Monday, March 10, 2014
La Natura vuole per la Donna “Passi scalzi” non scarpe rosse. Libertà di espressione e vita.
Perché una donna non sia ospite del mondo in cui è venuta alla luce bensì fertile protagonista.
Una donna è una vita da amare non da sopprimere. (...)
MAD Donna, la più grande rassegna d’arte contemporanea al femminile del territorio, che ricorre nel mese di celebrazione della festa della Donna, è giunta alla settima edizione. Anche quest’anno l’evento sarà ospitato nella sala espositiva del Museo Emilio Greco di Sabaudia. Venti artiste, provenienti da diverse parti d’Italia, si confronteranno con oltre cinquanta opere sul significato che assume fare arte per una donna, attraverso linguaggi che spaziano dalla pittura alla fotografia, dalla scultura all’installazione, dall’arte digitale all’incisione, dalla performance alla letteratura.
Le artiste partecipanti sono: Paola Acciarino (fotografia, Latina), Angela Maria Antuono (scultura e fotografia, Caianello (CE), Ornella Boccuzzi (scultura, Sermoneta), Amalia Caratozzolo (incisione, Roma), Antonella Catini (pittura, Roma), Claudia Chittano (fotografia, Latina), Eleonora D’Erme (pittura digitale, Latina), Cecilia De Paolis (installazioni, Lavinio (RM), Francesca Fini (performance, Roma), Marianna Galati (pittura digitale, Latina), Aldamaria Gnaccarini (installazioni, Latina), Onelia Greco (installazioni, Lecce), Lucia Hesselink (installazioni, Olanda), Alessandra Iannarelli (pittura digitale, Latina), Antonella Mamone (pittura, Latina), Serena Manfrè (scrittura, Messina), Carola Masini (scultura, Pomezia (RM), Marella Montemurro (fotografia, Latina), Nicoletta Piazza (scultura, Latina), Maria Antonietta Scarpari (pittura digitale, Ancona).
Il vernissage avrà luogo domenica 9 marzo alle 16,30 e vedrà gli interventi critici del Curatore di MAD Museo d’Arte Diffusa Fabio D’Achille e del Direttore della Raccolta Manzù/GNAM di Ardea Dott.ssa Marcella Cossu. Alle 17,00 l’attrice e scrittrice Rossana Carturan presenterà i libri dell’autrice messinese Serena Manfrè “Salvami l’anima” e “Regine della Scienza”, illustrati da Amalia Caratozzolo con incisioni presenti anche in mostra, mentre alle 18,00 Francesca Fini si esibirà nella performance “With an Helmet”.
La manifestazione prevede inoltre l’evento collaterale “Arte in Vetrina”: sabato 8 marzo a partire dalle 19,00 presso il negozio di via Oberdan “Le Morgane” sarà esposta un’installazione di Carola Masini.
L’evento, che quest’anno conta sull’autofinanziamento delle artiste, è realizzato in collaborazione con la Raccolta Manzù/GNAM di Ardea e Daniela Picciolo, referente della FIDAPA Sezione di Sabaudia, e gode del Patrocinio gratuito del Consiglio Regionale del Lazio, della Provincia di Latina e del Comune di Sabaudia.
I testi critici sono di Marcella Cossu, Laura Cianfarani, Marilena Di Prospero e Valeria Conticiani e il coordinamento è di Anna Maria Acquafredda.
Scrive Marcella Cossu:
MAD Donna 2014 offre, nella molteplicità delle artiste selezionate, una coerenza contenutistica alquanto più sostenuta che per il passato; come a dire che “quando il gioco si fa duro i duri - le dure in questo caso - giocano”; ovvero che, in corrispondenza di tempi particolarmente difficili come il presente, il femminile dell’arte serra le fila, stringe i denti, pesa opere e parole.
Di conseguenza, un “bravo” al sempre più bravo curatore Fabio D’Achille e un vivo ringraziamento al Comune di Sabaudia per aver consentito lo svolgersi dell’iniziativa del 2014, cui mi onoro di poter in minima parte contribuire.
