Pelee, the Pompeii of the New World. The amount of the bond would, of course, be established in the ordinance requiring the bond. Archived from the original on June 13, Thomas held that, once the board has authorized the hiring of deputies in a county office, "the officer in whose office the deputies are to serve, being responsible on his bond for their conduct, has the absolute right to determine the personnel of such deputies. Mentored CDAs are not renewable. The Voting Rights Act had provisions to protect voter registration and access to elections, with federal enforcement and supervision where necessary. Just like elected councilmembers, appointed councilmembers are members of the governing body of a public agency i.
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In , the Supreme Court ruled in Harper v. Virginia Board of Elections that poll taxes could not be used in any elections. This secured the franchise for most citizens, and voter registration and turnout climbed dramatically in Southern states. In spite of its origins, today the term grandfather clause does not retain any pejorative sense when used in unrelated contexts. There is also a rather different, older type of grandfather clause , perhaps more properly a grandfather principle in which a government blots out transactions of the recent past, usually those of a predecessor government.
The modern analogue may be repudiating public debt, but the original was Henry II 's principle, preserved in many of his judgments, "Let it be as it was on the day of my grandfather's death", a principle by which he repudiated all the royal grants that had been made in the previous 19 years under King Stephen. From Wikipedia, the free encyclopedia. Not to be confused with the Grandfather rule or the Grandparent rule.
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Retrieved November 23, Archived from the original on June 13, National Baseball Hall of Fame and Museum. Retrieved July 30, Retrieved July 5, At the centre of this diverse work lies his exploration of the essential qualities of what it means to be human. He has challenged the human body in physical, psychological and emotional ways. The film is conceived as a representation of the objection to genocide, and begins with a long sequence of vomiting shot in a formal frontal manner, as a bodily rejection of the idea.
In Being and Doing , Brisley collaborated with filmmaker Ken McMullen to search out the origins of performance art, connecting it not to modernism but to ancient folk rituals in England and Europe. In these rituals, the division between performer and audience has not been institutionalised, and they testify to powerful behavioural traditions which have survived the transition from an agricultural to an industrial society.
The recordings of the performances have been extensively manipulated: The exhibitions Study Oh Mystery Girl 3, Rosemarie Trockel will be concurrently on display in the galleries. Influenced by Marxist counter-cultural politics in the s, he adopted performance as the democratic basis for a new relationship between artist and audience.
Working solely within public spaces in the s, Brisley developed a series of solo and collaborative works that pushed the body through various extended tasks or rituals.
He lives and works in London. Courtesy Broadway , New York, and the artist. Her performances are a compilation of his childhood memories and references, combined with the influence of Leigh Bowery, Grace Jones, Cindy Sherman and John Waters.
Her work aims to broaden the limitations of movement to arrive at unforeseen outcomes. Trockel represented Germany in the Venice Biennale, and participated in documenta in and Study 13 looks in depth at the work Every Word Unmade: The Vanity Press is one of a selection of works hand made by Banner herself in neon.
The letters and digits of an ISBN number are imperfectly wrought through the laborious process of bending molten glass tubes by hand, and then published under the imprint of The Vanity Press. Beagle Punctuation composes in neon punctuation marks the well-known face of cartoon Beagle Snoopy for copyright reasons unnamed in the title.
The vast central work of the display, Every Word Unmade , assembles the entire upper case alphabet, so containing, as the title implies, the possibility of infinite anagrams and narratives. I was thinking about a kind of unmaking of language. As if you could make every word, or story imaginable, from these 26 letters. All the potential is there, but none of the words.
The fragile wobbly letters, a byproduct of incrementally, inexpertly bending the glass — then the electrical circuit pumping the gas through, make it like one big, constant stutter…words about to be made or unmade. They point to the performativity of language, an act of translation which is repeated in Mirror as the model actress Samantha Morton encounters her own portrait for the first time while reading it aloud to a live audience. A new text by writer Emily King studying Every Word Unmade is commissioned for the exhibition, available in the gallery or download the pdf below.
Sunderland takes as a starting point a recording of his voice made within the ground floor DRAF Gallery and deploys software plugins commonly used in the production of club music, such as time-stretching and auto-tune, to create an audio work with a duration of three days.
On the occasion of the project Volume Dissolves Into Atmosphere , Central Saint Martins MA Culture, Criticism and Curation students host a discussion into the relationship between sound and space and their coexistence in the gallery environment. What is the status of sound in the gallery and how can it be experienced as art? What are the challenges in exhibiting and curating sound work?
What is the changing relationship between sound and its audiences? We invite questions from the audience, before taking a short break at 5pm. Teresa Calonje is a curator and researcher based in London. In , she published a collection of essays and interviews critically engaging in issues of acquisition and conservation of performance, Live Forever.
