Kunst und Kultur

"GLUT. Siegfried von Arabien." Niebelungenfestsiele 2017

Nuran David Calis inszeniert Albert Ostermaiers neues Stück „GLUT“ Im dritten Jahr der Intendanz von Nico Hofmann wird es 2017 bei den Nibelungen-Festspielen Worms wieder eine Uraufführung auf der imposanten...

Ralina Ahmetova, eine Kollektion zwischen Zeitreise und Dialog

Ralina Ahmetova, geboren und aufgewachsen in Russland. Seit 10 Jahren wohnt Sie nun in Deutschland,  diese BA-Abschlusskollektion war für sie eine Art Zeitreise, und Bearbeitung von inneren Konflikten, der Versuch...

Underground Fashionshow von Lina Berlina

Am Donnerstag den 06.07.2017  im Rahmen der Berliner Fashionweek zeigte  LB Lina Berlina die sonst ihre Kollektion in der Listo Lounge im Hilton Hotel Berlin zeigt, ihre Kreationen mal ganz...

Maneesha Ruia

Maneesha Ruia, the designer and brand creator, lives between Mumbai and New York with an educational background in the Arts from one of India’s top Fine Arts colleges, Sophia Polytechnic,...

ECHO Klassik 2017 für Genova & Dimitrov

Zum 24. Mal wird in diesem Jahr der deutsche Musikpreis ECHO Klassik verliehen.Insgesamt umfasst der diesjährige Echo Klassik 54 Auszeichnungen in 22 Kategorien.Der ECHO Klassik ist ein deutscher Musikpreis für...

Alfio Giurato

Vom 04.08. bis 09.09.2017 präsentiert die Galerie erstmals den sizilianischen Künstler Alfio Giurato (*1978 Catania, Italien). Die Malerei Alfio Giuratos ist durch das Moment der InUmität geprägt. Giuratos Figuren strahlen...

Planet 9

Planet 9  postulierten Konstantin Batygin und Michael E. Brown die Existenz eines gigantischen, neunten Planeten mit einem Orbit von 10.000 bis 20.000 Jahren. Während Astronomen dem Phantomplaneten nachspüren, wird daraus...

L'Ouzbékistan, est une véritable destination de rêve qui regorge de nombreuses richesses culturelles et historiques

L'Ouzbékistan, est une véritable destination de rêve qui regorge de nombreuses richesses culturelles et historiques Riche en mythiques cités aussi noble que Samarcande, comme Boukhara, l’Ouzbékistan, ex-république soviétique est depuis...

The Premium Group presents

Featuring around 1,800 brands, 81% of which come from outside Germany, as well as a large number of new brands that constitute up to 30% of the portfolios, the PREMIUM...

L’art en Europe - Le continent que l’UE ne connaît pas

En partenariat avec de grands musées tels que le Palais des Beaux-Arts (BOZAR) à Bruxelles, le musée national des beauxarts Pouchkine et le Centre d’État des Musées et des Expositions ROSIZO à Moscou, le ZKM présente le vaste projet d’exposition L’art en Europe.

L’exposition passe en revue les forces culturelles fédératives sur le continent eurasien et se penche donc sur une aire culturelle centrale, ébranlée et déchirée par plusieurs crises et guerres au cours du XXe siècle. À l’aide d’œuvres d’art et d’une frise chronologique documentaire, l’exposition met en lumière la rupture civilisationnelle de la Seconde Guerre mondiale et la manière dont les néo avant-gardes de l’après-guerre y réagissent. Trois musées de renom international unissent leurs efforts pour rassembler 500 pièces de plus de 200 artistes et offrir un panorama de l’évolution artistique paneuropéenne des deux côtés du Rideau de fer. Les trois musées insistent sur des aspects différents en fonction de leur histoire et situation géographique. Au ZKM, qui s’est notamment voué aux évolutions artistiques expérimentales des années 1950 et 1960, l’exposition est personnalisée et agrandie. Des plasticiens des néo avant-gardes occidentales, comme Zero, Nul ou le Groupe de recherche d’art visuel y sont présentés pour la première fois dans le contexte de l’émergence parallèle de nouvelles tendances en Europe de l’Est et en URSS – telles que Nove Tendencije ou le groupe Dvizhenie. Cette juxtaposition met au jour de nouveaux récits de l’Europe, parlant d’innovation, de la liberté de l’individu, de risque et de résistance, de recherche et d’expérience. L’Europe de 1945 à 1968 La période sur laquelle l’exposition braque les projecteurs, 1945 à 1968, incarne à plusieurs égards celle de perspectives artistiques et politiques tendues vers l’avenir. À l’issue de la Deuxième Guerre mondiale en 1945, les frontières politiques et culturelles se durcissent progressivement avec le Rideau de fer qui divise le continent européen entre Est et Ouest. La conférence de Yalta (1945), réunissant Roosevelt, Churchill et Staline, signe l’abandon politique de l’Europe de l’Est à la page.

