Saturday, 1 June 2013
CHANCE ENCOUNTERS - interview with contemporary artists - meets ADITI KULKARNI (India).
Born in Mumbai in 1982, Aditi Kulkarni is a multidisciplinary artist, working in wide range of mediums. She has received her BFA from Abhinav Kala Vidyalay, Pune in 2005.
Aditi showcased her work at Skoda Prize Show at National Gallery of Modern Art India in 2012. She had a residency + solo exhibition Alienation of Space, an ongoing experiment in 2011, Seven Art Gallery Delhi.
Aditi was offered Charles Wallace India Trust Award for a research residency at Spike Island, Bristol, UK in 2009. She was offered French Embassy Travel Grant in 2010. She has been resident at the Braziers International Artist Workshop, UK in 2010; Sowing Seeds Artist Residency, Jodhpur in 2009; Khoj, Delhi, Insaka Workshop - Zambia, Amala Media Workshop- Egypt in 2007. Her participations include Time is Love .6, 2013, Video Guerrilla, 2013; P-Silo Images Contre Festival, France, 2012, VideoAkt 2, Berlin 2012; Moscow Museum of Modern Art, 2012, ((.mov)) video art in Motion, Lima, 2012; Les Instant Video, Marseilles, France, 2012; InExactly Festival, Amsterdam , 2012; Supernormal Festival, 2012; Fragments, Arnot Museum, New York, 2011; DARE Video Project- In Out Festival Gdansk, Poland; Show 17, Shift Gallery, London, 2010; BAC! 10.0 Barcelona, 2009; Hyphenated Practice, FICA, Delhi, 2009; Asian Film Festival Mumbai, 2007; Mumbai International Film Festival, 2004.Currently she lives in Pune.
How did you first decide that art was your path in life?
I did not choose to paint to become a painter. What led me to paint as a child was for the sheer joy of playing with imagination and creating it. I simply followed the force of idea and my intuition with conviction and passion even in odd times and I guess that is when I knew the path is already here.Moreover its a habit I guess.
What's your main interest as an artist?
My interest lies in to travel and explore. I think it is the process that gives me immense pleasure in experimentation and discovering newer dimensions and perspectives. In process I find scope for transformation, improvisation and it keeps me more inquisitive about the outcome. After all I leave my work to the observer to interpret. What interest me the most is the parallel realities and how they challenge my perception.
Where do you get the ideas for your work?
I believe it’s an impression of life around me. I play with perception and phenomena’s in visual appearances and layering them. I follow no method system to express.
I like to play with the idea of space in a conceptual and also in a physical way.
One of my works - Alienation of Space and Time is an ongoing experiment. I use elements out of the reality that are constructed to new, future, possible or illusionary realities where the viewer can relate to the elements in the given context. Working with elements, space and projections I try to create the illusion of a space in a real space so that the viewer can experience the feeling of alienation. By creating a layered reality I try to influence the observation of a viewer. I intend to trigger the process of amalgamation between perception, space and laws of physics. Some prior works in the exploration were titled as Gravity, Hypnosis and Alienation of space. These works are a result of research on subjective perception.
What would you most like to make that you haven't so far?
I always enjoy playing with spaces and creating narratives where viewers are immersed in a sensory experience. I am working on a concept of Alienation of Space and Time. I envision this concept in various mediums, spaces and motifs. It would be interesting if one day I can incorporate elements of smell to create visual memory.
What do you think is the social role of art?
Art has various social roles if considered; it starts with our very living. Apart from entertaining, evoking, and liberalizing, I think it creates collective and individual existence & memory. Actually most interesting is viewer decides if it is Art or not.
What place does creativity have in education?
It helps to question the right things and to believe that there can be various approaches to one question and every way is possible. Creativity generates curiosity in education which can give shape to imagination.
Do you think that by challenging conventional views, art can truly make a change in the public's perception ?
Yes if that idea has really challenged the viewer. It is only making people look at an art piece it’s not just enough. It has to create visual stimuli for the viewer through its imagery or its context, only then it has a capacity to change the public perception.
What are your future plans and projects?
Plans are a lot for a lifetime but for now I am looking forward to do research on attempts to approach spatiality and question its meaning. I am keen to work on series’ Alienation of Space and Time further creating five parallel narratives, emphasizing aspects of spatiality by showing combinations of momentum. Further I plan to explore and do collaborations with moving images and to work on my visual documentary on the phenomena of refraction.
Thank you and good luck!
Friday, 31 May 2013
STIFTELSEN 3,14 presents
TIME IS LOVE.6 - [Show 5]
7 - 8 June 2013
Screening & talk
INTERNATIONAL CONTEMPORARY ART FOUNDATION
5014 Bergen, NORWAY
+47 - 55 36 26 30
Aditi Kulkarni | Anthony Peskine | Bill Millett | Ciriaca Erre | Cristina Picchi & Yuval Gerstein | Danny Germansen | Dellani Lima | Denis Brun | ELASTIC Group | Eugene Perera | Evelin Stermitz | Francesca Fini | Gilivanka Kedzior & Barbara Friedman | Isidora Ficovic | Jangyoung Jung | Jennida Chase | Jennifer Abessira | Joas Nebe | Jonas Nilsson | Joy Whalen | Kent Anderson Butler | Kokou Ekouagou | Larissa Sansour | Larry Caveney | Laszlo Laszlo Revesz | Neil Howe | Nina Backman | Otelo Fabiao | Paul Rascheja | Pil & Galia Kollectiv | Polina Zioga | Rita Casdia | Sabrina Osborne | Sohrab Kashani | Tommaso Pedone | Tommy Becker | Tor Jorgen Van Eijk | Uma Ray | Yotam Gilad.
Special Thanks to Malin Barth
31 May - 29 June 2013
152 Deptford High St
SE8 3PQ London
Private View: 31.05.13 | 6-9pm
Exhibition runs until 29.06.13
Gallery open Wed - Sat 10-6pm
BEARSPACE gallery proudly presents Island Folly; a new body of work by British artist Jess Littlewood.
Island Folly continues Littlewood’s ambiguous and ongoing narrative focusing on a fictitious island commune. As with previous work the inhabitants of this commune remain unseen, their specific beliefs unclear, though evidence of their presence alludes to a culture of primitive eccentricity and desperate faith.
Central to the exhibition, The Dissolution of Mother Island maps the inevitable collapse of the founding commune and the emergence of a new epoch, defined by five new derivative sects. Each sect inhabits a new island, and looking to the future each attempt to establish a unique society whilst never achieving true autonomy.
