The exhibition of Anton Terziev (b. 1977) in the ICA-Sofia Gallery is a result of his 6-week artist’s residency with the International Studio and Curatorial Program in New York as the 2010 recipient of the BAZA Award, an initiative of ICA-Sofia realized in cooperation with the Foundation for a Civil Society (USA) and Sofia Art Gallery.
The exhibition presents objects and videos that are sharp criticism of the society of today where the individual is desperately searching for ways to fit into the often absurd societal manifestations and behavioral patterns. The prosaic question of “What is your occupation?” (a line of work as well as a position) has been written with blood on a formal white shirt. It is addressing not only issues of profession and how ones is making a living, but also the ethical, civil and even physical projections of the human being in public space. It is also a reminder of the current Occupy Wall Street political movement and the street demonstrations against the culprits of the financial crisis, which originated in New York and quickly spread around the world.
Urged to take an active position, the viewer may leave all unneeded qualities and inhibitions in the “Boarding House for Angels and Demons”. Just like with house pets, the viewer may later reclaim these in case of future necessity. In the meantime the viewer can see two video works titled „When I Appear It Disappears”. The videos juxtapose Times Square with the tourists - constantly besieging its space while disturbing the normal daily routines of the locals, with Central Park – a supposed place for rest and relaxation, which however many New Yorkers are constantly crisscrossing in a healthy jogging mode… The viewer may also appreciate the business plan of the Orthodox Church with its aggressive merchandising in “Product Placement”; or watch the slide show in “HeArt Rate”, which is an ironical measuring of how art works from different museum collections are influencing one’s pulse. Then the viewer may compare that to the “What I stole from the MoMA” print that represents the museum guards – the only museum objects forbidden to photograph that are however nobody’s object of interest or admiration…
At the end the viewer must inevitably arm him/herself with “Contemporary Tools of Labor” for the “knowledge”-hungry media sapiens of today needs a survival kit in order to invalidate, dismantle and digest everyday life bit by bit.
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Anton Terziev lives and works in Sofia. In 2004 he graduated from the Ceramics Department of the National Art Academy in Sofia. He has had solo shows in Sofia, Plovdiv and Bratislava. In the last several years he has participated in show representing contemporary art in Bulgaria and abroad such as: Light House and the Storm, Bath, UK (2000); Discrimination, Nilon Gallery, Istanbul (2003); Donumenta, Regensburg Germany (2005); On Difference 2, Goethe Institut, Sofia (2006); The Presence of the Body, Troy, NY (2007); Disconnected People, Koridor Gallery, Plovdiv and Art Generator, Macedonia (2009); After the Flight, ICA-Sofia Gallery; NurtureArt, New York; Open Studios, ISCP, New York (all in 2011); etc.
The artist has created numerous performances, actions and presentations, some of them with the Ultrafuturo Group. He is the author of short films as well as of the books No Portrait for the Artist (Zhanet, 2007); Urban Yoga for Beginners (Siela, 2008); Local Heroes (Siela, 2010).
Anton Terziev has been awarded: by the Council of Ministers of Bulgaria for a project for a monumental ceramics work (realized together with Samuil Stoyanov, 2001); the Special Prize for Debut in visual arts by the RFI-Bulgaria program Picnic on Vesuvius (2004); and the BAZA award for contemporary art (2010).
ICA-Sofia Gallery. Open: Tuesday – Saturday from 3 pm to 7 pm and by appointmen
Initiated by playwright Vaclav Havel, poet and artist Jiri Kolar, and artist Theodor Pistek, the Jindřich Chalupecký Award was first presented in 1990 and envisioned as an annual award. The award was named to honor the philosopher, art and literary critic Jindrich Chalupecky for his lifetime achievements and unwavering position in promoting freedom of thought and expression as the pre-requisite for the existence of art.
The Award has been presented to an artist up to 35 years old in an open and transparent competition process every year since its inception. The Jindrich Chalupecky Society, a civic association was founded to manage the annual competition. The finalists and the winner are selected by an expert jury, whose members are appointed for a period of two years.
OHO Award for visual artist is established by the P.A.R.A.S.I.T.E. Institute with it's partners The Foundation for a Civil Society and Trust for Mutal Understanding, New York.
