Blitz. Partita lampo, a Torino

intervento del gruppo e_qui

Ieri sera si è inaugurata la mostra "Blitz. Partita lampo" presso lo spazio Inaugurale in Via Principe Tommaso 22/g a Torino con le opere degli artisti  Paola Bisio, Leopoldo Ceccarelli, Jean-paul Charles, Octavio Floreal,Agnese Gem TS, Gruppo E_qui, Ennio Onnis, Pintapiuma, Andrea Večera

Il progetto è nato da un’idea di Fabrizio Gilardi. La collaborazione tra ActionArt e Spazio Inaugurale ha creato la contemporaneità tra l’inaugurazione della mostra “Blitz. Partita lampo”, a cura di Ivan Fassio e il festival “Delli giuochi, delle umane societati et di regole.com” – Noi e le regole _ Noi e il gioco _ Le regole del gioco”, che si terrà a partire dal 9 gennaio presso CityArt , via Dolomiti 11 (zona MM Turro, viale Monza), Milano a cura di Fabrizio Gilardi.

Tale contemporaneità verrà declinata anche con riprese che verranno condivise in diretta video tra i due luoghi fisici.

Je suis Charlie

Robert FILLIOU : “Honi Soit Qui Mal Y Pense” With The Company Of James Coleman - Barry Flanagan - John Latham - Tony Morgan

Presso la galleria Richard Saltoun è in corso una mostra ispirata a Robert Filliou e al periodo fluxus.

What happens when a radical French fluxus artist goes solo to London for the first time? Undoubtedly, he claims to infiltrate Her Majesty's court and set the ravens free.

The journey includes: Optimistic Boxes, Pink Spaghetti, Hand Shows, a Frozen Exhibition, the Whispered History Of Art, God, a peace demonstration, Unmade Portraits, a martial arts show, the Most Curious Invention of the Gaga Yogi, unrevealed overseas guests, special video sessions and the Deathless Dying of the World. British artists John Latham, Barry Flanagan and Tony Morgan, together with Irish artist James Coleman, are the four ravens that Robert Filliou will meet on his way to the Queen.

Will our artist ever manage to be introduced to Court? 

Exhibition under the artistic direction of François Curlet. 

Honi Soit Qui Mal Y Pense

One day, during a ball held at the court of King Edward III, the garter of Joan of Kent - his daughter in law - slipped down to her ankle, causing those around her to snigger at her humiliation. The King picked up the piece of underwear and tied it around his leg, stating "Honi Soit Qui Mal Y Pense" ("Shame be to him who thinks evil of it"). This phrase then became the motto of the British chivalric Order of the Garter. It can be found today on the cover of any British passport.

Robert FILLIOU (b. 1926 Sauve - 1987 Les Eyzies, France)

One of the most innovative artists of the second half of the twentieth century, the implications of Robert Filliou's work is yet to be fully understood. Robert Filliou challenged the role of art in everyday life and its status as a final product through conceptual strategies and innovative techniques, based on performance, chance, wit and play. The process-based approach of Filliou, united with his pursuit for an anti-individualistic art that could happen at any time and place, brought him close to George Maciunas and the other members of Fluxus; George Brecht (with whom he funded the non-gallery La Cedille Qui Sourit in Villefranche-sur-Mer, FR), Dieter Roth, Daniel Spoerri, and Emmett Williams. 

Since the beginning of the '60s, Filliou's joyful and radical approach led to the creation of projects and events such as the Legitimate Gallery (a miniature art gallery that was contained inside the artist's hat), the Art's Birthday (a day dedicated to the birth of Art), the Permanent Creation (uniting reflection and action to creativity), the Constant Festival (an imaginary art network) and the Republic of Genius (where one's talent is not considered as a relevant factor to those who practice art). 

Filliou was part of the French Communist party during WWII. He later travelled all over the world, working for Coca Cola in Los Angeles, where he also gained his Master in economics; he lived in Korea for 3 years (1951-54), working as a United Nations adviser during the Korean war, and later also lived in Egypt, Spain, and Denmark. In 1977 he moved to Canada, where he continued his works in video. Then he moved to France, spending 3 years, 3 months and 3 days in the Buddhist monastery of Les Eyzies with his wife before his death.

François CURLET (b. 1967 Paris, France)

French artist living in Brussels, François Curlet's fields of interest seem to have no limits. Encouraging critical thinking through the use of padadoxes and clichés, his work is open to reinvention and surprise, using a vocabulary as close to joyful skepticism as it is to cynical laughter. François Curlet had a solo show at the Palais de Tokyo in 2013.

Roddy HUNTER (b. 1970, Glasgow, Scotland)

Roddy Hunter is an artist, curator and educator. His performances have been held in major festivals, galleries, museums and arts centres across Asia, Europe and North America. He is Associate Professor and Director of Programmes in Fine Art at Middlesex University, London.

