dr. julius | ap presents: 

bits and pieces
Wolfgang Berndt – Generative Graphics
Burchard Vossmann – Objects + Collages

The exhibition bits and pieces at dr. julius | ap brings together Wolfgang Berndt’s generative graphics with Burchard Vossmann’s objects and collages. The works shown here stand in stark contrast to each other in terms of creative process: while Berndt’s parametric structures and modulations, produced using software developed by the artist himself, are created digitally, Vossmann’s process is thoroughly analog—his works are serial arrangements of varied, carefully chosen materials from his vast collection of objects from daily life, or mechanically shredded pieces of printed matter.

There are nonethless relationships and proximities between the two artistic attitudes and methods—particularly in the systematic-structural processes and the ways both artists reference and update conceptual and minimalist approaches.

Wolfgang Berndt came to develop his own software for algorithmic image generation by way of mathematic and technical training, software development, graphic design, and preprint. Hans-Christian von Herrmann, Professor at TU Berlin with a research focus on history of media and science of the arts, writes on his work: “By removing the actual handicraft aspect from the creative process, the resulting artwork is subsequently pure applied mathematics. Thus an absence of a depiction of an object or objects in such a piece does not make it abstract but rather concrete in the sense that it is a pure construction, and therefore much more closely related to simulation than illusion. The viewer can still become immersed in such works by means of an investigative eye that tracks how surfaces are structured and compartmentalised or how they appear in an architectural sense within the work. When generative art is not depictive, this is not by virtue of the fact that it complies with certain prohibitive principles; but rather because the picture itself has become the object, requiring the viewer to track its compositional principles. [...] As such, Wolfgang Berndt’s works are therefore always artistic fabrications. At the same time, in their role as material objects they reveal something by providing insights into the interplay between the complex algorithmic processes from which they emerged.” [1]

Wolfgang Berndt has been exhibiting at dr. julius | ap regularly since 2008, and has also been represented at the gallery’s art fair appearances in Berlin, Cologne, Amsterdam, and Basel.

Burchard Vossmann’s “art, on the other hand, begins by taking an exacting and trained look at just those day-to-day objects that we most tend to overlook: bus tickets, matchbooks, packs of cigarettes and disposable lighters, candy wrappers, packaging of all kinds, trading cards, cleaning rags, etc. Vossmann examines these objects for their creative qualities. [...] Vossmann is constantly collecting a variety of banal materials, which he orders, systematizes, and categorizes in order to use them later in various groups of work.  To do so he employs various artistic techniques and methods, including sequencing, collage, accumulation, and serial mounting to create material images which are mostly two-dimensional and often square. [...] Systematically organized, seemingly identical individual elements are placed next to each other, which ultimately illuminates their subtle differences.  These works, which consist of rows of small items from daily life, rely on established concepts of Minimal Art, while also updating and extending these concepts for a contemporary context.” [2]

Vossmann has been involved with dr. julius | ap since his participation in the international group show FutureShock OneTwo in 2012. bits and pieces will mark the first time he has shown a larger collection of his work at the gallery.

Notes:
[1] Hans-Christian von Herrmann: Generative Computergrafik. In: Wolfgang Berndt. Verfahren. Berlin [edition ROTE INSEL], 2012
[2] Matthias Seidel: Serielles Montieren. In: Burchard Vossmann. Arbeiten 2002 – 2012. Berlin [edition ROTE INSEL], 2013. New release on the occassin of  bits and pieces.

bits and pieces
Wolfgang Berndt – Generative Graphics
Burchard Vossmann – Objects + Collages

Opening Thursday, May 23, 2013, 7 – 10 p.m.
Exhibition through Saturday, June 22, 2013
Open Thu – Sat 3 – 7 p.m. and by appointment

dr. julius | ap
www.dr-julius.de
Leberstrasse 60
D–10829 Berlin
+49+30 243 743 49
S-Bahn Suedkreuz + Julius-Leber-Bruecke, Bus 106 + 204 to Leuthener Strasse

The post bits and pieces at dr. julius | ap appeared first on Anti-Utopias.