Collecting Live Art, Koenig Books. Fernandez is based in Brussels. Dora Garcia is a contemporary artist who lives and works in Barcelona. Her work often draws on interactivity and performance, using the exhibition space as platform to investigate the relationship between the visitor, the artwork and place. Ellen van Schuylenburch was an independent dancer in the late s in New York working with experimental and Post-Modern choreographers whilst training with Merce Cunningham from to She is Director of Flat Time House: Staunton is also Curator with Inheritance Projects that she established in She writes for a number of paper and on-line publications including Frieze and rhizome.
Transatlantic is the third in a series of events exploring lines of connection and points of dialogue between the LUX archive and the Cranford Collection.
Transatlantic presents three works from early nineties New York that highlight the differing concerns and challenges amongst an increasingly public gay community.
Originally a performance, this highly personal work tackles head on the physical and psychological effects of the AIDS crisis, extrapolating these concerns to a broader critique of American society. London-based artist John Walter will explore some of the themes in the programme in relation to his research and current project, Alien Sex Club, which has recently been presented at Ambika P3, London and is currently part of Homotopia Festival, Liverpool.
Charles Lofton, I Like Dreaming , 6 min. Writers including Philip Ekardt, Svetlana Boym, Marta Dziewanska, Dieter Roelstraete, Orit Gat and Reza Negarestani examine concepts of centrality and marginality in different contexts, including the aesthetic, the philosophical and the geospatial. Philipp Ekardt is a theorist and critic based in London and Berlin.
He works on topics including contemporary art, fashion, style, Alexander Kluge, Walter Benjmain and questions of image circulation. His writing has appeared in Port Magazine, Rhizome. In special association with Mousse Magazine. Bound by the most banal relationship to music and by an attempt to avoid all interpretation, elaboration or creativity as such, the performers anticipate the music in order to do the sounds.
The practice is strictly formulated through tasks relating to this doing, and in rehearsal no discussions are held concerning individual interpretation or performance. This afternoon session sees the performance space transformed into a site of the live creation of new work. Her choreographic practice is related to the possibility to create through conviction and illusion new systems of logic in order to be able to construct the world differently, and act accordingly.
Her departure point is always a feminist approach to the body; its social and political construction and ability to move. Her solo work Horrible Mixtures , made in collaboration with Andros Zins-Browne, is a choreographic seance departing from a sceptics interest in spirituality. Rarely seen artworks from the David Roberts collection become accomplices of an uncanny fiction. I could give it a syntax long forgotten and shortly remembered literally footsteps from having left you.
Albert the kid is ghosting. Looking for or should I say having found this model of equivalence to one disappearing act of a presence in this sentence thrown up on a wall I feel that this should be the title of the exhibition. The exhibition presents each work in a precisely-designed environment of bespoke materials and furnishings.
Vases of lilies, crimson walls, neon sheer fabric curtains and chainlink screens shape emotionally-charged situations throughout the space. Works from the collection are complemented with new commissions by Michael E Smith and loans of works by Ida Applebroog and Andreas Slominski.
English language poetry by Etel Adnan will be performed, as well as other live events. To celebrate its ongoing commitment to performance, DRAF opens a dedicated live projects space.
Stina Nyberg will also be hosting a day of live creation and performance on Friday 25 Sept. Please note contains content some may find offensive. Not suitable for children: Barby Asante and Christine Eyene will be in conversation on the relation between music, cultural heritage and urban cultures in their respective practices.
Barby Asante is a London-based artist and curator. Her work aims to stimulate dialogue around the cross-cultural and multicultural and how we view and frame these questions in contemporary Britain, often using familiar or popular culture triggers as a means to begin the dialogue.
Asante has been working on projects exploring music and its cultural and social significance, with particular emphasis on black music and its importance in the creation of a post-war British cultural identity. Her writing and curatorial practice encompass the fields of contemporary African and Diaspora arts, gender-related topics, design, immaterial art practices and sound.
By hosting these intimate profiles-in-the-moment, DRAF invites colleagues and public to engage in direct discussions departing from practice-based research. Founded in by George Unsworth, it specialises in supporting UK-based and international projects in the development of new exhibitions and projects. Sat 11 Jul, 8— Thurs 23 Jul, 6. Curator Christine Eyene in conversation with artist and curator Barby Asante on the relation between music, cultural heritage and urban cultures.
Exhibition leaflet including essay by curator Christine Eyene online here. This first exploration of this essential lineage encompasses dance, avant-garde composition, popular music and subcultures and rhythmic video editing through the twentieth century to the present day.
They Dance to Her Drum. The presence of black rhythms in the twentieth century also spanned popular music subcultures: Against this backdrop of cultural assimilation by the Western avant-garde, several recent works in the exhibition see a re-appropriation of African rhythmic heritage by contemporary diaspora artists. The five metre high free-standing sculpture will be shown with other works by Sterling Ruby in the Collection. Full Study 8 booklet available online here. Each work in the series is displayed with in-depth research material: Entry to this event will be via the gate at 15 Camden High St.