Francesco Vezzoli: Teatro Romano al PS 1

Dopo il fataccio italico della chiesa esportata, ennesima farsa della burocrazia del nostro paese, Francesco Vezzoli ha ideato per il PS1 Un bel progetto di cooperazione fra antico e moderno.

Segnalo anche la mostra Zero Tolerance e Bob and Roberta Smith

Francesco Vezzoli: Teatro Romano

On view October 26, 2014–March 8, 2015

Drawing on extensive research about the use of color in antiquity, Italian artist Francesco Vezzoli (b. 1971) has collaborated with a team of archaeologists, conservators and polychrome specialists to paint five ancient Roman busts in the manner in which they would originally have been decorated. While white marble remains the quintessential material of ancient Greek and Roman statuary, extensive research has confirmed that ancient sculpture was painted in a vivid palette of yellows, blues, reds and greens. Dating from the first and second centuries A.D., Vezzoli’s Roman Imperial busts restore to contemporary imagination the decorated surfaces that have faded away over nearly two thousand years.

Zero Tolerance

On view October 26, 2014–March 8, 2015

Over the past two decades, some national and international governments have garnered attention for imposing draconian laws that restrict the rights of citizens under the guise of improving quality of life. Rio de Janeiro has “cleaned up” slums by imposing a militarized police force and Istanbul has put pressure on minority communities by gentrifying the neighborhoods in which they reside. In Russia, the arrest of two members of the art band Pussy Riot for speaking against President Vladimir Putin, along with the passage of anti-gay legislation, has generated international ire. Such restrictive policies have marked everyday life in major cities around the world.

Through their work, artists such as Halil Altindere (Turkish, b. 1971) and Amal Kenawy (Egyptian, 1974-2012) address the freedom of expression and the role of the artist within society. Altindere’s Wonderland (2013) explores the anger and frustration of a group of youths from the Sulukule neighborhood of Istanbul, a historic area home to Romani communities since the Byzantine Empire that has been increasingly demolished since 2006 as part of an “urban renewal” development project. Kenawy’s The Silence of Sheep documents a short performance the artist orchestrated in downtown Cairo on December 14, 2009 and is, in part, a commentary on people’s submissiveness to local living conditions and cultural norms.

Named for the 1990s policy under which New York City took a tough stance against vice and crime, Zero Tolerance brings together works by artists from across the globe that address tensions between freedom and control. Many of the works combine elements of political demonstration and celebratory parades to create art of a charged and ambivalent nature, responding to concerns specific in place and time. 

Artists in Zero Tolerance:

ACT UP New York, Halil Altindere, Francis Alÿs, Ahmed Basiony, Joseph Beuys, Mircea Cantor, Chim↑pom, Song Dong, Oyvind Fahlstrom, Harun Farocki and Andrei Ujică, Igor Grubić, Sharon Hayes, Deborah Kelly, Amal Kenawy, Lorraine O’Grady, Pussy Riot, The Radek Community, Rirkrit Tiravanija, Christoph Schlingensief, Voina, Yoko Ono, Zhao Zhao, Artur Zmijewski.

Zero Tolerance is organized by Klaus Biesenbach, Director, MoMA PS1 and Margaret Aldredge, Curatorial Assistant, MoMA PS1. The exhibition is made possible by the MoMA PS1 Annual Exhibition Fund.

Bob and Roberta Smith: Art Amnesty

On view October 26, 2014–March 8, 2015

Bob and Roberta Smith are issuing a call to Artists. Pack it in. Bob and Roberta Smith are delighted to offer an Amnesty for your Bad Art. Turn in your brushes and video cameras. Hand in your chisels and marble.

Bob and Roberta Smith are offering an opportunity for artists to dispose of their artwork at MoMA PS1, and to retire from making art. Beginning October 2, artists are invited to deposit their art in dumpsters located in the museum’s courtyard, which will be emptied as needed throughout the period of the Art Amnesty. Those who wish to exhibit their work one final time before it is destroyed may bring their art to the 2nd Floor Main Galleries, where museum staff will install it for public view. The museum will accept work under the Art Amnesty during regular hours, subject to certain restrictions outlined in the submission guidelines. The exhibition reprises and expands upon their Art Amnesty originally presented at Pierogi Gallery in 2002.

As part of the Art Amnesty, the Smiths will also make available a pledge form at the museum that can be signed by any artist or member of the public: I PROMISE NEVER TO MAKE ART AGAIN. Those who commit themselves will receive an official I AM NO LONGER AN ARTIST badge designed by Bob and Roberta Smith, and shall be invited to create one final drawing for inclusion in the Art Amnestygallery exhibition, using materials provided onsite. Those wishing simply to discard a work will be asked to sign a pledge that reads I NEVER WANT TO SEE THIS WORK OF ART AGAIN.

