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AFTER FARCE
Jamian Juliano-Villani, Skillmatics, 2021.Acrylic on canvas, 121.92 x 182.88 cm. Photo: Markus Johansson / Kunsthall Stavanger. The exhibition Try Explaining How You Feel at Kunsthall Stavanger immediately brings to mind advertising, memes, and commercial design. New York-based artist Jamian Juliano-Villani’s cartoon-like paintings are done in airbrush using a cool palette, creating DIFFUSE AUTOBIOGRAPHY Fatima Moallim, Årskurs 1–3 (Grades 1–3), photograph, candy wrapper, fabric, 42 x 42 cm, 2021.Photo: Anders Bergön. Less so is the readymade sculpture Svensk direktreklam (Swedish junk mail), which occupies a place near the gallery’s entrance and in one of its corners.These bundles of free newspapers and pastel fabrics are, from a formal standpoint, the show’s least convincing gestures.CREATIVE ENDGAME
Haaland’s works look like errors, jokes, mistakes, trash. They are broken objects and distorted images evoking an atmosphere of anxiety, hopelessness, and failure – a mood perhaps fitting in the face of pending ecological crisis. In the twisted reality of the pre-apocalyptic world, all relations change, and the human adorationof technology
HILMA AF KLINT
From a “pantheistic” imagery with lotus flowers and mandala-like ornamentation, Hilma af Klint seems, under the influence of Rudolf Steiner’s theosophy and anthroposophy, to move to Christian metaphors with cross and crucifixion scenes as recurring pictorial elements. Hilma af Klint, Primordial Chaos, No. 16. From The WU/ROSENSeries.
TEN QUESTIONS: KARL LARSSON Karl Larsson, R,A,I,N (Consensus), Signal – Center för samtidskonst, Malmö. Karl Larsson’s current exhibition R, A, I, N (Consensus) at Signal – Center for Contemporary Art in Malmö is dedicated to the notions of verticality, falling, rain and the reader.Here, Larsson continues his work in the intersecting margins of writing and language, poetry and installations.13 DECEMBER
Tori Wrånes, Lips Don’t Cry, performance at the opening of The Coming World: Ecology as the New Politics at Garage Contemporary Art Museum, Moscow It’s always such a pleasure to see the work of Norwegian artist Tori Wrånes. She has this unique ability of being able to articulate exclusion and saga in the same sentence. MODERNITETEN SOM KATASTROFE Moderniteten som katastrofe – et intervju med T.J. Clark. Den internasjonalt kjente kunsthistorikeren T.J. Clark holdt nylig to forelesninger om Picasso under sin residency på OCA i Oslo. I regi av OCA skal han neste sommer også ta del i en forelesningsrekke som arrangeres i forbindelse med Venezia-biennalen. Clark går i dettelengre
NÅR ET TRE FALLER
Questions of Human Supremacy. Haapoja’s presentation is a combination of two separate parts, a set of installations collected under the name Closed Circuit – Open Duration, and the activist art project Party of Others, which was an effort to form a new Finnish political party to support those with limited access to self-expression.The installations, comprised of old works and some reCANNED CLIMAX
Herman Mbamba, Until the Wind Blows for Another Time, 2017-18.Photo: Edgar Bachel. “It’s not as bad as Documenta”. That is what I caught myself saying to a curator friend I bumped into in the foyer of Berlin’s Akademie der Künste, one of the three main exhibition venues of the 10th Berlin Biennale. DEJA-VU IN HUMLEBÆK Ed Atkins, Ribbons, 2014.Three-channel HD video 4:3, shot on 16:9 film with 4.1 surround sound. 13:19 min. Louisiana’s group show Being There is the first Danish institutional take on what elsewhere would have been called a post-internet exhibition. And even though the curator, Mathias Ussing Seeberg, chose not to invoke this particular term, which is now entering its first decade inAFTER FARCE