The prize is awarded to artist up to 35 years of age, for works of art in the field of painting, photography,video, new media and performance. The aim of OHO Award is to provide support to young creative artists and facilitate the continuation of their activities by shifting them from the marginal to a central role in the society. By creating a positive context for creativity and innovativeness.
The award was named by an influential Slovene artist group OHO, active in the second hald of the 1960s and early 1970s. The members of the avant-garde group wanted to develop a radically different relationship towards the world: instead of a humanistic position, which implies a world of objects dominated by the subject, they wanted to achieve a world of things, where there would be no hierarchical difference between people and things; the correct relationship towards such a world is not action, but observing. OHO used a number of media (and their in-between forms), drawings, photographs, film, video (the first video works in Slovenia were produced in this context by Nuša and Srečo Dragan), music, texts, but also a way of dressing, living and behaving, to redirect the awareness of people into Reistic observing.
The Award was named after Radoslav Putar, eminent art historian, critic and curator, who by his effort significantly directed Croatian culture towards the contemporary visual arts language. His work was also significant in its social aspect, because he promoted the ideas of democracy and advocated dialogue, tolerance, freedom of expression and the openness to other cultures. We can hardly imagine today to what extent his work was indeed heroic, and we can positively assert that his contribution to theory and practice provided one of the keystones of contemporary Croatian art and culture.
The important features of the Award are the openness and the public accessibility of the contest, as well as the accessibility to public scrutiny of the entire organization of the contest for the young artists, while the Jury composed of experts has to guarantee that the award winner is selected in a fair way, without prejudice, and that the decision on the winner rests entirely upon professional considerations. The contest has to be selective and prestigious, for the artists as well as for all other participants.
The project of the prize has been conceived as a new and prestigious point of gathering of the most creative forces of contemporary scene, locally, where the prize is being awarded, but also regionally, in the countries where the prize is acknowledged.
Established in 2006, the award has immediately attracted numbers of young artists from around the country. The organizer, the Sarajevo Center for Contemporary Art, named the award after the influential and important artist group from the 1980s, and included the competition among its many activities.
SCCA decided that the name of the Award would be ZVONO as a tribute to the artist’s group formed in Sarajevo in 1982 and active until the outbreak of war in 1992. Its members were Biljana Gavranovic, Sadko Hadzihasanovic, Sejo Cizmic, Narcis Kantardzic, Kemal Hadzic and Aleksandar Sasa-Bukvic (considered being the initiator of the group’s collaborative work and the driving force behind its organization and promotion). The group was named after the Zvono café (Zvono=The Bell) where the artists met. Activity of the Zvono group (especially its engaged relation to the cultural space) represents the most radical 'behavior’ in the B&H art scene in '80s. In the beginning of the war, majority of the group members migrated all over the world, from Europe to Canada with the last member residing in Banja Luka where the first exhibition and winner announcement ceremony for the ZVONO Award was held.
The Oskar Čepán Award is a competition designed for young visual artists, which was initiated by Wendy Luers, the founder and director of The Foundation for a Civil Society, and established in 1996 as a parallel to the Jindřich Chalupecký Award in the Czech Republic.
Since 2001 the competition has been bearing the name of the leading Slovak art theorist Oskár Čepan (1925 – 1992), who by his numerous studies on the visual arts considerably contributed to Slovak theoretical writings and artistic events. The competition is open to candidates under 35 years of age holding Slovak citizenship. They may present their work in painting, sculpture, graphics, drawing, installation, photography, multimedia and video art. The applied arts, theatre and film are not included.
Visual artists may apply for the competition individually. In addition, art theorists may nominate an artist for the competition on the basis of written consent of the artist. An expert commission of visual arts professionals and artists whose members are nominated by the Foundation – Center for Contemporary Arts for two-year terms selects the award winner. In the first round, the expert commission selects four finalists from all the applicants, of whom it chooses the winner in the second round. The second round tis decided at the joint exhibition of the four finalists. The winner is awarded a six-week residency in New York and a solo exhibition, conceived on the basis of the experience acquired during his/her stay in the U.S.
Dimitrije Bašičević Mangelos Award was founded in 2002 by The Center for Contemporary Art Belgrade and The Foundation for a Civil Society (FCS) from New York, as part of the regional project Young Visual Artists Awards (YVAA) and with the idea of establishing annual residential award (first year grant was held in Sausalito, California, since then in New York, New York) awarded to a young artist from Serbia.
