GABRIEL DAWE / Indoor rainbows: unique and complex multicoloured structures made of sewing threads

GABRIEL DAWE

Indoor rainbows: unique and complex multicoloured structures made of sewing threads

Mexican artist Gabriel Dawe takes his first steps in the field with an academic background in design, graduating in 1998 in Graphic Design with honors at the Universidad de Las Americas, in Puebla, Mexico and then earning a Master in Fine Arts specializing in Art and Technology in 2011 at the University of Dallas, Texas, where he now lives and works. Through exploration and experimentation he develops an interest for textile artifacts and embroideries, then beginning his artistic investigation involving the threads, the fabrics, the materials and their environment. As he points out himself, it was his grandmother, who dedicated herself to this practice, that caught his attention from an early age but, despite this, he never found the courage to ask her about sewing lessons, held back by social conventions. When Dawe talks about his work he never misses the opportunity to reiterate that this type of activity is generally associated with women and is not intended to be suitable for the small children of Mexico City and therefore his artistic work begins by examining the complicated construction involving gender and identity in his native Mexico and attempts to subvert the notions of masculinity prevalent today.

Gabriel Dawe

Gabriel Dawe Plexus A1 @ Renwick Gallery Wonder Exhibit © Gabriel Dawe

Gabriel Dawe Plexus A1 @ Renwick Gallery Wonder Exhibit © Gabriel Dawe

Gabriel Dawe – Plexus no. 24 specific installation @ Camh, Houston, 2013 © Gabriel Dawe

Gabriel Dawe – Plexus no. 11, site specific installation @ east wing x, 2011 © Gabriel Dawe

In the presence of an installation by Gabriel Dawe one is immediately pervaded by a feeling of wonderment, immersed in the vision of a spectrum of light magically materialized in front of us, the multicolored thread captures our eye and the complex structures challenge our perception of space. Moving from the bigger picture and investigating the details of his pieces, one immediately realizes that Dawe’s practice is a meticulous work and that the color does not come from a projection, but that the “rainbow”, the “material prism”, is a complex structure composed of individual parts that interact with the environment in which they’re placed, from the walls to the floor; thousands of individual strands saturated with bright colors are mounted through hooks and create intricate multi-color forms of sewing threads that dominate the space. Stunning installations and complex compositions that can also be intended as metaphors for social structures and the restrictions that often govern our daily lives.

Lucia Romano

Being Bjarne Melgaard, Virtual Reality between Freedom and Control

Being Bjarne Melgaard, Virtual Reality between Freedom and Control

By Elda Oreto

My Trip by Bjarne Melgaard is a dark and liberating Virtual Reality inhabited by psychedelic monsters, bright colors and hypnotic electronic music. The project was carried out in collaboration with Acute Art (https://acuteart.com), an agency that produces Virtual and Augmented Reality for artists. The VR is the beginning of a partnership with the Julia Stoschek Collection which will show the artwork in its Berlin exhibition venue until December 15th, 2019.

The virtual world created by Melgaard is a 14-minutes futuristic and alienating journey. Sitting in a chair, in an environment with a pink mirror and a fitted carpet, the visitors wear a VR helmet, made of special glasses and headphones for the experience. The journey begins. you find yourself in a parallel universe, sitting in a chair in a dark hall; there is a panel with indications on DMT or Dimethyltryptamine, a chemical drug present in many plants and in the cerebrospinal fluid of human beings, which, when is synthesized, it becomes an hallucinogen. My Trip is the story of Melgaard’s experience under the drug. The chair moves. Something is pulling you into a room at the end of the hall. 

The minute after, you’re inside the head of Bjarne Melgaard himself. The first overwhelming feeling is vertigo. It is like being on a rollercoaster while falling down. But here everything feels stronger. The electronic music composed by Romina Cohn, DJ and filmmaker from Buenos Aires, helps to cross a gate between the real, physical dimension and the virtual and mental one. In the untidy room, there is a bed and shirts hanging from the ceiling. Then comes a frightening surprise. You’re not alone in the room. There is a huge octopus with a human face and a mini bowler hat on his head. It’s Octo and it is a sculpture by Melgaard. With him there is another character familiar to Melgaard’s universe, The Light Bulb Man. The Man is sitting at a desk where he smokes DMT and watches a series of monitors in front of him.

Suddenly the room dissolves and you find yourself floating in space, where other characters come out of kaleidoscopic lights. There is also Stig Sæterbakken, the controversial and acclaimed Norwegian writer and translator, who took his life in 2012. The adventure continues between submarine abysses, a desert island where ravenous sharks eat the Light Bulb Man, and a fly over the sea; lastly, you’re in the sight of a killer demon who eventually slashes your throat. 

In conclusion, it is simply addictive. It’s a shock to resuscitate. In this work, the artist has collected all the characters in his practice so that something of his experience persists inside a cutting edge medium like the VR. The norwegian artist, who lives and works between Oslo and New York, was invited by the Swedish art critic Daniel Birnbaum, director of Acute Art, former director of Moderna Museet in Stockholm and Rector of the Städelschule, to realize the first of a series of works part of a program dedicated to the possibilities of VR and AR as an art medium. Among the artists invited: Mark Leckey, Nathalie Djurberg & Hans Berg, Marco Brambilla and R. H. Quaytman.

Although Melgaard had previously worked making films like Untitled (Bjarne Melgaard interviews Leo Bersani), 2011, All Gym Queens Deserve to Die, 2000, Pepto Abysmal, 2013, Antwerp, 2012, Untitled (Smartphone Video), 2017, through this project, he had the opportunity to experiment with the new medium. He wrote a story and sent it to the Acute Art team and together developed the VR. Bjarne Melgaard’s constant research unfolds through all expressive forms. Considered to be Edvard Munch’s direct heir in Norway, he established himself as an ‘enfant terrible’ of the international art scene in the early 2000s when he showed a series of sculptures which represented obscene monkeys. But the provocations aroused by his work have been still many since then; for example, in 2013, he presented the Allen Jones sculpture series which depict women posing as furniture. All of Melgaard’s practice is on the border between what is acceptable and what is not. Since the beginning of his artistic career, Melgaard’s installations have focused on subversive themes, often inspired by subcultures such as Heavy Metal music and S&M. Transgression is an attitude that brings transformation and can be lived out without being trivialized or normalized .Bjarne Melgaard took part in the Venice Biennale (2011), Lyon (2013) and Whitney (2014). In Oslo, in 2013/2014, the Astrup Fearnley Museum hosted an exhibition with his works of the last 20 years. In 2015, the Munch Museet inaugurated an exhibition Melgaard + Munch – The End of It All Has Already Happened, where the practice of the two artists is directly compared.