Dorine van Meel b. Selected solo exhibitions include: Van Meel curated the group exhibition Luminous Flux at Arti et Amicitiae, A msterdam and initiated Does Not Equal, a collaborative project on the creative potential and ongoing concerns of feminism at W in Amsterdam On this occasion, Drawing Room Confessions also launches a re-print of its most popular issue 2 Jason Dodge, including a specially commissioned new conversation.
Drawing Room Confessions is a self-funded publication. Each issue is dedicated to one artist, who plays the serious and playful game of conversation. Rendez-vous at The Violet Crab. Sip a delicious bespoke cocktail designed by Arabeschi di Latte. Maria Loboda reads her tarot cards. Isobel Williams is drawing the characters live. Berlin-based singer Anja Dietmann and artist Than Hussein Clark, performing songs inspired by historical cabaret.
The show begins with a stand-up recital from American poet Matthew Dickman. Zhana Ivanova choreographs a theatrical menage-a-trois. A new performance by Celia Hempton is premiered. Interval drinks, with Adam Christensen playing ditties on the accordion. For the final act, Pipilotti Rist has imagined for you a male striptease.
Glamourous starlet Wendy Bevan serenades the end of the night. Soma tics for the Future Wilderness Wave Books, He conducts workshops on Soma tic Poetry and Ecopoetics. The Violet Crab at DRAF looks to cabaret past and present in new commissions, live acts and works from the David Roberts Collection, taking residence in an extravagant mise-en-scene designed and directed by artist Than Hussein Clark.
Turning the spatial and temporal architectures of exhibition-making upside down, cabaret provides a narrative framework in which to rearrange hierarchies between subject and object and performance. I think here of a series of protagonists: So like The Black Cat before it, The Violet Crab at DRAF opens its doors to questions of how the erotic, the melodramatic, and the tragic might satirise the rules of production in the present.
Than Hussein Clark dramatically reconfigures the structures and architecture of the gallery — from furniture stages, tables, mirrors, curtains and screens to concierge to printed matter.
The exhibition spaces become cloakroom, bar, stage, backstage and shadow theatre to explore the dynamics of subject and object, attitude and identity. This exhibition contains nudity and explicit images and language, and is not suitable for visitors under 18 years old. Than Hussein Clark b. He is currently represented by Mathew gallery, Berlin. An institution is a hothouse and the university, which should be a cool place, is no exception.
It is both threatened and sustained by passions and moods, intrigues and power games. Can photography be factual and capture a frame of mind? His publications include the books Naive Art: A special night by artist Haroon Mirza.
We are delighted to host this free event for artists, collaborators and friends. Join us for the party. Collins will read a series of ekphrastic poems. Harry Burke is a London-based writer. Holly Childs is a Melbourne-based writer, editor and artist. In , the British artist Richard Long walked a straight line back and forth across a field in an improvised track, until his steps flattened the grass. Predetermined paths do not always lead to a desirable destination, and they are often not direct enough.
Its focus on artistic programmes will enable different actors to expand on present-day research interests, modes of production and display, and how these curatorial practices can shape the institution that generates them. The institutions invited for this symposium show divergent concepts of what a contemporary art institution is, how it functions and the social responsibilities behind them. As curators and producers, how do we handle and work with these complexities?
The second day takes a more theoretical stance as speakers discuss notions of desire. What constitutes this desire within an ongoing process of redefinition and self-awareness? The invited institutions, all founded after and based in Egypt, Germany, Lebanon, the Netherlands, and Portugal have positioned their identities not solely within expectations of the market and audiences, but through their commitment to research and focus on non-traditional programmes and formats.
Framed within, yet not defined by, socio-political, economical and spatial contingencies, this symposium presents an opportunity to reflect on how these differences and similarities can be negotiated and transformed into a productive and feasible discourse and practice.
Based in Beirut LB it is conceived as a research project that shifts its attention to a new topic every 98 weeks. Since opening in , it focuses on artistic research, combining both theoretical and practical forms of inquiry.
Beirut is a not-for-profit art initiative and exhibition space in Cairo EG. Since its opening in , Beirut has been considering institution building as a curatorial act. It was founded in as a wish for self-reflexivity for thinking about the existing conditions for the development and perception of a so-called institutional practice.
Founded in by Rhea Dall and Kristine Siegel, it investigates the objects, process and interactions that combined constitute an artistic practice, through half-year cycles centered on the full span of work of two unassociated artists. Opened in , it explores recurrent questions concerned with the constant friction between the inner self and the theoretical, professional and artistic practices that describe and inscribe us in daily life.
Mirene Arsanios has been based in Beirut since Arsanios co-founded the collective 98weeks research project in and launched 98editions, a small press for experimental and cross-genre writing, in Antonia Carrara is an artist. Carrara lives and works in Paris and Amsterdam where she co-runs rongwrong.
De Fabriek, Eindhoven, NL. Rhea Dall has been based in Berlin since Jens Maier-Rothe works as independent researcher, writer and curator. I want to find the words to resist but in the end there is a locked sphere.
