Archives mensuelles : novembre 2012

Eran Schaerf, Don’t Smile, Vom humor der Kunst, Kunstmuseum Liechtenstein, les images

The exhibition « Don’t Smile », sets out to track humour, the trippingly light kind, the roguish, the dry, as well as the self-reflexive. Humour that examines language, logic, society, the day-to-day and the art system both gravely and with tongue in cheek.

What is it that distinguishes humour? How is it expressed? In the artworks on show, it is sometimes the encounter between different worlds and value systems – such as everyday reality and intellectual imagination – that initiates comedy. Or it is a shift that transfers things from their frame of reference into a new meaning, thus triggering smiles. It is especially the overlapping of verbal and visual levels that conjures an open and humorous way of seeing things. And despite the comic level, great seriousness underlies the works on exhibit.

The exhibition has been organized in close collaboration with the artists Josef Dabernig, Rainer Ganahl, Bethan Huws, Anna Kolodziejska, Vaclav Pozarek, Kay Rosen and Eran Schaerf. Each artist has created an atmospheric and compact narrative specifically for « Don’t Smile ». The overall effect is of an edginess spanned between multifaceted and challenging commentaries that incite ulterior and subtle, indeed enigmatic, humour.

Wanderblog (Rotkäppchen im Vaterland), 2008/2012
Seil, Borten, Bänder, gelochte Katalogseiten (Offset) und Fotokopien, Hacken
Dimensionen variabel

Scenario Data #46 (w wie weiss w wie schwarz), 1988/2012
Elastisches Seil, Zeichenfilm (Polyester), Fotokarton, Haken, Würgeklemme
Dimension variabel

Scenario Data #44 (knotless location, blank page), 1999/2012
Elastisches Seil, gelochte Blätter (A4), Nägel

Scenario Data #45 (this sentence is weightless), 1999/2012
Elastisches Seil, Buchstaben-Blechschblonen, Nägel


Sprechstunde, 1990/2012
17 Karten (unlimitierter Offsetdruck), Tisch (variabel)

Interwoven into the exhibition are a selection of historical artworks that set the tone and the frame of reference. Of note are especially Marcel Duchamp, René Magritte and Kurt Schwitters. As significant forefathers from the beginning of the 20th century, they still today pose valid questions on contextualization, on compositional elements, on language as a medium of the visual arts, on wordplay, on the mutating image, as well as on the art of thinking. In addition, with John Baldessari, Joseph Beuys, Marcel Broodthaers, Robert Filliou and Anne Marie Jehle, we find exemplary positions of the “see” change in 1960s art. “All artists make artworks” as Bethan Huws puts it in one of her word vitrines. But is that really so?The exhibition is a production of Kunstmuseum Liechtenstein, curated by Christiane Meyer-Stoll.

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Marie Zolamian, résidence à Birzeit

En résidence à Birzeit en Palestine, Marie Zolamian participe à la biennale Qalandiya International. Elle est accueillie par Riwaq, une organisation non gouvernementale qui s’investit dans la réhabilitation du patrimoine et de l’héritage culturel palestinien.

Artists in Residence Exhibition Opening and Tour
Birzeit Historic Center
Sunday, November 4, 2012 – 16:00
View of site-specific works by Marie Zolamian, Roberta Gigante, Laure Deselys, with additional works by Marc Angeli, Erwan Maheo and Johan Muyle (Curator: Raymond Balau). A collaboration between Riwaq and Centre wallon d’Art contemporain – La Châtaigneraie + Wallonie Bruxelles International.

Riwaq is a non-governmental, non-profit organisation that aims at the documentation, rehabilitation and development of the architectural and cultural heritage in Palestine through conservation, planning and other diverse programmes. Established in Ramallah in 1991, Riwaq’s approach advocates the protection of all layers, styles and remains of the different periods and civilisations that existed in Palestine, highlighting the various strata and telling a story of the rich, varied and complex identities and histories. Since 2000, Riwaq has rehabilitated more than 80 historic buildings and public spaces for the benefit and enjoyment of local communities, and is working towards the rehabilitation of 15 other buildings and public spaces in the coming three years. Riwaq is also engaged in the rehabilitation of historic centres through myriad programmes that have the goal of breathing life back into abandoned historic centres. Such spaces have proved to be vital for social and cultural interaction as well as sources of economic benefits for local communities, and act as networking hubs for communities and organisations that are far from major cities and urban centres.

Qalandiya International (QI) is a biennial event that takes place across Palestinian cities, towns, and villages. It focuses on exhibiting contemporary Palestinian and international art, highlighting valuable architectural sites, and includes talks, walks and performances. QI, in its first take, is a collaboration between A. M. Qattan Foundation, the House of Culture and Art, International Art Academy- Palestine, Khalil Sakakini Cultural Center,  Al-Ma’mal Foundation, Palestinian Art Gallery- Al Hoash, and Riwaq in an attempt to pool resources and work collectively towards showcasing and promoting contemporary culture in Palestine, locally and internationally. It is an attempt to engage the local public in programs that are not straitjacketed by realpolitik, and to allow them to look at art in a more imaginative and open manner. It is an attempt to join forces and resources and form links across a fragmented geography; a take on unity.
The QI program encompasses a diversity of newly commissioned projects and presentations as various as the institutions involved, it is inclusive rather than exclusive, interdisciplinary, and open allowing engagement, and even implication.

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