Avanguardia russa allo Stedelijk Museum

 Foto Gert Jan van Rooij 

Molto bella la mostra, ora in corso allo Stedelijk Museum di Amsterdam, sulle avanguardie russe, con una particolare attenzione a Malevich.

 Foto Gert Jan van Rooij 

Press Realise

The Stedelijk Museum Amsterdam holds the largest collection of Malevich’s work outside of Russia, which was the subject of a large-scale exhibition at the museum in 1989. Kazimir Malevich and the Russian Avant-Garde is a tribute to the artist and his contemporaries, as well as the culmination of 2013 as the year celebrating Dutch–Russian relations in the Netherlands.

Foto Gert Jan van Rooij 

The exhibition is co-produced with Tate Modern, London, and the Art and Exhibition Hall of the Federal Republic of Germany (Bundeskunsthalle), Bonn, where it will travel in 2014. Each venue explores Malevich’s rich career from distinctive vantage points, focusing on different aspects of the artist’s remarkable career, including the context in which he formed his unique language, the radicality of his artistic trajectory, and his later return to landscapes and figures. Seen in their totality, these exhibitions thus provide the unprecedented opportunity to reassess one of the defining figures of twentieth-century modernism.

Organized by Stedelijk Museum curators Geurt Imanse and Bart Rutten, the Stedelijk’s presentation of more than 500 works places Malevich within the context of his contemporaries.

Not only an artist, he was an influential teacher and a passionate advocate of the “new” art. The show is a tribute to the Russian avant- garde of the early 20th century, with Malevich as its focal point. Although best known for his purely abstract work, he was inspired by diverse art movements of his day, including Impressionism, Symbolism, Fauvism, and Cubism; his own visual language was also influenced by Russian icon painting and folk art. Through oil paintings, gouaches, drawings, and sculptures, the exhibition traces the rich variety of his oeuvre. All the phases in Malevich’s career will be on view, from his Impressionist period to his iconic Suprematist phase—his Black Square was its most radical consequence—to the lesser-known figurative works that followed.

  

Foto Gert Jan van Rooij 

Kazimir Malevich and the Russian Avant-Garde will unite the exceptional collections of Nikolai Khardzhiev (via the Khardzhiev Foundation under the stewardship of the Stedelijk) and Georges Costakis (housed by the State Museum of Contemporary Art, Thessaloniki) for the first time. Pioneering Russian collectors of the Russian avant-garde, Khardzhiev and Costakis assembled considerable holdings of works during a time when abstract art was forbidden in the Soviet Union.

Works on paper offer vital insights into Malevich’s artistic development. Recent research—in which the Stedelijk Museum played an important role—reveals that it is in his drawings that we can follow his artistic quest in the best possible way. Never before have so many Malevich works on paper— mostly from the Khardzhiev Collection—been on public display together.

Foto Gert Jan van Rooij 

The exhibition celebrates a number of milestones. It was precisely one hundred years ago that the experimental Cubo-Futurist opera Victory over the Sun (1913) was performed, for which Malevich designed radical, non-realistic sets and costumes. The opera was a turning point in the artist’s career, marking his first experiments with total abstraction. Moreover, it has been ninety years since the first major exhibition of Russian nineteenth- and twentieth- century art—the first Russian Art Show, including work by Malevich—was on view at the Stedelijk Museum; the Stedelijk was the first museum to present Malevich’s Suprematism outside of Russia. In addition, Kazimir Malevich and the Russian Avant-Garde is the artistic culmination of 2013, a year celebrating Dutch– Russian relations.

Foto Gert Jan van Rooij 

Marc Chagall, Ilia Chashnik, Boris Ender, Ksenia Ender, Maria Ender, Yurii Ender, Natalia Goncharova, Wassily Kandinsky, Ivan Kyun, Mikhail Larionov, El Lissitzky, Kazimir Malevich, Mikhail Matyushin, Mikhail Menkov, Vera Pestel, Lyubov Popova, Ivan Puni, Alexander Rodchenko, Olga Rozanova, Nikolai Suetin, Vladimir Tatlin and Nadezhda Udaltsova.

- See more at: http://www.stedelijk.nl/en/exhibitions/kazimir-malevich-and-the-russian-avant-garde#sthash.In5PIMoH.dpuf

- See more at: http://www.stedelijk.nl/en/exhibitions/kazimir-malevich-and-the-russian-avant-garde#sthash.In5PIMoH.dpuf

Urs Fischer da Sadie Coles a Londra

Ultimi giorni per la particolare installazione di Urs Fisher alla Sadie Coles, al 62 di Kingly Street a Londra

Photography: Mats Nordman‏

Press Release: 

Urs Fischer’s new exhibition at Sadie Coles HQ centres on an installation of 3,000 plaster raindrops suspended throughout the gallery. Titled Melodrama, the raindrops encompass a spectrum of shades from green to lilac, massing together into a gently psychedelic storm cloud which weaves in a swirling movement through the space. Yet their forms are incongruously physical – each droplet is a bulbous pendant cast from a hand-modelled prototype, and hangs from the ceiling by lengths of near-invisible monofilament. The installation’s romantic overtones collide with a bluntly cartoonish quality, bordering on the slapstick, that resonates with the double-edged register of much of Fischer’s art.

