21 January 2016
09 March 2015
06 November 2014
Young professional artists
Presenting the image we are supposed to present, we do not find art there.
04 September 2014
based
the Austrian, Vienna-based artist
German, Berlin-based
Swedish, Malmö-based
The American, New Hampshire-based artist
French, Dijon-based artist
the Swedish, Berlin-based
06 June 2014
30 April 2013
'attended by 24,735 visitors, including 4,503 VIPs and sponsored by Citi Private Bank'
... praised for its groundbreaking international outlook with approximately half the exhibiting artists hailing from outside the west, exhibiting side-by-side with their western peers in a way previously unseen in art fairs.'
'... global ethos resulted in headlines for the inaugural edition such as "refreshingly different" (Financial Times).'
'Art14 London will offer a unique experience at the heart of the world's most globalised art market—London.'
Global vomit.
09 April 2013
PR PLS #001
Working with sculpture and performance, ARTIST constructs situations into which the audience is invited to share ARTIST experience of everyday life's spectrum of major and minor engagements.
In an action combining the conceptual purposefulness of artists such as ARTIST and ARTIST with the precarious existence of CITY's street vendors, ARTIST performs ARTIST solitary act amidst the congested landscape of one of the world's most populous cities.
Reflecting the artist's own personal expectations, ambitions, and disappointments, EXHIBITION invites viewers to contemplate being welcomed but unwanted, accepted and empowered through their own encounters with ARTIST's feats.
[Uppercase words have been inserted by me to replace names, titles and proper nouns. This is PR PLS.]
[Uppercase words have been inserted by me to replace names, titles and proper nouns. This is PR PLS.]
22 August 2012
Imaginez l'imaginaire. Ah, bon ?
Il semble que l'imaginaire ne soit que pour des hommes ...
Cliquez ici: palaisdetokyo.com/fr/videos/imaginez-limaginaire-toutes-les-videos
Cliquez ici: palaisdetokyo.com/fr/videos/imaginez-limaginaire-toutes-les-videos
21 March 2012
06 March 2012
GOIN' 4 CRAZZY BAR-GAIN ₱R¥¢€$ (i.e. FR€€!) check; Emerging in the Arts: Achieving Acclaim in Australia Today @ Artspace 22 March 4-6pm
"Art Month and Artspace present Emerging in the Arts: Achieving Acclaim in Australia Today on Thursday 22 March 4-6pm.
What happens between graduating from art school and becoming an exhibiting artist?
Three Sydney artists who have experienced recent success discuss how they got there. The conversation will address how artists may find opportunities to develop their practice both locally and internationally.
The discussion panel will also look at the wider topic of achieving acclaim as an emerging artist in Australia today. Speakers include Adam Geczy, Kate Mitchell and Adam Norton.
Click here for more information and to register your interest.
This is an Art Month Sydney curated event @ Artspace."
[All bold text rendered so by me. Otherwise, this is an exact replica of this text on Artspace's website - last accessed 6 March 2012.]
Firstly, to answer the first question ("what happens...?"), I would say this: a curated event.
Lastly, we can arrive at the mathematical formula: Success + Acclaim + Getting There = Achieving Emergence × (Australia ÷ Today [to the power of ∞]) + a curated event
Enjoy your emergence.
P.S. From Art Month website: "Please note, this event has sold out. Email info@artmonthsydney.com.au if you would like to be put on the waiting list."
∴ updated formula: Success + Acclaim + Getting There = Achieving Emergence × (Australia ÷ Today [to the power of ∞]) + a curated event + waiting
What happens between graduating from art school and becoming an exhibiting artist?
Three Sydney artists who have experienced recent success discuss how they got there. The conversation will address how artists may find opportunities to develop their practice both locally and internationally.
The discussion panel will also look at the wider topic of achieving acclaim as an emerging artist in Australia today. Speakers include Adam Geczy, Kate Mitchell and Adam Norton.
Click here for more information and to register your interest.
This is an Art Month Sydney curated event @ Artspace."
[All bold text rendered so by me. Otherwise, this is an exact replica of this text on Artspace's website - last accessed 6 March 2012.]
Firstly, to answer the first question ("what happens...?"), I would say this: a curated event.
Lastly, we can arrive at the mathematical formula: Success + Acclaim + Getting There = Achieving Emergence × (Australia ÷ Today [to the power of ∞]) + a curated event
Enjoy your emergence.
P.S. From Art Month website: "Please note, this event has sold out. Email info@artmonthsydney.com.au if you would like to be put on the waiting list."
∴ updated formula: Success + Acclaim + Getting There = Achieving Emergence × (Australia ÷ Today [to the power of ∞]) + a curated event + waiting
12 January 2012
The Catt quits art ...
