2018/10/13

ArtVerona 2018

ArtVerona 2018 
12 – 15 October 14th edition. 
Utopia

ArtVerona 2018 is growing in terms of numbers, quality, trust of the galleries and collectors. The second year of art director Adriana Polveroni sees the entry of 35 new galleries, for a total of 150 modern and contemporary art exhibitors, plus 14 independent spaces and 18 publishers, with an area that has been renovated so as to also host the more experimental work. The theme of the edition of 2018, to be held from 12 to 15 October, is Utopia, based on its design-related facets, linked to the ability to envisage new scenarios.
More growth is also seen in Verona’s involvement, with an itinerary that stems from the 3 projects of Art&TheCity that offer a rich programme of exhibitions and events organised in partnership with the local institutions and cultural organizations. Verona, with the beauty of its ancient centre and its aperture to the contemporary, is thus the harbinger of the message #backtoitaly that is the banner of ArtVerona’s identity.
There will be 6 sections hosted in the two Fair pavilions, dedicated to modern and contemporary art. In the Main Section visitors will admire the work of consolidated and emerging artists that compose a selected itinerary, and that focuses mainly on Italian artists, both those already acclaimed by the market and critics, along with mid career artists and the younger artists, as well as international proposals. The new section is Focus on: galleries that are exhibiting a host Country for the first time. This year, the focus is on Lithuania and its young and lively art scene, thanks to the assistance of Julija Reklaitė, the cultural attaché of the Lithuanian Republic to Italy. The section Grand Tour also gives us a glimpse of the international scenario with galleries that illustrate their ‘there and back’ stories: foreign galleries present in Italy and interested in our artists, and vice versa Italian galleries that have moved abroad. Fully confirmed is the presence of the two more experimental sections with a double formula that has gained excellent following in the previous edition: a solo exhibition for the Raw Zone and an exhibition expanded to include 3 artists in the Scouting section.
14 non profit organizations have been selected thanks to the annual contest of i9 - spazi indipendenti, the section curated by Cristiano Seganfreddo who opens the Fair’s doors to the variegated scenario of the project spaces that is becoming increasingly more active in producing contemporary art.
The first Italian fair to dedicate a section to the non-profit scenario, ArtVerona also hosts “independent artists”: 3 young artists who have never before been represented by a gallery will be presented in the section Free Stage by an international artist, Adrian Paci: the young debutantes are Leonardo Pellicanò (1994) and the duo consisting of Chiaralice Rizzi (1982) and Alessandro Laita (1979).
Themes, players, scenarios of the 14th edition of ArtVerona will be the topic of a series of talks, meetings with the artists and other occasions for further acquaintance stemming from the associations and projects shared in the course of the year, ranging from collecting to the relationship between art and business, from the utopias that guide art to the involvement of the new younger generations. The opening talk is related to the future: What’s Art for? A cosa serve l’Arte oggi?, concluding the research/action itinerary created and curated by Catterina Seia as an investigation in the role art plays in the everyday life of young people.
The team of ArtVerona sees the confirmation of its Steering Committee, consisting of Diego Bergamaschi, Mauro De Iorio, Giorgio Fasol, Patrizia Moroso, Cristiano Seganfreddo and Catterina Seia. The main partner is the Consorzio Collezionisti delle Pianure, led by Antonio Grulli, that will be participating in the Fair’s roadshow for Collezionismo al Centro, the last venue of which was Verona in mid September and to which will be dedicated the third edition of the editorial project Critical Collecting featuring ten art critics illustrating ten collections
ArtVerona 2018 also presents 2 new prizes: WiDiCollect (Wise Dialog Collecting) dedicated to multimedia art, conceived by the collector and financial consultant Fabio Agovino and promoted by Banca Widiba, and A disposizione, the new art purchase fund of Veronafiere.
Confirmed are the other prizes and awards: there are 14 Italian museum directors – with the new entries
Elisabetta Barisoni, in charge of Ca’ Pesaro - Galleria Internazionale d’Arte Moderna of Venice; Andrea
Bruciati, director of Villa Adriana e Villa d’Este in Tivoli; Mauro Felicori, general director of Reggia di
Caserta and Lorenzo Giusti, director of GAMeC in Bergamo – who will participate in Level 0, the project
sponsored by AGSM, by means of which one of the Fair’s artists is chosen to exhibit solo. Also confirmed are
Premio Icona, Premio Fotografia Under 35, supported by the entrepreneur and photographer Riccardo
Aichner, Sustainable Art Prize, in cooperation with the Ca’ Foscari University of Venice, Display, the i9 -
spazi indipendenti prize sponsored by AMIA, and the Gruppo Privato di Acquisizioni.
Art&TheCity is the program of the Fair’s events that offers an itinerary that touches upon Verona’s less
renowned locations, flanked by an extensive VIP programme for collectors and a rich programme of satellite
events.
Chi utopia mangia le mele. Dal sogno al progetto in quattro tempi, the exhibition curated by Adriana
Polveroni and Gabriele Tosi and designed to fill the charming rooms of the Palazzo ex Dogana di terra,
loaned to the Superintendency for archaeology, fine arts and landscape of the provinces of Verona,
Rovigo and Vicenza that is working at the project together with the Municipality of Verona. With works by
over 40 artists, Via trans-generation dialogue and a selection of works of the period from the 1960’s to the
present, the project investigates the controversial, recurrent and fickle nature of utopia, the challenges it poses
in going beyond the conventional facts and the present (until 2 December, catalogue by Manfredi Edizioni).
ArtVerona this year pays homage to Hidetoshi Nagasawa, the great Japanese artist who passed away
recently and who had chosen to live and work in Italy. The itinerary, that crosses through several significant
locations of Verona, was created by Adriana Polveroni in dialogue with Ryoma Nagasawa, and enjoys the
assistance of the Direzione Musei Civici di Verona, of the Soprintendenza archeologia, belle arti e
paesaggio per le province di Verona, Rovigo e Vicenza, and the participation of Mart, Museo di
arte moderna e contemporanea di Trento e Rovereto.
Another comeback is the Festival Veronetta, a widespread event, a participatory art project set in an urban
context featuring a strong personal identity, with the participation of the Municipality of Verona, the
University of Verona, of ESU and of the Accademia di Belle Arti di Verona. The Fair also hosts La Terza
Notte di Quiete, the new edition of the project curated by Christian Caliandro that permeates the district with
the work of three artists - Elena Bellantoni, Eugenio Tibaldi e Marco Raparelli – together with 11 students
of the Fine Arts Academies of Verona, Frosinone and Foggia. The district’s involvement extends to the Santa
Marta Campus of the University of Verona that will host the exhibition marking a new partnership between
ArtVerona and the artist in residence project NUOVE//Laprima Plastics, curated by Geraldine Blais, and for
the occasion presents the artists Jesse Darling together with Fondazione Bonotto, Filippo Manzini and
Nicola Pecoraro; in addition to an intervention by Gianluca Concialdi. The same venue, that also exhibits
the arresting installation Aquila by Hitetoshi Nagasawa, will host Rosario delle Assenze, the environmental
installation by the artist Fabrizio Gazzarri, curated by Diego Mantoan.
The research and experimentation of the young artists is at the heart of the project First Step 9 of the
Accademia di Belle Arti di Verona. The program of the Festival also features the themes of innovation, of
photography and even of sound with a preview of the Path Festival and the projection of Negus by
Invernomuto.

practical information
Verona Exhibition Centre 
Hall 11-12
Viale del Lavoro 8 | 37135 Verona

12 October, 2018
from 11:00 am Opening (by invitation only),
from 2:00 pm to 7:30 pm open to the public
13 – 14 October, 2018
from 11:00 am to 7:30 pm
15 October, 2018
from 10:00 am to 2:00 pm

 /www.artverona.