The heaviness and irregularity of the objects compound their lurking air of oddness. The arrayed drops begin to resemble other free-floating bodies – tangible or virtual, magical or mundane – from a swarm of gloopy commas to squirts of icing. They are emblematic of a strain of fairytale-style surrealism that pervades Fischer’s work, manifested variously by his wryly anthropomorphic furniture (including a lilac-hued grand piano collapsing droopingly like one of Dalí’s melting watches) or by the wax effigies which slowly implode into formlessness as wicks burn within them. Myriads of coloured droplets have featured explicitly in Fischer’s earlier work. This is the third in a series of expansive installations of raindrops including Vintage Violence (2004–05) and Horses Dream of Horses (2004), which respectively present blood-red and turquoise explosions of droplets. In more recent works such Secret (2012–13), globular raindrops are printed in dense clusters across the large, sultry headshots of 1950s Hollywood idols.

Mirroring the hand-sculpted forms of the raindrops are new sculptures in clay. Much of Fischer’s recent work has employed this medium: in 2011, he began an on-going public art project in which members of the public are invited to make objects out of freely supplied clay. Here, a single figurative sculpture is repeated in clay throughout the gallery, teasing out a dualism between originals and copies that has underpinned much of his art. In 2011, in the latest (and perhaps most literal) in a string of references to the working space of the artist’s studio, he collaborated with German artist Georg Herold in modelling clay figures from nude models; the objects were then exhibited alongside the same nude figures. Here, the sculptures appear metamorphic and unstable, redolent not only of tragic Pompeian casts but also the melting figures of Medardo Rosso (themselves often only preserved in the mediated form of photographs). Collectively, these sculptures describe an earthbound world of disorderly, golem-like forms in contrast with the symphony of suspended shapes above. The floor-based works and the raindrops constitute a ‘heaven and earth’ tableau that is at once pointedly familiar and otherworldly.

Urs Fischer (b. Switzerland, 1973) traverses the fields of painting, sculpture and installation, as well as photography and drawing, in a multifaceted body of work that eludes formal or generic categorisation, coaxing comparisons with the multifarious practices of Martin Kippenberger, Franz West, Fischl i & Weiss, and others. His work simultaneously echoes the shifting moods of Dada, Pop Art and conceptualism; and he deploys a dizzying range of materials from food to mirrors to dirt. Urs Fischer lives in New York. Recent major exhibitions include those at MOCA, Los Angeles, 2013; Madame Fisscher, Palazzo Grassi, Venice, Italy, 2012; and Skinny Sunrise, Kunsthalle Wien, Vienna, 2012. He has had solo shows throughout Europe and the USA, including Oscar the Grouch, The Brant Foundation, Greenwich (CT) (2010) and Marguerite de Ponty, New Museum, New York (2009). In 2004, Not My House Not My Fire took place at Espace 315, Centre Pompidou, Paris, and the retrospective Kir Royal was held at Kunsthaus Zürich, Switzerland. Urs Fischer’s work has been included in numerous group exhibitions including the Venice Biennale in 2003, 2007, and 2011.

For f urther inf ormation please contact the gallery at +44 (0)20 7493 8611 or press@sadiecoles.com

Sesso, oro e ...

In questa fine anno il British Museum gioca una serie di mostre sui temi della grandi passioni umane. Il grande fascino dell’oro e le avvincenti pulsioni del corpo umano con due esposizione di grande seduzione.

La prima è realizzata in un rapido percorso, una decina di sale, dove sono proposte una selezione degli ori meso-americani di gran pregio e fantastico cesello, provenienti dal lago di Guatavita, dove sono stati trovati pochi anni fa

La visita inizia in una serie di spazi dalla luce rarefatta, quasi piccole caverne.

Le colonne paiono eleganti caveau con una serie di vetrine trasparenti, perfettamente illuminate, dove sono presentano i tanti manufatti di una cultura che vedeva nell’oro un magico fascino mistico.

Questo materiale era plasmato con grande ingegno e creatività, declinato per le tante funzioni sia quotidiane sia nei grandi momenti di cultura religiosa/reale. Ritualità che richiedevano diversi oggetti di corredo, dagli amuleti agli oggetti decorativi.

Incute un certo orrore, pensare all’uso di certi oggetti presentati, ma affascina la grande manualità che li ha saputi realizzare.

Molto utile la guida che dettaglia gli aspetti antropologici di una cultura complessa e molto distante dalla nostra, che ci affascina per questo suo universo di forti passioni a noi così distanti. La mostra durerà fino al 23 Marzo 2014.

La seconda mostra è dedicata alla pittura erotica giapponese, una stupenda serie di opere nello stile Shunga, quando l’immagine amorosa era legata alla narrativa, si sviluppa su un filone che arriva fino alla fine dell’ottocento conquistando anche molti artisti europei come Vincent Van Gogh e Picasso.

Centoquaranta selezionate opere che per la prima volta analizzano in Europa questo stupendo filone della creatività artistica orientale.

In cui immagini di passione fisica e oggetti di vita reale sono declinate nelle tante versioni della fantasia umana, che attraversano attimi di dolcezza o di forte passione, situazioni ambigue, nudità, omosessualità e sensazioni più ancestrali e fantasiose.

La mostra, che dura fino al 4 Gennaio, è molto ben allestita e con un ottimo apparato informativo, stupendo il catalogo.

Call for artist / Sharjah Art Foundation

Sharjah Art Foundation announces the 2014 Production Programme Open Call for grants to artists working in a range of media. Up to $200,000 is available in this application cycle.

The Sharjah Art Foundation (SAF) Production Programme broadens the possibilities for the production of art in the MENASA region through a commitment to support innovation and excellence in artistic practice by encouraging risk and experimentation. This commitment places artists at the core of the Foundation’s mission by offering grants and professional support for the realisation of projects selected from an open call for proposals.

The past decade has seen an extraordinary rise in artistic activity throughout the Middle East, resulting in an increased visibility for artists both regionally and internationally. Within this context, the Foundation hopes to promote and encourage an environment of public and private patronage for the highest level of artistic endeavour. This programme focuses on supporting artists in their individual attempts to create work on a scale they have perhaps never imagined possible.

