Mounira Al Solh & Bassam Ramlawi and drawings by René Daniëls / SMBA
Met trots presenteert Stedelijk Museum Bureau Amsterdam de eerste grote
solotentoonstelling van Mounira Al Solh in Nederland. Het werk van Al
Solh is te omschrijven als een innerlijk conflict met sociale omgevingen
waarin nationale, culturele en religieuze identiteit wordt opgedrongen. In die zin vormt
het een reflectie op de maatschappelijke en religieuze spanningen in
haar geboorteland Libanon dat verschillende burgeroorlogen achter de rug
heeft en nog steeds een bijzondere positie inneemt in de huidige
ontladingen in het Midden-Oosten. Maar ook in Nederland wordt iemands
afkomst en cultuur een steeds belangrijker aspect in het maatschappelijk
verkeer. Al Solh benadert dit gegeven met een mengeling van
autobiografische elementen en humor, want hoe zijn censuur, repressie,
schizofrenie en de conflictueuze cultuur waarin iedereen een rol heeft,
anders te benaderen?
DJ Spooky aka Paul D. Miller aka That Subliminal Kid teaching about
editing as a form of art, the functions of the DJ and sampling applied
to cinema, mixing as social sculpture, the film The Birth of a Nation,
sharing and collage, software, dematerialisation, his book Rhythm
Science, the influence of pop and mass culture, the copy, creative
commons, open source, a culture of cool, multicultural art,
multiperspectives, database aesthetics, compression, mathematics,
intuition, Marcel Duchamp, technology, music, video, and his work - a
database remix expanding our notions of time and space. Free public open
video lecture with students and faculty of the European Graduate School
EGS, Media and Communication Studies department program, Saas-Fee,
Switzerland, Europe, Paul Miller 2008. via Artforum
Artist Ryan Gander’s collaboration with G-Star
involved adding discreet white embroidery, like drips of paint, to 30
pairs of its classic Arc Loose Tapered jeans, as well as a little
Japanese figurine on a keyring. This character, ‘Cleaning Helping
Friend’, wears Le Corbusier-style glasses and, with paintbrush in hand,
is set to paint all buildings white, as the modernist architect decreed
they should be. The jeans will be distributed without fanfare and at
random to the selected G-Star stockists worldwide listed here.
‘I like the idea that someone might think they’re damaged, try to
return them and not realise they’re getting a limited edition,’ he says.
‘If you specifically wanted a pair, you couldn’t go looking for them.
It’s a bit like Willy Wonka’s golden ticket.’ VIDEO
Ryan Gander
Chester-born Ryan Gander is a conceptual artist whose
sculpture, installations, photography and books are crammed with
playful, inexplicable puzzles, cultural juxtapositions and multiple
realities. He is often described as a storyteller, but his narratives
rarely have an easy, complete interpretation.
G-Star Raw
Founded in the Netherlands in 1989, G-Star has become a
global brand on the back of its innovation, architectural silhouettes
and pitch-perfect urban fashion sense. It is particularly noted for its
raw denim products, made from unwashed and untreated denim cloth.
Rafaël Rozendaal deed wat anders dan verwacht (erg fijn). In de wachtrij voor het betreden van zijn meest recente werk dat op dit moment te zien is bij W139, kun je de tijd prima doden met al het werk dat tot nu toe op het www verscheen. Eenmaal binnen tast je letterlijk in het duister, geef je ogen een paar minuten de kans om te wennen, want dankzij enkele lichtbronnen is er wel degelijk iets te zien. Whatspace neemt je bij de hand...
Wishing to reduce the world to its essence is both a feasible artistic
approach and, at the same time, a ritual that appears to have no end.
Reduction is indeed a recurring principle in the work of Rafael
Rozendaal (born 1980 in Amsterdam), and is also his explicitly stated
position. Initially, drawing was his medium: How many drawing strokes
are necessary for reality to be recognisable as such? Does reality in
this way perhaps reveal something new about its structure? And,
influenced by the world of comics and cartoons, how can a story be
captured in a minimum of images? “With a very specific language of
exaggeration, simplification and abstraction,” he says, with the goal of
making this action accessible in an intercultural and universal manner.
Since 2000, Rafael Rozendaal’s works have mainly been internet-based.
These works are websites for which he has reserved names such as
itwillneverbethesame.com, intotime.com or muchbetterthanthis.com and
which each present a single idea and its visual implementation in the
form of a graphic film that occupies the entire website. In these films,
a jelly pudding wobbles, colour sequences become fluid, or a stylised
kiss is repeated over and over: Time seems to stand still, but
nonetheless everything remains in motion. A small, minimal click is
generally required to start off the action, or else the motion follows
that of the user’s finger on the trackpad.
"The Axe effect is the internationally recognized name for the
increased attention Axe-wearing males receive from eager, and attractive
female pursuers. Regardless of where you live, you can get the
Axe-Effect by going to a store near you and purchasing one of our fine
products." - Unilever
The Axe effect sculptures are objects that embody the system
attractors of the contingent epic of evolution. The arms-race and the
mating-call violently and erotically interpenetrate in the guise of a
product-placement (an evolved strategy in itself) releasing synthetic
pheromones to further compete for space and attention. The variations
in forms of designed products are testament to the divergent pathways of
bio-morphological memes and cultural norms, having undergone a
state-change (in the neo-materialist sense) from evolutionary strategy
to marketable ergonomics. The intricate patterns of fluid dynamics are a
direct display of the beauty of contingency, a beauty embodied by the
mechanisms of evolution itself.
