ArtSlant - Recently added en-us 40 Sam Durant - Blum & Poe Tokyo - November 28th - January 16th, 2016 <p style="text-align: justify;">Blum &amp; Poe is pleased to announce<em>&nbsp;Borrowed Scenery,&nbsp;</em>an exhibition of new work by Los Angeles-based artist Sam Durant. This is his tenth solo exhibition with the gallery.</p> <p style="text-align: justify;">Durant examines social, historical, and political issues through sculpture, installation, photography, and drawing. The works in this exhibition derive from two transformative moments in modern Japanese history &mdash; the arrival of Commodore Matthew C. Perry&rsquo;s naval fleet in Edo (Tokyo) Bay in 1853 and Japan&rsquo;s victory in the war with Imperial Russia in 1905.</p> <p style="text-align: justify;">A suite of drawings and prints<em>&nbsp;</em>refers to<em>&nbsp;</em>the infamous encounter in which Commodore Perry forced Japan into negotiating a trade agreement with the United States by threatening a military attack. Perry was accompanied by William Heine, an artist who documented the encounter. Durant uses Heine&rsquo;s work to symbolize the role of the artist in the political realm, the role of culture and identity in forming meaning, and his own position as an American artist making work for a Japanese audience. In three scroll prints, Durant pairs the images that Heine produced with Japanese depictions of the same scenes, offering a comparison between Japanese and American perceptions of the fateful encounter that changed both countries dramatically. Two sets of drawings,&nbsp;<em>Americans&nbsp;</em>and&nbsp;<em>Borrowed Scenery</em>, also mimic the scroll format but are less narrative.<em>Americans</em>&nbsp;proposes a typology of the new foreign visitors; there is both humor and foreboding present in the depictions.&nbsp;</p> <p style="text-align: justify;">Three smaller drawings of historical ukiyo-e prints depict aspects of the American arrival in 1853 and the Russo-Japanese War of 1904&ndash;5. These pieces also show different mapping styles, both Japanese and European.&nbsp;<em>1850&ndash;1900, Map of the World, America and Russia</em>&nbsp;portrays both American and Russian soldiers along with a map of Japan surrounded by foreign ships. It depicts a Japanese awareness of being an island nation at the crossroads of history and modernity. The diptych,&nbsp;<em>1853&ndash;1900, Map of the World, Japan Centered,</em>&nbsp;pairs a Japan-centered world map with a metaphorical image of an enormous hand reaching into Japanese life and people&rsquo;s reactions to this intervention, ranging from jubilance to repulsion and indifference.&nbsp;</p> <p style="text-align: justify;">Another diptych,&nbsp;<em>1905, Japan Defeats Russia, Empire,</em>&nbsp;refers to the first defeat of an imperial power by an Asian country since the beginning of European colonial domination. The event can be linked to the independence struggles that have been fought around the globe during the 20th century and continue into the present. This drawing pairs a<em>shunga</em>&nbsp;image of a Japanese soldier raping a Russian soldier with an English atlas map depicting the effects of the victory in the region. This example of&nbsp;<em>shunga</em>&nbsp;(a genre of erotic woodblock prints dating back to the 9th Century) is significant not only for its shocking metaphor of victory in war &shy;&shy;&mdash; it makes plain the sexual dimension of conquest &shy;&mdash; but also that it signaled Japan&rsquo;s own imperial desires.