2018/09/25

Open Call | Artist in Residence | Austria

Call for Applications for the Artist-in-Residence-Programme 2019 ||| Austria
deadline: September 30, 2018
 
In co-operation with KulturKontakt Austria, the Austrian Federal Chancellery makes available 50 residencies in Austria (Vienna and Salzburg) for the year 2019. Foreign artists can apply for this grant programme electronically via the www.artists-inresidence-austria.at platform.The residency is designed to offer an opportunity to familiarise oneself with the Austrian art scene and cultural environment and to make contact with Austrian artists. Residents are expected to complete a project during their stay. In the field of cultural education, the stay is primarily designed to foster exchanges and networking and not the realisation of a project.
During their stay, the artists in residence will be made familiar with the art scene and cultural environment. Activities on offer include visits at galleries, studios and museums, contacts to the literature and publishing sector, as well as access to Vienna’s music life. Whenever possible, the residents will receive free tickets for art and book fairs, the international ImPuls Tanz dance festival and other events.During their stay in Salzburg, the artists in residence will be taken care of by Kunstverein Salzburg. Residencies in Salzburg are only available for artists from the fields of the visual arts, artistic photography and media art.
There is the possibility of participating actively in the Artists-in-Residence-go-to-School-Programme of KulturKontakt Austria (the programme includes workshops at Austrian schools). This call is open to foreign artists whose permanent place of residence is outside of Austria and who have completed their training. Austrian citizens cannot apply for this programme. A high level of proficiency in English or German is required in order to enable participants to engage in a creative dialogue in an international context.
Participants are obliged to submit a final report about their stay.The age limit for applicants is 40 years, i.e. the applicants’ date of birth has to be after December 31, 1978. If an application is submitted by a duo at least one of the artists has to be born after December 31, 1978, and the artistic career of both individuals must be presented.
Artists who have already participated in artist-in-residence-programmes organised by KulturKontakt Austria, the Austrian Federal Chancellery or the Austrian Federal Ministry of Education, the Arts and Culture are not eligible for participation.
The artists in residence will be selected by sector-specific expert juries.When submitting an application, applicants agree to parts of their application file (CV and examples of work) being forwarded to third parties for the purpose of organising exhibitions, readings, concerts, lectures etc.
You are urgently requested to heed the sector-specific information on the following pages!
Applications can be submitted for only one of the following disciplines:
 Visual arts *
 Art photography
 Media art **
 Composition (new music, electroacoustic music, experimental music)
 Literature
 Literature for children and young people
 Literary translation
 Cultural education ***
* Applications from the sector of performing arts will not be accepted.
** For organisational reasons, the programme cannot accept applications from the film sector (shorts, feature film, documentary, avant-garde or experimental film etc.).
*** Cultural education. For an application in this sector please consider that cultural educators within the meaning of this call are responsible for the pedagogic part of an exhibition, concert, theatre etc. and in charge for the communication between the audience and the artists or the art. Cultural education can take place in a variety of
settings, including arts education in formal and non formal educational institutions and educational programs in cultural institutions.
Length of stay varies as a function of the artistic discipline:
 Residency of 3 months for visual artists, art photographers, media artists,composers
 Residency of 1-2 months for writers and literary translators
 Residency of 1 month for arts and cultural educators
The grants are funded by the Austrian Federal Chancellery within the framework of its Artist-in-Residence-Programme. KulturKontakt Austria acts as an advisor and provides organisational support.

What can be expected from the residency?
 Residencies are provided in Vienna (all disciplines) or Salzburg (only visual arts, photography, media arts). While requests for a specific place will be fulfilled subject to availability, this cannot be guaranteed.
 Accommodation subject to availability, either in an apartment at the Schloss Laudon Parkdependance (14th district), a room in a flat in Vienna’s 3rd or 9th district or an apartment at Salzburger Kunstverein in the City of Salzburg.
 The assignment of accommodation in Vienna is made by the residency provider. Unfortunately, individual preferences cannot be taken into account.
 Use of a community studio in Vienna’s 2nd district, at Schloss Laudon or at the Salzburger Kunstverein.
 Contribution to cost of living expenses of € 800 per month. In case of absence exceeding 7 days, a pro-rata share of cost-of-living expenses will be paid.
 One-time contribution to art supplies of € 300 for visual artists and composers.
 The costs of translation for one sample text (no more than 10 pages at 1800 characters each) from a foreign language into German for writers.
 Travel expenses as well as visa fees will not be paid nor refunded.
 Accident and health insurance will be provided; insurance cover excludes chronic disease and dental work.
 Each accommodation is provided with WLAN. Notebooks will not be provided.
 For the duration of the stay, a cell-phone with a one-time prepaid credit in the amount of € 40 will be made available to the residents.
 Residents will also receive monthly passes for public transport in Vienna or Salzburg for the duration of their stay.
 Regular cleaning service for the living quarters and change of bed-linen and towels will be provided weekly or monthly, according to the place.
 A presentation of works may be arranged towards the end of the residency (subject to confirmation).
 No financial support can be provided for the production of catalogues,translations, book releases and performances.
 Residents may not bring other people (family members, friends, acquaintances etc.) or pets to the residency. Only residents may spend the night at the accommodation.
 Neither the community studios nor the apartments are equipped for the needs of disabled.
 Compliance with the house rules of the residency is of the utmost importance.

The grant is designed for individuals who have completed their artist training and/or have been working as free-lance artists for at least five years. Whereas students are not eligible for application, post-graduate students are welcome.For organisational reasons, the programme can neither accept applications from the film sector (shorts, feature film, documentary, avant-garde or experimental film etc.) nor from performing arts.
The following application documents need to be submitted electronically via the www.artists-in-residence-austria.at online platform within the respective deadline.Applications by post or email cannot be considered.
An application portfolio contains mandatorily the following documents:

1. completely filled-in online-forms,
2. portrait photograph (standard quality, e.g. passport picture),
3. CV and/or artistic career; in case of duo or group applications, the artistic career of all artists involved needs to be presented, as well as a documentation of the artistic co-operation of recent years.
4. In case of duo or group applications, each of the individuals needs to register and submit a complete application. The application needs to include a reference to the respective partner/s.
5. a motivation letter (no more than 1 page) specifying current artistic interests and projects,
6. a description of the project planned for the stay in Austria; projects with some reference to Austria will be appreciated (1 page max.),
7. one (1) letter of recommendation (e.g. from a university institution, an art college, a gallery or other institution related to art and culture etc.),
8. information about all previous residencies, study visits and traineeships in Austria within the last 5 years (not applicable if this residency would be the applicant’s first residency in Austria).
9. documentation of previous artistic work (portfolio), meaning a representative cross section of no more than 10 pages; in case of media artists: no more than one file with a max. presentation time of 10 min.
Applications can be submitted as of now until no later than September 30, 2018,
24.00, upon registration at www.artists-in-residence-austria.at. The electronic timestamp will be used to determine whether the submission was within the deadline (Central European Summer Time – CEST).
Jury meetings are expected to take place in the months of October/November. The jury shall only consider complete applications.Applicants will be informed in writing of the receipt of their submission and of the result of the jury meeting. Reasons given by the jury will not be communicated.
Please address queries to application@artists-in-residence-austria.at
Telephone queries under 0043 (0)1 53115 - 206860.
www.kunstkultur.bka.gv.at
www.kulturkontakt.or.at
www.artists-in-residence-austria.at

Raoul De Keyser @ S.M.A.K.

Raoul De Keyser .oeuvre
S.M.A.K.
Belgium
22.09 until 27.01.2019

  Raoul De Keyser (1930-2012, Deinze) is viewed as the discrete master among the Belgian painters of the last fifty years. As from his debut in 1964 De Keyser developed unique tactile work in which the distinction between the figurative and the abstract dissolved in its poetic alliance with the painter’s everyday life. His artistic practice emerged from the Nieuwe Visie, a local variant of international Pop Art that was also influenced by literature.
Following his experiments with the fundamental elements of painting, including colour, paint and canvas, that were so typical of the 1970s, De Keyser’s visual idiom opened up and became more fluent. This signalled the start of a steady growth in international success, one of the highlights being his participation in Documenta IX in 1992. The artist frequently painted over earlier work or revived it in different formats. This game of looking both back and forward is also apparent in his final works. The title of the exhibition is an indication that in a certain sense each of De Keyser’s works includes the notion of a retrospective.
By unfolding De Keyser’s work both chronologically and thematically, oeuvre offers an insight into the artist’s method and his lifelong exploration of the boundaries of painting. In addition to more than a hundred paintings, a major ensemble of works on paper can also be seen; this is part of the gift the artist made to the Museum of Fine Arts in Ghent in 2008.
The setting in the middle room on the first floor was designed by the architects Robbrecht and Daem, who have previously created several exhibition spaces for De Keyser’s work (e.g. Documenta IX).
Publication
The exhibition is accompanied by an extensive catalogue, published by S.M.A.K. and Pinakothek der Moderne in association with Verlag der Buchhandlung Walther Koenig (Cologne) and Mercatorfonds (Brussels). This richly illustrated book contains the first comprehensive chronology of the artist’s life and work which was created in collaboration with the Archives Raoul De Keyser at Ghent University.
Film programme
Belgian art historian Koen Brams will present a wide-ranging film programme of television and film excerpts on the art and life of Raoul De Keyser.
Talks
Lastly, there will be an extensive series of talks including conversations between the curators of the two exhibitions, Martin Germann and Bernhart Schwenk. Erik Rinckhout, Bernard Dewulf and Steven Jacobs will also give talks and/or guided tours. More detailed information will be available later.
This exhibition is a joint project with the Pinakothek der Moderne in Munich.


location:
S.M.A.K.
Jan Hoetplein 1, 9000 Gent
9000 Gent
Belgium

T +32 (0)9 240 76 01
E info@smak.be
 http://smak.be

Verona | Marmo Mac 2018

Marmo Mac 2018
Verona,Italy
26-29|09|2018
 
Worldwide trade in this sector comes to 18 billion euros, 4.2 of which generated in Italy. Opening on Wednesday 26 September, during the 53rd edition of Marmomac (Veronafiere, 26-29 September) was presented at VeronaFiere today by President Maurizio Danese, irector General, Giovanni Mantovani and Mayor Federico Sboarina. It is one of the trade fairs with the highest level of internationality on a global scale.

