haegue yang at gwangju art biennale 2010

‘series of vulnerable arrangements-concerns towards personal limits’ (2008),
installation with 7 lightsculptures, dimensions variable
image © designboom

korean artist haegue yang is the recipient of the young artist award at this year’s gwangju art biennale.

haegue yang (b.1971 seoul, south korea) ‘s work consists of delicate, purposeful arrangements of everyday objects and devices – venetian blinds, light bulbs, fans, heaters, air conditioners, electric wires – which envelope the senses and create abstract narratives. yang’s installation works often form a kind of playground for perceptual experience. a room of yang’s sculptures might offer such sensations as being caressed by a cooling breeze of the radiating heat of a portable heater, patterns of light filtered through a thicket of entangled venetian blinds or odors wafting through the room from a scent emitter. since 2006, yang has created collections of apparatuses and objects that share a certain provisional, fragile quality but which nevertheless manage to maintain cohesion and aesthetic balance. one of these collective groupings, ‘series of vulnerable arrangements – concern towards personal limits’ (2008), consist of a series of sculptures assembled out of what appears to be clothing racks or stands for medical equipment that have been festooned with all manner of materials – mardi gras beads, christmas lights, seashells, tinsel, colored electrical cords, light bulbs, and various other detritus. in light of the work’s subtitle, the sculptures take on a curious anthropomorphic cast, becoming, perhaps, proxy representations of different guises that yang might assume in order to discover the contours of her own limits. taken as kind of an injunction, this practice of projection might extend to the viewer as well – perhaps they are works that ask us not to expand on our sensory understanding, but to expand on the sense of ourselves through these strange, vulnerable proxies.

Stan Vanderbeek at gwangju art biennale 2010

Stan Vaderbeek (b.1927, d. 1984 new york city, U.S.A.) was once a major figure of the new york avant-garde, associating with luminaries like claes oldenburg, jim dine, robert morris, allan kaprow, and yvonne rainer. the subject of a retrospective at anthology film archives in 1977, vanderbeek worked as an artist-in-residence at NASA and at MIT, and exhibited at major museums and international art events. after his death in 1984 at the age of 57, his work was largely forgotten, but thanks to recent efforts by artists and his family, vanderbeek is again becoming more widely known.

initially recognized for his experimental animation work, vanderbeek developed a fascination with technology later in life, becoming one of the first artists to work seriously with computers. this interest in technology, coupled with vanderbeek’s affinity for the work of canadian media theorist marshall mcluhan, led to the conception of his most ambitious unrealized project, the ‘movie-drome’ (1965). vanderbeek’s idea was to create an international networked image-bank–accessible and customizable by the local public–for the presentation of images and video. had vanderbeek’s idea been realized, it would have created a rough prototype of the internet, but the outlandish expense and attendant technological roadblocks ensured that the project remained a dream. a model movie-drome was constructed from material salvaged from an abandoned grain silo, where he staged encompassing multi-media events using film and slide projectors to fill the interior with a rotating collage of images. he later created smaller, moveable versions called ‘electric assemblages,’ a version of which is featured
at the biennale.

panels for the walls of the world(re-staging), 1967/2008
16mm film transfers, video projection, slide projection

image © designboom

Josh Beckman’s Sea Nymph: A shipwrecked boat inside Machine September 5 – October 8

For a period of five weeks Josh Beckman’s Sea Nymph will be host to a whole series of nautical-themed events, performances, lectures, and workshops, as well as an opera by and for dogs. Inside the capsized hull of the ship there will also be a crystal cave. For a full list of ever-updating, feverishly programmed maritime events, see the full schedule below.

You can watch the shipwreck on our mast-cam. The mast-cam is streaming on u-stream so you might get subjected to an advertisement as it loads. Whatever, free streaming.

Beckman’s shipwreck installation, Sea Nymph, forms a centrepiece for Machine Project‘s current season of talks, events, workshops and performances, which include, as they say on their website, an opera by and for dogs. Aha, ‘sea dogs’ no doubt.