From e-flux:
On the occasion of Maurizio Cattelan’s announcement of his retirement from art making, the Guggenheim is marking the closing of the Maurizio Cattelan: All exhibition by organizing a multidisciplinary program called The Last Word, during which thirty or so prominent representatives from the fields of visual art, philosophy, literature, film, music, economics, law, politics and activism, religion, dance, theater, sports, and fashion will come together to contemplate the subject of voluntary endings....
[See previous Catt-related post here.]
On the occasion of Maurizio Cattelan’s announcement of his retirement from art making, the Guggenheim is marking the closing of the Maurizio Cattelan: All exhibition by organizing a multidisciplinary program called The Last Word, during which thirty or so prominent representatives from the fields of visual art, philosophy, literature, film, music, economics, law, politics and activism, religion, dance, theater, sports, and fashion will come together to contemplate the subject of voluntary endings....
[See previous Catt-related post here.]
05 January 2012
REALIGION
'Invest in Jesus Christ. The returns are heavenly.'
-- advertisement outside St. Anne's Anglican Church, Limehouse, London E14
-- advertisement outside St. Anne's Anglican Church, Limehouse, London E14
14 November 2011
26 October 2011
New Art Dealers Alliance = NADA (HAHA)
"... the only non-profit fair in Miami that is free and open to the public."
"Each NADA gallery will be provided with the opportunity to host a virtual storefront at www.Paddle8.com through which they may accept offers and process transactions on works using Paddle8's proprietary online platform, which leverages technology to facilitate the viewing, curating and acquisition of art."
[via e-flux bulletin]
"Each NADA gallery will be provided with the opportunity to host a virtual storefront at www.Paddle8.com through which they may accept offers and process transactions on works using Paddle8's proprietary online platform, which leverages technology to facilitate the viewing, curating and acquisition of art."
[via e-flux bulletin]
27 September 2011
17 September 2011
Overheard ...
... at The Shortlist espresso bar, Abercrombie St. Darlington, 15 09 2011:
Vietnamese-Australian female: "Do you like abstract art?"
Indian-Australian male: "I can't stand abstract art. [...] Stop just putting things together in a weird fashion and saying 'oh, because it's weird it's art.'"
My faith is restored in the younger generation.
Vietnamese-Australian female: "Do you like abstract art?"
Indian-Australian male: "I can't stand abstract art. [...] Stop just putting things together in a weird fashion and saying 'oh, because it's weird it's art.'"
My faith is restored in the younger generation.
14 September 2011
There is something hyper-self-conscious afloat ... as is only natural, They have taught us well ...
This is an excerpt from an e-newsletter sent by the 'Culture Jammers' at Adbusters about their Occupy Wall St. campaign:
"What will happen this Saturday when thousands of us descend on Lower Manhattan and start walking towards Wall Street?
If the police try to stop us, how will we respond? ...
If the police block us temporarily from occupying Wall Street, then let's turn all of lower Manhattan into our Tahrir Square. Let's sing our songs in the lobby of Goldman Sachs and in Chase Manhattan Plaza; let's wave our signs outside the SEC and the Federal Reserve; let's convene our people's assemblies around the Charging Bull statue at Bowling Green … and if need be, let's set up our encampments in nearby Battery Park and other places until we're ready to walk into Wall Street again …
Anything can and will happen this Saturday. That's the beauty of it! Ultimately, the only thing that matters in how many of us turn up eager to be a part of a spontaneous creative swarm and determined to bring the financial fraudsters to justice.
Bring signs, flowers, food and a revolutionary mood … and a commitment to absolute nonviolence in the Gandhian tradition."
Well, I guess this must be emblematic of the state of politics today. Maybe all we have today in terms of a possible politics is this kind of self-conscious, hyped-up (like a rock concert, no? Don't miss out!), copy-paste, 'meme'-like tactic? I applaud Adbusters for giving it a go. But I can't help feeling there's something strange going on here; 'Let's do it!', response-based indoctrination is all I can sense in these 'wild' words. Is so-called 'revolutionary' action really so self-conscious, I daresay, even pretentious?
Does this sort of 'occupation' really aid in bringing supposed 'justice' (already a term heavily loaded with neoliberal dogma) to those whose lives are really effected by the 'financial fraudsters'? Who are they representing by such an occupation? And, pray tell, who are these 'financial fraudsters', actually?
And who reads Adbusters? Exactly the kind of hipster 'activist' types who like to go to music festivals purporting to be 'green' or 'charitable'. We really need to get off this band-wagon and start to really consider what our actions mean and how we ourselves are implicated in upholding the rule of Capital.
Blame, or the blame-desiring machine that campaigns like this one produce, is one which is equally and to a comparable measure produced by Capital, in fact you could imagine Capital as the author of blame. Who can we blame for the shit we are in? It is certainly someone's fault (not mine!). We only have to find them and out them and things will be better. This is a lie. That someone does not exist, even in the form of a corporation. Blame is a lie that eases the depressive truth that we are all implicated.