And this record is confirmed by facts and figures for this show dedicated to natural stone (both unhewn and finished) and the world's most important technology and machinery industry: more than 1,600 exhibiting companies - 62% of which international from over 55 countries in attendance - with over 67,000 visitors expected from more than 140 countries. As a worldwide landmark platform for promotion, this event in Verona is also an opportunity to highlight Italian brands and natural stone districts, making up a national sector worth €4.2 billion, including technology. The sector boasts 3,300 companies (with more than 34,000 employees) with a major vocation for exports, since over three-quarters of turnover is generated on international markets.

Marmomac is reflects an increasingly global sector, as witnessed by the internationality of attendance by exhibition and operators alike," said Maurizio Danese, President of Veronafiere, during the press conference. For this reason we have intensified incoming initiatives and collaboration with MISE (Ministry for Economic Development) and ICE-Italian Trade Agency and Confindustria Marmomacchine with more than 200 top buyers, architects and designers selected through the Special Made in Italy Promotion Plan expected in Verona - alongside thousands and thousands of other specialist operators - to attend b2b theme meetings, technical training courses and visits to local companies."

"Natural stone, and the technology and machinery industry associated with it, is synonymous with quality and Italy is the acknowledged leader in this context," added Giovanni Mantovani, Director General of Veronafiere. This is demonstrated by the fact that the value of our finished products per square metre is more than double that of the world average for exports. This aspect sees Italy rank second in the world in natural stone sales with a balance of trade in the black by 2.8 billion euros, including technologies where Italy is the undisputed leader. The processed products sector, which is often affected by geopolitical situations, includes among its main customers the United States, Germany, Switzerland, United Kingdom, France, as well as the United Arab Emirates and China."

The Mayor of Verona, Federico Sboarina, said: "Marmomac confirms its strong bond with our local area. This show in particular and Veronafiere in general ensure socio-economic benefits that every year generate impressive financial figures - estimated at more than 1 billion euro of which 150 million generated by Marmomac - as well as promoting the image of the city, the province of Verona and its entrepreneurial activities."

2017/10/13

Gilbert & George @ Baronian gallery in Brussels

Gilbert & George @ Baronian gallery in Brussels
THE BEARD PICTURES
10 November 2017 — 23 December 2017


venue:
Albert Baronian gallerie
Rue Isidore Verheyden 2
1050 Brussels, Belgium

THE BEARD PICTURES
are violent, eerie, grotesque, lurid and crazed. They show a dream-like world of paranoia and destruction and madness. Their strange sickly colours and creeping, smashed up, absurd landscapes confront the viewer with relentless aggression. THE BEARD PICTURES depict a world bereft of reason, in which negotiation no longer exists.

Gilbert & George take their places within THE BEARD PICTURES as intense, red, staring, empty-headed and sinister versions of themselves. Their eyes are shadowed and bizarrely prettified. Mutant impish explorers or dead-headed sentinels, they seem to look at, into and through the viewer. They look possessed and serious. They look
as though their spirits might have left their bodies. They look stern, absurd, imprisoned, mocking and mocked.
In each picture they wear beards that are surreal and symbolic. Beards made of wire mesh, beards made of beer foam, beards made of flowers, beards comprising rabbits with snakes for tongues. Secular and sacred, the throwback emblem of hip millennial youth as well as a mark of religious faith, the beard is depicted in THE BEARD PICTURES as both mask and meaning: a sign of the times.
In some of THE BEARD PICTURES, the artists stand either in front of a barbed wire or mesh fence, or behind one. Elsewhere, rusted steel rods sprout from collapsing buildings of pre-stressed concrete. In yet other pictures,
Gilbert & George are unsmiling comic grotesques, with tiny bodies and huge heads. Behind them a blank
silvery void, extravagant ornamental foliage, wire mesh fencing, newspaper advertisements for bouncers, builders and sex workers, the heads in relief of popes, monarchs, worthies and heroes.
Aggressively absurd, trashing contemporary artistic niceties but resonant with intense symbolism, THE BEARD PICTURES turn history into a mad parade, their mood shape-shifting between that of science fiction, lucid dreaming and Victorian caricature.

It is a vision and a form which brings to mind Oscar Wilde’s account of Walter Pater’s ‘Essays’: “….others are medieval in their strangeness of colour and passionate suggestion, and all of them absolutely modern, in the true meaning of the term modernity. For he to whom the present is the only thing that is present, knows nothing of the age in which he lives.
In the half century that they have lived and worked together as Living Sculptures, embarked on a visionary journey through the modern world, always together and always alone, Gilbert & George have made fiercely singular Anti-Art that is poetic, primal and emotionally driven. Order and madness are held in tension, vaudevillian
and nursery rhyme absurdity take on the air of paranormal ritual.
The more the viewer contemplates THE BEARD PICTURES, the more Gilbert & George appear like poltergeists within the cause of art and spirit sentinels within a world gone mad. In this chaos of trashed aesthetics and reversed values, all has become symbol and surface: mad symbols, presented with deadly seriousness. And as such they study the viewer.

more>>> https://www.albertbaronian.com/artists/gilbert-george/

Joseph Beuys @Museum of Contemporary Art Antwerp (M HKA)

Joseph Beuys @Museum of Contemporary Art Antwerp (M HKA)
Greetings from the Eurasian
October 13, 2017–January 21, 2018  

Representing over 150 works, the exhibition Joseph Beuys: Greetings from the Eurasian seeks simultaneously to consider Joseph Beuys’ activities in Antwerp during the 1960s and 1970s, alongside his relevance to a new generation.
Joseph Beuys was one of the most significant and influential artist of the twentieth century, expanding the scope of art into the realms of politics, society and ecology. Beuys was active in Antwerp during the 1960s and 1970s through his relationship with the seminal gallery Wide White Space. Amongst his numerous exhibitions, it is here that he also made his performance Eurasienstab (Eurasian Staff) in collaboration with Henning Christiansen on February 9, 1968. Joseph Beuys: Greetings from the Eurasian will in the first instance look at Beuys as an artist that was not only active in Antwerp (where he met other figures of the Post-War avant-garde such as Marcel Broodthaers and Panamarenko) but was also deeply influential in Belgium more broadly, in a way that has been largely forgotten.
The exhibition also considers Beuys as a figure who worked in a way that was contrary to the logic and hegemony of modernism. He was in a sense the embodiment of the anti-modern—against greater rationality, individualism and the Eurocentric world-view. Using his Eurasienstab performance as a starting point, the exhibition will consider how Beuys’ use of the notion of "Eurasia" was part of his anti-modern sentiment, looking away from the grand-narrative and hegemony of the "West," and towards a vision of affinity with the "East," to the point of even removing such distinctions. It was a vision that was more attuned to cultural depth, mysticism and to nature. This anti-modern approach also echoed in his political engagement, with an approach to politics though a belief in discursiveness, latent energy and direct action.
Joseph Beuys: Greetings from the Eurasian presents numerous major works by Beuys, including a number of installations related to key actions, including Eurasienstab (Eurasian Staff) (1968) and Honigpumpe am Arbeitsplatz (Honeypump at the Workplace) (1977) that he activated at the Documenta 6 exhibition in 1977, as well as key works such as Infiltration homogen für Konzertflügel (Homogeneous Infiltration for Grand Piano) (1966) and Hirschdenkmäler (Monuments to the Stag) (1958/1982), amongst many others. The exhibition will also look at the activities of the Antwerp Free International University that was set up by proponents of the Antwerp artistic community during the early 1980s. Joseph Beuys: Greetings from the Eurasian will be the first major exhibition of works by Beuys in Belgium since the 1980s.
The exhibition is curated by Nav Haq, Senior Curator, M HKA.

venue
Museum of Contemporary Art Antwerp (M HKA)
Leuvenstraat 32
2000 Antwerp
Belgium
www.muhka.be

2017/10/12

Oslo Architecture Triennale, 2019 ||| Open call for curator

Oslo Architecture Triennale, 2019 ||| Open call for curator
Application deadline: 18 October, 2017 (23:59 CET)

