haudenschild Garage http://haudenschildgarage.com a 21st century cultural search engine Tue, 07 May 2013 05:05:13 +0000 en-US hourly 1 http://wordpress.org/?v=3.4.2 supported program: P-A-T-T-E-R-N-S Textile Room Pavilion for MOCA http://haudenschildgarage.com/5042/supported-program-p-a-t-t-e-r-n-s-textile-room-pavilion-for-moca.htm http://haudenschildgarage.com/5042/supported-program-p-a-t-t-e-r-n-s-textile-room-pavilion-for-moca.htm#comments Thu, 02 May 2013 16:24:09 +0000 Monica Jovanovich http://haudenschildgarage.com/?p=5042 The haudenschild Garage supported the Textile Room Pavilion by P-A-T-T-E-R-N-S, one of three commissioned pavilions designed for MOCA’s exhibition A New Sculpturalism: Contemporary Architecture from Southern California (June 2 – September 2, 2013). For more information visit: http://www.p-a-t-t-e-r-n-s.net/moca-pavilion-textile-room/

Extremely important for us, is not only the fact that we can contribute to a critical exhibition in such a prestigious institution, but the possibility to extend the strong tradition of formal experimentation and material innovation in architecture in Los Angeles that the show aims to comprehensively portray.

Textile Room continues our decade-long interest in composite materials by focusing on the optical, tactile and performative possibilities of a new fibrous tape and its architectural potential for generating form and space with luminous atmosphere. As a result, visitors will encounter a supple, textured and illuminated space that physically and experientially blurs the threshold between hard and soft, textured and smooth, private and public.

Textile Room is a 16’ high, twisty crystal-like volume made of black carbon and yellow aramid fiber tape, distributed in a radiating pattern that engenders varying fiber densities and a vast chromatic range. Similar to ancient textile and contemporary fabrics in their delicate nature, textural quality and crafted sensibility, these technologically advanced fibrous surfaces are entirely digitally designed and robotically fabricated.

Developed in collaboration with North Sails, one of the world’s pioneering companies specializing in flexible composites, our proposal takes advantage of their use of pre-impregnated fiber tapes [one of the world’s most lightweight materials] and the innovative robotic manufacturing of bespoke sails.

A huge enterprise, this project necessitates the coordination of various manufacturing systems at distinct locations. The skin will be plotted two dimensionally by computer controlled robot heads at North Sails facility in Minden, Nevada, then shipped to Long Beach for sewing and finishing; while the structure will be fabricated locally using welded plates and powder coated steel tubes.

To further enhance the luminous quality of the space, we asked Media Artist Casey Reas to collaborate with us in the production of a site-specific slow-motion digital projection that will subtly illuminate and delicately amplify the color contrasts and textural gradations of the space, while completely concealing itself as a medium.

As a multidisciplinary collaboration, the project’s ultimate goal is to insinuate the possibility that new architecture will emerge out of an intimate and dynamic interplay between contemporary design aesthetics, digital technology for visual communication, and advanced material manufacturing; and that in doing so, it will enhance our interaction with space in profound ways.

- Marcelo Spina & Georgina Huljich, P-A-T-T-E-R-N-S

About P-A-T-T-E-R-N-S

P-A-T-T-E-R-N-S is a design research architectural practice based in Los Angeles and operating globally. Founded in 1999 and headed by Principals Marcelo Spina and Georgina Huljich, P-A-T-T-E-R-N-S work has gained international recognition for its subtle approach to architecture; one that seamlessly integrates digital technology with an extensive consideration of form, novel tectonics and innovative materials. P-A-T-T-E-R-N-S aims to generate innovative spatial forms that actively engage, enhance and influences the body, constantly challenging its relationship to the built environment akin to the complexity of contemporary life.

With a decidedly global reach and working across multiple scales, programs, cultures and economies, P-A-T-T-E-R-N-S has completed projects in the US, South America and Asia. Their work has been extensively exhibited and published worldwide and is part of the permanent collections of the SF MOMA, Chicago Art Institute and MAK Museum in Vienna.

Recipient of numerous professional prizes and awards, in 2011 P-A-T-T-E-R-N-S integrated the prestigious Emerging Voices Series of the Architectural league of New York, and were the recipient of the Arch is Award by the AIA Los Angeles Chapter. In 2004 the firm was recognized as one of the 11 most progressive offices working worldwide by Architectural Record Design Vanguard issue. In 2003 they received the third prize in the prestigious Young Architect of the year Award that propelled the firm to an early international recognition and most recently were finalists for the Ordos Prize and the Iakov Chernikov Prize.