</p> <p style="text-align: justify;">Sam Durant was born in Seattle in 1961, and lives and works in Los Angeles. He has had solo exhibitions at the Kemper Art Museum, St. Louis, MO (2015); Los Angeles County Museum of Art, CA (2014); Museo d&rsquo;Arte Contemporanea Roma, Italy (2013); Massachusetts College of Art, Boston, MA (2006); Walker Art Center, Minneapolis, MN (2003); and the Museum of Contemporary Art, Los Angeles, CA (2002). His work has been included in group exhibitions such as&nbsp;<em>Damage Control: Art and Destruction Since 1950</em>, Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2013);&nbsp;<em>The Living Years: Art after 1989</em>, Walker Art Center, Minneapolis, MN (2012);&nbsp;<em>2008 California Biennial,</em>&nbsp;Orange County Museum of Art, CA (2008)<em>; 16th Biennale of Sydney: Forms that Turn</em>, Sydney, Australia (2008);&nbsp;<em>8 Bienal de Arte de Panam&aacute;</em>, Panama (2008);<em>Freedom,&nbsp;</em>Hague Sculpture Center, the Netherlands (2008);<em>&nbsp;Unmonumental: The Object in the 21st Century</em>, New Museum of Contemporary Art, New York, NY (2007);&nbsp;<em>2004 Whitney Biennial</em>, Whitney Museum of American Art, New York, NY (2004); and the&nbsp;<em>Dreams and Conflicts: The Dictatorship of the Viewer</em>, 50th International Exhibition of Visual Arts of the Biennale di Venezia, Italy (2003).</p> Wed, 25 Nov 2015 17:27:21 +0000 - Hauser & Wirth Zürich - November 20th - February 26th, 2016 <p style="text-align: justify;">For its winter exhibition, Hauser &amp; Wirth Zürich has transformed its second floor gallery into an immersive domestic environment, with unique artworks, editions, music and books by Hauser &amp; Wirth artists displayed amongst the furniture, fabrics and tchotchkes that make up a personal habitat. Emphasising the quotidian, &lsquo;Salon d&rsquo;Hiver&rsquo; suggests how these art objects and books might reside as part of a private collection. Visiting the exhibition feels like entering a person&rsquo;s home, and visitors are encouraged to interact with the installation as such; as a space in which to meet, read, listen to music and spend time throughout the exhibition&rsquo;s duration.</p> <p style="text-align: justify;">Inspired by the activity of&nbsp;<a href="" target="_blank">Hauser &amp; Wirth Editions</a>&nbsp;and&nbsp;<a href="" target="_blank">Hauser &amp; Wirth Publications</a>, this exhibition grew from a desire to showcase the varied activity of the gallery&rsquo;s two key initiatives. With over 100 titles created since its founding in 1992, Hauser &amp; Wirth Publications provides its artists with the opportunity to create distinctive, extensive and high-quality presentations in print, in order to promote discussion and appreciation by bringing new, sometimes overlooked, aspects of an artist&rsquo;s creativity into focus. In 2013, the gallery launched Hauser &amp; Wirth Editions, an initiative focused exclusively on prints, editions and multiples. The aim is to highlight the critical significance of this rich area of artistic endeavour and foster greater awareness and appreciation for it.</p> <p style="text-align: justify;">Editions and publications are important pursuits for many of Hauser &amp; Wirth&rsquo;s artists working across different media. Along with traditional printmaking, editioned works range in diverse media from photography to sculpture, and music to video. Louise Bourgeois, for example, considered printmaking central to her practice, working on her own small press at home, creating plates and enhancing proofs by hand with pen, pencil and watercolour. She also had active relationships with printers and publishers when creating editions and publications. Challenging traditional lithography, Mary Heilmann has a painterly approach, often working with fluid pigment directly onto plates in intense colour. She allows the material to flow on the plate, which is evidenced in her final prints.