Kristine Siegel was based in New York for almost a decade before relocating to Berlin in Siegel held positions at the Dept. She has contributed to a number of publications, magazines, and catalogues. Arnisa Zeqo studied history of art and philosophy at the University of Amsterdam.
In , Zeqo co-founded rongwrong on the ground floor of her house in Amsterdam. During her residency, she will research the relationship between art institutes and the presentation of performance art. Rachel Mader is an art researcher. Between and she led the project Organising contemporary arts: Recently, Mader edited the publication Radikal ambivalent. Her concerns for the social and philosophical contexts that contemporary art bring about can be found in numerous contributions to publications on contemporary art and art theory.
Simon Sheikh is a curator and theorist dealing with the modalities and potentialities of curating, within the relation between exhibition-making and political imaginaries. He is concerned with how exhibitions articulate through arrangement, narrative and spatialisation, as well as how the very format of the exhibition can be expanded, negated or transformed.
His research areas include the making of publics, the instituting of subjectivity and the politics of display, both in terms of critical writing, the conceptualisation and realisation of exhibition projects, and in the form of an ongoing formulation of histories of exhibition making and reception.
European Kunsthalle conceives itself as a basis for a broad range of art forms including both known and emerging contemporary art practices, approaching these in an interdisciplinary and experimental way. It is a nomadic forum in which the aspect of artistic production is ascribed a similar significance as the presentation and reflection of art and culture.
As an institution without a permanent site, the European Kunsthalle focuses on decentralised projects and collaborative structures. Goldsmiths MFA Curating is a postgraduate study programme that draws on the international scope of contemporary arts practice at Goldsmiths College and in London, and instigates debate about the relationship between that practice, current critical discourse and concepts of curating.
The programme is designed to provide a practice-led research context for students at any stage of their professional practice by focusing in-depth on aesthetic, social, political and philosophical questions that are brought to bear in any place or at any event in which contemporary art is situated.
All DRAF projects are open free to the public. DRAF is transformed into a stage for our annual evening of performances. And sunny side up, naturally. Disruption and interference, not ordinarily associated with pop and dance music, arm a campaign to unseat norms in a mission towards transnational gender equality; combining spectacular performances with a direct political vision.
Disembodied voices greet, accost and interrogate a silent, unseen subject. The constant, regular sound of a camera shutter adds a percussive undercurrent, building from a simple rhythm to a cacophony of clicks, and signifying to the audience that they are complicit subjects being watched by the unseen chorus.
A limited number of places will be available on the night. Entry will be on a first come first served basis from 7pm at Camden High St. A m 2 mosaic of ceramic tiles individually printed with texture patterns originally designed for 3-D modeling software to imitate concrete, marble, mud and other surfaces takes the relationship between the digital and physical namesake to its absurd conclusion.
This exhibition is the culmination of a six-year conversation with Nina, presenting one of the most singular and accurate voices of recent years. We will focus this London presentation on sculptures, and so explore works that are trapped in an ambiguous position between an object and the representation of that object. She traces the convoluted relationships between objects and images, as mediation mutates information from things to representations and back again and images subsume or discard their referents to become distinct objects in their own right.
Works reveal stark contradictions between what they are and how they are used. Medium Earth is a film that attunes itself to the seismic psyche of the state of California. It listens to its deserts, translates the writing of its stones, and deciphers the calligraphies of its expansion cracks. Its intensive surface readings offer the cinematic survey of a techtonic upheaval to come.
Their bodies resonate in radical collusion with the geo-techtonic event sphere. They decode a symptomatology that implodes corporeal and chronological time as well as the global architecture of techno-industrial earth sensing. Seats for this event are free but places are limited — please arrive by 6pm in order to be seated. Screening in association with LUX. O my body, make of me always a man who questions! Communication lines, since, are buried deep under the skin.
Modernity, as a human endeavour over Land, has drawn up the categories by which territory is divided and placed under a contract of subjugation. How might the current order of material progress then be infiltrated by the agency of Land as a narrative substance? Facing the geographic imperative of capital stand the claims of Land as a living archive, as political matter, and as corporeal agent.
The South-East Asian archipelago is a matrix of socio-political memory in the Batik works of Yee I-Lann, while the repetitive hand gestures of rural women ceramics-makers form a movement-score in the work of Tunisian choreographers Selma and Sofiane Ouissi. Wallpaper — Tangier, by Yto Barrada will be the seventh in the series of studies of works from the David Roberts Collection.
A new series of events explores the complex relationship between art and education in the UK since the s. Lisa Tickner Visiting Professor at The Courtauld Institute of Art and Amy Tobin Doctoral Researcher, University of York discuss the history of the art school from a female perspective and the limits of an institution traditionally shaped and dominated by men. Artists Aaron Angell, Celia Hempton and Cally Spooner imagine their own ideal public programmes through the lenses of their diverse artistic practices.
