CHIHARU SHIOTA @GALERIE DANIEL TEMPLON | BRUSSLES

Chiharu Shiota|Sleeping is like death 
Galerie Daniel Templon |Brussels 
January 14 - February 20, 2016

 

 Chiharu Shiota >> Sleeping is like death at Galerie Daniel Templon; photocredit ArtNewsBulletin

Two years after inaugurating Galerie Templon’s Brussels space, and in the wake of her universally acclaimed participation in the 56th Venice Bienniale, Japanese artist Chiharu Shiota is returning to Belgium with a brand new performance and installation.

 

 

  Chiharu Shiota >> Sleeping is like death at Galerie Daniel Templon; photocredit ArtNewsBulletin

Hospital-style beds are imprisoned in what looks like a vast spider’s web. They will be occupied by three sleepers during the exhibition’s private view. The performance Sleeping is like death is the latest expression of Chiharu Shiota’s obsession with the slumbering state: abandonment of the body, estrangement between beings, the presence of a body whose spirit is wandering elsewhere, dreams and reminiscences. The artist is demanding a dual engagement from the viewer, both physical and emotional.

The monumental site-specific installation envelops the space in the graphic interplay of its woven surfaces. Their angular and circular intersections seem to be drawing in the air. The artist, celebrated for her labyrinthine networks made up of clouds of threads, is here exploring geometric experiments and deconstruction. Shiota is exhibiting a series of deconstructed and abstract sculptures for the first time behind the glass front of the Rue Veydt gallery. The exhibition concludes with the artist’s drawings, subtly portraying her mental projections.

Chiharu Shiota combines performance, body art and installations in a process that places the body at the centre of her sculptural work. Born in Osaka, Japan, in 1972, Chiharu Shiota has been living and working in Berlin since 1997. Her artistic language has been influenced by pioneering artists Louise Bourgeois, Eva Hesse and Ana Mendieta.Over recent years, Chiharu Shiota has performed and exhibited her work throughout the world, including at the Smithsonian (Arthur M. Sackler Gallery, Washington DC, 2014), Rochester Art Center, (Minnesota, 2014), la Vieille Charité (Marseilles, 2014), Mattress Factory Pittsburg (2013), Manège (Moscow, 2013), Museum of Art, Kochi (Japan, 2013) and La Maison Rouge (Paris, 2012). She designed the set for Matsukaze, one of the highly regarded Japanese Nô dramas directed by German choreographer, opera director and dancer Sasha Waltz and performed in Brussels at the Théâtre royal de la Monnaie and the Staatsoper in Berlin in 2011. In 2014, she also designed the stage settings for Tristan und Isolde at the Kiel opera in Germany. In 2015, she created an installation for the Japanese Pavilion at the Venice Bienniale, The Key in the Hand, made up of over 180,000 keys and exploring the notion of memory. Chiharu Shiota will be taking part in the 2016 Biennale of Sydney.

Address: Galerie Daniel Templon, 13 A rue Veydt,1060 Bruxelles.
Hours:Tuesday –Saturday from 11 am to 6 pm

* All images as from the opening of the exhibition of Chiharu Shiota >> Sleeping is like death at Galerie Daniel Templon , Brussels| photocredit : Art News Bulletin

# 5contempoLAB | SUPER[M]ART[KET] | Art Management Round Table

# 5contempoLAB | SUPER[M]ART[KET] 

Art Management Round Table

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19 October 2015 | 18:00 to 20:00 pm

Bulgaria, Varna 

location: Graffit Gallery | 65 Bul. Knyaz Boris I 

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The fifth art management laboratory  - contempoLAB in 2015 will be held as a round table on the problems and trends of good presentation of the artist and it is dedicated to the tools to build a successful career in local and international markets.

#5contempoLAB | SUPER[M]ART[KET] is a product of collaboration between the Raya Georgieva Foundation, The Association of Varna Artists, Graffit Gallery, Bulart  Gallery and Stefan Stoyanov Gallery (Bulgaria – USA). The speakers are leading international experts, gallerists, curators, art dealers and museum professionals from Bulgaria, Austria, Turkey and Croatia, members of the international jury for the project of the Association of Varna artists - SUPER[M]ART[KET] , which will be presented to the audience in Varna , November 2015 and in Sofia, 2016. In the basis of the SUPER[M]ART[KET] project is inserted the  idea of creating a kind of simulacrum of the global art market where active participants are included unprejudiced. The simulacrum is formed by the selection of works from those artists who have accepted the invitation, which was through an open call. The exhibition of selected works will create mini-art market model according to the criteria of the expert jury. The 2015 edition of contempoLAB  /the educational platform created under the frame of the CONTEMPO festival since 2010/ is in the context of this research and it was programmed as a result of the study of the attitudes of local artistic communities and the critical need for knowledge about successful presentationat the global art stages.

