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  • Permalink for 'Hans Ulrich Obrist and Klaus Biesenbach Talk About 14 Rooms Live Art Exhibition'

    Hans Ulrich Obrist and Klaus Biesenbach Talk About 14 Rooms Live Art Exhibition

    Posted: 23-July-2014, 12:56am EDT by contact@vernissage.tv (VernissageTV)
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    For the group exhibition 14 Rooms in Basel (Switzerland), the curators Klaus Biesenbach and Hans Ulrich Obrist invited fourteen international artists to each activate a room, exploring the relationship between space, time, and physicality with an artwork whose ?material? is the human being. 14 Rooms was the latest installment of a series of Live Art exhibitions conceived by Hans Ulrich Obrist and Klaus Biesenbach. Originally commissioned as 11 Rooms by Manchester International Festival, the International Arts Festival Ruhrtriennale 2012-2014 and Manchester Art Gallery, the project was shown as 11 Rooms at Manchester International Festival in July 2011, as 12 Rooms at the International Arts Festival Ruhrtriennale 2012-2014 and as 13 Rooms by Kaldor Public Art Projects at Pier 2/3 in Sydney?s Walsh Bay in April 2013. For each edition, the artists list partially changed. 14 Rooms was presented by Fondation Beyeler, Art Basel, and Theater Basel.

    Klaus Biesenbach is Director of MoMA PS1 and Chief Curator at Large at The Museum of Modern Art; Hans Ulrich Obrist is Co-director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery.

    In this video, Biesenbach and Obrist talk about live and performance art, the concept of this exhibition series, the original idea, the concept of the show, and how it evolved over the years. The video above is an excerpt, the complete interview is available further down on this page.

    Hans Ulrich Obrist and Klaus Biesenbach Talk About 14 Rooms Live Art Exhibition. 14 Rooms Live Art Exhibition. Messe Basel, Hall 3, Basel (Switzerland), June 12, 2014.

    Click here for more videos covering 14 Rooms.

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    Complete video (13:41 min.):

    The exhibition 14 Rooms featured performative works by artists including Marina Abramovi?, Jennifer Allora & Guillermo Calzadilla, Ed Atkins, Dominique Gonzalez-Foerster, Damien Hirst, Joan Jonas, Laura Lima, Bruce Nauman, Otobong Nkanga, Roman Ondák, Yoko Ono, Tino Sehgal, Santiago Sierra, and Xu Zhen. Two more works join the architectural environment conceived by Herzog & de Meuron. Jordan Wolfson?s acting as an epilogue, John Baldessari?s as an archival documentation.

    Curators Klaus Biesenbach, Director of MoMA PS1 and Chief Curator at Large at The Museum of Modern Art, and Hans Ulrich Obrist, Co-director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, have invited 14 international artists to each activate a room, exploring the relationship between space, time and physicality with an artwork whose ‘material’ is a human being. Giving visitors an insight into a more performative and interactive practice, visitors will encounter a new situation within each of the 14 rooms, engaging in a diverse series of immersive and intimate experiences.

    Conceived specifically for Basel, Ed Atkins, Dominique Gonzalez-Foerster and Otobong Nkanga will create new works for the show. Alongside these world premieres, historical piece by artists such as Bruce Nauman and Yoko Ono will be presented for the first time at 14 Rooms and other rarely seen works by acclaimed artists from around the world will be brought to Basel.

    ?14 Rooms? will include Jennifer Allora and Guillermo Calzadilla?s ‘Revolving Door’ (2011), in which a group of dancers spontaneously form a line and begin to rotate around the room in a circular motion, sweeping up visitors as they move around the space.

    In his exploration of social boundaries and socio-cultural inequalities, Santiago Sierra places a succession of war veterans, from varied past conflicts, standing facing one corner of a 5-5-meter room and instructed to only move from their post once solemnly replaced by another veteran mimicking the changing of the guard.

    Damien Hirst?s important early work ‘Hans, Georg’ (1992), consisting of a rotating cast of identical twins sitting below two of his own identical dot paintings, will be restaged at the show under a new title.

    Marina Abramovi??s ‘Luminosity’ (1997) places a performer on a bicycle seat fixed onto a wall bathed in bright light, exploring themes of loneliness and spiritual elevation.

    Roman Ondák?s ‘Swap’ (2011) asks a performer to choose an object as they sit behind a table, and when visitors enter the room they are then able to swap the object with anything else they are willing to exchange, while in Chinese artist Xu Zhen?s ‘In Just a Blink of an Eye’ (2005) a body floats in mid-air as if frozen, defying both time and gravity, and making the audience question reality and reflect on the work’s seeming impossibility.
    Artists and the curators will be attending the opening of the exhibition.

