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).
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.
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
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.
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.
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.
Am 8 Juli 2017 veranstaltet das provokante Berliner Kunst- und Fashion Label HeroinKids eine Vernissage in der Kantine am Berghain. Ein Event zwischen Kunstausstellung, Live-Fashion-Shows und Techno Party. Beginn ist 23.00 Uhr. Der Club liegt am Am Wriezener Bahnhof in 10243 Berlin, neben dem Berghain.
Zu entdecken gibt es bisher unveröffentlichte, großformatige HeroinKids Kunstfotografien, unzensierte HeroinKids Videoprojektionen und eine hedonistische Fashion-Präsentation.
HeroinKids ist ein Kunstprojekt und eine Modemarke aus Berlin, gegründet von Corinna Engel und Christian Kaiser.
Inspiriert von illegalen Rave Parties, Berlins Techno Club Szene und von Punk Attitude, erschaffen Corinna Engel und Christian Kaiser eine nihilistische Vision von Schönheit, Anmut und Zerbrechlichkeit – ein gefährliches, unmoralisches Bild von Schönheit, Dekadenz und Verwahrlosung.
Es spiegelt Jugend zwischen Gefühlen des Unakzeptiert- und Ungeliebtseins wider, zwischen Drogen, Sex, Party, Nacktheit, Liebe und Absturz. Die Welt, die Heroin Kids reflektiert ist eine kranke, kaputte Welt – aber auch eine Welt voller Ästhetik.
„If you were born with electricity and a real punch running through the veins, then you’d know it is impossible to let them just on the inside. You must allow all that flow escape to the outside. That is exactly what has happened and still happens with Fatima Hajji, she was born with those qualities. Every time she gets on stage in front of an audience or locks herself in the recording studio, she transmits it with extreme facility. She possesses a great talent on selecting club music (muscled electronic sounds), good skills in the mix, etc. It is especially remarkable when she is confronting a packed dance floor when the ‚magic button light’ goes on leading an innate symbiosis with the crowd. Big time!“
Pour battre Valentino Rossi (Yamaha Factory), à Assen, jouer des coudes ne suffit pas. L’Italien a remporté le Grand Prix des Pays-Bas au terme d’une course maitrisée malgré l’arrivée de la pluie et les assauts des italiens
Petrucci et Dovisioso qui excellent dans ses conditions là. Sur le circuit d’Assen, Valentino Rossi a conquis son dixième succès, un record et à démontrer à tous qu’il reste l’un des prétendants au titre en fin de saison.
Rossi reprend des points sur son coéquipier Maverick Vinales, parti à la faute en milieu de course, Une erreur qui peut coûter très cher au jeune espagnol de
Yamaha pour le reste de la saison.
Am Freitagabend fand die Veranstaltung Bastards MC meets Burlesque Vol.4 in Waiblingen statt. Organisiert wurde es seitens der Bastards MC und der Künstlerin Celeste de Moriae.
Aus einer Überlegungen heraus wie man dem Publikum im Clubhaus etwas bieten kann, entstand die Idee mit der langjährig befreundeten Künstlerin Celeste de Moriae, erstmals eine Burlesqueshow zu präsentieren.
Ziel der Veranstaltung war es, Abbau von Vorurteilen und die Zusammenführung zwischen dem Motorradclub und Kunst. Die Bastards MC sind also nicht nur einfach ein Motorradclub. Sie engagieren sich für viel soziale Projekte. Zum einen riefen sie eine Spendenaktion auf Waiblinger Weihnachtsmarkt zu Gunsten der Anlaufstelle gegen Gewalt und sexuellen Missbrauch ins Leben, fördern schon mehrere Jahre diverse Nachwuchsbands.
Der Bastards MC Waiblingen wurde im Jahr 2002 gegründet und ist seither das älteste Bastards MC – Chapter in Deutschland. Im Jahr 2005 folgte dann der Zusammenschluss Bastards MC Deutschland und Bastards MC Schweden unter einem gemeinsamen Colour. Der Name Bastards steht daher in unserer Interpretation als Zusammenführung verschiedener Kulturen. Insgesamt gibt es 11 Chapter, davon 2 in Schweden. Seit 2013, nachdem der ursprüngliche Organisator aufgehört hat, haben Sie das US Car-Treffen in Waiblingen / Neustadt übernommen und dieses Treffen zu einer festen Größe in der Waiblinger Kulturlandschaft etabliert.