The Oslo Architecture Triennale (OAT) seeks a Chief Curator, theme and concept for its seventh edition to be held in Oslo, Norway, in autumn 2019. Individuals or collectives of any nationality and country of residence are openly invited to send their proposal in English.
With OAT 2019, the Triennale aims to continue its search into the future:
As a physical manifestation of political systems, culture and social structures, architecture play an important role in how we understand and shape our societies. In a time where democracy and current systems of power are being challenged and change is an increasingly present and accelerating force in our global and local societies, OAT 2019 wishes to raise a discussion on the role and relevance of architecture in the future.
The Curator will have primary artistic and academic responsibility for the core programme of OAT 2019, including the development of its conceptual and thematic framework and research. The Curator will work in close collaboration with the Triennale’s partner institutions to develop and produce the different parts of the core programme of OAT 2019.
Application deadline: 18 October, 2017 (23:59 CET)
As a triennial event, OAT strives to develop a content of high quality over a course of three years. The Triennale therefore aims to not only display, but also explore and investigate issues of architecture and urban development through alternative and interdisciplinary projects and practices.
In 2016, the Oslo Architecture Triennale manifested its position as one of the world’s important arenas for dissemination and discussion of architectural and urban challenges. This is something that the organization aims to maintain in 2019.
Find application guidelines, application form and more information here: 
 http://oslotriennale.no/en/news/call-for-curator-2019

About the Oslo Architecture Triennale
The Oslo Architecture Triennale is a non-profit organization consisting of key institutions within the Norwegian field of architecture and urban development. The six constituting member organizations are the National Association of Norwegian Architects NAL, the Oslo School of Architecture and Design AHO, Design and Architecture Norway DOGA, the Oslo Architects’ Association OAF, the National Museum of Architecture and Oslo Business Region. Furthermore, the Triennale has eight associated members, including the Association of Consulting Architects in Norway, Bergen School of Architecture, FutureBuilt, the Norwegian Organization of Interior Architects and Furniture Designers, the Norwegian Association of Landscape Architects, the Norwegian University of Science and Technology NTNU and ROM for Art & Architecture.
OAT is financed through membership fees, state subsidies and funds and grants from private sponsors.
More information on oslotriennale.no

KÖLNER LISTE 2018

KÖLNER LISTE · The Discovery Art Fair ||| April 20th to 22nd, 2018

Opening: April 19th, 2018
XPOST in Cologne | Gladbacher Wall 5, 50670 Cologne

In parallel with Art Cologne, the hall of XPOST Köln will be filled with contemporary art from April 20th to 22nd, 2018. The fifth edition of KÖLNER LISTE is designed to inspire and engage, inciting the discovery of new names and artworks. Addressing both new and experienced collectors, the fair will showcase a wide spectrum of emerging contemporary art at affordable prices. With an extraordinary selection of galleries, KÖLNER LISTE aims to become one of the most interesting art events to follow as one of the most progressive art fairs in Germany.
Art lovers see KÖLNER LISTE as an ideal extension to Art Cologne, a place where their knowledge of the contemporary scene is broadened and their collecting possibilities expand. Clad in friendly and communicative atmosphere, the organizers invite all visitors to enter the dialogue with artists and gallerists and to connect with the international art community. The stimulating environment of KÖLNER LISTE is where many new artistic relationships blossom, and where experienced collectors and first-time buyers can spot and buy original art for their home or office.
The diversity of artistic objects and media is another feature of this art show, ranging from large-scale canvasses to miniature editions. With painting being only one of the mediums present at the KÖLNER LISTE, visitors will be presented with works of sculpture, graphic prints, mixed media, installations, video art and even performance. Notable highlights of the exhibition will be sections dedicated to Photography and Urban Art, each specially curated for the fair.
Along with the variety of art, the quality of works presented is as equally important to the KÖLNER LISTE team. Imbued with an abundance of styles and visual expressions, the art that the public will see at the exhibition is carefully selected by the exhibitors especially for this occasion. Many of the artworks that had their debut at the KÖLNER LISTE found their way into world-renowned art spaces around the world later on.
Spanning across the 4000 sqm of the historic XPOST venue, the fair will introduce new art Cologne hasn’t seen before, serving as the hub for all contemporary art enthusiasts. The late 19th-century industrial halls of the locale serve as the perfect setting for the exhibition and its program. In addition to art presentations, the KÖLNER LISTE will organize various educational programs for artists and art professionals, as well as workshops and guided tours.
KÖLNER LISTE is more than an art fair in Cologne. It is a place of immersion into the art world, an event to connect with art professionals and dealers and meet artists in person, and a market for some of the most inventive high-quality affordable art.
We at KÖLNER LISTE look forward to presenting you with another unique art-viewing experience, hoping to encourage your collector’s spirit to act!
more>>>  https://discoveryartfair.com/fairs/koelner-liste

POPPOSITIONS 2018 |||| OPEN CALL

POPPOSITIONS 2018 |||| OPEN CALL
18 - 22 April, Brussels

POPPOSITIONS was established by Liv Vaisberg and Pieter Vermeulen in 2012 as a counterpoint to mainstream art fairs, and has grown as the leading fair offering an alternative market for contemporary art. In the past six years, POPPOSITIONS has been dealing with questions of artistic agency, self-organisation, cynicism and criticality in order to shape its profile within the cultural and economic landscape. For the second edition in a row, Niekolaas Johannes Lekkerkerk (The Office for Curating, NL) is the artistic director.

Applications are limited to solo shows, which will be assembled into one single exhibition. All forms of media and artistic disciplines are accepted.

 
Application deadline: 15 November 2017
More information on our website: www.poppositions.com
 