#5contempoLAB|SUPER[M]ART[KET] is designed both for artists early in their career and for established ones who want to develop their presentation skills, for gallerists, curators, art dealers, cultural operators and art students. During discussions best practices will be examined in the relationship artist - curator / gallerist / dealer – collector: the possibilities  and the tools for emerging artists to participate in global art  forums , the survival strategies in the gallery practices, the museum as a brand and others.

 SPEAKERS AND SUBJECTS

 §  How to position an emerging artist on the world art forums?

BASAK SENOVA (TURKEY) – curator. Editorial correspondent for ibraaz.org; co-founding member of NOMAD, as well as the organizer of "ctrl_alt_del" and "Upgrade!Istanbul". Senova was the curator of the Pavilion of Turkey at the 53rd Venice Biennale. She curated Zorlu Center Collection (2011-2012). She co-curated the UNCOVERED project (Cyprus) and the 2nd Biennial of Contemporary Art, D-0 ARK Underground (Bosnia and Herzegovina). In 2014, she acted as the Art Gallery Chair of (ACM) SIGGRAPH 2014 (Vancouver); the curator of the Helsinki Photography Biennial 2014 and the Jerusalem Show. In 2015, she curated the Pavilion of Republic of Macedonia at the 56th Venice Biennale and recently appointed as the curator of 4th Biennial Land Art Mongolia 360°.

§  What is the curator’s role in the successful carrier of the artist

BRANKO FRANCESCHI (CROATIA)  - curator. The director of the Museum of Fine Arts in Split, Croatia; the director of the Virtual Museum of Avant-garde Art and president of the Institute for the Research of Avant-garde (2010 – 2014); the executive director of the Museum of Modern and Contemporary Art in Rijeka, Croatia (2004 -2008); the program director at the Miroslav Kraljevic Gallery, Zagreb (1987 -2004). He was the curator of the Pavilion of the Republic of Croatia at the 55th International Art Exhibition – La Biennale di Venezia (2013); co-curator  the ARK D-0 Biennial in Konjic, Bosnia and Herzegovina; curator for the Croatian pavilion at 26th Sao Paulo Biennial (2004), 2nd International Biennial in Prague (2005), 52th International Art Exhibition – La Biennale di Venezia (2007), 11th International Architecture Exhibition , Venice  (2008); the member of the curatorial team of the International Biennial of Young Artists, Bucharest (2006, 2012).

 §  The museum as a brand

NADEZHDA DZHAKOVA (BULGARIA) Art historian, curator. Since 2012 she is the Chief curator of the Sofia Arsenal – Museum of Contemporary Art (SAMCA) in Bulgaria.

 §What is the role of the art dealer/gallerist in the successful carrier of the artist  

     STEFAN STOYANOV (BULGARIA- USA) – art dealer, gallery owner. He runs  Stefan Stoyanov gallery at New York ( successor of Lux gallery in Manhattan , 2002). During 55 Biennial in Venice (2013) at the Cuba`s Pavilion he has presented the Cuban dissident artist Maria-Magdalena Campos Pons. The Stoyanov gallery is focused under art created by women and under research of ethical problems into the present society. He has several awards in New York and many exhibitions, curated by him has been listed by Whitney Museum of American Art and MOMA

§  What is the working model in the relationship between artist- private gallery – collectors

HANS KNOLL (AUSTRIA) - gallery owner, curator, . He runs Knoll gallery  in Vienna since 1985 and Knoll gallery in Budapest since 1989. He is a member of the Association of Austrian Galleries. He is professor for cultural management of the Cultural Studies Institute, Vienna, at the Vienna Music University, the Institute for Cultural Management and the Webster University in Viennaq focused under gallery work. Member of Art Moscow – international art fair since its establishment in 1996. He leads the project Eastern European Collectors - a research about collecting in former communist counties. He was awarded with Golden Decoration of Honour of the Republic of Austria as a pioneer of cultural exchange after 1989.

 §  Methods and techniques to attract the attention of curators and gallerists

DORA DONCHEVA - gallerist owner and curator based between Varna and Brussels. Communications Director at the International Festival of Contemporary Art- Product, Varna ( 2006 - 2008 ), co-curator the International Biennial of Visual Arts August in Art (2000 – 2003), Curator at CONTEMPO - the International Festival of Contemporary Art since 2009; owner of Bulart gallery  since 1996; Editor of Art News Bulletin –  e- magazine for international art news, since 2002. 