The award is named after a renowned artist, one of the founders of conceptual practice and an art historian from former Yugoslavia – Dimitrije Bašičević Mangelos.
Since 2006, the organizers of the Award contest have been the Kontekst Gallery and Art Association DEZ ORG from Belgrade.
The award consists of a six-week residential program in the ISCP (International Studio and Curatorial Program) in New York which represents one of the most important programs for young artists nowadays.
The residential program includes visits to numerous galleries, museums and the attempts to establish connections to the leading representatives of New York art scene. On returning from the residential program, a solo exhibition will be organized for the awarded artist.
Dimitrije Bašičević Mangelos Award had been granted to the following artists in Serbia: Bob Milošević (Sausalito, California, 2002), Vladimir Nikolić (New York, 2003), Milica Ružičić (New York, 2004), Milena Gordić (New York, 2005), Siniša Ilić (New York, 2006), Katarina Zdjelar (New York, 2007), Ivan Petrović (New York, 2008) and Ivana Smiljanić (2009).
Organized and established by TICA, Tirana Institute of Contemporary Art, the Contemporary Art Award ARDHJE is a new art event on the Albanian art scene. Conceived in collaboration with the Foundation for Civil Society in New York the award is supported by the Tirana Academy of Fine Arts and the US Embassy in Tirana. The event adds to the variety of TICA's programs, aiming at increasing the support for Albanian-based artists, while at the same time extending the dialogue and the exchange with artists and professionals from the region and the world.
The Artist of Tomorrow Award was first organized in 2002 in cooperation of the Kosova Art Gallery and the Kosovo Open Society Fund office with the support of the US Office. Since 2004, the Award has been solely organized by the Kosova Art Gallery. The aims of the award is to offer young Kosova artists the possibility to compete for this award which holds special significance for the art scene in Kosovo where there are no other similar competitions; to raise professional interest in art institutions such as KAG and other institutions that develop contemporary art; to present creativity of young artists to Kosova audience and beyond; to stimulate young artists in their work and creativity; and to enhance and widen regional cooperation of artists and institutions of countries where similar awards are organized.
The competition based on an open call for applications is open to anyone who meets the general conditions: the candidates must be younger than 35, and the submitted art work should be new, created during the last two years. A committee of art professionals selection the award finalists -- there are no more than 6 and no less than 4 finalists each year. The finalists then have 1-2 months to prepare their works for a joint exhibition of the finalists which takes place at The Kosova Art Gallery,
A professional jury with 3-5 members (established personalities from the art world) announces the winner on the night of the exhibition opening ceremony. The winner of the Award receives a six-week residency in New York and also wins the right to have a solo exhibition at The Kosova Art Gallery after his /her return.
Taking the Jindřich Chalupecký Award as its model, The Contemporary Art Center – Skopje in cooperation with the Foundation for a Civil Society in New York established in 2002/2003 an annual award for a young artist from the Republic of Macedonia under 35 years old.
The award was established in order to address the lack of such opportunities for artists in Macedonia and in order to show contemporary Macedonian art to the general public in the country, as well as overseas.
The aim was to strengthen discussions among institutions and young artists while including a number of various fine arts institutions and professionals in an annual and impartial process of reflection and decision making. This award also creates new opportunities for the participating artists, exposes young creativity to a wide circle of public and results in introduction of new models of operation in cultural and institutional life.
Established in March 2008, the BAZA Award is organized by the Institute of Contemporary Art - Sofia.
The aim of the BAZA Award for contemporary art is to provide support to young creative artists through opening new possibilities for education, research and professional realization. The award creates a positive context for the young contemporary art and builds friendly milieu for its development.
The winner will receive a solo exhibition at the gallery of ICA-Sofia. Sofia Art Gallery (www.sghg.bg) hosts the exhibition of finalists.
The Institute of Contemporary Art – Sofia is an independent non-profit organization, an association of curators, artists and cultural theoreticians. It is dedicated to the study, understanding, promotion and practice of the visual arts of the late twentieth and early twenty first century, to the reestablishment and furthering of the dilogue between cultures and art scenes, and to the search for an open art dialogue with everyone.
The ICA started as a professional partnership among friends who after 1989 shared the vision to open up and develop the Bulgarian contemporary art scene. The goals of ICA-Sofia are focused on the development of the contemporary art scene in Bulgaria in relation to the world at large - general public. Primary objective is the constant deepening and strehgthening of relations to the international art world - in a two directional and reciprocal manner by triggering and facilitating a two-way flow of artists, curators and critics, projects, etc. to not only "take" your/our home out into the world, but also to bring "the world" back home.