Partenaires de l’exposition Avec le soutien de Partenaires du projet européen Donateurs du ZKM Partenaire du ZKM Partenaire de mobilité dictature stalinienne, l’Europe procédant ainsi à sa propre amputation. Une nouvelle Ostpolitik est inaugurée en 1968, qui débouche, grâce à la chute du Mur, sur la réunification de l’Allemagne de l’Est et de l’Ouest, qu’on peut aussi lire comme le signal de la naissance consécutive de l’Union européenne. Art et Guerre froide Jusqu’à présent, l’historiographie s’est principalement intéressée à l’expressionnisme abstrait entendu comme symbole de l’Ouest libre, tandis que le réalisme socialiste incarnait l’Est communiste. Nous savons toutefois aujourd’hui que ce modèle prédominant de l’histoire de l’art était un produit de la Guerre froide. C’est pourquoi l’exposition tente de réinterpréter l’évolution de l’art européen dans une perspective paneuropéenne. Elle montre ce faisant une renaissance spécifique de la culture et de l’art européens entre 1945 et 1968. En réunissant les néo avant-gardes d’Est et d’Ouest, le projet d’exposition révèle que les origines d’un grand nombre de nouvelles formes artistiques produites après la guerre – de l’art numérique à l’art conceptuel, de l’actionnisme à l’art sonore – se trouvaient en Europe ou qu’elles ont émergé de façon concomitante en Europe de l’Ouest, aux États-Unis, en URSS et en Europe de l’Est. Les artistes du pop art d’Europe de l’Est, souvent mus par des motivations politiques, sont ainsi bien moins connus à ce jour que leurs collègues américains ou anglais. Un nouveau récit pour l’Europe L’exposition et le catalogue qui l’accompagne déploient plusieurs nouveaux récits de l’Europe. Premièrement, l’art de l’après-guerre est interprété comme une voie pour surmonter les expériences traumatiques de la Seconde Guerre mondiale, de la Shoah et de la destruction atomique. La réponse a été double, d’une part : crise et rejet de la représentation au moyen de l’abstraction, de l’autre : destruction des outils de représentation et dépassement de l’aspect matériel des blessures. Vers 1960, deuxièmement, on observe un abandon de l’abstraction et une prédilection pour les objets, sous la forme du Nouveau réalisme, par exemple. C’est le début de l’expansion de l’art vers les médias techniques et les formes d’action de l’artiste comme du public. Troisièmement émerge une résurgence de l’utopie, dont 1968 est l’épicentre. Cette même année, les troupes du pacte de Varsovie entrent dans Prague, événements qui marquent la fin de l’exposition. Quatrièmement, l’exposition a pour objectif d’unifier sur le plan culturel l’Europe historiquement divisée. Un phénomène en ressort clairement : en dépit de la fin de la Guerre froide, les nations séparées pendant des décennies ne connaissent pas suffisamment les cultures des autres nations.

Artistes présentés (sélection) : Giovanni Anselmo, Arman, Vojin Bakić, Max Beckmann, Joseph Beuys, Günter Brus, Alberto Burri, Alberto Biasi, Dadamaino, Alexander Deineka, Herman de Vries, Öyvind Fahlström, Jean Fautrier, Stano Filko, Poul Gernes, Tomislav Gotovac, Karl Otto Götz, Raymond Hains, Eva Hesse, Alfred Hrdlicka, Tadeusz Kantor, Yves Klein, Gyula Konkoly, Vladimir Kristl, Erkki Kurenniemi, Laszlo Lakner, Fernand Léger, Heinz Mack, Karel Malich, Piero Manzoni, Almir Mavignier, Mario Merz, Harald Metzkes, Frieder Nake, Nam June Paik, Pablo Picasso, Victor Popkov, Equipo Realidad, Gerhard Richter, Mikhail Roginsky, Alina Szapocznikow, Nicolas Schöffer, Kjartan Slettemark, Jesus Raphael Soto, Daniel Spoerri, Zdeněk Sýkora, Paul Talman, Jean Tinguely, Werner Tübke, Günther Uecker, Timm Ulrichs, Gabriele de Vecchi, Wolf Vostell, Stephen Willats, Ossip Zadkine, Gilberto Zorio

„Ethical Fashion on Stage”: Der Sommer wird lässig!

Auch Teil zwei des Schauenprogramms im Funkhaus konnte auf ganzer Linie punkten: Die Catwalkshow  „Ethical Fashion on Stage” überzeugte mit einem weiten Spektrum zeitgeistiger Street- und Casualwear. Auf dem Laufsteg waren Outfits ausgewählter Labels der Ethical Fashion Show Berlin zu sehen. Die Schau fand zum ersten Mal im Obergeschoss der Shedhalle auf dem Funkhausgelände statt.

Die Modenschau bot einen Ausblick auf die Trends der Saison S/S 2018 – geprägt durch Sneakers zu Kleidern, Allover-Prints und maritimen Themen. Folgende Labels präsentierten ihre Kollektionsneuheiten: Anukoo Fair Fashion, Anzüglich, Eco Bambou, Greenbomb, Indigo People, Less too late, Miss Green, Naturaline, Organication und Shirts for Life. Wunderwerk bereicherte die Show mit einem Special und stellte eine vielversprechende Auswahl seiner neuen Linie vor. Musikalisch wurde die Show von Delfonic untermalt. Ethletic stattete die Models mit einer Schuhselektion aus. Das Styling für die Models übernahm Aveda.