</p> <p style="text-align: justify;">For artists like Dieter Roth and Allan Kaprow, art and daily life are one and the same. Questioning the printmaking process, Roth integrated unorthodox materials into his prints &ndash; such as foodstuffs &ndash; that would decay over time. Creating multiples and copies was, in fact, central to Roth&rsquo;s practice as he experimented with all possible print techniques throughout his career. Kaprow &ndash; who pioneered the Environment and Happening &ndash; actively used posters and instructional Activity Booklets.</p> <p style="text-align: justify;">New artworks will be regularly installed from late November to late February, so the installation will change just as a home would through a process of redecorating. Even the selection of various wallpapers have been created by artists, and includes Paul McCarthy&rsquo;s seasonal, subversive army of Santa Claus-like figures, buttplugs in hand; a dynamic floral design by Caro Niederer; and Pipilotti Rist&rsquo;s tessellating arms and hands, like a mandala rendered in kaleidoscopic patterns across the paper. &lsquo;Salon d&rsquo;Hiver&rsquo; exchanges the white cube format of the art gallery exhibition for an experience that is more accessible and comfortable, an inviting salon in which to explore artworks, books and ideas during the cold winter months.</p> <p style="text-align: justify;">The exhibition is accompanied by a programme of events, lectures, workshops and panel discussions.</p> <p style="text-align: justify;">Holiday closing times: 24 December 2015 &ndash; 3 January 2016 inclusive</p> <hr /> <p class="Default" style="text-align: justify;">F&uuml;r die diesj&auml;hrige Winterausstellung verwandelt Hauser &amp; Wirth Z&uuml;rich die zweite Etage der Galerie in eine intime, h&auml;usliche Umgebung mit Unikaten, Editionen, Musik und B&uuml;chern, die von K&uuml;nstlerInnen der Galerie stammen. Daneben verleihen M&ouml;belst&uuml;cke, Textilien und Nippes dem Raum eine pers&ouml;nliche Note. Der &lsquo;Salon d&rsquo;Hiver&rsquo; akzentuiert das Allt&auml;gliche: Es entsteht der Eindruck, als betrete man ein Zuhause - eine private Sammlung mit Kunstobjekten und B&uuml;chern. Die BesucherInnen sind eingeladen, mit der Installation zu interagieren. F&uuml;r die Dauer der Ausstellung ist der Raum der Begegnung, dem Lesen, Musikh&ouml;ren und dem Zeitvertreib gewidmet.</p> <p class="Pa0" style="text-align: justify;">Die Ausstellung entsprang dem Wunsch, das vielf&auml;ltige Wirken von Hauser &amp; Wirth Editions und Hauser &amp; Wirth Publications zu pr&auml;sentieren. Seit der Gr&uuml;ndung der Galerie im Jahr 1992 sind &uuml;ber 100 Titel ver&ouml;ffentlich worden. Mit diesen einzigartigen und qualitativ hochwertigen Publikationen gelingt es Hauser &amp; Wirth, neue, manchmal &uuml;bersehene Aspekte des kreativen Schaffens verschiedener K&uuml;nstlerInnen in den Fokus zu r&uuml;cken und zu w&uuml;rdigen. 2013 wurde Hauser &amp; Wirth Editions gegr&uuml;ndet, eine Initiative, die sich speziell auf Druckerzeugnisse, Editionen und Multiples konzentriert. Ziel ist es, die Relevanz dieses kreativen k&uuml;nstlerischen Felds hervorzuheben sowie ein st&auml;rkeres Bewusstsein und eine gr&ouml;ssere Wertsch&auml;tzung daf&uuml;r zu erzeugen.</p> <p class="Pa0" style="text-align: justify;">Editionen und Publikationen sind von zentraler Bedeutung f&uuml;r viele K&uuml;nstlerInnen der Galerie Hauser &amp; Wirth. Neben der traditionellen Drucktechnik reicht das mediale Spektrum der herausgegebenen Werke von der Fotografie zur Skulptur und von der Musik bis zum Video. F&uuml;r Louise Bourgeois beispielweise war die Drucktechnik von grosser Wichtigkeit. Zu Hause arbeitete sie mit einer kleinen Druckmaschine, gestaltete Druckplatten und erweiterte die Abz&uuml;ge von Hand mit Stiften und Wasserfarbe. Viele Editionen und Publikationen entstanden in enger Zusammenarbeit mit bekannten Druckern und Verlegern. Mary Heilmann nutzt einen malerischen Zugang, der mit der graphischen Tradition der Lithographie bricht. Sie arbeitet oft mit fl&uuml;ssigen Pigmenten in intensiven Farben, die sie direkt auf die Druckplatte fliessen l&auml;sst.