In addition to their professional and academic work, Spina and Huljich were the curators of “Matters of Sensation” at Artists Space. One of the most important collective exhibitions in architecture that Artists Space ever organized, the influential show opened to great acclaim in 2008.

http://www.p-a-t-t-e-r-n-s.net

]]> http://haudenschildgarage.com/5042/supported-program-p-a-t-t-e-r-n-s-textile-room-pavilion-for-moca.htm/feed 0 Estranged Paradise: Yang Fudong at Kunsthalle Zurich http://haudenschildgarage.com/5040/estranged-paradise-yang-fudong-at-kunsthalle-zurich.htm http://haudenschildgarage.com/5040/estranged-paradise-yang-fudong-at-kunsthalle-zurich.htm#comments Fri, 19 Apr 2013 17:28:49 +0000 Monica Jovanovich http://haudenschildgarage.com/?p=5040


ESTRANGED PARADISE. WORKS 1993 – 2013 6 APRIL – 26 MAY 2013

Yang Fudong (born 1971 in Beijing, lives and works in Shanghai) is one of the most important figures of China’s contemporary art scene and independent cinema movement. His films and photographic work, often rooted in traditional Chinese painting, examine tensions between urban and rural, history and the present, worldliness and intellectualism. Their a-temporal and dreamlike quality, long and suspended sequences, dividing narratives, as well as multiple relationships and story lines reflect the conundrums of idealism and ideology of a new generation. At the same time, the works address the ideals and anxieties of young people who are struggling to find their place in the fast-paced changes of present-day China. «Estranged Paradise. Works 1993 – 2013», curated by Beatrix Ruf and Philippe Pirotte, is Yang Fudong’s first major institutional survey exhibition in Eu- rope, presenting film, installation as well as photography from the late 1990s until today, high- lighting the formal aspects of the construction of cinema in the artist’s oeuvre and its resonance in Film Noir aesthetics. Following the exhibition in Zurich, the show will travel to the UC Berkeley Art Museum and Pacific Film Archive (21 August – 1 December 2013).

Yang came to the attention of the Western art world in 2002, when he premiered his film An Estranged Paradise (1997–2002) at Documenta XI. Beginning with a meditation on the composition of space in Chinese painting, the film traces the spiritual instability of Zhuzi, a young intellectual in the legendary city of Hangzhou. The film reflects the artist’s fascination with international cinema, referencing such works as Jim Jarmusch’s Stranger Than Paradise (1984) and Jean-Luc Godard’s À bout de souffle (1960), as well as Shanghai films from the 1920s and 1930s, a place and time in which China was strongly influenced by the West. Using camera, lighting and cinematic space to outline the landscape of Chinese modernity, Yang reveals his love of black and white cinematog- raphy. Likewise, the contradictions and discontents raised by a progressive modernity as charac- teristic themes of Film Noir play a significant role in the artist’s work: an invocation of the past and anxiety about the future, and tensions between indifference and engagement, remembrance and forgetting. Films that embody Film Noir concepts include the single channel videos Backyard – Hey, Sun is Rising! (2001), in which four men engage in a series of simultaneous but isolated rituals: smoking, massage, military exercises in a park; City Light (2000), which functions as a noir detec- tive story with elements of slapstick; Honey (2003) then again, a stylistic reference to spy films and all their clichés, invokes ambiguity of seduction and deceit as the earmark of espionage, but also a sense of heightened anxiety and alienation, reflecting paranoia, possibly a metaphor for an ambiv- alent situation in contemporary China. More recently, since Yang doesn’t direct his actors anymore, they seem to inhabit plot-less noirs, reflecting the genre more in stylistic ways, as low-key lighting, exaggerated contrasts, a dramatically shadowed lighting, an eroticist style and a psychologically expressive approach to visual composition, or mise-en-sène.

The protagonists of Yang’s works are mostly his contemporaries, young people between the ages of twenty and forty, who have spent most of their lives in a society in transformation. The ideals and anxieties of a new generation, the dignity of the individual in a rapidly developing society still in the process of adjusting to the material conditions of the constantly changing times, are re- curring themes. This is most obvious in photographic series like Don’t worry, it will be better (2000) or Mrs. Huang at M last night (2006), both depict a fancy lady and her courtiers, in a hotel room or at a night out, seemingly enjoying the trophies of their material success. The sly glances of the protagonists, leave the audience in a state of uncertainty regarding the actual events and the storyline.

In other works some scenes and settings visually recall the literati paintings of ancient China, made by artists and intellectuals pursuing spiritual freedom living in seclusion. The Evergreen Nature of Romantic Stories (2000), a series of photographs in which young men and women stare at miniature landscapes (constructed landscapes mimicking natural scenery of rocks, hills and rivers), relocates the importance of reflection in traditional Chinese gardens as a metaphor for personal orientation and identity, in the domesticity of modern apartments. In the early video-installation Tonight Moon (2000), men in swimsuits and men in costumes mingle in an Eastern botanical garden. Multiple story lines develop and diverge on small monitors and a large screen, conveying a sense of ambi- guity. International Hotel (2010), the recent series of black and white photographs of attractive women in bathing suits dipping into a pool at an Art Deco Hotel, invokes the sentimental and touches upon questions about feminine interiority, imbued with melancholy connotations taking the form of moderation and accommodation.