Noch bis einschließlich Donnerstag bildet die Ethical Fashion Show Berlin gemeinsam mit dem Greenshowroom im Funkhaus Berlin die Plattform für zeitgeistige, grüne Mode während der Berlin Fashion Week. 180 internationale Labels präsentieren ihre neuen Kollektionen.

Ein Video von „Ethical Fashion on Stage“ finden Sie in Kürze auf unserer Website:
www.ethicalfashionshowberlin.com

Fotos und weitere Informationen unter:

www.ethicalfashionshowberlin.com/presse

Weitere Bilder, Videos und Informationen unter:
www.facebook.com/ethicalfashionshowberlin

www.youtube.com/EFSBerlin

www.instagram.com/ethicalfashionshowberlin

Informationen zu den weltweiten Textilmessen der Messe Frankfurt unter:
www.texpertise-network.com

Alchemy of a split, by Jerry Treit

„We wear masks, togs, haircuts, tattoos of eternity, but in in the essence we are naked. I do not really think that anyone cares about it looking to the inside. The more we express to the outer world, the less we maintain for ourselves. In my painting I take a look into these depths, I try to find a harmony between both of these worlds. Everything merges in the chaos of daily life, one side turns to the other. One gets new hair, the other gets new wings… Dichotomy grows.

Drawing a line, a soul, a horizon, each time I put my other hand into these depths, as bathing in a bottomless pit, fishing what the waters like to give. Two universes occur. The one out of a magazine, and the intimate one. It´s the theatre of art. A little pop. The poetry of schizophrenia. The beauty of randomness by the embarrassment of completely different worlds – sometimes only fitting by color… the color of presenters‘ hair and the color of my Starbucks coffee, seasoned by the coziness of warm winter sox, and finished by the rumble of a rocket taking out to Syria. A feast of emotions. This fine crack we call life.“

 

Funkhaus Berlin: Großzügige und übersichtliche Inszenierung des Hotspots für Eco-Fashion

Zum ersten Mal öffnet das Funkhaus Berlin seine Tore für das Messe-Duo Greenshowroom und Ethical Fashion Show Berlin. Vom 4. bis 6. Juli 2017 stellen internationale Top-Player für Eco-Fashion ihre neuen Kollektionen für S/S 2018 in der Shedhalle auf dem Funkhausgelände vor. Insgesamt sorgen 180 Labels* für ein begeisterndes Modeangebot.

„Auf Anhieb ist die Shedhalle hervorragend gefüllt. Die teilnehmenden Labels zeichnen in der neuen und äußerst attraktiven Location ein fantastisches Bild, das uns einen erstklassigen Überblick über angesagte Mode liefert. Hinzu kommt ein prall gefülltes Programm, das wir gemeinsam mit unseren Partnern ausgearbeitet haben und mit dem wir unseren Besuchern einen starken Mehrwert bieten“, sagt Olaf Schmidt, Vice President Textiles & Textile Technologies der Messe Frankfurt.

Mit dem Umzug in die neue Location konnten sowohl der Greenshowroom als auch die Ethical Fashion Show Berlin ihre Ausstellungsfläche vergrößern. 40 internationale Vorreiter für Contemporary Fashion präsentieren im Greenshowroom hochwertige Looks für den nächsten Sommer. Die weiteren Flächen im Erdgeschoss der Shedhalle belegt die Ethical Fashion Show Berlin, die damit das größte Modespektrum ihrer Geschichte bietet. 140 Labels zeigen angesagte Street und Casual Wear. Flankiert wird die Plattform von einer Knowledge Lounge mit namhaften Institutionen und Zertifizierern sowie einem Vortragsareal mit dreitägigem Programm im Obergeschoss der Shedhalle.

Neue Segmentierung für besseren Überblick

Die Ausstellungsfläche der Ethical Fashion Show Berlin ist erstmals in gekennzeichnete Segmente unterteilt: Moderncasual für klare, langlebige Kollektionen, Urbanvibe für Denim und Streetwear, Craft für traditionelle und modern interpretierte Handwerkskunst, Individual für Styles mit individueller Klasse von den Pionieren der Eco-Fashion und Kids für modische Highlights für Kinder und Teens. Die Messe gewinnt damit deutlich an Struktur und Besucher können sich besser orientieren.

Trends S/S 2018: Understatement mit minimalistischem Design

Zu den stilprägenden Trends für den nächsten Sommer zählen Neuheiten, die im Segment Craft zu sehen sind und auf traditioneller Handwerkskunst basieren – gepaart mit zeitgemäßem Design.

Ebenso steigt Athleisure zum wichtigen Schlagwort auf: Sportliche Themen werden zunehmend modisch interpretiert. Im Fokus steht das neue Understatement mit minimalistischem Design, das sich durch Details und hochwertige Materialität auszeichnet. Weiterhin sind farbige oder romantische All-Over-Prints und Schnürungen zu sehen, die variantenreich die Kollektionen für S/S 2018 prägen.