The real question of today is how to move from this depressive junction of totalitarian 'safety' measures, States Of Emergency and fear-of-life, and toward a space where we may again have some agency in our lives.
This is not about individual moral responsibility - we are all responsible, together - it is about being aware how all our actions and choices, and the way we interact with others, maintain a certain power-relation that is exactly the one that campaigns like Occupy Wall St. claim to want to dismantle. A big question: How can we take responsibility for our actions whilst also being the victims of them?
It is not the 'financial fraudsters' who we must blame (what, do you want to replace them with some other, 'better' people, who aren't 'fraudsters'?), for they are also trapped within the violence of financial capitalism. It is Capital itself that we must disown. It is Capital, and the violence integral to its existence that we must renounce.
This will occur only slowly and through a progressive reconsideration of how we actually want to live our lives, not how we are told to live by a generation of old rich men in whose interest it is that we never question the world they have given us and never demand anything more than to graciously follow their footsteps into the positions of so-called 'power' they have brainwashed us into desiring.
Meanwhile, the rich men are probably sniggering nostalgically from their 31st floor offices at how naive this little bit of youthful 'unrest' really is.
"What will happen this Saturday when thousands of us descend on Lower Manhattan and start walking towards Wall Street?
If the police try to stop us, how will we respond? ...
If the police block us temporarily from occupying Wall Street, then let's turn all of lower Manhattan into our Tahrir Square. Let's sing our songs in the lobby of Goldman Sachs and in Chase Manhattan Plaza; let's wave our signs outside the SEC and the Federal Reserve; let's convene our people's assemblies around the Charging Bull statue at Bowling Green … and if need be, let's set up our encampments in nearby Battery Park and other places until we're ready to walk into Wall Street again …
Anything can and will happen this Saturday. That's the beauty of it! Ultimately, the only thing that matters in how many of us turn up eager to be a part of a spontaneous creative swarm and determined to bring the financial fraudsters to justice.
Bring signs, flowers, food and a revolutionary mood … and a commitment to absolute nonviolence in the Gandhian tradition."
Well, I guess this must be emblematic of the state of politics today. Maybe all we have today in terms of a possible politics is this kind of self-conscious, hyped-up (like a rock concert, no? Don't miss out!), copy-paste, 'meme'-like tactic? I applaud Adbusters for giving it a go. But I can't help feeling there's something strange going on here; 'Let's do it!', response-based indoctrination is all I can sense in these 'wild' words. Is so-called 'revolutionary' action really so self-conscious, I daresay, even pretentious?
Does this sort of 'occupation' really aid in bringing supposed 'justice' (already a term heavily loaded with neoliberal dogma) to those whose lives are really effected by the 'financial fraudsters'? Who are they representing by such an occupation? And, pray tell, who are these 'financial fraudsters', actually?
And who reads Adbusters? Exactly the kind of hipster 'activist' types who like to go to music festivals purporting to be 'green' or 'charitable'. We really need to get off this band-wagon and start to really consider what our actions mean and how we ourselves are implicated in upholding the rule of Capital.
Blame, or the blame-desiring machine that campaigns like this one produce, is one which is equally and to a comparable measure produced by Capital, in fact you could imagine Capital as the author of blame. Who can we blame for the shit we are in? It is certainly someone's fault (not mine!). We only have to find them and out them and things will be better. This is a lie. That someone does not exist, even in the form of a corporation. Blame is a lie that eases the depressive truth that we are all implicated.
The real question of today is how to move from this depressive junction of totalitarian 'safety' measures, States Of Emergency and fear-of-life, and toward a space where we may again have some agency in our lives.
This is not about individual moral responsibility - we are all responsible, together - it is about being aware how all our actions and choices, and the way we interact with others, maintain a certain power-relation that is exactly the one that campaigns like Occupy Wall St. claim to want to dismantle. A big question: How can we take responsibility for our actions whilst also being the victims of them?
It is not the 'financial fraudsters' who we must blame (what, do you want to replace them with some other, 'better' people, who aren't 'fraudsters'?), for they are also trapped within the violence of financial capitalism. It is Capital itself that we must disown. It is Capital, and the violence integral to its existence that we must renounce.
This will occur only slowly and through a progressive reconsideration of how we actually want to live our lives, not how we are told to live by a generation of old rich men in whose interest it is that we never question the world they have given us and never demand anything more than to graciously follow their footsteps into the positions of so-called 'power' they have brainwashed us into desiring.
Meanwhile, the rich men are probably sniggering nostalgically from their 31st floor offices at how naive this little bit of youthful 'unrest' really is.