Im Verlauf des Abends im Bastards MC Clubhaus zeigten die Künstlerinnen unterschiedliche Showeinlagen. Sie performten einen bezaubernden Mix aus Tanz, Magie im burlesquen Stil.
Celeste de Moriae, die Mitveranstalterin von Bastards MC meets Burlesque, Producerin des Croatian Burlesque and Cabaret Festivals zeigte mit ihrer Performance eine atemberaubende Show und startete so den Auftakt des Abends.
Die Künstlerin Celeste de Moriae, ist eine internationale Künstlerin, die schon auf einigen Bühnen dieser Welt performte. Mystisch, elegant, verzaubernde Nummern im modernen Burlesque Stil, in einigen Nummern gepaart mit wundervollen Gesang. Hier trifft kroatisches Temperament auf Burlesque.
Sie ist mehrfache Award Gewinnerin in der Burlequeszene. Eine internationale Künstlerin, die schon auf einigen Bühnen dieser Welt performt hat.
Durch ihre fesselnden Mimik wird auch ‚the face‘ genannt. Ein Fotograf sagte auch über sie „she have more faceexpression as Jimm Carrey“.
Ein weiteres Highlight an diesem Abend war die Künstlerin Maya Full Power.
Maya Full Power ist eine Performerin aus Brno, Czech Republic , für die Burlesque zu einen großen Teil ihres Lebens gehört. Maya Full Power, eine der Gewinnerinnen des Croatian Burlesque and Cabaret Festivals von 2017.
Maya Full Power ist eine Burlesque, tribal fusion Bauchtänzerin, Coach und Circus Artistin. Sie reist sehr viel, performt seit 12 Jahren international und teilt ihre Liebe zum Burlesque.
Eines Morgens fühlt der alte Fischer Johannes die Schwäche seines Körpers nicht mehr; er begegnet seiner verstorbenen Frau, seinem toten Freund, geht unsichtbar an seiner Tochter vorüber. An der Schwelle zum Tod lässt Johannes im Roman Morgen und Abend des erfolgreichen norwegischen Autors Jon Fosse sein Leben vorüberziehen.
Georg Friedrich Haas’ hoch expressive Vertonung dieses Stoffes geriet bei der Uraufführung am Royal Opera House Covent Garden London im November 2015 zu einem außerordentlichen Triumph. Bereits 15 Monate nach dieser Uraufführung stellen wir die erste Neuinszenierung dieser hochemotionalen siebten Haas-Oper vor. Regie führt Ingo Kerkhof, der in Heidelberg bereits mit der Zweitinszenierung von Wolfgang Rihms Dionysos Aufsehen erregte.
Georg Friedrich Haas ist Komponist für Heidelberg 2016|17. Der 1953 in Graz geborene Komponist ist heute einer der wichtigsten europäischen Komponisten. Mit ganz wenigen Ausnahmen schreibt er mikrotonale Stücke, deren magische Klangwelt die Hörer in Rausch versetzen kann.
Der Roman Morgen und Abend von Jon Fosse umfasst die Lebensspanne des Fischers Johannes. Erzählt wird von seiner ersten sowie seiner letzten Stunde. Das kann beim Leser – und beim Hörer der Oper – existenzielle Fragen auslösen. Einigen möchten wir im Rahmen einer Vortragsreihe gemeinsam nachgehen. Jeweils im Anschluss an die Opernvorstellung werden ausgewählte Persönlichkeiten über Themen wie Abschiednehmen, Vorbereitung auf den Tod und Nahtoderfahrung sprechen sowie über künstlerische Aspekte des hochgelobten Romans von Jon Fosse.