Fokusthema Handel

Speziell für die Besuchergruppe Einzelhändler hält das Messe-Duo eine Reihe attraktiver Informations- und Inspirationsangebote bereit. Zentraler Fixpunkt ist das Retail-Areal „JETZT!“. Mit ihm präsentieren die Veranstalter eine Konzeptfläche, die Einzelhändlern eine Vision vor Augen führt, wie sie nachhaltige Mode- und Lifestylemarken in ihre Sortimente integrieren können – modisch, erlebnisorientiert und zeitgeistig inszeniert. Das Event-Highlight für Einzelhändler steht am dritten Messetag um 11 Uhr auf dem Programm: Während des TW Fair Fashion Summit diskutieren Branchenexperten in einem Praxistalk das Thema: „Wie man mit grüner Mode Geld verdienen kann“. Die Podiumsdiskussion wird organisiert von der TextilWirtschaft in Kooperation mit dem BTE Handelsverband Textil.

Modenschauen in stimmungsvollem Ambiente

Das Modenschauenprogramm für geladene Gäste geht am zweiten Messetag über die Bühne – ebenfalls unter dem Dach der Shedhalle. Das erste Obergeschoss bietet mit seiner gewölbten Decke ein stimmungsvolles Ambiente. Bei der „Salonshow“ am Mittwoch, 5. Juli, um 16.30 Uhr sind Highlights aus dem Programm folgender Labels zu sehen: Biaggi Atelier, C.Pauli, Inti Ferreira, Jungle Folk, Lanius, Laurie Procès – LVMH CSR Young Talent Award, Miss Janna, Natascha von Hirschhausen x Living Blue, Somyso und Things I Miss. Im Anschluss, um 18.30 Uhr, zeigt die Catwalkshow „Ethical Fashion on Stage“ ausgewählte Looks von Anukoo Fair Fashion, Anzüglich, Eco Bambou, Greenbomb, Indigo People, Less too late, Miss Green, Naturaline, Organication und Shirts for Life. Zusätzlich präsentiert Wunderwerk mit einem Show-Special seine neue Kollektion.

Shuttle-Service zum Funkhaus

Zur bequemen und einfachen Anreise bietet die Messe Frankfurt einen eigenen Shuttle-Service für Besucher an: Vom Schlesischen Tor (U-Bahn-Haltestelle, Ecke Skalitzer/Oppelner Straße), vom Ostkreuz (S-Bahn-Haltestelle, am Wasserturm) und von der Messe Premium (Shuttle-Haltestelle) fahren regelmäßig Busse zum Funkhaus. Außerdem ist das Messe-Duo an den offiziellen Shuttle der Mercedes-Benz Fashion Week Berlin angebunden. Er verkehrt u.a. zwischen den Locations der Veranstaltungen Premium, Seek, Bright und Mercedes-Benz Fashion Week

Biographical Note of Christine Macel

Christine Macel was born in Paris in 1969. Following her studies in art history, she was a curator of the heritage and inspector of artistic creation for the “Délégation aux Arts Plastiques” of the French Ministry of Culture (from 1995). Since 2000 she has been Chief Curator at the Musée national d’art moderne – Centre Pompidou in Paris, where she is responsible for the Department of “Création contemporaine et prospective”, which she founded and developed.

She was the curator of the French Pavilion at the Biennale Arte 2013 (Anri Sala) and the Belgian Pavilion at the Biennale Arte 2007 (Eric Duyckaerts).  For the Centre Pompidou she curated and co-curated many collective exhibitions, including Danser sa vie, art et danse aux XX et XXIème siècles (2011); Les Promesses du passé. Une histoire discontinue de l’art à l’Est de l’Europe depuis 1956 (50 artistes) (2010); Airs de Paris, mutations dans la ville et la vie urbaine (2007); Dionysiac (2005). She also curated the solo exhibitions of artists such as Anri Sala (2012), Gabriel Orozco (2010), Philippe Parreno (2009), Sophie Calle (2003), Nan Goldin (2002) and Raymond Hains (2001).

At the Pompidou she also conceived and created “Espace 315”, a gallery dedicated to young artists on the international scene, for which she curated eight exhibitions between 2004 and 2013: Koo Jeong-A, Magnus Von Plessen, Xavier Veilhan, Jeppe Hein, Pawel Althamer, Damian Ortega, Tobias Putrih, L’Image dans la sculpture (Navid Nuur, Nina Beier, Simon Denny, Yorgos Sapountzis). In 2002 she was responsible for the concept, organization and programming of “Prospectif Cinéma”, which spotlighted film production by young French and international artists. She also served as artistic director of the Festival du Printemps de Cahors for two years (ExtraetOrdinaire, 1999; Sensitive, 2000), and curated the exhibitions by Jeppe Hein at the Moore Space Miami (2005), by John Bock at the FRAC in Marseilles (2006) and by Ziad Antar at the Sharjah Foundation (2012).  In 2015 she curated Nel Mezzo del Mezzo. Arte contemporanea nel Mediterraneo, Museo Riso in Palermo; What We Call Love, from Surrealism to Now, Irish Museum of Modern Art in Dublin; Une histoire, art, architecture, design, des années 80 à nos jours, Centre Pompidou, which was also inaugurated at the Haus der Kunst in Munich in March 2016. She is the curator of Collected by Thea Westreich Wagner and Ethan Wagner with Elisabeth Sussman, inaugurated at the Whitney Museum in New York in November 2015 and opened at the Centre Pompidou on June 2016. In 2016 she has also curated Dear Friends, donations of the last 5 years (March 2016) and Melik Ohanian, Marcel Duchamp Prize (May 2016) at Centre Pompidou.