04 August 2011
Let me guess ...
... it's about being 'tangled' up?
GEMMA SMITH: Tangle Paintings
Sarah Cottier Gallery, Sydney, 5 August - 3 September 2011
And ... the compromised position in which the artist finds herself in relation to pretty much everything?
With titles like The Knot, Tight Tangle, Jumble, Big Tangle and the enigmatic Crossposting, it must be exactly that.
Thank God Art let's some people express the world's problems in such a profound way.
GEMMA SMITH: Tangle Paintings
Sarah Cottier Gallery, Sydney, 5 August - 3 September 2011
And ... the compromised position in which the artist finds herself in relation to pretty much everything?
With titles like The Knot, Tight Tangle, Jumble, Big Tangle and the enigmatic Crossposting, it must be exactly that.
Thank God Art let's some people express the world's problems in such a profound way.
11 July 2011
Automatic-writing-rant
08.07.11
Contemporary Art is boring. It is in crisis. Why the fuck would anyone want to stand in these white, fluorescently lit rooms and look at these abstract, voice-less objects that only 'speak' with the help of a curator-puppet or a whole lot of dense reading material dumped on the innocent spectator, who is expected to, thus, comprehend some deeper meaning or profound message via these anal assemblages of ego-obese objects that no-one needs. Please, spare me this farce of market success dressed up as criticality, this is not art. Spare me the vapid bullshit spurting like projectile vomit from the mouths of "Younger Than Jesus" art school graduates and "curatorial turners", I don't care about your credentials
Contemporary Art is boring. It is in crisis. Why the fuck would anyone want to stand in these white, fluorescently lit rooms and look at these abstract, voice-less objects that only 'speak' with the help of a curator-puppet or a whole lot of dense reading material dumped on the innocent spectator, who is expected to, thus, comprehend some deeper meaning or profound message via these anal assemblages of ego-obese objects that no-one needs. Please, spare me this farce of market success dressed up as criticality, this is not art. Spare me the vapid bullshit spurting like projectile vomit from the mouths of "Younger Than Jesus" art school graduates and "curatorial turners", I don't care about your credentials
05 June 2011
Everything we always wanted to know? ... Really?
I want to know why we are still talking about Hans Ulrich Obrist. Could this book answer my question ... ?
This modest book contains a foreword by Tino Sehgal, an afterword by Yona Friedman and interviews by Jean-Max Colard, Robert Fleck, Jefferson Hack, Nav Haq, Noah Horowitz, Sophia Krzys Acord, Brendan McGetrick, Markus Miessen, Ingo Niermann, Paul O'Neill, Philippe Parreno & Alex Poots, Juri Steiner, Gavin Wade, Enrique Walker.
The press release says: "Everything you ever wanted to know about Hans Ulrich Obrist but were afraid to ask has been asked by the sixteen practitioners in this book."
Hmm, Hans, I actually don't want to know more about you, and I wouldn't be afraid to ask if I did.
I would like to know, however, why of sixteen 'practitioners' there is only one woman involved in 'knowing about' Obrist? Are women that much more 'afraid' to ask than men (93.75%)? (Also, what is a 'practitioner'?)
Haha, pompous men are funny! I don't know what Caroline Schneider was thinking (... well, perhaps I do ... don't forget, if you want to 'know' more about Obrist and/or curating you have to buy this book ... oh, so tempting, Caroline ... I really need yet another self-indulgent account from men talking about themselves and other men whilst being promoted by women ...)
Also, I want to know why I am still talking about Hans Ulrich Obrist?!
This modest book contains a foreword by Tino Sehgal, an afterword by Yona Friedman and interviews by Jean-Max Colard, Robert Fleck, Jefferson Hack, Nav Haq, Noah Horowitz, Sophia Krzys Acord, Brendan McGetrick, Markus Miessen, Ingo Niermann, Paul O'Neill, Philippe Parreno & Alex Poots, Juri Steiner, Gavin Wade, Enrique Walker.
The press release says: "Everything you ever wanted to know about Hans Ulrich Obrist but were afraid to ask has been asked by the sixteen practitioners in this book."
Hmm, Hans, I actually don't want to know more about you, and I wouldn't be afraid to ask if I did.
I would like to know, however, why of sixteen 'practitioners' there is only one woman involved in 'knowing about' Obrist? Are women that much more 'afraid' to ask than men (93.75%)? (Also, what is a 'practitioner'?)
Haha, pompous men are funny! I don't know what Caroline Schneider was thinking (... well, perhaps I do ... don't forget, if you want to 'know' more about Obrist and/or curating you have to buy this book ... oh, so tempting, Caroline ... I really need yet another self-indulgent account from men talking about themselves and other men whilst being promoted by women ...)
Also, I want to know why I am still talking about Hans Ulrich Obrist?!
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