ArtSlant - Recently added http://www.artslant.com/ams/Events/show en-us 40 Maryanne Amacher Archive, Thomas Ankersmit, okkyung lee, Raphael Vanoli, WaSm - Stedelijk Museum - February 26th 7:00 PM - 10:00 PM <p>The opening night of the Sonic Acts Academy will be celebrated at the Stedelijk Museum Amsterdam. Witness energetic acoustic and electronic live music, alternated with freshly restored sounds and images from pioneering artists. Dispersed over various spaces within the Stedelijk, the Maryanne Amacher Archive will be presented in the Netherlands for the first time, and there will be a world premiere of a new work by Thomas Ankersmit based on Dick Raaijmakers&rsquo; art, and performances by Okkyung Lee, WaSm and Raphael Vanoli. The Stedelijk will also present related pieces from its own collection.</p> Fri, 12 Feb 2016 14:21:10 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Mohau Modisakeng, Silvia B. - Galerie Ron Mandos (Amsterdam) - February 27th - April 2nd Tue, 09 Feb 2016 16:18:16 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Calla Henkel & Max Pitegoff, Emily Segal - Witte de With Center for Contemporary Art - February 16th 7:00 PM - 9:00 PM <p class="p1" style="text-align: justify;">New York-based writer and artist Emily Segal&nbsp;reads excerpts from her novel-in-process, which is currently on view in &nbsp;<em>Foreword. &nbsp;</em>She is&nbsp;joined by artists Calla Henkel and Max Pitegoff to discuss both the texts and the exhibition, as well as ideas around&nbsp;&lsquo;shared fictions&rsquo; and creative economies.</p> <p style="text-align: justify;">To book a ticket for this event, please click the button below:</p> <p class="p1" style="text-align: justify;"><a href="https://www.eventbrite.nl/e/tickets-an-evening-with-emily-segal-21428525296" target="_blank"><img class="alignnone" src="https://www.eventbrite.nl/custombutton?eid=20102201225" alt="" width="77" height="32" /></a></p> <p class="p1" style="text-align: justify;">&nbsp;</p> <hr /> <p style="text-align: justify;">De in New York gevestigde schrijver en kunstenaar Emily Segal leest fragmenten voor uit haar roman in wording. Deze fragmenten zijn momenteel te zien in de tentoonstelling <em>Foreword</em>. Ze wordt vergezeld door kunstenaars Calla Henkel en Max Pitegoff om de teksten en de tentoonstelling te bespreken. Ook zullen zij ingaan op hun idee&euml;n over creatieve start-upbedrijven en hun gedeelde opvattingen, taalgebruik en ficties, die centraal staan in de tentoonstelling.</p> <p style="text-align: justify;">Om kaarten te bestellen kunt u op onderstaande knop klikken:</p> <p style="text-align: justify;"><a href="https://www.eventbrite.nl/e/tickets-an-evening-with-emily-segal-21428525296" target="_blank"><img class="alignnone" src="https://www.eventbrite.nl/custombutton?eid=20102201225" alt="" width="77" height="32" /></a></p> Tue, 09 Feb 2016 16:12:45 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Charlemagne Palestine - Witte de With Center for Contemporary Art - January 29th - May 1st <p style="text-align: justify;">Witte de With Center for Contemporary Art is pleased to present <em>GesammttkkunnsttMeshuggahhLaandtttt</em>, a solo exhibition with artist Charlemagne Palestine, who also spent several years living and working in Rotterdam. Presenting a selection &nbsp;of works from the artist&rsquo;s oeuvre, the exhibition includes early video works, sculptures, paintings, installations, and sound scores. Charlemagne Palestine works form a highly personal universe of rituals, intoxication, and shamanism. In the last four decades, the artist has created an extensive body of experimental musical compositions, bodily performances, and, in later years, visual art works that are inhabited by stuffed animals. To Palestine, teddy bears figure as powerful shamanic totems, which he fondly calls Divinities.</p> <p style="text-align: justify;">Born in 1947, Brooklyn, in a Jewish family, Charlemagne Palestine gained recognition in the sixties with his experimental compositions and performances. A flamboyant part of the creative scene of New York, he collaborated with choreographer Simone Forti, artists Tony Conrad and Richard Serra, and performed alongside avant-garde artist La Monte Young and composers Terry Riley, Philip Glass, and Steve Reich. In spite of the art historical consensus about that era and his contemporaries, Palestine has always resisted being labeled a minimalist, opting instead for the term &ldquo;maximalist&rdquo;. In his later years he toured through Europe, settling briefly in the Netherlands, where he lived and worked in Rotterdam.</p> <p style="text-align: justify;">Central to his exhibition are a grand piano, as&nbsp;the sounding heart of the show, and a new large-scale version of the so-called <em>God-Bear Museum Model</em>, a proposal for a new kind of museum where music and performance find a home just as easily as a painting would. Also part of the exhibition are Palestine&rsquo;s extraordinary music or sound annotations, a vast collection of works on paper, which aim to translate sound into image.</p> <p style="text-align: justify;">The exhibition kicks off with a performance by Palestine on the opening night, Thursday 28 January 2016, and will be accompanied by a new catalogue, co-published by Witte de With Publishers and Sternberg Press, on behalf of Kunsthalle Wien.