Potential, positivity + grounds for change: a guide to Vienna Biennale 2017
The 2017 Vienna Biennale is taking place at venues across the city opening June 21 and running to October 1.
Curated by Amelie Klein of Vitra Design Museum and Marlies Wirth of MAK, this year’s theme Robots. Work. Our Future brings together architecture, art and design to explore an “environmentally and socially sustainable concept of the digital age that is also committed to a new humanism.” The ambitious four month event, which you can download an app for here, sounds optimistic in its approach to technology, with a strong focus on potential and creating open spaces for “contemplating meaningful living” to bring about positive change. The program is also keen on bringing the fields of art into a wider audience for more interdisciplinary conversation.
The participatory art workshop will travel along the Thames River, starting at the Westminster Pier to Trinity Buoy Wharf. The themed party is held by the London-based gallery arebyte and creative think-tank DesearchRepartment, and will present a series of “playful and satirical activities designed to provoke their re-evaluation of human rights and contemporary global politics.”
In addition to the ‘interactive pedagogical’ games, there will also be a guest lecture by Blaise Otium, a ‘post-media savant’ who will speak about the rapid changing political and physical landscape of our world.
Between the rational + the potential: Into pore spaces: An expansive archive about Biosphere 2 at Fluent, Jun 17 – Jun 30
16 June 2017
The Into pore spaces: An expansive archive about Biosphere 2 group exhibition is on at Santander’s Fluent gallery, opening June 17 and running to June 30.
The show weaves together a “fragmented archival display” including works by Basel Abbas & Ruanne Abou-Rahme, Claire Pentecost, Tim Ivison & Julia Tcharfas and Sarah Abu Abdallah. The project begins with archival material from a scientific research facility in the Arizona desert relating to water cycles or agricultural biomes. The invited artists have then been asked to sample from “online videos, scientific drawings and diagrams” to explore the boundary between “the rational and the potential.”
Fluent is a non-profit organization that hosts projects “based on hybrid forms of production, exhibition, publication, debate and exchange.”
The London-based artist and designer will speak about recent public research project Very Very Very Far Away made in collaboration with Andrew Friend and Jasmin Blasco that looks at “democratising future narratives and the dissemination of new cultural fictions.”
Looking at the relationship between people and technology, Rakotoniaina will expand on “the creation of machines, devices and installations” that inform his practice, and “the values and ideas that may pertain to future societies.”
Beyond the limits of statements + conversation: A short guide to Art Basel, Liste, Dream Fair
14 June 2017
Art Basel, a contemporary art fair that also takes place in Miami Beach and Hong Kong during other parts of the year, brings together over 290 international galleries, showing work by over 4,000 artists. The huge project, opening June 15 to 18, is teeming with exhibitions and events, as well as fringe fairs LISTE and Dream Fair (see below) running alongside.
The main fair is split into sections; booth exhibitions in Galleries, solo presentations in Feature, artists up for the Baloise Art Prize in Statements, rare publications in Edition, large scale projects and performances in Unlimited, site specific works in Parcours, experimental screenings in Film, as well as a range of artists talks and panel discussions in Conversations.
Running since 1996, Liste introduces young and emerging galleries and artists, as well as a number of performance events and talks. As a special guest of this year’s programme, HeK presents a selection of artists “who utilise 3D modelling and 3D printing to explore the convoluted dialogue between the real and the virtual world,” including Morehshin Allahyari & Daniel Rourke, Lou Cantor and Tabita Rezaire, among others.
Some of the participating galleries include:
–Arcadia Missa (London) featuring Maja Cule, Hannah Perry, Hannah Quinlan and Rosie Hastings, Hannah Black and Amalia Ulman.
–Carlos/Ishikawa (London) featuring Vanessa Carlos
–Emalin (London) featuring Nicholas Cheveldave
–Aoyama/Meguro (Tokyo) featuring Tatsumi Orimoto + Koki Tanaka
–VI, VII (Oslo) featuring Eloise Hawser
–Jenny’s (Los Angeles) featuring Julien Ceccaldi, Mathieu Malouf, Eirik Sæther
–LambdaLambdaLambda (Prishtina) featuring Tatjana Danneberg, Hanne Lippard, Dardan Zhegrova
–MadeIn (Shanghai) featuring Shen Xin, Miao Ying + WANG NEWONE
– mother’s tankstation limited (Dublin) featuring Cui Jie
–Project Native Informant (London) featuring Juliana Huxtable and Morag Keil –Sandy Brown (Berlin) featuring Grace Anderson, Kamilla Bischof, Quintessa Matranga + Aude Pariset
Curated by Eva Birkenstock, Liste’s 2017 Performance Project Rehearsing Intra-Activity presents a mix of artists and dancers to explore “an expanded understanding of the concept of choreography” including work by:
The evening will present three works by Jordan Wolfson, followed by an in-conversation between the artist and Rhizome’s Assistant Curator of Net Art and Digital Culture Aria Dean where they will discuss his relationship to “technology, masculinity, and the spectacularization and banalization of violence in his work and in contemporary culture.”
The event is the third of a series of monthly events, and features three performances. Los Angeles-based duo ODWALLA 1221(Chloe Maratta and Flannery Silva), who describe themselves as “part rage and part grace,” build their sounds through looping vocals, electronic drums and samples and they recently released Fawns Are Dirty / Purr Hi (2016) on Thunderzone.
uv ac self-described “crimson clown expiring soon” will also play, along with London-based xname (Eleonora Oreggia) who is a conceptual elecontronic artist who creates live compositions that “transform light and other electromagnetic frequencies in sound waves through self built synthesizers.”