Arts practitioners are invited to propose imaginative, ambitious and inspirational projects that will transform our understanding of what art is and how it can be experienced. With this initiative we hope to engage and challenge the artists, our audiences and ourselves aesthetically, intellectually, emotionally, socially, politically or in ways new and unexpected.

In 2014 we are offering production grants to artists working in a range of media including sculpture, installation, time-based media, artist’s books and performance. Up to a total of $200,000 is available in this application cycle. The success of a proposal will be determined by merit rather than budget. To this end, projects with budgets that range from modest to ambitious scales will be considered. The submission deadline is 31 January 2014 and selections will be announced in March. The selected projects will be developed and produced by the artist and the Sharjah Art Foundation, with presentation of the completed project as agreed between the artist(s) and SAF.

The Production Programme was launched in 2008. Over 500 submissions have been received, 230 applications considered and 31 projects selected for production.

This document should give you all the information you need to know to apply for the 2014 Production Programme. Please read it carefully before you complete the attached application form. If you have any further questions, please direct them toproductionprogramme@sharjahart.org.

Open Call

The Open Call will guide through the Production Programme application process

Application Form

Please use the Application Form to tell us about yourself and your proposal

Collaborator Form

If your project is a collective effort, please use this form to tell us about other members of your group

Captions Form

Please use the Captions Form to provide details about your project materials

Pausa caffè

NMNM 2014

Ecco il programma per il 2014 del NMNM del Principato di Monaco. 

- Richard Artschwager  - 20 Febbraio-11 Maggio , 2014 -NMNM - Villa Paloma

Richard Artschwager  saranno proposte oltre 135 opere che ripercorrono sei decenni , tra sculture , dipinti, disegni , fotografie e stampe. Spesso associato col pop, il minimalismo e arte concettuale , il suo lavoro non si vincola perfettamente a queste categorie. La sua pratica artistica costantemente esplora proprio essere visivo e fisico col mondo, con i suoi lavori a cavallo della linea tra illusione e realtà . La mostra rivela anticipazioni del suo fare creativo, sia col percorso fotografico che con l'uso della tecnologia. 

La mostra è organizzata dal Whitney Museum of Art in collaborazione con la Yale University Art Gallery , e curata da Jennifer Gross , H. Seymour Knox , Jr. Curatore , Arte Moderna e Contemporanea , Yale University Art Gallery.

- Gilbert & George - 14 Giugno - 2 Novembre , 2014 - NMNM - Villa Paloma

" 2 persone e 1 artista. " Gilbert e George  nate come " scultura vivente " sono ora oggetto di una retrospettiva costruita all'interno di una singola collezione privata di incredibile valore e qualità.

- Ritratti d' Intérieurs - 10 luglio - 19 ottobre , 2014 - NMNM - Villa Sauber

Ritratti d' intérieurs offrirà un'immersione in sei installazioni tridimensionali che suggeriscono luoghi reali o immaginari , realizzate negli spazi espositivi di Villa Sauber .

( Immaginaria) camera da letto di Jean Cocteau creazione per Marc- Camille Chaimowicz, il primo istituto di bellezza di Guerlain anticamera - decorata da Christian Bérard nel 1939 e ripetuto da Nick Mauss - sono riattivati ​​dagli artisti attraverso interventi site-specific , integrando una selezione di opere provenienti da collezione del NMNM .

Strutturato intorno alle nozioni di replica , citazione e proiezione , la mostra mette in discussione anche la nostra percezione del paesaggio e della scenografia . Tra gli interventi una video installazioni di Danika Dakic e Brice Dellsperger che mostrano altri spazi chiusi , mentre seminano dubbi sul rapporto tra lo spettatore e opera/ambiente.

28 Dicembre. una notte al museo

La VI edizione di "Una notte al museo", aperture straordinarie serali dalle 20:00 alle 24:00 nei luoghi d'eccellenza del patrimonio, sarà eccezionalmente gratuita.

Using Walls, Floors, and Ceilings: Claire Fontaine

Fino al 20 Aprile 2014 è in allestimento un’opera del collettivo Claire Fontaine presso il Museo Ebraico di New York.

Pressrealize:

Claire Fontaine’s art work addresses the ethical crises affecting society. It explores ideas and representations of power, freedom, and identity, often undermining or destabilizing these concepts. She uses found materials, borrowed text, images appropriated from other artists, and commercial or industrial media to probe such issues and subvert their original contexts, offering a way to imagine change. Yet despite deep intellectual roots, she is at heart a romantic, even a bit sentimental.

Fontaine’s practice is rooted in political activism, especially the collaborative protest movements of the late 1960s. Contemporary political theory provides the armature for her investigations; she especially values postcolonial perspectives, feminism, and neo-Marxism, with their focus on the politically and socially marginalized.

The installation Tears comprises nine neon signs suspended from the lobby ceiling at The Jewish Museum. In each, the phrase “isle of tears” is written in a different language: French, Polish, Russian, Yiddish, Greek, Italian, German, Spanish, and English. These were the languages most commonly spoken at the Ellis Island immigration station by the people who came to America through its doors—nearly sixteen million between 1892 and 1914. 

The neon lights, in lambent blue and green hues, create a wavelike color field above the spectator. Located in the lobby—the liminal space between the outside world and the realm of art—they mark a point of transition for the visitor. With their multilingual voices they serve as surrogates for the millions of poor immigrants who landed at Ellis Island filled with hope and trepidation. 