With the film installation East of Que Village (2007), Yang diverges from the urbanity of his other work, delivering a highly personal film that focuses on the sense of isolation and loss increasingly present in China’s contemporary society as communities are scattered, traditional rural villages dissolved, and the fight for survival takes precedence. The imagery is of a desolate and hostile landscape, the host to a group of wild dogs fighting a merciless life-and-death struggle for survival, with only a sporadic presence of human life and social values.

More and more in recent works, Yang shifts his attention toward a reflection on film production. The Fifth Night (Rehearsal) (2010) is an alternative edition of his seven-screen video installation The Fifth Night (with each screen running ten minutes and thirty-seven seconds, the exact length of a reel of film), including four full takes as well as an earlier rehearsal. The artist used different lenses for each camera, but films everything at the same moment. Yang calls this type of installation a “spatial film” or “multiple views” film, and he compares the technique to a contemporary form of the Chinese hand scroll. We see the itinerant youths who often occupy his films, with their pensive, inhibited expressions. Each screen features one solitary “absolute” protagonist; together they compose a series of distinct and mutually unbeknownst worlds. One screen’s lead character, in turn, becomes another’s extra. The sets and props are Yang’s most elaborate to date, with stages, spiral staircases, and alleyways merging into one. The enclosed courtyard in which the piece was shot comes to resemble a maze, pushing the concept of the narrative spatial possibilities of cinema. This bold experiment, which takes an open, outdoor space as an interior, breaks down a boundary that runs throughout Yang’s other films, which have been shot entirely inside or entirely outside. The “rehearsal” version captures the video output from seven monitors that were connected to seven film cameras and ends in “failure”, as one witnesses that one of the cameras breaks, leaving only six channels, assuming the notion that film is both a medium and a site. Additionally, there are three screens of photo documentation and a documentary. Yang coined it a “preview film” because of its raw-image quality, which included viewfinder frames, contradicting the very slick and refined results of the known version. In this instance, Yang transcended his traditional working process of shooting-editing-screening, and pushed further his theory that “anything which has been filmed can be shown. I found that what attracts me the most, and becomes my material, is the process of filmmaking itself.

For more information visit: http://www.kunsthallezurich.ch/_site_eng/akt_index.htm

Banner Image: Yang Fudong, “An Estranged Paradise (mo sheng tian tang),” 1997−2002. Five-channel video (35 mm black and white film transferred to DVD), music by Jin Wang, 76 minutes. Courtesy of the artist, Marian Goodman Gallery, New York / Paris, and ShanghART gallery, Shanghai.

]]> http://haudenschildgarage.com/5040/estranged-paradise-yang-fudong-at-kunsthalle-zurich.htm/feed 0 Cao Fei, Yang Fudong, and Xu Zhen part of China China at PinchukArtCentre http://haudenschildgarage.com/5038/cao-fei-yang-fudong-and-xu-zhen-part-of-china-china-at-pinchukartcentre.htm http://haudenschildgarage.com/5038/cao-fei-yang-fudong-and-xu-zhen-part-of-china-china-at-pinchukartcentre.htm#comments Fri, 19 Apr 2013 17:24:46 +0000 Monica Jovanovich http://haudenschildgarage.com/?p=5038 PinchukArtCentre is proud to present China China, a major group exhibition including eleven Chinese artists of different generations, focusing on the tension between individuality and collective thinking, a subject which not only defined Chinese history and continuously shapes contemporary society, but equally gains importance in the West.

China China is an exhibition about two Chinas, about the present and the past and about choices for the future. Dealing with the continuous search for history and with a reality that is shifting from local to a global context. It highlights the different approach in the generation of artists living through the Cultural Revolution, who find their subject in researching the past while dealing with the present, and the new generation, who engages in an uprooted society, moving forward into a new social-cultural future.

With eleven artist-devoted spaces, PinchukArtCentre offers a complex view on how this theme developed across three generations of contemporary Chinese artists. The exhibition includes iconic work from, among others, Ai Weiwei and Chen Zhen together with major new produced works of Sun Yuan & Peng Yu, and .

The exhibition includes the works of Cao Fei, , Zhang Huan, Ai Weiwei, Yan Xing, Sun Xun, Zhao Yao, Sun Yuan & Peng Yu, Zhao Zhao, Chen Zhen and Xu Zhen.

PinchukArtCentre is the largest and most dynamic private contemporary art centre in Central and Eastern Europe. It is dedicated to fostering artistic education, creation and appreciation in the Ukraine. The PinchukArtCentre is a leading international centre for contemporary 21st-century art. It provides a sustainable contribution to the cultural participation and emancipation of Ukrainian art and society. It also gives a significant contribution to the cultural dialogue between East and West, and between national identity and international challenge. Recent events have included personal exhibitions by Jeff Wall, Gary Hume, Olafur Eliasson, Candice Breitz, Damian Ortega, Sergey Bratkov, Subodh Gupta, Damien Hirst, Anish Kapoor, and others. The art centre has founded prizes to support national and international young artists up to 35. The PinchukArtCentre represented Ukraine at the Venice Biennale on several occasions.