All images by Marianne Williams. More at machineproject.com.

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Claude Monet Exhibition Les Galeries nationales du Grand Palais


An exhibition of great wealth tracing back the artistic development of one of the most illustrious fathers of impressionism: Claude Monet. Monet, the most celebrated representative of the Impressionist movement, painted for more than sixty years: landscapes (On the Bank of the Seine, Étretat, Belle-Île…), figures, still lifes (Le Déjeuner sur l’herbe). These masterpieces, rarely loaned by the Orsay Museum, form a unique ensemble within the exhibition, alongside other paintings from major foreign collections. In 1890, Monet acquired his now famous property at Giverny. His art moved on, especially with the large format Water Lilies series. He invented his own personal path, reconciling a deep attachment to nature with evocations of his own poetic universe.
Organised by the Réunion des musées nationaux and the Orsay Museum, the “Claude Monet 1840-1926″ exhibition is the first monograph devoted to the artist since the major retrospective in 1980. Its international commissioners have set out to present the whole of his career, in the light of the most recent research. Bringing together 200 paintings, it will feature exclusive loans from countries all over the world including Australia, Brazil, USA, the Netherlands, and Russia.

September 22 2010 – January 24 2011, Opening from Friday to Monday from 9 am to 10 pm, on Wednesday from 10 am to 10 pm, on Thursday from 10 am to 8 pm, closed on every Tuesday and on December 25. Closing at 6 pm on December 24 and 31.

Admission: 12 € – Concession: 8 €

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Mob Attacks Tophane Art Galleries in Istanbul

After a group of people terrorized a number of art galleries in Istanbul’s Tophane district on Tuesday night, assaulting and wounding gallery visitors, the city’s governor said seven people were detained while the investigation is ongoing, but the people of the neighborhood and art circles are restless.

Around 9 p.m. on Tuesday night, windows of some art galleries were broken and at least five people were wounded in a squabble. Istanbul Governor Hüseyin Avni Mutlu said the incident will be investigated by questioning the detained people. “Our police officers are investigating what happened and why it happened. Obviously, there is a crime; nobody’s business should be attacked like this, and nobody inside should be harmed. It is our responsibility to provide a peaceful environment for people to present their art and live in peace,” the governor said.

Saying that the media interpreted the incident in various ways, the governor added that whatever the reason “the attack is unacceptable.”

Later in the day, the governor also said that the incident was a result of the overcrowding that night in the area where there are narrow streets preventing easy pedestrian flow.

Some media reports called the incident “barbarity in ?stanbul,” and some claimed that the people of Tophane were putting pressure on artists who have taboo-breaking works.

Bedri Baykam, a well-known painter who spoke outside the police station, said “This is a re-enactment of Madimak after 17 years,” in reference to the deaths of 37 people in Sivas in 1993 when an angry mob set on fire a hotel where many artists and intellectuals were staying to attend the Pir Sultan Abdal Cultural and Literary Festival.

People who were inside the gallery said they were attacked all of a sudden with pepper spray. Baykam was at the police station to support the people who were attacked.

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125 YouTube videos shortlisted for Guggenheim show

NEW YORK — Among the hundreds of thousands of videos uploaded daily to YouTube, surely a work of art is in there somewhere. That’s the premise behind “YouTube Play: A Biennial of Creative Video.”

“YouTube Play” is the first curated search for videos of a higher brow on the popular Google-owned website. Some 125 videos were shortlisted for the biennial from more than 23,000 submissions from 91 countries. They’ll play at kiosks in Guggenheim museums in New York; Berlin; Bilbao, Spain, and Venice, Italy, beginning Monday.

“We artists can no longer call ourselves artists just by discovering and providing something special,” said Takashi Murakami, a Japanese artist who is part of the jury. “In a way, YouTube is a medium inciting revolution and terrifying us with a Katana (samurai sword). We must challenge YouTube on a daily basis.”