In My Trip, Melgaard takes up the main theme of his research: the idea that  suicide and anti-natalism are the salvation of humanity and the only true act of liberation. This topic presents an antinomy that matches perfectly with the VR: the chaos, the frustrations and the anguish of an existence absorbed in the machine of the consumption of life blend with the loss of the real corporeality and the intensification of the visually induced sensations of the VR. However, the paradox that mixes life and death goes even further. In fact, all this is unspeakable since the virtual experience is individual, like life; and this fundamental solitude is the only thing we can share. In the movie Being John Malkovich by Spike Jonze, a failed puppeteer finds access to the actor’s consciousness and uses and abuses it, until he remains imprisoned in it. The possibility of meeting the other becomes the extreme experience of possession. In My Trip, Melgaard plays with control over the viewer, what freedom is and how and to what extent it can be exercised. The ambivalence of Virtual Reality is the perfect medium to tell this story.

Images > Bjarne Melgaard, still from My Trip, 2019. Courtesy Acute Art and the artist

Janine Antoni’s incarnations of intimacy.

Janine Antoni’s incarnations of intimacy

The Bahamian American artist Janine Antoni was one of the emerging young artist that showed her work in the “Aperto” section of the 45th Venice Biennale. This show marked an historical shift in exhibition making with no less than thirteen curators and one-hundred-twenty artists participating. A rough sixteen years later most of these curators and artists have gained critical acclaim and Janine Antoni is certainly one of them. Since receiving her MFA from the Rhode Island School of Design the artist has pushed and challenged the legacy of minimal art, performance art, surrealism. Janine Antoni’s works could be considered a reaction against artists excluding their body or “artistic touch” from the production of their artworks. However, instead of retreating to the romantic notion of singular mark making by a genius individual, like in abstract expressionist paintings, Janine Antoni deploys more mundane activities to add to or deduct from her artworks. Such an approach is evident in the work “Lick and Lather” from 1993. Here the artist casted herself into bust-sculptures made from chocolate and soap. The chocolate versions of the busts were extensively licked by the artist whereas soap ones joined her for a bath. This resulted in defaced and vulnerable self-image conceived in the most intimate way possible.

anine Antoni, Lick and Lather, 1993
Janine Antoni, Mortar and Pestle, 1999

Janine Antoni’s practice seems to explore how personal intimacy and interpersonal intimacy could be transcended through images, objects and materials. Her close family members and romantic partner often become part of her work. Despite of this very personal aspect, Antoni does depict her relations with a sense of interchangeability. This interchangeability subsequently allows us to imagine ourselves within the work as we recognize archetypical impressions of human bonding. The eye and tongue in “Mortar and pestle” could become the tongue and eye of any advanced intimate partnership. The impressions of the artist’s mouth and her mother’s hand in the work “Umbilical” could belong to anyone and could furthermore apply to multiple forms of care taking between a parent and a sibling. Antoni’s oeuvre allows for the application of multiple meanings and therefore retains relevance. Today we could easily connect Antoni’s work to the replacement of human agency by artificial intelligence.

Janine Antoni, Wean, 1989

Perhaps not in the literal sense but one could argue that a work like “Wean” from 1989 is remotely prophetic and illustrates the precursor of the AI predicament. From left to right this visual sentence displays an impression of the artist’s breast, her nipple, three latex nipples used for baby bottles, and the store-bought packaging they come in. The stages of the baby’s separation from the mother in this case become a metaphor for the present and near future.

Janine Antoni, to long, 2015
Janine Antoni, INGROWN, 1998

The opposite of separation appears with Antoni’s more recent sculptures where hollow life casts, various skeletal parts and domestic objects unite in impossible arrangements. Estrangement in this case emerges from dead things gaining a sense of human vitality due to their metaphorical significance. A work like “To twine” from 2015 is completely lifeless and back-breaking from a biological perspective yet incredibly sweet and vital as a metaphor. This furthermore applies to the way in which the two spines are inextricably merged at their tails. This is not what actually happens during an intimate exchange with our romantic partner but it is precisely what we feel happening during the act. Antoni seems to suggest that there is no way back from falling in love. Till death do us part does not apply here.

Doron Beuns

Crossing Lines at Kunsthalle Osnabrück

Crossing Lines at Kunsthalle Osnabrück

A comparison between Mysticism and Rationalism of the Bauhaus

The Bauhaus School has an esoteric side, that, up until now, 100 years after its foundation, is still the subject of hermetic interpretation. This mystical vision, also subtly connected with theosophical theories, developed almost in divergence to the more positivist one of the School based on the precept of art, science and technology in service of humanity. The group show Crossing Lines, curated by Dr. Christian Oxenius and Jan Tichy, at the Kunsthalle in Osnabruck, from August 24th to November 3rd 2019, provides a critical way of interpreting Bauhaus starting from this enigmatic point of view. 

Installation view Crossing Lines at Kunsthalle Osnabrück, Photo: Angela Von Brill

At the origin of the project, there is a document from the László Moholy-Nagy Foundation: a dark green print of the artist’s right hand on a light coloured paper. The pressure of Moholy-Nagy’́s hand with his fingers, the palm, the lines and the folds of his skin, which are said to enclose the secret meaning of a man’s life, give a spiritual and at the same time inhibiting allure to the gesture of bringing to life the presence of the artist. This testimony emerged from the research of Jan Tichy, in collaboration with Robin Schuldenfrei of the Courtald Institute of Arts in London, together with thirteen other prints of the same kind; they were probably the result of a workshop whose participants were members of the School, including Wassily Kandinsky, Marcel Breuer, Marianne Brandt, and László Moholy-Nagy himself –  all of them were in some way related to each other.

Installation view Crossing Lines at Kunsthalle Osnabrück, Photo: Angela Von Brill

There are no other documents that could explain the reasons for this series of prints; nor is it clear why Moholy-Nagy decided to keep them and even take them with him when he moved to Chicago, to teach at the New Bauhaus.