The further five exhibited works act as chapter headings, describing each sect and their specific obsessions. All maintain a fixation with the shrine like shelters of their past, highlighting futility in their attempts for individualism. These five new islands will now act as anthropological testing grounds in which Littlewood can explore the parameters and tendencies of human behavior.
Littlewoods otherworldly landscapes are the product of extensive collecting, collating and archiving of images. Working digitally Littlewood builds layer upon layer of found imagery, the final outcome a window into an alternative world.
Littlewood's work continues to reference alternative counter-culture of the 1960s and 70s, whilst her aesthetic brings to mind sci-fi cinema of the same period. Her interest in mysticism, cult and religion remains just under the surface, as she continues to interrogate the nature of belief.
Jess Littlewood graduated with a BA First Class Honors from Central Saint Matins College of Art and Design in 2010, and currently works from her studio in Brixton.
She has exhibited widely in group exhibitions since 2007.,Exhibitions include: Future Map 10 - Zabludowicz Collection, and the PPOW in New York. She has also been championed by Hotel Elephant and ‘The Contemporary,’ London.
47d rue de praetere
Wednesday - saturday : 1pm - 6pm
email : email@example.com
Opening Reception : June 6, 2013 6-9pm
Delire Gallery is proud to present "W il Potere Popolare", the first solo exhibition in Belgiumm by Croatian artist Nemanja Cvijanovic.
In his artwork Nemanja Cvijanović uses almost all the media and techniques of visual and performing arts. His work is based on conceptual / post-conceptual / setting and is developed through the practice of collective performance, the performance of interactive installations and facilities, video production and multimedia projects, painting, photography, and sound works.
His focus of interest is questioning and uncovering the mechanisms of production, manipulation and consumption of meaning in post-modern culture that is based on a critical attitude towards the ideological and aesthetic values of modernist culture and society. His criticism is manifested in the works of art based on the structural and semantic order of pre-existing works, historical events or phenomena, by means of mimesis and / or simulation as well as the use of visual meta-language. Cvijanović lucidly links past and present, parallel realities of different social systems and different artistic strategies.
17 June - 26 July 2013
Paris College of Art
14 rue Letellier
Phone: +33 (0)1 45 77 19 99
Summer 2 weeks:
July 1st – July 12th &
July 15th – July 26th 2013
Summer 4 weeks:
July 1st – 26th 2013
June 17 – July 26, 2013
The Summer Program at Paris College of Art offers an exciting set of courses with a modern edge in the historically and artistically rich city of Paris. In these 2-week or 4-week courses, introductory through advanced level students will explore art, design, business, culture and language. Areas of study include Critical Studies, Communication Design, Design Management, Fashion Design, Fine Arts, Illustration, and Photography. All courses are taught in English. As all courses are taught intensively, only one class may be taken at a time. Some undergraduate and adult level courses will require independent student research and participation in group projects. These challenging assignments will allow students to gain an enhanced personal creative identity.
Pre-College level: Must be at least 16 years old at the start of the program.
Undergraduate + Adult level: Must be at least 19 years old at the start of the program.
Professional + Adult level: Intended for individuals who have completed bachelor level studies and/or working professionals.
Emerging artists are invited to consider how their practice could be developed within the structure of a 6-week residency in Paris. The residency's aim is to enhance the individual's independent practice by providing them with the space, guidance, and resources necessary to fully investigate a defined project. Residents work from a large communal studio; in addition they have access to the ceramics, welding, woodworking and mold-making workshops, photography studio and darkroom, printmaking facility, fashion atelier and computer lab. Visiting professional artists, designers, curators, and writers engage with residents via lectures, critiques, and workshops. Visits to museums, contemporary exhibitions and cultural spaces in and around Paris will be organized to complement and enrich residents' creative development.
The Residency program is open to rising seniors in BFA programs and students who have graduated from a BFA program in the last 2 years. Creative Residency is by application and candidates must submit a statement of intent as well as examples of their work to be reviewed by PCA Admissions. The Priority deadline is the 1st of March 2013, and the final deadline is the 15th of April 2013. The participation fee is 2600 euros. A small number of merit-based partial tuition scholarships will be awarded to select students who apply by the March 1st deadline. Applicants who miss the priority deadline are not eligible for scholarships. Scholarship students are chosen by the Creative Residency admissions committee and will be announced via email in April 2013.
University of Aberdeen, The Sir Duncan Rice Library
AB24 3AA Aberdeen
Evolutionary Loop 517, a monumental six-metre bronze sculpture by the London-based contemporary artist, Nasser Azam, will be unveiled on the 27th May at the University of Aberdeen. The sculpture was commissioned for the Sir Duncan Rice Library, and is a new defining landmark for the University campus. The Library was officially opened in September 2012 by Her Majesty Queen Elizabeth, and the Duke of Edinburgh.
Azam worked closely with the architect of the library, Morten Schmidt, a founding Partner of the award-winning Scandinavian architectural practice schmidt/hammer/lassen architects, who have designed some of Europe's most ground breaking library buildings. The sculptural forms of Evolutionary Loop 517 thus establish a strong rapport with the surrounding buildings and landscape. Azam commented: 'The project has been most rewarding as I was involved with the architects from the outset. Evolutionary Loop 517 to me reflects the visually striking interior design of the library and the use of bronze cements a strong connectivity between the historic relevance and traditions of the university, and the bold and beautiful statement of the contemporary library building.'
The sculpture was named following a competition launched by Aberdeen University, in collaboration with the artist. The winning entry came from Chemistry Professor Marcel Jaspars, who explained his choice: 'I came up with the name as I felt this is a very organic piece, and the intertwined forms connect in a loop, which reminded me of the evolutionary process, with continuous change and connection. It reflects the fact that students, academics and staff are constantly evolving in their experiences and connections at the University of Aberdeen, to show the organic nature of the sculpture in symbiosis with the research carried out at the University and to represent the age of the University when this sculpture was made. In a diverse way, we will all have a connection with the University of Aberdeen just by looking at the sculpture. In future years, maybe people will simply say 'Let's meet at the Loop'.'
Chris Banks, Aberdeen University Librarian and Director of Library Special Collections and Museums, commented: 'I am thrilled that the sculpture is now taking pride of place in front of the library. We are extremely grateful to the donor who commissioned the piece and to Nasser who has created this stunning piece of art for us.'
The £57 million Sir Duncan Rice Library provides an advanced learning environment in which the latest learning technology adds value to a magnificent collection of over one million books and journals. It also safeguards the University's internationally-significant archive of historic books, manuscripts and works of art within the Special Collection Centre and Loop provides another important addition to these collections. The Library is not only a magnificent and inspirational building – it is a hugely important institutional and regional asset which will benefit students, scholars and communities for decades to come.