ArtVerona 2017

13th edition of ArtVerona
13-16 October 2017
Verona | Italy




ArtVerona | Art Project Fair, the modern and contemporary art fair will hold its thirteenth edition from 13 to 16 October 2017.
Under the artistic direction of  Adriana Polveroni, at the helm for the next three years, the event continues its growing trend. The latest editions, in fact, have seen a surge in the number of exhibitors and collectors and increasing appreciation by the operators. The commitment is to support an alternative fair model, with the promotion of the Italian art system as its defining trait.
Trade fairs today are not just market events, they need to produce culture, also to the purpose of better driving the market itself. But what does producing culture actually means for a modern and contemporary art fair?
In recent years, ArtVerona has built up a clear profile for itself by effectively focusing on the enhancement of the Italian art system and increasingly accrediting itself as a privileged venue for exhibitors and collectors in search of quality.
The title of the 13th edition of ArtVerona is “Viaggio in Italia  #BacktoItaly”, highlighting this Italian vocation and the will to support the artists and the market that represents them, and eventually reach out to museums, as the
natural goal of a route that begins with scouting  in art galleries.
./././.
Increased faith in the project and acknowledgement of the headway made in the past years: this is the backbone of the 13th edition of ArtVerona, to be held from the 13th to the 16th of October 2017 at Veronafiere, and solidly based on a selection of 135 galleries, 30 of which at their debut in Verona.
In addition to these are 14 new independent entities and 20 from the publishing sector.
As of this year under the art direction of Adriana Polveroni and firmly hinged on its partnership with ANGAMC - Associazione Nazionale Gallerie d'Arte Moderna e Contemporanea (Italian Association of Modern and Contemporary Art Galleries), the event, renowned for being the most vivacious and innovative of its kind in the sector, will be concentrating its work on the quality of the exhibits and on the care taken in the art proposals, ultimately aiming at enhancing the Italian art system.
The hub of the edition will be Viaggio in Italia #backtoitaly, designed to focus the public’s attention on the Italian vocation of the event and the will to support the artists and the market that represents them in synergy with the entire art system.
In the two pavilions, traditionally dedicated to Modern and to Contemporary art, respectively, there are five exhibition sections: Grand Tour and Scouting, the novelty of the year, Main Section, Raw Zone and i8-independent spaces.
Grand Tour is the section that best illustrates the “Viaggio in Italia” (Journey to Italy) theme. The intent of this formula is to underscore the attraction Italy has always exercised on artists, to the point of being – what perhaps it still is – a precious source of inspiration. This area will showcase the foreign realities present in our Country and the Italian galleries abroad that have ‘returned’ to the Peninsula, interpreting a new take on the ‘journey’ concept. In the Contemporary pavilion, together with the 6 entities of the Grand Tour, the 12 research galleries of the Scouting section and the 8 entities of the Raw Zone with their monographic projects compose the more experimental nucleus of the event. Alongside these are the 14 organisations of the i8-independent spaces section, all of which at their debut, are also invited to present their interpretation of the ‘journey’ theme. The format created by Cristiano Seganfreddo, that this year enjoys the partnership with the MAXXI – Museo nazionale delle arti del XXI secolo museum of Rome, in the last eight years has been providing space and visibility in the Fair to independent organisations and associations that move autonomously with respect to the institutional system and that are often the catalysts of new trends.
As of 2017, the mission of ArtVerona to promote independent entities has expanded to include a new project, Free Stage, conceived by Adriana Polveroni, which will involve several young artists who are not yet backed by a gallery, but rather presented by artists from the previous generation. The senior artists shall be Daniele Puppi and Giuseppe Pietroniro, who have already worked together on the independent project “There is no place like home”, and H.H. Lim, a Malaysian-Chinese artist who arrived in Italy at the age of 18 to study at the Fine Arts Academy of Rome and has since then settled down in Italy – being therefore an especially significant expression of what a “Journey to Italy” means for an artist.
The program ArtVeronaTalk, conducted by the art historian and critic Paola Tognon, is another event centered on the Viaggio in Italia theme that, compared to the past, in this perspective is seen more as a gamble, a problematic landing-place, a not at all certain idea of the future.
Silvia Evangelisti, an art professor and critic and, as of this year, a consultant of the ArtVerona board, has been nominated Chairperson of the Premio Icona Committee.
Last but not least, noteworthy is the appointment of the collector Diego Bergamaschi to the ArtVerona Steering Committee, joining Mauro De Iorio, Giorgio Fasol, Michele Furlanetto, Patrizia Moroso,
Cristiano Seganfreddo and Catterina Seia, and thereby confirming the event’s mission of focusing mainly on the collectors and on enhancing their role and potential.
EXHIBITORS ARTVERONA 2017
GRAND TOUR>>>
ANALIX FOREVER, GINEVRA | EMALIN, LONDRA | ERMES ERMES, VIENNA-ROMA | FRUTTA GALLERY, ROMA | GALERIE EMANUEL LAYR, VIENNA-ROMA | ROLANDO ANSELMI, BERLINO
SCOUTING
A PALAZZO, BRESCIA | ADA, ROMA | A+B, BRESCIA | BRAND NEW GALLERY, MILANO | DOPPELGAENGER, BARI | EX ELETTROFONICA, ROMA | GALLERIA COLLICALIGREGGI, CATANIA | GALLERIA FUORICAMPO, SIENA | OPERE SCELTE, TORINO | PLACENTIA ARTE, PIACENZA | SPAZIOA, PISTOIA | FEDERICA SCHIAVO GALLERY, MILANO | LUCA TOMMASI, MILANO | TRAFFIC GALLERY, BERGAMO | VILLA CONTEMPORANEA, MONZA | Z2O SARA ZANIN GALLERY, ROMA
RAW ZONE
ANNARUMMA, NAPOLI | CELLAR CONTEMPORARY, TRENTO | CLIMA GALLERY, MILANO | GALLLERIAPIU’, BOLOGNA | NAM PROJECT, MILANO | PHOINIX, BRATISLAVA | RENATA FABBRI, MILANO | RIZZUTOGALLERY, PALERMO
MAIN SECTION 10 A.M. ART, MILANO | A01 ART GALLERY, NAPOLI | AA29 PROJECT ROOM, CASERTA-MILANO-PRAGA | ADD-ART ADDICTION ART, SPOLETO | ANTIGALLERY, VENEZIA MESTRE | FRANCESCA ANTONINI, ROMA | AREA B & ARCO.IT, MILANO | ARENA STUDIO D’ARTE, VERONA | ARRIVADA, MILANO | ARTEA GALLERY, MILANO | ARTERICAMBI, VERONA | ARTESANTERASMO, MILANO | ARTESILVA, SEREGNO (MI) | GALLERIA ENRICO ASTUNI, BOLOGNA | GALLERIA BIANCONI, MILANO | BIBO’S PLACE, TODI | BOCCANERA, TRENTO | GALLERIA GIOVANNI BONELLI, MILANO-PIETRASANTA | BONIONI ARTE, REGGIO EMILIA | BOXART GALLERIA D’ARTE, VERONA | GALLERIA D’ARTE CINQUANTASEI, BOLOGNA | C+N CANEPANERI, GENOVA-MILANO | CA’ DI FRA’, MILANO | CARDELLI E FONTANA, SARZANA (SP) | GALLERIA ALESSANDRO CASCIARO, BOLZANO | GALLERIA MICHELA CATTAI, MILANO | ANTONELLA CATTANI, BOLZANO | GALLERIA CENTRO STECCATA, PARMA | GALLERIA CLIVIO, PARMA – MILANO | COLOPHONARTE, BELLUNO | COLOSSI ARTE CONTEMPORANEA, BRESCIA | CONCEPTUAL, BERGAMO | LARA & RINO COSTA, VALENZA (AL) | COSTANTINI ART GALLERY, MILANO | CREARTE STUDIO, ODERZO (UD) | DE PRIMI FINE ART, LUGANO | PAOLO MARIA DEANESI GALLERY, TRENTO | DELLUPI ARTE, MILANO | DEP ART, MILANO | E3 ARTE CONTEMPORANEA, BRESCIA | EIDOS IMMAGINI CONTEMPORANEE, ASTI | GALLERIA FERRARI, BERGAMO | FERRARIN ARTE, LEGNAGO (VR) | FL GALLERY, MILANO | GALLERIA FORNI, BOLOGNA | FRITTELLI ARTE CONTEMPORANEA, FIRENZE | GALLERIA DORIS GHETTA, BOLZANO | GINOMONTI ARTE CONTEMPORANEA, ANCONA |GALLERIA GIRALDI, LIVORNO | GUIDI&SCHOEN ARTE CONTEMPORANEA, GENOVA | IL MAPPAMONDO, MILANO | GALLERIA IL PONTE, FIRENZE | ISOLO 17 GALLERY, VERONA | KANALIDARTE, BRESCIA | KM0, INNSBRUCK | LABS GALLERY, BOLOGNA | L’ARIETE, BOLOGNA | LATTUADA STUDIO, MILANO | L’INCONTRO, CHIARI (BS) | MAAB – MICHAEL BIASI, MILANO–PADOVA | MAGMA GALLERY, BOLOGNA | MARCOROSSI ARTECONTEMPORANEA, MILANO-VERONA-PIETRASANTA | MARIGNANA ARTE, VENEZIA | ANNA MARRA, ROMA | GALLERIAMASSIMODELUCA, VENEZIA | GALLERIA MATÈRIA, ROMA | MAZZOLENI, TORINO–LONDRA | MENHIR, MILANO - LA SPEZIA
| METRONOM, MODENA | MLB MARIA LIVIA BRUNELLI GALLERY, FERRARA – PORTO CERVO | MLZ ART DEP, TRIESTE | MONTORO12, ROMA | MOROTTI ARTE, MILANO – DAVERIO (VA) | NCONTEMPORARY, LONDRA-MILANO | OFFICINE DELL’IMMAGINE, MILANO | OFFICINE SAFFI, MILANO | GALLERIA OPEN ART, PRATO | OPERATIVA E DIAGONALE, ROMA | OTTO GALLERY, BOLOGNA | GALLERIA PACK, MILANO | DAVIDEPALUDETTO, TORINO | NICOLA PEDANA, CASERTA | ALBERTO PEOLA, TORINO | GALLERIA POGGIALI, FIRENZE-PIETRASANTA | POLESCHI ARTE, LUCCA–MILANO | GALLERIA POLIART, MILANO, ROVERETO | PROMETEOGALLERY DI IDA PISANI, MILANO | PROGETTOARTE-ELM, MILANO | PROPOSTE D’ARTE, LEGNANO (MI) | PUNTO SULL’ARTE, VARESE | STUDIO D’ARTE RAFFAELLI, TRENTO | RCM GALERIE, PARIGI | GALLERIA MICHELA RIZZO, VENEZIA | GALLERIA ROSSMUT, ROMA | FEDERICO RUI, MILANO | GALLERIA RUSSO, ROMA | STUDIO SALES DI NORBERTO RUGGERI, ROMA | SANTO FICARA, FIRENZE | GALLERIA SPAZIA, BOLOGNA | SPIRALE MILANO, MILANO | GALLERIA TONELLI, MILANO | TRAFFIC GALLERY, BERGAMO | TORNABUONI ARTE,FIRENZE-MILANO- PARIGI-LONDRA | NICOLA TURCO, PARMA | VALMORE STUDIO D’ARTE, VICENZA | VV8 ARTE CONTEMPORANEA, REGGIO EMILIA | XXS APERTO AL CONTEMPORANEO, PALERMO I8 SPAZI INDIPENDENTI ALBUMARTE, ROMA | ANITA, ROMA | CONTEMPORARY LOCUS, BERGAMO | CURRENT, MILANO | DIMORA ARTICA, MILANO | E IL TOPO, MILANO |GELATERIA SOGNI DI GHIACCIO – LOCALEDUE, BOLOGNA | MAGAZZINI FOTOGRAFICI, NAPOLI | MORE MUSEUM | PIERRE DUPONT | POLISONUM, ROMA | RADIOARTE, SIENA | SC17, PRATO | TILE PROJECT SPACE, MILANO
EDITORIE/SERVIZI PER L’ARTE
#AIMAGAZINE – THE ART REVIEW, PARMA ǀ ANGAMC - ASSOCIAZIONE NAZIONALE GALLERIE D'ARTE MODERNA E CONTEMPORANEA, MILANO ǀ ARTE - CAIRO EDITORE, MILANO ǀ ARTEAM – ASSOCIAZIONE NAZIONALE PER LA CULTURA E LE ARTI CONTEMPORANEE, ALBISSOLA MARINA ǀ ARTEECRITICA, ROMA ǀ ARTEIN - INTERNATIONAL ART MAGAZINE, VENEZIA ǀ ARTFORUM INTERNATIONAL, NEW YORK, USA ǀ ARTRIBUNE, ROMA ǀ ARTSLIFE, MILANO ǀ ATPDIARY - CONTEMPORARY ART ONLINE MAGAZINE, MILANO ǀ COLLEZIONE DA TIFFANY, FIRENZE ǀ EMMEBI ARTE E LIBRI, MILANO ǀ ESPOARTE CONTEMPORARY ART MAGAZINE, ALBISSOLA MARINA ǀ EXIBART, ROMA ǀ FLASH ART – GIANCARLO POLITI EDITORE, MILANO ǀ IL GIORNALE DELL'ARTE – EDITRICE UMBERTO ALLEMANDI & C., TORINO ǀ IL GIORNALE DELLE FONDAZIONI, VENEZIA ǀ JULIET ART MAGAZINE, MUGGIA ǀ MANFREDI EDIZIONI, IMOLA ǀ RIVISTA SEGNO, PESCARA
more>>> http://www.artverona.it