Jamian Juliano-Villani, Skillmatics, 2021.Acrylic on canvas, 121.92 x 182.88 cm. Photo: Markus Johansson / Kunsthall Stavanger. The exhibition Try Explaining How You Feel at Kunsthall Stavanger immediately brings to mind advertising, memes, and commercial design. New York-based artist Jamian Juliano-Villani’s cartoon-like paintings are done in airbrush using a cool palette, creating DIFFUSE AUTOBIOGRAPHY Fatima Moallim, Årskurs 1–3 (Grades 1–3), photograph, candy wrapper, fabric, 42 x 42 cm, 2021.Photo: Anders Bergön. Less so is the readymade sculpture Svensk direktreklam (Swedish junk mail), which occupies a place near the gallery’s entrance and in one of its corners.These bundles of free newspapers and pastel fabrics are, from a formal standpoint, the show’s least convincing gestures.CREATIVE ENDGAME
Haaland’s works look like errors, jokes, mistakes, trash. They are broken objects and distorted images evoking an atmosphere of anxiety, hopelessness, and failure – a mood perhaps fitting in the face of pending ecological crisis. In the twisted reality of the pre-apocalyptic world, all relations change, and the human adorationof technology
HILMA AF KLINT
From a “pantheistic” imagery with lotus flowers and mandala-like ornamentation, Hilma af Klint seems, under the influence of Rudolf Steiner’s theosophy and anthroposophy, to move to Christian metaphors with cross and crucifixion scenes as recurring pictorial elements. Hilma af Klint, Primordial Chaos, No. 16. From The WU/ROSENSeries.
TEN QUESTIONS: KARL LARSSON Karl Larsson, R,A,I,N (Consensus), Signal – Center för samtidskonst, Malmö. Karl Larsson’s current exhibition R, A, I, N (Consensus) at Signal – Center for Contemporary Art in Malmö is dedicated to the notions of verticality, falling, rain and the reader.Here, Larsson continues his work in the intersecting margins of writing and language, poetry and installations.13 DECEMBER
Tori Wrånes, Lips Don’t Cry, performance at the opening of The Coming World: Ecology as the New Politics at Garage Contemporary Art Museum, Moscow It’s always such a pleasure to see the work of Norwegian artist Tori Wrånes. She has this unique ability of being able to articulate exclusion and saga in the same sentence. MODERNITETEN SOM KATASTROFE Moderniteten som katastrofe – et intervju med T.J. Clark. Den internasjonalt kjente kunsthistorikeren T.J. Clark holdt nylig to forelesninger om Picasso under sin residency på OCA i Oslo. I regi av OCA skal han neste sommer også ta del i en forelesningsrekke som arrangeres i forbindelse med Venezia-biennalen. Clark går i dettelengre
NÅR ET TRE FALLER
Questions of Human Supremacy. Haapoja’s presentation is a combination of two separate parts, a set of installations collected under the name Closed Circuit – Open Duration, and the activist art project Party of Others, which was an effort to form a new Finnish political party to support those with limited access to self-expression.The installations, comprised of old works and some reCANNED CLIMAX
Herman Mbamba, Until the Wind Blows for Another Time, 2017-18.Photo: Edgar Bachel. “It’s not as bad as Documenta”. That is what I caught myself saying to a curator friend I bumped into in the foyer of Berlin’s Akademie der Künste, one of the three main exhibition venues of the 10th Berlin Biennale. DEJA-VU IN HUMLEBÆK Ed Atkins, Ribbons, 2014.Three-channel HD video 4:3, shot on 16:9 film with 4.1 surround sound. 13:19 min. Louisiana’s group show Being There is the first Danish institutional take on what elsewhere would have been called a post-internet exhibition. And even though the curator, Mathias Ussing Seeberg, chose not to invoke this particular term, which is now entering its first decade in DECOLONISING ART CRITICISM Decolonisation implies recognising and fighting hierarchies, positions of power, and inequalities. However, such issues are not only connected with the colonial past but also with such factors like social class, gender, race, ethnicity, nationality, language, etc. NOBODY WANTS TO PRODUCE IRRELEVANCE The discussion around curatorial credits is a funny starting point. Working for an organisation as a director or curator, I rely on a lot of other people’s work – doing everything from installation, marketing, administration, and keeping the organisation running, to other forms of content production, the live programme, the learningprogramme.