Herzog Theseus rüstet zur Hochzeit mit der besiegten Amazonenkönigin Hippolyta. Auf einer Lichtung proben zu diesem Anlass Handwerker »die höchst beklagenswerte Komödie von Pyramus und Thisbe«. Zerstrittene Liebespaare fliehen in den Wald. Dort entfaltet sich die außermenschliche Zauberwelt der Naturgeister. Eifersüchtiger Streit herrscht zwischen dem Elfenkönig Oberon und seiner Gemahlin Titania. Um diese zu bestrafen, lässt Oberon den Kobold Puck eine Wunderblume bringen, durch deren Kraft Titania sich beim Erwachen in die erstbeste Kreatur verlieben muss. Die Nacht lockt ihre eigenen Geschöpfe hervor, lässt die dunkle Seite der Liebe aufscheinen und auch den Ort der Handlung plötzlich ganz anders aussehen, ungebändigt und wild wuchernd. Der neue Tag hingegen macht, was nachtsüber aus den Fugen geriet, wieder vergessen. Oder war alles bloß ein Traum? »Der Mensch ist nur ein Esel, wenn er sich daran macht, diesen Traum zu deuten«, sagt am Ende Klaus Zettel, der Weber, dem in dieser Nacht besonders übel mitgespielt worden ist. Und Recht hat er.
Mit Ein Sommernachtstraum (A Midsummer Nightʼs Dream, 1595) inszeniert Holger Schultze die berühmteste, motivreichste, zauberhafteste Komödie aus dem großen Shakespeare-Kosmos.
This evening the British Fashion Council’s (BFC) Fashion Arts Foundation premiered two short films, by two female directors, putting British fashion at the heart of the narrative. This commission saw Jessica de Rothschild’s debut as film director and Anissa Bonnefont’s third directorial endeavour. Both films were made possible by The Peninsula Hotels. Screening at BAFTA to an audience of industry informers alongside fashion and film students, the films showcase the international language of British fashion.
REFLECTIONS OF HOLLYWOOD – click here to watch and embed. Scriptwriter and Director Jessica de Rothschild sought inspiration from old school Hollywood to weave a tale of modern, magical glamour. Filmed at the Peninsula Beverley Hills and featuring Yvonne Scio, with support from John Pearson and singer/songwriter Edei, the film features womenswear by Preen by Thornton Bregazzi, menswear by Gieves & Hawkes and jewellery by Stephen Webster.
THE EYES OF MY FATHER – click here to watch and embed. Scriptwriter and Director Anissa Bonnefont took to her native Paris, setting the film at the Peninsula Paris. Featuring Jeremie Belingard and dancers from the Paris Opera Ballet, the film captures the story of a choreographer, recently appointed dance director at the Paris Opera Ballet, struggling to find inspiration and deliver his piece. The film follows his journey of frustration and despair and it is only following a visit from his deceased father in a series of dream sequences, that closure proves to be the catalyst in unlocking his creative block. The film features womenswear by Emilia Wickstead, menswear by Richard James and shoes by Rupert Sanderson
The Fashion Arts Foundation Charity was established in 2012 to commission new works between fashion and other creative forms, putting British fashion front and centre. This is the charity’s first film commission and was made possible by the generosity of the Peninsula Hotels Group.
Caroline Rush, Chief Executive, British Fashion Council commented: ‘We’re so grateful to The Peninsula Hotels for making these two films possible. To be able to celebrate British fashion in a global context, and at the same time to give a platform to two brilliant female directors, is exactly the sort of creative collaboration we hope to inspire with the Fashion Arts Foundation.’
Carson Glover, Director of Global Communications, The Peninsula Hotels commented: ‘The Peninsula Hotels is honoured to partner with the British Fashion Council on the creation of these two short-form films, which showcase some of the most dynamic talents within the British fashion industry, brought beautifully to life by some of today’s most exciting, emerging film makers. These films are about daring innovation, timeless elegance, and the continuous reinterpretation of traditions. These are also core qualities of the Peninsula brand, which is demonstrated perfectly through the use of The Peninsula Paris and The Peninsula Beverly Hills as filming locations.’