2017/10/05

[…] IN RESIDENCE - ZK/U BERLIN OPEN CALL

[…] IN RESIDENCE - ZK/U BERLIN OPEN CALL
 Deadline: November 12th, 2017
In the context of its art and research residency programme, ZK/U offers a ‘living & work’ space for artists, scholars and practitioners that concern themselves with the phenomenon of ‘the city’. The programme is open to a range of contemporary artistic positions that are conceptual, interventionist and contextual. Work at ZK/U is informed by theoretical and practice-based critiques within the fields of urban research, geography, anthropology, urbanism, architecture and the humanities. Residents are encouraged to involve themselves with ZK/U’s programme and to propose their own formats. In the frame of this Open Call, ZK/U is particularly interested in initiatives that create spaces for encounter and exchange between citizens from diverse backgrounds; formats that question and reclaim urban infrastructure and public space for the commons; practices that make global complexities graspable in a local context; and projects that imagine forms of local belonging within post-migration societies.
Conceptual framework of the ZK/U Residency programme:
 The programme is open to a range of contemporary artistic positions that are conceptual, interventionist, contextual and critical within the fields of urban research, geography, anthropology, urbanism, architecture and the humanities. The guidelines can be found on our website or by following this link.  If you need any further information, please do not hesitate to contact us under residency@zku-berlin.org!
Application Process: http://www.zku-berlin.org/apply/

2017/02/04

Sobey Art Award 2017


 Sobey Art Award 2017 | Nomination deadline: March 3, 2017, 12pm 
Nominations for the 2017 Sobey Art Award open on Friday, February 3, 2017. The pre-eminent award for contemporary Canadian art was created in 2002 by the Sobey Art Foundation. It is an annual prize given to a Canadian artist age 40 or under who has exhibited in a public or commercial art gallery within 18 months of being nominated. A 50,000 CAD prize will be awarded to the winner, along with 10,000 CAD prizes for the short listed artists and 500 CAD prize to each of the remaining long listed artists.
The Award’s 2017 long list of nominees will be announced in April and the short list will be released in June. An exhibition of works by the five shortlisted artists will be presented at the Art Museum at the University of Toronto from October 24, 2017 to December 9, 2017. The winner of the 2017 Sobey Art Award will be announced at a gala at the Art Museum at the University Toronto on October 25.
The 2017 curatorial jury panel, chaired by National Gallery of Canada’s Senior Curator of Contemporary Art, Josée Drouin-Brisebois, is composed of a representative from a noted gallery in each of Canada’s five regions: the Atlantic Provinces, Quebec, Ontario, the Prairies and the North, and the West Coast and Yukon, and one international juror.
For more information and nomination guidelines please visit gallery.ca/sobey, or contact:
Sobey Art Award
c/o National Gallery of Canada
380 Sussex Drive
P.O. Box 427, Station A
Ottawa, ON K1N 9N4

About the Sobey Art Award process
The National Gallery of Canada will accept nominations for the 2017 Sobey Art Award from recognized agents and institutions. The curatorial jury panel will oversee the award selection process. From the complete list of nominated artists, the jurors will create a long list of five artists from each region. Their choices will be based on professional knowledge of their regions and of the national and international art scenes. The panel will then choose one representative from each region to be included on the national short list and in the 2017 Sobey Art award exhibition. The panel will also select the final award winner.
About the Sobey Art Foundation
The Sobey Art Foundation was established in 1981 with a mandate to carry on the work of entrepreneur and business leader, the late Frank H. Sobey, to collect and preserve representative examples of 19th- and 20th-centuries Canadian art. In one of the finest private collections of its kind, the Sobey Art Foundation has assembled outstanding examples from Canadian Masters such as Cornelius Krieghoff, Tom Thomson and J.E.H. MacDonald. The collection is on view in the former home of Frank Sobey and his wife Irene in Pictou County, Nova Scotia.
About the National Gallery of Canada
The National Gallery of Canada is home to the most important collections of historical and contemporary Canadian art. The Gallery also maintains Canada's premier collection of European Art from the 14th to the 21st centuries, as well as important works of American, Asian and Indigenous Art and renowned international collections of prints, drawings and photographs. In 2015, the National Gallery of Canada established the Canadian Photography Institute, a global multidisciplinary research center dedicated to the history, evolution and future of photography. For more information, visit gallery.ca and follow us on Twitter @gallerydotca.
For all media enquiries, please contact:
Josée-Britanie Mallet, Senior Media and Public Relations Officer
National Gallery of Canada
T + 1 613 990 6835 / bmallet@gallery.ca
Bernard Doucet
Sobey Art Foundation
T + 1 902 752 8371 ext. 2301
C + 1 902 921 1755
bernard.doucet@sobeys.com

Daniel Morgenthaler: Curating? Corating! | lecture

Curating? Corating!  
the public lecture by Swiss curator and author Daniel Morgenthaler
9th February at 6 pm at Project Room SCCA
Project Room, SCCA-Ljubljana, Metelkova 6, Ljubljana
image: Mediengruppe Bitnik, Delivery for Mr. Assange, Helmhaus Zürich, 2014.
Replica of Julian Assangeʼs office at the Ecuadorian embassy in London. Photo: FBM Studio.
About the lecture
It is a bit like picking up weapons in the digital architecture of an ego shooter game: Ancient Greek and Roman orators memorized their speeches by placing portions of content in different rooms of an imagined or remembered architectural structure. While giving their speeches, they would make their way through this brain architecture, gathering up contents along the way, aiming for the exit – i.e. the finale of their speech. As curators, we are – usually – not working in imagined architectures, if, then maybe in digital ones. But perhaps there are certain parallels between organizing speeches using the “method of loci” and organizing exhibitions in the chain of rooms that constitute an art space. And maybe exhibition making is also a kind of mnemotechnology: placing content in rooms, along the logic or rhetoric of a certain topic.

What can curators learn from orators, ancient or contemporary? Are exhibitions of contemporary art maybe less a tool of memory – that’s more the thing of historical museums – but of mnemory, with an n? Places of thinking art, of rethinking art, of memorizing tendencies? Literary theory is widely – and sometimes too generally – applied to arts. Could the principles of rhetoric be applied to curating, to more effect? These and other questions will be discussed in the context of future and past exhibitions at Helmhaus Zürich.