    While the artists themselves are not present in these works, they instruct performers on how to act out their specifications, resulting in over 70 performers ? primarily from the Basel region ? taking part in the exhibition. ?14 Rooms? will be staged in Hall 3 of Messe Basel in walking distance from Messeplatz. The exhibition will open to the public ahead of Art Basel on Saturday, June 14 and will stay open until Sunday, June 22.

  • Permalink for 'Richard Prince: It?s a Free Concert / Kunsthaus Bregenz'

    Richard Prince: It?s a Free Concert / Kunsthaus Bregenz

    Posted: 22-July-2014, 1:57am EDT by contact@vernissage.tv (VernissageTV)
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    The American artist Richard Prince is mainly known for his photographs of iconic pictures from pop culture and his text images of chauvinist jokes. The exhibition It’s a Free Concert at Kunsthaus Bregenz is the first large-scale solo show by Richard Prince in an Austrian institution. On display are works that revolve around rock and pop music, sex, and American car culture. In this video, we attend the opening reception of the exhibition on July 18, 2014. The exhibition runs until October 5, 2014.

    Richard Prince: It’s a Free Concert / Kunsthaus Bregenz, Bregenz (Austria). Opening reception, July 18, 2014.

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    There are almost countless texts, books, and exhibition catalogues about Richard Prince (born 1949), as well as texts he himself has authored not only for his own publications but also those of other artists. Gaining any overview of his exhibition activities proves likewise a challenge, and he was already at the beginning of his career being given solo shows in important international museums. He is known, not least, for the astronomical prices his works command on the art market. Nevertheless, though his work has been widely shown and many believe they know it well, Richard Prince remains an enigmatic artist, even today. He is skilled in convincingly covering his tracks, through sudden changes of direction. That he occasionally returns to the very same paths, for example reusing identical or similar titles, subjects, and motifs which he had previously employed in other series, does not make an understanding of his oeuvre any less demanding. It remains an enigma that, even though his artistic approaches ultimately remain opaque, his Cowboys, Nurses, and Jokes still count amongst the most established contributions to contemporary art?s canon.

    Richard Prince first came to attention at the end of the 1970s through the re-photographing of advertisements and imagery from sales catalogues, but which ultimately featured neither text nor logos. The jewelry and accessories of fashionable lifestyles as well as elegant interiors pervade the atmosphere of the artist?s early photographic works. A decade later his Cowboys based on Marlboro cigarette advertisements quickly achieved cult status and were amongst the highlights of the group exhibition That?s the Way We Do It at Kunsthaus Bregenz in 2011.

    Aspects of American popular culture and the depiction of various social milieus have provided his work?s repeatedly occurring and predominant imagery, which encompasses painting, photography, sculpture, and installation. These include groups from various subcultures such as rockers and their Girlfriends (the title of one of Prince?s series of works).

    Amongst his most popular paintings are the so-called Jokes and Cartoons, in which jokes in the form of text imagery, or drawings in acrylic, are transferred to canvas using the screen-printing process. Even if Prince privileges the banal, such as car hoods, he nevertheless succeeds in placing them in a state of suspension that is equally anchored in the trivial and the auratic. Prince has conceived his exhibition It?s a Free Concert especially for Kunsthaus Bregenz. The majority of works on display will be receiving exposure to a wider public for the first time. It is in just such a spirit that the title represents a kind of leitmotif that permeates the whole of the display, without however individual works being reduced to merely an illustration of it. The reference to a concert could be either interpreted as a reverential homage to the Bregenzer Festspiele, its open-air opera, or an evocation of hippiesque youth culture. Numerous associations to popular and subculture, rock and pop stars such as Bob Dylan, Jimi Hendrix, and so-called doo-wop bands from the 1950s, which the artist grew up with, are omnipresent. The dissolving of boundaries and transcending of conventions which frequently accompany rock concerts, likewise shine through in the small-scale works, where Prince has adorned advertising photos for pornographic films with stickers which normally serve as labeling for DVDs.

    Along with sex, rock ?n? roll and other forms of popular music, the car ? more precisely the American Chevrolet El Camino and Buick Grand National, so-called land yachts ? is an additional site of projection in the exhibition, that is the (supposedly male) American dream of freedom. In his equally reverent and critical examination of his native culture, Prince succeeds in transferring its complex seductive power to works of art. Moreover, and alone by means of the titles of his already legendary car works bearing such names as Elvis or The Doors, he manages, in this exhibition for Bregenz, to loop music and street culture.