Click here for more information: pinchukartcentre.org

]]> http://haudenschildgarage.com/5038/cao-fei-yang-fudong-and-xu-zhen-part-of-china-china-at-pinchukartcentre.htm/feed 0 Tania Bruguera and Tobias Ostrander part of Museum as Hub conference at the New Museum http://haudenschildgarage.com/5036/tania-bruguera-and-tobias-ostrander-part-of-museum-as-hub-conference-at-the-new-museum.htm http://haudenschildgarage.com/5036/tania-bruguera-and-tobias-ostrander-part-of-museum-as-hub-conference-at-the-new-museum.htm#comments Fri, 19 Apr 2013 17:20:15 +0000 Monica Jovanovich http://haudenschildgarage.com/?p=5036 Museum as Hub conference
April 12–13, 2013

New Museum
235 Bowery
New York, NY 10002

www.newmuseum.org

On April 12 and 13, the Museum as Hub will host its annual conference in New York. Marking the sixth anniversary of the New Museum’s Hub initiative, this conference aims, in part, to consider strategies for the next phase of the project, while also reflecting more broadly on the rapidly shifting global context it inhabits. The conference will dedicate itself to a number of questions pertaining to the notion of “institutions,” exploring ways and means by which art organizations assume shape via programming, alliances with other institutions, and dedication to specific content or contexts. Developed with Museum as Hub partners, this two-day conference held in the New Museum Theater convenes an international group of curators, artists, and scholars to examine themes including the concept of regionalism, the “question of feelings” in relation to curatorial practice, and the imperfect institutionalization of the “discursive object” within the museum.

As both a physical site and a growing network, the Museum as Hub facilitates artistic and intellectual exchange through forms of exhibition, residency, public programming, and editorial and digital projects. Museum as Hub activities are inspired, in part, by a group of internationally operating partner institutions who collaborate to produce shared research and programming. Current Hub partners are the New Museum (founder); art space pool in Seoul; Beirut in Cairo; de_sitio in Mexico City; Inhotim in Brumadinho, Brazil; Miami Art Museum; Townhouse Gallery in Cairo; and the Van Abbemuseum in Eindhoven, the Netherlands.

Panelists
The Museum as Hub Conference panelists include Naomi Beckwith, Curator, Museum of Contemporary Art, Chicago; Tania Bruguera, Immigrant Movement International and Partido Revolucionario Cubano, Queens, New York; Johanna Burton, Keith Haring Director and Curator, Education and Public Engagement, New Museum, New York; Lauren Cornell, Curator, 2015 Triennial, Digital Projects, and Museum as Hub, New Museum, New York; Anne Ellegood, Senior Curator, Hammer Museum, Los Angeles; Taraneh Fazeli, Education Associate, New Museum, New York; Annie Fletcher, Curator, Van Abbemuseum, Eindhoven, the Netherlands; Ryan Inouye, Assistant Curator, Museum as Hub, New Museum, New York; Eungie Joo, Director of Art and Cultural Programs, Inhotim, Brumadinho, Brazil;Hyunjin Kim, Chief Curator, Ilmin Museum of Art, Seoul; Omer Krieger, Artistic Director, Under the Mountain: Festival of New Public Art, Jerusalem; Jay Levenson, Director, International Program, Museum of Modern Art, New York; Michy Marxuach, Cofounder and Codirector, Beta-Local, San Juan, Puerto Rico; Tobias Ostrander, Chief Curator, Miami Art Museum; Daniela Pérez, Cofounder, de_sitio, Mexico City; Alexander Provan, Editor, Triple Canopy, New York; Sarah Rifky, Codirector, Beirut, Cairo;Ashok Sukumaran, pad.ma, CAMP, Mumbai; tranzit.org: Dóra Hegyi, tranzit.hu, Budapest, Vít Havránek, tranzit.cz, Prague, Georg Schöllhammer, tranzit.at, Vienna.

For full descriptions of Museum as Hub Conference panels, visit www.newmuseum.org/calendar.

]]> http://haudenschildgarage.com/5036/tania-bruguera-and-tobias-ostrander-part-of-museum-as-hub-conference-at-the-new-museum.htm/feed 0 Teddy Cruz part of Third Lisbon Architecture Triennale http://haudenschildgarage.com/5033/teddy-cruz-part-of-third-lisbon-architecture-triennale.htm http://haudenschildgarage.com/5033/teddy-cruz-part-of-third-lisbon-architecture-triennale.htm#comments Fri, 19 Apr 2013 17:15:31 +0000 Monica Jovanovich http://haudenschildgarage.com/?p=5033 Close, Closer Third Lisbon Architecture Triennale
12 September–15 December 2013

Opening Week: 12–15 September 2013

Lisbon Architecture Triennale
Trienal de Arquitectura de Lisboa
Campo de Santa Clara, 142-145
1100-474 Lisboa, Portugal

www.close-closer.com

www.trienaldelisboa.com

Chief Curator: Beatrice Galilee
Curators: José Esparza, Mariana Pestana, Liam Young
Assistant Curator: Dani Admiss

Close, Closer, the third Lisbon Architecture Triennale, will open 12 September 2013.  Three major exhibitions, two competitions, a public programmme and a series of associated projects will exhibit an expanded field of contemporary architecture.