Alongside the sculpture, Azam has finished a large painting, titled Loop, reflecting on the relationship between sculpture and architecture. Loop has entered the collection of the University, and will be hung in the new library building.
Other major commissions of Nasser Azam's career to date include the sculpture Athena, commissioned for the entrance to London City Airport, and unveiled on 5th July 2012 to coincide with the 2012 London Olympics. Athena is the UK's tallest bronze sculpture. Azam also created the large bronze sculpture The Dance, unveiled on the South Bank on 21 February 2008, as well as work for the National Botanic Gardens of Ireland, in Dublin.
Between 2008 and 2010 he participated in a number of high-profile 'Performance painting' projects including; Life In Space, a project that took place on board a Russian parabolic aircraft, where he completed two triptychs as an homage to Francis Bacon in zero gravity; and the widely reported Antarctica project, where the artist endured severe weather conditions, to create a series of large oil canvases on an ice desert of the frozen Tundra. Nasser Azam was born in Pakistan in 1963 and spent several years in Japan, before settling in London where he has a studio. He has projects coming up in New York, London and Rio de Janeiro.
NOTES TO EDITORS
Founded in 1495, the University of Aberdeen is one of the UK's most internationally distinguished ancient universities. It has a student population of around 16,000 and a large international community of students drawn from 120 different countries. The University, which is Scotland's third oldest, is at the forefront of teaching, learning and discovery, as it has been for over 500 years. As the 'global university of the north', it has consistently sent pioneers and ideas outward to every part of the world. Aberdeen is an ambitious, research-driven university with a global outlook, committed to excellence in everything it does. It is committed to providing excellent support services and facilities and has made an unprecedented multi-million pound investment to provide its students with some of the very best facilities available in the UK including the Sir Duncan Rice Library.
TIMINGS AND LOCATION OF UNVEILING
The unveiling of the sculpture will take place on 27th May will be between 11am-1pm
The address of the Library is: The Sir Duncan Rice Library, University of Aberdeen, Bedford Road, Aberdeen, AB24 3AA.
RSVPs to: University of Aberdeen Stewardship Assistant Emma Leiper: firstname.lastname@example.org
--------> 20 July 2013
Ca' Foscari Zattere / Cultural Flow Zone (CFZ)
Zattere, Dorsoduro 1392
Image: 'Filtration of White Noise' by Elena Gubanova & Ivan Govorkov, 2012. Courtesy of the Artists and CYLAND.
'CAPITAL OF NOWHERE': an exhibit by CYLANDMedia Art Lab & CSAR, Università Ca' Foscari Venezia with NEW MEDIA WORK BY Anna Frants, Elena Gubanova & Ivan Govorkov, Marina Koldobskaya, Vitaly Pushnitsky, Peter Belyi, Alexander Terebenin, Petr Shvetsov, Ludmila Belova, Alexandra Dementieva, Kurvenschreiber Collective HELD AT Cultural Flow Zone Zattere, Dorsoduro 1392 Venice.
EXHIBIT VERNISSAGE: May 31 (7pm)
EXHIBIT DATES: May 27 - July 10, 2013
WITH panels by DIGICULT, CYLAND & CSAR HELD AT Univ. Ca' Foscari Aula Baratto, Dorsoduro 3246 Venice
PANEL: MAY 31 (11am-2:30pm)
Envisioning a variable landscape... In traditional societies, generations would come and go much faster than habitat would change. Catastrophes changed landscapes, be it natural or human in origin - from volcano eruption to migration to asteroid to cultivation. In contemporary times, variety is introduced quickly into landscapes by prosperity or adversity. Over the last century, industrialization, urbanization, revolution, wars, construction and reconstruction – each lead to a generation living under conditions different than previous ones.
The exhibit 'CAPITAL OF NOWHERE' is about life in a changing landscape during the Information Age... Among 13 exhibited artworks personalizing effects of industrialization, urbanization, revolution, wars, construction and reconstruction are Alexandra Dementieva's interactive 'Breathless' translating exhalation digitally into light and words, Vitaly Pushnitsky's hybrid painting-projection 'Waiting' juxtaposing the transpiring of a sunrise over the existence of archaic columns, Elena Gubanova and Ivan Govorkov's sculptural 'Generations' physically uniting decades of doors in solidarity; performances by collective Mylo screened on Soviet era soap. Contributions by CYLAND CoFounders include Anna Frants' new media installation 'Cloud that Smells Blue' which inverts the relationship between oneself to the world and Marina Koldobskaya's ideal city painted on found fragments of old furniture.
This 6 week exhibit at CFZ (Cultural Flow Zone)
will hold a Vernissage: May 31 (7pm)
in conjunction with special Programming: May 31 (11am-2:30pm)
uniting Russia and Italy New Media pioneers at Aula Baratto
International New Media curators, critics, academics and artist gather to explore Art & Technology in contemporary culture on May 31:
11-11:30 / Ca 'Foscari welcome
11:30-13:00 / DIGICULT presents
A New Media discussion: 'WE'RE ON THE ROAD TO NOWHERE'
Curated and introduced by: Marco Mancuso (Digicult Director)
With: Alessio Erioli, Bertram Niessen, Domenico Quaranta, Valentina Tanni
Exploring the dynamics related to information dissemination, networks and channels promoting professional and artistic collaborations, esteemed panel guests will give their insight into nature and landscapes around us. Dialogue will exlore the technological complexity and variety of styles, expressions and languages that characterize contemporary art while reflecting on the meaning of identity and medialisation which is part of us, men and women of the XXI Century.
13:00-14:30 / CYLAND presents
A New Media discussion: 'CAPITAL ON ISLAND'
Introduced by Anna Frants and Marina Koldobskaya
Followed by video program: 'CHANGING LANDSCAPE'
Curated by Victoria Ilyushkina
Featuring Work by: Alex Antipin, Boris Kazakov, Luda Belova, Maxim Svishev, Manya Alexeeva, Tanya Akhmetgalieva, Michaela Muchina, Maya Popova, Dimitri Lurie, Edward Shelganov, Anton Khlabov, Olga Jurgenson
Films in this program are addressed to a genius loci - the protective spirit of a place, the cultural and historical landscape paradigm. In this series of videos the city is St Petersburg, a place that has changed its name, spirit and character more than once. Hero to darker figure, classical or revolutionary, the faces of the city are multiple and illusory as seen through the eyes of the artists it harbors.