Submissions being considered included some from students, filmmakers, composers, comedy groups, musicians, video game programmers, and a women’s chess champion.

Videos by the finalists can be viewed online at youtube.com/play and those selected for the exhibit will be available internationally at the YouTube Play channel.

A jury including filmmaker Darren Aronofsky and visual artist Takashi Murakami will whittle the results down to about 20 videos. Those will be presented at the Guggenheim in New York on Oct. 21.

Eastern Europe Concept Art workshop

The first Concept Art based workshop happening in Eastern Europe, will hit the streets of in 22 till the 25th October.

Come prepared, this will not be your usual fancy instructors opening up PSDs and improvising a presentation. These heavyweights of concept art and illustration will be on their toes, all willingly to provide the best educational, inspirational, motivational event possible to the participants! Students from around Europe and the globe now have the chance to surround themselves with the biggest learning force that has hit Europe yet, all eager to share their knowledge inside out abut Concept art for games and films for the next generations of artist. This is the opportunity for artists aspiring or working in the field to be exposed to dozens of years of experience both from this super lineup of instructor and from everyone attending.

You can find more about the event in the workshop’s official website.

Looking out at the landscape

FIRST you walk past the angular, airy architecture studios, then the roomy fine art ones all bathed in natural light, and finally you descend the stairs. Kit Wise’s studio is down here, off an out-of-the-way corridor at Monash University. It’s a quiet, carpeted room where the door stays shut and the blinds remain lowered.

It’s not that Wise doesn’t like the outdoors – he does open-water swimming each morning and cycles to work – but when it comes to making art, he is perfectly happy to absorb all things natural-landscape via a computer screen.

His landscapes are pointedly unnatural anyway, with nuclear explosions, tsunamis and burning Kuwaiti oil fields the sort of vistas he’s been dwelling on. His latest works contain found footage of 1950s nuclear bomb test explosions in the Nevada desert, film he slows right down so that violently frothing rock assumes a picturesque serenity. In one instance he overlays the destruction with time-lapse footage of a red geranium coming into flower.

It’s all sourced from the internet and, just as Wise used to make sculpture out of found objects (an old double mattress studded with a ”stain” of 75,000 brass drawing pins, say, or green glass bottles embedded into a tree trunk), now he uses existing images. ”When I’ve tried to photograph the landscape I have found that the images lack a value; how can I make another object be as interesting as what exists?” he says. ”I find it more meaningful to use the existing grammar of culture; to use open source archives which anyone can look at and billions do.”

He has a laptop and four hard drives and can therefore work in his studio at Monash, in a ”quiet corner” at home, or on aeroplanes (he recently returned from a residency in London and is now making a piece for a 25-metre screen in downtown Chicago).

But given the choice, Wise, who for the past two years has been acting head of Monash’s fine arts department and is on sabbatical, chooses to work in his university studio. He can ”work things up” on his hard drive and then ”run upstairs” to the technician and large format printer. He has mirrors, opaque acrylic sheets and light boxes down here, all used in various works over the years to better blur any boundaries between the horrific and the aesthetic. Coming from a sculpture background, Wise likes his DVDs and photographs to have an installation component.

In another throwback to his sculpture days, he has a cluster of glass vessels filled with cloudy liquid set atop a plinth in his studio. He calls it his ”little experiment” involving $2-shop super glue and Ikea glasses. The aim is to make his own strange, blossoming Nevada-dese

Collecting art as a life’s (art) work

MAM preparator Bruce Rainier awaits approval from Herb and Dorothy Vogel for the location he proposes for a painting in the 'Living for Art' exhibition opening next week. A videographer documents the installation process for a film by the documentarian Megumi Sasaki, a sequel to her 2008 'Herb and Dorothy.' Below, Herb Vogel is known for the intense gaze he directs at works of art.