Installation view Crossing Lines at Kunsthalle Osnabrück, Photo: Angela Von Brill
Installation view Crossing Lines at Kunsthalle Osnabrück, Photo: Angela Von Brill

“Crossing lines, the title of the exhibition” explains Dr. Oxenius, “is an invitation to overcome a classic iconography that represents the history of Bauhaus as an exclusive domain of rationalism. The exhibition invites the viewer to relate to this crucial moment of history among other things from a different point of view that looks at the relational dynamics that belonged to the School and that were precisely at the root of the New Bauhaus”. This tension between the rational and the mystical is described in the exhibition by a site-specific path created by Jan Tichy that outlines one of Moholy-Nagy’s horoscopes. This trajectory unfolds the dialogue between the artworks. “The positions we see represented at the Kunsthalle Osnabrück (…) are rather gestures that find resonance in their multiple histories and their relationship with contemporary narratives and sensitivities. The exhibition is conceived as a form of open dialogue in which each work, each individual and artistic production, develops its own narratives independently, yet finds synergies and common underlying aesthetic and conceptual elements to create a sense of unity.” as Oxenius explains in the curatorial text.

Installation view Crossing Lines at Kunsthalle Osnabrück, Photo: Angela Von Brill
Installation view Crossing Lines at Kunsthalle Osnabrück, Photo: Angela Von Brill

The artists, Heba Y. Amin (*1980, Cairo), Jakob Gautel (*1965, Karlsruhe), Olaf Holzapfel (*1967, Dresden), Reuven Israel (*1978, Jerusalem), Kostis Velonis (*1968, Athens) and Jan Tichy (*1974, Prague), describe this dynamic with different practices that share the horizon of the formal influence of Bauhaus and its spirit of experimentation. The creative dynamism was indeed an essential quality of László Moholy-Nagy, born in Hungary on the 20th of July, 1895 to a Jewish family and died in Chicago on November 24, 1946. Cinema, theatre, sculpture, photography, typography and advertising design were a commitment aimed at the realization of a Gesamtwerk, or total work, in the postwar era of mass production. But all these activities did not weaken the artist’s pictorial practice and his decisive role in art history that consisted in a new concept of painting and an instrumental use of light.

Installation view Crossing Lines at Kunsthalle Osnabrück, Photo: Angela Von Brill
Installation view Crossing Lines at Kunsthalle Osnabrück, Photo: Angela Von Brill

In the preface to the text by Moholy-Nagy, The New Vision and Abstract of an Artist, 1928, Walter Gropius writes that, after the Great War, at a time when the world was facing new problems such as, for example, the fourth dimension, the simultaneity of events and other ideas extraneous to previous time periods, Moholy-Nagy’s revolution was to have introduced time into space, merging abstraction and reality.

Installation view Crossing Lines at Kunsthalle Osnabrück, Photo: Angela Von Brill
Installation view Crossing Lines at Kunsthalle Osnabrück, Photo: Angela Von Brill
Installation view Crossing Lines at Kunsthalle Osnabrück, Photo: Angela Von Brill

Perhaps it is precisely in this spirit of perpetual research and overcoming limits that the esoteric and mystical aspect of László Moholy-Nagy’s practices, and those of the other Bauhaus artists, can be included in a traditional perspective, yet one which leaves room for a critical point of view.

Elda Oreto

Vito Acconci. From the space of the page to the space of reality

Vito Acconci. From the space of the page to the space of reality.

A metamorphosis of the language.

Vito Acconci was born on January 24, 1940 in the Bronx, New York, to a family of Italian emigrants. He was named after his grandfather Vito, who used to call him Annibale, a name that Acconci will turn into Hannibal and will use as his pseudonym throughout his poetic career. He had a Catholic education studying first at the Regis High School in New York, then at Holy Cross College in Worcester, Massachusetts, where in 1962 he completed a degree in Literature, followed by a Master’s degree in Writing at the University of Iowa. The irreverent aspect of Vito Acconci is clear from the early years at the college, where he was expelled from the school magazine, of which he was co-editor, for having published spicy stories about nuns and priests. Almost obsessed by authors such as Mallarmè, Alain Robbe-Grillet and Faulkner, Acconci finds writing as something extremely laborious, he wanted to go beyond mere description, wanting to enter the action “trough the act of going”. 

Vito Acconci, Cover Avalanche Magazine, #6, Autumn 1972

At the end of 1964 he returns to New York, where he sees, for the first time in person, the works of Jasper Johns and recognizes his own limits as a writer. Johns’ works nullify the gap between representation and the things represented: painting a number is not just the representation of the number, it is the number itself! This is how Acconci starts working on language: transforming it into matter. According to Acconci writing acquires a behavioral value, the act of writing is already the written composition. Poetry becomes the only means to recreate the direct, clear, and immediately usable message that he had found in Flag by Jasper Johns.

Jasper Johns, flag, 1954-55, Moma, New York

As a poet Acconci treated the page as a physical support that he would modify with words, which would have the physical and plastic qualities of matter. Acconci’s transition from a writer of narrative to a poet is consequential, in fiction he writes about something “in fiction I was writing about something”, in poetry he writes something “in poetry I was writing something”. Acconci moves away from the idea of the poem perfectly placed on the page, looking for other ways of writing different from the academic form. 

Cover of the magazine 0 to 9, N. 3, Jan 1968. Published by Bernadette Mayer and Vito Hannibal Acconci. Designed by Vito Hannibal Acconci.
The cover is made using the first sentence of each artwork included in the third issue of the magazine.

From 1967 to 1969 he began his editorial effort together with Bernadette Mayer, his wife Rosemary’s sister.  Together they publish six issues of the magazine 0 to 9, a tribute to Johns’ 0 through 9, printed with a mimeograph machine and distributed for free. The development of the magazine reflects the evolution of Acconci’s artistic career: from poetry, (in the first numbers there are texts by authors such as Queneau, Stein, Sanguineti, Apollinaire, Vito Hannibal Acconci himself; the last numbers have texts by artists such as LeWitt, Johns, Smithson and many others) to the performance with Street Work, held in New York in the spring of ‘69. Thanks also to the readings in which he participated in New York from 1967 to 1969 he begins to expand his range of action. The work that he considers the end of his activity as a writer is MOVE/MOVES (DOUBLE TIME): The time taken for me to walk from 7 Ave. & 17th St. NE to 6th Ave., beginning at 9PM. He wanted to complete the reading of the written page in the same amount of time it took him to get from one point to the other on the road. This is when he feels he can no longer consider himself a writer, because his work is slipping into another field, the field of action-art. He leaves the written page behind in order to interact with his surroundings. 