</p> <p style="text-align: justify;">F&uuml;r K&uuml;nstler wie Dieter Roth und Allan Kaprow sind Kunst und Alltag ein und dasselbe. Roth setzte sich kritisch mit dem Druckprozess auseinander, indem er ungew&ouml;hnliche Materialien wie Lebensmittel, die nach einiger Zeit verdarben, in seine Drucke einbezog. Multiples und Kopien bildeten letztlich einen wichtigen Pfeiler seiner Praxis &ndash; er experimentierte in seiner Karriere mit allen m&ouml;glichen Drucktechniken. Kaprow wiederum, der als Pionier von Environment und Happening gilt, gestaltete Poster und &bdquo;Activity Booklets&ldquo;.</p> <p class="Pa0" style="text-align: justify;">Im Laufe der Ausstellung werden regelm&auml;ssig neue Kunstwerke integriert, sodass die Installation sich kontinuierlich ver&auml;ndert. Auch die verschiedenen Tapeten sind von K&uuml;nstlern entworfen worden. So etwa Paul McCarthys weihn&auml;chtlich-subversive Armee aus Nikolaus-artigen Figuren, den obligaten Buttplug in der Hand, das dynamisch, florale Design von Caro Niederer und Pipilotti Rists Arme und H&auml;nde, die sich in kaleidoskopischer Manier &uuml;ber das Papier bewegen.</p> <p class="Pa0" style="text-align: justify;">&lsquo;Salon d&rsquo;Hiver&rsquo; ersetzt das weisse, w&uuml;rfelf&ouml;rmige Galerienformat mit einem einladenden und gem&uuml;tlichen Salon, in dem man w&auml;hrend der kalten Wintermonate Kunstwerke, B&uuml;cher und Ideen entdecken kann.</p> <p style="text-align: justify;">Die Ausstellung wird von einem Programm mit Events, Lesungen, Workshops und Podiumsdiskussionen begleitet. Weitere Informationen finden Sie auf</p> Wed, 25 Nov 2015 17:19:19 +0000 Rafael Lozano-Hemmer - Museo Universitario de Arte Contemporaneo (MUAC) - October 29th - March 27th, 2016 <p style="text-align: justify;">The Museo Universitario de Arte Contempor&aacute;neo (MUAC) is pleased to present&nbsp;<strong>Pseudomatisms</strong>, the first comprehensive Museum exhibition dedicated to the work of Mexican media artist Rafael Lozano-Hemmer in his native country.&nbsp;</p> <p style="text-align: justify;">Curated by Jos&eacute; Luis Barrios and Alejandra Labastida, the exhibition features 42 artworks that span 23 years of production using interactive video, robotics, computerized surveillance, photography and sound sculpture.&nbsp;</p> <p style="text-align: justify;">The show will premiere five new works in varying scales, from&nbsp;<em>Zoom Pavilion</em>, a huge projection piece done in collaboration with Polish artist Krzysztof Wodiczko, to&nbsp;<em>Babbage Nanopamphlets,&nbsp;</em>tiny gold leaflets developed at Cornell University&rsquo;s Nano Scale Facility. Seminal works on view include&nbsp;<em>Pulse Room</em>, which represented Mexico at the Venice Biennale in 2007,&nbsp;<em>Vicious Circular Breathing</em>&nbsp;on loan from Istanbul&rsquo;s Borusan Contemporary, and&nbsp;<em>Standards and Double Standards,</em>&nbsp;which is in the MUAC collection.&nbsp;</p> <p style="text-align: justify;">The title of the exhibition is a reference to the Surrealists&rsquo; automatism, an artistic practice built on the expression of the subconscious by placing value on the accidental and random. Lozano-Hemmer expands&nbsp;this notion by reminding us about the impossibility of true randomness in a machinic universe where any pretension of autonomy in any program is only a simulation. In the words of the artist, a pseudomatism aims to make tangible the biases inherent in these simulations. By definition a pseudomatism is an action that is almost-voluntary: if an automaton &ldquo;acts by itself&rdquo; the work of Lozano-Hemmer on the contrary tries to &ldquo;act in relation to&rdquo;.