Arthur Duff
Precious Objects / Extraordinary Individuals

site-specific installation
Palazzo Malipiero Barnabò and private garden
campo San Samuele, Venice

28 May – 3 June 2013
from 19.30 to 24.00

Words which revolve around an invisible axis, sentences suspended in the air above an enchanting garden, between the pediments of two buildings facing onto the Grand Canal which, like an invisible yet tangible side scene, define the union/separation between the public space and that private space which in Venice holds treasures that have remained inaccessible to the many. Precious Objects – Extraordinary Individuals is the new site-specific installation of the American artist Arthur Duff, who will bring his unmistakeable green lasers to Palazzo Malipiero Barnabò during the preview days of the 55th International Art Exhibition of Venice (28 May – 3 June 2013). Duff, who was born in Wiesbaden, Germany, now lives and works between Vicenza and Marghera.

The project, sponsored by STUDIO OREDARIA of Rome and Studio la Città of Verona, has been given a title that evokes the critical clichés typically associated with artistic production, according to which the artist has to be an extraordinary individual able to create precious objects, while the actual content encourages the spectator to engage with the concept and the perception of space.

Duff will project the results of the survey he has carried out over the last two months onto the Palazzo and into the area of its splendid garden. The survey consisted of his sending emails to dozens of persons asking them to give an account of a precious object and an extraordinary individual in whatever way they liked. The descriptive part of these replies has been extracted and transformed into laser writings mounted in a visual and conceptual endless loop, which will be ever-changing to the gaze of whoever passes by in a boat along the Grand Canal.

«The observer will be able to physically and palpably relate to the projected image created by green laser rays. It is a penetration into the Venetian urban landscape that is in contrast with the continuous sequence of façades of the Grand Canal usually seen by the visitor – explains Arthur Duff – given that the garden of Palazzo Malipiero creates a dimension that is both private and public, there being a very fine separation between the two spaces. The work therefore emphasises the membrane that unites/separates the two dimensions and intends highlighting the distance between the privilege of accessing an intimate and therefore inaccessible space and the public extolling of the same privilege».

The post Arthur Duff – Precious Objects / Extraordinary Individuals appeared first on Anti-Utopias.

Michael Danner’s book Critical Mass / Kritische Masse on nuclear power in Germany will be published by Kehrer this July.

The photography book with a print run of 1.000 copies will feature on 284 pages 115 of Michael Danner’s color photographs from the past four years as well as 40 black and white images from archives. Essays by Susanne Holschbach and Kai F. Hünemörder reflect the project and -SYB- has designed the book.

Michael Danner offers a limited edition that helps to fund the book‘s publication. Please take advantage of this exclusive offer and spread the word. Your support is very much appreciated!

The book

Michael Danner’s book of photographs Critical Mass/Kritische Masse – Nuclear Power in Germany documents the architecture, everyday routine, and security systems of all 17 German nuclear power plants, as well as the radioactive waste repository Asse and the Gorleben exploratory mine. The work provides a rare glimpse behind the scenes at the power plants, showing areas that are normally off-limits. The photographs are interlocked with historical photographs from police and state archives from the planning and construction phases of the plants. Essays by Susanne Holschbach and Kai F. Hünemörder reflect the project and -SYB- has designed the book.

Edition

Two signed and numbered editions are available. Both comprise of a book plus 1 or 2 prints on photo-rag approx. 22 x 26cm. You are free to choose your image from the overview below. The editions will be shipped after the book‘s publication.