Vito Acconci

Starting in 1969 Acconci devotes himself to art-making. The behavioral quality becomes the material of the work, as opposed to language intended in the two-dimensional nature of writing. The staging of his art becomes a translation of language and poetry. What was previously conveyed through the words written on the page now finds a new support: the body of the artist.

Vito Acconci, Trademarks, perfomance, 1970

The activities and the performances from 1969 to 1973 are real body-works. The perfomance of Trademarks (1970) is in this sense emblematic: the body is intended as a real and actual print media. He bites every part of his body which he manages to reach and covers it with ink, leaving his fingerprints on various materials such as paper, walls and other bodies. Only through the superficial knowledge of our body we can achieve a deeper knowledge: “Show myself to myself – show myself through myself – show myself outside…”. The language is the basis of all his body-works, it is seen not as an abstract phenomenon but as a material that needs to be activated and made tangible through experience, it is also used in the form of narration. If Fontana rips and cuts the canvas, Acconci tears and modifies his body, sometimes even performing debilitating operations (as in Step Piece; Rubbing Piece; Soap & Eyes; Hand & Mouth, Open; Close; See Through to name just a few). 

Vito Acconci, Seedbed, perfomance from 15 to 29 Jan 1972, Sonnabend Gallery, New York

All activities up to 1971 are documented with photos and by films shot in Super 8. With the Seedbed performance of January 1972 at the Sonnabend Gallery he starts being part of the official gallery circuit. He is signed by Ileana Sonnabend, therefore becoming a full time member of that group of artists that are recognized by the general public. The public performances allow Acconci to manipulate, not only the body, but also the space of the gallery. The body engages into a relation with the modified environment,  losing its leading role. The space of the gallery, malleable at will, complicates the artistic experience due to a greater freedom of movement that expands his interests. The public is treated with neutrality, he addresses everyone indiscriminately, in search of a utopian complicity, but mainly he turns to himself, in an interior discourse that is externalized for fruition.

Mimmo Jodice, Vito Acconci © Mimmo Jodice

Through the language and the relationship with the public there’s a real exploration of our nature. Acconci’s urgent speeches resemble streams of consciousness in which the author is free to express himself and his existential anxieties, sharing them with the public that becomes a confessor without an identity, but capable of performing a cathartic function for the artist. The last public performance of Acconci, Ballroom, took place in November 1973, at the Galleria Schema in Florence. During the piece a girl gets up and goes to kiss the artist upsetting the plan of action. From the end of 1969 to the end of 1973, Acconci produced around 200 works, including performances, videos, films, audio-video tapes and installations. In January 1974 we witness the final eclipse of the body with the video installation Command Perfomance in which there is a true declaration of intent that sees the body of the artist abandoning the field of action. In the video, Acconci abdicates his role in favor of the spectator who now has all the keys to understand the work, his physical presence now seems to have exhausted its function: “You can do it… you can do what I was never able to do”. The concept of the body as designed by Acconci had its peak and, like every great empire, it is forced to decay as if it were a historical necessity. In the 1980s Acconci’s interest moved definitively towards sculpture and architecture, performing permanent installations related to the environment. The materials used are ecological and recycled. In an interview Acconci states: “Seedbed was a kind of beginning of architecture. But I didn’t realize it at the time…” So the space of the gallery, too closed and limited, where the public’s behavior is artificial, is replaced by the real public space. He abandons the artistic event to move into the social sphere.

Vito Acconci, Acconci Studio, Murinsel&oq, Acconci-Insel, Graz, 2003

In 1988 he founded Studio Acconci. In his transition to architecture, Acconci still retains his language and his interest in writing, just as in his poems he makes extensive use of pauses and punctuation marks, which give the reader the chance to get lost among the various points of view, so the architectural projects of Studio Acconci are buildings and artifacts that can be modified according to the needs of the territory, the users and the environment, they are reusable even outside the context for which they are created. The architecture is conceived in an open perspective that can be related to the use he made in poetry of the parentheses which in writing open to alternative ways of seeing things, not erasing the main period of the sentence but enriching it: “One thing I am obsessed with is giving viewers choices. Not to have only one entry, only one kind of path. Spin-offs are important. Spin-offs are like parenthetical phrases. “There is no parentheses… I’m sure this idea started for me with writing”.

Vito Acconci, Acconci Studio, Face Of The Earth, 1986

His is a vision that is projected into a still unexplored future: “We don’t know what a future space is going to be, but we want to try to anticipate it. We want to design this space, ideally — though I don’t think we do this, I hope we just haven’t built it, couldn’t have been designed, couldn’t have been imagined before the twenty-first century.  No, we haven´t lived up to that, but I think that´s the only real choice for architecture. It should give you a possibility of a future”. And so a few years after the death of this great precursor, controversial, prolific and eclectic artist, it seems that his architectural work The face of the Earth smiles at him hoping that he found peace in death as he did not find it while alive in the desperate effort to “solve his existence in language”.

Agostina Bevilacqua

The Ankersentrum by Natascha Sadr Haghighian

The Ankersentrum by Natascha Sadr Haghighian

at the German Pavilion of the 58th Venice Biennale: a journey through the ruins of the world.

by Elda Oreto

In classical mythology, we speak of catabasis when the protagonist descends into the underworld for an inner renewal. Natascha Süder Happelmann, a stone head on a human body, can look back on a journey stretching from the refugee center of Donauwörth, Germany, to the port of Trapani, Italy. We can follow her on social media as she crosses the desolate countryside where people collect tomatoes illicitly in order to earn a living. At the port of Trapani, Natascha sees the IUVENTA, a ship owned by the NGO “JUGEND RETTET” (Youth saves) saving those who flee from Africa to Europe. Natascha stops, does not go back nor does she travel back to her country of origin, she decides to stay inside an irreparable tear. The artist Natascha Sadr Haghighian has played out her own metamorphosis to represent Germany at the respective Pavilion, curated by Franciska Zólyom, at the 58th Venice Biennale. The Pavilion has provocatively become the Ankersentrum (surviving in the ruinous ruin), a reception center for asylum seekers in Germany. This expression, ironically and paradoxically, indicates a place of transition and confinement within a society. A society built on the ruins. That is, indeed, perpetually ruined.

Natascha Süder Happelmann, re., und ihre Sprecherin Helene Duldung, li., vor dem Auswärtigen Amt, 2018, Foto ©Jasper Kettner

The front door of the Pavilion is closed, but it can be accessed through a side entrance. The space is divided into two. On one side, there is “Tribute to Whistle”, 2019, a high and intricate framework on which loudspeakers reproduce whistling compositions, imitating the “clandestine” communication system of immigrants. On the other side, there is a false concrete dam from which, through a small hole, a rivulet runs down to wet the rubble. What characterizes the installation is the concert of whistles that crosses the wall, escaping the obstacle, unpredictably.