    This first large-scale solo exhibition by Richard Prince in an Austrian institution not only demonstrates the range of his approach, but also its impressive conceptual strengths.

    Richard Prince was born in 1949 in the Panama Canal Zone and lives and works in New York. Mining images from mass media, advertising and entertainment since the late seventies, Prince has redefined the concepts of authorship, ownership, and aura. Applying his understanding of the complex transactions of representation to the making of art, he evolved a unique signature filled with echoes of other signatures yet that is unquestionably his own.

    An avid collector and perceptive chronicler of American subcultures and vernaculars and their role in the construction of American identity, he has probed the depths of racism, sexism, and psychosis in mainstream humor; the mythical status of cowboys, bikers, customized cars, and celebrities; and most recently, the push-pull allure of pulp fiction and soft porn.

  • Permalink for 'Otto Piene at Neue Nationalgalerie, Berlin'

    Otto Piene at Neue Nationalgalerie, Berlin

    Posted: 21-July-2014, 2:45am EDT by contact@vernissage.tv (VernissageTV)
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    Until August 31, 2014, the Neue Nationalgalerie in Berlin presents ZERO artist Otto Piene’s large-scale slide installation The Proliferation of the Sun. To mark the start of the exhibition, a Sky Art Event has been held outside the Neue Nationalgalerie on the evening of July 19, 2014. Otto Piene was born in Laasphe, Germany in 1928 and died shortly after the opening of the exhibition at Neue Nationalgalerie on July 17, 2014. In this video, we attend the opening of the exhibition, and Joachim Jäger, Head of the Neue Nationalgalerie, provides us with an introduction to the artist, his work, and the current exhibition at New National Gallery.

    Otto Piene is a key artist of the twentieth century avant-garde and one of the founders of the international ZERO movement in the 1960s. He played a definitive role in art’s programmatic new beginning by including elementary natural forces. His smoke and fire images, his light spaces and ballets stand for a virtually romantic longing for unity with nature.

    Otto Piene’s interdisciplinary large projects in public space were pioneering, beginning in the late 1960s in the context of MIT’s Center for Advanced Visual Studies, where he served as director beginning in 1974, or his monumental rainbow for the closing ceremony of the 20th Olympic Games in Munich 1972. Piene’s intense collaboration with natural scientists and technicians opened new perspectives for art that can be found echoed in contemporary positions like those of Olafur Eliasson, Carsten Höller, or Tomás Saraceno.

    Otto Piene: The Proliferation of the Sun and Sky Art Event, July 17, 2014. Interview with Dr. Joachim Jäger, Head of Neue Nationalgalerie. Video and interview by Frantisek Zachoval.

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  • Permalink for 'Thomas Ruff: Lichten at S.M.A.K., Ghent'

    Thomas Ruff: Lichten at S.M.A.K., Ghent

    Posted: 18-July-2014, 1:00am EDT by contact@vernissage.tv (VernissageTV)
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    The exhibition Thomas Ruff: Lichten at S.M.A.K. (Stedelijk Museum voor Actuele Kunst) in Ghent, Belgium, presents two new series by the German photographer Thomas Ruff: Phg (Photograms, started in 2012), a virtual simulation of the classical genre of the photogram, and Negative (started in 2014), a series in which Ruff reaches back to photography’s roots in the 19th century. In addition, the exhibition presents excerpts from Thomas Ruff’s series Sterne (1989-1992), Nächte (1992-1996) and Interieurs (1979-1983). In this video, Martin Germann (Senior Curator, S.M.A.K.) provides us with an extensive introduction to Thomas Ruff, his oeuvre, and his works on display. The video above is an excerpt, please scroll down for the complete interview.

    The exhibition was initiated by S.M.A.K. and will also be shown in the Kunsthalle Düsseldorf. At S.M.A.K., the show runs until August 24, 2014.

    Thomas Ruff: Lichten at S.M.A.K., Ghent. July 4, 2014.

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    Complete video (14:37 min.):

  • Permalink for 'John Bock: Appeldorn, 2014'

    John Bock: Appeldorn, 2014

    Posted: 17-July-2014, 1:29am EDT by contact@vernissage.tv (VernissageTV)
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    In this Snapshot video we have a look at Joh Bock’s installation Appeldorn, 2014. The work was exhibited at Art Basel in Basel 2014, in the Unlimited sector.