</p> <p style="text-align: justify;">Curator: &nbsp;Luca Lo Pinto (Kunsthalle Wien), together with Samuel Saelemakers</p> <p style="text-align: justify;">The exhibition is co-commissioned by Kunsthalle Wien and Witte de With Center for Contemporary Art. An earlier iteration of the exhibition was on view from 18 September to 8 November 2015 at Kunsthalle Wien.</p> <p style="text-align: justify;">On 2-3 April 2016, Charlemagne Palestine and Simone Forti will present a new version of their performance <em>Illuminations</em> at Vleeshal Markt, organized by Vleeshal, Middelburg.</p> <hr /> <p style="text-align: justify;">Witte de With Center for Contemporary Art presenteert <em>GesammttkkunnsttMeshuggahhLaandtttt</em>, een solotentoonstelling met performer, geluids- en beeldend kunstenaar Charlemagne Palestine, die ook enkele jaren in Rotterdam werkte en woonde. De tentoonstelling presenteert diverse werken uit het oeuvre van de kunstenaar, waaronder vroege videowerken, sculpturen, schilderijen, installaties en geluidsopnames. Charlemagne Palestine werkt vanuit een zeer persoonlijk universum van rituelen, bedwelming en sjamanisme. In de afgelopen vier decennia werkte de kunstenaar met een scala aan media om experimentele muzikale composities, fysieke performances en, in latere jaren, beeldend werk te cre&euml;ren dat gekenmerkt wordt door speelgoedbeesten. Voor Palestine gelden vooral teddyberen als krachtige sjamanistische totems, die hij liefkozend <em>Divinities</em>, oftewel goddelijke wezens, noemt.</p> <p style="text-align: justify;">Charlemagne Palestine werd in 1947 in Brooklyn geboren in een Joodse familie, en verwierf erkenning in de jaren zestig met zijn experimentele composities en performances. Hij werd al snel een flamboyante verschijning in de creatieve kringen van New York en werkte samen met choreograaf Simone Forti, kunstenaars Tony Conrad en Richard Serra, en voerde performances uit met avant-garde kunstenaar La Monte Young en componisten Terry Riley, Philip Glass, en Steve Reich. Ondanks de kunsthistorische consensus over dat tijdperk en zijn tijdgenoten heeft Palestine zich altijd verzet tegen de term minimalisme en omschrijft zichzelf liever als &ldquo;maximalist&rdquo;. In latere jaren toerde de kunstenaar door Europa en vestigde zich kort tijd in Nederland, waar hij woonde en werkte in Rotterdam.</p> <p style="text-align: justify;">De kern van de tentoonstelling bestaat uit een concertvleugel, die beschouwd kan worden als het hoorbare hart van de tentoonstelling, en een nieuwe grootschalige versie van de zogenaamde <em>God-Bear Museum Model</em>, dat dient als een ontwerp voor een nieuw soort museum waar muziek en performance evenzeer welkom zijn als schilderkunst. Ook zijn in de tentoonstelling Palestine&rsquo;s unieke muziek- en geluidsannotaties te zien, een ruime verzameling werk op papier, waarin de kunstenaar geluid naar beeld vertaalt.</p> <p style="text-align: justify;">De tentoonstelling gaat van start met een performance door Palestine tijdens de avond van de opening, donderdag 28 januari 2016. Bij de tentoonstelling verschijnt een nieuwe catalogus, gezamenlijk gepubliceerd door Witte de With Publishers en Sternberg Press namens Kunsthalle Wien.</p> <p style="text-align: justify;">Curator:&nbsp;Luca Lo Pinto, samen&nbsp;met Samuel Saelemakers</p> <p style="text-align: justify;">De tentoonstelling is een gezamenlijke productie van Witte de With en Kunsthalle Wien. Een andere editie van de tentoonstelling was te zien van 18 september tot 8 november 2015 in Kunsthalle Wien.</p> <p style="text-align: justify;">Op 2 en 3 april 2016 voeren Charlemagne Palestine en Simone Forti een nieuwe versie uit van hun performance <em>Illuminations</em> bij de Vleeshal Markt, georganiseerd door de Vleeshal, Middelburg.</p> Tue, 09 Feb 2016 16:07:30 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Calla Henkel & Max Pitegoff - Witte de With Center for Contemporary Art - January 29th - April 10th <p style="text-align: justify;">If both art and literature constitute forms of thought, what is generated or lost in slippages, translations, and activations between the two? Are their dividing lines arbitrary or highly dissoluble? How do both forms enfold and unfold across the exhibition space? What relates making to writing, viewing to reading?</p> <p style="text-align: justify;">Witte de With launches <em>Para | Fictions</em>, a cycle of sustained investigations on its ground-floor, taking as its focus these questions through the practice of six&nbsp;artists; Calla Henkel &amp; Max Pitegoff, Mark Geffriaud, Laure Prouvost, Oscar Santillan, and Lucy Skaer. Each project on display promises to present a different artistic methodology, which constitutes a combination of each artist&rsquo;s visual interests and literary underpinnings, to seek the viability of repositioning &lsquo;reference&rsquo; as &lsquo;form&rsquo;, &lsquo;translation&rsquo; as &lsquo;co-authorship&rsquo;.</p> <p style="text-align: justify;">The <em>Para | Fictions</em> series has been provoked by the particular correspondences of literature and visual arts in contemporary culture; a landscape made up of disparate yet relatable topographies of influence branching into fiction as a research methodology, and theoretical discourse around the fictional nature of the contemporary itself.