Our mission
The Foundation for a Civil Society (FCS) with affiliates in eight countries in Central Europe and the Balkans has organized a major international fellowship award program for young visual artists in the region. This unique program was established with President Havel and a group of artists in Czechoslovakia in 1990. Since then this highly successful annual program with national exhibitions and awards, including travel fellowships to the United States for artists under the age of 35, has now been expanded from the Czech Republic to Slovakia, Bosnia and Herzegovina,Croatia, Kosovo, Macedonia, Serbia, Slovenia, Albania and Bulgaria.
What's new
PRESS RELEASE
The Young Visual Artists Awards program (YVAA) is an international award program for young visual artists in Central and South Eastern Europe organized by The Foundation for a Civil Society (FCS) and affiliates in ten countries in the region. Since 1990 this annual program with national exhibitions and awards, now includes residencies at the International Studio and Curatorial Program in New York. Founded in Czechoslovakia, with the Chalupecky Award, the program has gradually expanded to include a network of similar awards in the Czech Republic, Slovakia, Bosnia and Herzegovina, Croatia, Kosovo, Macedonia, Serbia, Slovenia, Albania, and Bulgaria.
Foundation for a Civil Society
Foundation – Centre for Contemporary Arts
Slovak National Gallery
Cordially invite you to the exhibition
ironapplause.net
international exhibition of the Young Visual Artists Awards network (yvaa.net)
Opening: 4th October 2011 at 18 p.m.
Venue: Slovenská národná galéria, Esterházyho palác, Nám. Ľudovíta Štúra 4
Curators of the exhibition: Lucia Gavulová /SK/ & Tijana Stepanović /HU/
Exhibiting artists: Anetta Mona Chişa /RO/ & Lucia Tkáčová /SK/, Hristina Ivanoska /MKD/, Šejla Kamerić /BIH/, Eva Koťátková /CZ/, Jaroslav Kyša /SK/, Luiza Margan & Miha Presker /SLO/, Mladen Miljanovič /BIH/, Alban Muja /KS/, Vedran Perkov /HR/, Sašo Sedlaček /SLO/, Ivana Smiljanić /SRB/, Kamen Stoyanov /BG/, Samuil Stoyanov /BG/, Kateřina Šedá /CZ/, Tomáš Vaněk /CZ/, Katarina Zdjelar /BIH/, Enkelejd Zonja /ALB/
Duration: 4th October 2011– 26th February 2012
The main theme of the exhibition is the phenomenon of ‘iron applause’, the complex connotation system of which enables us to think about issues that are inextricable from the role and mission of the YVAA network. The iron applause is a slow, synchronized applause with which audiences, primarily in Central Europe and especially in Hungary, acknowledge outstanding artistic performance. The terms ‘iron curtain’ (‘eiserner Vorhang’) and ‘iron applause’ can be traced back to 18th century Germany, where all theaters were obligated to install fire-proof metal curtains. It was Winston Churchill who popularized the phrase ‘iron curtain’ as a political term in the 20th century.
The first section of the show refers to applause as an explicit expression of appreciation, providing an opportunity to explore issues of artistic success, appreciation, reward, reflection, respect and various relations within the complex system of contemporary culture. As all of the YVAA network’s member countries once belonged to the realm of Soviet influence, a.k.a. that ‘behind the Iron Curtain’, the second part of the exhibition engages with the regional character of iron applause, dealing with the complex social processes and cultural paradoxes taking place in the contemporary societies of the former ‘Soviet bloc’. Furthermore, as iron applause can also be seen as an example of synchronization of networks, this exhibition is an attempt to interpret the importance of networks, collaboration, self-organization and social interaction.
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Network and Synchronization
international symposium / conference
A two-day international symposium accompanies and further elaborates on the theme of the exhibition. YVAA artists, arts organizations, arts professionals and active sponsors from the 10 countries of the program as well as other international speakers and guests will gather in Bratislava around broad concepts such as: performance and reception; infrastructures and collaboration; and admiration and influences in contemporary art. The first day of the symposium will be an internal discussion of YVAA organizers and artists and the second day will be composed of three panel discussions.