In another room, there is a sculpture made from the remains of scaffolding, a street poster, and plastic containers for transporting tomatoes. The sculpture, which recalls the countless deaths of illegally employed immigrants, seems stationary; however, it is imperceptibly in motion. In Ankersentrum, everything loses its connotations, merges, becomes invisible, changes its name. Mohamed becomes Sammy. Abdullah becomes Tony. And Natascha Sadr Haghighian becomes Natascha Süder Happelmann.

Helene Duldung, played by Susanne Sachsse – who collaborated in the Pavilion with Jessica Ekomane, Maurice Louca, DJ Marfox, Jako Maron, Tisha Mukarji, Elnaz Seyedi, Maziyar Pahlevan, Sina Ahmadi, Jasper Kettner, and many more — is her speaker.  However, the voice that speaks on somebody’s behalf, sometimes betrays. “Die Duldung” is the certificate of suspension of deportation, meaning “to show someone tolerance” in German: to endure something unpleasant.

At the press conference and presentation, Frau Duldung speaks for Natascha and reads Rosa Luxemburg. To divide and conquer is necessary to create a capitalist society, perpetually in ruins, structured in favor of the few and in favor of privatization and accumulation of goods; this is the origin of borders and nations. 

Pavilion of GERMANY, 58th International Art Exhibition – La Biennale di Venezia, MayYou Live In Interesting Times – Photo by Jasper Kettner
Pavilion of GERMANY, 58th International Art Exhibition – La Biennale di Venezia, MayYou Live In Interesting Times – Photo by Jasper Kettner

Happelmann, aka Haghighian, indicates that today’s transhumance is a sign of change as described in the philosophic ideas of Bruno Latour, Jane Bennett, and Graham Harman. She describes this change and how to stay in this irreparable rift, intertwining a collective experience with the crucial stages of her artistic journey.  Together with the exhibition, a series of lectures titled Beyond Repair are organized in collaboration with IUAV and the Hochschule für Künste of Bremen. By stripping her own identity, Natascha Sadr Haghighian becomes a “person-thing” that, amid many others, shares the same story.

Ankersentrum summarizes the crucial moments of her practice, an heir to relational art, from Jorge Pardo to Tobias Rheinsberger. In its evolution, it recalls the art as political activism of Hans Haacke. Haghighian calls it a “constant process of research, manipulation and doubt” which begins with the cancellation of her own identity, originating from “bioswop.de”, 2004: a platform to exchange life stories. Her research embraces different methods: installations, sounds, text and images, the collaboration with other artists also plays a fundamental role. Among the many projects implemented in about three decades, we can mention “Die Krankheiten des Uhus und ihre Bedeutung für die Wiedereinbürgerung in die Bundesrepublik Deutschland” from 2003 (The Horned Owl’s Diseases and their Significance for its Re-Naturalisation in the Federal Republic of Germany), a sound installation that imitates a bird imprisoned in a room. The sound element, characteristic of her work, is used to distort what is taken for granted; in Robbie Williams – Show Only (2014), the collaboration with Mixed Media, a company that produces works for other artists, is the object of the work itself.

Pavilion of GERMANY, 58th International Art Exhibition – La Biennale di Venezia, MayYou Live In Interesting Times – Photo by Jasper Kettner
Pavilion of GERMANY, 58th International Art Exhibition – La Biennale di Venezia, MayYou Live In Interesting Times – Photo by Jasper Kettner

For Documenta 13, the artist created d (13) pfad / d (13) trail with Pola Sieverding, a path made of debris from Second World War, surrounding the Ehrenmal, a war memorial. From the bushes around the park emerge the onomatopoeic verses of animals in different languages. pssst LEOPARD 2A7 + (2013) is a prototype that imitates a tank of wood and lego pallets with plugged-in headphones and installed testimonies about Germany’s role in the production of weapons.

In the book published by Archive Books, Franciska Zólyom writes “to paraphrase Walter Benjamin, the witness only becomes a witness when he communicates to others what he has seen and experienced. (…) In this way it is not the witness or the narrator who is immortal, but ‘The very story of repetition, a story that, repeated at least twice, is not individual”.

Pavilion of GERMANY, 58th International Art Exhibition – La Biennale di Venezia, MayYou Live In Interesting Times – Photo by Jasper Kettner
Pavilion of GERMANY, 58th International Art Exhibition – La Biennale di Venezia, MayYou Live In Interesting Times – Photo by Jasper Kettner
Pavilion of GERMANY, 58th International Art Exhibition – La Biennale di Venezia, MayYou Live In Interesting Times – Photo by Jasper Kettner

Explorer and wanderer: Mapping of Jon Rafman

Explorer and wanderer: Mapping of Jon Rafman

by Paulina Brelińska

He wanted to tell important stories and he is using augmented reality to do it. By exploring the internet and using it as a research tool, Jon Rafman created something partly rational and definitely convincing. It is not surprising that he was selected for the curatorial concept of Ralph Rugoff. The reason why his art seems to be so strong, is the fact that it might be directed to Millennials – the next generation of collectors, according to Brian Boucher. The Canadian artist emphasizes the decadence of the upcoming future in general, but also shows how relevant nowadays technology is and how important might be for visual creators. And this tendency is already starting to be reflected on the global art market.

Jon Rafman, Disasters Under The Sun, 2019, 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, Photo by: Avezzù, Rondinella, Galli, Salvi –  Courtesy: La Biennale di Venezia

Tragic irony

As he admitted, his works – mainly video art – are based on tragic irony. Specialized techniques enable him to explore unknown environments of selected areas of the internet. The aesthetics of video game instead highlights the fictionality of Rafman’s films. We are faced to what seems to be an intro to the second life of the artist. His alter ego called Kool-Aid Man, like the popular mascot of an American drink, explores and interacts with imaginary and symbolic scenarios such as eccentric parties, taking drugs, acts of vandalism, wars, violence, drug or sex addiction, rape, social changes or even the apocalypse. “It is somehow a transition point between documentation and the process of self-discovery”, like Rafman once said. He also has admits that: “we’ve reached a point now, my generation, where we don’t even know if we are celebrating something, and saying its great and affirming it, or if we are engaging in an ironic critique and mocking it, we’ve almost collapsed the two.”