</p> <p style="text-align: justify;"><strong><em>Foreword</em>: Calla Henkel &amp; Max Pitegoff</strong><br /><strong> 29 January &ndash; 10 April 10 2016</strong></p> <p style="text-align: justify;">In <em>Foreword</em>, Berlin-based duo Calla Henkel and Max Pitegoff focus on shared fictions and the abstraction of community within entrepreneurial startups and models of creative labor. An excerpt from a novel-in-progress by New York-based writer Emily Segal (co-founder of the trend forecasting group and art collective K-HOLE and former creative director at Genius) will be released and installed in three parts over the course of the exhibition, framed by a configuration of colored benches and tables pulled from spaces run by Henkel and Pitegoff over the past five years in Berlin. These tables display Henkel and Pitegoff&rsquo;s short story &ldquo;Photography and Eating,&rdquo; which explores the creative classes&rsquo; relationship to risk, profit, fantasy, and uselessness, drawing from their interviews and visits to startups in Berlin. The brightly coloured installation recalls both the aesthetics of the start-up offices they visited, and those of early 2000&rsquo;s relational art practices, offering a non-work space in the ground floor gallery of Witte de With. Hosting two parallel semi-fictional narratives weaving in and out of truth in a nod to internet-era journalism and digitally circulated texts,<em> Foreword</em> sees Henkel and Pitegoff perversely position text as art object.</p> <p style="text-align: justify;">Curators: Defne Ayas, Natasha Hoare</p> <p style="text-align: justify;"><em><strong>Para | Fictions</strong><br /> Foreword</em> is presented as part of <a href="http://www.wdw.nl/event/para-fictions/" target="_blank">Para | Fictions</a>, &nbsp;a cycle of sustained investigations taking as its focus the relationship between literature and visual art&nbsp;through the practice of six&nbsp;artists; Calla Henkel &amp; Max Pitegoff, Mark Geffriaud, Laure Prouvost, Oscar Santillan, and Lucy Skaer.</p> <p style="text-align: justify;">Each project on display presents a different artistic methodology, constituting a combination of each artist&rsquo;s visual interests and literary underpinnings, to seek the viability of repositioning &lsquo;reference&rsquo; as &lsquo;form&rsquo;, &lsquo;translation&rsquo; as &lsquo;co-authorship&rsquo;.</p> <p style="text-align: justify;"><em>Para | Fictions &nbsp;</em>is supported by AMMODO.</p> <p style="text-align: justify;"><a href="http://www.wdw.nl/wp/wp-content/uploads/2015/06/AMMODO_ZW-011.png"><img class="alignnone wp-image-79241 " src="http://www.wdw.nl/wp/wp-content/uploads/2015/06/AMMODO_ZW-011-143x150.png" alt="AMMODO_ZW-01" width="92" height="97" /></a></p> <hr /> <p style="text-align: justify;">Als zowel kunst als literatuur vormen van denken zijn, wat ontstaat of gaat verloren in kruisbestuivingen, vertalingen en interactie tussen de twee? Zijn hun scheidslijnen willekeurig of eenvoudig te overbruggen? Hoe omhullen en onthullen beide vormen zich binnen de expositieruimte? Hoe verhoudt maken zich tot schrijven, en bekijken zich tot lezen?</p> <p style="text-align: justify;">Witte de With presenteert <em>Para | Fictions</em>, een reeks van voortdurend onderzoek op de begane grond dat deze vragen centraal stelt via de praktijk van zes kunstenaars; Calla Henkel &amp; Max Pitegoff, Mark Geffriaud, Laure Prouvost, Oscar Santillan en Lucy Skaer. Elk project gaat uit van een andere artistieke methodologie, die volgt uit een combinatie van de visuele interesses en literaire achtergrond van elke kunstenaar, om te onderzoeken hoe levensvatbaar het is &lsquo;referentie&rsquo; als &lsquo;vorm&rsquo;, en &lsquo;vertaling&rsquo; als &lsquo;co-auteurschap&rsquo; te zien.</p> <p style="text-align: justify;">De <em>Para | Fictions </em>serie ontsproot uit de bijzondere overeenkomsten van literatuur en beeldende kunst in de hedendaagse cultuur; een landschap bestaande uit ongelijksoortige maar verwante topografie&euml;n van invloed, gebruikmakend van fictie als een onderzoeksmethodologie, met een theoretisch discours rond het fictieve karakter van het hedendaagse zelf.</p> <p style="text-align: justify;">Curatoren: Defne Ayas, Natasha Hoare (concept), Samuel Saelemakers</p> <p style="text-align: justify;"><strong><em>Foreword:</em> Calla Henkel &amp; Max Pitegoff</strong><br /> 29 januari &ndash; 10 april 10 2016</p> <p style="text-align: justify;">In <em>Foreword</em> richt het in Berlijn gevestigde duo Calla Henkel en Max Pitegoff zich op de gedeelde opvattingen,&nbsp;taalgebruik en&nbsp;fictie van&nbsp;creatieve start-upbedrijven. In de loop van de expositie wordt in drie delen een fragment van een roman in wording van Emily Segal (New York, medeoprichter van trendvoorspeller en kunstcollectief K-HOLE en voormalig creatief directeur bij Genius) gepubliceerd en ge&iuml;nstalleerd. Deze fragmenten worden onderdeel van een samenspel van gekleurde banken en tafels uit werkruimtes die Henkel en Pitegoff de afgelopen vijf jaar in Berlijn hebben geleid. Op deze tafels is Henkel en Pitegoffs korte verhaal <em>Photography and Eating</em> te zien, waarin de relatie tussen de creatieve klasse en aspecten als risico&rsquo;s nemen, winst maken, verbeelding en nutteloosheid wordt onderzocht. Daarbij putten Henkel en Pitegoff uit diverse interviews met Berlijnse startende ondernemers. De felgekleurde installatie doet denken aan de esthetiek van de kantoren die zij bezochten en aan <em>relational art</em> uit het begin van deze eeuw.