§Good practices in public funding of projects in the field of culture

DESISLAVA GEORGIEVA – expert in public administration, presently work as a head of "Festivals and projects" in Culture department, Municipality of Varna.

§ Characteristics of the Bulgarian art market

 PETRA DIMITROVA – manager of Graffit gallery since 2011; director of Vertigo – international contemporary dance and alternative performance arts festival.

 CONTEMPOLAB is an educational art management platform for young professionals, artists, gallerists, curators and cultural operators. The platform was created as part of the structure of the festival CONTEMPO, organized by the Raya Georgieva Foundation.

#5contempoLAB|SUPER[M]ART[KET] is a fifth edition of contempoLAB, organized by collaboration between Raya Georgieba Foundation , The  Association of Varna Artists, Graffit Gallery, Bulart Gallery and Stefan Stoyanov Gallery ( BG/USA) . The event is funded by the Fund Kultura of the Municipality of Varna, M TEL, construction company Comfort and private sponsors.

RAYA GEORGIEVA FOUNDATION (RGF) was created in  Varna, Bulgaria in 2009 in a honor of the artist Raya Georgieva (1978-2009) with a main goals to keep the memory of the talent and creativity of its patron; to support young artists, to create a stages for dialogue and creative experimentations by festivals, events, free platforms and educational streams. www.contempovarna.org

contacs:

Raya Georgieva Foundation | +359 887 244 882| www.contempovarna.org 

The Association of Varna Artists | + 359 988 366 992 | www.sbh-varna.com

Graffit Gallery | +359 888 556 393 | www.graffitgallery.com

Melanie Bonajo with "Night Soil / Economy of Love" @AKINCI gallery |Amsterdam

  Melanie Bonajo Night Soil / Economy of Love, 

2015, still, HD video, 36 min

photo credit : AKINCi gallery and the artists

AKINCI is proud to announce Melanie Bonajo's first solo show, Night Soil / Economy of Love, with a lush and sensuous opening on Saturday 12th of September 5 - 7 pm, followed by a psychedelic concert by Bonajo's music duo Z▲Z▲Z◎Z◎ in OT301 8 pm.

This festive opening will be accompanied by the presentation of Melanie Bonajo's newest book, 'Matrix Botanica, numero 1 - Non-Human Persons,' designed by Experimental Jetset and published by Capricious Publishing, New York.

 

The enticing title Night Soil / Economy of Love refers to Bonajo's (1978, NL) newest film in her trilogy Night Soil. Whereas the first part of the trilogy, Night Soil / Fake Paradise (2014), explores the cultural affect of hallucinogens and human connection to nature, Night Soil / Economy of Love (2015) portrays a Brooklyn-based movement of female sex workers, regarding their work as a way for women to reclaim power in a male-dominated pleasure zone; their mission being to rearrange sexual conventions and ideas about intimacy itself. Vivid imagery is accompanied by a spoken score, revealing Bonajo's vision on contemporary spirituality and expectations surrounding gender roles by playful, sensual, and feminist-driven means. In a world where a swipe to the right on a smartphone can grant access to supermarket sex, where social media tend to create an alternate form of loneliness, and where we are increasingly disconnected from the physical world, Bonajo questions the complex relationships that exist within and without the natural world, challenging the traditional notions that divide nature, people, and technology. She looks to environmental activism and, in particular, how that activism is leveraged illegally against global capitalism.

 

Besides the world premiere of Night Soil / Economy of Love, Bonajo shows an overview of her ever-growing series of photographs based on actions and performance. Some mysteriously endearing, some refreshingly provocative, these photographs depict human's attitude to nature, environmental conditions and transformative power structures. In her work, Bonajo examines the paradoxes inherent to ideas of comfort with a strong sense for community, equality, and body-politics. Through her videos, performances, photographs and installations, she studies subjects related to how technological advances and commodity-based pleasures increase feelings of alienation, removing a sense of belonging in an individual. Captivated by concepts of the divine, Bonajo explores the spiritual emptiness of her generation, examines peoples’ shifting relationship with nature and tries to understand existential questions by reflecting on our domestic situation, ideas around classification, concepts of home, gender and attitudes towards value.