15:00 / Buffet
CYLAND Media Lab is one of Russia's most active New Media art nonprofit organizations. CYLAND houses the largest archive of Eastern European video art online, organizes exhibits around the world and is the force behind CYBERFEST (Russia's largest annual New Media art event.) CYBERFEST has been held across St Petersburg's top art institutions: The State Hermitage Museum, Peter and Paul Fortress, KURYOKHIN MODERN ART CENTER, Borey Gallery, the Gallery of Experimental Sound and Creative Space Tkachi. The 7th edition of CYBERFEST will take place November, 2013. CYLAND was cofounded by Marina Koldobskaya and Anna Frants.
CSAR The Center for Studies on the Arts of Russia is promoted by the Ca' Foscari University of Venice and the Direction of International Programs with the support of the Ministries of Culture and Foreign Affairs of the Russian Federation. It is the first university center in Italy which aims to carry out systematic research and dissemination of the cultural heritage of Russia. Its activities include permanent and temporary workshops, international conferences, film festivals and supporting Performing Arts. Scientific publications, catalogs of art collections and promotion of cultural activities are done primarily to benefit future generations. Since opening in March 2011, the Center has created or collaborated on ten exhibitions.
DIGICULT is a cultural platform that examines the impact of digital technologies and sciences on the arts, design, culture and contemporary society. Digicult was born to give voice and visibility to a new generation of interdisciplinary authors, expand their circuits into an international context, and simultaneously break the existing inflexible publishing rules of the press, by exploiting potentialities of the Web, and its free networks.
THE WYE is 20,000 sq ft of the historic Skalitzer Post, repurposed to play a modern role in Berlin. Opened in 2012, The WYE hosts 100+ local and international innovators curated to create a uniquely diverse, professional hybrid of studios, events, public art, exhibits and workshops. No member contributes more than the actual cost of their space. Without debt and covering overhead by its own means, The WYE is structured to redefine cultural spending by minimizing operational costs and maximizing return of every investment from and into the industries it serves.
---------> 29 June 2013
454 W 19th St
New York, NY
Thu, May 9, 6-8 PM
May 9 - June 29
Tue - Sat, 11 AM - 6 PM
New York, NY. Fluxus Foundation is pleased to announce © Fluxus: Original Copyright Documents, 1963-1967 in the foundation exhibition space at 454 West 19th St.
George Maciunas, founder and central coordinator of Fluxus, was an exemplary processor of knowledge. Educated in architecture, painting, art history, graphic design, and musicology, Maciunas's oeuvre demonstrates incredible diversity. Yet, his multifaceted output is unified by a diagrammatic aesthetic-one that illustrates his analytic mind and sheer meticulousness.
The copyright documents featured in this exhibition are a testament to Maciunas's scrupulousness. After establishing the Fluxus Headquarters in New York, Maciunas sought copyright protection for Fluxus and its artists to safeguard the group's interests. He painstakingly registered claims to copyright for every Fluxus work starting in 1963, including George Brecht's Fluxkit Water Yam (1964), Yoko Ono's Four (Fluxfilm no. 16) (1966), Albert M. Fine's Piece For Fluxorchestra (1966), Chieko Shiomi's Spatial Poem No. 2 (1966), Maciunas's very own Prefabricated Building System (1965), and much, much more.
PO Box 247, Station C
Montreal, Quebec H2L 4K1
Kolaj Magazine is pleased to announce the publication of Issue #4, completing its first full year. Kolaj is a quarterly, printed magazine about contemporary collage. We are interested in how collage is made, how collage is exhibited, and how collage is collected. We bring together critical reviews and essays with artist profiles, event highlights, and articles on collage collecting, exhibiting, and making. Kolaj is published in Montreal, Quebec by Maison Kasini.
Inside Issue #4: Nadine Boughton's Ravished is on the cover. Editor Benoit Depelteau reflects on the first year. Veeranganakumari Solanki profiles the magical realism of Manjunath Kamath. Cory Peeke reports on collage on Tumblr. Shane De Lange profiles South African artist Asha Zero. Paul Bright reports on collage at the New York Art Fairs. We review exhibitions at Katherine Mulherin Contemporary in Toronto and Freight+Volume Gallery in New York. Nikki Soppelsa shows us her studio. Portfolios from artists in Gloucester, Massachusetts; Etampes, France; Laval, Quebec; Austin, Texas; and Ottawa, Ontario.
'Full colour and minimalist design make this one a pleasure to flip through. Kolaj dedicates itself to-you guessed it-the art form of collage. There's something delightful here: the artistic process famously dependent on cutting up old magazines and newspapers now has a magazine of its own.'
Kolaj welcomes submissions from artists, galleries, projects, publishers, and writers who are working with contemporary collage. See website for details.
7 June 2013
Tram 4/13/17, Haltestelle Museum für Gestaltung
Forum Kunsthof on 7 June 2013
Image: David Hammons, Bliz-aard Sale, 1983
Public disputatio or polemic discussion with the participation of: Christoph Brunner, Daniel Morgenthaler, Garrett Nelson, Aoife Rosenmeyer, Aria Spinelli, and Stefan Wagner, moderated by Dimitrina Sevova (in English)
Performances by Burçak Konukman, Garrett Nelson & Sarah Bernauer, and P.F.T. (Peter Emch, Franziska Koch, Tobias Oehmichen). And open-air screening by Hila Peleg.
Showing or Snowing Art in June?
on Art, Value, Price, Work and the Market
Art vs. Market / Market games and the play of commons / Art vs. Multitude
14.00 coffee, tea and cake
14.15 - 15.45 public disputatio or polemic discussion, Part One: Christoph Brunner, Daniel Morgenthaler, Garrett Nelson, Aoife Rosenmeyer, Aria Spinelli, Stefan Wagner, moderated by Dimitrina Sevova. (in English)
16.00 – 17.00 public disputatio or polemic discussion, Part Two
17.30 – 18.30 Lecture by Aria Spinelli about the grassroots movements in Italy, creativity and commons: The cultural turn of the Occupy movement: understanding the commons as a means for emancipation
19.00 -19.40 Performative Lecture No.8: EAT HERE BLINK BLINK PART II with Sarah Bernauer and Garrett Nelson
20.00 – 20.40 Untimely live / video performance by Burçak Konukman
21:00 – 21: 40 P.F.T. experimental, melodic, noise. a play of free improvisation!
22: 30 – 23:30 Late cinema – Open Air: A Crime Against Art, video by Hila Peleg, 100 min, 2007 (in English)
[For further information on the performances and artists, please see short information below, or complete information on the project blog at outdoorplay.tumblr.com, or in printable layout in the PDF.]