Edition 1
1 Book and 1 print; Edition of 50
EUR 95.00 plus p&p

Edition 2
1 Book and 2 prints; Edition of 50
EUR 125.00 plus p&p

Postage & packaging: Germany EUR 5; Europe EUR 10; World EUR 15

Please state with your order for Edition-1 one figure and for edition-2 two figures of the images below:

Edition 1: book + Print No.___________
Edition 2: book + Prints No.___________

Michael Danner
Zelterstrasse 14
10439 Berlin
Germany

mobile +49 175 2026704
office +49 30 44717800

www.dannercriticalmass.com

The post Michael Danner – Critical Mass / Kritische Masse appeared first on Anti-Utopias.

Claudia Hart – Digital Death, 2013, 22 minute looped animation for installation

On May 15, 2013, Claudia Hart and Alex M. Lee will open an exhibition titled Rendering Time at Gallery Dos in Seoul. A special catalogue has been published on this occasion, featuring an essay by Nicholas O’Brien.

Within the work of Claudia Hart and Alex Lee, a strand of romantic sensitivity and powerful quietude weaves its way through a visually distinct digital fabric. The computer-rendered garment of their work contains both a serene stillness and the lush vibrancy of a delicate, warm, embracing cloth. Hart and Lee don this airy robe not to signify some position of authority, but instead to be enveloped by the deliberate and humble intention of renewing the visual and metaphorical underpinnings of Romanticism. For these two artists, this reinvestigation stems from the myriad of political, spatial, and aesthetic concerns that new technologies pose to traditional notions of the sublime, the body and the virtual, found within Romantic thinking.

The particular technologies that are most wrought with these questions are those that both artists employ: 3D animation, rapid-prototype printing, mobile application, digital photography, and networked technology. In doing so, Hart and Lee expose the ways in which Romantic thought and vision have influenced new media production by striking new territory into a profoundly self-reflexive terrain. By establishing equivalences between Romanticism and digital technology, Hart and Lee position their work at a metaphorical precipice all too familiar to their art historical predecessors. (Nicholas O’Brien)

More information:
Gallery Dos
115-52, Palpandong
Jongrogu
Seoul
Korea
Tel. 82 2 737 4678

The post Rendering Time opens May 15 at Gallery Dos in Seoul appeared first on Anti-Utopias.

The 6th of June Italian artist Francesca Fini will perform her work “With an helmet fair and lost” at Rapid Pulse International Performance Festival. The event will take place at 7pm at the Defibrillator Art Gallery in Chicago. The RAPID PULSE INTERNATIONAL PERFORMANCE FESTIVAL aims to represent a range of styles and forms in order to provoke thought and stimulate discourse surrounding performance art.

The 2013 edition of the Festival will show the works of the following artists:
Arahmaiani (Indonesia) | Andrew Barco (US) | Anna Berndtson (Sweden/Germany) | Wafaa Bilal (Iraq/US) | Jeffery Byrd (US) | Pate Conaway (US) | Jess Dobkin (Canada) | Zackary Drucker (US) | Arianna Ferrari (Italy) | Francesca Fini (Italy) | Beverly Fre$h (US) | Anna Felicity Friedman (US) | ArtiGrabowski (Poland) | Fausto Gracia (Mexico) | Allison Halter (US/Germany) | Sara Holwerda (US) | Elana Katz (US/Germany) | Elena Katsulis & Erin Peisert (US) | Joshua Kent (US) | Mehdi-Georges Lahlou (Belgium) | Carlos Salazar Lermont (Venezuela) | Miller & Shellabarger (US) | Şükran Moral (Turkey) | Mothergirl (US) | Boris Nieslony (Germany) | Wanda Raimundi-Ortiz (US) | Jefferson Pinder (US) | Emilio Rojas (Mexico/Canada) | Kambui Olujimi (US) | Rooms (US) | Fereshteh Toosi (US) | Alice Vogler (US) | Dolores Wilber + Sarah Wilber (US) | Julie Wills (US) | Zierle & Carter (UK)

http://rapidpulse.org/

 