  Melanie Bonajo  Dream Station Space, 2013, installtion and performance

 photo credit : AKINCi gallery and the artists

 

Bonajo's work has been exhibited and performed in international art institutions, such as De Appel Arts Centre, Amsterdam; Centre for Contemporary Art, Warsaw; the Stedelijk Museum, Amsterdam; The Moscow Biennale; National Museum of Modern and Contemporary Art, Seoul, and PPOW Gallery, New York. Her films have been screened at festivals such as the International Documentary Film Festival Amsterdam (IDFA) and the Berlinale. In 2012 she initiated the collective Genital International, which tackles subjects around feminism, participation, equality, our Earth, ‘Politics beyond Polarity’ and ‘Revolution through Relaxation.' Bonajo has contributed to several art magazines, was creative editor of Capricious Magazine, and curated various shows, such as the QQC Performance Festival about pop music in visual arts at the Paradiso, Amsterdam. She published several books, including: Modern Life of the Soul, I Have a Room with Everything, Spheres and Furniture Bondage. In 2013 she released an album with her band Z▲Z▲Z◎Z◎ called Inua. Bonajo studied at the Gerrit Rietveld Academy and completed residencies at a.o. ISCP in New York (2014) and the  Rijksakademie voor Beeldende Kunst in Amsterdam (2009-10). She lives and works in Amsterdam and New York.
 

LIJNBAANSGRACHT 317 • NL–1017 WZ AMSTERDAM • T +31(0)20 6380480 • INFO@AKINCI.NL • WWW.AKINCI.NL

Erik Frydenborg at Baronian gallery, Brussels

Erik Frydenborg | Full Color Bachelor | Baronian Gallery 
17.01.2014 - 22.02. 2014 | Brussels 

exhibition view, 

opening Erik Frydenborg at Baronian gallery, Brussels ; 

photocredit Art News Bulletin

Albert Baronian  presented the first solo exhibition in Europe of Los Angeles based artist Erik Frydenborg. In the Baronian Gallery Room, Erik Frydenborg presents Full Color Bachelor, a recursive revival of three high modern motifs: the bachelor machine, the body print, and the process cast. In each case, Frydenborg applies exaggerated notions of artificiality and automation to these resurrected subjects, with new works that examine auxiliary connections between the printed page and the human operator.

Michel Carrouges defined the bachelor machine as “an impossible, useless, incomprehensible, delirious machine... unfinished, unfinishable, and incapable of operating in reality.” Frydenborg’s Full Color Bachelors are a discarded library’s worth of these imaginary devices-- a narcotically uniform menu of variable specimens, analogous to an app store interface, a butterfly collection, a patent catalog, or a tattoo parlor’s flash wall. These aggregated collages—composed from thousands of dismembered encyclopedia illustrations, reassigned from explanation and affixed to the endpapers from their sources—comprise a sort of bachelor database. Their multitude suggests a production schema as mechanized as their subject, assimilating each discreetly specific machine into a rhythmic, repetitive operating system.

With Traceman (AUT03), Frydenborg revisits the body print or anthropometry (as named by Yves Klein) Body printing, first seen in 40,000 year old hand stencils on the walls of Spanish caves, is more associated through its modern use with theatrical carnality and expressive abandon. In contrast to this immediacy of touch, Frydenborg pursues the effects of delay, using a synthetic interlocutor to make contact with the page. Produced via prosthetic casts of his own extremities, Frydenborg’s print ‘assumes the position’, in a careful mimicry of marking with the primal body. Several times removed from its libidinal origins, this mediated self-impression--registered in corresponding layers of CMYK process inks— communicates with the halting, affectless cadence of a speech synthesizer.

The printing device itself is manifest as Processor, an index of lifecast silicone extremities that have been converted into functional rubber stamps. Collated in a basic wooden rack, these prosthetics are displayed with hyperbolic rationality, like a museum’s speculative reconstruction of an antique apparatus. Recalling the closed-circuit literality of cast body works like Bruce Nauman’s Hand to Mouth, Frydenborg’s process piece curiously reads less as a primary object and more as an historical recreation, even as its components display obvious evidence of use.

With Full Color Bachelor, Frydenborg channels fantasies and anxieties of post-human replication using outmoded, Industrial era technologies—elegiac remnants of future shock, intimating the long arc of
conjecture. Like a story of abraded fingerprints on a fossilized hand, they imagine archival documents that elude authentication, while indisputably arriving from another time and place.

about the gallery:
Albert Baronian is one of the leading contemporary art galleries in Belgium. It was opened in 1973 and enjoyed international success thanks to the presentation of Arte Povera artists Alighiero e Boetti, Mario Merz, Giulio Paolini, Gilberto Zorio. The galleriy goals in three points : to work for the long term development of each artists career, acting as a liaison to international galleries and museums as well as placing works in collections; to create an historical archive for each artist; and to act as an accessible public space in which the exhibitions become an exemplary gesture of the power of subjectivity to the audience at large. The program of the gallery is dedicated to contemporary art as well as important artistic movements and artists that have defined the last fourty years.

practical info:
Albert Baronian Galerie
2 rue Isidore Verheyden
Ixelles
1050 Brussels | Belgium
www.albertbaronian.com