She opened on October 19th 2016 the show Polyphonies: Franck Leibovici, Oliver Beer, Mariechen Danz in the new Espace Prospectif of Centre Pompidou Galerie 0. She contributes to several magazines such as Artforum, Flash Art, Art Press, Parkett and Cahiers du Musée national d’art moderne. She is the author of many essays, books and catalogues, including the essay Le Temps pris/Time Taken (French, English, Monografik/Centre Pompidou 2008) on the theme of contemporary art and the concept of time in art works. She recently published an essay on Lygia Clark in the catalogue of the MoMA in 2015 and one on Anri Sala in the catalogue of the New Museum of New York (Phaïdon, February 2016). She taught contemporary art at the École du Louvre in Paris from 1997 to 2002, and created or participated in the creation of various associations dedicated to contemporary art (Espace Blank, Paris), to art and neurosciences (AoN, Berlin), to art and techno music (Faste, Paris).

Parada Salvaje - The argentine artist Celina Jure

The argentine artist Celina Jure (Buenos Aires), born and raised in Jujuy, became famous for her large-sized paintings which were developed trough dance and movement, often developed on site at the exhibition spaces.
In the last 10 years Celina Jure dedicated herself more and more towards objects and installations working mainly with clay. The dynamic flow of her paintings can be found in the way she works the clay, respectively in theassemblages of her clay-steles, that seem to loose any time their laborious balance just to end up as scattered fragments on the ground. These fragile objects that seem to constantly seek to maintain their balance are arranged as single objects or forming larger groups.
For her exhibition at Das Esszimmer she developed new works.

between art and arts & crafts” Artist  and Curator: Jorge Pardo

For the second year in a row, La Biennale di Venezia is collaborating with the Victoria and Albert Museum, London (V&A) on the Pavilion of Applied Arts at the 57th International Art Exhibition, located in the Sale d’Armi of the Arsenale.

The Pavilion, titled “Display – between art and arts & crafts”, is conceived by La Biennale di Venezia with the advice of Bice Curiger, and curated by Cuban-American artist and sculptor Jorge Pardo, whose work blends art and design together.

The exhibition features “a steel structure for a summer house in the future”, as Jorge Pardo explained, along with “5 paintings with lights and someone falling, curtains that make me think of Lilly Reich, photos of shows and other things, a very nice bathroom, and photographs in a slide carousel”. He also added, about his installation: “starting to get the ex wife out of my summer house… and maybe some issues in objecthood along the way…”.

La Biennale di Venezia has long been interested in the world of applied arts, and in 2016 initiated a collaboration with the V&A establishing the Pavilion of Applied Arts. The two institutions use the Pavilion to explore this subject and take turns curating an exhibition each year. Last year the V&A curated A World of Fragile Parts, devoted to the past and future of copying cultural heritage, shown as part of the 15th International Architecture Exhibition.

La Biennale di Venezia President Paolo Baratta, stated:  “The first edition of the Pavilion of Applied Arts took place in 2016 in collaboration with the Victoria and Albert Museum. This year, according to the agreement, it was up to La Biennale to pick a theme. Therefore, we chose to ask Jorge Pardo to develop a project devoted to the DISPLAY, a theme that could lead to contributions lying halfway between Art and the „Arts and Crafts“.

Besides the pavilion, that has been conceived and curated by the Cuban-American artist, the project will also include the next edition of the ‘La Biennale Summer School’.

The theme of „Display“ is bound to draw long-lasting attention, because of its breadth and of the large number of situations in which the act of displaying can challenge artistic thought and practices bridging art and applied arts.  It would perhaps be a good idea to systematically focus on it for the ‘Biennali’ to come. We shall see!”

V&A Director Tristram Hunt stated:  „The Victoria and Albert Museum was founded after the 1851 Great Exhibition, and has always combined display and teaching to advance our knowledge of the fine, applied and industrial arts. We are delighted to be joining forces with La Biennale di Venezia again this year on this Pavilion of Applied Arts at the 57th International Art Exhibition, helping to host the exhibition by Jorge Pardo and working together on a summer school that will study the history of the homes we provide for objects-pavilions, museums, shops, and houses. As another machine for display and engine for learning, La Biennale is our perfect partner for the exploration of the applied arts and the contexts that give them life“.

