Artipedia - Arts News

Peter Mortenbock and Helge Mooshammer, ‘Visiting Stalin’

° Gone City, 19.4 - 22.6.2008 in MAGAZIN4
Bregenz

Opening
18.4.2008, 19.00 - 21.30

Project curator: Gulsen Bal

Participant artist:
Ergin Cavusoglu
Esra Ersen
Hristina Ivanoska
Peter Mortenbock & Helge Mooshammer
Sener Ozmen
Nasan Tur
STEALTH

The project Gone City intends to explore an engagement of what it was discursively seen on the thick walls of the transformational processes to unfold the issues of ‘tomorrow’ within proliferation of approaches. This establishes a journey which forces long-hidden secrets into the open from emerging physical mobility and flows informing new ways of inhabiting and experiencing space in different localities. This also offers a way of mapping a “becoming beside oneself” where the production of culture’s space/place laid at the door of ‘other’ worlds in motion. Often this compels us to rethink of what things are, includes how they become what they are. But, where is its echo heard?

The participant artists to this exhibition have been invited to present works that manifest a dynamical ground for having a deeper look at what possible is within the paradigm of the potentiality of the space or the structure within an inter-disciplinary creative realm.

A catalogue will be published featuring the Gone City by Gulsen Bal and Erden Kosova.

For further information see:
http://www.bregenzerkunstverein.at

Also the MAGAZIN4 presents “Networked Cultures - The Bregenz Dialogues” in collaboration with the Vorarlberger Architektur Institut (vai) at Galerie Lisi Hämmerle / Bregenz on Thursday 17th of April 2008, 19.30.

Book presentation, film screening and discussion with Helge Mooshammer, Peter Mörtenböck, Gulsen Bal and STEALTH.

For further information see:
http://www.networkedcultures.org

Artes Mundi 3

HAVOC 2007
Susan Norrie

Climate Change –
Gauging the temperature
Artes Mundi 3 conference on the way visual artists respond to the issue of global climate change with public
lecture by Xu BIng

23rd & 24th April 2008
Cardiff, Wales

http://www.artesmundi.org

Artes Mundi and University of Wales Institute, Cardiff (UWIC) present a two day conference for those interested in the visual arts, discussing the response of visual artists to the challenge of global climate change. Speakers will include Artes Mundi 3 artists Dalziel + Scullion, Susan Norrie and Abdoulaye Konaté who all address issues of the environment and of climate change in their work. Xu Bing, in Cardiff as a judge for the Artes Mundi 3 Prize, will give a special public lecture.

The conference will be chaired by Peter Gingold, Executive Director of Tipping Point. It features talks by Professor Michael Bruford, a specialist in bio-diversity; Stephen Powell, Commissioning Editor of the Schumacher Briefings, George Marshall, Director of the Climate Outreach and Information Network and David Buckland, artist and Director of the Cape Farewell Project. The speakers will be joined by other Artes Mundi shortlisted artists in open and panel discussions.

For the evening lecture on the 23rd April, Chinese artist Xu Bing will discuss his recent work and ideas. Xu Bing won the first Artes Mundi Prize in 2004 for his haunting installation Where does the dust itself collect (2004). He is a judge for the third Artes Mundi Prize, which will be awarded on 24th April 2008, and he was recently appointed Vice President of the prestigious Central Academy of Fine Arts in Beijing.

His lecture is open to all. Admission is free.

For more information on the conference, registration and the public talk by Xu Bing visit http://www.artesmundi.org

The Artes Mundi 3 Prize, worth 40,000 GBP, will be awarded on 24 April. The nine artists shortlisted are Lida Abdul, Vasco Araújo, Mircea Cantor, Dalziel + Scullion, N.S. Harsha, Abdoulaye Konaté, Susan Norrie and Rosângela Rennó. The prize awarding is sponsored by St David’s 2.

Artes Mundi 3 exhibition runs to 8 June 2008 at National Museum Cardiff and features bodies of work by the nine shortlisted artists. The exhibition features new works not seen before by Araújo, Harsha
and Konaté.