Close, Closer, the third Lisbon Architecture Triennale will put forward an alternative reading of contemporary spatial practice. For three months chief curator Beatrice Galilee and curators Liam Young, Mariana Pestana and José Esparza Chong Cuy will examine the multiple possibilities of architectural output through critical and experimental exhibitions, events, performances and debates across the city. During the Triennale, architecture will be portrayed as a living, social and artistic force, charting cultural, political, scientific and aesthetic territories. By largely excluding built-form of architectural practice and focusing on alternatives the Triennale is responding to a shifting economic and social climate in which traditional modes of architectural production are changing and where innovation is breeding fast.

Participating artists, architects, designers, institutions, photographers, writers, scientists, curators, academics and technologists across Close, Closer exhibitions and publications so far include:

Åbäke (UK), Noura Alsayeh (BH), Rachel Armstrong (UK), Artéria (PT), Associação Cultural Moinho da Juventude (PT), Baga Baga Studios (PT), Samit Basu (IN), Francisca Benítez (CL), Lesley Caldwell (UK), Carlos Mínguez Carrasco (ES), CASCO – Office for Art, Design and Theory (NL), Centre for Science and Imagination (US), Center for Urban Pedagogy (US), Cohen Van Balen (ISR/BE), Colectivo Inventado (UK), (GT), Design as Politics (NL), Jonathan Dotse (GH), Warren Ellis (UK), Frida Escobedo (MX), Estudio SIC (ES), EXYZT (FR), Fabrica (IT), Factory Fifteen (UK), Liza Fior (UK), Vincent Fournier (FR), frame collective (PT), Friendly Fire (PT), Maria Fusco (IE), The Gargantua Collective (PT), Ilona Gaynor (UK), Bart Hess (NL), Kiluanji Kia Henda (AO) & Paulo Moreira (PT), Dan Holdsworth (UK), Carsten Höller (DE), Greg Girard (CA), Institut für Raumexperimente (DE), Jornal Arquitectos (PT), Sam Jacobs (UK), Andrés Jaque (ES), Charlie Koolhaas (NL), Onkar Kular (UK) & Noam Toran (US), LIGA, espacio para arquitectura (MX), Tim Maly (CA), Geoff Manaugh (US), Carlos Vaz Marques (PT), Marshmallow Laser Feast (UK), Tim Maly (CA), Inês Neto (PT), Anil Menon (IN), Inês Moreira (PT), Vincenzo Natali (CA), Nuno Nabais (PT), normalearchitettura (IT), Victoria Bugge Øye (NO), “O ESPELHO” (PT), Neri Oxman (US), Simon Park (UK), Daniel Fernández Pascual (ES), Bas Princen (NL), Damon Rich (US), SALT (TR), Victoria Sambunaris (US), Christina Seely (US), Rebecca Schneider (US), Alex Schweder (US), Spatial Agency (UK), Bruce Sterling (US), Storefront for Art and Architecture (US), Strelka Institute (RU), Pelin Tan (TR), terrapalha | estúdio de arquitectura (PT), Teatro Praga (PT), The Center for Genomic Gastronomy (NO/US), Unipop (PT), VOLUME magazine (NL), Ines Weizman (DE), Michael Wolf (DE), Brian Kuan Wood (US), Catherine Wood (UK), Zuloark (ES), Z33 (BE).

Click here for more information: http://www.close-closer.com/en/#/about

]]> http://haudenschildgarage.com/5033/teddy-cruz-part-of-third-lisbon-architecture-triennale.htm/feed 0 Movement Field: Xu Zhen at Long March Space http://haudenschildgarage.com/5030/movement-field-xu-zhen-at-long-march-space.htm http://haudenschildgarage.com/5030/movement-field-xu-zhen-at-long-march-space.htm#comments Fri, 19 Apr 2013 17:03:26 +0000 Monica Jovanovich http://haudenschildgarage.com/?p=5030 MOVEMENT FIELD

LONG MARCH SPACE

27 April – 23 June, 2013

Each of us has a certain desire of accomplishing a movement – Xu Zhen

Provocation has always been a main aspect in Xu Zhen’s creation, touching upon taboos, definitions and rules. His early work8848-1.86, fully reflects doubts about power and truth – this installation is a ‘troublemaker’, ironizing humankind’s illusory and blind pursuit for a certain ‘apogee’- it encompasses the current chaotic situation in politics, economy, culture and history generated by ambitions of hegemony, selfish desires. With provocation as a stimulus, Xu Zhen builds a systematized ‘destruction/reconstruction’ cycle. This logic reached its climax when in 2009he announced that ‘Xu Zhen’ was over, and began ‘MadeIn Company’. Under his direction, MadeIn creative team acted in a more radical way, at the edge of art creation, power and business. Operating under a public ‘undercover’ identity, ‘MadeIn’undertook all kind of experiences within this mechanism.