In addition to curating the Pavillion of Applied Arts, the collaboration between La Biennale di Venezia and the V&A has also established La Biennale Summer School. The inaugural week long course took place in July 2016 and was organised in collaboration with La Biennale de Venezia, the V&A and the University of Applied Arts, Vienna.  The twenty-three participants represented a wide range of professions and included architects, communications professionals, journalists, academics, designers and artists. A large proportion were students or recent graduates in the fields of architecture, landscape architecture, law, and industrial design.

About the V&A The V&A is the world’s leading museum of art, design and performance with collections unrivalled in their scope and diversity. It was established to make works of art available to all and to inspire British designers and manufacturers. Today, the V&A’s collections, which span over 5000 years of human creativity in virtually every medium and from many parts of the world, continue to intrigue, inspire and inform. www.vam.ac.uk

Italian Pavilion 57th International Art Exhibition of La Biennale di Venezia

Il mondo magico, curated by Cecilia Alemani, presents the work and research of three Italian artists—Giorgio Andreotta Calò, Roberto Cuoghi, and Adelita Husni-Bey—who show a new faith in the transformative power of the imagination and an interest in magic. Through myriad references to fancy, fantasy, and fable, they turn art into a tool for inhabiting the world in all its richness and multiplicity.

The title of the exhibition is borrowed from the book Il mondo magico by Neapolitan scholar Ernesto de Martino, who conducted seminal research into the anthropological function of magic. De Martino spent years studying a range of rituals, describing them as devices through which individuals try to regain control in times of uncertainty and reassert their presence in the world. Il mondo magico, written during World War II and published in 1948, ushered in a series of reflections and analyses of a body of beliefs, rites and myths which de Martino continued to explore for decades, as one can see from both his “Southern” trilogy (Morte e pianto rituale, Sud e Magia, La terra del rimorso) and the collection of writings posthumously published as La fine del mondo.

Within the landscape of contemporary Italian art, Giorgio Andreotta Calò, Roberto Cuoghi, and Adelita Husni-Bey use magic as a cognitive and expressive device for reconstructing reality, forging complex personal cosmologies. These three artists see themselves not just as fabricators of artworks, but as active interpreters and creators of the world, which they reinvent through magic and the imagination. For Andreotta Calò, Cuoghi, and Husni-Bey, magic is not an escape into the depths of irrationality so much as a new way of experiencing reality. They do not share any particular stylistic tendency, but rather the impulse to develop complex aesthetic universes that eschew the documentary-style narrative found in much recent art, relying instead on a form of storytelling woven from myths, rituals, beliefs, and fairy tales. Il mondo magico therefore sees the artist not just as a fabricator of works and objects, but above all a guide, interpreter, and creator of possible worlds. Like the rituals described by de Martino, the works of Andreotta Cal

Cuoghi, and Husni-Bey present situations of crisis that are resolved through processes of aesthetic and ecstatic transfiguration. If one looks closely, these works offer up the image of a country—both real and fanciful—where ancient traditions coexist with new global languages and vernaculars, and where reality and imagination melt together into a magical new world.

For Il mondo magico, Alemani has invited Giorgio Andreotta Calò, Roberto Cuoghi, and Adelita Husni-Bey to create three new projects specifically commissioned and produced for the Italian Pavilion

Cecilia Alemani’s project Il mondo magico is perfectly attuned to Christine Macel’s overall concept for the 57th International Art Exhibition of La Biennale di Venezia. VIVA ARTE VIVA revolves around an idea of humanism that celebrates art’s capacity to help individuals avoid being overpowered by the forces governing our world, forces which when given free rein can gravely circumscribe the human dimension.

In conjunction with Il mondo magico, a program of educational activities geared to students from Italy’s public art academies will be organized with the sponsorship of MiBACT’s Directorate-General of Contemporary Art and Architecture, and Urban Peripheries, in a calendar of events curated by Cecilia Alemani and Marta Papini

The Italian Pavilion has been made possible in part by support from FENDI, main sponsor of the exhibition Il mondo magico.  Technical sponsors of the Italian Pavilion are Biodesign, Criofarma, Laser Digital Film, Fonderia Battaglia, DLW flooring GmbH., Interlinea, Italgelatine, Oikos. Special Thanks to Dario Paini Acoustic Design. Special thanks also to the donors who played a vital role in the project as a whole.

DANZA - Biennale 2017

Dana Michel, afroamericana di Ottawa, Leone d’argento 2017, è un’artista che fa della propria autobiografia motivo di ricerca:“lavorare attingendo alla propria esperienza personale è la strada migliore per raggiungere un’auto-consapevolezza e per creare una significativa connessione con gli altri”, dichiara.