&nbsp;</p> <p style="text-align: justify;">The artist does not see technology as an instrument or tool, but rather as an inevitable language that determines subjectivity and sociability. Through the public&rsquo;s touch, sight, breath, hearing and movement, the exhibition seeks to activate the relationships between machine, environment and perception, so as to underline the way in which technology, the body and the body-politic interpenetrate and are inseparable.&nbsp;</p> <p style="text-align: justify;">A bilingual catalogue will be produced, with essays from the curators and artist as well as commentaries on the artworks by Kathleen Forde and Scott McQuire. Far from presenting electronic art as something &ldquo;new&rdquo;, the texts delve into the processes and strategies that drive the practice of the artist linking them to traditions of experimentation in the history of art and science.&nbsp;</p> <p style="text-align: justify;">Apart from the catalogue, the artist will publish a USB drive that contains absolutely all the source code to program all the pieces in the exhibition. Any programmer will have access to the algorithms and methods that Lozano-Hemmer&rsquo;s team developed for each work, written in C++, OpenFrameworks, Processing, Delphi, Wiring, Assembler and Java. To our knowledge this will be the first time that a comprehensive art show will be made available with an open source code.</p> <p style="text-align: justify;"><strong>Artist:&nbsp;</strong>Rafael Lozano-Hemmer (Mexico City 1967, lives in Montr&eacute;al, Qu&eacute;bec) is an electronic artist that develops interactive installations that are at the intersection of architecture and performance art. His main interest is in creating platforms for public participation, by perverting a wide variety of technologies. He was the first artist to officially represent Mexico at the Venice Biennale, with a solo show at Palazzo Van Axel in 2007. He has also exhibited in Biennials and Triennials in Sydney, Istanbul, Havana, Singapore, Seville, ICP in New York, Valencia, New Orleans, Montr&eacute;al, Shanghai, Moscow and Kochi-Muziris in India. His solo exhibitions include the Museum of Modern Art in San Francisco, Fundaci&oacute;n Telef&oacute;nica in Madrid and the Museum of Contemporary Art in Sydney. Among other accolades, Lozano-Hemmer has won two BAFTAS from the British Academy, a Governor General&rsquo;s Award in Canada, a Golden Nica in Austria, a Bauhaus Award in Germany and a Troph&eacute;e des Lumi&egrave;res in France.</p> <p style="text-align: justify;"><strong>Exhibition production acknowledgements:</strong></p> <p style="text-align: justify;">Borusan Contemporary (Istanbul), OMR Gallery (Mexico City), CCA and CNF Cornell University (Ithaca), bitforms gallery (New York City), NC-Arte (Bogot&aacute;) and Antimodular Research (Montr&eacute;al).</p> <hr /> <p style="text-align: justify;">El MUAC se complace en presentar&nbsp;<em>Pseudomatismos</em>, la primera exposici&oacute;n monogr&aacute;fica de la obra del artista mexicano Rafael Lozano-Hemmer en un museo en M&eacute;xico. Curada por Jos&eacute; Luis Barrios y Alejandra Labastida, la exposici&oacute;n presenta 42 obras que recorren 23 a&ntilde;os de producci&oacute;n audiovisual, incluyendo piezas de video interactivo,rob&oacute;tica, vigilancia computarizada, fotograf&iacute;a e instalaci&oacute;n sonora.</p> <p style="text-align: justify;">La muestra cuenta con cinco estrenos mundiales en varias escalas, desde&nbsp;<em>Pabell&oacute;n de Ampliaciones</em>, &nbsp;una enorme proyecci&oacute;n realizada en colaboraci&oacute;n con el artista polaco Krzysztof Wodiczko, hasta&nbsp;<em>Nanopanfletos de Babbage,</em>peque&ntilde;os folletos de oro que fueron impresos en el &ldquo; Nano Scale Facility&rdquo; de la Universidad de Cornell. En la exposici&oacute;n se presentan varias obras emblem&aacute;ticas como&nbsp;<em>Almac&eacute;n de corazonadas</em>, que represent&oacute; a M&eacute;xico en la Bienal de Venecia en 2007,&nbsp;<em>Respiraci&oacute;n Circular Viciosa</em>&nbsp;procedente de la colecci&oacute;n Borusan Contemporary de Estambul, y<em>Rasero y Doble Rasero</em>&nbsp;de la colecci&oacute;n del MUAC.