Claire Fontaine lives and works in Paris. A Readymade collective artist, she was founded in 2004. Her work has been shown at Tate London; the Museo Tamayo, Mexico City; the Museum of Contemporary Art, North Miami; and CCA Wattis Institute for Contemporary Arts, San Francisco, among other venues. - See more at: http://www.thejewishmuseum.org/exhibitions/using-walls#sthash.KwllkOnv.dpuf

Auguri!

Vi scrivo i miei Auguri con le immagini del bell'albero natalizio realizzato da Helen e Colin David, di  English Eccentrics, posto nell'ingresso del Victorian and Albert Museum di Londra.

Monumenta 2014

Per il prossimo anno il Grand Palais ospiterà Ilya e Emilia Kabakow per la nuova edizione di Monumenta, due artisti russi che hanno conquistato con un lungo percorso artistico la notorietà internazionale. 

L'evento si svolgerà dal 10 Maggio al 22 Giugno. 

Pausa caffè

Tamoanchan di M.C.Deball alla Pinksummer

Molto bello l'intervento di Mariano Castillo Deball alla Galleria Pinksummer di Genova.

Foto di Francesco Cardarelli

Tamoanchan - Mariano Castillo Deball 

Press release as interview

pinksummer: Pierre Hadot asserted that it is stupid to judge as if we were the masters of history and cited Augustine, claiming that the one who judges men, he is not just the one who knows them, but also expects that they are something different from what they actually are. Cézanne said that our egoism is mirrored by what we perceive and Bergson elevated the veritas aesthetica to model of philosophy, teaching to perceive beyond the enslavement of the habit, just as Roger Caillois suggested it in his essay Estetique generalisée. Tamoanchan, by re-presenting, or better actualizing, a myth and a symbol, looks like an acknowledgment of belongings, no longer limited to a specific civilization, but universal, as it recognizes nature as first creator.

Tamoanchan is a representation of the cosmological tree, the axis mundi of the Mesoamerican tradition, but also the primary image of the creational phytomorphism common to all religions. The tree that connects the sky to the underground world contains the metaphor of the fall and the nostalgia of the ascent, deeply rooted in the symbolic imagery of the whole humankind. What is your relationship with such archetype of tradition?

Mariana Castillo Deball: Tamoachan is the great cosmic tree, its roots are deep in the infraworld, and its foliage extends into the sky. The fog covers its base. The flowers crown its branches. The two trunks twisted on each other like a spiral, are the two opposite forces that fight to produce time.

Tamoanchan is one in the centre of the cosmos. It is four as an assembly of poles dividing the Sky from the Infraworld. It is five as a whole.

Tamoanchan is the half of the cosmic tree. Its deep roots conform the world of the death, from where the regeneration force arises. It is also one of the twisted trunks: the cold, dark and humid.

The other half of the tree forms the branches of light and fire where the birds are posed, the souls of the celestial deities. From the foliage spread and slip the flowers of the diverse destinies. This is also the warm trunk.

Tamoanchan, in assembly, is war, sex and time.

The explorations of Pedro Aramillas y José R. Perez in the limits of the old city of Teotihuacan, brought into light a series of murals dated between 550 and 650 ac.

The Tamoanchan/Tlalocan mural is one of the finest examples. On the upper part of the mural, raises, monumental, a tree with a double trunk twisted on itself. It is a tree loaded with different kinds of flowers. Maybe they are drunken flowers. Flowers that disturb and transform human hearts. From the flowers slips the nectar. The branches are covered with insects, spiders and birds. It is with no doubt, The Tree.

An enigmatic figure sits on the foot of the tree. It is anthropomorphic, but its features have originated diverse interpretations. Caso considered that it was Tlaloc the rain god wearing a mask; Kubler spoke about a feminine cult image, not necessary a deity; Miller proposed that the figure is backwards; Sejourné considered that the character combines elements from the fire and rain gods, and Pasztory in the most extensive study until now, said that it is bisexual, that the scene is Tamoachan, that the character is placed on top of a mountain and that the figure contains the rain elements that Sejourné mentioned.

But here is more. The two halves of the tree have opposite elements. On one half there are shells, snails, fish, all water and cold elements. The other half depicts flowers, minerals and warm elements.

Through the cold branches we can see insects ascending, they are butterflies flying to the top. On the warm branches there are spiders weaving their net, and one of them is obviously descending hanging from a thread to the centre of the image. The spider descends; but it counts not just because it is going down. Pasztory gives us another intelligent association: the spider is related to dust and drought. The forces that ascend and descend in the tree are related to the agricultural cycle.

Again we find in this image, both in the character and in the tree, the fight of opposite forces.

The mural of Tamoanchan is still in location nowadays in Tepantitla, as an archaeological site open to visitors. Some parts of the mural are damaged, so the image is not completely visible, but there have been several reconstructions in other locations and documents. For pinksummer. the floor of the exhibition space shows the reconstructed image, which doesn’t exist as a whole, and on the walls, we present a series of paper works printed directly from the floor, depicting the areas that are still visible at the original site.

p: Mexico City rose up on the ashes of Tenochtitlan, the ancient capital of Nahuatl or Aztec empire, in fact the term Aztec is a much later term, coined from the geographer Alexander von Humboldt, in order to distinguish pre-Columbian population from modern Mexicans.

They say that Tenochtitlan was founded on an island in the middle of Texcoco Lake and that was considered a sacred city such as Jerusalem.

We think at Distanza and Menzogna in which your hand casted in porcelain acts as a doorknocker on a mirror, alluding to the gestural impossibility to knock on History, informed by the mirror that can only reflect the present or get broken. Is the map of Tenochtitlan, handed on by Cortés and presented again for the exhibition in Berlin, a secular repercussion of Tamoanchan, the place where pictographic mythopoiesis locates the beginning of time cycle?