Angela Maria Antuono, con Nefertiti-Nefertari, Shiva, Ipazia, con particolare riferimento all’impiego della ceramica smaltata fa rivivere il calligrafico estetismo del “barocchetto” estenuato ed estremo di certo Leoncillo Leonardi prebellico, così come all’epoca indagato dal grande Roberto Longhi. Marianna Galati e Paola Acciarino stridono apparentemente, al confronto, nel loro più che contemporaneo duplice omaggio “Scarpe Rosse- Invidia”, forti allegorie dei nostri tempi relative a splendori e miserie del femminile colto nell’essenza del qui-ora. Ornella Boccuzzi , con Lo scudo del guerriero, propone un rassicurante aureo connubio legno-ceramica; Amalia Caratazzolo, di grande impatto, propone una Virginia Woolf a metà tra le xilografie della Secessione viennese e la citazione colta della Scuola di Piazza del Popolo . Claudia Chittano ci propone un angelo femminile new age sullo sfondo di una periferia metropolitana in bianco e nero che fortunatamente sa di campagna; grande lo straniamento pittorico tutto al femminile di Eleonora D’Erme; ironicamente neodada il trasformismo di Cecilia De Paoli in Stregosaurus, costume femminile di scena a metà, per l’appunto, tra la strega e il dinosauro, le cui squame vengono discretamente evocate dal “seghettato” del motivo sulle spalle. Francesca Fini nella performance With an helmet coniuga suggestioni della body art con elettro e psicomeccanicismi indotti da rituali più o meno comuni all’intero universo femminile; Redimere relitti è la riflessione “marina” ed estetizzante di Aldamaria Gnaccarini; Giardino di Onelia Greco si presenta come un’accattivante e misteriosa foresta in ferro e legno, in cui è viva reminiscenza delle sculture sonore di artisti come Giacinto Scelsi dei primi anni sessanta. E poi ancora, la rarefazione-astrazione totale e “classica” di Fixed and Focus, composizione nero-rossa di un’insolita essenziale Lucia Hesselink; Illusione di primavera, intenso primo-piano digital - impressionista di Alessandra Iannarelli; l’eleganza di Astrazione Spaziale.. di Antonella Mamone, in una più o meno consapevole citazione delle “Impronte” di Toti Scialoja; l’allegria del patchwork (apparente) di Come un abito, carta di Carola Masini. Marella Montemurro in Pensieri Sospesi ci dà un secondo “angelo” fluttuante in un interno domestico; Nicoletta Piazza, un cuore rosso strappato e ricucito da donne al lavoro, Women at work, parabola dell’incessante lavorio di riparazione delle donne nella nostra distruttiva e selettiva società; Maria Antonietta Scarpari, infine, le rielaborazioni digitali , Gatto bianco e Gatto rosso, due “d’après” da Picasso, la cui pietas è rivendicata nella toccante nota critica di Duccio Trombadori.
Una molteplicità, una coralità di voci dell’arte – solo per caso femminili- che del femminile peraltro rivendicano sommessamente ma tanto più efficacemente l’etica insostituibile di un eroismo sommesso e quotidiano, di un understatement del ri-costruire microcosmi continuamente distrutti da questa nostra ferocemente trionfante contemporaneità… femminicidio, Rosa Luxembourg, le mondariso, le Kessler, Cicciolina, Madre Teresa, Lady Diana, Frida Kalho, Gianna Nannini, Anna Frank… l’elenco è lungo, lunghissimo, e pare operazione sterile il volersi fermare ai soliti irrigiditi stereotipi dell’otto marzo e del ruolo più o meno riconosciuto, più o meno esaltato o vilipeso, della donna: quel ch’è certo e tangibile, al di là di ogni altra considerazione, è l’inconfutabile e dilagante crescita di ora in ora, di anno in anno, della forza e dell’impatto mediatico artistico dell’universo femminile.
Auguriamoci allora sempre nuovi, e più esaltanti, appuntamenti in rosa.
Si riporta il testo critico di Laura Cianfarani e Marilena Di Prospero:
L'opera d'arte, se degna del nome, dev'essere come la creatura che la donna ha nel corpo, la quale s'ha a metter fuori non per elezione, ma per necessità.
Pittura, fotografia, incisione, scultura, installazione, arte digitale, performance e letteratura si incontrano all’unisono in una polifonica armonia, in un insieme di forme materiche o evanescenti, di voci sussurrate o urlanti, di colori cupi o accesi che mostrano la policromia dell’universo femminile, così variegato e al contempo strettamente legato da un furor creativo impellente che nasce dal bisogno interiore di ogni donna di dar voce a sentimenti sopiti, a intime emozioni, alla propria passionalità. Una passionalità vera, autentica, senza orpelli decorativi, priva di fronzoli e di belletti, legata a una Natura ancestrale nascosta tanto a lungo fino a divenire informe, per poi essere ritrovata da mani delicate e forti che, dopo averla liberata e modellata, la consegnano a chi è assetato di una bellezza che ha in sé la possibilità di denuncia di tutto ciò che è degrado, la volontà di riscatto di un’umanità attonita, incerta, claudicante.