Daniel Morgenthaler (1978) has studied English, German and Philosophy in Zurich and Sheffield. Since 2011 he works as a curator at Helmhaus Zürich. Exhibitions include Talk to the Hand, 2013, !Mediengruppe Bitnik – Delivery for Mr. Assange/Christian Waldvogel – unknown, 2014, Asia Andrzejka Naveen – Mas cerca/De La Fuente Oscar De Franco – Bluecore, 2015. As a freelance author, he contributes to exhibition catalogues, magazines and newspapers like Kunstbulletin, Züritipp and Apartamento. He regularly teaches at the MAS Curating and the MFA at the Zurich University of the Arts. Together with critic and curator Aoife Rosenmeyer and supported by Pro Helvetia, he established Crritic! a workshop programme concerned with critical writing in Switzerland, in 2014.

ZK/U Open Call for Residence 2017

Center for Art and Urbanistics (ZK/U) Open Call for Residence 2017
Deadline: March 31st, 2017

The programme is open to a range of contemporary artistic positions that are conceptual, interventionist, contextual and critical within the fields of urban research, geography, anthropology, urbanism, architecture and the humanities. The guidelines can be found on our website or by the following link: Application Guidelines
 In the context of its art and research residency programme, ZK/U offers a ‘living & work’ space for artists, scholars and practitioners that concern themselves with the phenomenon of ‘the city’. The programme is open to a range of contemporary artistic positions that are conceptual, interventionist and contextual. Work at ZK/U is informed by theoretical and practice-based critiques within the fields of urban research, geography, anthropology, urbanism, architecture and the humanities. Residents are encouraged to involve themselves with ZK/U’s programme and to propose their own formats. In the frame of this Open Call, ZK/U is particularly interested in initiatives that create spaces for encounter and exchange between citizens from diverse backgrounds; formats that question and reclaim urban infrastructure and public space for the commons; practices that make global complexities graspable in a local context; and projects that imagine forms of local belonging within post-migration societies.
Conceptual framework of the ZK/U Residency programme:
http://www.zku-berlin.org/residency/

http://www.zku-berlin.org/concept/
Application Process: http://www.zku-berlin.org/apply/

2017/01/19

Thomas Huber,Vanessa Billy,Sonia Kacem @ Centre Culturel Suisse| Paris

Thomas Huber, Vanessa Billy and Sonia Kacem with exhibitions @ Centre Culturel Suisse in Paris
Thomas Huber: extase (ecstasy)
January 21–April 2, 2017



 photocredit: Thomas Huber, Fontaines, aquarelle, 53,5 x 72 cm, 2016 / © VG Bild-Kunst, Bonn
Thomas Huber: extase (ecstasy)
Nearly 30 years after his exhibition at the Centre Pompidou, Thomas Huber is literally taking possession of the large room at the Centre Culturel Suisse, where his work is wholly focused on the figure of Eros. This exhibition by the Berlin-based Swiss painter is made up of drawings, watercolours and large-scale wall paintings made on-site. “What I want to do is articulate the genius loci, that is to say, the exhibition space, by painting this Eros that connects us all.”.Protuberant and receding domes, constituted by gigantic vulva–fountains, are painted directly onto the walls. Reflectively imaged in these wall paintings, the exhibition space also houses a set of drawings and watercolours. For the artist, this manipulation by means of images offers magical possibilities: the representation of the space acts on the space itself. Huber thus transcends the image of the sexual organs, which are often considered unaesthetic, or even ugly, by giving them an aesthetic form, by making them “beautiful.”. The exhibition is accompanied by an artist’s book, also titled extase, containing a selection of 80 erotic drawings and watercolours taken from the 66 sketchbooks that the artist has used since 1972, and never previously published.
On January 25 at 7 pm, Huber will give a speech, titled Séance, in relation to the exhibition.
photocredit; Thomas Huber, Séance, 2009 / Collection privée, Genève © VG Bild-Kunst, Bonn

Thomas Huber was born in Zurich in 1955. He lives and works in Berlin. The titles of his exhibitions are always carefully chosen. Of his many shows since 1982, the most recent include A l’horizon at the Kunstmuseum Bonn (2016) and Musée des Beaux-Arts de Rennes (2017); Abyss, a permanent installation for the MONA in Hobart, Tasmania (2017); the major retrospective Vous êtes ici. Thomas Huber est au Mamco, at Mamco, Geneva, in 2012; and La langueur des losanges at Carré d’Art, Nîmes, in 2008. In 1988, the Centre Pompidou hosted his show 7 lieux. Winner of the Meret Oppenheim Prize in 2013, he is represented, among others, by the Skopia gallery in Geneva and Louis Carré & Cie in Paris. His bibliography is currently approaching 50 books.







Vanessa Billy: Dear Life
January 21–February 27, 2017

Vanessa Billy: Dear Life
The works brought together in this exhibition, made mainly using recuperated junk, form an environment that suggests “dirty” liquids of one kind of other: an engine slowly leaking oil, a baby on a “sea” of waste, a net with fluids draining out of it. By getting bodies to interact with this environment, Dear Life evokes human life and its transformations, and questions the notion of life forms in a wider sense. This show by Vanessa Billy revisits what is a regular concern in her work: political ecology, doing so through the circulation and activation/deactivation of energies and resources.
Vanessa Billy (born 1978, lives in Zurich) studied at Cooper Union, New York and the Chelsea College of Arts, London. She has exhibited at the Kunsthalle Saint-Gall; BolteLang, Zurich (2016); c-o-m-p-o-s-i-t-e, Brussels; Limoncello, London (2015); Collective Gallery, Edinburgh (2014); Piano Nobile, Geneva (2013); and Kunsthaus Baselland, Muttenz (2011).
image photocredit;  Vanessa Billy;Dear Life, 2016 / Photo: Gunnar Meier
Sonia Kacem:Carcasse
March 4–April 2, 2017

Sonia Kacem: Carcasse
Structures in wood and metal delimit “a world” (as the term is understand in video games) that visitors are encouraged to explore. Carcasse is composed mainly by lines and empty spaces, humorously twisting the idea that the artist is expected to “fill” the space. Sonia Kacem plays games with our perception, shifting between abstraction and fiction. Her bare sculptures sport ambiguous, flesh-like colours and have human given names, like figures in a strange interior.
Sonia Kacem (born 1985, lives in Amsterdam) studied at HEAD in Geneva and is in residence at the Rijksakademie van Beeldende Kunsten, Amsterdam, in 2016–17. She exhibited at the Centre d’Art Contemporain, Geneva, and at Galerie Gregor Staiger, Zurich, in 2016; at the Kunsthalle Saint-Gall and the T293 gallery, Naples, in 2015; and at Mamco, Geneva, in 2014. In 2016 the AHEAD foundation published a monograph about her work, Sonia Kacem - KIC.

practical information
Centre culturel suisse Paris
32-38, rue des Francs-Bourgeois
F-75003 Paris
+33 (0)1 42 71 44 50
 

Duncan Campbell @ Wiels .Brussels

Duncan Campbell @ Wiels | Brussels
26.01 - 26.03.2017
Curator: Dirk Snauwaert
Opening: 25.01.2017 at 19:30


WIELS presents the first major exhibition in Belgium by Duncan Campbell (b. 1972). Irish-born, Glasgow-based artist Campbell is best known for his documentary films. He was the recipient of the 2014 Turner Prize, to which he contributed with his seminal film It for Others, originally made for the Scottish Pavilion at Venice Biennial (2013), and which is a central work of this exhibition.
Campbell uses archival material as a tool to research subjects, biographies and histories and to reflect upon the “truth” or factual evidence of information. By mixing archival footage and new material, he questions and challenges the documentary form.

short bio 
Duncan Campbell (born 1972) is an Irish video artist, based in Glasgow. He was the winner of the 2014 Turner Prize. Campbell was born in Dublin, and studied at the University of Ulster (BA, 1996) and the Glasgow School of Art (MFA, 1998). In 2008, he was awarded the Bâloise Prize. In 2013, Campbell was one of the three artists chosen to represent Scotland at the Venice Biennale. On 1 December 2014, it was announced that he had won the 2014 Turner Prize. Campbell took the prize for his video work "It for Others" – a work that reflects on African art and includes a dance sequence inspired by Karl Marx.