Anissa Bonnefont, Director, The Eyes of My Father commented: ‘Thanks to the support of the Fashion Arts Commissions I had the chance to realise a childhood dream: enter the world of ballet at the Paris Opera. And as soon as I saw the vaporous dresses of Emilia Wickstead, I knew they would have empowered the effortless movement of the female dancers. Male dancers, on the other hand, needed structured suits, cut to perfection, but also able to accompany the body
movements swiftly. The suits of Richard James immediately became an asset to the story. But to portray a dream I couldn’t do without the architectural qualities and incredible decor of the Peninsula Paris. This wonderful hotel was an unbelievable opportunity for the film and it became a character itself of the story. Mixing fashion, dance and storytelling was a unique experience and I believe that they really feed into one another. I’m profoundly grateful for the BFC Fashion Arts Foundation putting their trust in me. Dreaming with all these talents made me grow as a story teller and movie director.’
Jessica de Rothschild, Director, Reflections on Hollywood commented: ‘Reflections on Hollywood is a modern love letter to the glamour of old Hollywood. The rock’n’roll, insouciant attitude of Preen by Thornton Bregazzi and Stephen Webster and the classic elegance of Gieves & Hawkes, all combine perfectly to tell a story of one magical night at the iconic Peninsula, Beverly Hills. As we follow Miss Diamond, a famous movie star, on an enchanting adventure through the hotel, we are reminded of the joy and innocence that lies at the heart of all creativity.’
Emilia Wickstead, Creative Director, Emilia Wickstead commented: ‘We were so pleased to work with such a wonderfully creative team. Anissa’s passion for film and fashion really brought the designs to life, and created a perfect harmony between the storyline and clothing.’
Justin Thornton and Thea Bregazzi, Creative Directors, Preen by Thornton Bregazzi commented: ‘We are thrilled to collaborate with Jessica on this beautiful film, her vision and mood is so charming and has a wonderful narrative. Jessica’s passion and love of our designs really leapt off the screen.’
Nick Keyte, Managing Director, Gieves & Hawkes, commented: ’We are delighted to have been part of the first Fashion Arts Film Commissions. Jessica really captured the essence of Gieves & Hawkes, her narrative defined by the slick, suave nature of Hollywood glamour. Our rich heritage of luxury tailoring brought to life through a modern lens.’
Sean Dixon, Co-Founder & Managing Director, Richard James commented: ‘Apart from the stunning cinematography, the thing that immediately struck me about the film was how it encapsulated so much about movement and fluidity and the self confidence that that engenders. That’s a central part of what we do, particularly with our tailoring, so I thought the suits and other garments we supplied worked beautifully within the overall context as well as looking the part. Anissa and her crew really did a wonderful job.’
Stephen Webster MBE, Creative Director, Stephen Webster commented: ‘I moved to LA from London in 1984. The people I encountered had glow about them that we didn’t have in Hackney. Despite having moved back to the damp 10 years later, I couldn’t stay away. The entire length of La Cienaga, no one could understand me, none the less, LA has become my second home. Jessica has captured in her short film, the west coast dream, the endless possibilities and of course the glow, of Hollywood, the industry city perched right there on the very edge.’
With special thanks to Smashbox, Sean Dawson and Shay Dempsey for EDEN by Eden Sassoon, Maserati, John Pearson, Edei, Maison Assouline, BAFTA, Sipsmith and Fever Tree.
Der international renommierte Künstler Ralph Gelbert öffnete sein Atelier in Neustadt-Königsbach zu seiner Werkschau und zeigte eine Auswahl aktueller Arbeiten.
Der Künstler Ralph Gelbert studierte an der „Accademia Belle Arti“ in Florenz, für die er 1993 ein Stipendium erhielt ein Kunststudium bis 1996.
Nach zahlreichen Studienaufenthalten, in Europa (Italien, Irland, England, Bosnien-Herzegowina), in Südamerika und Afrika ist Ralph Gelbert seit 2007 auch Lehrbeauftragter an der Kunstakademie in Bad Reichenhall und der Akademie der bildenden Künste in Kolbermoor. Seit 2008 organisiert und leitet Gelbert das mittlerweile 4.“Internationale Künstler-Symposium in Neustadt an der Weinstraße“.