Date: 3th – 4th October 2011
Venue: Slovenská národná galéria, Esterházyho palác, Nám. Ľudovíta Štúra 4 - ATELIÉR
Monday, October 3
14-18h internal meeting of YVAA organizers
Tuesday, October 4
Session I - Presenting, documenting and historicizing contemporary art.
Marco Antonioni/US/, Alenka Gregoric/SI/, Charlotta Kotik/US/, Janka Vukmir/HR/ moderator
Recent exhibitions of YVAA artists and other international projects will be discussed in terms of critical approaches to curating and contextualizing contemporary art of the YVAA countries internationally.
Session II - Creating infrastructures and systems of support for contemporary art.
Juraj Carny/SK/,Viviana Checchia/IT/,Nikita Kadan/UA/, Chelsea Haines/US/ moderator
Artist collaborative projects, arts managers and organizations come together to discuss infrastructures and support systems for artists, the production and presentation of art.
Session III - Artists’ legacies, institutions, relationships and influences.
Luchezar Boyadjiev/BG/, Albert Heta/KS/, Gjorgje Jovanovik/MK/, Jiri Skala/CZ/, Eriola Pira/US/ moderator
Artists are invited to speak about their affinity to and collaboration with other artists, while institutions concerned with preserving and presenting artists' ideas, practices and legacies will do soin terms of promoting artistic development and public discussion.
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Detailed information:
Organizer: The Foundation for a Civil Society, New York
Local coordination: Foundation – Centre for Contemporary Arts, Bratislava Main partner: ERSTE Foundation
Additional support by: Central European Initiative, Ministry of Culture of Slovakia, United States Embassy in Slovakia, Slovak National Gallery, Trust for Mutual Understanding, and various other US embassies.
Awards and their organizers:
ARDHJE AWARD – TICA – Tirana, Albania;
ZVONO AWARD - Sarajevo Centre for Contemporary Arts, Bosnia and Herzegovina;
BAZA AWARD – Institute of Contemporary Art – Sofia, Bulgaria;
RADOSLAV PUTAR AWARD - Institute for Contemporary Art, SCCA Zagreb, Croatia;
JINDRICH CHALUPECKY AWARD - Jindrich Chalupecky Society, Czech Republic;
ARTIST OF TOMORROW AWARD - Kosova Art Gallery, Kosovo;
DENES AWARD - Contemporary Art Center Skopje, Macedonia;
DIMITRIJE BASICEVIC MANGELOS AWARD – Dez org and Remont Gallery, Serbia;
OSKAR CEPAN AWARD – Foundation -Centre for Contemporary Arts, Slovakia;
OHO AWARD - Zavod P.A.R.A.S.I.T.E. Gallery in Center P47, Slovenia.
Contact:
Eriola Pira, YVAA Director, eriola@fcsny.org
Bohdana Hrodmakova, F-CCA Director, bohdana@ncsu.sk
September 24 – October 30, 2011, open daily 12-19h, Thu-Sat 12-20h
Opening: September 23, 19h
Press preview: Friday, September 23, 11h.
http://www.spaceship-yugos
Spaceship Yugoslavia–The Suspension of Time seeks to investigate the treatment of (post-) yugoslav history from a contemporary perspective. The exhibition presents artistic projects as well as theoretical positions that highlight political and socio-economic aspects of the post-Yugoslav reality. It aims to strengthen and establish critical viewpoints on the various politics of the former Yugoslav nationstates in the so-called transition to capitalism.
Adela Jušić / Lana Čmajčanin, Alban Muja, Bojan Fajfrić, Damir Radović, Igor Grubić, Hristina Ivanoska, Klopka za pionira, Marko Krojač (Marc Schneider), Marijan Crtalić, Marcel Mališ, Grupa Spomenik (Damir Arsenijević, Jelena Petrović, Branimir Stojanović, Milica Tomić / Gäste / Guests: Vjollca Krasniqi, Dubravka Sekulić), Nina Höchtl, Peter Mlakar / Laibach, Phil Collins, Sebastjan Leban / Staš Kleindienst, Vahida Ramujkić, Vesna Pavlović
Since the transformation of the European socialist state systems after 1989, the political positions of the postcommunist era have negated almost every facet of the previous system as part of a totalitarian entity in an effort to legitimize their own claims for freedom regarding ethnic identity and/or private ownership.