E qui entra in gioco la capacità di queste venti artiste di far recepire e di condividere sensazioni sublimate in immagini dai linguaggi espressivi vari e disparati che svelano la complessità dell’Essere donna, di trasmettere emozioni espresse in una poliedricità di costellazioni facenti parte di un unico universo, che si mostra al fruitore nella sua natura primigenia. E l’artificio lascia il posto all’Arte.
Valeria Conticiani commenta:
La Natura vuole per la Donna “Passi scalzi” non scarpe rosse. Libertà di espressione e vita.
Perché una donna non sia ospite del mondo in cui è venuta alla luce bensì fertile protagonista.
Una donna è una vita da amare non da sopprimere.
L’urlo cromatico al femminile questo anno lo testimoniano ancora per MAD Donna 2014 ben 20 artiste oltre alle note d’inchiostro di una scrittrice.
Che la gioia femminile trionfi, sui sorrisi di ogni uomo. Perché l’uomo prende fuoco troppo in fretta e
troppo spesso prima di ricordare, invece, che prende vita dalla Donna.
La Donna sa perdonare ma questo non può più bastarci. La Donna sa amare ma vuole anche essere Amata.
E per farlo non occorre violenza ma intelligenza, sensibilità, sano istinto e passione umana, non animale.
Gli Uomini, accanto alla Donna, completano il senso della propria esistenza. Accendendo il buio nella vita di una Donna, spengono la luce su se stessi. I riflettori non servono, occorre solo riflettere. Dentro di sé. E poi rispettare, mantenere, con sana dedizione, una promessa di decenza, di dignità, di pura Essenza di Vita.
Quest’anno MAD Donna parla anche di questo. Per non dimenticare ma soprattutto per cambiare: lo sguardo, i gesti, le sensibilità.
Per comunicare che Insieme si può. E l’ARTE lo testimonia. Non solo per la Donna ma Oltre.
Inaugurazione 9 marzo ore 16.30
Museo Emilio Greco
piazza del Comune (Palazzo Comunale) - Sabaudia (LT)
Da martedì a venerdì 16,00/19,00
Sabato e domenica 10,00/13,00 – 16,00/19,00
Pistoletto, acknowledged as one of the main representatives of Arte Povera, will be guest of the candidacy on March, 10th-11th.
Two events for Siena 2019 with the world-wide renown Italian painter and sculptor Michelangelo Pistoletto.
Pistoletto, acknowledged as one of the main representatives of Arte Povera, will be guest of the candidacy on March, 10th for a conference on the theme “responsible social transformation”, topic on which he has been working for 20 years. On March, 11th, Pistoletto, with the collaboration of the Sienese community, will put on the performance “Third Paradise”, specifically designed for Siena 2019 by Cittadellarte together with the Educational Department of Castello di Rivoli. A reconfiguration of the mathematical infinity sign in which three circles are drawn: the two opposite circles signify nature and artifice; the middle one is the conjunction of the two and represents the generative womb of the Third Paradise and the ideal overcoming of the conflict between nature and artifice.
A very special guest, recipient of the Golden Lion Honorary Award at Venice Biennale, of the Wolf Foundation Prize in Arts, and, more recently of the Praemium Imperiale (an artistic prize which is the equivalent of a Nobel Prize), renown and appreciated at an international level, he will explain the project “Cittadellarte” during the event on Monday, March 10th, at 5 p.m. at the Sala del Mappamondo. A new model of cultural and artistic institution that places art in a direct interaction with diverse sectors of society, an entity meant to produce civilization through responsible social change.
A center of art and social fabric production which became over the years a landmark for institutions, enterprises and independent organizations, thanks to its democratic dimension achieved through artistic and social practices.
An idea strictly related to the vision of Siena candidate city - European Capital of Culture 2019, which gave birth to the collaboration between the two projects.
On Tuesday, March 11th the collective oper-action “Third Paradise” will be performed in Piazza del Campo at 2 p.m.. This is designed in collaboration with Cittadellarte and the Educational Department of Castello di Rivoli Museum of Contemporary Art, and inspired by the “new infinity sign” that Michelangelo Pistoletto created in 2003, in order to share it with the whole humankind.
A new symbolic shape that contains the principle of re-birth, originated by the fusion between the first paradise, in which humans were fully integrated into nature, and the second paradise, which is an artificial paradise, created by humans and science. The Third Paradise is the conjunction between the two, and it aims at a passage to a new level of civilization, essential to ensure the human race's survival. The new infinity sign is therefore represented by three circles: the middle one symbolizes the generative womb of the Third Paradise.
For the occasion, the new infinity sign will be traced with a rope, around which all the citizens are invited to gather.
The rope is a powerful symbol for the city of Siena: it recalls the allegory of the Buon Governo (Good government), but also the hawser that marks the starting line of the race during the Palio.