Real person and fictional character

Another key factor of his art is the fact that Rafman is not the only subject involved and this is crucial. In fact, Kool-Aid Man is a big red glass pitcher with a wide smile known for his catchphrase “Oh yeah!”. He became a pop culture mainstream for Americans and Canadians in the 80s and this is when Jon was growing up. In the original advertisement, he was the only part totally computer-generated which makes the artist’s decision more understandable when it comes to alter ego choice. At first glance, his artistic endeavors might be considered as a chaotic narrations, filled with random situations. The only thing which does not change is Jon’s alter ego as well as the monotonous voice of the narrator explaining the situation like in a mockumentary film. This can be found for example in A Man Digging (2013) in which a male voice explains the author’s internal needs, narrating it as if it is in the form of a secret diary.

Jon Rafman, Disasters Under The Sun, 2019, 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, Photo by: Avezzù, Rondinella, Galli, Salvi – Courtesy: La Biennale di Venezia

Google Street View

Google street view has become an important tool for many creators. The never-ending base of new images allows artists to see the world impersonating the role of an investigator. This combined with the  atmosphere of Jon Rafman’s creations leads to the development of something that resembles a retro-thriller where Jon becomes a true detective of the 21st century. His most recognizable and ongoing project based on this concept is 9-eyes. What does Rafman show as the search results of this photo project? Men and women fights, skirmishes and other situations of crisis which catch his artistic attention. There are many situations, which might be captured by the photographs made by Google cameras, that’s for sure, but somehow there is no certainty regarding the outcome. 

Second Life as a tourist destination

Could Jon Rafman be identified as a nerd? According to the stereotype, that would be a person who does not break away from his computer. His virtual tours may suggest that indeed his attitude may have something to do with the classic nerd approach to the Internet and its technology. Even more nerdish is the fact that he is, to all effects, a tourist exploring the virtual world of Second Life . But the most interesting part of this journey is, in fact, the destination. What is his final goal when most of his time on the platform is more like free wandering? It might be assumed that his tours do not always have to bring definite results to be considered as satisfactory.

New discoveries, a mixture of architecture, landscapes and artifacts

The whole environment, which Rafman builds in his video creations, is based on visual eclecticism. It is a loosely defined mix of monuments, cultural references, conventions and approaches to life. This phenomenon can be seen as a consequence of globalization, mainly because it is increasingly difficult to create something original in the era of a global culture. Alternative reality remains a mix of images observed by the artist in the real world, and it is fundamentally interesting that his dreamworld is built from not-so-positive components when it comes to social situations, but this is extremely impressive when it comes to consider it as the heritage of our civilization.

Jon Rafman 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, Photo by:
Avezzù, Rondinella, Galli, Salvi – Courtesy: La Biennale di Venezia

Dancing Avatar

Last but not least there is the fictional element. The balance between what is real and not real is clearly shaken in Rafman’s works. Elements of the two worlds alternate with each other. Thanks to this, the artist efficiently speaks about important problems and topics, although many situations are absurd anyway. Each of his videos is like an episode of a series, in which the absurd becomes rational. This element requires from the recipient many levels of interpretation. The dancing avatar from Kool-Aid Man is the example of the act of deep processing of 21st century symbols. Keep going Jon. 

Anicka Yi ‘The Art of Smell’

Anicka Yi ‘The Art of Smell’

By Adela Smejkal

Art has many forms and many mediums, but the approach of Korean artist Anicka Yi is undoubtedly not one of the common ones. She is one of the artists that is elevating contemporary art to unprecedented levels  drawing outside the standard accepted line.

Yi had the honour to be selected by Ralph Rugoff for the 58th edition of the Venice Biennale where she exhibited two installations of her work ‘Biologizing the Machine’. Tentacular Trouble with its large kelp-based glowing globes has quickly made it on top of Instagram feeds, the lamp like surface of the installation recalls the texture of skin or leather, some might even say resembling cocoons, embryos or even a cellular network. Again with her untraditional use of materials, Yi references the origins of human life and creates a connection to the sea. The artist describes her versatile creations as Biopolitics of the senses.

 Anicka Yi, Biologizing the Machine (terra incognita) 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, Photo by: Avezzù, Rondinella, Galli, Salvi – Courtesy: La Biennale di Venezia
Anicka Yi, Biologizing the Machine (terra incognita) 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, Photo by:
Avezzù, Rondinella, Galli, Salvi – Courtesy: La Biennale di Venezia

And this is even more evident in the installation exhibited in the Central Pavilion, called Terra Incognita, where the artist combined soil from Venice with a specific bacteria that emits a peculiar smell. The panels of the work are controlled by Artificial Intelligence which changes light, temperature and water levels. The AI therefore learns every aspect of what is a living work of art, trying to understand its components, its phases of growth and decay and amends the environment accordingly.

Anicka Yi is undermining the relationship between the organic and the synthetic, science and fiction, human and non-human. On top of that, she likes to add to her works socio-cultural themes such as feminism, gender inequality or environmental degradation.

Anicka Yi, Biologizing the Machine (terra incognita) 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, Photo by:
Avezzù, Rondinella, Galli, Salvi – Courtesy: La Biennale di Venezia
Anicka Yi, Biologizing the Machine (terra incognita) 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, Photo by:
Avezzù, Rondinella, Galli, Salvi – Courtesy: La Biennale di Venezia

In just a decade of showing her art, Yi has established herself, without any former training, as an ‘artist’ through a self-directed study of science. Although she doesn’t consider herself fully as an artist nor a scientist, she is someone deeply interested in both fields but basing her artistic principles on the cultivation of other senses, telling a story with chemicals, and making the viewer do more than only to view. Among her artistic practice, scent has emerged as her trademark. Often artists do not focus on the entire act of olfaction, this means that it is not fully explored and it is considerably undervalued. Yi is thus determined to understand, communicate and extend the field as it has never been done before.

Anicka Yi, Biologizing the Machine (terra incognita) 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, Photo by:
Avezzù, Rondinella, Galli, Salvi – Courtesy: La Biennale di Venezia

Unsurprisingly, the artist is attracted to contradictory non-traditional materials that don’t necessarily tend to become compatible with one another. The artist deploys unstable, volatile materials along with very stable industrial materials. She often makes use of elements that are alive or that were recently alive. For instance, she cultivates human-borne bacteria.  In the past Anicka Yi has displayed live snails or deep-fried flowers. In her eyes, this sort of ‘shocking’ choice of materials creates the driving medium of the piece, which then serves as a narrative. Because her combinations are almost unorthodox, she relies on them to dominate and impose significance. The scent or the smell of the materials decomposing, or just co-existing, is then the ‘by-product’ of her artistic process.