M. C .D.: On a previous work exhibited at the Hamburger Bahnhof in Berlin this year, I did the first wooden floor piece based on what is known as the Nürnberg Tenochtitlan map.

In 1521, a letter and two maps arrived in Spain for the Spanish king. This was the second of three letters, which the conquistador Hernán Cortés had sent, describing the Aztec capital Tenochtitlan, which he and his crew had discovered and were close to conquering. The main map was a detailed illustration of this city, and the other map was a sketch of the nearby Mexican gulf coast. The main map seems to reflect the conquistador’s characterization of Tenochtitlan as an enchanted metropolis, a jewel rising up from the centre of an azure lake – an ordered, wealthy civilization, but also a misled society centred upon heathen ritual sacrifice instead of enlightened Christianity.

This depiction of Tenochtitlan served to justify the expensive Spanish colonial efforts not only to King Charles V; the 1524 publication of the map and Latin-translated letter in Nuremburg also sparked the imaginations and support of a large European audience. This map was the first and most widespread image which Europeans had of Tenochtitlan and remains one of the few maps we have of the pre-colonial Aztec empire.

Some archaeologists now believe that this map was the result of many copies on the way from Mexico through Spain to Nuremberg, and they also believe that the original map was drawn by an indigenous artist, after all. The portrayal of rows of houses and the island capital in the center of a circular lake is not only to be found in the European mapping tradition, but also in the Aztec one. The map also shows details that were not mentioned in Cortés letters and which draw Aztec historical and religious references which were not understood by Europeans during that time.

p: You have always had a curious relationship, tainted with the ironic twist of the paradox, with the episteme and the rigorous dogma that tends to qualify the judgment and to confirm its validity through the method. Now you take us into the luxurious and mythopoeic topography of Tamoanchan by showing us the cosmetic ordering potential of the sacred, opposed by nature to the chaos and the circumstances of becoming. Here the opaque machinery of linear progression is replaced by the spinning dynamic of the cycle. In the cosmogony of Tamoanchan, the art of the divination appears nearly possible, as if the outburst of nature and its forms was permeated by intelligibility, like if the absurd could had a law. The Florentine code conserved at Laurentian library recalls the symbolic etimology of Tamoanchan and the meaning “to get home”. Is it inappropriate to understand this attitude of getting home as a scatological perspective immanent in Mother Nature? What is your relationship with the sacred and the magical?

M. C .D.: Tamoanchan is the axis of the cosmos and the assembly of cosmic trees. It is where the sin happened. The gods put together opposite substances, originated sex, and with it the creation of another space, other beings, another time: the human time. By their sinful action, the gods where punished: exiled into the world of the death and to the surface of the earth. The gods started a new way of existence: transformed, originated the beings of this world; but they were already infected with death, a consequence of sex. Their existence would be limited in time, limited in space, limited in their perceptions. They would have in exchange the possibility to reproduce themselves.

p: All your work is traversed by the need to actualize the abstraction, to give a physical presence to the thought. Your work refers to the concept of translation, which involves the idea of passing, leading beyond and implies the idea of the route, of travelling. When you embark on a journey, we leave something behind and find something new, something else. Translate, in its original meaning of taking beyond, also refers to the verb betray even understood as to deliver, to transmit. Why did you give us these transmitted/betrayed maps to walk on?

M. C .D.: Sometimes I use the term ‘possession’, referring to the way I deal with appropriation, embedding myself into diverse working methods and trying to follow them. Sometimes it can be a formal experiment, like when I try to replicate the Scagliola technique. Sometimes it’s a more intellectual or narrative approach, where I try to catch a certain way of describing things, or the way they study them or look at them. I try to catch the different points of view and the different ways of relating to the world. This always starts with a very specific question, in the case of the exhibition at pinksummer, it’s a question about how an object survives beyond itself; it’s not just the thing in itself, but it’s also the ghosts and the replicas that this object creates. So then I concentrate on this question and I see how different people have approached this object from their different points of view. Maybe it’s an exercise in concentration. I think it’s also about retrieving myself from what I think is right, or real, or correct. I adopt the position of the object and follow its path.

This question makes me think again about the historian Carlo Ginzburg. One of his working methods is called estrangement – he uses estrangement as a tool. He tries to retrieve himself, to imagine he’s a horse or a rabbit, in order to understand something more clearly. If I think about that in relation to my approach to Mexico it could also apply, because when you’re dealing with your own cultural identity you can be tagged so easily; you could say ‘I’m a Mexican woman artist’, or ‘I’m a Mexican woman artist who doesn’t live in Mexico but is making work about Mexico’. There are so many things that I could be trapped by, so I always try to be careful to escape from these preconceptions. The cultural identity of Mexico is so strong and has so many layers, so I think that I’m like a chess player: I’m always trying to change my position.

  

Pinksummer Palazzo Ducale-Cortile Maggiore Piazza Matteotti 28r 16123 Genova Italy

Andrea Lissoni alla Tate Modern

Andrea Lissoni, attualmente curatore all'Hangar Bicocca della Pirelli,  è stato scelto per il ruolo di curatore del settore cinema internazionale alla Tate Modern di Londra, una bella notizia per la realtà culturale italiana. 