In the square, which is a meeting place and a place for discussion, the citizens will perform the Third Paradise, and they will use this tool to collect and share the values that they recognize as such.
Things like works of art and craftsmanship, tangible or intangible goods, artistic, theatrical, musical performances or of any kind: citizens are invited to join us and lay them down in the square, thus creating a sort of bank of human values with the interaction between artistic drawing, goods given by the community, and the participation/action as a collective performance.
A community action that reformulates the economic and financial language and thus becomes a work of art; an initiative that perfectly reflects the concept of the candidacy, that is the relationship between heritage and social innovation. A moment of true participation that will mark a restart of the city, something that is possible also thanks to the help of Siena 2019 candidacy.
The event is supported by Regione Toscana, Banca Monte dei Paschi di Siena, Comune di Siena and all the other components of the Committee of Promoters.
Sunday, March 9, 2014
View-Point. The exhibition presents important works spanning Li's different creative periods in Taipei, Bologna, London and Cumbria. Totaling over 190 items, the show includes Li's early ink paintings, reliefs, installations, sound art, photography, and related documents.
This is the first large-scale retrospective exhibition of Li Yuan-chia's work held in Asia. In collaboration with the LYC Foundation in Britain, the exhibition presents important works spanning Li's different creative periods in Taipei, Bologna, London and Cumbria. Totaling over 190 items, the exhibition includes Li's early ink paintings, reliefs, installations, sound art, photography, and related documents.
Abstract art pioneer and early proponent of conceptualism in Taiwan, Li Yuan-chia was born in 1929 in Guangxi Province, China, and was raised in an orphanage in Guilin City and then a school in Nanjing. Following the end of the Chinese Civil War, Li moved to Taiwan with the Nationalist Government, eventually entering the Taiwan Provincial Normal School in 1951. In his lifetime, he developed an enthusiastic following in the art world on the European continent, but due to limits on information from abroad in the early period, knowledge of Li's art has always been limited in Taiwan. His creative range included ink, oil and monochromatic painting, photography, and even extended to conceptual art. Li passed away in Cumbria, England, in 1994, and is one of a few artists who went on to gain international recognition after graduating from an art school in Taiwan, but still is relatively unknown there.
As a young student, Li was either at the art academy or in Li Chun-shan's painting studio on Taipei's Andong Street, both serving as important locations for Li's exploration of new knowledge regarding modern art. In 1957, during the repressive martial law period, Li and his artist friends formed the Ton Fan Group, vigorously promoting painting as a bridge between traditional and new international art forms. In the same year, Li along with the Ton Fan Group was invited to present work at the Fourth São Paulo Art Biennial. In 1961 he was active in forming Milan's Punto Group with Hsiao Chin, Antonio Calderara, Eduarda Emilia Maino and Kenjiro Azuma. The group brought together artists working in painting, sculpture and literature, and emphasized simple, mindful and solemn compositions. The Punto Group attracted the attention of artists involved in Spatialism, including its founder Lucio Fontana, and by 1962 more than one hundred artists from dozens of countries responded with exhibitions in Italy, the Netherlands and Portugal.
From 1972 to 1983 in Cumbria, North West England, Li toiled to convert a hundred-year-old farmhouse into the LYC Museum and Art Gallery. He saw himself as a philosopher, photographer and mathematician, and integrated art into his daily life, combining Taoism with the poetry of visual art in works made from simple and readily available materials. Li commonly referred to his concept of the point in his works following 1959 when he started using a small point in the universe as a metaphor for the concept of allness. On his monochromatic canvases, presence and absence echo and engender one another to announce the inception and ending of everything; Li's point is a minute speck, yet represents all of humanity and a still unopened bud. For Li, the point is also the place where the brush starts and stops, and his locus of artistic creation. The point echoes both the birth of the universe and the place where all of humanity must ultimately return. While living in Taipei, Li studied Kandinsky's harmonization of space and color and musical rhythm from the perspective of calligraphy. He also studied Chinese landscape painting, as well as bronze and oracle bone inscriptions, from which he derived effects created by loose composition, presentation of distance, and simplicity. While living in Bologna, Italy, philosophical concepts in his artwork became even more pronounced. He saw negative space in Chinese paintings as "nothing for the sake of something," which echoes the Buddhist mantra "being is nothingness, and nothingness is being." The modern design maxim "less is more" also influenced the economy of line in his works, and his work began to exude a Chan Buddhist quality. It was during this period that Li launched himself on the international stage.
Li was skilled at expressing feelings through the objects that he created, and using text and images to combine all manner of things from his surroundings. He discovered poetry in out-of-the-way places and gave play to complex emotions to create new art forms. In his later works bearing both text and images, Li presented a shift between two language systems, and created a clamor of visual vocabulary that suggests wondrous, allusive imagery.