Anicka Yi, Biologizing the Machine (terra incognita) 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, Photo by:
Avezzù, Rondinella, Galli, Salvi – Courtesy: La Biennale di Venezia

The by-product then interacts with the audience in other than only visually. Yi’s mission is to cultivate other senses because our senses are conditioned through cultural and social circumstances and their power. It is a commentary on the contemporary, socially conditioned society. ‘You can train your nose to smell new things’ Yi says. The smell is an excellent example of how we are limited when it comes to exploring and developing new ideas and views. The fact of seeing a living matter and smelling it automatically triggers a precise thought process: ‘bad smell’ means danger, ‘good smell’ means positive things. Smell or scent is also a communication tool. And it is a rather powerful, which can trigger sensations that involve the environment, time, memory. It also communicates human hygiene and physical preservation. With all this, Yi aims to raise awareness and provoke a conversation with ourselves and among ourselves. 

Anicka Yi, Biologizing the Machine (tentacular trouble), 2019 58th International Art Exhibition – La Biennale di Venezia, May You Live In Interesting Times, Photo by: Avezzù, Rondinella, Galli, Salvi – Courtesy: La Biennale di Venezia

Anicka Yi won the Hugo Boss Prize in 2016 with a piece focused on feminism, the gathering of femininity and female voices. While the show was coming together the planet was focused on the Ebola virus crisis, which ultimately undermined even more the fact that our society is anxious about health threats. She, therefore, based her work on the then current situation and decided to collect DNA samples from 100 women in her personal and professional network. Bacteria started growing and flourishing. Yi then decided to paint with it and to show the reality of women’s bacteria. This display disturbed many men, only highlighting the sociological groundwork of Yi’s art, which becomes by the day more and more relevant. 

Lately, the artist has also become concerned with the notion of artificial intelligence developing a virtual-reality piece, which focuses on the exploration of biotech and genetic engineering. She says that VR is going to be very much present in five years, similarly to what smartphones are nowadays. As well as the ideology behind her other pieces, VR and AI also have become a reoccurring debate in today’s cultural society and science. As well as this, Anicka Yi also belongs to the group of artists who is dealing with the survival of mankind on Earth. It is rather challenging to understand how something so rational as science and something so irrational as art can find a common ground. But at the end of the day that science fails us as much as succeeds, and the same goes for art, as Anicka Yi once again pointed out. 

Sean Edwards / A PEEPHOLE TO SCULPT THE RANGE OF ACTION

Sean Edwards / A PEEPHOLE TO SCULPT THE RANGE OF ACTION

WALES IN VENICE / Venice Biennale Special

The point of view of the Aesthetic critic PAOLO MENEGHETTI

In the Welsh exhibition visitors can find the installations of artist Sean Edwards. Aesthetically, he is interested in sculpting the everyday life, in order to connect it to the biographic. The installations have a very domestic “nuance”. We will recognize the “Gothic rainforest” of a tent, the tapestry, the screen intended for playing etc… In the ordinary life, the perception of a rest or however of the mechanization maybe distracts us from our living for the “reasons” of a personalization. All men would feel happy, and often it’s better for us to confide in our own diary. In Venice, Sean Edwards exhibits installations to the uncertainty of sharing. We perceive those “digging up” the ordinary life, and its announced importance into the expectations of a “maturity”. More notably, it happens that the real artist identifies with personalized style, against the indeterminacy of massification. In Venice, the exhibition of Sean Edwards is called Undo things done. Perhaps, the monumentality of a memory that we will feel like ours will have to “be disconnected” into the objectivity of a report. Everyone has his own reasons for living; but it’s better for us if we demonstrate those to the Others.

Portrait of Sean Edwards. Courtesy Sean Edwards and Tanya Leighton, Berlin. Image Jamie Woodle
Installation of Undo Things Done, 2019, Sean Edwards, © Jamie Woodley

He who sculpts lets the matter reach an arrangement, and while he configures it a little bit at a time. The abstraction of a messy block will become plastic, passing from itself to itself. The cinematographic image is in motion, although we perceive it in its refraining. The sculptor lets the matter have an arrangement while “re-entering” itself, through a plasticism. Director Tarkovsky wanted the images to show materially their refraining. We can say that his cinematography “sculpted” the time. Sean Edwards installs the cage of metal, however with a plasticism only refrained, through the frames in arch. In a bungalow, weather-beaten and disturbed, the reality of the personal memories (from a betting slip, to a badge of disability, from the obituary for a pool player to the design on the complimentary t-shirts, etc…) seems relying on the “understanding” of the visitors. They would have their gaze “connected in a boomerang”, trying to “browse” the diary where the artist will rest, in a very existentialist way. In addition, the arch-shaped frames are easily perceptible as film strips during playing time.

Installation of Undo Things Done, 2019, Sean Edwards, © Jamie Woodley
Installation of Undo Things Done, 2019, Sean Edwards, © Jamie Woodley
Installation of Undo Things Done, 2019, Sean Edwards, © Jamie Woodley
Installation of Undo Things Done, 2019, Sean Edwards, © Jamie Woodley

One video installation has the dominoes as its aesthetic theme. Symbolically, how much would we expect the odds to be of a specific combination? However to us, the artist seems stalled, if the tiles, instead of falling to display the result, are cradling in cycles of settlement. The video installation of Sean Edwards jumps between the clockwise and the anticlockwise. It is a zoom through which the objectivity of a chance“is sculpted”, also going against our expectations. A confirmation comes to us from a print, where the fingers of the artist suffered abuse, until they were bleeding. An anxiety that needs to be messily “vented” will not be pleasant… Sean Edwards sets up also a sort of “screen”, in metal, and completely pierced with the motif of the word < un >. Precisely, that is a quote from The Sun, a famous tabloid printed in England.

That, according to the artist, will assume a coloration that can be defined as dryly yellowish. Is that an attempt to “sculpt” also the solar radiation? In the English language, the prefix < un > has a negative connotation, to “cast a shadow” on every certainty. The screen is removable, and used not to allow somebody else to watch us undressing. Sean Edwards installs the heaviness of a metal “barrier”, that however has  “peepholes” morbidly revealing. Of course the English tabloid is read for its gossip. Maybe the memories of the artist are not afraid of being unveiled, because of their indeterminateness. In another installation, a quilt is adorned with the letters taken by the title of The Mirror, a famous newspaper in England.