Als Dozent lehrt Gelbert seit 2008 auch im Fachbereich Virtual Design und Innenarchitektur an der Fachhochschule in Kaiserslautern. Zusammen mit Stefan Engel und Klaus Hartmann bildet er den Vorstand der Arbeitsgemeinschaft Pfälzer Künstler. Persönlichkeiten wie Max Slevogt, Hans Purrmann, Hermann Croissant und Otto Dill zählten zu ihren Mitgliedern.
Gelberts Werke sind meist großformatige Bilder. Auf den ersten Blick wirken sie ungeordnet und erst beim genaueren Betrachten entwickeln die einzelnen Farbkompositionen und die Verbindung verschiedener Techniken und Materialien zu einem Gesamtbild. Man erkennt stets sehr komplexe Strukturen. Ralph Gelbert malt in Schichten mit satten bis grellen Farben und entfesselt so die individuelle Kraft jeder Farbe.
Ralph Gelbert kennt die Sprache der Farben wie kaum ein anderer. In seiner abstrakten und sehr expressiven Malerei bevorzugt er reine und leuchtende Farben, die er a la prima auf die Leinwand bringt. Er malt vorwiegend in Öl und muss jede Farbe erst etwas trocknen lassen, ehe eine zweite hinzukommen kann. Mischen sich nämlich Farben auf der Leinwand, verschmutzen sie leicht. Besonders gefährlich sind Komplementärfarben, die sich zu unserem ungeliebten Grau vermengen, und damit alle Kraft und Aussage verlieren. Meist nutzt der Künstler diese Trocknungsphasen, um an anderen Bildern weiter zu malen. Dabei bekommen nicht nur die Ölfarben ihre Zeit: Jedes Bild kann reifen und sich so allmählich vollenden.
In seinem Atelier, ein großes lichtdurchflutetes gewölbtes Fenster, umgeben von einem schönen angelegten Garten und inmitten der Weinberge
Again in 2017 Vela spa, commercial company responsible for mobility services and marketing of the City of Venice, finalized collaboration details with La Biennale di Venezia, confirming itself as supplier and referral point for the City’s tourist and cultural operators and institutions. The agreement between Vela and La Biennale di Venezia for the 57th International Art Exhibition – La Biennale di Venezia ‘VIVA ARTE VIVA’ – which will take place from May 13th to November 26th 2017 – includes a reciprocal exchange allowing La Biennale to promote its ventures all over the city, and Vela to support La Biennale – one of the most prestigious, international, cultural events, while promoting its “Venezia Unica” brand at the same time.
Vela, group company of Gruppo AVM (Azienda Veneziana della Mobilità), manages the Venezia Unica marketing platform for citizen and tourist services: a standard city pass offering an integrated package of products and services for both the purchase of tickets for Biennale Arte 2017 and the access to public transport services, transfers, parking, museums, churches, theatres, guides and audio-guides, Wi-Fi and public restrooms. To begin with, the Venezia Unica system can be found on www.veneziaunica.it, – the City of Venice’s official portal for tourist information and e-commerce – and in the direct Venezia Unica ticket offices – with more than 200 multilingual clerks involved in face-to-face customer assistance – situated at various public access points to the historic centre, on islands and on the mainland.
Actv spa – also group company of Gruppo AVM – is the local public transport company guaranteeing visitors day-long connections by public means of transport to the venues of the Biennale Arte e.g. the Arsenale and the Giardini. The AVM Venezia Official App, available in Italian and English for IoS (Apple App Store) and Android (Google Play), enables users to purchase (online by VISA or MasterCard) and validate local Actv public transport tickets (ordinary tickets and CartaVenezia tickets for frequent users) in both bus and navigation sectors. The App also allows to get timetable information for all Actv services straight from the smartphone. Actv spa is the only Italian public transport company managing bus, waterbus and tram services at the same time. With more than 2,800 employees, it transports 120 million passengers a year on its 25-line waterbus and 2-line tram systems and on more than 100 bus routes winding through 45 different municipal areas in 4 different provinces.