Curator / Director: Joseph Ravens

Curator: Steven L Bridges

Curator: Julie Laffin

Curator / Assistant Director: Giana Gambino

Director of Artist Relations: Ryan Noble

Artist Relations Assistants: William Kendall, Thomas Albrecht

Director of Development: Rosa Gaia Saunders

Development Assistants: Jose Benavideso, Whitney Richardson

House Manager / Public Relations: Andrea Decker

Media Technology Coordinator: Brad Litwin

Discourse Coordinators: Will Ruggerio, Gibran Villalobos

Organizing Coordinator / Hub manager: Autumn Hays

Production Coordinator: Christian Cruz

Technical Coordinators: Vincent Tiley, Sabri Reed, John Burkholder

Documentation Coordinators: Brett Swiney

Archive Coordinator: Kyle Riley

Web Designer: Dana Durfee

 

Biography
Francesca Fini is an Italian artist working with video and performance. Her live projects, always addressing social and political issues, are mixed with lo-fi technology, homemade interaction design devices and video. She hacks everyday objects such as surveillance cameras, wi-mote sensors and therapeutic electrodes, mostly used to give to her work an ironic flavor. “Technology is interesting, but rather than call your smartphone I prefer to twist your stomach talking to you in a plastic cup connected to a string”. In 2012 she took part to the first “Venice International Performance Art Week”.
www.francescafini.com

 

With an helmet fair and lost – project description
During the performance I’m wearing electrodes on both arms and I try to wear makeup. Involuntary muscle contractions caused by electric shock are very strong so that I cannot control the hands and the makeup spreads all over my face. We hear the chorus of Nabucodonosor by Giuseppe Verdi, which has a very strong symbolic value in the history of my country, bringing along the ghosts of old struggles for freedom that no one remembers anymore. “My country, fair and lost”. The hysterical, uncontrollable, movement of the hand represents the disease of social habit, which reveals its fragility when the system appears on the point of collapsing. Even crying is involuntary, caused by the black pencil and mascara entering my eyes since I cannot calibrate the movement of the hand. A mechanical cry that is automatically transmitted to the audience, in a sort of empathic conditioned connection, unconscious and therefore completely useless.

The performance is part of a larger project: withanhelmet.blogspot.it

 

Francesca Fini
francescafini.tumblr.com
www.francescafini.com
cell: 340 9162400

 

 

The post Francesca Fini – Fair and Lost appeared first on Anti-Utopias.

Pete Rock (Rappers, DJs & Producers), 2013, Oil on Canvas, 180 x 150 cm / BIG K.R.I.T. (Rappers, DJs & Producers), 2013, Oil on Canvas, 180 x 150 cm

ANDY DENZLER PAINTINGS/
EMPIRE INC. 

Opening: May 16, 2013, 7 pm  Exhibition: May 17 – July 7,  2013

KUNSTHALLE ROSTOCK
Hamburger Straße 40, 18069 Rostock
www.kunsthallerostock.de
Thursday – Sunday 11 am – 6 pm
 

Oh you got a little name
little fame little fortune?
What you have is a portion
Bout the size of the hats
in the back of my Porsche and
So you better use caution,
knowin I’m the boss and
I’m sittin on pyramids, flossin
I don’t really gotta talk son
I can get lost and sit back livin
off endorsements I’m a pro, kid
Why you actin like
you don’t really know, kid?
Any records I broke it
Through the fame and the stardom,
makin my mark on Harlem like Poe did
I said, here’s your eviction notice
But you probably already know this
I don’t mean to be greedy,
but turn on your TV or pick up your CD, P.D.
 
– P. Diddy
(Lyrics from “The Saga Continues”)

EMPIRE INC. 

P. L. Grand

Every young musician dreams of becoming a pop star and accumulating the wealth and celebrity that goes with it. But singing, rapping, producing, or DJing your way to the top of the charts takes a special blend of raw talent, style, confidence, dedication and an industrious work ethic. Marketability, too. In this exhibition of all new works, and his third Museum show since 2011, the painter Andy Denzler delves into the world of music superstardom. Created over a six month period from his studio in Zurich, the show entitled Empire Inc. presents artists of the modern recording industry, achievers of the American Dream – fame and fortune.