Armory Show e Frieze NY

L'anno sta per finire e le due più note fiere newyorchesi hanno già avviato la fase di promozione, primo step la lista delle gallerie partecipanti, 

Armory Show, che si svolgerà dal 6 al 9 Marzo con la preview il 5, al Piers 92 e 94

PIER 94: CONTEMPORARY

1301PE, Los Angeles

ACME., Los Angeles

Andersen’s Contemporary, Copenhagen

Andréhn?Schiptjenko, Stockholm

Baró Galeria, Sao Paulo

Galleri Bo Bjerggaard, Copenhagen

Blain | Southern, London, Berlin

Peter Blum Gallery, New York

Marianne Boesky Gallery, New York

Galleri Brandstrup, Oslo

Luciana Brito Galeria, Sao Paulo

Cardi Black Box, Milan

Silvia Cintra + Box 4, Rio de Janeiro

James Cohan Gallery, New York, Shanghai

GALLERIA CONTINUA, San Gimignano, Beijing, Le Moulin

Pilar Corrias, London

CRG Gallery, New York

Galerie Crone, Berlin

Crown Point Press, San Francisco

Galleria Monica De Cardenas, Milan, Zuoz

Massimo De Carlo, Milan, London

Dirimart, Istanbul

Eleven Rivington, New York

Ronald Feldman Fine Arts, New York

Zach Feuer Gallery, New York

Galerie Forsblom, Helsinki

Honor Fraser, Los Angeles

Fredericks & Freiser, New York

Gavlak Gallery, Palm Beach

Galerie Laurent Godin, Paris

Galería Elvira González, Madrid

Howard Greenberg Gallery, New York

Christopher Grimes Gallery, Santa Monica

Grimm Gallery, Amsterdam

Kavi Gupta CHICAGO | BERLIN, Chicago, Berlin

Hales Gallery, London

Häusler Contemporary Munich | Zurich, Munich, Zurich

Leila Heller Gallery, New York

Edwynn Houk Gallery, New York, Zurich

i8 Gallery, Reykjavik

Ibid, London

Ingleby Gallery, Edinburgh

Alison Jacques Gallery, London

Galerie Rodolphe Janssen, Brussels

JGM. Galerie, Paris

Kalfayan Galleries, Athens, Thessaloniki

Sean Kelly, New York

Kerlin Gallery, Dublin

Galerie Peter Kilchmann, Zurich

Tina Kim Gallery, New York

Christine Koenig Galerie, Vienna

Koenig & Clinton, New York

Michael Kohn Gallery, Los Angeles

Kukje Gallery, Seoul

Galerie Gebr. Lehmann, Dresden, Berlin

Lehmann Maupin, New York, Hong Kong

Josh Lilley Gallery, London

Lisson Gallery, London, New York, Milan

Loock Galerie, Berlin

Mai 36 Galerie, Zurich

Galerie Ron Mandos, Amsterdam

Yossi Milo Gallery, New York

Victoria Miro, London

moniquemeloche, Chicago

mother’s tankstation, Dublin

Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna

Carolina Nitsch, New York

Galerie Nathalie Obadia, Paris, Brussels

October Gallery, London

ONE AND J. Gallery, Seoul

GALLERIA LORCAN O’NEILL ROMA, Rome

Parkett Editions, New York

PI ARTWORKS Istanbul?London, Istanbul, London

Pierogi, Brooklyn

Postmasters Gallery, New York

P.P.O.W., New York

PRAZ?DELAVALLADE, Paris

Galerie Eva Presenhuber, Zurich

Produzentengalerie Hamburg, Hamburg

Ratio 3, San Francisco

Almine Rech Gallery, Paris, Brussels

Galerie Michel Rein, Paris, Brussels

Yancey Richardson Gallery, New York

Roberts & Tilton, Culver City

Galeria Nara Roesler, Sao Paulo

Galerie Thaddaeus Ropac, Paris, Salzburg

Galleria Lia Rumma, Milan, Naples

Aurel Scheibler, Berlin

Galerie Thomas Schulte, Berlin

Jack Shainman Gallery, New York

Sicardi Gallery, Houston

Sies + Höke, Dusseldorf

Sikkema Jenkins & Co., New York

Bruce Silverstein, New York

SINGAPORE TYLER PRINT INSTITUTE, Singapore

SKOPIA / P.?H. Jaccaud, Geneva

Fredric Snitzer Gallery, Miami

Galeria Filomena Soares, Lisbon

Sprüth Magers Berlin London, Berlin, London

Galerie Daniel Templon, Paris, Brussels

Tilton Gallery, New York

Two Palms, New York

Upstream Gallery, Amsterdam

Vadehra Art Gallery, New Delhi

Valentin, Paris

Tim Van Laere Gallery, Antwerp

Galerie Bob van Orsouw, Zurich

Susanne Vielmetter Los Angeles Projects, Culver City

Max Wigram Gallery, London

Bryce Wolkowitz Gallery, New York