PHOTOS BY TANYA DROBNESS

‘Living for Art,’ 50 works from the collection of Herb and Dorothy Vogel, opens next week Milwaukee Art Museum, preparator Bruce Rainier awaits approval from Herb and Dorothy Vogel for the location he proposes for a painting in the ‘Living for Art’ exhibition opening next week. A videographer documents the installation process for a film by the documentarian Megumi Sasaki, a sequel to her 2008 ‘Herb and Dorothy.’ Below, Herb Vogel is known for the intense gaze he directs at works of art. Dorothy Vogel studied music history in college and loved to go to plays. “I don’t like to read about art criticism because I never learned the vocabulary,” she says. But she married a man who loved art, knew all the artists, and knew where all the galleries were. “I followed my husband’s lead and fell into it,” Dorothy said. “Pretty soon I was his equal. We did things together.” What Dorothy and her husband, Herb, did was to amass an extraordinary collection of contemporary American art, primarily minimal and conceptual art. And they did it on a shoestring. Beginning soon after their marriage in 1962, they lived on her librarian’s salary and spent what he earned as a postal clerk on art. Artists knew they didn’t have much to spend, but appreciated their passion. The Vogels got their first Christo by pet-sitting Christo and Jeanne-Claude’s cats. The Vogels came to the Montclair Art Museum last week to oversee the installation of a show they made possible: “Living for Art: The Dorothy and Herbert Vogel Collection,” which opens on Friday, Sept. 24.

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The new age of ignorance

It is an immutable law of nature that acute embarrassment can make a few short seconds last pretty much for ever. The longest two minutes of my life occurred in the company of James Watson, one half of the famous double act who discovered the double helix. I was interviewing Watson, then in his late seventies, at his lab in Cold Spring Harbor on Long Island. At one point, I referred blithely to the ‘perfect simplicity’ of his and Francis Crick’s findings about the code of life.

Watson is a mischievous, famously prickly man and that phrase seemed to get under his skin. He raised an eyebrow. He sat back. He thought he would have some fun. Seeing as it was all so perfectly simple, he suggested, maybe I could briefly run through my understanding of DNA base pairing, say, or chromosome mapping.

What followed – a tangled, stuttering stream of consciousness reflecting distant O-level biology and recent half-understanding of Watson’s brilliant books, punctuated with words like ‘replication’ and ‘mutation’ and meaning nothing much – gave new resonance to the notion of floundering.

Watson, resisting the temptation to laugh, correct or comment, simply moved on, having categorically established our respective levels of evolution. I can still cringe now at the brief pause that concluded my ill-judged aside on the significance of the genome.

Given that science informs so much of our culture, and so many of us have such patchy knowledge, it is surprising that such embarrassments are not routine. It’s half a century since CP Snow put forward the idea of the ‘Two Cultures’, the intractable divide between the sciences and the humanities, first in an article in the New Statesman, then in a lecture series at Cambridge and finally in a book. Back then, Snow, who was both a novelist and a physicist, used to employ a test at dinner parties to demonstrate his argument.

‘A good many times,’ he suggested, ‘I have been present at gatherings of people who, by the standards of the traditional culture, are thought highly educated and who have with considerable gusto been expressing their incredulity at the illiteracy of scientists. Once or twice, I have been provoked and have asked the company how many of them could describe the Second Law of Thermodynamics. The response was cold; it was also negative. Yet I was asking something which is the scientific equivalent of: have you ever read a work of Shakespeare’s?’

Fifty years on, and exponential scientific advance later, it seems unlikely that the response of dinner guests would be much different. I was reminded of Snow’s test when reading the new book by Natalie Angier, science editor of the New York Times. Angier’s book is called The Canon, and subtitled ‘A Whirligig Tour of the Beautiful Basics of Science’. It is not a long book and it contains, as the title suggests, a breathless Baedeker of the fundamental scientific knowledge Angier believes is the minimum requirement of an educated person.

Tim Adams, The Observer, Sunday 1 July 2007

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