Each will present personal responses to art and education, bringing their individual experiences to the discourse. He recently presented Woman expecting triplets returning home from the cinema: Recent group shows include pool: Andrew Brighton was formally Senior Curator: As well as art criticism, his publications include essays on cultural policy and the rise of management.
He is currently working on a graphic novel with Catherine Brighton. Catherine Elwes is a video artist, writer, teacher and curator who was active in the feminist art movement in the late s. Throughout the s her work and writings continued to explore time—based media in general and feminist themes. Elwes is the author of Video Loupe K. Press, and Video Art, a guided tour I.
Tauris, and her writings have appeared in books, journals, exhibition catalogues and periodicals. Using theory, philosophers, current affairs and pop cultural figures as alibis to help her write, and casts of arguing characters to help her perform, Spooner produces plotless novellas, disjunctive theatre plays, looping monologues and musical arrangements to stage the movement and behaviour of speech.
Recent work has explored how high performance economies have affected speaking as a live, undetermined event. Her work includes writing, film, live performance, and broadcasting.
She was an art student in the s, and has taught art and art history students for more than forty years. Amy Tobin in a researcher in the history of art department at the University of York.
Her PhD, supervised by Dr Jo Applin, concentrates on the dynamics of collaboration between artists influenced by feminism in Britain and the United States in the s and early s. Michael Simpson is a new exhibition studying in depth the work of British artist Michael Simpson.
Studies comprise in-depth research material: A selection of works from a new related series titled Leper Squint —ongoing , is also presented.
A temporary research library presents a selection of publications and materials that have informed the research for this project. Smith, Lucy Soutter and Georgina Voss. All events are free and no booking required. For more information please email info davidrobertsartfoundation.
Through characteristics of fast-cutting, re-mixing and layering of images these videos address ideas of repetition and distortion and explore the possibility of non-linear and fragmented narratives. From Production to Consumption.
The conversation, chaired by Nina Trivedi, also asks how new forms of distribution relate to fractured narratives and how this in turn can result in a new affective encounter with the work. Curated by Ami Clarke Banner Repeater. When the paradox of science fiction is everyday, artists are testing the limits of language as code, blurring the distinction between computational linguistics and natural language, hinting that technology is not merely a medium to represent thoughts that already exist but is capable of dynamic interactions producing the thoughts it describes.
The following presentations act as a back-flip for the forthcoming exhibition at Banner Repeater in May. Study is a focused case-study of a single work from the David Roberts Collection. The fiberglass and mixed media work will be shown together with other works by Boyle Family in the Collection. Download exhibition leaflet here. A new exhibition of recent works by ten contemporary artists tracing a growing interest in the pollution and breakdown of systems and processes.
Slippages and spillages, disruption and contamination characterise sculptural, film and installation works. A closed-loop fountain, corrupted translations of everyday items, mutant organisms with industrial, technological and organic components, loyalty cards and hard drives, and abstract spatial environments are among the unsettling objects in the exhibition. Many works are newly made or have not previously been shown in the UK. Her two works in the show feature an extended latex arm and deconstructed steel fountains, pointing to transformations and mistranslations within a strange environment of exchange.
Deshayes works with glossy, synthetic materials such as anodised aluminium and vacuum-formed plastic to create skins, bulges and organic forms with both liquid and solid properties. The contrasting wipe-clean industrial aesthetics and the bodily undertones of his sculptures play on our visceral response to an object. For the exhibition Deshayes is making a new series of vacuum-formed sculptures and an installation of discreet cast aluminum reliefs.
He is represented by Jonathan Viner Gallery, London. He presents a new commission for the show and group of recent works, including a freestanding fountain system; for the first exhibition of his work in the UK.
Douard is represented by High Art, Paris. They explore the systems of an increasingly intangible materialism. Jerez presents the latest iteration of his project Greed — , premiered at MOT International, London in , commissioned for the exhibition. For Fluid Employment , , the artist used ferrofluid, a material used to make hard drives that responds to a magnet yet retains the plasticity of a liquid, straddling both states.
Lewitt presents two new and two existing works from his Stored Value Field Separators series, building sculptures from credit and loyalty cards. Cigarette butts and litter here are traces of human behaviour, suggesting the invisible presence of a virtual population or crowd.
Reus is interested in the strategic manipulation of everyday things, translating a known object or image into forms more frustrated and collapsed. Making sculpture and video, her work is at once sanitized and hermetic, but agitated also by the debris and proximity of an inevitable human touch.
Reus presents three sculptures, each mimicking the form and image of a ubiquitous waiting room chair, but all so graphically rendered that they deny the conventional invitation to sit or linger. She is included in Assembly: Gallen; De Hallen, Haarlem. She is represented by The Approach, London. Rose probes that underneath this feeling of dying is a fundamental mutability, felt in our everyday living, sense of being and time. He counters the ecological and economic disaster of our era with a materialism of basic needs, displayed as a layout of ruined bodies.
