Jane and Louise Wilson - Dream Time (film still)
This artwork documents the launch of the 2001 International Space Rocket at Baikonur Cosmodrome in Kazakstan. The Cosmodrome is the focal point of the Russian space programme. It was from here that in 1961 Yuri Gagarin became the first man to be launched into space and, more recently, where the IS.S star and sunrise were launched.
Sydney Biennial - THE BEAUTY OF DISTANCE: Songs of Survival in a Precarious AgeArt Gallery Of New South Wales
Art Gallery Road
Lower Level 3
This two-day forum related to the core elements around which the 17th Biennale of Sydney – THE BEAUTY OF DISTANCE: Songs of Survival in a Precarious Age – had been built. It started from a critical consideration of the external forces and hierarchies that affect how we perceive art – forces in relation to which modern and contemporary art has traditionally been defined.
By bringing together speakers from many different disciplines and cultures, the forum also examined the increasingly important (but still neglected) field of comparative aesthetics.
Moving between the ideas and languages of pre-modernity, modernity and now, it considered art’s positive power and critical role, how this dialogues with different worlds and how it's been used as a means of either reinforcing or subverting ideas of materialism and property, alternatively as an expression of non-material or metaphysical value.
Friday, 14 May 2010
* 9.30am: Registration
* 10am: Introduction
* 10.10 am: Poverty, freedom and rights
Panel: Steven Loft, Leah Gordon, Amareswar Galla, Enrique Chagoya, Margaret Levi (chair)
* 1pm: Is it smart to be materialist?
Panel: Fred Tomaselli, Gonkar Gyatso, Megan Tamati-Quennell, Apinan Poshyananda (chair)
* 2.40pm: History, experience, truth and empathy
Panel: Bruce Ferguson, Fiona Pardington, Dana Claxton, Teka Selman, Catriona Moore (chair)
* 4.20 pm: Chto Delat: Tower Songspiel, Olga Egorova (presents a new work)
Saturday, 15May 2010
* 9.30am: Registration
* 10am: Introduction
* 10.10 am: First people, diaspora and fourth worlds
Panel: Ngahiraka Mason, Kent Monkman, Claudio Dicochea, Brenda Croft (chair)
* 11.50 am: Communities, commons, copyright
Panel: Ben White, Eileen Simpson, Gerald McMaster, Larissa Behrendt/Terri Janke (chair)* 1.20pm: Lunch
* 2.30pm: Curating what?
Panel: James Putnam, Hu Fang, David A Bailey, Pier Luigi Tazzi, Ekaterina Degot, Simon Njami, David Elliott (chair)
* 4pm: Coffee break
* 4.20pm: Nick Waterlow Memorial Lecture
Lawrence Weschler: Serenity and terror in Vermeer and after.
15th - 28th July 2018
Contemporary Art and Spirits (CAS)
3rd floor A.I.R.1963 Bdg., 1-2-25 Motomachi, Naniwa-ku,
556-0016 Osaka, JAPAN
"The stage Kawaguchi chose for this performance is the island country of fire and ice, Iceland. Kawaguchi wearing metallic clothes and goggles appeared, and in a rectangular parallel piped monolith covered with semi-transparent vinyl on every side, like the one who drew a picture for the first time in primitive caves, Have a brush on hand. The space composition that illuminates these experiences will be the work of this exhibition". - Masafumi Fukagawa
Tatsumi Orimoto - Le Vie De Breadman - Available to buy in the bookstore, please email email@example.com.
Hyung S Kim photograph of Kim Julja.
Waugh Office is pleased to now be the European representative for the photography of Hyung S Kim. Sales and exhibition inquiries email firstname.lastname@example.org.
Hyung S Kim photograph of Yun Chunkum.
Midori Mitamura's "Art & Breakfast" for Leaving Language at The Metropole Gallery Folkestone England.
Ben Rivers project "A World Rattled Out Of Habit" was at A Foundation Liverpool in 2009.