TEN QUESTIONS: KARL LARSSON Karl Larsson, R,A,I,N (Consensus), Signal – Center för samtidskonst, Malmö. Karl Larsson’s current exhibition R, A, I, N (Consensus) at Signal – Center for Contemporary Art in Malmö is dedicated to the notions of verticality, falling, rain and the reader.Here, Larsson continues his work in the intersecting margins of writing and language, poetry and installations. UJAZDOWSKI CASTLE TAKES A RIGHT-WING TURN Installation view from Bik Van der Pol’s exhibition Far Too Many Stories to Fit into so Small a Box currently on view at Ujazdowski Castle Centre for Contemporary Art.Performance by Mamadou Góo during the exhibition. Photo: Pat Mic.IDYLLEN ER TILBAKE
The theme for the exhibition The Idyll: Wish You Were Here! was determined at the outset by the Finnish in-house curatorial team, Laura Boxberg, Eeva Holkeri, Silja Lehtonen and Johanna Lehto-Vahtera. However, even if the subtitle makes it sound like a typical summer exhibition, the outcome is far from light. To choose such a theme – the idyll – and combine it with the Nordic emphasisNÅR ET TRE FALLER
Questions of Human Supremacy. Haapoja’s presentation is a combination of two separate parts, a set of installations collected under the name Closed Circuit – Open Duration, and the activist art project Party of Others, which was an effort to form a new Finnish political party to support those with limited access to self-expression.The installations, comprised of old works and some re SPRING-REPORT ON BERGEN’S NEW ART SCENE Early 2018 saw the launch of three new and independent artist-run galleries in Bergen, all of which claim to be artist-centred (rather than, say, curator- or audience-centred). These three newcomers are Palmera (written “p a l m e r a”), run by Tatiana Lozano, Slakt, recently opened by Numi Thorvarsson, and Aldea, a studio collective DEJA-VU IN HUMLEBÆK Ed Atkins, Ribbons, 2014.Three-channel HD video 4:3, shot on 16:9 film with 4.1 surround sound. 13:19 min. Louisiana’s group show Being There is the first Danish institutional take on what elsewhere would have been called a post-internet exhibition. And even though the curator, Mathias Ussing Seeberg, chose not to invoke this particular term, which is now entering its first decade in AVANTGARDENS ROBIN HOOD Avantgardens. Robin Hood. – En provokasjon for å få andre til å gjøre det samme, men bedre. Dette sier grunnlegger Kenneth Goldsmith om UbuWeb som deler en enorm mengde kunst på nettet. Kenneth Goldsmith. Foto: ŠStar Black, 2010. Mange kunstnere, kunsthistorikere, kuratorer og kritikere kjenner til og bruker UbuWebpå jevnlig basis.
9. DESEMBER
9. desember –. Daisuke Kosugi. Kunstkritikks egne skribenter og inviterte gjester velger det mest interessante fra kunståret 2016. Hver dag fra 1. til 24. desember kommer et nytt bidrag. I dag: Daisuke Kosugi. Av Daisuke Kosugi 09.12.16 Julekalender. Hvilke utstillinger, begivenheter og publikasjoner var de viktigste, skarpeste eller mestREALM OF THE SENSES
Daisuke Kosugi, Good Name (Bad Phrase), 2017.Photo: Kjell Ove Storvik. Like many other fields of human endeavour, art too is getting involved in the struggle to pre-empt the future, to seize and conquer what has yet to be imagined: Everywhere we look we see speculative musings on the potential outcomes of a technologically assisted evolution and of network technology’s alteration of humanity A MONUMENTAL CHALLENGE TO DANISH HISTORY The Prime Minister is not alone in foregrounding the shift in Danish memory cultures of colonialism. Most of the events, exhibitions, publications, and seminars that engaged with colonial history in Denmark in 2017, were also more or less explicitly framed in opposition to the narrative of «innocent colonialism», to use social memory researcher Astrid Nonbo Andersen’s phrase, that the NOBODY WANTS TO PRODUCE IRRELEVANCE The discussion around curatorial credits is a funny starting point. Working for an organisation as a director or curator, I rely on a lot of other people’s work – doing everything from installation, marketing, administration, and keeping the organisation running, to other forms of content production, the live programme, the learningprogramme.