He is represented by KOW, Berlin. He writes regularly on contemporary art for journals and magazines. Alexander Scrimgeour is a writer, editor, and curator based in London and Berlin. He is a regular correspondent for Artforum, where he worked as an editor from to He is also an editor for the bilingual Austrian art magazine Spike Art Quarterly and the new online publishing house Fiktion. London-based Lithuanian artist Lina Lapelyte will feature new and existing works including performative installations, videos and events; and on the evening of 9 January at 7pm the first performance of Where Are You?
Performances occur between 2pm and 6pm on Friday 10 and Saturday 11 January. Due to the open call format of the works, we cannot confirm exact times but expect regular performances throughout the day. Shot during a three-day live project, the film follows a group of actors through a series of fragmented narratives, improvised scenes, and fantastical visions staged within a deserted museum. Via the repetition of decontextualized ceremonies and farcical processions over the course of the film including a trial, a coronation, and an impromptu catwalk , the gathered ensemble attempt to invoke, and perhaps thereby locate and release, those archetypal forces that lie bound within the institution of the culture industry.
Ultimately, in a staged world we are, according to Huyghe, but mere actors. Seats for this event are free but places are limited — please contact info davidrobertsartfoundation. The work is not suitable for those under 15 years old. The Harder You Look is a temporary art institute that takes inspiration from and follows the procedures of scientific research as a tool for thinking and producing collaboratively.
Students and specialists meet in London to discuss the specificity of perception in its relation to contemporary artworks. What are the parameters that come into play when looking at a work of art? What does instigate or affect its reading? How and when does the work reveal itself? What does its context or history bring? What about its location or its position as part of a collection?
What is it that we have in front of our eyes and what happens when we look harder? The Harder You Look focuses on the various aspects of the context that generates a work and traces its relation back to the viewer. Collecting Matters is a partnership between three Foundations that marks a collective commitment to encouraging new ways of thinking, sharing and producing knowledge about collections. Contemporary Art Heritage Flanders CAHF is a research environment and knowledge platform built around the collections of the 4 leading contemporary art museums in Flanders, Belgium: Through a series of projects and actions workshops, symposia, publications, exhibitions CAHF both questions and strengthens the institutional practice of collecting, by accommodating dialogue and collaboration between its 4 partner museums and an international community of art professionals.
We will start the evening with a composition for percussion and voice by the American composer Frederic Rzewski, To The Earth , from , performed by George Barton. It will be followed by case studies from the participating institutions, which will each address issues of responsibility to artworks within a collection. The panel will discuss amongst other concerns, de-collecting, lost works, and the tension between domestic and public spaces.
The format of this evening will consist of a 45 minute discussion between philosopher Jonathan Lahey Dronsfield and artist Ian Kiaer. It will be followed by a question and answer session. The guests will present, with examples from their work the back-and-forth between object and theory.
Ossian Ward discusses the ideas behind his new book tentatively titled Ways of Looking: Contemporary Art Explained , published with an introduction to the seminal book by John Berger: Ways of Seeing from Running parallel to these events The Harder You Look also incorporates a timetabled series of events for a selected group of 25 students and specialists from Belgium, France, Italy and the UK.
Each day will focus on a binary structure: What is that image that we create in our mind when thinking about a work of art? How does this image corresponds to its physical reality? The highlights of the day include a presentation by artist Manon de Boer, a lecture by artist Mark Leckey, and novelist Tom McCarthy in conversation with Pieternel Vermoortel.
Be it through interpretation, through conservation, through memory, through reenactment. What is it that makes the work perceptible and what readings should be preserved. The programme of the day features a video interview with artist Artie Vierkant and presentations by curator Claire Louise Staunton, and a lecture by critic Camiel van Winkel.
The programme of the day includes a video interview with artist Matthew Day Jackson, presentations by curator Lisa Le Feuvre, and a lecture by artist Marie Lund.
Using personal narration and musical interpretation as both method and subject, de Boer explores the relationship between language, time, and truth claims to produce a series of portrait films in which the film medium itself is continuously interrogated. Her work has been exhibited internationally, at the Venice Biennial , Berlin Biennial , Sao Paolo Biennial , Documenta and has also been included in numerous film festivals in Hong Kong, Marseille, Rotterdam and Vienna.
She lives and works in Brussels. Louisa was a judge for the Turner Prize. Jonathan Lahey Dronsfield is a philosopher and, if there is such a thing, an artist-philosopher. Martin Germann is senior curator at S. At least he organised various collection presentations as well as solo shows with Rachel Harrison and Jordan Wolfson. Prior to his position at Buero Friedrich, Berlin he was responsible for the programme of Gagosian Gallery, Berlin, a project space of the 4th Berlin Biennial for Contemporary Art At the 3rd Berlin Biennial he coordinated five thematic spaces within the Biennial.
He regularly publishes in books, exhibition catalogues and magazines, and has written on artists such as Kai Althoff, Dirk Braeckman, or Mathias Poledna.