As Xu Zhen elaborated this art system, ‘Movement’ became a new keyword, it pointed out and aroused a reflection on the complexity of human collective consciousness and attitude. The seriesMovementism,created in 2012, was conceived by Xu Zhen as he subtly caught the fact that “people all have a certain desire of accomplishing a movement”.The newly created Movement Fieldthat will be presented this time, is an utopian space composed of multiplereal movement-relateditineraries. ThisMovement Field is a memorial, which questionspast and future commemorations; it constitutes a place for infinite spiritual quests. Thus, works from the series True Image exhibited within this Movement Fieldrepresents a form of media creation based on media diffusion. Among them, pictorial installations inspired by ‘faith’ and ‘symbols’, such as a lotus composed of gas stoves and huge rainbows Buddha,embodyXu Zhen’s comprehensionof faith and self-belief. ‘Ginseng’ images collected from the internet, probe Eastern and Western different cultural backgrounds and knowledge about a similar material, this work alludes to a certain upright tolerance within disorder and confusion.

These works by XuZhen, will all be displayed in MadeIn Company Spring 2013 New Works Exhibitionorganized by Long March Space. Visitors will have the opportunity to experience Xu Zhen’sMovementism. Xu Zhen considers that Human actions (and thoughts) that are stimulated by goalsconstitutea movement, heraises requestsonitsscale, adheres to this attitude, and determines a particular way of understanding. Through his signature provocation and doubt, 
Xu Zhen audaciously reveals his attitude towards the world.

Produced by MadeIn Company

About Xu Zhen

MadeIn Company Spring 2013 New Works Exhibition will be held at Long March Space. On this occasion, MadeIn Company is proud to announce the launch of the brand ‘Xu Zhen’. Simultaneously,MadeIn will become a company that represents and creates art brands. In 2009, as MadeIn Company was established, Xu Zhen declared he won’t use his individual identity anymore. This return isn’t an individual artist’s comeback, but the creation of a new brand. MadeIn Company will dedicate its work in terms of art creation, production, promotion, and collectionto the brand ‘Xu Zhen’. Hence, Xu Zhen is experiencing a third identity phase: from an individual entity to MadeIn Company’s entrepreneur, to a brand introduced by MadeIn Company. The emergence of ‘Xu Zhen’ brand is a breakthrough in the openness and possibilities in contemporary art; ‘Xu Zhen’ brand development will become a new model in contemporary art.

 

Click here for more information: http://www.longmarchspace.com/exhibition/list_266_newsdetail.html?locale=en_US

]]> http://haudenschildgarage.com/5030/movement-field-xu-zhen-at-long-march-space.htm/feed 0 Germinal: Carlos Amorales at the Museo Tamayo http://haudenschildgarage.com/5026/germinal-carlos-amorales-at-the-museo-tamayo.htm http://haudenschildgarage.com/5026/germinal-carlos-amorales-at-the-museo-tamayo.htm#comments Tue, 19 Mar 2013 18:56:13 +0000 Monica Jovanovich http://haudenschildgarage.com/?p=5026 Opening March 21, 2013

This exhibition, Germinal, presents a new stage in the work of Carlos Amorales, which departs from the creation of a new language. It is originated in the condensation and fragmentation of the images part of his Liquid Archive. Magnolia de la Garza is the curator.

Click here for more information: http://museotamayo.org/SS1/exhibitions/upcoming/

]]> http://haudenschildgarage.com/5026/germinal-carlos-amorales-at-the-museo-tamayo.htm/feed 0 Feng Mengbo and Yang Fudong added to Guggenheim Abu Dhabi’s permanent collection http://haudenschildgarage.com/5024/feng-mengbo-and-yang-fudong-added-to-guggenheim-abu-dhabis-permanent-collection.htm http://haudenschildgarage.com/5024/feng-mengbo-and-yang-fudong-added-to-guggenheim-abu-dhabis-permanent-collection.htm#comments Tue, 19 Mar 2013 18:52:20 +0000 Monica Jovanovich http://haudenschildgarage.com/?p=5024 Public programme to share curatorial vision for the Guggenheim Abu Dhabi
Guggenheim Abu Dhabi’s next Talking Art Series will feature public panels, screenings, workshops and demonstrations by several leading contemporary artists whose works are in the permanent collection of the museum. These programmes will occur twice during this year (6–8 May and 20–23 November) and will unfold over the course of several days at Manarat Al Saadiyat, the exhibition centre on Abu Dhabi’s Saadiyat Island.