Returning to monochrome, Denzler’s over dimensional portraits remind us of his Insomnia series (2007) and his American Paintings series (2005). But this time the heavier oil impastos add a richness and depth that push the compositional aesthetic and detail of his glitch paintings to a new apex, signalling Denzler’s technical maturity.

The Insomnia series, inspired by Erik Skjoldbjærgʼs film of the same name, invited the viewer into the hazy morass of sleepless nights and hallucinatory suffering, while the American Paintings series was more immediate, exploring George W. Bush era frailties and tattered symbols of the greatest country in the world. The New York City solo showing included a nod to Jasper Johns with a momentous black and white American flag, among other vaguely familiar tableaus of the President with his now infamous inner circle. In his early career, Denzler proved himself a formidable talent with graphically balanced abstraction. Working both in colour and sepia tones is where he first developed his signature paint dragging which projected a sense of urgency and unravelling to an otherwise rigid aesthetic geometry. In time, the artist gradually evolved into figurative composition, pushing outside his comfort zone. But whether intended or not, each finished canvas of Denzlerʼs oeuvre retains a remnant of where he began.

With a foundation in film and photography, Denzler is a veritable addict of the moving image. Often inspired by motion pictures, his artistic process normally begins with his own digital and polaroid photography, working with models, both in the studio and on his travels, to produce ingenuous snapshots enriched by natural and ambient light sources. These experiments are often early compositional drafts of the final painted works.

The Rostock show reflects the artist’s affiliation to music. In the early eighties, before becoming a painter, Denzler was an aspiring musician, playing in underground new-wave bands and even releasing a couple of B-sides of experimental electronic tracks, on an independent Swiss label supported by the group “Yello.”

If popular musicians and producers are the subjects of this exhibition, the theme is celebrity, wealth and commerce. American society’s fascination with superstardom and “the good life” – a Hip-Hop lyric about poor black inner city youths yearning for excessive material wealth – is reflected and propelled by the popularity of boulevard media institutions like TMZ and displayed in the Twitter frenzy sparked-off by an Angelina Jolie sighting, as if it really mattered. Just like Hollywood, the popular music industry plays to a fixation with the cult of personality and the spoils of success.

These black and white portraits of “kings and queens” of the hit parade define an era of pop music – incubated mostly out of Hip-Hop and RnB, or the black music genre – that begot global capitalistic fiefdoms. Wielding platinum and multi-platinum chart-topping success and influence, they have evolved into self-appointed chairmen and chairwomen of the board, profiled in Forbes magazine and analysed in business school case studies. Today, beyond their talent for song craft, beat-making and performance they are building empires through investments in publishing, film and television, fashion and accessories, electronics, restaurants and hotels, and by peddling the wares of established multinational brands, via Madison Avenue, with lucrative corporate endorsement contracts. Members of this ilk embody American entrepreneurship on an epic scale. Denzler’s treatment of these iconic subjects, instantly dials down their hyped personas, leaving them isolated and fragile; even tristful. Both the scale of the canvases and the compositions recall royalty portraiture by European masters, but these paintings, set in monochrome and replete with glitches and imperfections, imparting a distorted film quality, are decidedly of the here and now. In a few works of celebrated rappers, Denzler adds a stain of deep royal purple impasto – the only colour in the entire show – that explodes off the canvases like spitted ghetto rhymes. Though his signature paint dragging adds tension and photographic qualities, at times, it leaves the otherwise famous mugs inscrutable. But one suspects, as we have seen before, it is precisely this ambiguity Denzler intends. Still we remain captured by the verisimilitude of a famous subject: their gaze, their pose, befitting their stature, relevance and sense of belonging. Taken together, Empire Inc. offers a 21st century reflection on an elite class of pop stars who have perfected Warhol’s artistas- brand principles and for whom enormous wealth and fame has left them yearning for more.