Co-organized with the LYC Foundation
Yang Shunwen +886 2 25957656 email@example.com
Opening: March 8, 2pm
Taipei Fine Arts Museum
No. 181 Zhongshan N. Road Sec. 3 Taipei 10461 Taiwan
Tue. to Sun., 9:30−17:30; Sat., 9:30−20:30; Closed on Monday
Saturday, March 8, 2014
La memoire du passe'. Masmonteil tries here to revisit the collective memory formed by the history of art. In this context, many artists, depending on periods and nationalities, fascinate him.
We are pleased to present La mémoire du passé (March 8 - April 17, 2014), the third solo exhibition by French artist Olivier Masmonteil (1973, Romilly-Sur-Seine, France) at Dukan gallery.
The painter Olivier Masmonteil advances a little more in his chapter «Le plaisir de peindre». After the series Les demoiselles oubliées where the artist explored a real or imagined memory, he tries here to revisit the collective memory formed by the history of art. In this context, many artists, depending on periods and nationalities, fascinate him.
For this series, he chooses to take possession of Jean Auguste Dominique Ingres’ paintings and, in particular, some commissioned portraits focused on details of drapery and rendering of materials.
These richly dressed ladies return to a century and a half later the image of a not so distant memory. With a game of mirrors on the past, he likes to compare the times and ways of painting.
Still life, portrait and vanity then become the tools of a painting game.
Here's a sneak preview:
Galerie Dukan Paris
rue Pastourelle, 24 - Paris
The Armory Show is pleased to announce The China Symposium, a program of conversations that aims to elaborate and clarify the state of contemporary art in China today. Eight discussions will be held over the two most visited days of The Show.
The China Symposium
Saturday & Sunday, March 8-9, 2014
Organized by Philip Tinari, Director of the Ullens Center for Contemporary Art, Beijing
In partnership with Mr. Adrian Cheng and the K11 Art Foundation
New York - The Armory Show is pleased to announce The China Symposium, a program of conversations that aims to elaborate and clarify the state of contemporary art in China today. In partnership with Adrian Cheng and his art foundation, a series of eight discussions will be held over the two most visited days of The Armory Show (March 8-9, 2014). The China Symposium will assemble speakers from around China and beyond, including leading artists, journalists, curators, collectors, gallerists, and academics. The Symposium is held in conjunction with the Armory Focus: China section of the fair, which is being curated by Philip Tinari, Director of the Ullens Centre for Contemporary Art, Beijing, and will provide new insight into contemporary cultural practice in China through an exciting selection of galleries from the Mainland and Hong Kong. The first day of the forum explores circumstances and dynamics shaping the external environment, while the second day looks at significant currents in art itself. Together the two days offer perhaps the most comprehensive overview of the art scene in China yet undertaken for a general New York audience.
Adrian Cheng is founder and chairman of the K11 Art Foundation, Hong Kong, which provides a springboard to launch emerging Chinese artists into the global arena through an array of groundbreaking initiatives, including the K11 art spaces, educational programs, and artist-in-residence programs. In line with the Foundation’s mission to generate international dialogue surrounding the development of Chinese contemporary art, it has made The Armory Show’s China Symposium possible, marking an ambitious expansion of the fair’s long-standing Open Forum discussion series. The Foundation recently provided educational programming support for Ink Art: Past as Present in Contemporary China at The Metropolitan Museum of Art.
Adrian Cheng comments, “We are the new generation to define the contemporary art landscape of China, and it is my privilege to be part of this dynamic change by nurturing and incubating artistic talents in Greater China. Chinese society is at an important crossroad, and Chinese contemporary art is reflecting the key social and economic developments in China today. As we help young Chinese artists gain recognition at home and abroad, we hope to help educate the wider public about art. We are constantly inspired and humbled by the voices underlying great works of art, and we believe The China Symposium and The Armory Show 2014 will be a milestone for Chinese voices to find a greater audience.”
On his multifaceted involvement in the fair, Philip Tinari notes, “my goal is not only to add a further layer of depth to the broader China Focus initiative, but also allow for a new set of relationships and understandings—interpretive, experiential, cooperative—about art in China today to emerge.”
Noah Horowitz, Executive Director of The Armory Show states, “It has been an honor to forge this partnership with Adrian and the K11 Art Foundation. The Foundation’s support in helping to realize The China Symposium has been immeasurable and we look forward to introducing the important work that they are doing in Greater China to our wide-reaching audiences in New York City.”
The China Symposium
All panels will take place in T: The New York Times Style Magazine Media Lounge on Pier 94.