&nbsp;</p> <p style="text-align: justify;">El t&iacute;tulo de la exposici&oacute;n es una referencia a los automatismos surrealistas, una pr&aacute;ctica art&iacute;stica que apostaba al poder creativo del subconsciente y se sosten&iacute;a sobre la noci&oacute;n de valor en lo accidental y lo aleatorio. Lozano Hemmer ampl&iacute;a&nbsp;esta noci&oacute;n planteando la imposibilidad de lo aleatorio en el universo maqu&iacute;nico, en donde cualquier pretensi&oacute;n de autonom&iacute;a en un programa es tan solo una simulaci&oacute;n. En palabras del&nbsp; artista, un pseudomatismo intenta hacer tangibles las predeterminaciones inherentes a esas simulaciones<em>.</em>&nbsp;Por definici&oacute;n el pseudomatismo es una acci&oacute;n casi-voluntaria: si el aut&oacute;mata act&uacute;a &lsquo;por s&iacute; mismo&rsquo;, la obra de Lozano-Hemmer al contrario busca actuar &uml; en relaci&oacute;n&uml;.</p> <p style="text-align: justify;">El artista parte del entendido que la tecnolog&iacute;a no es un instrumento o herramienta, sino una forma inevitable de determinaci&oacute;n de&nbsp; subjetividad y&nbsp; sociabilidad. A partir del juego con el tacto, la vista, la respiraci&oacute;n, el o&iacute;do y el movimiento del p&uacute;blico, la exposici&oacute;n busca activar relaciones entre m&aacute;quina, entorno y percepci&oacute;n, para con ello mostrar el modo en que la tecnolog&iacute;a, el cuerpo y el cuerpo pol&iacute;tico son inseparables.</p> <p style="text-align: justify;"><strong>Artista:</strong>&nbsp;Rafael Lozano-Hemmer (Ciudad de M&eacute;xico, 1967, vive en Montr&eacute;al, Qu&eacute;bec) es un artista electr&oacute;nico que desarrolla instalaciones interactivas que est&aacute;n en la intersecci&oacute;n de la arquitectura y el arte del performance. Su inter&eacute;s principal es crear plataformas de participaci&oacute;n p&uacute;blica, pervirtiendo una gran variedad de tecnolog&iacute;as de control. Fue el primer artista que represent&oacute; oficialmente a M&eacute;xico en la Bienal de Venecia en el a&ntilde;o 2007, con una individual en el Palacio Van Axel. Tambi&eacute;n expuso en las Bienales y Trienales de S&iacute;dney, Estambul, Habana, Singapur, Sevilla, ICP en Nueva York, Valencia, Nueva Orleans, Montreal, Singapur, Shangh&aacute;i, Kochi-Muziris y Mosc&uacute;. Sus exposiciones individuales incluyen&nbsp; el Museo de Arte Moderno de San Francisco, la Fundaci&oacute;n Telef&oacute;nica en Madrid y el Museo de Arte Contempor&aacute;neo de Sidney. Lozano-Hemmer ha ganado dos BAFTAS de la Academia Brit&aacute;nica, un Governor General Award en Canad&aacute;, un premio Golden Nica en Austria, un premio Bauhaus en Alemania, y un Troph&eacute;e des Lumi&egrave;res en Francia, entre otros galardones. Su sitio web est&aacute; en la direcci&oacute;n&nbsp;<a href="" target="_blank"></a>.</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Curadores:</strong>&nbsp;Jos&eacute; Luis Barrios y Alejandra Labastida</p> <p style="text-align: justify;">&nbsp;</p> <p style="text-align: justify;"><strong>Reconocimientos de producci&oacute;n de la exposici&oacute;n:&nbsp;</strong>Borusan Contemporary (Estambul), OMR Gallery (ciudad de M&eacute;xico), CCA and CNF Cornell University (Ithaca), bitforms gallery (Nueva York), NC-Arte (Bogot&aacute;) y Antimodular Research (Montr&eacute;al).