As we go about discussing the value of art we must not lose sight of the fact that in the current economic relations, “in the art field speech is gold. […] Put differently, the high volume of communication required is directly related to the precarious character of the symbolic values that are being traded. Artworks are not intrinsically valuable.”  The discussion aims self-reflexively and in cooperation with its public to contribute to new forms of exchange, and animate awareness, solidarity, and engagement, in order to respond to how the value of art shifts within the creative leap and affective turn from where new market relations open up in an expanded economy of art beyond the gradually contracting art market in the knowledge economy and so-called creative industries.
These new relations consist of new forms of production and consumption, of use, measurement, dissemination and exchange of art, new forms of organization and market economic and social changes, and entail the transformation of the conditions of production and consumption of art. They raise the question of the value of art and creativity, how it relates to the system of measurement, valorization and capitalization in post-Fordist speculations, and how the crisis may be considered as ambiguous and open into new political and social opportunities for art practices. How do art practices relate to society as a whole, and create and imagine new systems and forms of exchange, new cultural and political realities?
Forum Kunsthof for this public polemic discussion takes as a point of departure an action by David Hammons from 1983, titled Bliz-aard Sale, in which the artist stood on a sidewalk in downtown Manhattan as a street seller offering to pedestrians snowballs arranged in order of and priced according to their size. This intervention was an art gesture not driven by a desire to gain, but rather by a desire to lose the measurement of economic scale and its relation to art, creating a speculative situation as a mockery of the market economy, introducing a new role of art in society.
Can we consider today that art is linked to business like it has never been before? To what extent has art been integrated in the economic labor system? Can we not conclude that we are all, whether artists or so-called cultural producers, active in the sphere of services in a liquid modernity in flux? Would art as services mark the end of artistic work, and lead to the work of art in the age of its disappearance into social (bio) productivity? If artistic work and its object are on the wane, so that perpetual ephemeral virtuosic performances emerge, does this liberate art practices, and create situations allowing to speak about art as non-alienated labor? Or does it rather, with the loss of its object, get integrated fully in the neoliberal conception that “culture should serve the economy” in which immaterial forms of labor virtuosity, creativity and communication are important economic sources?
Text: Dimitrina Sevova
 Isabelle Graw, “Talk ‘Til You Drop: The Art Conversation and the Communication Imperative,” Mousse Magazine, Issue #38, April 2013.
[Read the full text on the project blog at outdoorplay.tumblr.com, or in printable layout as PDF.]
Lecture by Aria Spinelli
The cultural turn of the Occupy movement: understanding the commons as a means for emancipation
“You can even think of flying.” MACAO, a skyscraper squatted between 5 and 15 May 2012 in the very center of Milano.
In the aftermath of the mediatic boom that covered almost daily the anti-capitalist social movements “Occupy” or “Indignados” we are still trying to grasp how much of our sense of space, citizenry, and economy has been affected. These series of protests in fact attempted to propose a new idea of what society could mean, trying to find the basis for a sustainable socio-economic exchange. Whilst the famous “99%” occasionally continue to rally in the United States, the Indignados movement occupy squares and public spaces in protest against austerity measures exacerbated by Rajoy’s political program. In this paper I wish to address the specificity of the Italian activist practices against austerity. Although the Italian “branch” of anti-capitalist activism has no name, it identifies itself in a national fight for culture as a common.
Italian squats, since the 1970s, have always been centres for free culture, activating programs of all sorts, from music to theatre or sports. Since 2011 squatting theatres has become a groundbreaking practice for redefining the sense of commons. Starting from the Teatro Valle Occupato in Rome, up until the MACAO in Milan, these newly born squats turn illegal practices into a form of experimental legality; they constitute novel institutions through “instituency”; ultimately they distinguish the notion of the “commons,” in opposition to the notion of “public.”
By working side by side with economists and jurists, their aim is to propose a reform of the Italian legislation, introducing the “commons” as a new legal form of preservation of basic needs. I wish to address these issues and try to map the socio-political and economic consequences of this ongoing practice of legalization, questioning whether this particular tendency of today’s anti-capitalist movements could be seen as an alternative.
Performative Lecture No.8: EAT HERE BLINK BLINK PART II
with Sarah Bernauer and Garrett Nelson
in three acts:
Act1. human | not human: the half & half
Act 2. zirkus, reform! dilettanten
Act 3. gutes tun. ohne etwas zu tun.
“EAT HERE BLINK BLINK I took place at the freitagsküche in Frankfurt . Four paper dinner placemats created by Sarah Bernauer and Garrett Nelson suggesting different possibilities of dialogue were used and signed during the evening by artist diners. In the second part of the performance at Kunsthof Zurich, these paper dinner placemats will be used again as material for a three act performance script as well as a potential sale of semi-anonymous works.”
This performance-lecture is part of the conceptual series Performative Lectures by the artists Sarah Bernauer and Garrett Nelson. The project is in the middle of its second year. For each lecture new sets of actions and action objects are created from an amalgam of impulses, influences and repetitions in search of new levels of consciousness. Each lecture takes new lists of sources and uses them freely and associatively to create a hyper system of knowledge within the lecture. Each reference is subverted to become either self-critical, self-destructive, hypocritical, dead-on or far flung, with a level of intended equality throughout. The artists seek to admonish their own opinions and systems of intellectual references through joint destruction, regurgitation, repetition, absurdities, well calculated games and the audience’s opinion. It is a catharsis that entangles. It is an optimistic thread seeking a clear mind like a vandalized neon sign, broken but not yet extinguished. They have had special guest lecturers including political party members, poets, soul singers, persistent ghosts and all kind of undeads. A new stage in the series is the compilation of a lexicon in a book and ebook format.
Performance by Burçak Konukman
Untimely live / video performance
I was actively working at the Istanbul 2010 European Capital of Culture Agency Visual Arts Directorate as an assistant when I was accepted to the Art Center Istanbul residency as an artist. After my graduation from university in fine arts I started to do an MA in Cultural Management in Bilgi University. I had to take responsibilities as an assistant and coordinator of projects of other artists before finding the opportunity to concentrate on my works, and experienced firsthand the production conditions of contemporary art in Istanbul. The relation between artist and institutions, the position of cultural managers, and the active players of the contemporary art world were the issues of untimely performance. I shot this performance at my studio in the art center as an artist. At the same time I had to go to work at the office at Kadirga Art Production Center as an assistant. Producing a performance based on my notes at university and my experiences, I preferred to talk to myself as a sort of reckoning. The audience who will listen to these monologues will be introduced to the features of the art world not just in Istanbul but more globally.