I suoi lavori si caratterizzano per una sorta di “bricolage post culturale” dove tutto entra – momenti live, manipolazione di oggetti, frammenti di storia personale, desideri, preoccupazioni del momento – creando un centrifugato di esperienza empatico tra l’artista e gli spettatori. Come in Yellow Towel (Tese dei Soppalchi, ore 19.00), in cui la Michel rievoca l’asciugamano giallo con cui si fasciava la testa da bambina per imitare le sue compagne di scuola, tutte inesorabilmente bionde, e che diventa occasione per stigmatizzare e capovolgere gli stereotipi della cultura black. Fortemente influenzata dall’estetica della moda, dei videoclip musicali, della cultura queer, Dana Michel è un’artista che parla del contemporaneo attraverso un linguaggio coreografico multiforme e sorprendente. La pratica artistica di Dana Michel esplora le molteplici sfaccettature dell’identità contemporanea e multiculturale attraverso l’uso dell’improvvisazione e dello scavo interiore dell’artista.

A seguire lo spettacolo, Cerimonia di consegna del Leone d’Argento.

Prova esemplare della danza stupefacente di Marie Chouinard, dove ogni gesto è un pensiero, è Soft virtuosity, still humid, on the edge (Teatro alle Tese, ore 21.30), creato nel 2015, è un excursus sulle molte forme del camminare (affannoso, zoppicante, sfrenato, divertente, sulle punte, sulle mezze punte…). In questo deambulare da un lato all’altro del palcoscenico, che è anche il mondo, i personaggi anonimi interpretati dai dieci danzatori della compagnia si incontrano, formano gruppi, si separano, si agitano e se ne vanno.

Dice Marie Chouinard: “I danzatori lavorano partendo da una torsione, da un movimento viscerale e interno. Questo movimento sale passando per il cuore e la gola fino a riflettersi sul volto degli interpreti e a trasformarlo. È qualcosa che nasce da uno stato interno con una forza talmente potente che il viso ne è trasfigurato. Non avere nessun giudizio e lasciare il flusso del movimento libero di scuoterci dall’interno. Non definire l’emozione per evitare di cristallizzarla, e per lasciarle la possibilità di trasformarsi, di seguire il suo corso. È un lavoro complesso e quando i danzatori padroneggiano questo processo, ne sono soggiogata”.

A seguire lo spettacolo, conversazione con Marie Chouinard.

Biennale College – Danza: 3 coreografi

È la seconda serata dedicata a Biennale College – Danza, che promuove i talenti offrendo loro di operare a contatto di maestri per la messa a punto di creazioni. Alla prova del palcoscenico, dopo i danzatori, sono tre nuovi coreografi selezionati dalla Direttrice Marie Chouinard: dopo 6 settimane di lavoro con 7 danzatori professionisti presentano al pubblico tre brevi coreografie originali (Teatro Piccolo Arsenale, ore 21.30).

Sono: l’italiana Irina Baldini, 29 anni, formata al Laban Centre, attiva come danzatrice con Charles Linenhan, Yvonne Rainer, Xavier Leroy, Marten Spangberg, Simone Forti e altri, prima di intraprendere l’attività di coreografa; l’australiana Chloe Chignell, 24 anni, attiva con Leah Landau, Ellen Soderhult, Rebecca Jensen, Marten Spangberg e altri, prima di dedicarsi alla coreografia dal 2014; lo spagnolo Joaquín Collado Parreño, 26 anni, attivo con molte compagnie in patria, fra cui La Veronal.

A seguire, conversazione con Irina Baldini, Chloe Chignell, Joaquín Collado Parreño.

La Biennale di Venezia 57th International Art Exhibition “Viva Arte Viva”

The 57th International Art Exhibition, titled Viva Arte Viva, will open to the public from Saturday May 13th to Sunday November 26th 2017 (Giardini and Arsenale) and will be curated by Christine Macel and organised by La Biennale di Venezia chaired by Paolo Baratta. The preview will take place on May 10th, 11th and 12th, the awards ceremony and inauguration will be held on Saturday, May 13th 2017.

The Exhibition will also include 86 National Participations in the historic Pavilions at the Giardini, at the Arsenale and in the city centre of Venice. Three countries will be participating for the first time: Antigua and Barbuda, Kiribati, and Nigeria.

The Italian Pavilion at the Tese delle Vergini in the Arsenale, sponsored and promoted by the Ministero dei Beni e delle Attività Culturali e del Turismo, Direzione Generale Arte e Architettura Contemporanee e Periferie Urbane, this year will be curated by Cecilia Alemani.

23 Collateral Events, promoted by non-profit national and international institutions, will present their exhibitions and initiatives in Venice during the 57th Exhibition.

The International Exhibition VIVA ARTE VIVA

The Exhibition offers a route that unfolds over the course of nine chapters or families of artists, beginning with two introductory realms in the Central Pavilion in the Giardini, followed by seven more realms to be found in the Arsenale and the Giardino delle Vergini. There are 120 invited artists from 51 countries; 103 of these are participating for the first time.