While the Art Amnesty provides an occasion for artists to clear out their studios, it also serves other needs. Those who have been the victims of gifts of art, for example, are invited to dispose of these unwanted aesthetic presents at the museum. And as the Smiths note, “Many successful artists have recently voiced embarrassment that their work commands high prices. Artists may also use the opportunity of the Art Amnesty to expel certain works of art from the art market and demote them to objects unburdened by grand expectations and dashed dreams.” The Smiths will be the first to contribute to the Art Amnesty, discarding a batch of work previously exhibited in New York.

At the conclusion of the Art Amnesty, the museum will securely dispose of all art works contributed to the exhibition and dumpsters.

At the opening of the exhibition on October 26, Bob and Roberta Smith will also organize an Art Party at MoMA PS1, at which children will be encouraged to make art with their families using art materials available at the event. Beginning at the Art Party and throughout the run of the Art Amnesty, a third pledge form will be available for signing, which states I WILL ENCOURAGE CHILDREN TO BE ALL THAT THEY CAN BE. CHOOSE ART AT SCHOOL. These pledges will be collected, along with "first drawings" children make and wish to contribute, and mailed to local politicians to encourage arts funding and arts education.

“The personal journey for most artists starts with enthusiasm and joy, and ends, if the artist does not have huge success, in embarrassed children taking their dead parents' work to the dump,” the Smiths explain. “Taken together, the Art Amnestyand Art Party explore the full arc of the life of an artist.”

The Art Party was initiated in Brooklyn in 2011 “to provide a creative yet critical discourse of hope in response to the Tea Party’s discourse of austerity and despair.” As the Smiths stated at its inception: “The Art Party stands for stimulus and sensible long-term measures to rebuild American confidence. The Art Partysays singers make America sing and dancers make America dance. The Art Partycelebrates that innovation comes from sheets of blank paper and pencils. The Art Party has a broadly liberal and humanistic agenda on other issues. Where the Tea Party is hawkish the Art Party is peaceful. The Art Party is opposed to the death penalty and supports women’s rights. The Art Party is not a formal political party but rather a pressure group and natural home for progressive liberal people to unite on issues of agreement.” The Smiths have subsequently organized Art Party events throughout the United Kingdom to protest the British government’s proposed eradication of art from the British school syllabus.

A film that depicts the story of the Art Party, directed by the Smiths with Tim Newton, will also be screened at the opening. A feature documentary about the work of Bob and Roberta Smith, Make Your Own Damn Art: the World of Bob and Roberta Smith (2012), directed by John Rogers, will be shown throughout the run of the Amnesty.

Drawing equally from conceptual performance history and nonsense literature, as well as tenets of British empiricism and the rhetoric of political campaigns, Bob and Roberta Smith's allergy to pretension and preciosity can lend an offending bluntness or seeming nihilistic absurdity to their actions. The Smiths ask:

Why are some people artists while others are not? Was Joseph Beuys an idiot when he said everyone is an artist? Do artists think they are a cut above the rest of us? Are the arts a good in themselves, or is it much, much, more complicated than that?

Many artists delude themselves into believing that they are promising, productive artists when they would live much more fulfilled and useful lives engaged in proper employment. I PROMISE NEVER TO MAKE ART AGAIN provides a baptism of necessary real life and allows artists to "Get Real." Ditch a life of poverty and precarious self-employment! Don't miss a life-changing opportunity.

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The Art Amnesty is organized by Peter Eleey, Curator and Associate Director of Exhibitions and Programs, MoMA PS1, with Jocelyn Miller, Curatorial Assistant.

The exhibition is made possible by the MoMA PS1 Annual Exhibition Fund.

The common S E N S E.

Forti suggestioni presso la Henry Art Gallery col progetto installativo di Ann Hamilton: the common S E N S E.

the common S E N S E is a museum-wide exhibition of newly commissioned works by American artist Ann Hamilton (born 1956). The Henry first featured Hamilton’s art in 1992 with an installation that occupied all the galleries of the museum’s original building designed in 1926 by Carl Gould. For accountings—a landmark event in Seattle—the museum became a landscape: its floors skinned with numbered steel tokens, its walls licked with candle soot, an oversized display case filled with wax votive heads, and two hundred canaries flying free. In 2009, the Henry invited Hamilton to return to the expanded museum, now quadrupled in size with the 1997 building designed by Charles Gwathmey.