</p> <p style="text-align: justify;">Het resultaat is een niet functionerende werkruimte op de begane grond van Witte de With. Zo verweven Henkel en Pitegoff in <em>Foreword</em> met twee parallelle semi-fictieverhalen, waarheid en verzinsel (met een knipoog naar de digitale journalistiek van het internettijdperk) en stellen op tegendraadse wijze tekst als kunstwerk voor.</p> <p style="text-align: justify;">Curatoren: Defne Ayas, Natasha Hoare</p> <p style="text-align: justify;"><strong><em>Para | Fictions</em><br /> </strong><em>Foreword</em> is onderdeel van <em><a href="http://www.wdw.nl/event/para-fictions/">Para | Fictions</a></em>,&nbsp;een serie die ontsproot uit de bijzondere overeenkomsten tussen&nbsp;literatuur en beeldende kunst in de hedendaagse cultuur. &nbsp;Als zowel kunst als literatuur vormen van denken zijn, wat ontstaat of gaat verloren in kruisbestuivingen, vertalingen en interactie tussen de twee?</p> <p style="text-align: justify;">Dergelijke vragen staan centraal in een reeks van voortdurend onderzoek op de begane grond via het werk van&nbsp;zes kunstenaars; Calla Henkel &amp; Max Pitegoff, Mark Geffriaud, Laure Prouvost, Oscar Santillan en Lucy Skaer. Elk project gaat uit van een andere artistieke methodologie, die volgt uit een combinatie van de visuele interesses en literaire achtergrond van elke kunstenaar, om te onderzoeken hoe levensvatbaar het is &lsquo;referentie&rsquo; als &lsquo;vorm&rsquo;, en &lsquo;vertaling&rsquo; als &lsquo;co-auteurschap&rsquo; te zien.</p> <p style="text-align: justify;"><em>Para | Fictions </em>wordt ondersteund door&nbsp;AMMODO.</p> <p style="text-align: justify;"><a href="http://www.wdw.nl/wp/wp-content/uploads/2015/06/AMMODO_ZW-011.png"><img class="alignnone wp-image-79241 " src="http://www.wdw.nl/wp/wp-content/uploads/2015/06/AMMODO_ZW-011-143x150.png" alt="AMMODO_ZW-01" width="92" height="97" /></a></p> Tue, 09 Feb 2016 16:09:35 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Michael Portnoy - Witte de With Center for Contemporary Art - January 29th - March 6th <p style="text-align: justify;"><strong>Performances</strong>:</p> <p style="text-align: justify;">every Thursday/Saturday/Sunday</p> <p style="text-align: justify;">11 performances running across 2 hours</p> <p style="text-align: justify;">Each cycle starts on the hour at 2pm and 4pm.</p> <p style="text-align: justify;">Week 1: January 30, 31</p> <p style="text-align: justify;">Week 2: February 4, 6, 7</p> <p style="text-align: justify;">Week 3: February 11, 13, 14</p> <p style="text-align: justify;">Week 4: February 18, 20, 21</p> <p style="text-align: justify;">Week 5: February 25, 27, 28</p> <p style="text-align: justify;">Week 6: March 3, 5, 6</p> <p style="text-align: justify;"><strong><em>&ldquo;Relational Stalinism&rdquo;</em></strong></p> <p style="text-align: justify;"><em>In opposition to the strangling of museum spaces worldwide by rampant immaterial kudzu, (i.e. Post-French Post-Conceptual Dance, Dance-We-Can&rsquo;t-Call-Dance, Po-Faced Minimalism, Feel-Good Participatory Glibbery, (a.k.a. Too Many Seagulls), and Performance with no qualities whatsoever aside from its leeching of court-approved historical referents, (a.k.a. Fancy Shoulder Piggybacking)), the breed of Relational Stalinism arose in a Theater Internment Facility in Preoccupied Benelux in the late Twenty-Teens. The primary tenets of Relational Stalinism are: Emboldening Confusion, Logocratic Exuberance, and Antic Behaviorism. Relational Stalinist works use a slippery iron fist to unbutton the viewer&rsquo;s buggy of self and catapult her into a realm of truths only palpable through higher forms of irrationality.</em></p> <p style="text-align: justify;"><em>This advanced breed of world-bending adopts the degree-zero performance palette as a constraint (performers, in a room, that&rsquo;s it), but pushes it out of monochrome and into a pubotany of deviously vibrant offshoots which stretch participants&rsquo; language and behavior in the service of invention.</em></p> <p style="text-align: justify;">&mdash;-</p> <p style="text-align: justify;">Running across six spaces at Witte de With, <em>Relational Stalinism &ndash; The Musical</em> is an ambitious assemblage of new performances created by artist Michael Portnoy, enacted and developed with a diverse troupe of dancers, actors, singers and improvisers. Many different registers of performance will simultaneously cohabit the institution, mixing inscrutable role-play scenarios, experimental sketch comedy, hyperactive spectatorship, melodramatic operatic interlude, prog-rock micro-dance and teary-eyed theoretical soliloquy. Combining futurology with satire, this exhibition transmutes the seeds of prevalent approaches to visual arts performance as a form of generative critique.