In 2013, several of the curatorial narratives helping structure the Guggenheim Abu Dhabi’s collection will be explored, including Popular Culture and the Mediated Image; System, Process, Concept; and History, Memory, Narrative. The roster of participating artists will represent various generations and nationalities. This approach reflects the fundamentally transnational perspective on art history being advanced by the Guggenheim Abu Dhabi, which acknowledges the dynamics of art making across geographies and across different moments in time. The May programme will feature, among others, El Anatsui, Chant Avedissian, , Youssef Nabil and James Rosenquist. The November programme, which will coincide with Abu Dhabi Art, is expected to welcome another international array of artists, includingHeinz Mack, Marwan, Hassan Sharif, Monika Sosnowska and .

Commenting on the latest milestone for the Saadiyat Cultural District, HE Sheikh Sultan bin Tahnoon Al Nahyan, Chairman of Abu Dhabi Tourism & Culture Authority (TCA Abu Dhabi) said: “Guggenheim Abu Dhabi, through its transnational perspective on art history, pioneers a novel, visionary model that will redefine the art-historical canon. Through its collection, exhibitions and educational programmes, this museum will contribute to expanding the critical histories of contemporary art in the 21st century and foster appreciation of outstanding creative achievements amongst the regional and international audiences.”

HE Mubarak Hamad Al Muhairi, Director General, TCA Abu Dhabi, said: “Talking Art Series is a dynamic platform for the Saadiyat Cultural District, giving insight into the types of art and ideas that people can expect to encounter when each museum opens. We hope that bringing major contemporary artists to Abu Dhabi for this public programme encourages continued engagement with Guggenheim Abu Dhabi and results in inspiring dialogue between local and global perspectives.”

About the Talking Art Programme
The Talking Art programme is a series of public discussions to engage audiences with each of the forthcoming museums in the Saadiyat Cultural District, where representatives from the curatorial departments of each of the partner institutions join other expert panellists to examine issues pertaining to the growing collections and museum developments.

Specifically, the Guggenheim Abu Dhabi: Talking Art Series provides an introduction to the curatorial vision for the Guggenheim Abu Dhabi. It creates a dynamic platform for sharing with the public insight into the types of art and ideas that they can expect to encounter in the future museum. The series sheds light on artworks that have been acquired by the Guggenheim Abu Dhabi to date, individual artistic vision and practice; key themes and approaches in contemporary art; and the curatorial narratives that constitute a defining framework for the Guggenheim Abu Dhabi Collection including: (1) Popular Culture & the Mediated Image, (2) Abstractions, (3) History, Memory, Narrative, (4) System, Process, Concept, and (5) Global Perspectives.

This edition follows the November 2012 panel in the Guggenheim Abu Dhabi: Talking Art Series with Richard Armstrong (Director of Solomon R. Guggenheim Museum and Foundation), Frank Gehry (architect of Guggenheim Abu Dhabi) and H.E. Zaki Nusseibeh (Adviser to the UAE’s Ministry of Presidential Affairs) during Abu Dhabi Art, where a progress update was given and select acquisitions for the Guggenheim Abu Dhabi Collection were revealed, including works by Monir Farmanfarmaian, Subodh Gupta, Rachid Koraïchi, Jacques Villeglé and Ai Weiwei.

Click here for more information: www.saadiyatculturaldistrict.ae

]]> http://haudenschildgarage.com/5024/feng-mengbo-and-yang-fudong-added-to-guggenheim-abu-dhabis-permanent-collection.htm/feed 0 One Minute Film Festival at MASS MoCA http://haudenschildgarage.com/5022/one-minute-film-festival-at-mass-moca.htm http://haudenschildgarage.com/5022/one-minute-film-festival-at-mass-moca.htm#comments Tue, 19 Mar 2013 18:44:49 +0000 Monica Jovanovich http://haudenschildgarage.com/?p=5022 The One Minute Film Festival took place annually in a barn outside of a small town in upstate New York, on the first Saturday after the 4th of July, from 2003-2012. On that day, artists, writers, film- and video-makers, and their friends and families would arrive in the afternoon with food and drink and a one-minute movie. After sunset, everyone took their seats and the movies began, usually lasting two or three hours, and afterwards people danced. Many people camped out, others made the late night drive home, and more would stay in nearby inns or at friends in the Narrowsburg, NY, area, in western Sullivan County, near the Pennsylvania border. The festival was organized and hosted by artists Jason Simon and Moyra Davey.

The festival samples a decade through the participation of hundreds of makers: ten years spanning the extremes of George Bush and Barack Obama, of You Tube and the near ubiquity of video within cultural institutions. Using the festival as a backdrop for reflections on moving image art practices, the book takes the festival’s eponymous time signature, in combination with its production of the social (more festive than festival), as a critical frame for contributors. The exhibition will celebrate the 10 years of the festival, including a special exquisite corpse film for year 10. This hour-long film was created by artists each receiving the last second of a previous film and building a new minute based on that glimpse.