Both artists will present new lecture based-performances; Kenny’s will focus on “Black/American culture before and after telecommunication technologies in connection with legacies of the African diaspora” and Hirata’s will look at the “spectacle of the war machine through their manifestations in nutritional and culinary bureaucracies and material histories”
The Center for Experimental Lectures was set up in 2011 by Gordon Hall to provide a platform dedicated solely to the medium of the lecture.
The press release includes a question posed by manuel abreau: “how can we consider the power of these images when we’re already under their influence?” (I don’t know).” The works brought together are assembled as a way to disrupt and consider “the violent intrusion of images and the assault of narrative structures on consciousness.”
Looking at contamination, cognitive immunity, studios films and other forms of media, the “narratives that have been fattened, suppressed, squeezed out, swelled, merged, overlaid, edited, hacked” will be addressed.
A collective stream: performances by Brian Fuata, Latai Taumoepeau + Get To Work Splashback 2 at 55 Sydenham Rd, Jun 10 -24
6 June 2017
The Splashback 2 performance exhibition at Sydney’s 55 Sydenham Rd opens June 10 and is running to June 24.
Over the course of three weeks, the performance schedule will feature BrianFuata, Latai Taumoepeau and collective Get To Work. Curated by Anna John, Splashback 2 is the second performance program to take place, and brings together artists who invested in the “fluidity of authorship across the events as objects, texts and materials are absorbed into a collective stream of dialog and action.”
The space will remain open during the scheduled events, where viewers can looks at the “detritus, props, texts and research materials” that lay dormant in the space until they are activated each Saturday by the performers.
we are craving a certain unattainable density in emotions subtle gestures that suggest something complex and vague I will kiss you everywhere and recklessly
The event will dive into the rituals of the everyday, mixing language, myth and their power to attract. Devoted to what we can’t quite grasp, the works as us to ‘project our own obsessions’ and give into “superstition, exaggeration, and the cliché.”
The opening night will be host to a number of performances at the Battersea Barge, and the website which will host the GIFS available for share and download at www.politickleaction.tumblr.com will be released.
Showreels of the works will run continuously in the space until June 15.
Featuring video installation and sculpture, the show builds on the previous Amazonian All-Day, presented in the same ArtCenter building, referencing Tekken computer game character and Irish professional killer Nina Williams.
The theme of fantasy role play, Single Slap explores the people, their idealisation and the ultimate disappointment of those ideals not being met:
“She did not have those nails no, they are my invention. If she would have had them they would have been hidden, tugged into her high leather gloves. She was all tugged in you see, even her neck. She had one of those faces I did not start to recognise until I moved to California. One of those emotionless faces that are frozen in time, when you have to do the work yourself of interpreting emotions. Look away and place them in yourself.”
The show takes its inspiration from Maya Deren’s film Meshes of the Afternoon (1943) and asks the invited artists to reflect and reinterpret the work and its “associative power to reflect on femininity, dream state, trauma and desire.” The film wanders in a circular narrative, getting lost within the trance-like soundtrack that creates a surreal and dream-like vibe.
Holding space for inner speech with Beth Collar + Hannah Still at Kunstraum, Jun 5 – 11
31 May 2017
Beth Collar and Hannah Still present two person exhibition at London’s Kunstraum opening June 5 and running to the 11.
The exhibition will present a screening and performance, where the gallery will become a “holding space for silence, apathy, antagonism and affection” and where the artists will work alongside each other rather than in strict collaboration.
The week long event will take the form of a conversation, where “ways of feeling, thinking through and thinking about the stomach brain, brain stem, inner speech and free speech” can be explored. The work will sit side by side, inviting the viewer to become part of the discussion.
The performance and spoken word artist, who is currently a resident at Rijksakademie Amsterdam, will present a series of video and sound recordings, and a performance on the opening night. Using speech as medium, she “accentuates the urgency of her sociocultural themes, echoing the here and now.”
Using her live appearances as content to create, remix and edit new works, Turato explores process and the “essential dichotomy of performance and documentation.”
Curated by Meryem Erkus, the event asks “Can you Deep Learn Desire?” The press release uses the metaphor of a leech appropriating human life to stay alive where we “enter into another mode of existence.”
The exhibition is formulated around a game played over digital and live platforms in October and ending in February, where digital dialogue on FB messenger which became the trace element which will be re-enacted live for the show. The audience will be asked to ‘loiter inside the game’ and eavesdrop on the 28 minute archival audio work.**
The installation will include sculpture (3D printed), text, moving image as well as a research archive within the public reading room and will “re-figure dark goddesses from Middle Eastern mythology.” The New York-based artist is currently a Research Fellow at the Eyebeam Art and Technology Center.
The exhibition was first presented at New York’s Transfer Gallery, and is the result of two years of research into “the effects of digital colonialism and other forms of contemporary oppression,” placing her work between art and activism.
Inspired by Margaret Raspé (*1933), a filmmaker from the 1970’s who mounted the camera on her head to record her daily activities, the artists respond on what it means to ‘move’ with the artist. Focusing on a younger generations relationship to this idea and our relationship to recording now, the exhibition examines the apparatus as a way to approach the subject of “producing art, expanding human capabilities in the sense of a posthuman man-machine, and as an independent system, that creates its own narratives and immersive spaces.”