Peter Emch – Guitar
Franziska Koch – Bass
Tobias Oehmichen – Guitar
experimental, melodic, noise
a play of free improvisation!
A Crime Against Art is a film based on the trial staged at an art fair in Madrid in February 2007 by Anton Vidokle and Tirdad Zolghadr. Inspired by the mock trials organized by André Breton in the 1920s and 30s, it playfully raises a number of polemical issues in the world of contemporary art: collusion with the “new bourgeoisie,” instrumentalization of art and its institutions, the future possibility of artistic agency, as well as other pertinent topics.
The trial begins with the assumption that a crime has been committed, yet its nature and evidence are allusive and no victims have come forward. The testimonies and cross-examinations become an attempt by the Judge (Jan Verwoert), the Prosecutors (Vasif Kortun and Chus Martinez), and the Defense Attorney (Charles Esche) to unravel the nature of the puzzling “crime against art.” Set as a television courtroom drama, the film serial presents a condensed 100 minutes version of the trial.
This is the second in a series of events this summer and autumn 2013 as part of
Opportunities for Outdoor Play? Playgrounds – New Spaces of Liberty (The Question of Form)
A transdisciplinary collective research and production project curated by Dimitrina Sevova at Kunsthof Zürich in cooperation with Prof. Elke Bippus, Franziska Koch and the Bachelor Medien & Kunst, Vertiefung Bildende Kunst of the Zurich University of the Arts.
[Read a short description of the overall project on the project blog at outdoorplay.tumblr.com, or in printable layout as PDF.]
Following event: Kunsthof Station on 6 July 2013
Psychogeography: From Urbanism to Everyday Places
How can art practices interact with everyday praxis, legislation, social norms and play, and the production of space?
On 6 July Kunsthof will serve as a station for urban interventions, traversing singular points of view and drifting as forms of research and performative actions in the District 5 of Zurich with excursions into the neighboring districts. The artists of the research and production group as urban ethnographers will collect data in order to reflect and map, through various transdisciplinary practices, the possibilities for outdoor activity and leisure, with talks and art guided walks through some of the playground places in the vicinity of Kunsthof. They will explore how time and space gets structured by their bodies and movements, but also reveal invisible layers of knowledge, which is itself spatially structured, and strato-analytically proceed to excavate the memory hidden behind the anonymizing tendencies imposed by the gentrification of the urban living environment. This aim is to psychogeographically redefine social space and place by observing and reflecting on certain processes of change and their predictability in the streets, offering a new place to the public, new forms of exchange, through the “disorientation of habitual reflexes.”
The research and production group consists of:
Amélie Brisson-Darveau, Mortimer Chen, Zoë Darling, Benjamin Egger, Max Heinrich, Petra Elena Köhle & Nicolas Vermot Petit-Outhenin, Sandra Lang, Konstantinos Manolakis, Flavio Merlo, Cat Tuong Nguyen, Kika Nicolela, Jacqueline Poloni, Romy Rüegger, Riikka Tauriainen, Navid Tschopp, and the curator of the project, Dimitrina Sevova
Der Kunsthof Zürich ist ein Ausstellungs- und Veranstaltungsort
der Vertiefung Bildende Kunst im Bachelor Medien & Kunst
der Zürcher Hochschule der Künste.
Tram 4/13/17, Haltestelle Museum für Gestaltung
--------> 24 August 2013
Dangerous Ideas for Dangerous Times
Poulomi Desai + The Conspirators of Pleasure
The Conspirators of Pleasure (Poulomi Desai - ex Dead Jalebies and Simon Underwood - founder member of post punk band The Pop Group) are an improvising duo that seek to bend all the rules, question the sacred and create extraordinary soundscape performances, and self-regulating sonic systems using modified and prepared instruments. Part of their unusual musical armoury includes a prepared sitar, sonically twisted stylophones, resurrected radios and visually scarred slide projectors. Their compositions explore experimental terrains, twisting technology to transform organic sounds into eerie calls that flow from intense waves of abrasive, noisy, chaos invoking industrial nostalgia, to structured pulsating rhythms, to melancholic, metaphysical drones. The duo have worked with a range of musicians and artists including, Noise=Noise, Steve Beresford, Satoko Fukada, Aisha Orazbayeva, Kammer Klang, Disinformation, Roger Turner, John Edwards. Individual commissions include The Serpentine Gallery (UK), Futuresonic (UK), Souzouzukan 9001(Japan), The Oxford Gallery (India), INIVA, Home Live Art (UK), The Queens Museum (USA).
Fri 31 May 2013 at 3pm - Sat 1 June 2013 at 6pm
Performance with prepared sitar + electronics as The Conspirators of Pleasure
Dangerous Ideas for Dangerous Times Festival. London Borough of Camden, United Kingdom.
Fri 7 June - Sat 8 June 2013
Sound art installation + Performance, The Conspirators of Pleasure at the Resound Sound Art Festival
Mon 8 July 2013 8pm - 11pm
Klammer Klang at Cafe Oto, London. Featuring the music of Arnold Schoenberg.
Performance with prepared sitar + electronics.
Musicians include Theirre De May, Stefan Prins, Matthew Shulhorn, B.J.Cole, Lucy Railton and Aisha Orazbayeva.
Fri 9 - Sun 11 Aug 2013
Supernormal Festival at Braziers Park, Oxfordshire.
Performance with prepared sitar + electronics + creating live modified slide shows + workshops.
28 May to 24 August 2013
"Her Stories" Photographic Exhibition at The David and Susan Goode Gallery, The Taubman Museum of Art, Virginia, USA. Previously exhibited at The Queens Museum, New York 11 August 2011 – 7 October 2012
----------> 6 April 2014
James Turrell: a Retrospective at the Los Angeles County Museum of Art (Los Angeles)
from 26 May 2013 to 6 April 2014
Image: James Turrell, End Around: Ganzfeld, 2006, neon and fluorescent light (2007 installation at Pomona College Museum of Art, Claremont, California), the Museum of Fine Arts, Houston, gift of the estate of Isabel B. Wilson in memory of Peter C. Marzio. © James Turrell / Photography © Florian Holzherr (exhibition at Museum of Fine Arts, Houston).