Symbolically, could the rest while reading be covered a mantle of  sensationalism? Usually we appreciate newspapers that are very objective. It would be more correct to publish verified news! Sean Edwards mentions the quilts that traditionally were realized in Wales, with motifs influenced by objects at hand.

Portrait of Sean Edwards. Courtesy Sean Edwards and Tanya Leighton, Berlin. Image Jamie Woodley
Installation of Undo Things Done, 2019, Sean Edwards, © Jamie Woodley
Installation of Undo Things Done, 2019, Sean Edwards, © Jamie Woodley
Installation of Undo Things Done, 2019, Sean Edwards, © Jamie Woodley
Installation of Undo Things Done, 2019, Sean Edwards, © Jamie Woodley

Where to find artistic research? The OP_FAME conference in Wroclaw

Where to find artistic research? The OP_FAME conference in Wroclaw

by Paulina Brelinska

There is one specific feature connected with debates about art – they need constant updating. During their continuance, relevant goals appear, but are usually forgotten. For several years, the sphere of smart and skillful self-promotion and the functioning of visual artists in the world of art became a key theme. The dynamic development of this need has led to the moment when the artist is required to keep track of and improve his promotion strategies. The Openheim institution located in Wrocław Old Town turned out to be a new platform of ideas conducted by this concept.

OP_FAME Conference, Discussion, Openheim Gallery in Wrocław – photo. Jerzy Wypych

It is worth considering what distinguishes it from the other contemporary cultural institutions, courageously promoting various dogmas of art. Openheim is the first gallery in Poland that introduces artistic research actions to a wider audience (it should be known that outside the country it is an extremely common form of contemporary institutional activities, while in Poland it is just fledgling). The founders consciously use knowledge and tools from the border between science and art to promote intercultural understanding between different heritage such as Jewish, Polish and German. Since the inaugural opening after the revitalization in 2018 in the walls of the historic building, series of meetings from many scientific and creative areas are organized, including non-artistic ones. The owner provides a space filled with free and experimental activities. One feels the space is open to many possibilities, spontaneous summaries, bold conclusions resulting in the formation of a strong community of friends of the institution. Gathering the empirical experience of many representatives of the world of art, Openheim creates its own new knowledge. Everything under the need to communicate, understanding and openness to setting up new artistic relationships with people.

OP_FAME Conference, Discussion, Openheim Gallery in Wrocław – photo Jerzy Wypych

Artistic research: unknown land.

At the end of the previous year the exhibition of the outstanding Polish artist Mirosław Bałka was inaugurated. Sooner not later, a lover of archives and research practices, a representative of the Polish trend of critical art – Dorota Nieznalska leaded workshops for professional and emerging artists. She talked about her artistic practice based on cooperation with various institutions and their historical documents. It was also the first meeting that felt actually worth mentioning in the context artistic research, which Polish professionals need more than ever. Preparation of the project, called basic research in general, was to prove to be the key moment in creating art. Artists shared their experiences, defined the research area of ​​their own activities. Dorota Nieznalska emphasized the need to organize thoughts and respect for thought processes that support the structure of well-prepaired artistic concept.

OP_FAME Conference, Workshops, Openheim Gallery in Wrocław – photo Jerzy Wypych

Artistic Know-How

In the new March two-part conference program called OP_FAME, the organizers – Kama Wróbel and Mira Skrudlik – prepared a series of meetings around the topic of functioning in the art market. There was experts in the field of art criticism, artists, gallery owners and people responsible for the implementation of residency invited as well as a numerous local art world members. The decisive advantage of shaping collective know-how was an open dialogue between invited panelists and participants.

One of the more engaging meetings turned out to be a Saturday workshop with Joanna Żak, the owner of commercial gallery Żak Branicka from Berlin. The panelist showed the honest and current state of the Polish art world from the perspective of an observer promoting Polish art behind the western border. Earlier, however, thanks to the critics Stach Szabłowski’s conversation with Joanna Żak and Marta Kołakowska, we learned about the key differences between the Berlin and Warsaw Gallery Weekend. The last reality this time, was presented in more critical light. The discussion drew attention to huge differences in the education and development of individual art markets. “Warsaw is ten years younger than Berlin” we have heard many times from the invited guests. The only thing that actually the two capitals have in common is the difficult economic situation of artists who, in the pursuit of career development, flee from smaller cities such as Wrocław to Warsaw. The same situation happens with artists based in Warsaw who decide to make international career in Berlin. All this is happening under the banner of a strong need for active functioning in the global circulation, in which the artist must cooperate with at least a few commercial galleries to stay in the profession learned at the academy.

Openheim Gallery in Wrocław – photo Jerzy Wypych

This is not the “off” moment

The idea of creating a cyclical “gallery weekend” event, which was widely discussed during the OP_FAME conference, was supposed to be a commercial event. As we learned from a Berliner, this is a meeting place for collectors from Europe and the world. In Poland, this trend is just at its early beginning. Curious art lovers visit the event – Warsaw Gallery Weekend – although they still do not put it on “must be list”. It is an opportunity to see the largest number of galleries in one place, although, as noted, German culture shuns off the alternative “off art” at commercial events. Such solutions have never been maintained in the history of the structured Berlin Gallery Weekend. It is definitely opposite to Polish reality, but let me ask this question once again: Is this really the proper time for “off” moment, for Polish early bird art market?

OP_FAME Conference, Discussion, Openheim Gallery in Wrocław – photo Jerzy Wypych (Panelists: Stach Szabłowski, Joanna Żak, Marta Kołakowska)

Know-how and artistic research

Soon after all the discussions around the artistic self-promotion, the recipients were brought down to earth. It turned out that the internal need for the emergence of Warsaw as a gallery weekend power still has a long way to go to achieve real perfection. The current formula of the commercial gallery itself seems to update without knowing in which direction it is going. The substantive discussion on the borderline between privatization and the factual conference fully met the internal research need, the above text is a temporary record of the most important topics that had the opportunity to become a new knowledge.

OP_FAME Conference, Workshops, Openheim Gallery in Wrocław – photo Jerzy Wypych

Paulina Brelinska


PUBLICATION LISTED IN THE ITALIAN PRESS REGISTER BY THE SASSARI COURT OF LAW WITH REGISTRATION NUMBER 447/2017.
EDITOR IN CHIEF: ALICE ZUCCA

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