak, Rob Defares, Lorenzo Benedetti en Helen Verhoeven. De prijs bestaat uit een geldsom van 18.500,- euro, een bijdrage van 10.000,- euro aan een monografie en een solotentoonstelling in 2013. De werken van de genomineerden zullen van 27 tot en met 30 september te zien zijn in de Creatieve Fabriek in Hengelo.
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Terugblik: Kateřina Šedá / No light / Mori Art Museum, Tokyo |
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Czech artist Katerina Seda (born 1977) is interested in small things in
daily life that appear either problematic or obvious. She runs projects
in which she proposes games involving members of her family or people
from small villages. These humorous projects often serve to encourage
communication between people and they can also result in real solutions
to problems. Seda has rapidly gained a reputation in Europe and the
United States and this will be the first time she exhibits work in
Japan.
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Katja Novitskova and Timur Si-Qin / Center for Curatorial Studies: Bard College, Annandale-on-Hudson |
In 2009, when discussing the current function and potentials for
contemporary art criticism, theorist Diedrich Diederichsen argued for
the voice of “emergent people,” the voice of those who have recently
arrived “in an already finished world of objects.” Such a world is
founded on distinctions between images, signs, and the real, a world in
which nature and technology belong to separate realms. As “emergent”
subjects, artists Katja Novitskova and Timur Si-Qin pursue their own
desires in order to formulate a new notion of art — a notion that
fundamentally rejects the separation between art and reality, and
instead argues for an evolutionary ontology that charts structural
tendencies, patterns, and flows across disparate domains. At the
curator’s invitation, Novitskova and Si-Qin present their work together
for the first time. Grounded in dialogue, their images, objects, and
essays elucidate a new relationship to art, one in which information
merges into matter, the biological merges with the cultural, and local
specificity blends into the planetary. Curated by Agatha Wara.
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Suzanne Lacy / Crystal Quilt Performance (1987) |
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Performance by Suzanne Lacy, Phyllis Jane Rose, Miriam Schapiro, Susan
Stone, Nancy Dennis, Sage Cowles, others, Minneapolis, MN 1987. The
Crystal Quilt performance culminated an artwork bringing awareness to
older women. Beginning with a three month Humphrey Institute of Public
Policy seminar for 35 older women from throughout the state, the project
built on that leadership to design and produce a massive performance
with 430 performers over the age of sixty. Staged in the Philip
Johnson-designed IDS Centers Crystal Court, the performance took place
on Mothers Day and was live broadcast on PBS television. Over 3,000
people witnessed older women talking about their lives as their
gathering created an eighty-two foot square tableau in the shape of a
quilt.
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Joep van Liefland / Angst über Los Angeles |
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Book Launch Party am Mittwoch den 16. Mai ab 19 Uhr im Büro Otto Sauhaus, Laubestrasse 16 12045 Berlin-Neukölln. In Anwesenheit des Künstlers Joep van Liefland wird die Buch-Edition Angst über Los Angeles präsentiert.
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Aleksandra Domanovic / Free stack |
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the stack on the right is freely downloadable as a PDF.
INSTRUCTIONS:
1. Download PDF at http://nineteenthirty.net/biB_Stack.zip (5555 A4 pages, 140 Mb)
2. Set inkjet printer to "border-less printing" and "collated page sequence"
3. Place 1500 empty pages on top, and 1500 at the bottom of the printed stack
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David Shrigley on Anish Kapoor's "Cloud Gate" |
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David Shrigley jokes about Anish Kapoor's "Cloud Gate." From the Bad at Sports podcast.
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Vanavond: Conversations / Andy Hope 1930 (Andreas Hofer) + John Welchman / Rijksakademie Amsterdam |
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As seen in the exhibition organised by Whatspace 'On A Clear Day I Can See Forever' from 2009. The Stedelijk Museum and the Rijksakademie proudly present the first installment of the ’Conversations’ series, with artist Andy Hope 1930 (Andreas Hofer) and art historian John Welchman. The ’Conversations’ series is part of Stedelijk @, the Public Program of Temporary Stedelijk 3, and will be a recurring series of dialogues between noted artists, scholars, and curators.
Welchman,
professor of Art History at the University of California, San Diego,
will engage with Andy Hope 1930 about his recent work and exhibitions,
including his current show at Hauser & Wirth, entitled Medley Tour London by Andy Hope 1930.
Several aspects of Andy Hope 1930’s long and diverse oeuvre will be
highlighted in the conversation, which will also be open to questions
from the audience.
More about the speakers:
Andy Hope 1930
is a German artist who lives in Berlin. His work spans a wide range of
media, including painting, drawing, film, installation, and sculpture.
Appropriating images and phenomena from popular culture, such as comic
books and science fiction illustration, the lead actors in his work are
such odd figures as superheroes, historic villains, devils, and
spaceships, which combine with the artistic gestures that can be seen in
the work of Malevic, Duchamp, Ensor, or Klee. Andy Hope 1930 has
exhibited internationally in both solo and group exhibitions.
John C. Welchman is professor of art history in the
Visual Arts department at the University of California, San Diego, and
co-director of the Mike Kelley Foundation for the Arts. His books
include Modernism Relocated: Towards a Cultural Studies of Visual Modernity (Allen & Unwin, 1995), Invisible Colours: A Visual History of Titles (Yale, 1997), and Art After Appropriation: Essays on Art in the 1990s (Routledge, 2001). He is co-author of Dada and Surrealist Word Image (MIT Press, 1987) and Mike Kelley in the Phaidon Contemporary Artists series (1999) and the editor of Rethinking Borders (Minnesota UP/Routledge, 1996). This year, his book, XX to XXI: Essays on European Art, will be published by Akal (Madrid) in Spanish.
Date: 8 May, 20:00
Location: Auditorium “Het Schip,” Rijksakademie voor Beeldende Kunsten, Sarphatistraat 470, Amsterdam
Language: English
Entrance fee: Free
Reservations:
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