By challenging such tendencies, the exhibition seeks to address the topic of a Socialist reality
- often dismissed as “historical” - which allows the possibility of re-thinking and re-naming such reality as an alternative construction. “Evacuated” from the sphere of the private-personal, the topic will be analysed within the context of concrete political developments such as the recent or future integration of the ex-Yugoslav states into the European Union. Beyond romanticizing retrospect or established (art-)historical positions of dissidence, the NGBK exhibition presents works predominantly by younger artists. The show aims to serve as a platform for self-initiated education and as a framework for reflection, within which a range of critical perspectives on the past and the present can become manifest.
“Spaceship Yugoslavia” poses the question: in what way can this past be thought of and reflected on today, a past which for a younger generation is accessible only through the filter of an ideologically led public denial? To what extent could a recognition of this past possibly contribute to the conception of future realities without being caught up in nostalgia or revisionism? This question concerns more than the analysis of “historical reality” presented in former Yugoslavia today; it is also the Berlin context which lends itself to a renewed investigation into the narratives of the prevailing German unification discourse.
Spaceship Yugoslavia–The Suspension of Time invites visitors to query normative narrations and to counter them by means of meticulous research and aesthetic examination.
An exhibition reader will be published through argobooks.
The project is organised and curated by: Anita Šurkić, Arman Kulašić, Arnela Mujkanović, Dejan Marković, Jovana Komnenić, Katja Sudec, Naomi Hennig
The exhibition includes a programme of workshops, events, and film events at Kino Arsenal:
Workshop & Diskussion ( Moderiert von Vjollca Krasniqi | moderated by Vjollca Krasniqi)
24. September 2011, 12.00h
Extension of “What is the Name of War Today?”
GRUPA SPOMENIK / Monument Group und Übersetzungsgruppen | and Translation Groups: Damir Arsenijević, Jelena Petrović, Branimir Stojanović, Milica Tomić, Vjollca Krasniqi, Dubravka Sekulić, Antonia Majača, Vjollca Krasniqi, Ivana Bago, Dren Berishaj, Shrpesa Veliqi, Donjete Sadiku, Lidija Radojević, Katja Sudec, Tjaša Pogačar, Dubravka Sekulić, Žiga Testen, Dragana Jovičić, Branislav Đorđević, Azra Čaušević, Lejla Osmić, Asmir Fazlić, Noa Treister, Tanja Simić Bercloz, Vida Knežević, Marko Miletić, Vladimir Miladinović, Nenad Porobić, Marija Ratković, Jovanka Vojinović, Srđan Hercigonja, Dejan Vasić, Anja Bogojević, Husein
Oručević, Ronald Panza, Amila Puzić, Mili Sefić , Naomi Hennig, Jovana Komnenić, Arman Kulašić, Dejan Marković, Arnela Mujkanović, Katja Sudec, Anita Šurkić.
Unterstützt von der | supported by Rosa Luxemburg Stiftung
October 02 & 03, 2011
Disputed History
Workshop with Vahida Ramujkić
Guided Tours:
Sundays, September 25, October 02, 16, 23 & 30, 2011, 17h
Art Outreach Programme
with Catriona Shaw
Kombicar – Tour with Rüdiger Rossig: October 09, 2011, 14h
www.kombiticket.net
Filmprogramme
October 06 – 08 & 12 –14, 2011, Kino Arsenal, Potsdamer Straße 2, 10785 Berlin
YU GO Banditen (Yu Go Bandits), curated by Vedrana Madžar
Mit begleitendem Videoprogramm, curated by Nataša Tepavčević
www.arsenal-berlin.de
Les amis de mes amis sont mes amis, hommage à Ján Mančuška.
from september 09, 2011 to october 23, 2011
Jesper Alvaer, Zbynek Baladran, Josef Bolf, Oskar Dawicki, Jamie Isenstein, Vladimir Kokolia, Eva Kotatkova, Jiri Kovanda, Dominik Lang, Trevor Lloyd, Laurent Montaron, Roman Ondak, Boris Ondreicka, Dan Perjovschi, Jan Serych, Jiri Skala, Tomáš Svoboda, Tomáš Vanek, Christoph Weber, Clemens von Wedemeyer.