    Official description:
    He didn’t drive. He was driven. Driven to any- thing but a dull velocity. His harddrive was even harddriven which had nothing to do with the fact that his software was not softdriven, nor softworn, no. He wears me out. Driven to despair, driven by strong autobiographical allusions, driving me insane. Driven insane: it doesn’t happen. I was driven insane. No. It drove me insane. Driven to extremes. Driven to distraction. He didn’t drive. He was driven. By what? Watch.
    The term which John Bock employs most often in relation to his works is that of ‘Kunstwohlfahrt’ (art welfare). The idea of artistic social services seems to stand in stark opposition to Bock’s oeuvre, which violates all certitudes and conventions. But the artist is serious in this matter. Quite aware that no ideal viewer exists, he endeavors with his highly invasive works to attack each viewer individually, to shake them up privately, inducing them to reconsider the terms and ideas which have uncritically established the foundations of life.

    Snapshot: John Bock: Appeldorn, 2014, Art Basel in Basel 2014, Unlimited sector, June 17, 2014. Sadie Coles HQ; Anton Kern Gallery; Gió Marconi; Regen Projects; Sprüth Magers.

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  • Permalink for 'Moshekwa Langa: The Jealous Lover / ifa Gallery, Berlin'

    Moshekwa Langa: The Jealous Lover / ifa Gallery, Berlin

    Posted: 16-July-2014, 1:00am EDT by contact@vernissage.tv (VernissageTV)
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    Moshekwa Langa is regarded as one of the most important South Africa’s artists. Langa’s work combines different materials and genres to form large installations or assemblages, which also indicates the different layers of the artist’s own identity. For his solo exhibition at the ifa Gallery in Berlin, Moshekwa Langa has created a new site-specific installation entitled The Jealous Lover, which describes the hope for a better life in the metropolis, a hope which ?captures, captivates and grips? people like jealousy.
    Moshekwa Langa was born in 1975 in Bakenberg in South Africa. The artist lives and works in Bakenberg, Johannesburg and Amsterdam. He created a large floor installation for the Venice Biennale in 2009, and in recent years has been included in numerous international exhibitions and biennials. In this video Moshekwa Langa talks about the idea behind his installation at ifa Gallery Berlin. The show runs until September 21, 2014.

    Moshekwa Langa: The Jealous Lover (Der eifersüchtige Liebhaber) at the ifa – Institut für Auslandsbeziehungen (Institute for Foreign Cultural Relation), Berlin (Germany); Interview with Moshekwa Langa; July 10, 2014. Video and interview by Frantisek Zachoval.

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  • Permalink for 'Interview with Roman Ondak at 14 Rooms Live Art Exhibition in Basel'

    Interview with Roman Ondak at 14 Rooms Live Art Exhibition in Basel

    Posted: 15-July-2014, 1:39am EDT by contact@vernissage.tv (VernissageTV)
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    In this video, Roman Ondák talks about his work Swap, which was presented at 14 Rooms, the Live Art exhibition that ran concurrently with Art Basel in Basel 2014.

    About the work: A performer sits behind a table like a vendor, with an object he brings along. Once the first visitor enters the room, the performer tries to swap his object with any object the visitor might be carrying with him and which he is willing to give up in exchange for the performer’s object. This sets in motion an endless chain of barter and communication which will go on for the entire duration of the exhibition.

    14 Rooms was presented by Fondation Beyeler, Art Basel, and Theater Basel. The curators Klaus Biesenbach and Hans Ulrich Obrist invited fourteen international artists to each activate a room, exploring the relationship between space, time, and physicality with an artwork whose “material” is the human being.

    Roman Ondák in conversation with Mirjam Baitsch (Fondation Beyeler). 14 Rooms Live Art Exhibition. Messe Basel, Basel (Switzerland), June 12, 2014.

    More videos covering 14 Rooms coming soon, including an interview with Roman Ondák.

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  • Permalink for 'Roman Ondak: Swap. Performance at 14 Rooms'

    Roman Ondak: Swap. Performance at 14 Rooms

    Posted: 14-July-2014, 1:00am EDT by contact@vernissage.tv (VernissageTV)
    Archivo adjunto [Descargar]

    Roman Ondák’s work Swap was one of the most entertaining works that were presented at 14 Rooms, the Live Art exhibition that ran concurrently with Art Basel in Basel 2014. In this video we watch performer Tony Osborne swapping a key ring, a Müsli bar, sunglasses, 20 Swiss Francs, Roman Ondáks Art Basel photo ID, a visitor’s organ Transplant Card (almost), and a shirt cleaning service card. Includes the special appearance of some well-known art professionals?