Saturday, March 8
12:15 – 12:30pm
Noah Horowitz, Executive Director, The Armory Show
Philip Tinari, Director, Ullens Center for Contemporary Art (UCCA), Beijing
Adrian Cheng, Founder and Chairman, K11 Art Foundation, Hong Kong
12:30 – 1:45pm
The Big Picture
Participants: Adrian Cheng; Jerome Cohen; Jeremy Goldkorn; Hans Ulrich Obrist
Moderator: Reihan Salam
China’s rise to global power has brought about an unprecedented level of openness to the outside world, paradoxically paired with an acute sensitivity to dissent from both inside and beyond. What do these new dynamics mean, especially for the art world? What are the connections between political developments and decisions at the highest levels and the position of contemporary art in the public culture? Now that a new group of leaders has decisively taken the reins, what do we have to look forward to, and what if anything should we fear?
Featuring panelists: Adrian Cheng, Founder and Chairman, K11 Art Foundation, Hong Kong; Jerome Cohen, Professor of Law, New York University School of Law; Jeremy Goldkorn, Director, Danwei; Hans Ulrich Obrist, Co-Director of Exhibitions & Programmes and Director of International Projects, Serpentine Galleries, London. Moderated by Reihan Salam, Political Commentator, Columnist and Author.
2:00 – 3:15pm
The Chinese Art World Described As A System
Participants: Huang Rui; Meg Maggio; Shen Qibin; Shaway Yeh
Moderator: András Szántó
A long legacy of censorship, speculation, and pay-for-play practice at museums and in the media has created the perception of a deeply flawed system for contemporary art in China. And yet in recent years a crop of enlightened academic departments, dedicated galleries, curious collectors, ambitious foundations, and public institutions has emerged to counter this earlier understanding. Nodding to Lawrence Alloway’s 1972 studio-to-market analysis of the Western art world, this panel asks what is distinctive about the models that have emerged on the ground in China, and what, perhaps, they might have to teach us.
Featuring Panelists: Huang Rui, Artist, Beijing; Meg Maggio, Director, Pékin Fine Arts, Beijing and Hong Kong; Shen Qibin, Director, Tianrenheyi Art Center, Hangzhou; Shaway Yeh, Group Style Editorial Director, Modern Media Group, Shanghai. Moderated by András Szántó, New York-based Author and Cultural Consultant.
4:00 – 5:15pm
The Museum Boom
Participants: Colin Chinnery; Jeffrey Johnson; Lu Xun; Karen Smith
Moderator: Fiammetta Rocco
All across China, fusty state museums are being rebirthed with stunning facilities, while private institutions are launching in record numbers and in many different forms. China’s vaunted “Museum Boom” is creating spaces for the display of contemporary art on a scale never before imagined, raising key questions about the publics these places envision for themselves as well as their ability to sustain operations and programming in the long term. What is behind this sudden urge, both public and private, to establish new spaces? What will it ultimately mean for artistic production, circulation, and consumption in China and globally?
Featuring panelists: Colin Chinnery, Artistic Director, Wuhan Art Terminus (WH.A.T.); Jeffrey Johnson, Founder, China Megacities Lab, Graduate School of Architecture, Planning, and Preservation, Columbia University; Lu Xun, Co-Founder, Sifang Art Museum, Nanjing; Karen Smith, Director, OCT Contemporary Art Terminal (OCAT), Xi'an. Moderated by Fiammetta Rocco, Culture Editor, The Economist, London.
The Market These Days
Participants: Graham Bowley; Simon Kirby; Daryl Wickstrom; William Zhao
Moderator: Georgina Adam
For Chinese and Western audiences alike, interest and concern for the contemporary art scene in China has generally begun with the market. This past autumn saw the establishment of salesrooms in the Mainland by both of the major Western auction houses and new records for both a living Chinese artist and a work of Western art purchased by a Chinese collector. Chinese collectors have emerged in droves, particularly in second- and third-tier cities once thought beyond the purview of the art market. Still, questions of transparency, authenticity, and sustainability persist. What lies ahead for China’s art market? What sort of impact will China’s expanded buying power have internationally? How will domestic policies on taxation and import affect collecting trends? And are the market mechanisms for conferring and transferring value fundamentally sound?
Featuring panelists: Graham Bowley, Reporter, The New York Times; Simon Kirby, Asia Affiliate, Victoria Miro Gallery; Daryl Wickstrom, Executive Vice President and Deputy Chairman, Sotheby’s Asia; William Zhao, Curator and Collector, Hong Kong. Moderated by Georgina Adam, Art market columnist, The Financial Times and BBC.com, and Editor-at-large, The Art Newspaper.