David Zwirner, New York, London

PIER 94: ARMORY PRESENTS

AMBACH & RICE, Los Angeles: Grant Barnhart and Jeffry Mitchell

Ancient & Modern, London: Jan Pleitner

Edel Assanti, London: Alex Hoda and Andrew Sutherland

Athr Gallery, Jeddah: Ahmed Mater and Nasser Al Salem

BolteLang, Zurich: Thomas Raat

C L E A R I N G, Brooklyn: Harald Ankart

James Fuentes, New York: Jessica Dickinson

Higher Pictures, New York: Travess Smalley

Galerie Andreas Huber, Vienna: Rita Sobral Campos

INVISIBLE?EXPORTS, New York: Scott Treleaven

M+B, Los Angeles: Dwyer Kilcollin

Galerie Max Mayer, Dusseldorf: Klaus Merkel and Nicolás Guagnini

Ani Molnár Gallery, Budapest: Dénes Farkas

mor.charpentier, Paris: Maria Jose Arjona and Teresa Margolles

ROTWAND, Zurich: Klodin Erb

Jessica Silverman Gallery, San Francisco: Hayal Pozanti

Figge von Rosen Galerie, Dusseldorf, Berlin: Jose Dávila and Ignacio Uriarte

PIER 94: ARMORY FOCUS – CHINA

10 Chancery Lane Gallery, Hong Kong: Huang Rui and Wang Keping

Aike Dellarco, Shanghai: Li Shurui and Chen Jie

Aye Gallery, Beijing: Ji Dachun, and Chen Yufan

Beijing Commune, Beijing: Zhao Yao

Chambers Fine Art, Beijing, New York: Zhao Zhao

Gallery EXIT, Hong Kong: Nadim Abbas

Ink Studio, Beijing: Chen Haiyan

Krinzinger, Vienna / ShanghART, Shanghai, Beijing, Singapore: Zhang Ding

Madein, Shanghai: Lu Pingyuan

Pékin Fine Arts, Beijing: Chen Shaoxiong, Wang Luyan, and Zhao Liang

Platform China Contemporary Art Institute, Beijing, Hong Kong: “Dongbei Salon” (Bi Jianye, Jia Aili, Ma Ke, Qin Qi, Song Yuanyuan, and Zhang Yexing)

Space Station, Beijing: Double Fly Art Center

Tang Contemporary Art, Beijing: Xu Qu and Wang Yuyang

Tianrenheyi Art Center, Hangzhou: Jin Feng, Qiu Zhijie, Xu Zhen, and Yuan Gong

White Space, Beijing: He Xiangyu

Gallery Yang, Beijing: Liang Shuo

PIER 92: MODERN

Aicon Gallery, New York

Galeria Raquel Arnaud, Sao Paulo

Galleria d’Arte Maggiore G.A.M., Bologna

James Barron Art, LLC, Rome

Armand Bartos Fine Art, New York

Galerie Bergamin, Sao Paulo

Jonathan Boos, LLC, New York, Bloomfield Village

Simon Capstick-Dale Fine Art, New York

Valerie Carberry Gallery, Chicago

Alan Cristea Gallery, London

Danese, New York

Maxwell Davidson Gallery, New York

Cecilia de Torres, Ltd., New York

DIE GALERIE, Frankfurt/ Main

Galeria Marc Domenech, Barcelona

Andrew Edlin Gallery, New York

Elrick-Manley Fine Art, New York 

Fleisher/Ollman, Philadelphia

Forum Gallery, New York

James Goodman Gallery, New York

HackelBury Fine Art, London

Hackett | Mill, San Francisco

Carl Hammer Gallery, Chicago

Hackett | Mill, San Francisco

Carl Hammer Gallery, Chicago

Hill Gallery, Birmingham

Hirschl & Adler Modern, New York

Hollis Taggart Galleries, New York

Vivian Horan Fine Art, New York

Crane Kalman Gallery, London

David Klein Gallery, Birmingham

Robert Klein Gallery, Boston

Alan Koppel Gallery, Chicago

Kunsthandel Joerg Maass, Berlin

Marlborough Gallery, New York

Mayoral Galeria d’Art, Barcelona

Mazzoleni Galleria d’Arte, Turin

McCormick Gallery, Chicago

Jerald Melberg Gallery, Charlotte

Moeller Fine Art New York, New York, Berlin

DC Moore Gallery, New York

Pace Prints, New York

Gerald Peters Gallery, New York, Santa Fe

REPETTO, Acqui Terme 

Ricco/Maresca Gallery, New York

Michael Rosenfeld Gallery, New York

Marc Selwyn Fine Art, Los Angeles

Senior & Shopmaker Gallery, New York

Susan Sheehan Gallery, New York

Sims Reed Gallery, London

Louis Stern Fine Arts, West Hollywood

Allan Stone Projects, New York

John Szoke, New York

Galerie Thomas Modern, Munich

Leon Tovar Gallery, New York

Vincent Vallarino Fine Art, New York

Meredith Ward Fine Art, New York

Wetterling Gallery, Stockholm

Whitestone Gallery, Tokyo

Amy Wolf Fine Art, New York

  