This is how Paolo Baratta, President of La Biennale di Venezia, presents Biennale Arte 2017, explaining that “the 57th Exhibition introduces a further development. It is as though what has always been our primary work method—encounter and dialogue—has now become the theme of the Exhibition, because this year’s Biennale is dedicated to celebrating, and almost giving thanks for, the very existence of art and artists, whose worlds expand our perspective and the space of our existence.” “Christine Macel has called it an Exhibition inspired by humanism. This type of humanism is neither focused on an artistic ideal to follow nor is it characterised by the celebration of mankind as beings who can dominate their surroundings. If anything, this humanism, through art, celebrates mankind’s ability to avoid being dominated by the powers governing world affairs. These powers, if left to their own devices, can greatly affect the human dimension, in a detrimental sense. In this type of humanism, the artistic act is contemporaneously an act of resistance, of liberation and of generosity.” “There is another aspect of the 57th Exhibition – states Baratta – which alone qualifies it, above and beyond all the themes or narrations: of the 120 artists who have been invited to the Exhibition by our curator, 103 are participating here for the first time. Some are discoveries; many others, at least

for this year’s edition, are rediscoveries. And these courageous choices, too, are a concrete expression of our confidence in the world of art.” “This year, direct encounters with the artists have assumed a strategic role, to the point of becoming one of the pillars of La Biennale, whose program is of unprecedented size and commitment. Our curator’s main Exhibition is surrounded by the 86 pavilions of participating countries, each with its own curator, which will once more bring to life the pluralism of voices which is a hallmark of La Biennale di Venezia.” (The full text of Paolo Baratta is included in the Press Kit)

Christine Macel has declared: “Today, in a world full of conflicts and shocks, art bears witness to the most precious part of what makes us human. Art is the ultimate ground for reflection, individual expression, freedom, and for fundamental questions. Art is the last bastion, a garden to cultivate above and beyond trends and personal interests. It stands as an unequivocal alternative to individualism and indifference.” “The role, the voice and the responsibility of the artist are more crucial than ever before within the framework of contemporary debates. It is in and through these individual initiatives that the world of tomorrow takes shape, which though surely uncertain, is often best intuited by artists than others.” “Viva Arte Viva is an exclamation, a passionate outcry for art and the state of the artist. Viva Arte Viva  is a Biennale designed with artists, by artists and for artists.”

The Nine Trans-Pavilions Each of the nine chapters or families of artists of the Exhibition “represents a Pavilion in itself, or rather a Trans-Pavilion as it is trans-national by nature but echoes the Biennale’s historical organisation into pavilions, the number of which has never ceased to grow since the end of the 1990s.” “From the “Pavilion of Artists and Books” to the “Pavilion of Time and Infinity”, these nine episodes tell a story that is often discursive and at times paradoxical, with detours that mirror the world’s complexities, a multiplicity of approaches and a wide variety of practices. The Exhibition is intended as an experience, an extrovert movement from the self to the other, towards a common space beyond the defined dimensions, and onwards to the idea of a potential neo-humanism.” “Viva Arte Viva also seeks to convey a positive and prospective energy, which whilst focusing on young artists, rediscovers those passed away too soon or those who are still largely unknown despite the importance of their work.” “Starting with the Pavilion of Artists and Books, the Exhibition reveals its premise, a dialectic that involves the whole of contemporary society, beyond the artist himself, and addresses the organisation of society and its values.” “Art and artists are at the heart of the Exhibition, which begins by examining their practices, the way they create art, halfway between idleness and action, otium and negotium.”

Open Table (Tavola Aperta), Artists’ Practices Project, Unpacking My Library: a series of parallel projects and performances will animate the Exhibition following the same curatorial premise, which is to place artists at the art of the Exhibition.

Open Table (Tavola Aperta) Each Friday and Saturday of every week, during the six months of the Exhibition, artists will host an Open Table (Tavola Aperta) and meet visitors over a casual lunch to hold a lively conversation about their practice. These bi-weekly events will be organised in two dedicated spaces refurbished for this purpose, in front of the Central Pavilion of the Giardini and in the new Sala d’Armi in the Arsenale. The Open Table (Tavola Aperta) events will be live-streamed on La Biennale’s website.

Artists’ Practices Project In the Central Pavilion at the Giardini and in the Sale d’Armi at the Arsenale a space will also be created for the Artists’ Practices Project, including a series of short videos made by the artists about themselves and their way of working.

“These two parallel projects – commented Macel – are open to all artists of Biennale Arte. All National Pavilions are welcome to host their own Open Table (Tavola Aperta) event on Wednesdays and Thursdays, and to add videos to the database on the artists.”

Unpacking My Library Finally, the project titled Unpacking My Library, inspired by Walter Benjamin’s essay published in 1931, allows the artists of Viva Arte Viva to compile a list of their favourite books. This is both a way to get to know the artists better and a source of inspiration for the public. The list of books will be published in the Exhibition at the Central Pavilion and in the catalogue. The books listed by all the participating artists will be available to visitors at the Stirling Pavilion in the Giardini.

Special Projects and Performances Besides the main Exhibition in the Central Pavilion and in the Arsenale, several Special Projects and Performances have been commissioned especially for the Giardini, the Giardino delle Vergini and other Exhibition venues. A dense programme of approximately twenty performances will be held during the opening week. The performances will all be live-streamed on La Biennale’s website. The videos will remain on view in a dedicated multimedia room in the Central Pavilion and in the Arsenale.