The post ANDY DENZLER PAINTINGS/ EMPIRE INC. appeared first on Anti-Utopias.

Image courtesy of MNAC Bucharest. All rights reserved.

The Shadows of the future, 7 Video Artists from Korea
09.05.2013-09.06.2013
Vernisaj/ Opening: 9.05.2013, 19.00
Artist talk: 9.05.2013, 18.00

Artists: Jungju An, Onejoon Che, Sojung Jun, Yeondoo Jung, Minouk Lim, Chan-Kyong Park, Dongwook Suh
Curators: Heiner Holtappels, Ji Yoon Yang
Coordinators: Hyerim Lee, Marius Tanasescu
Organized by MNAC and TIME_FRAME FOUNDATION
Sponsor: Korea Foundation

It was not until the 1970s that Seoul had transformed itself into the modern, urbanized, densely populated and massively industrialized city that it is today. In the last 50 years, as Korea has gone through dynamic economic reforms and rapid developments, the huge influx of people in Seoul creates a variety of social problems that accompany rushed urbanization. Having exceeded its maximum capacity, Seoul currently confronts the threat of cascading breakdowns of critical infrastructures, as well as environmental and political problems. In order to mitigate these social issues, it is crucial for the artists from Seoul to revisit the history of this development and share their alternative voices with the audiences.

The Shadows of the future: 7 Video Artists from Korea engenders a space of different perspectives, which purposefully diverge from the typical Korean epic that depicts it as a country, which succeeded economically by raising from the third-world poverty. Each artistic statement relate to a specific cultural or social context. Thus, the exhibition responds to the complexities of identifying the contemporary Korea and reveals what has been forgotten from this development. The participating artists reinterpret the past and provide visions that contrast with the constant mystification of reality on Korean mass media. Their approaches construct atypical narratives in order to convey personal and subjective stories and transgress the conventional boundaries of the viewing experience provided by moving images.

Media parteners: Igloo, Zeppelin, Sapte Seri, feeder.ro, Radio France Internationale

The post The Shadows of the future – 7 Video Artists from Korea appeared first on Anti-Utopias.

Snowball, 2001, Murano glass, 18cm Ø. Courtesy the Artist, copyright Eric Gregory Powell

Pentagram Stiftung presents: 
Not Vital: 700 Snowballs
curated by Alma Zevi

Benedicti Claustra Onlus
Abbazia di San Giorgio Maggiore

Venezia, Isola di San Giorgio Maggiore
1st June – 29th September 2013

Press preview:

28th May 2013, 5 – 7 pm
in the presence of the artist

29th – 31st May 2013, 10 am – 7 pm
interviews on request

On 1st June 2013, the exhibition Not Vital: 700 Snowballs, curated by Alma Zevi, opens to the public on the island of San Giorgio Maggiore in Venice. The exhibition is sponsored and promoted by Pentagram Stiftung, a Swiss private foundation dedicated to the study of glass. In 2012, the foundation launched Le Stanze del Vetro in partnership with the Fondazione Giorgio Cini, also on the island of San Giorgio Maggiore in Venice.

The exhibition is on show in the left wing of the Abbazia di San Giorgio Maggiore and will be open until 29th September 2013 from 10 am to 7 pm (free admission, closed on Wednesdays).

This presentation of Not Vital: 700 Snowballs, alongside the exhibition Fragile? concurrently on view at Le Stanze del Vetro, brings the visitor through a comprehensive mapping and understanding of the use of glass in contemporary art.

700 Snowballs is an installation consisting of 700 individually blown glass balls which bear striking resemblance to snowballs suspended in air. The snowballs rest directly on the floor, evenly and randomly spread. As each snowball is hand-blown by Vetreria Pino Signoretto in Murano, no two are identical – just as natural elements are never exactly repeated.

The installation creates a place of meditation, evoking the metamorphic, transformative and cyclical processes of nature. The luminous and reflective qualities of glass simultaneously reflect both the dense and yet ephemeral nature of snow. This mirrors the tension between the organic form and the inorganic material, between the durability of the artwork and the fragility of the elements it evokes.