Sunday, March 9
The Emerging Consensus
Participants: Thomas Berghuis; Jane DeBevoise; Wu Hung
Moderator: Robert C. Morgan
A standard art-historical narrative on contemporary Chinese art—beginning with the movements of the late 1970s, and running through the 1980s “New Wave” and 1990s experimentation to our current thriving moment—started to coalesce in the mid-2000s. Like any important history, its writing has been subject to competing claims from different players with specific agendas. Through volumes such as Wu Hung’s anthology “Chinese Contemporary Art: Primary Documents" and groupings of work like the M+ Sigg Collection, an account of art as a force for openness and exploration is taking shape, perhaps in counterpoint to an increasingly confident Party narrative which sees the contemporary as a manifestation of China’s cultural strength. Can these two accounts coexist?
Featuring panelists: Thomas Berghuis, The Robert H.N. Ho Family Foundation Curator of Chinese Art, Solomon R. Guggenheim Museum; Jane DeBevoise, Chair, Asia Art Archive, Hong Kong; Wu Hung, Harrie A. Vanderstappen Distinguished Service Professor of Chinese Art, Director, Center for the Art of East Asia and Consulting Curator, Smart Museum of Art, The University of Chicago. Moderated by Robert C. Morgan, Professor Emeritus in Art History, Rochester Institute of Technology.
2:00 – 3:15pm
The New Ink
Participants: Hao Liang; Joseph Scheier-Dolberg; Craig Yee
Moderator: Britta Lee Erickson
The quintessentially Chinese medium of ink painting is seeing a contemporary resurgence. From the establishment of galleries devoted specifically the cause, to the current survey at the Metropolitan Museum of Art, which takes ink as a starting point to map contemporary art in China more broadly, the brush is proving a renewed source of fascination. Fed by the twin trends of a domestic collector class ever more deeply interested in rediscovering tradition, and a group of younger artists looking for ways beyond more standard (Western) media, this vogue is also coming up against practitioners who have been working in and with ink all along, often without wider recognition. What does this new wave of attention and interest in ink mean for Chinese art more generally?
Featuring panelists: Hao Liang, Artist, Beijing; Joseph Scheier-Dolberg, Assistant Curator of Chinese Painting and Calligraphy, The Metropolitan Museum of Art; Craig Yee, Co-Founder, Ink Studio, Beijing. Moderated by Britta Lee Erickson, Independent Scholar and Curator.
4:00 – 5:15pm
The On | Off Generation
Participants: He Xiangyu; Hu Xiangqian; Li Ming; Sun Dongdong; Zhao Yao
Moderator: Lee Ambrozy
A new generation of artists has emerged, less concerned with overt political symbols and cultural identity than with conceptual processes and international dialogue. Driven by the instantaneous proximity to global networks that is one hallmark of our present, these artists are making work that does not “look Chinese,” even as they continue to engage with their country’s endlessly fraught and complex realities. The title of a major generational survey mounted in 2013 at UCCA, “ON | OFF” refers to the graphical interface of a common VPN software that many in China, artists included, use to scale the Internet firewall; it invokes a dichotomy that structures many aspects of their life and practice. Many of these artists are present in the Focus: China section. Who are they, and what are their concerns?
Featuring Panelists: He Xiangyu, Artist, Beijing; Hu Xiangqian, Artist, Beijing; Li Ming, Artist and Member of Double Fly Art Center, Hangzhou and Beijing; Sun Dongdong, Senior Editor, LEAP and Co-Curator, “ON | OFF: China's Young Artists in Concept and Practice,” 2013, UCCA; Zhao Yao, Artist, Beijing. Moderator Lee Ambrozy is Editor-at-large, Artforum International China and Ph.D. candidate, Institute of Fine Arts, New York University.
5:30 – 6:45pm
The Armory Artist: Xu Zhen
Participants: Alexia Dehaene; Aimee Lin; Barbara Pollack; Pu Hong
Moderator: Philip Tinari
Known for his versatile and subversive interventions, this year’s Armory Artist Xu Zhen (b. 1977, Shanghai) is a major force on China’s art scene today. His retrospective “Xu Zhen: A MadeIn Company Production,” on view at the UCCA in Beijing as he takes the stage at The Armory Show in New York, offers the most thorough overview of his fifteen-year output to date. This discussion brings together several expert observers of his work to put his practice, and his commission for The Armory Show, into context.
Featuring panelists: Alexia Dehaene, Project Manager, MadeIn Company, Shanghai; Aimee Lin, Editorial Director, ArtReview Asia; Barbara Pollack, Curator, Critic and Journalist and Contributing Editor, Artnews; Pu Hong, critic and author, Beijing. Moderator Philip Tinari is Director, Ullens Center for Contemporary Art, Beijing.
With special thanks to Michelle Darnell for her assistance in organizing this program.