Artes Mundi organises a two year programme of art, education and work in communities which culminates in the Artes Mundi Exhibition and Prize.

Artes Mundi 3
National Museum Cardiff
Cathays Park, Cardiff,
Wales, UK CF10 3NP

+44 (0)2920 397 951
Open 10am-5pm Tuesday to Sunday and Bank Holidays
Admission Free

Artes Mundi core supporters: Welsh Assembly Government, Cardiff Council, Arts Council of Wales, BBC Wales, National Museum Wales and The Derek Williams Trust.

Artes Mundi 3 principal sponsor: St Davids 2
Artes Mundi 3 major sponsors: Merrill Lynch Global Wealth Management, Gerald Eve and
Arts & Business.

Media partners: Western Mail and Sky Arts

Walker Art Center

Trisha Brown: So That the Audience Does
Not Know Whether I Have Stopped Dancing
April 18 - July 20, 2008

Organized by Peter Eleey

Walker Art Center
1750 Hennepin Avenue
Minneapolis, MN 55403
612.375.7600

http://www.walkerart.org

The Walker Art Center presents the exhibition Trisha Brown: So That the Audience Does Not Know Whether I Have Stopped Dancing, the centerpiece of a spectrum of programs honoring the 40-year career of this contemporary dance icon at a moment of increasing interest in the broad sweep of her work and its influence. Providing an in-depth look at Brown’s visual arts practice, the exhibition features a survey of the artist’s drawings going back thirty-five years, a live early performance work in the gallery, and videos of seminal early performances. On Thursday, April 17, prior to an exhibition preview and reception, the artist makes a rare solo appearance in the gallery to create a work on paper for the exhibition that synthesizes drawing and dance. As an extension of the exhibition, the Walker is presenting four of Brown’s early site-specific performance works in the Sculpture Garden and Loring Park on July 5, including the first U.S. presentation of Man Walking Down the Si
de of a Building since its original realization in SoHo in 1970.

While Trisha Brown is best known for her innovative choreographies that revolutionized modern dance, she has for many years made drawings and other works beyond the stage that integrate the performing and visual arts. Brown first achieved recognition as part of Judson Dance Theater, the center of dance experimentation in New York that occupied a central position in the multidisciplinary avant-garde of the 1960s; she went on to found the renowned dance company bearing her name. Drawing has long featured prominently in Brown’s maverick practice, shifting from a tool for schematic composition into a fully-realized component of her broader investigation into the limits of her own body. She pioneered within dance the idea of the body as a field with varying centers, encouraging her performers to conceive of dances in which movement could begin in a variety of locations throughout their bodies, by turns embracing and defying gravity. Early in her career, Brown created works in wh
ich performers walked on gallery walls or down the exterior façade of a building—rather than on the floor—and similar reorientations of her dancers’ and audiences’ relationship to their environment can be found throughout her practice. Whether she is working within the frame of a sheet of paper, on the wall, or on the stage, Brown delights in the play between structure and improvisation, between repetition and invention, and between choice and chance. “I get involved in the mystery of space,” she says. “I have the same adrenaline and heartbeat going as I enter the paper as I do going on stage.”

Describing her early studies, Brown says that she learned how to “fly,” and that sense of being aloft aptly describes much about her: an artist floating between the ground and the air, between the disciplines of drawing and dance. “I may perform an everyday gesture,” she once warned, “so that the audience does not know whether I have stopped dancing,” and her drawings might best be seen in this light—as gestures which may appear at moments to be distinct from her dancing, but which rarely are.

ADDITIONAL PROGRAMS

Lecture
Trisha Brown: Talking Art and Dance
Tuesday, April 22

Performance
Trisha Brown Dance Company
Present Tense, Foray Forêt, and I love my robots
Friday, April 25

The Year of Trisha is made possible by the National Endowment for the Arts American Masterpiece: Dance Initiative, administered by the New England Foundation for the Arts. Additional support is provided by the National Endowment for the Arts.