As stated by curator Alma Zevi: “These balls remain, suspended in a moment, creating something that is fundamentally beautiful, and disconcertingly permanent in the world. This work is about human experience, a primary and universal encounter with nature and its physical substance”.

700 Snowballs becomes an environment, a tranquil place of awe and contemplation. Inspired throughout his career by a childhood spent in the Swiss Alps, Vital has explored the contradictions of the harsh climate and vast landscapes that he knows so intimately. Indeed, the iconography of snow and its context has recurred throughout Vital’s oeuvre – he has for instance used plaster to mould mountains that appear to be covered in snow, and has fabricated sleds from marble.

In 700 Snowballs, Not Vital succinctly and poetically presents to us the duality of water’s form when it freezes. It also makes us think of water’s importance in Venice: both in its attractive picturesque quality, which has long been symbolic of the city’s opulent history, and its more recent role as a serious threat to the city. 700 Snowballs explores the ever-rich potential of Venice glass-blowing tradition, despite our being in an era of industrial mass-production and cultural globalization. The installation is an unprecedented technical feat, and a fine example of the fruits that can be borne of an intimate and intellectually stimulating collaboration between a highly established artist, and the most skilled of Murano craftsmen.

On the occasion of the exhibition Not Vital: 700 Snowballs, artist Not Vital, in collaboration with glass master Simone Cenedese, will design a special limited artist edition glass artwork available for purchase at the bookshop of Le Stanze del Vetro. For more information, please contact info@lestanzedelvetro-libri.it

Concurrently, Not Vital will be presenting a selection of works on paper at Giorgio Mastinu Fine Art  (San Marco 3126, 30124 Venezia) from 28th May 2013. For further information please visit www.giorgiomastinufineart.it or contact +39 347 1828553.

With thanks to Abbazia di S. Giorgio Maggiore, Ruch & Partners Architects St. Moritz, and those donors who wish to remain anonymous.

Biographical notes

Not Vital (b. 1948, Sent, Engadin, Switzerland) is at the international forefront of contemporary sculpture. A nomadic lifestyle has brought him to live and work periodically in every continent over the last 40 years. Currently he has a studio in Sent and Beijing, and ongoing relationships with craftspeople in Venice, Lucca, North Africa, Rio de Janiero and Patagonia. Not Vital took part in the 49th Venice Biennale (2001), curated by Harald Szeemann, with his work Plateau of Humanity. Since the mid 1970s, Not Vital has exhibited extensively and with international acclaim in galleries, museums and institutions.

For further information and interviews requests, please contact:

Le Stanze del Vetro
p
+39 041 5230869
www.lestanzedelvetro.it

www.notvital.com

The post Not Vital: 700 Snowballs – Opening 28 May 2013, Venice appeared first on Anti-Utopias.

Fondazione Giorgio Cini Onlus
Marc Quinn
Curated by Germano Celant 

29 May – 29 September 2013
Island of San Giorgio Maggiore, Venice

Press Preview:
Monday, 27 May 2013, 10 AM – 7 PM
Tuesday, 28 May 2013, 10 AM – 5.30 PM

Opening to the public:
Wednesday, 29 May 2013, 10 AM – 7 PM

Press accreditation: Journalists who wish to attend are kindly requested to confirm their participation filling this form, no later than May 24, 2013.

Interviews: The artist, the curator and the secretary general of the Fondazione Giorgio Cini will be available during the press preview days at select times. To request an interview, please email Elena Casadoro, Fondazione Giorgio Cini,  or Amy Wentz, Polskin Arts, .  All requests must be made no later than May 24, 2013.