Galerie Jocelyn Wolff is presenting an exhibition in honor of Ján Mančuška (1972-2011), in place of a solo exhibition cancelled following his passing last July. Entitled Les amis de mes amis sont mes amis (The friends of my friends are my friends), this exhibition consists of works by artists who were among Ján Mančuška's personal friends. For this exhibition, each artist selected or produced a work in relationship to, in dialogue with Ján Mančuška's work. Highlighting how friendship played an essential role in Ján Mančuška's life and oeuvre, Les amis de mes amis sont mes amis also demonstrates how, through the multiple dialogues generated by the presented works, the work of this exceptional artist can occupy en creux the gallery space and continue to give form to the present.
BWA Wrocław presents For Kids and Adults: the play exhibition
7 September–2 October 2011
Opening:
7 pm–9 pm
The exhibition continues:
4 November–4 December 2011
Salon of the Museum of Contemporary Art, Belgrade, Serbia
Galeria Awangarda,
ul. Wita Stwosza 32
www.bwa.wroc.pl
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Artists:
Nikos Arvanitis, Hubert Czerepok, Marko Crnobrnja, Marija Đorđević, Petra Feriancova, Karolina Freino, Nenad Jeremić, Alicja Jodko (DWF/ Entropia), KidsPatch, Vladimir Perić, Vedran Perkov, Joanna Rajkowska, Milorad Stajčić, Katarina Šeda, Janek Simon, Kama Sokolnicka, Predrag Terzić, Miloš Tomić, Vova Vorotniov, Zorka Wollny, Martin Zet
Curators:
Dušica Dražić, Anna Mituś, Una Popović, Joanna Stembalska
The works presented in the exhibition “For Kids and Adults” deal with the phenomena of play and game, without which one cannot imagine any human community. We are interested in the role played in its dynamics by space (whether real or virtual) as well as spontaneous (i.e. play) and structured (i.e. game) ludic transactions which define it—its emergence, integration, modification and decomposition.
Play is still associated with the culture of free time, which—in modern societies—is separated from what is productive, and dismissed to what is private and foolish. The social experience of the last decade forces us to look critically at that separation, and to perceive play as an inspiring experience in which we act independently from any social control and individual or group purpose, and through which we can gain space for the longed-for freedom.
Analyzing culture as a system of rules, hierarchies, behaviours, decision making, manipulation and accumulation of knowledge, play may be considered an activity through which we can introduce changes to the very system, and operate within it. How we play is preconditioned by the environment, a total system which includes space—political, social and personal. At the same time, play may influence and change that environment. Play also refers to the movement, look, quest, creation—these are “tools” which can be used in the action within a (possible) process.
And it is exactly in this sense that the exhibition refers to the play drive, a term introduced in Schiller’s Letters Upon the Aesthetic Education of Man, denoting a formative process which resists time and persists from the first to the last day of man’s life. As observed by Ranciere in his Esthetiques comme poitique, Schiller’s revolutionary contribution was to create the idea of political change by revisiting what he called the distribution of the sensible. According to his Letters, the change would be possible if we were to cease perceiving art as separated from life, and play as separated from work.
The exhibition loosely refers to historical contexts of play and game, drawing from the political potential of “action” and transactional character which bonds the community. The explosion of the notions of play and games in various fields, from literature to architecture, coincided with essential political and social changes in this part of Europe in the 1980′s and 90′s. But the critical and social potential of the play drive had already been crucial in the 60′s and 70′s. Its subversive edge and potential was revealed in various movements, including Fluxus and Situationists, later followed in Poland, especially in Wrocław, by the Orange Alternative and the group LUXUS, as well as by numerous conceptual artists in former Yugoslavia.
What is displayed in the projects and works created by the invited artists is the formative, economic and political dimension of play and games, with special significance of art in public space and its critical character.
http://www.art-agenda.com/shows/bwa-wroclaw-presents-for-kids-and-adults-the-play-exhibition/
Distrust of intelligentsia
Friday, September 2 - September 30
Open Gallery
Baštova 5
Bratislava, Slovakia
exhibiting artists: Vasil Artamonov and Alexey Klyuykov, Ivars Gravlejs, hostia Barbory Klímovej, Václav Magid, Marek Meduna, Alice Nikitinová, Jiří Skála, Avděj Ter-Oganjan
curated by: Tereza Stejskalová, Pavel Sterec
http://www.ncsu.sk/novinky/nedovera-k-inteligencii-open-gallery
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Project was supported by:
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