Ben Rivers’ work often explores our relationship with the wilderness, and with ways of hermetic world-making. Primarily shot on black and white 16mm film, his works are difficult to place in a specific time, depicting lives lived at the edges of society or imagined landscapes populated with the soundtracks of old films and cinematic trickery.
The exhibition at A Foundation presented many existing works including the acclaimed "Ah, Liberty!", winner of the Tiger Award at Rotterdam Film Festival and "This is My Land", a portrait of Jake Williams, who lived alone in the forests of Aberdeenshire separate from society and with a unique perspective on time – he creates hedges with bird feeders, allowing droppings to germinate and grow.
Ben Rivers at Kate MacGarry reviews Laura McLean-Ferris.
"An industrial building by the canal on Vyner Street in London's East End is the last place you might expect to find a glimpse into a world of rural, isolated wilderness. But venture down that street you should, to spend a few moments listening to a man who lives alone in the wild, and to see the landscape of this very country as if it were totally alien – a glorious planet of fetid flora and kaleidoscopic colour. This is the first solo exhibition in a London gallery of artist Ben Rivers, an award-winning film-maker from Somerset in his late thirties, who has a long-term, almost anthropological interest in those who live in isolated locations. Inside Kate MacGarry gallery, you will find a shed-like structure built from discarded building materials: corrugated metal, old windows, garden gates and industrial waste. All surplus to requirement, unwanted and disregarded.
A noisy, rickety projector sits just outside, casting a film inside the ramshackle cabin, which announces itself as "An exploration into the nature of the world via the extraordinary S who lives in the wilderness". S truly is extraordinary, living alone in a cabin in the Scottish highlands in a structure not unlike the one in the gallery, and "evolution", as he says in the film "has been his bag for a long time". Rivers became interested in this isolated character after he heard a friend talking about a man who had spent 20 years reading Darwin's On the Origin of Species, though this turned out to be an exaggeration. S has had much time to ponder his surroundings, however, both through his observations of the forest around him and through his interest in the theories of others, which, we understand from this short film, include evolutionary theory and quantum mechanics.
Rivers's film provides more than an anthropological study of an individual however. Filmed using an old Bolex camera, he presents us with pictures of nature that are beautiful, yet complex. The dramatic splendour on film here is both immediate and nostalgic – the footage is scratchy and grainy, yet bright and too vivid – dappled sunlight is captured soft and yellow scattered over tawny leaves; a tattered spider's web is captured with a pale sunlight shining through it and surrounded by another pink light that is turned into a soft flaring hexagon by the old camera. The film has the appearance of something that has been discovered in a forgotten box in an attic, something from another time, and Rivers is fully aware of the power of this unequivocally gorgeous old material. S describes Darwin's idea that the world was waiting for humans, as if the world needed someone to come and have a look at it, to contemplate it and consider it. And here we are – looking.
From this particularly urban location, nature seems magical, and full of wonder. However, Rivers' film also plays to our fears about a life after some kind of catastrophe – an existence dredged from the waste of a ruined civilisation. Insects crawl over old newspaper pages lying on the forest floor, the new emperors of a forgotten civilisation. Watching S's contraptions at work, made from the discarded materials of others we wonder how we might survive if all the technology we have were to fall away, and whether everything that we have built might lead us further away from the bright twinkling, enchanted world that we see on screen – already it seems far, far away."
Haroon Mirza solo project "Adhãn" and "Paradise Loft" was at A Foundation Liverpool from October until November 2009.
Whilst the instruments of "Adhãn" build into structured audiovisual performance, "Paradise Loft" is immediately bewildering; a transistor radio spins wildly upon a turntable, a skewed video projection occupies one wall whilst garbled words and a punching mechanical rhythm fill the space. Yet the larger scale of this installation also allows viewers to tune into and synthesize the role performed by each found component, immersed in the more complex visual and acoustic rhythms of the piece.