All panels will take place in T: The New York Times Style Magazine Media Lounge on Pier 94
Twelfth Avenue at 55th Street, New York City
Opening Hours: Wednesday, March 5th – VIP Preview for invited guests, Thursday, March 6 - Sunday, March 9, noon to 7 pm
Tickets: single day 40$ and multiple days 75$
Friday, March 7, 2014
Robert Capa. A Life Slightly Out of Focus is the title of the retrospective that the MAN Museum of Nuoro is devoting to one of the most important photojournalists of the twentieth century. The exhibition, made possible in collaboration with Magnum Photos and Contrasto, features almost one hundred of Capa’s most important photographs highlighting the most salient passages of his personal, professional and artistic development.
Museo MAN, Nuoro | March 7– May 18, 2014
Inauguration: Saturday, Marche 7, 2014 at 7.00 pm
On view from March 7 to May 18, 2014, the Capa exhibition concludes the cycle of three shows that the Nuoro Museum has devoted to the Magnum Agency in recent years. Preceding exhibitions included Henri Cartier-Bresson (2011-12) and Werner Bischof (2012).
Considered the father of photojournalism, Capa was born Endre Friedmann in Hungary in 1913
before immigrating to Berlin and then to Paris. As the son of a Jewish family and himself an exile, he never ceased capturing the world of the down-and-out and of refugees, using his camera as a tool for witnessing and denouncing situations. His reports, published in such important international magazines as “Life” and “Picture Post”, constituted historical documentation of undisputed value as well as an extraordianry archive of images, sometimes immediate and explicit, other times subtle and ironic.
The Nuoro show opens with the famous unauthorized snapshots of Leon Trotsky, taken in Copenaghen in 1932. The previous year Capa had moved to Berlin but, with the advent of Nazism, he then escaped to Paris. There in 1936 he documented the unrest of the Front Populaire worker uprisings.
Capa went to Spain in 1936 to photograph the civil war. In August in Cerro Muriano he took the
photo that would make him world famous, the “Death of a Republican Militia Man”, one of the
twentieth century’s most famous images, included in MAN’s exhibition alongside other shots of the same period.
1 | 2The show also includes about ten photographs of the Sino-Japanese War, taken in 1938, as well as a selection of shots that Capa took in Great Britain and in Italy during the Second World War.
These include “Sicilian Farmer Points Out the Direction taken by a German Convoy to an American Officer”, “Man Carrying a Wounded Boy ”, “Funeral of the Young Partisan Victims of the Four Days of Naples.”
Another section of the show is devoted to the Allied Forces landing in Normandy. On D-Day Capa took the famous photographs that he himself described as “slightly out of focus”, an effect caused by a technical error during the development of the film. The main photographs of the series are presented here together with a few others taken in 1944 in various areas of France.
The show’s itinerary concludes with the photographs of the German cities in rubble at war’s end, images taken in the Ucraine in 1947 where Capa documented life on collective farms, shots of the Arab-Israeli conflict and his very last report from Indonesia where he stepped on a mine and died on the field in 1954.
Last but not least, the exhibition ends with a wide selection devoted to Capa’s portraits, throughout his career. These range from Gary Cooper to Ingrid Bergman (Capa’s lover), from Truman Capote to John Huston, down to the famous images of Matisse and Capa’s friend Pablo Picasso.
Information and reservations:
MAN_Museo d’arte Provincia di Nuoro
Via Sebastiano Satta 27 - 08100 Nuoro - tel +39.0784.252110
Orari: 10:00 - 13:00 / 15:00 - 19:00 (closed Mondays)
Full price 3,00 euro
Reduced 2,00 euro (for visitors aged 18 - 25)
Free for visitors aged under 18 and over 65
Free the last Sunday of the month
In her paintings, the Norwegian artist Anne-Karin Furunes (1961) uses photographs of anonymous faces to explore the personality and identity of the person shown.
From March 8th to July 14th, 2014
Palazzo Fortuny, Venice
Through a detailed work on the image reduced to pixels, the subject is dissolved into an abstract series of dots, becoming a ghostly, incorporeal, almost ethereal presence to the observer, whose form depends on the observer’s own movements and the play of light. In Shadows, the artist draws inspiration from the portraits of some ladies who used to visit the drawing rooms of Palazzo Pesaro degli Orfei and who were photographed several times by Mariano Fortuny. Freed from the oblivion of the past, these “anonymous” images welcome us into the space of the museum.
Catalogue published by Punto Marte Editore, Treviso
Curated by Anne-Karin Furunes e Elena Povellato
Layout Daniela Ferretti
With the support of OCA Office for Contemporary Art Norway
and Ambasciata di Norvegia