Turrell, the light man
In Europe he is known for a few beautiful installations, during the Nuit blanche in Paris, at the Louise Blouin Foundation in London, or during the Biennale of Venice in 2011. The time has come for James Turrell to be consecrated. The California artist, who just turned 70, is the subject of thre e important retrospectives. All three will open less than a month after the previous one, in Los Angeles, New York and Jerusalem. It is not easy to exhibit this artist, for he has made light his main material, as it is inseparable from space. As the good Quaker that he is, faith, contemplation, rigor and silence are complementary virtues. His great masterpiece is still in the making, in the cone of the extinct Roden volcano, in Arizona, where spirals, tunnels and an observatory will reflect the natural l ight and the artificial light. While waiting for it to be finished, the pore fortunate may spend some time at the Estancia Colomé, near Salta, in Argentina. Founded by billionaire Donald Hess, it holds the only museum completely dedicated to Turrell’s work.
Monday, 6 May 2013
STILL FIGHTING IGNORANCE & INTELLECTUAL PERFIDY
Video art from Africa
Curated by Kisito Assangni
19 May 2013
KUNSTHALLE SAO PAULO
Rua Dos Pinheiros, 411
05422-010 Sao Paulo
Said Afifi | Nirveda Alleck | Jude Anogwih | Younes Baba-Ali | Rehema Chachage | Saidou Dicko | Ndoye Douts | Kokou Ekouagou | Mohamed El Baz | Samba Fall | Dimitri Fagbohoun | Wanja Kimani | Nicene Kossentini | Kai Lossgott | Michele Magema | Nathalie Mba Bikoro | Victor Mutelekesha | Johan Thom | Saliou Traoré | Guy Woueté | Ezra Wube
Project [SFIP] is a multi-national exhibition process and a platform for critical thinking, researching and presenting African video art.
The technocultural revolution has democratised cultural and artistic practice through everyday access to new media. At the same time, the pervasive presence of technology in our lives has raised questions around privacy, surveillance and ownership, the dominance of Western media in globalisation, as well as the privilege of access in the developed world. The [SFIP] network is dedicated to the diffusion of new experiences worldwide through film and video. It is unfortunate that contemporary African art remains largely associated with sculpture and painting. Much work remains to be done in adequately researching the creative energy of the continent, especially within the last decade.
This exhibition presents a selection of African video art that stands beyond the clichés that remain associated with the dark continent and the postcolonial image. It seeks to bring viewers closer to idiosyncratic readings of African video art and its thematic concerns which are largely ignored. ‘Still Fighting Ignorance & Intellectual Perfidy’ contextualises African video art within a larger cultural framework.
Reflecting an age of inter-cultural migration, [SFIP] presents African video artists who live in Africa, Europe and USA whilst providing a meeting point for knowledge and interest in the relationship between self and society. Most works address issues of alterity, identity, tolerance and social relationships as artists reflexively consider their sense of place and belonging in an increasingly interconnected world.
From experimental video to short film, this show focuses on aesthetic and methodological perspectives of fighting ignorance and intellectual perfidy in contemporary African art. The project tells Africa's story by African new media artists as seen through the lens of the relation between tradition and modernity.
Sunday, 5 May 2013
17 May - 13 July 2013
NEW THEME Gallery
8178 Melrose Ave.
Los Angeles, CA 90046
NEW THEME Gallery is proud to present DIFFRACTION, an exhibition featuring works of Los Angeles artists Nick Aguayo, Daniel Payavis, Zack Stadel and Beth Holden. Varying between painting, sculpture and found images, the work of these four artists engages with a dissemination of geometric and physical forms, and explores narrative techniques of reconstituting meaning.
Opening Reception - May 17, 7PM.
RSVP to email@example.com
Nick Aguayo was raised near Palm Springs and received his MFA in Studio Art from the University of California at Irvine. His method of painting is grounded in his interest in abstraction, and his diagrammatic works showcase the processes of their own creation. In his paintings, shapes are contrived, juxtaposed and then overlaid with a grid layout. Through such a process, Aguayo’s work seeks to create a dialogue between harmony and dissonance, establishing moments that exist outside of a language of representation.
Daniel Payavis was educated at the University of Texas, Austin, and moved to Los Angeles in 2011. His works on display involve a rigorous pursuit of the modernist form within a landscape of exuberant, kitsch graphic design. Situating palm tree scenes as the backdrop to sober geometric lines, his work creates the effect of European minimalism in the South American jungle, akin to Brasilia, Brazil or the works of Oscar Niemeyer. These series of paintings reflect a lived-in architectural experience laden with emotional or psychotropic elements, creating a cohabitation of contrasting forms.
Zack Stadel grew up in Portland, Oregon and received his MFA in painting and sculpture from the Art Center College of Design in Pasadena. His untitled series of irregular photographs are appropriated from pornographic imagery and presented in custom wooden frames. Through using the frame as an active agent, Stadel explores how formal subtraction can open familiar readings of explicit content to other narrative possibilities.
Beth Holden is the principal of NEW THEME Inc, a design-build architectural firm with a focus on sustainable practices. Her work, “OPEN STALL”, is a conceptual installation of a female urinal, a prototype for a bathroom fixture that still has no definite form or mass appeal. Her sculpture renders transparent the difficulty in equating feminine and masculine forms, not only anatomically, but also within the wider professional and aesthetic realm.
NEW THEME Gallery will host the opening DIFFRACTION on Friday, May 17 from 7PM to 10PM. The exhibition is curated by Darius Sabbaghzadeh and will run until July 13. Please RSVP to firstname.lastname@example.org if you plan to attend the opening reception
1 June - 24 November 2013
The Official Pavilion of Iraq at La Biennale di Venezia 2013
Organised by The Ruya Foundation for Contemporary Culture in Iraq
San Polo 2879
Phone: +44 (0) 208 969 3959
Image credit: Jamal Penjweny, Saddam is Here, 2010, photograph, sizes variable, courtesy of the artist and RUYA Foundation
Thursday 30 May, 3-5pm
10am - 6pm daily (closed on Mondays)
San Toma (2 minutes walk)
Following studio visits across Iraq, other meetings and much careful thinking, Curator Jonathan Watkins and Commissioner, The Ruya Foundation for Contemporary Culture in Iraq (RUYA), have selected eleven artists to participate in Welcome to Iraq, the official Pavilion of Iraq at the 55th International Art Exhibition – la Biennale di Venezia.
Photographer Jamal Penjweny, cartoonist Abdul Raheem Yassir, painters Bassim Al-Shaker, Cheeman Ismaeel and Kadhim Nwir will be shown alongside sculptors Furat al Jamil, WAMI (Yaseen Wami, Hashim Taeeh), Akeel Khreef and video artists Ali Samiaa and Hareth Alhomaam. Representing two generations and many regions of their country, these artists were selected to highlight the depth and breadth of artistic practice in modern day Iraq.
