'A Picture of War is Not War', we read in Hito Steyerl's iconic film November (2004), an essayistic Super 8 film tackling the definition of terrorism constructed around the figure of the artist's best friend Andrea Wolf, who was killed as a terrorist in 1998 in Eastern Anatolia after she joined the PKK (Kurdistan Workers' Party). Mixing documentary...
There has been a flurry of triennial and biennial art activity in Japan this year. The Aichi Triennale opened in Nagoya this August, sparking a national debate about the shutting down of a display of formerly censored works—the result of public backlash against a burnt image of Emperor Hirohito and a statue commemorating the women forced into...
Hans Hartung and Art Informel at Mazzoleni London (1 October 2019-18 January 2020) presents key works by the French-German painter while highlighting his connection with artists active in Paris during the 50s and 60s. In this video, writer and historian Alan Montgomery discusses Hartung's practice and its legacy.Born in Leipzig in 1904, Hans...
Japan Pavilion. Photo by Francesco Galli. Courtesy of La Biennale di Venezia.
JAPANESE PAVILION, Takahiro Iwasaki: Turned Upside Down, It's a Forest
Takahiro Iwasaki has created a multifaceted spatial experience of viewing the Itsukushima Shrine located in Hiroshima, where the artist was born, raised, and continues to work. Viewers can see the site from the perspective of a bird, insect, or fish, skewing the perception of time, material, and reality. The artist has explored Japan's rural landscape in his previous work, and furthers that investigation with this project by imagining the site seen from land and by sea. The exhibition title, Turned Upside Down, It's a Forest, comes from the idea that Venice would look like a forest if it were flipped, since it was built on stakes within a lagoon.
Since the mid-1980s, French artist Xavier Veilhan (born in 1963, living in Paris) has created an acclaimed body of works–sculpture, painting, installation, performance, video and photography–defined by his interest in both the vocabulary of modernity (speed, motion, urban life, etc.) and classical statuary. His work pays tribute to the inventions and inventors of our modern times, through a formal artistic language that mixes the codes of both industry and art.
For Xavier Veilhan, art is 'a vision tool through which we must look in order to understand our past, present, and future'. His exhibitions and in-situ interventions in cities, gardens and houses question our perception by creating an evolving ambulatory space in which the audience becomes an actor. By associating sculpture, scenery, music and living figures, he creates works to create exhibitions. Their aesthetics reveal a continuum of form, contour, fixity and dynamics, that invite the spectator to a new reading of the space and so creating a whole repertory of signs, the theatre of a society.
In 2009, Xavier Veilhan set up the exhibition Veilhan Versailles in the Palace and gardens of Versailles. Between 2012 and 2014, he developed Architectones, a series of interventions in seven major modernist buildings around the world. His interest for architecture was taken to a new level in 2014 when he designed the château de Rentilly. In 2015 he directed two films that extend these spatial explorations: Vent Moderne (La Villette, Paris) and Matching Numbers (3e Scene, Opéra national de Paris). He nourishes his material research with regular musical collaborations with artists like the band Air, musician Sébastien Tellier or pioneer composer Eliane Radigue, for whom he creates in 2013 the performance SYSTEMA OCCAM.
Frequently investing in the public space, Xavier Veilhan has installed sculptures in various cities in France - Bordeaux (Le Lion, 2004), Tours (Le Monstre, 2004), Lyon (Les Habitants, 2006), Paris (Renzo Piano & Richard Rogers, 2013) - as abroad: New York (Jean-Marc, 2012), Shanghai (Alice, 2013), Sweden (Julian, 2014), Seoul (The Skater, 2015).
Xavier Veilhan has been chosen to represent France at the 57th Venice Biennal (May-November 2017) with his immersive musical installation Studio Venezia, curated by Lionel Bovier and Christian Marclay.
Not Vital is in the habit of stressing that he isn't an architect. 'I never went to architecture school,' he told me the last time we met in Bataan, where he'd just completed a chapel that resembled an Aztec temple but contained a deconstructed rendering of The Last Supper and a statue of a local harvest deity. 'That's why I'm so free to do this.'
There was a point where Lucia Koch was disturbed by the fact that most approaches to her works took them only as expressions of atmospheric changes on spaces and the alterations that light, modulated by filters, produced on human perception.
With just about three months to go, the 13th Havana Biennial is taking shape.Opening April 12 and running through May 12, Cuba's most important art event is expected to once again bring the international art world to Havana.Postponed due to damage from Hurricane Irma in 2017, the 13th edition expands the Biennial's reach in Havana and around the...
Hélio Oiticica (1937 – 1980) is a now integral part of the New York art scene, in large measure thanks to his 2017 retrospective at the Whitney, To Organize Delirium, which provided New Yorkers with an opportunity to experience him in full.
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