Frieze NY, che si svolgerà sempre sull’isolotto Randall dal 9 al 12 Maggio

Elenco

303 Gallery, New York

Miguel Abreu Gallery, New York

Air de Paris, Paris

Altman Siegel, San Francisco

The Approach, London

Arratia Beer, Berlin

Art : Concept, Paris

Alfonso Artiaco, Naples

Laura Bartlett Gallery, London

Galeria Elba Benitez, Madrid

Peter Blum Gallery, New York

Boers-Li Gallery, Beijing

Marianne Boesky Gallery, New York

Tanya Bonakdar Gallery, New York

Bortolami, New York

The Box, Los Angeles

The Breeder, Athens

Broadway 1602, New York

Gavin Brown’s enterprise, New York

Galerie Buchholz, Cologne

Shane Campbell Gallery, Chicago

Canada, New York

Galerie Gisela Capitain, Cologne

carlier | gebauer, Berlin

Casa Tria?ngulo, Sa?o Paulo

Cheim & Read, New York

James Cohan Gallery, New York

Sadie Coles HQ, London

Galleria Continua, San Gimignano

Pilar Corrias, London

CRG Gallery, New York

Galerie Chantal Crousel, Paris

Massimo De Carlo, Milan

Elizabeth Dee, New York

de?pendance, Brussels

Dvir Gallery, Tel Aviv

Galerie Eigen + Art, Berlin

Galerie Frank Elbaz, Paris

Derek Eller Gallery, New York

Foksal Gallery Foundation, Warsaw

Galeria Fortes Vilac?a, Sa?o Paulo

Marc Foxx Gallery, Los Angeles

Fredericks & Freiser, New York

Carl Freedman Gallery, London

Stephen Friedman Gallery, London

Frith Street Gallery, London

Gagosian Gallery, New York

gb agency, Paris

A Gentil Carioca, Rio de Janeiro

Gladstone Gallery, New York

Goodman Gallery, Johannesburg

Marian Goodman Gallery, New York

Alexander Gray Associates, New York

Greene Naftali, New York

greengrassi, London

Galerie Karin Guenther, Hamburg

Jack Hanley Gallery, New York

Hauser & Wirth, New York

Herald St, London

Xavier Huf kens, Brussels

Gallery Hyundai, Seoul

In Situ – Fabienne Leclerc, Paris

Taka Ishii Gallery, Tokyo

Alison Jacques Gallery, London

Galerie Martin Janda, Vienna

Rodolphe Janssen, Brussels

Catriona Jeffries, Vancouver

Kadel Willborn, Du?sseldorf

Casey Kaplan, New York

Galleri Magnus Karlsson, Stockholm

Karma International, Zurich

Paul Kasmin Gallery, New York

Sean Kelly Gallery, New York

Anton Kern Gallery, New York

Tina Kim Gallery, New York

Johann Ko?nig, Berlin

David Kordansky Gallery, Los Angeles

Andrew Kreps Gallery, New York

Galerie Krinzinger, Vienna

Kukje Gallery, Seoul

kurimanzutto, Mexico City

Yvon Lambert, Paris

Lehmann Maupin, New York

Galerie Lelong, New York

Lisson Gallery, London

Long March Space, Beijing

Luhring Augustine, New York

McCaffrey Fine Art, New York

Galerie Greta Meert, Brussels

Mendes Wood DM, Sa?o Paulo

galerie kamel mennour, Paris

Massimo Minini, Brescia

Victoria Miro, London

Mitchell-Innes & Nash, New York

Stuart Shave/Modern Art, London

The Modern Institute, Glasgow

Taro Nasu, Tokyo

Galleria Lorcan O’Neill, Rome

Overduin & Co., Los Angeles

P.P.O.W, New York

Maureen Paley, London

Galerie Perrotin, New York

Galerie Francesca Pia, Zurich

Galeria Plan B, Berlin

Galerija Gregor Podnar, Berlin

Galerie Praz-Delavallade, Paris

Simon Preston Gallery, New York

Project 88, Mumbai

ProjecteSD, Barcelona

Rampa, Istanbul

Almine Rech Gallery, Brussels

Regen Projects, Los Angeles

Galerie Thaddaeus Ropac, Paris

Andrea Rosen Gallery, New York

Salon 94, New York

Esther Schipper, Berlin

Galerie Thomas Schulte, Berlin

Sfeir-Semler, Beirut

Jack Shainman Gallery, New York

Sies + Ho?ke, Du?sseldorf

Sikkema Jenkins & Co., New York

Sommer Contemporary Art, Tel Aviv

Spru?th Magers Berlin London, Berlin

Standard (Oslo), Oslo

Stevenson, Cape Town

T293, Rome

Timothy Taylor Gallery, London

team (gallery, inc.), New York

Richard Telles, Los Angeles

The Third Line, Dubai

Vermelho, Sa?o Paulo

Susanne Vielmetter Los Angeles Projects, Los Angeles

Galleri Nicolai Wallner, Copenhagen

Wallspace, New York

Galerie Barbara Weiss, Berlin

White Cube, London

Wien Lukatsch, Berlin

Wilkinson, London

Galerie Jocelyn Wolff, Paris

Zeno X Gallery, Antwerp

David Zwirner, New York

Focus:

47 Canal, New York

Ancient & Modern, London

Johan Berggren Gallery, Malmo?

Jessica Bradley Gallery, Toronto

Brennan & Griffin, New York

Galeria Casas Riegner, Bogota?

Lisa Cooley, New York

Croy Nielsen, Berlin

espaivisor, Valencia

Freymond-Guth Fine Arts, Zurich

Galerie Cinzia Friedlaender, Berlin

James Fuentes, New York

Franc?ois Ghebaly Gallery, Los Angeles

Grimm Gallery, Amsterdam

Galerie Andreas Huber, Vienna

Ivan Gallery, Bucharest

Le Guern Gallery, Warsaw

Tanya Leighton, Berlin

Kate MacGarry, London

Mor Charpentier, Paris

MOT International, London

Night Gallery, Los Angeles

NoguerasBlanchard, Barcelona

Ramiken Crucible, New York

Raster, Warsaw

Ratio 3, San Francisco

Jessica Silverman Gallery, San Francisco

Socie?te?, Berlin

Take Ninagawa, Tokyo

Untitled, New York

Vistamare, Pescara

Frame:

Christian Andersen, Copenhagen: Lina Viste Grønli

Bureau, New York: Lionel Maunz

Carlos/Ishikawa, London: Richard Sides

Clages, Cologne: Claus Richter

Laurel Gitlen, New York: Allyson Vieira

Dan Gunn, Berlin: Adria? Julia?

Kendall Koppe, Glasgow: Ella Kruglyanskaya

Kraupa-Tuskany Zeidler, Berlin: Avery Singer

Galeria Jaqueline Martins, Sa?o Paulo: Regina Vater

Misako & Rosen, Tokyo: Kazuyuki Takezaki

NON, Istanbul: Meric? Algu?n Ringborg

Proyectos Monclova, Mexico City: Jose? Leo?n Cerrillo

PSM, Berlin: Ariel Reichman

Real Fine Arts, New York: Lena Henke

Barbara Seiler, Zurich: Shana Lutker

Gregor Staiger, Zurich: Vittorio Brodmann

Simone Subal Gallery, New York: Florian Meisenberg

Sultana, Paris: Bettina Samson

Tempo Rubato, Tel Aviv: Joav BarEl

Leo Xu Projects, Shanghai: Guo Hongwei