</p> <p style="text-align: justify;"><em>Relational Stalinism &ndash; The Musical</em> is the latest branch of Portnoy&rsquo;s <em>Improvement League</em>, initiated in the Taipei Biennial 2010, which seeks to &ldquo;improve&rdquo; existing breeds of art-making by pruning, grafting and hybridizing certain lines of thought in a kind of conceptual horticulture.</p> <p style="text-align: justify;"><strong>Public Program:<br /> </strong>The project is accompanied by several events including <em><a href="http://www.wdw.nl/event/performance-taxonomies-symposium/" target="_blank">Performance Taxonomies</a></em>, a symposium on March 3, 2016, featuring a series of present and future taxonomies by key thinkers in the field of performance analysing current typologies from which speculative improvements can be structured; <em><a href="http://www.wdw.nl/event/the-particiturbation-room-at-bar/" target="_blank">The Particiturbation Room</a></em>, a conceptual nightclub at various locations in Rotterdam; and on <a href="http://www.wdw.nl/event/film-night-relational-stalinism/" target="_blank">a night of short films</a> selected by Portnoy himself to draw out the absurdist streak in artist&rsquo;s moving image.</p> <p style="text-align: justify;"><em>Relational Stalinism &ndash; The Musical</em> is curated by Defne Ayas (Director, Witte de With) and Natasha Hoare (Associate Curator, Witte de With) and is a co-production of Witte de With and A.P.E (art projects era), with thanks to production and dramaturgy advisor Maaike Gouwenberg.</p> <p style="text-align: justify;">Made possible with the support of Fonds 21, the city of Rotterdam and the American Embassy.</p> <p style="text-align: justify;"><a href="http://www.wdw.nl/wp/wp-content/uploads/2016/01/logos-fondsen-Portnoy.png"><img class=" wp-image-79489 size-medium alignnone" src="http://www.wdw.nl/wp/wp-content/uploads/2016/01/logos-fondsen-Portnoy-585x109.png" alt="logo's fondsen Portnoy" width="585" height="109" /></a></p> <p class="p1" style="text-align: justify;">Dramaturgy advisor: Maaike Gouwenberg</p> <p class="p1"><a href="http://www.wdw.nl/wp/wp-content/uploads/2015/11/APE1.png"><img class=" size-full wp-image-79949 alignnone" src="http://www.wdw.nl/wp/wp-content/uploads/2015/11/APE1.png" alt="APE" width="100" height="100" /></a></p> <p>&nbsp;</p> <hr /> <p style="text-align: justify;"><strong>Performances</strong></p> <p style="text-align: justify;">Elke donderdag/zaterdag/zondag</p> <p style="text-align: justify;">11 performances die in totaal 2 uur duren</p> <p style="text-align: justify;">De reeks start om 14:00 en 16:00 uur</p> <div> <p style="text-align: justify;">Week 1: &nbsp;30, 31 januari</p> <p style="text-align: justify;">Week 2: 4, 6, 7 februari</p> <p style="text-align: justify;">Week 3: 11, 13, 14 &nbsp;februari</p> <p style="text-align: justify;">Week 4: 18, 20, 21 &nbsp;februari</p> <p style="text-align: justify;">Week 5: 25, 27, 28 &nbsp;februari</p> <p style="text-align: justify;">Week 6: 3, 5, 6 maart</p> <p style="text-align: justify;"><em>Relational Stalinism &ndash; The Musical</em> is een serie van nieuwe performances door kunstenaar Michael Portnoy. &nbsp;De serie is ontwikkeld in samenwerking met dansers, acteurs en zangers en wordt gedurende zes weken uitgevoerd in de zes bovenste zalen van Witte de With Center for Contemporary Art. Met een mix van cryptisch rollenspel, experimentele komische sketches, hyperactieve toeschouwers, melodramatische opera intermezzo&rsquo;s, prog-rock micro-dance en tranentrekkende theoretische monologen neemt Portnoy bezit van het instituut. Door futurologie met satire te combineren, bouwt dit project voort op bestaande toepassingen in de performance kunst en zet aan tot een vorm van evolutionaire performance-kritiek.</p> <p style="text-align: justify;"><strong>Events</strong><br /> Het&nbsp;project omvat ook diverse events, waaronder <em>Performance Taxonomies</em>, een&nbsp;<a href="http://www.wdw.nl/event/performance-taxonomies-symposium/" target="_blank">symposium</a> op 3 maart&nbsp;2016. Dit programma omvat een serie van actuele en toekomstige ontledingen van performance door specialisten uit het veld; zij analyseren samen huidige soorten performance en speculeren over mogelijke verbeteringen voor het &ldquo;gebruikelijke&rdquo; model. Daarnaast vindt&nbsp;<em><a href="http://www.wdw.nl/event/the-particiturbation-room-at-bar/" target="_blank">The Particiturbation Room</a></em>&nbsp;<em>&ndash; </em>een conceptuele nachtclub &ndash; plaats op diverse locaties&nbsp;in Rotterdam, en presenteert Portnoy een <a href="http://www.wdw.nl/nl/event/filmavond-relational-stalinism/" target="_blank">avond met door hem geselecteerde films</a> die het absurdisme in artistieke film- en video naar boven halen.</p> <p style="text-align: justify;"><em>Relational Stalinism &ndash; The Musical</em> is het meest recente deel van Portnoy&rsquo;s <em>Improvement League</em>, een project dat de kunstenaar startte tijdens de Bi&euml;nnale van Taipei in 2010. Het project heeft als doelstelling om bestaande &lsquo;soorten&rsquo; van kunst te &lsquo;verbeteren&rsquo;, vergelijkbaar met plantenteelt waarbij een ras wordt aangepast door te snoeien, te verpotten en te kruisen.