Ilaria Gianni is a curator and writer based in Rome. Since she has been co-director of Nomas Foundation, along with Cecilia Canziani. In she co-founded the art publishing collective Impress active until , and since she is member of the collective Art at Work. She has curated a number of exhibitions, and independent research based projects, coordinated a series of exhibitions and symposiums for museums, and has contributed with texts to various art catalogues. This research is also explored through teaching on the doctoral programme at the RCA.
She contributes to Cura Magazine and has written for catalogues and artist books. The Henry Moore Institute is an award-winning exhibitions venue, research centre, library and sculpture archive.
The Institute hosts a year-round programme of exhibitions, conferences and lectures, as well as developing research and publications, to expand the understanding and scholarship of historical and contemporary sculpture. It is a part of The Henry Moore Foundation, which was set up by Moore in to encourage appreciation of the visual arts, especially sculpture.
In the Days of the Comet. Between and she directed the contemporary art programme at the National Maritime Museum. Between and she taught on the postgraduate Curatorial Programme in the Department of Art at Goldsmiths, University of London. His own state of being — an artist in London, a participant in contemporary culture, and a man who grew up in the s in the north of England — is used as a construct through which he can investigate these forces. His wide-ranging and multi-disciplinary practice combines sculpture, film, sound and performance.
She is in charge of the collection and of communications at Kadist Art Foundation in Paris since Kadist Art Foundation encourages the contribution of the arts to society, conducting programs primarily with artists represented in its collection to promote their role as cultural agents. As the head of the contemporary art collection at S. Paschalidis worked for the Flemish Community Art Collection at the department collection management and conservation.
She further has vast experience as a researcher for institutions a. Skye Sherwin is an arts writer living in London. She was involved in festivals, projects and organizations in China such as the Convergence satellite exhibit of the Beijing Biennale curator, , the Platform China Contemporary Art Institute artistic director, and the Borderline Moving Images festival co-founder and co-director, In , she co-founded Natural Born Architects with Miguel Steel Lebre and started Louiza, consulting artists, organizations and governments on their cultural policy with China.
Claire Louise is also Curator with Inheritance Projects, a curatorial group working with artists and writers in collaboration with institutions on critically informed research-led projects.
She edited various publications such as a. His book, tentatively titled Ways of Looking is due to be published in by Laurence King. Sara Weyns born has been working as a freelance publicist and curator since In , she joined the team of the Middelheim Museum, an open air museum for modern and contemporary sculpture, as senior curator.
As such, she has specialised in spatially oriented art, the subset between sculpture and architecture, art in open air and— by extension — art in public space. Camiel van Winkel writes on contemporary art and occasionally curates exhibitions. He is advisor at the Rijksakademie, Amsterdam. He is the author of Moderne leegte. Contemporary Art and the Paradoxes of Conceptualism Valiz, The outcome was I am a Curator IAAC , a project where people from all walks of life came to the gallery for a day to reflect on the complexity of art and exhibition-making.
They did so by researching and negotiating the work of 57 artists with the help of a technical and conceptual team. IAAC , along with a handful of other experimental projects, introduced a practice whereby exhibitions changed throughout the time that they were open to the public.
The project also provoked profound questions about artistic identity and its relationship to collectivity. Both shifts, in turn, lead to changed perspectives on the relationship between artworks, exhibitions, curators and artists.
In short, IAAC opened a floodgate of problematics that overwhelmed the team working with the project. It is therefore important to revisit these questions after 10 years have passed, and to see how they have influenced individual artistic processes and how they can guide us into meaningful future reflections on related issues. For more info visit: She will reflect on how the shifts in outlook on artwork and gallery space in IAAC has informed her work with display and support structures in the last decade.
Stephen Whitmarsh neuroscientist Nijmegen and member of the international network OuUnPo , will reflect on the differences and similarities between how process and practice is formulated in neuroscience and in contemporary art.
She will revisit these issues and look at how artistic practice and globalisation dialogue and to see if certain forces encourage acts and artworks that border on or play with illegality. A dozen monographs on the artists work have been published in the last decade.
Watch a recording of the evening online here. First, the exhibition Orpheus Twice dramatically changes to become a set, a situation, and a fiction for unique events to happen in the entire gallery. The doors close at 6pm, they reopen at 7pm. First you were my mother or a landscape, soon a votive figure dissolved into a humping dog, maybe something more explicit; this quake is liquid and transitory, unfixed, ready for distillation.
Costumes are designed by Corinne Felgate. At 8pm , an act by Michael Dean resonates in the space. How inanimate that alphabet.
With the policy of its use in its face. A demonstration of the letter n for you. You user with your policies. A break at 8. The light may change. Rodney Graham plays at 9pm. The perfect way to end an evening and to begin the night. Please arrive early as space may be limited. These acts and performances have never been played in London before. They last between 20 minutes to 35 minutes each. At the occasion of Frieze Art Fair we have extended our opening hours and the exhibition will be exceptionally open on Tuesday 15 and Wednesday 16 October from 12 to 6pm.
