1.8.10
26.7.10
PLAYING THE CITY II
After the project’s success in the previous year, “Playing the City II” presents another fabulous range of artistic activities in public space, involving the city and its inhabitants in very different ways. Over a period of 18 days, the Frankfurt city center will be the site of regular new actions and activities. The specially conceived works will be created by 20 international artists in collaboration with the general public. Collaborative and participatory works are expected from national and international artists such as Nina Beier, Clarina Bezzola, Julien Bismuth, Clegg & Guttmann, Cosalux, For Use / Numen, Swetlana Gerner, Josef Loretan, Jan Lotter, Annika Lundgren, Lee Mingwei, Ivan Moudov, Anny und Sibel Öztürk, Paola Pivi, Plural Art Collective, Reactor, Leonid Tishkov, Gavin Turk, and Vanja Vukovic. At the heart of the project lies the artistic engagement with public space and with concepts such as the social turn and community-based art. In parallel, an office will be set up in the SCHIRN’s exhibition space, providing information on the artists and video documentation of all the actions.
Curator: Matthias Ulrich (SCHIRN)
09 SEPTEMBER - 26 SEPTEMBER 2010
OPENING HOURSTUESDAY, FRIDAY - SUNDAY 10 AM - 7 PMWEDNESDAY AND THURSDAY 10 AM - 10 PMCLOSED ON MONDAYS
http://www.schirn-kunsthalle.de/index.php?do=exhibitions_detail&id=103&lang=en
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5.7.10
Photographie de la nouvelle Russie
La Maison Europeenne de la Photographie, organise à Paris jusqu'au 29 aout 2010, une exposition qui cherche à montrer "la polyphonie et l'extraordinaire vitalité de la photographie russe contemporaine".
30.5.10
23.5.10
13.5.10
GASTRÄUME. KUNST AUF ÖFFENTLICHEN PLÄTZEN ZÜRICHS
LEONID TISHKOV, «DER PRIVATE MOND», 2003
SIGI-FEIGEL-TERRASSE , BARBARIAN ART GALLERY
27 May - 27 August
Unter dem Titel «Der private Mond» schlägt der russische Künstler Leonid Tishkov, der von der Galerie als „Neo-Romantiker einer postindustriellen Gesellschaft“ beschrieben wird, die Aufstellung einer Leuchtskulptur in Form einer Mondsichel vor, gefertigt aus Kunststoff, Metall und LED-Elementen, gegebenenfalls auf einem Stab montiert. Die Plastik will die Geschichte des Mondes erzählen, der eines Tages vom Himmel auf die Erde fällt, dort von einem jungen Mann freundlich aufgenommen wird und so „unsere Einsamkeit im Universum überwindet und viele von uns miteinander verbindet“.
Der Jury gefällt die einfache Poesie der Arbeit, die subtile Dekonstruktion romantischer Stereotypen im Grossstadtdschungel. Sie rät jedoch, die technische Machbarkeit und Fragen nach der Sicherheit gegen Vandalismus zu prüfen, bevor eine allfällige Installation ins Auge gefasst wird. Als alternativer Standort werden die Bäume vis-à-vis der Sigi-Feigel-Terrasse oder der Brückenbogen erwogen.
First South-Russian Biennale_Rostov_2010
Solveig: The Landscape of My Memory
Installation, 2004: salt, glass, video, sound, 230 x 200 cm
Memory is a desert which we populate with the imaginary
In the landscape of my memory, one can see snow-covered fields and mountains, a small figure of a boy skiing along the shore of a frozen lake, and the traces of his skis in the snow. Following those traces, I travel into the past, restoring my ideal universe in which childhood is a time of spiritual depth and endless dazzling white snow. The vast sky above is like a window into childhood on which frosty patterns live, the northern lights glow, and huge stars fall. Snow is the time, the white imaginary landscape in which I settle my personal memories. It is there, at that hardly visible line of the snowy horizon, that the earthly and the transcendent spheres meet.
In the landscape of my memory, one can see snow-covered fields and mountains, a small figure of a boy skiing along the shore of a frozen lake, and the traces of his skis in the snow. Following those traces, I travel into the past, restoring my ideal universe in which childhood is a time of spiritual depth and endless dazzling white snow. The vast sky above is like a window into childhood on which frosty patterns live, the northern lights glow, and huge stars fall. Snow is the time, the white imaginary landscape in which I settle my personal memories. It is there, at that hardly visible line of the snowy horizon, that the earthly and the transcendent spheres meet.
My Mother's Dress / Dematerialization
of Memory
10 photographs, 60 x 85 cm
Video, 3'
2006
After my mother's death I was left with her clothes: dresses,
scarves, blouses, underwear. The lonely dresses hung in the
wardrobe, silent on their wooden hangers. One of them
was the conservative black woollen dress of a primary-school
was the conservative black woollen dress of a primary-school
teacher. A colorful one of crepe de Chine was what she wore
on holidays. What was I to do with all that had been left after
her passing? Recalling how my mother had shredded old
clothes into strips to make carpets, I cut her dresses to ribbons,
to one endless ribbon, and spooled it into a ball. I cut
everything into "fringes," as my mother used to say.
Thus the clothes were dematerialized, converted into balls,
like atoms wound from electrons that hold
the nucleus of matter inside. "What beautiful material —
the nucleus of matter inside. "What beautiful material —
I shall make myselfa dress out of," my mother would say.
In the title of my work, "dematerialization" plays
on the similarity of the Latin roots for "matter" and "mother."
When I was done all that remained were the shadows
of dresses on the closet walls, bare hangers on nails, heartache
and a velvety photo album. And many colourful atoms
thatnow make up my reality, a peaceful
home fortified by love and memory.
http://biennaler.ru/
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