</p> <p style="text-align: justify;">&mdash;&ndash;</p> <p style="text-align: justify;"><strong><em>&ldquo;Relationeel Stalinisme&rdquo;</em></strong></p> <p style="text-align: justify;"><em>Het Relationeel&nbsp;Stalinisme kwam op in een theater buiten het theater in de verstrooide Benelux van begin eenentwintigste eeuw. Het was een reactie op de verstikkende immateri&euml;le &lsquo;kudzu&rsquo; die de museumzalen wereldwijd overgroeide (denk aan Post-Franse Post-Conceptuele Dans, Dans-die-we-geen-dans-kunnen-noemen, Humorloos Minimalisme, Feel-Good Participatie Lolbroekerij (m.a.w. te veel zee-egels) en Performance zonder echte kwaliteiten buiten het uitzuigen van door het hof goedgekeurde historische referenties (m.a.w. Referentie Brei)). De belangrijkste dogma&rsquo;s van Relationeel&nbsp;Stalinisme zijn: Aanmoedigen van Verwarring, &lsquo;Logocratische&rsquo; Uitbundigheid en Kluchtig Gedrag. Relationele Stalinistische werken gebruiken een glibberige ijzeren vuist om de toeschouwer van zijn persona te ontkoppelen en hem de ruimte in te lanceren, waar de waarheid alleen tastbaar is via hogere vormen van irrationaliteit.</em></p> <p style="text-align: justify;"><em>Deze uitzonderlijke vorm van carnavaleske wereldvervorming adopteert het ultra minimale (museale) performance palet als een beperking (performers, in een ruimte, dat is het dan) om het uit het monochrome in een &lsquo;schaambotanie&rsquo; van slinkse, levenslustige vertakkingen te duwen die de taal en het gedrag van de performers tot het uiterste oprekken; dat alles ten diensten van de uitvinding.</em></p> <p style="text-align: justify;">(vertaling uit het Engels van&nbsp;<em>Relational Stalinism)</em></p> <p style="text-align: justify;"><em>Relational Stalinism &ndash; The Musical</em>&nbsp;is samengesteld door curatoren Defne Ayas (directeur Witte de With) en Natasha Hoare (Associate Curator Witte de With) en is een is een co-productie van Witte de With en A.P.E (art projects era).</p> <p style="text-align: justify;">Het project is mede mogelijk gemaakt door financi&euml;le steun van Fonds 21, de Gemeente Rotterdam en de Ambassade van de Verenigde Staten van Amerika.</p> <p style="text-align: justify;"><a href="http://www.wdw.nl/wp/wp-content/uploads/2016/01/logos-fondsen-Portnoy.png"><img class=" size-medium wp-image-79490 alignnone" src="http://www.wdw.nl/wp/wp-content/uploads/2016/01/logos-fondsen-Portnoy-585x109.png" alt="logo's fondsen Portnoy" width="585" height="109" /></a></p> <p class="p1" style="text-align: justify;">Dramaturgie adviseur: &nbsp;Maaike Gouwenberg</p> <p class="p1"><a href="http://www.wdw.nl/wp/wp-content/uploads/2015/11/APE1.png"><img class=" size-full wp-image-79950 alignnone" src="http://www.wdw.nl/wp/wp-content/uploads/2015/11/APE1.png" alt="APE" width="100" height="100" /></a></p> </div> Tue, 09 Feb 2016 15:59:59 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Aram Bartholl, Max Dovey, Constant Dullaart, Yu Honglei, Austin Lee, Jan Robert Leegte - Upstream Gallery - January 30th - March 12th <p style="text-align: justify;">Upstream Gallery presents <em>Shifting Optics III</em>, a new edition in a series of signaling group exhibitions where the impact of digital culture on the visual arts is shown. In the first edition (2014), a new generation of artists was introduced. For this generation that grew up with computers, working in a hybrid method between analog and digital comes naturally. In the second edition (2015) recent developments were placed in dialogue with works by pioneers such as Peter Struycken and JODI, who were using computers and the Internet already in their art in the twentieth century. While the interface between art and computers is still relevant today, institutions and a wider audience now also recognize its urgency. With <em>Shifting Optics III</em>, Upstream Gallery continues its research within this rapidly transforming field by bringing together six artists who have embraced a digital working method. From different angles and in a variety of media, they reflect on the impact of computers on our collective consciousness.</p> <p style="text-align: justify;">Aram Bartholl (DE, 1972) researches the relation between the physical and digital world. A well-known example is his work Map, for which he made a large sculpture of Google&rsquo;s location-icon on the exact locations that are indicated by Google Maps as city center. For the series Come get some, Bartholl uses a figurative element from early First Person Shooter computer games, in which the player has a personal point of view with at the bottom of the screen an image of a hand holding a gun. The coarse pixels remind us nostalgically of the visuals from nineties&rsquo; games. By using a manual silkscreen technique, unevenness arises, highlighting the difference between printed colors and the ones that appear on monitors. In the installation <em>Point of View</em>, Bartholl researches the role of the hand held screen as a view on the world. Thanks to developments such as Google Glass, the domination of these screens in our environment will decrease again in no time.