Images: requests should be sent to

Press information:
Press Office Italia:
Elena Casadoro
Fondazione Giorgio Cini onlus
Tel.: +39 041 2710280 – Fax : +39 041 5238540
E-mail:
www.cini.it

International Press Office:
Amy Wentz, Polskin Arts & Communications Counselors
+1 212 715 1551/
Sharon Ruebsteck, Polskin Arts & Communications Counselors
+1 212 715 1578 /

The post Marc Quinn – Press Preview 27-28 May 2013 appeared first on Anti-Utopias.

Mel Chin. SAFEHOUSE for Operation Paydirt & the Fundred Dollar Bill Project

READY TO JUMP?

curated by LaRete Art Projects
 (Julia Draganović, Elena Forin, Claudia Löffelholz and Federica Patti)
for Milano & Oltre. Una visione in Movimento
(Milan & Beyond. A vision in motion)
presented by Connecting Cultures
Triennale di Milano, via Alemagna 6, Milan, Italy
Round table: May 9, 2013, at 6:00 pm
Exhibition: May 2-30, 2013

 
Ready to Jump? is an exhibition curated by LaRete Art Projects for Milan & Beyond. A vision in motion. Presented by Connecting Cultures the exhibition-event at the Milan Triennial involves artists, architects, urban planners, photographers, scientists, policy makers and performers for the whole month of May in order to propose new ideas on, participation and plurality in the city through ongoing exhibitions and a calendar full of round tables, meetings, workshops and performances.

LaRete Art Projects and the International Award for Participatory Art were asked to respond to this open invitation to bring new views, proposals, experiences and projects to demonstrate how art and culture can be catalysts for change in contemporary urban settings. In a fixed location during the exhibition can be found a “social betterment” area that is dedicated to documenting artistic projects that manage to create social “improvement” through collaborative interventions. On May 9, 2013 at 6:00 pm, Luigi Benedetti, Director General of the Legislative Assembly of the Emilia-Romagna, as well as Julia Draganović and Claudia Löffelholz, curators of the Award, will explore and discuss these practices along with the experiences of the International Award for Participatory Art.
 

Ready to Jump? provides an overview of the different ways in which art can contribute to the “social betterment” of a context, such as new platforms for dialogue between people, knowledge creation, alternative channels to disseminate the improvement of the quality of life and the design and implementation of alternative exchanges. Projects include: Susanne Bosch The Leftover Penny Campaign, Mel Chin Operation Paydirt / Fundred Dollar Bill Project, Massimo Grimaldi Emergency’s Paediatric Centre in Port Sudan Supported by MAXXI, Fritz Haeg Edible Estates, Pablo Helguera Ælia Media, Jeanne van Heeswijk Het Blauwe Huis, Public Movement Spring in Warsaw, A Walk through the Ghetto, Tim Rollins and KOS (Kids of Survival) Art and Knowledge Workshop, Jon Rubin Conflict Kitchen, Isola Art Center, The People Speak Who wants to be…?, WochenKlausur Shelter for drug – addicted women, Wooloo New Life Copenhagen.

On May 9th the discussion will continue with the history of the International Award for Participatory Art, a project dedicated to the promotion and experimentation of these artistic practices and promoted by the Legislative Assembly of the Emilia-Romagna region in collaboration with LaRete Art Projects and La Pillola.

The Award was developed with the declared intention to experiment with new forms of involvement and decision-making processes and to stimulate a renewed interest in the common good. It is aimed at artists who have distinguished themselves on the international scene for their participatory practices born in a particular region. These audience specific works are capable of creating new spaces of confrontation, negotiation and decision making with an open public.

Milan & Beyond. A vision in motion | 2 to 30 May 2013
Triennale di Milano | via Alemagna 6, Milan, Italy
Tue-Sun 10:30 am-8:00 pm, Thu 10:30 am-10:30 pm, Mon closed | admission free
International Award for Participatory Art: www.artepartecipativa.it

www.facebook.com/ArtePartecipativa
Press Office LaRete Art Projects: Maddalena Bonicelli: M +39 335 6857707
/ maddalena.

The post Ready to jump? appeared first on Anti-Utopias.