De titel New Innovations is een typisch voorbeeld van een tautologie:
een correct maar onnodig dubbel statement. In deze tentoonstelling wordt
kortsluiting veroorzaakt in asymmetrische informatie en reflecteert
AIDS-3D (bekend van de dubbele Whatspace tentoonstelling in Berlijn en Tilburg: The Destroyed Room) tot in het oneindige op de dynamiek van macht. Geïnstalleerd in
de projectruimte van NIMk, worden de beschouwers actieve deelnemers die
een interactie met het werk aangaan. De nieuwe werken van Daniel Keller
en Nik Kosmas spelen met hedendaagse ideeën omtrent de waarde van kunst,
de waarde van waarde, de energie van waarde en de macht van
maatschappelijke netwerken waar de daadwerkelijke uitwisseling van
waarde plaatsvindt. Nog te zien t/m 2 september in NIMk te Amsterdam.
We’re extremely proud to have Battles on this year’s line-up, playing a very special show at Natuurtheater in Oisterwijk! Battles combine complex rhythms, synths, processed guitar riffs and surprising (multi-instrumentalist) switches between instruments, guaranteed for constant ‘wtf’-moments. Also known for the characteristic extremely high drum cymbals and the use of guest vocalists such as Gary Numan and Blonde Redhead's Kazu Makino, which they project live on big screens in a brilliant way.
After graduating from Yale with an MFA in photography and winning the
Richard Benson Award for Excellence in Photography in 2007,
Brooklyn-based photographer Michele Abeles
has attracted considerable attention from the art world. To date,
Abeles' work has been included in over twenty exhibitions - from the
Prague Biennale to MoMA PS1 - and featured amongst the pages of numerous
art publications - from ArtReview to New York Magazine - so I'm sure we
can expect a lot more to come from this ambitious young artist.
Rafaël Rozendaal - Solo exhibition Opening: Friday 29 July, 9PM
Artist Talk: Saturday 30 July, 3PM
Producing
the effect of infinity with minimal equipment and effort – the
exhibition at W139 attempts to allow the observer to experience the
exhibition space as an interface and himself as a committed user. W139
also presents a selection from Rozendaal’s work. http://w139.nl/en/article/the-shift/
Rafaël Rozendaal (1980, Dutch – Brazilian)
Lives and works everywhere. Rafaël
Rozendaal is a visual artist who uses the internet as his canvas. His
artistic practice consists of websites, installations, drawings, and
writing. Spread out over a vast network of domain names, he attracts a
large online audience, over 12 million unique visits per year. http://www.newrafael.com/
The MOBILE MUSEUM is a travelling museum, with contents contributed
by people from all over the world (thats you). We welcome contributions
from different backgrounds. Whether you are an artist, designer,
illustrator, photographer or other practitioner, we want to hear from
you. Unlike a conventional Museum the collection is always changing,
evolving depending on its location, with the location itself dictating
the theme. The first Mobile Museum exhibition took place during the Milan
Furniture Fair 2011, under the curratorial Theme of "Family". The second
MM exhibition will be staged at the Victoria and Albert Museum as part
of the Friday Late Summer Camp programme.
In his 1974 book, "Build Your Own Living Structures," architect Ken
Isaacs explains the origins of this kid-sized Living Structure, the
Microdorm 2. In 1963, Isaacs was contacted by a University of Chicago
child psychiatrist, who wanted to provide individual
work/play/living/storage spaces for handicapped and disabled children in
state institutions.
“The modular design of the microhouse is based on stacked tetrahedrons,
which can be moved in and around each other providing shelter and
dividing living space in a creative way. (…) Isaacs covers the
philosophical meanings of surplus and uses the designs as a means of
addressing life as whole; a simple place (…) that has a low impact on
the surrounding natural environment.”
Al vele malen in het echt gezien, maar sinds zes maanden in het geheel op vimeo te zien: Yael Bartana's Kings of The Hill uit 2003. Voor meer Bartana op Whatspace kijk hier.
Yael Bartana filmed this intriguing video during her residency at the
JCVA in December 2002. The work, which was later purchased by bothe the
Tate Modern Museum in London, and the Museum of Modern Art in New York,
deconstructs a surreal, chauvinistic practice cultivated by Israeli
drivers of massive all-terrain vehicles. The men, sometimes accompanied
by their sons, take their four-by-four-wheel drive jeeps and vans into
sand dunes, where they drive into ditches and then make repeated
attempts to drive back out. Bartana's video shows the vehicles standing
upright, jutting out of the sunken holes they have driven into, and
repeatedly attempting the climb back out. Bartana exposes this
little-known practice, filming it with a slow, seemingly romantic sunset
in the background so that the men show up as silhouettes, stereotypes
rather than individuals.