Often in these sources, the mythological couple of Orpheus and Eurydice appears as a metaphor for the act of seeing and creating. The story is well known. At her wedding, while trying to escape from a satyr, Eurydice suffered a fatal snake bite to her heel.
Her body was discovered by Orpheus who, overcome with grief, played such sad and mournful songs that all the nymphs and gods wept. On their advice, Orpheus travelled to the underworld where his music softened the hearts of Hades and Persephone, who agreed to allow Eurydice to return with him to earth on one condition: He set off with Eurydice following, but on their way he turned to look at her.
She vanished again, this time forever. Many renditions and interpretations of the myth exist. One of these focuses less on the existential and sentimental aspects of the story than on its metaphorical definition of artistic inspiration.
As often with Blanchot, a classical myth is read through a highly personal vision, leading towards an understanding of the creative act. The force that enables Orpheus to cross the boundaries and to descend to Eurydice is that of art. Free admission, no booking or invite required, all welcome. The evening will start with a piece by Paul Burnell for hands and voice. His music often utilizes repetition and pulse within a structure that can be easily perceived as a process.
Shortly after arriving in New York City in March , Glass attended a performance of works by Steve Reich, which left a deep impression on him; he simplified his style. Glass began performing mainly in art galleries and studio lofts. The visual artist Richard Serra provided Glass with Gallery contacts, while both collaborated on various sculptures, films and installations, including the iconic Splash Piece.
Between summer of and the end of , Glass composed nine works, including Music in the Shape of a Square for two flutes, composed in May , an homage to Erik Satie. The musical scores were tacked on the wall, and the performers had to move while playing.
Warm Leatherette is an artist book by Ewa Axelrad, focusing on the fetishistic potency and a sculptural dimension of speed and a crash.
Through juxtaposing the intimate with the cool representation of a crash, the project addresses the sense of confusion between the solid and the precarious present in our relationship with technology and its aesthetics. The book has been published in a limited and numbered edition by Museum in Gliwice and includes two texts by Huw Hallam and Tomasz Plata. She graduated from the Royal College of Art and works primarily with photographic image and architectural installation, through which she often examines violence present in architectural configurations and trivial interpersonal gestures.
Huw Hallam is a writer and a musician. Also studied art history and cultural theory at the University of Melbourne Australia. Lives and works in Oxford. Eszter Steierhoffer is an art historian and curator based in London. Her research focuses on contemporary practices inbetween art and architecture and the recent developments and debates around contemporary exhibition making.
She is a regular contributor to a variety of international arts publications and led a number of research seminars and workshops. This event is free but booking is strongly recommended as space is limited. Lamelas invited a number of friends to be photographed, thereby creating a remarkable image of the London scene at the time. The pictures were taken by a photographer who worked primarily in fashion and, as a result, the subjects took on glamorous poses.
The images are at once fashion photography and personal portraits. This exhibition focuses on London as an instrumental destination for artists from Latin America, whose work has previously been examined in the context of their native countries, or in relation to contemporaneous North American works. Through the display of artworks, letters, documents, interviews and publishing projects, the exhibition aims to contextualise the incredibly fertile and symbiotic relationship established between these artists, some political exiles, and their new London environment.
Leaving to one side ideas of nationality and regionalism, this exhibition focuses on London as a place of freedom and experimentation that enabled artists to produce radical works that engaged with issues of participation and collaboration, established new relationships with the public space and fostered art as an effective political tool.
Originally a sculptor, he became a pioneering film artist. Lamelas has lived and made work across Europe and America. She was also one of the London Friends. Lamelas arranged for her to be the London correspondent of Art Press in Paris. They have remained friend over the years and Morris wrote about David in the Witte de With and the Vienna Secession catalogues.
Medalla has been based in Britain on and off since the s, when he co-founded the influential Signals gallery in London and edited the Signals newsbulletin. Medalla has also lectured widely at universities, art schools and institutions, including a series of lectures on global culture at MOMA, New York.
This exhibition is supported using public funding by the National Lottery through Arts Council England. Supported by the Mexican Embassy, London. Existing in thought or as an idea but not having a physical or concrete existence. Relating to or denoting art that does not attempt to represent external reality, but rather seeks to achieve its effect using shapes, colors, and textures: Works of art can fully embody the promesse du bonheur only when they have been uprooted from their native soil and have set out along the path to their own destruction.
The procedure which today relegates every work of art to the museum is irreversible. It is not solely reprehensible, however, for it presages a situation in which art, having completed its estrangement from human ends, returns to life. An upright, cupboard like repository with shelves, drawers, or compartments for the safekeeping or display of objects. The box that houses the main components of a computer, such as the central processing unit, disk drives, and expansion slots.
A body of persons appointed by a head of state or a prime minister to head the executive departments of the government and to act as official advisers. On several occasions, he spoke or wrote about the museum as a space of flux or permanent transformation, oscillating between object and process. He talked of the museum as a relative not an absolute truth, and contextualized this radical museum within a similarly dynamic concept of art history.
The museum kills the vehemence of painting.