Regarding his selection, Curator Jonathan Watkins says, 'I was very inspired by meeting these artists, hearing their stories and seeing their work in situ. They will impress visitors to our pavilion with their extraordinary ingenuity, their tenacity and goodwill in the face of adversities that stain everyday life in Iraq. We are lucky to have them with us on a world stage, to have an opportunity to enjoy the cultural exchange of ideas that comes with it.''
Abdul Raheem Yassir (b. 1951, Qadisiyah, Iraq) is widely regarded as one of the best political cartoonists now working in Iraq, responding to the absurdity of his circumstances with ironic humour and poignancy. His style is smart in the way it suggests innocence, knowing in its directness. In one of his line drawings, he takes on Iraq's inexperienced police force. Officers are shown diligently frisking a man, apparently unaware of the huge revolver in his hand.
Female artist Furat al Jamil (b. 1965, Mainz, Germany; lives and works in Baghdad, Iraq) is a filmmaker, but has been selected to show one of her rare sculptures. A suspended honeycomb frame drips its contents into a broken antique pot, in order to convey sweet melancholy, a sadness that she feels about her homeland in its current state whilst inspiring hope in the possibility of healing and new life.
Jamal Penjweny (b. 1981, Sulaymaniyah, Iraqi Kurdistan) has garnered attention with his extraordinary series Saddam is Here (pictured above), featuring Iraqis in everyday places – on the street, in hotel rooms, in shops – holding a photo of the former dictator over their own faces, demonstrating the lasting impact of his brutal regime. Penjweny's films document the activities of smugglers, illegally trading weapons and alcohol at the border between Iraq and Iran.
Taking Iraq's lack of ecological awareness in his sights, Akeel Khreef's (b. 1979, Baghdad, Iraq) sculptural pieces are made out of material taken from discarded objects. Bits and pieces of a broken generator and an old bicycle, for example, are used to make chairs, in gestures of recycling that touch on an urgent need for raised consciousness with respect to the environment and limited natural resources.
Hareth Alhomaam (b. 1987, Baghdad, Iraq) will present a short film, Buzz, which exemplifies the stilted, mediated nature of communications between the sexes in modern Iraq in spite of the advent of social media. We follow the short story of a young man and a young woman as they navigate daily life in Baghdad with family and friends.
Another filmmaker Ali Samiaa (b. 1980, Baghdad, Iraq) will be presenting a new film, The Love of Butterflies, for the occasion of his participation in the pavilion. It tells a story in which dramatic tension is derived from a balance struck between marital infidelity and family commitment, between a firm moral stance and sympathy.
Cheeman Ismaeel (b. 1966, Sulaymaniyah, Iraqi Kurdistan) is a painter who applies her decorative style not only to canvases but also to household objects, such as a television, a clock, an oil heater and a lunchbox. The proposition is refreshingly personal and unpretentious, blurring the line conventionally drawn between fine art and more domestic concerns.
One of the youngest artists in the exhibition, Bassim Al-Shaker (b. 1986, Baghdad, Iraq), is stylistically one of its most traditional, making oil paintings that would very much impress his teachers at the local academy. Eschewing any sign of avant-gardism he paints scenes of the southern marshlands, suggesting a lifestyle there of unbroken tradition. The recent reality is very different, of course, this being a place that suffered terribly during Saddam's dictatorship.
The canvases of Kadhim Nwir (b. 1967, Qadisiyah, Iraq), on the other hand, are more abstract and reflect urban life through a combination of distressed colour and graffiti-like drawing. Stencilled letters and numbers sometimes convey clear messages – 'IRAQ', '2003' – or they embody a meaning known only to the artist, superimposed on layers of vague pictorial references. Such expressive and complex mark-making, in light of difficult circumstances, reads as a kind of existential self-awareness.
WAMI is an artistic partnership quite rare in Iraq. Yassen Wami (b. 1973, Basra, Iraq) and Hashim Taeeh (b. 1948, Basra, Iraq) work together to make installations of furniture from new and used cardboard. The poor material and basic, minimalist style they prefer are entirely at odds with a popular taste in Iraq for gilded home furnishings. Their ethos of 'making do and getting by' – articulated with great wit – is a far cry from incongruous aspiration.
A catalogue with texts by Jonathan Watkins and acclaimed writer Tamara Chalabi will be published to coincide with the opening of this exhibition.
About the Curator
An internationally renowned curator and writer, Jonathan Watkins has been Director of Ikon Gallery, Birmingham, since 1999. Previous positions include Curator of the Serpentine Gallery (1995-1997) and Director of Chisenhale Gallery (1990-1995). He has curated a number of significant international exhibitions including the Guangzhou Triennial (2012); Negotiations, Today Art Museum, Beijing (2010); Sharjah Biennial (2007); Shanghai Biennale (2006); Tate Triennial (2003); Facts of Life: Contemporary Japanese Art, Hayward Gallery, London (2001); Quotidiana, Castello di Rivoli, Turin (1999); and the Biennale of Sydney (1998). He was part of the curatorial team for Riwaq: Palestinian Biennial (2007); Milano Europa 2000, Palazzo di Triennale, Milan; and Europarte, Venice Biennale (1997).
About Ruya Foundation for Contemporary Culture in Iraq
Ruya Foundation for Contemporary Culture in Iraq (RUYA) is an Iraqi registered non-profit, non-governmental organization founded by Iraq art and culture enthusiasts with the aim of aiding and enriching culture in Iraq and building bridges with the world. The foundation's goal is to promote and foster culture in Iraq at a time when priorities are focused elsewhere, and to build a platform that will enable Iraqis in the arts, the young in particular, to benefit from, and participate in international events. In addition to supporting local projects, its aim is to create a network of intercultural events that can contribute to the development of civil society in Iraq. It is also committed to nurturing a multicultural dialogue through the arts.
About the Venue
Welcome to Iraq will be held at Ca' Dandolo on the Grand Canal, a 16th century building that has not been used as a pavilion before during a Venice Biennale. The domestic atmosphere of the building will be retained to a large extent through the use of existing furniture and minimal imposition on current architectural features.
Exhibition Name: Welcome to Iraq
Exhibition Dates: 1 June – 24 November 2013
Press preview: 30 May, 3 – 5pm
Opening Hours: Tuesday – Sunday 10am – 6pm
Location: Ca' Dandolo, Grand Canal, San Polo 2879, Venice
Vaporetto: San Tomà
For press information and images please contact:
Sophie Campos or Aimee George at Pelham Communications
Tel: +44 20 8969 3959
Email: email@example.com or firstname.lastname@example.org