Participating artists include Peggy Ahwesh, Judith Barry, Gregg Bordowitz, Todd Beecraft, Chris Brunt, Megan Cump, Eric Davis, Peter Cole, Anna Craycroft, Adam Simon, Shit TV, Robert Williams, Sowon Kwon, Alex Yalakidis, Martin Beck, Moyra Davey, Ewa Einhorn, Su Friedrich, Alice and Della Wilsey, Angel Nevarez, Bill Burns, Aaron Namenwirth, Anna Hansflen, Andrea Fraser, Daphne Fitzpatrick, Josiah McElheny, David Dempewolf, Bill Stone, Myrel Chernick, Jimmie Durham, Jon Kessler, Hope Ginsburg, Jennifer Montgomery, Matt Dugan, Lenka Clayton, Klara Hobza, Mark Dion, Christy Gast, Claire Pentecost, Barbara Bergstrom, Perry Bard, Ellen McMahon, Holen Kahn, Sam Lewallen, Roddy Bogawa, J. Morgan Puett, Dana Sherwood, Amy Yoes, Valerie Tevere, Matthew Buckingham, Liza Philips, Karin Felbermayer, Jorge Colombo, Andrea Geyer, Julie Ault, Sean Reynard, Francis Cape, Bob Braine, Francisca Benitez, Raina Benoit, Catherine Berg, Jacob Borndal, Pat Carullo, Dennis Balk, Cathy Clarke, Anne Colvin, Shea Craig, Megan Cump, Pradeep Dalal, Richard Elovitch, Kelly Fancher, Erik Freeland, Marc Ganzglass, Dave Gearey, Michael Gitlin, Chelsea Goodchild, Mitchell Goodman, Jackie Goss, Thersa Hackett, John Haskell, Sharon Hayes, Liza Johnson, Iain Kerr, Athena Kokoronis, E.M, Langer, Eli Langer, Jerry Lerner, Lana Lin, Lan Thao Lam, Jeff Luckey, Keith Malik, Babette Mangolte, Amanda Mattes, Yvette Matern, Richard & Eric Metzgar, Ulrike Muller, Julia Murray, Molly Nesbit, Jaye Nydick, Jason Protass, Michael Owens, Rebecca Purcell, Gary Graham, William Bryan Purcell, George Quasha, Lucy Raven, Fay Ray, Larilyn Sanchez, Jeff Silva, Sherry Williams, Pawel Wojtasik, S. Wolle and hundreds of others.

Click here for more information: http://www.massmoca.org/event_details.php?id=757

]]> http://haudenschildgarage.com/5022/one-minute-film-festival-at-mass-moca.htm/feed 0 Hou Hanru included in ICI’s Curatorial Seminar in Istanbul http://haudenschildgarage.com/5019/hou-hanru-included-in-icis-curatorial-seminar-in-istanbul.htm http://haudenschildgarage.com/5019/hou-hanru-included-in-icis-curatorial-seminar-in-istanbul.htm#comments Tue, 19 Mar 2013 18:34:15 +0000 Monica Jovanovich http://haudenschildgarage.com/?p=5019 Developed by ICI, the Curatorial Seminar will offer a small group of curators the opportunity to engage closely with mentors and their peers to explore pertinent issues relating to exhibition-making, commissioning, running non-profits, and other activities curators are now regularly expected to perform. This program will be open to curators working all over the world who have 6+ years of experience, and alumni of the Curatorial Intensive program are welcome to apply.

The Curatorial Seminar will focus on Istanbul as a case study, exploring a number of key issues that challenge our understanding of what constitutes an emerging art scene, the strengths and pitfalls of working within such a context, and questions of how to develop a curatorial practice that supports the development of artists and local infrastructure within the international art world.

Between June 11 and September 20 the seminar will be conducted via online sessions that will include lectures from curators, roundtable discussions, reading groups, and workshops to explore each participant’s research topic. Between September 21 and 25 the seminar will be held in Istanbul, and will include site visits to artists’ studios and selected venues, an in-depth study of the Istanbul Biennial, and seminar sessions with guest curators.

The activities will be led by the following faculty: Zoe Butt (Executive Director and Curator at Sàn Art, Ho Chi Minh), María del Carmen Carrión (Associate Director of Public Programs & Research, ICI, NY), Kate Fowle (Chief Curator at Garage, Moscow, and Director-at-Large of ICI, New York),  (Curator of the 5th Auckland Triennial), Vasif Kortun (Director of Research and Programs, SALT, Istanbul), and Sally Tallant (Director of the Liverpool Biennial), among others. 

About the Curatorial Seminar
The Curatorial Seminar evolved from ICI’s successful short-term, low-cost training program, The Curatorial Intensive. This new model emphasizes the importance of curatorial research and writing. In contrast to the fast pace and rigorous concentration of our Curatorial Intensive model, this one proposes a longer duration in which to conduct in-depth analysis of a single topic that will spread out in time. Taking advantage of the tools available for online knowledge sharing and collaborative work, the Curatorial Seminar enables participants to remain at their workplaces and still engage in an international dialogue. The purpose of the Curatorial Seminar is to offer a small group of curators the opportunity to engage closely with mentors and their peers to explore pertinent issues of contemporary curatorial practice.

Click here for more information: http://curatorsintl.org/intensive/curatorial_seminar_in_istanbul

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