For the common S E N S E, Hamilton conceived of the Henry as a hub connecting to the University of Washington’s collections and academic programs. As a Visiting Fellow, she conducted research in the Burke Museum of Natural History and Culture, the University Libraries Special Collections, and the Henry’s holdings of costumes, textiles, and photographs. The material elements of the exhibition are drawn from these collections. Images of animals specimens; bestiaries and children’s ABC primers; fur, feather, and gut garments are stitched together with sound, voice, printed texts, and the movement of air in a building newly opened to light. Time is also a material of the exhibition. Over the six-month duration of the common S E N S E, the project will shift with some elements depleting and others accumulating. Periodically, the galleries will be animated by reading and singing.

Aristotle wrote in Historia Animalum and De Anima that “touch” is the sense common to all animal species. In this project, touch is not only physical contact but a form of intellectual and emotional recognition. The exhibition is full of images and skins of animals: once alive, they touched and were touched in return by the world they inhabited. For Hamilton the common S E N S E is “an address to the finitude and threatened extinctions we share across species—a lacrimosa, an elegy, for a future being lost.”

As part of the common S E N S E, you are invited to submit text fragments from published literature on the subject of touch. Selections from these submissions are available for visitors to collect throughout the exhibition. You may take a newsprint image of an animal specimen in our upper level galleries and add your image to the portraits of visitors accruing in our lower galleries. You may also sign up to be a reader/scribe. To learn more about these activities, read below.

Gary Kuehn al Kunstmuseum Liechtenstein

Mostra retrospettiva su Gary Kuehn al Kunstmuseum Liechtenstein

Kunstmuseum Liechtenstein is dedicating the first ever comprehensive retrospective to Gary Kuehn (b. in Plainfield, New Jersey, in 1939), one of the outstanding sculptors of late 1960s’ Postminimalism.

In 1966, the year he exhibited his "Melt Pieces" group for the first time at the legendary Bianchini Gallery in New York, he noted the following in his sketchbook: “Butter in the sun. What could be more fatal?” In essence, these words embody one of Kuehn’s guiding principles: processuality. In his early work, Kuehn rebelled against the authority of the strict, rigid form of dominant Minimalism. Like ice cubes or butter, the ideal cuboids seem to be melting. Physical processes, often combined with the influence of outside forces, transform intact geometric forms, with Kuehn experimenting with a wide range of different materials (tar, fibreglass, latex, metal, wood) and an incredible breadth of creative possibilities. The basic form remaining untouched, deformations and changes become visible, giving rise to a narrative, metaphorical element. It is the tension between opposites, strength and weakness, rigidity and flexibility, hardness and softness, solidity and fluidity, that pervade the oeuvre and raise one of the core issues of human existence: the question of limitation and freedom. In 2000, Gary Kuehn made a note that his work lies “somewhere between sex and geometry.” 

The exhibition, created in close cooperation with the artist, gives visitors an insight into his wide-ranging oeuvre as a sculptor, painter and draughtsman from five decades, with an emphasis on the 1960s. On show are more than 120 works, including paintings and sculptures from the groups "Black Paintings", "Gesture Projects", "Berlin Series", "Branch Pieces", "Melt Pieces", "Pedestal Pieces", "Twist Pieces" and a wide range of works on paper, from experimental drawings such as "Drill" or "Stencil Drawings" to drawings of his sculptures. A central theme of the show is the intimate link between painting and sculpture in Kuehn’s work. For example, his high-contrast Black Paintings bespeak the sculptor’s hand both in terms of the application of colour and their focus on the edge of the painting, whereas his sculptures are pervaded by painterly and processual ideas. 

Snoeck Verlag are releasing a publication with essays by Cindy Hinant, Christiane Meyer-Stoll, Julian Rose and George Segal, among others, interviews and writings by the artist, and a richly illustrated exhibition chronology. 

The exhibition is a production of Kunstmuseum Liechtenstein, curated by Christiane Meyer-Stoll. 

Under the patronage of the US Embassy Bern.

Gli alberi dell'arte

Vi segnalo sull'ultimo numero dell'Archives of American Art Journal un bell'articolo di Henry Adams dal titolo "The family tree of modern art and Ad Reinhardt"molto interessante. 

Snow art

Chiamiamola snow art, che sia una declinazione della land art?

Questi lavori di Simon Beck nella neve sono proprio fantastici 

Pausa caffè

Big Eyes di Tim Burton

cartellone del film

Oggi esce in Italia il nuovo film di Tim Burton, fra i registi più visionari ed artistici.

Come sempre i suoi film si caratterizzano per una capacità creativa particolarmente originale che in questa occasione si esprime proprio su un tema artistico, anzi su un'artista; Margaret Keane, la famosa pittrice di occhi. 

l'attrice Amy Adams nel ruolo dell'artista 

Il film dal titolo  "Big Eyes" è una storia come sempre nello stile fumoso del regista che  indaga il complesso e spesso cinico mondo dell'arte. 

In questo caso le relazioni fra l'artista e il marito "promotore" del lavoro creativo. 

Immagine dell'artista col marito, da Wikipedia