Image: Duncan Campbell, It for Others, 2013. Courtesy the artist, LUX and Rodeo Gallery, London

2016/12/18

Sven ’t Jolle At WIELS, Brussels


Sven 't Jolle || The Age of Entitlement, or Affordable Tooth Extraction
13.01 - 19.03.2017
Curator: Zoë Gray
12.01.2017, 19:00
Vernissage / Opening & Conversation / Gesprek
Sven ’t Jolle & Zoë Gray, curator (EN)
WIELS presents the largest solo presentation to date of Belgian artist Sven 't Jolle. ‘t Jolle’s work is a humorous and impassioned critique of capitalism. Presenting his sculptures, installations and works on paper, this exhibition at WIELS offers a generous overview of his recent practice. It reveals how he fuses together historical references and citations from everyday life to create new and eloquent constellations of images, forms and ideas. His work explores the values of contemporary society, addressing with understated humour its inequalities.
The title for this exhibition is taken from a 2012 speech by the former Australian treasurer Joe Hockey. Decrying the welfare state as unsustainable, Hockey proclaimed: “The Age of Entitlement is over.” ‘t Jolle approaches the phrase both critically and generously, using it to explore the question of entitlement more broadly. Who is entitled to what? Who decides upon this entitlement? The pun upon the Age of Enlightenment is far from accidental. The Enlightenment was the dominant philosophical movement of the eighteenth century in Europe, founded on ideals of reason, tolerance and liberty. Today, while the same words are often applied to the neo-liberal society in which we live, their meaning – or our understanding of them – has changed dramatically, as ‘t Jolle underscores in his work. By giving the exhibition a second, or alternative title – Affordable Tooth Extraction – ‘t Jolle undercuts any pompousness with an absurd verbal juxtaposition that nevertheless refers to the dismantling of the welfare state and public healthcare.


WIELS, Contemporary Art Centre || Avenue Van Volxemlaan 354 || 1190 Brussels ||T +32 (0)2 340 00 53
http://www.wiels.org


Arteles Creative Residency Finland| Open call

Arteles Creative Residency Program Summer/Fall 2017|  Hämeenkyrö, Finland
Deadline: 12th of January 2017


Read more & apply online: www.arteles.org
Visual Arts | Photography | New Media
Sound Art | Music | Performing Arts
Design | Literature | Research | Philosophy
Freedom for Creativity
Arteles Creative Residency Program allows you the time, space, facilities and - most of all - the freedom and stress-free environment you need in order to develop yourself and your work, in the middle of the extraordinary nature of Hämeenkyrö, Finland. Wide selection of creative equipment & gear available for you to use.
--
Arteles / Arteles Creative Center
www.arteles.org
tel. +358 341 023 787
Hahmajärventie 26
38490 Haukijärvi
Finland

EAST CALLS | CURATORIAL RESIDENCY |SPRING 2017

EAST CALLS | CURATORIAL RESIDENCY |SPRING 2017
Deadline: Jan 12, 2017


Topic: Precarity in Art | Dates: April 1- 30, 2017
Location: Budapest (Hungary) and Zagreb (Croatia)

 
The first East Calls Curatorial Residency is jointly organized by Easttopics (Hungary)
and G-MK (Croatia) in Spring 2017, on the topic of Precarity in Art.
The topic of Precarity in Art mirrors the actual situation in both countries: Hungary has
endured a severe shift in cultural policies since 2011, resulting in the desertification of
the contemporary art scene and generating new artistic reflexes, independent and
alternative ways to operate. Croatia is presently undergoing the same kind of
restructuration, foreshadowing an oppressing cultural political climate and situation for
the years to come and already witnessing the unprecedented solidarity of the art scenes
in a need to act.
The residency lasts one month and is divided in two time blocks,the first one in Budapest
(Hungary) between April 3- 15 and the second one in Zagreb between April 17- 30. The
purpose of this residency program is to engage with the thematic of Precarity in Art by
connecting international curators with those protagonists of the Hungarian and Croatian
cultural scenes who were/are working with minimal financial, spatial or temporal
resources, and to map the answers they give to such situation.
The program in each country is articulated around three main pivots: a general overview
of the contemporary art scenes of both countries, a focus on the institutions,
self- -organized structures and art professionals dealing with or functioning in precarity,
and finally a personally tailored part shaped according to each participant’s points of
interest.
Participation fee: 1.000 EUROS
The fee includes the use of office facilities, entry fees of museums and special events,
public transport in Budapest and Zagreb, inland transport for provincial venues, transport
between Budapest and Zagreb. The fee also covers the production costs or a final
publication realized on the topic of the residency program.
Travel to Budapest for the start of the program and back at the end of the program, as
well as accommodation expenses are NOT included.
Please send a letter of intent and cv
to: easttopics@gmail.com Application deadline: Jan 12, 2017.
Selection process: Jan 19, 2017.
For additional information, please contact us at: easttopics@gmail.com
www.easttopics.com I www.g-mk.hr

Frieze Artist Award 2017 | Open Call


Frieze Artist Award 2017
Deadline:10 February, 2017
The Award is supported by the LUMA Foundation

The Frieze Artist Award is an international, open call for an artist 25–40 years of age to realize a major site-specific work at Frieze London 2017. The chosen proposal will be presented as part of Frieze Projects, the fair’s celebrated non-profit programme established in 2003 and curated by Raphael Gygax. Frieze Projects and the Frieze Artist Award are supported by the LUMA Foundation.
Proposals will be reviewed by a selection panel including Cory Arcangel (artist), Eva Birkenstock (Director, Kunstverein für die Rheinlande and Westfalen, Düsseldorf), Tom Eccles (Executive Director of the Center for Curatorial Studies, Bard College, New York) and Raphael Gygax (Curator, Frieze Projects & Migros Museum für Gegenwartskunst, Zurich), chaired by Jo Stella-Sawicka (Artistic Director, Frieze fairs). The closing date for applications is February 10, 2017 at 5pm GMT; and the winner will be announced in the spring of 2017.
Proposals should be new, site-specific works, which respond to the dynamics of the London fair. Applicants will be judged on the innovative nature of their idea and its potential for realisation. Produced under the guidance of Curator Raphael Gygax and the Frieze Projects team, the Award will include a budget of up to 20,000 GBP for production, research and development, artist fees and travel expenses.
The 2016 Frieze Artist Award was given to Yuri Pattison, who installed a networked artwork throughout Frieze London, exploring "trending" data and systems of interpretation or control. In 2015, New York-based artist Rachel Rose, created a scale-model of the fair structure, in which lighting and sound design simulated the sonic and visual sense frequencies of animals inhabiting The Regent’s Park. In 2014, the inaugural winner of the Frieze Artist Award, Mélanie Matranga’s project explored economic and emotional exchange in a series of online videos and an on-site café-installation at Frieze London.
Now in its fourth year, the Frieze Artist Award sits within a rich history of artist awards presented at Frieze London, including the Emdash Award (2011–13) and the Cartier Award (2006–10), which have made possible ambitious new commissions by artists including Cécile B. Evans (2013), Simon Fujiwara (2010), Jordan Wolfson (2009) and Mario García Torres (2007). Explore previous projects here.
Full details on how to apply for the Frieze Artist Award 2017 are available at: frieze.com.
Taking place October 5–8, 2017, Frieze London is sponsored by Deutsche Bank for the 14th consecutive year.
For further information and how to apply, please visit frieze.com.
sors: e-flux.com

Amsterdam Light Festival | Open Call

Call for concepts 2017–2018

Deadline Round 1 (curatorial selection) :  31January  2017, 11am CET
Amsterdam Light Festival is an annual light art festival in the Netherlands that presents the rapidly developing concept of light art in all its forms. After five successful editions, the festival will return to Amsterdam’s city center for the 2017–18 edition. From artists to designers, engineers to architects, and professionals to students, the festival invites creators from around the world to submit their creative interpretations of the theme EXISTENTIAL. Amsterdam’s world-renowned canals and various waterfronts offer visitors a unique way to experience multidisciplinary light artworks.
Amsterdam Light Festival presents two exhibitions, following two routes in Amsterdam’s city center, each with its own unique interpretation of the festival’s theme.
Water Colors boat route
Amsterdam Light Festival champions artworks that connect the essential elements of light and people’s EXISTENTIAL needs and dreams, making people more aware of their existential being. For the Water Colors boat route, we are looking for monumental proposals on, above or in the water that connect with the city, its inhabitants, and its visitors.
Illuminade walking route
For the Illuminade walking route, we hope to see beautiful interpretations and installations that bring the EXISTENTIAL qualities of light back to the basics and provide a stage for natural miracles and occurrences. We are looking for artworks that you can touch, walk through, connect with and react to.
Deadlines & schedule 2017
Tuesday, January 31 (11am CET)
Deadline submission round 1—curatorial selection. Late entries are not accepted.
Friday, February 17
Notification whether the curatorial team has selected your submission for round 2 and presentation to the jury.
Friday, March 17, 2017 (11am CET)
Deadline submission round 2—jury selection.
Tuesday, April 4
Announcement of approximately 30 artists selected by the international jury members.
Tuesday, April 18–Friday, April 21
The artists who are selected by the jury visit Amsterdam for the kickoff meeting and site visit (2 days). These dates are subject to change.

Application form  on www.amsterdamlightfestival.com/cfc to request the artist briefing. 

More info >> cfc@amsterdamlightfestival.com

contacts:
Amsterdam Light Festival
Rapenburgerstraat 123
1011 VL Amsterdam
The Netherlands