</p> <p style="text-align: justify;">Max Dovey (UK, 1987) combines performance art and new media to research the impact of software and data on human beings. The work <a href="http://howtobemoreorless.com/" target="_blank"><em>How To Be More Or Less Human</em></a> is based on image recognition software. This software classifies photos by algorithms. When you enter a selfie via your webcam, the program analyses for example your gender, race and age based on similarities with images from online image databases. In a live performance, Dovey researches how photos of himself can be indexed by software as for example &lsquo;sexy&rsquo;, &lsquo;pragmatic&rsquo; or &lsquo;successful&rsquo;. Clothing and posture play a major role in this. Because the software is based on commercial stock photography, it reacts on clich&eacute;s and visual stereotypes. Dovey raises the issue of this disturbing development in a playful manner.</p> <p style="text-align: justify;">Constant Dullaart (NL, 1979) makes influential work that is deeply connected with the internet. Both online and offline, he reacts critically to the power structures of mega corporations that dramatically influence our worldview through the internet. He examines the boundaries of manipulating Google, Facebook and Instagram and recently started his own tech company <em>Dulltech</em> with Kickstarter. Like a digital archeologist, he also delves into the early days of the internet. The series Jennifer in paradise is based on the photo that was used as demonstration material in the first version of Photoshop. The founder of Photoshop made the picture of his girlfriend on a tropical beach. The intimate image would be adapted and manipulated by thousands of users of the program, before it would disappear in oblivion. Dullaart wants to give this photo, the very first to be manipulated with software that would change visual culture forever, back its iconic status in our collective memory.</p> <p style="text-align: justify;">Yu Honglei (CN, 1984) belongs to a generation of young Chinese artists who effortlessly combine digital and sculptural techniques. In China, his work is now widely picked up by critics and museums. Yu is fascinated by the way in which the daily life of artists is influencing their work. The digital animation video <em>The farm</em> is based on the eponymous painting by Joan Mir&oacute; from 1922, on which his house in the Spanish countryside is depicted. In its digital version, Yu zooms in on various details, and so creates a narrative reconstruction of the daily life of the painter. Narrating is Mir&oacute;'s wife; her story includes anecdotal references to Mir&oacute;'s connection with avant-garde artists such as Man Ray, Max Ernst and Pablo Picasso. The space that Yu creates, asks for reflection on how Western art history is spreading globally through the internet.</p> <p style="text-align: justify;">The working method of Austin Lee (US, 1983) is exemplary for the generation of digital natives to which he belongs. The digital reality is completely natural to him, which is reflected in his use of 3D printing techniques, GIFs and his recently published SPHERES publication that merges print with augmented reality in a spectacular way. In his paintings, Lee ingeniously translates pixels to paint. The works start as a sketch on an iPad. Many artists see especially the limitations of drawing software versus a sketchpad, but Lee embraces the typical aesthetic that arises from it. The translation from the screen to the canvas gives the work a less volatile character, but the use of aerosols and fluorescent paint recalls the digital origin. Lee's distinctive painting style is spontaneous and accurate, with a playful frankness that reminds of the Cobra movement. The boundless energy evokes the best of the New York graffiti culture from the 80s on. But most of all the work is unmistakably contemporary.</p> <p style="text-align: justify;">Jan Robert Leegte (NL, 1973) is among the first Dutch artists who were involved in the 90s NetArt movement. Since 1997 he creates art in the form of websites, which he connects to art historical movements such as minimalism, land art and conceptualism. Leegte also translates the themes of his work to offline media such as print, sculpture and projections. A recurring theme in his work is the sculptural materiality of interfaces of computer programs. Remember the early graphic design of cursors, selection boxes and menu bars that were to give the user the impression of actually physicaly pressing the buttons with graphic shadows. In 2000, Leegte made the website <em><a href="http://www.scrollbarcomposition.com/" target="_blank">Scrollbar composition</a></em>, entirely composed of scroll bars. The appearance of the artwork is dependent on the software that one uses to visit the site. The work <em>In memory of new materials gone</em> originates from this: the scroll bar captured as a physical sculpture that is preserved before software updates definitively put an end to it. With <em>Ornaments</em> Leegte creates a link between computer interfaces and architectural ornament (such as the classical fa&ccedil;ade of Upstream's seventeenth-century canal house) as a largely forgotten frivolity.