</p> Wed, 25 Nov 2015 09:18:18 +0000 Hiwa K, Gunilla Lundahl, Anna ihle - Konsthall C - May 20th - September 27th Tue, 24 Nov 2015 08:52:07 +0000 Hoesy Corona - The Baltimore Museum of Art - September 15th, 2012 6:00 PM - 8:00 PM <p>Grand Reopening of the Contemporary Wing.</p> Sun, 22 Nov 2015 22:28:59 +0000 victor f. de. m. torres, Alexander D'Agostino, Ada Pinkston, sarah tooled, sophia mak, Laure Drogoul, noelle tolbert, Hoesy Corona - The Baltimore Museum of Art - November 15th, 2014 6:00 PM - 11:00 PM <p>Labbodies Performance Art Laboratory&nbsp;<br />Fast Forward Future Lab | The Party of the Century<br />The Baltimore Museum of Art's 100th Anniversary!<br /><br />The art institution: a cultural anthropological phenomenon that carries weight in our contemporary society. The art institution is a sacred space that holds the precious relics of our cultural production from years past and present. There are many forms of art institutions however, the influence and significance of the museum will always hold true. From the perspective of many, it is the end all be all of visual culture. The purpose of the modern museum is to collect, preserve, interpret, and display items of cultural and artistic significance for the education of the public. Today, a visitor can enter the building and connect to artistic production of years past and the present. In this way the museum acts as a time capsule of days gone by. But it can also act as a traveling machine, of days to come.</p> <p>Alexander Dorner once said "the new type of art institute cannot merely be an art museum as it has been until now, but no museum at all. The new type will be more like a power station, a producer of new energy." Dorner said this quote almost 100 years ago. Today the art institution truly does extend beyond the walls of the art institution. How will this new energy manifest itself in the future?<br /><br /><a href="" data-hovercard="/ajax/hovercard/page.php?id=594381733977673&amp;extragetparams=%7B%22directed_target_id%22%3A850783088300285%7D" rel="nofollow">Labbodies</a>&nbsp;Performance Art Laboratory will celebrate the 100th anniversary of&nbsp;<a href="" data-hovercard="/ajax/hovercard/page.php?id=65132668653&amp;extragetparams=%7B%22directed_target_id%22%3A850783088300285%7D" rel="nofollow">The Baltimore Museum of Art</a>&nbsp;with FAST FORWARD FUTURE LAB, a performance art lab that looks to the future and explores the body as sculpture, the body as work of art and life as form.&nbsp;<br />Today the role of the museum is layered: it creates a cannon of artistic production, creative bodies and ideas. The characters of the museum: Director, Curator, Collector, Conservationist, Art Works, Docents, Security Guards, Janitors and Patrons all have a role to play in establishing and maintaining the canon of thought and cultural production. Tomorrow, these roles will be transformed.<br /><br />The year is 2114 and The Baltimore Museum of Art has been around for 200 years. What will the museum experience look like? will the museum still be a museum or no museum at all? will it be more like a power station? a producer of new energy? a charging station for all? will it pop-up in unconventional locations throughout the city and quench its thirst?&nbsp;<br /><br />The FAST FORWARD FUTURE LAB features durational performance works that foreshadow the museum of the future. These original performance works are by: LAURE DROGOUL | SOPHIA MAK | SARAH TOOLEY | ALEXANDER D'AGOSTINO | NOELLE TOLBERT | VICTOR TORRES | &amp; the collaborative team of AhHA (Ada hoesy / Hoesy ada)<br /><br />other performers include: Jake Bee, Waqia Abdul-Kareem, Talbolt Johnson and Nicola Norman&nbsp;<br /><br />The art will engage the viewer as much as the viewer will engage the art. The sculptures of the future are alive!&nbsp;<br /><br />Curated by HOESY CORONA and ADA PINKSTON (LABBODIES)</p> Sun, 22 Nov 2015 22:23:01 +0000