    About the work: A performer sits behind a table like a vendor, with an object he brings along. Once the first visitor enters the room, the performer tries to swap his object with any object the visitor might be carrying with him and which he is willing to give up in exchange for the performer’s object. This sets in motion an endless chain of barter and communication which will go on for the entire duration of the exhibition.

    For ’14 Rooms’, curators Klaus Biesenbach and Hans Ulrich Obrist invited fourteen international artists to each activate a room, exploring the relationship between space, time, and physicality with an artwork whose “material” is the human being.

    14 Rooms was presented by Fondation Beyeler, Art Basel, and Theater Basel. The curators Klaus Biesenbach and Hans Ulrich Obrist invited fourteen international artists to each activate a room, exploring the relationship between space, time, and physicality with an artwork whose “material” is the human being.

    Roman Ondák: Swap, 2011. 14 Rooms Live Art Exhibition. Messe Basel, Basel (Switzerland), June 12, 2014.

    More videos covering 14 Rooms coming soon, including an interview with Roman Ondák.

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  • Permalink for 'Wilfredo Prieto: Speaking Badly About Stones / S.M.A.K. Ghent'

    Wilfredo Prieto: Speaking Badly About Stones / S.M.A.K. Ghent

    Posted: 11-July-2014, 1:17am EDT by contact@vernissage.tv (VernissageTV)
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    Wilfredo Prieto’s solo exhibition with the title Speaking Badly about Stones at S.M.A.K. in Ghent (Belgium) presents an overview of Prieto’s artistic practice over the past fifteen years. Speaking Badly about Stones focuses on the socio-critical aspect of the artist’s work that addresses contemporary topics such as (over)consumption, energy waste and (hyper)capitalism. One of the main works in the exhibition is Much Ado About Nothing (2003), a piece that consists of two trucks with a big electric generator and a huge water tank that power and water a small potted plant. Wilfredo Prieto was born in Sancti Spiritu (Cuba) in 1978. He is considered as one of the most promising young artists to emerge from Cuba in recent years. His work is often described as minimalist, humorous, and poetic. In this video, we have a look at the exhibition, and the curator of the show, Thibaut Verhoeven, provides us with an introduction to the artist and his work.

    Wilfredo Prieto: Speaking Badly About Stones at S.M.A.K. Stedelijk Museum voor Actuele Kunst (Municipal Museum of Contemporary Art) in Ghent, Belgium. Exhibition walk-through and introduction by Curator Thibaut Verhoeven, July 4, 2014.

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  • Permalink for 'Rodney McMillian: From Asterisks in Dockery, 2012'

    Rodney McMillian: From Asterisks in Dockery, 2012

    Posted: 10-July-2014, 1:00am EDT by contact@vernissage.tv (VernissageTV)
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    In this Snapshot video we have a look at Rodney McMillian’s installation From Asterisks in Dockery, 2012, a small chapel all in red. The work was exhibited at Art Basel in Basel 2014, in the Unlimited sector. Rodney McMillian was born in 1969 in Columbia, South Carolina. He lives and works in Los Angeles.

    Official text: A single-room chapel all in red. Everything is red ? walls, pews, pulpit, the kind of cross that reminds one of makeshift plywood grave markers. Rodney McMillian?s hand-sewn installation From Asterisks in Dockery presents us with the estranged interior of a church. Referencing the turn-of-the century architecture of the rural south, such single-room, wooden chapels once functioned as a site for parishioners to worship and release in gospel revivals, a respite from a grueling life of work. The gospel songs were extensions of the hymns that slaves and, later, sharecroppers and migrant workers sang to find respite from brutally oppressive circumstances. The title of this piece refers to the Dockery Plantation in Mississippi, widely regarded as the birthplace of the blues. Dockery was a 10,000-acre cotton plantation where workers such as blues pioneers like Charley Patton, Howlin’ Wolf, and Robert Johnson created the musical form. McMillian?s Dockery, a stitched together and suggestively hued space complicates the notion of a specific birthplace, and suggests deeper, more complex roots for the musical movement. It alludes to the juke joints and clubs where the music was played and enjoyed as well as to the hell of church burnings and fiery sermons.

    Snapshot: Rodney McMillian: From Asterisks in Dockery, 2012 Art Basel in Basel, Unlimited sector, June 17, 2014.

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