</p> Tue, 09 Feb 2016 15:56:08 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Robert Cervera, Peggy Franck, Tom Humphreys, Peter Lamb, Simon Mathers, Neil Rumming - Boetzelaer|Nispen - January 30th - March 12th <p style="text-align: justify;">Man is driven by an urge to categorise. It is in our human nature to observe and to classify our surroundings. A system used to understand and interpret the world, a tool to express ourselves. Such systems have created a universal interconnection in which each element continuously informs the other. In such a structured setting, wouldn&rsquo;t it be impossible for a concept such as chance that is indifferent to the relationship between things to exist? Perhaps not when chance is understood as a connected substance, linked to previous actions and decisions yet producing an unpredictable outcome &ndash; an &lsquo;unpredicted rational&rsquo;.</p> <p style="text-align: justify;">Rare collisions of purpose examines this notion, displaying the fine line between the directed and the unexpected through a selection of artists who have been investigating the shifting parameters of painting. Attention is brought to the fusion of materials, with each artist&rsquo;s approach focusing upon a methodical journey punctuated by a series of accidents. Though the amalgamation of ingredients is initially directed, the journey becomes somewhat deliberately fraught and unpredictable, casting the intention away from the priority of a final pictorial image. It is in this process that the developments of these works communicate meaning &ndash; a process that relies upon slight recognition and decision making; a directed form of chance.</p> Tue, 09 Feb 2016 15:51:30 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Lucas Lenglet - Stigter van Doesburg - February 6th - March 12th Tue, 09 Feb 2016 15:49:16 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list Nik Christensen - Galerie Gabriel Rolt - January 30th - March 5th <p style="text-align: justify;"><strong>Galerie Gabriel Rolt is proud to present <em>Part Here Part Barely There</em>, Nik Christensen&rsquo;s most recent body of work.</strong></p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;">For his fifth solo show at the gallery, Christensen takes us further in his journey made of Japanese ink and monochrome forms. </p> <p style="text-align: justify;">Before &nbsp;the recognition of a represented landscape or figure, it&rsquo;s the depth of colors that catches the viewer&rsquo;s eye. The variation of tones drags the spectator into the intriguing shadows of the paintings: from the delicate lightness of the grey to the darkness of the pure black, the gaze wanders on the paper and gets entirely lost in the changeable nuances of light. The different subjects appear so as the result of a sudden materialization: they just take form in front of us, they happen, as phenomenological factors of the material world. Phenomenology, Edmund Husserl&rsquo;s conception about worldly things as &lsquo;phenomena which occur&rsquo;, is surely used as a source of inspiration. The Husserlian philosophy resonates in Christensen&rsquo;s lines, it becomes a concretization of thoughts and feelings, accompanied by fragments of other, semi - recognizable, references.</p> <p style="text-align: justify;">The dichotomy of geometric shapes and vague, undefined spots creates the perception of a parallel, other dimension: the morbid figurativity of things meets the hardness of a digital, quasi-futuristic geometry, which reminds, among others, of German expressionistic art and cinema. The fogginess of colors and the almost scientific cut of the paintings refer, for instance, to <em>The cabinet of dr. Caligari</em>, the film where the quintessential elements of German expressionism come together. The almost idyllic nature represented in&nbsp;<em>My Tears Blend To Where the Rain Went</em>&nbsp;is made of&nbsp;squares and rectangles, referring more to a future digital landscape than to a traditional, peaceful habitat. The same alienation is glorified in <em>Modern triumph</em>; the title itself explicates the present and future victory of technological progress.</p> <p style="text-align: justify;">Each pixel, or hard-lined fragment, by which the whole of the image is composed, gain a different meaning if reconstructed by the viewer&rsquo;s gaze. It&rsquo;s exactly the versatility of this reconstruction that allows the existence of endless possibilities and realities, giving a semiotical value to the works.&nbsp;</p> <p style="text-align: justify;">The infinite ways and means of perception are what lie behind the title of the show: the impressions of the here are fragile in their instantaneity, they are poised between present and future, and end being incomplete: part here, part barely there. &nbsp;</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><em>Nik Christensen (1973, Bromley, Kent, UK) graduated from the Rietveld Academie in 2000 and lives and works in Amsterdam. He has had exhibitions at major Dutch museums such as the Teylers museum in Haarlem and the Stedelijk Museum in Schiedam, as well as myriad international galleries. His work is part of important private and corporate collections, including those of the Gemeentemuseum in The Hague, the Dutch central bank DNB, Gilissen Bankers and many international private collections. Major publications include the Vitamin D2 International Drawing Anthology at Phaidon Books </em>and more recently Thames and Hudson &lsquo;Picturing People&rsquo;.</p> Tue, 09 Feb 2016 15:48:03 +0000 http://www.artslant.com/ams/Events/list http://www.artslant.com/ams/Events/list