WALTZING OBJECTS
Endre Tveitan, Touch: swipe, tap, and beyond, 2017.Foto: Kunstplass . Two of the pieces inside, floating stone #3 and floating stone #4, are nearly identical.In each of them, the camera captures a rock from close range. Camera and stone are so closely intertwined in a movement of rocking back-and-forth and side-to-side that it remains unclear which one of them actually produces the motion.HILMA AF KLINT
From a “pantheistic” imagery with lotus flowers and mandala-like ornamentation, Hilma af Klint seems, under the influence of Rudolf Steiner’s theosophy and anthroposophy, to move to Christian metaphors with cross and crucifixion scenes as recurring pictorial elements. Hilma af Klint, Primordial Chaos, No. 16. From The WU/ROSENSeries.
13 DECEMBER
Tori Wrånes, Lips Don’t Cry, performance at the opening of The Coming World: Ecology as the New Politics at Garage Contemporary Art Museum, Moscow It’s always such a pleasure to see the work of Norwegian artist Tori Wrånes. She has this unique ability of being able to articulate exclusion and saga in the same sentence. MODERNITETEN SOM KATASTROFE Moderniteten som katastrofe – et intervju med T.J. Clark. Den internasjonalt kjente kunsthistorikeren T.J. Clark holdt nylig to forelesninger om Picasso under sin residency på OCA i Oslo. I regi av OCA skal han neste sommer også ta del i en forelesningsrekke som arrangeres i forbindelse med Venezia-biennalen. Clark går i dettelengre
CANNED CLIMAX
Herman Mbamba, Until the Wind Blows for Another Time, 2017-18.Photo: Edgar Bachel. “It’s not as bad as Documenta”. That is what I caught myself saying to a curator friend I bumped into in the foyer of Berlin’s Akademie der Künste, one of the three main exhibition venues of the 10th Berlin Biennale. VYKORT FRÅN ZÜRICH Sara Anstis (b. 1991, Stockholm) was raised on a small island off the Canadian west coast, and draws wherever she finds good light. She holds an MFA from Valand Academy, Gothenburg, and is currently basedin London.
9. DESEMBER
9. desember –. Daisuke Kosugi. Kunstkritikks egne skribenter og inviterte gjester velger det mest interessante fra kunståret 2016. Hver dag fra 1. til 24. desember kommer et nytt bidrag. I dag: Daisuke Kosugi. Av Daisuke Kosugi 09.12.16 Julekalender. Hvilke utstillinger, begivenheter og publikasjoner var de viktigste, skarpeste eller mestREALM OF THE SENSES
Daisuke Kosugi, Good Name (Bad Phrase), 2017.Photo: Kjell Ove Storvik. Like many other fields of human endeavour, art too is getting involved in the struggle to pre-empt the future, to seize and conquer what has yet to be imagined: Everywhere we look we see speculative musings on the potential outcomes of a technologically assisted evolution and of network technology’s alteration of humanity A MONUMENTAL CHALLENGE TO DANISH HISTORY The Prime Minister is not alone in foregrounding the shift in Danish memory cultures of colonialism. Most of the events, exhibitions, publications, and seminars that engaged with colonial history in Denmark in 2017, were also more or less explicitly framed in opposition to the narrative of «innocent colonialism», to use social memory researcher Astrid Nonbo Andersen’s phrase, that the NOBODY WANTS TO PRODUCE IRRELEVANCE The discussion around curatorial credits is a funny starting point. Working for an organisation as a director or curator, I rely on a lot of other people’s work – doing everything from installation, marketing, administration, and keeping the organisation running, to other forms of content production, the live programme, the learningprogramme.
WALTZING OBJECTS
Endre Tveitan, Touch: swipe, tap, and beyond, 2017.Foto: Kunstplass . Two of the pieces inside, floating stone #3 and floating stone #4, are nearly identical.In each of them, the camera captures a rock from close range. Camera and stone are so closely intertwined in a movement of rocking back-and-forth and side-to-side that it remains unclear which one of them actually produces the motion.HILMA AF KLINT
From a “pantheistic” imagery with lotus flowers and mandala-like ornamentation, Hilma af Klint seems, under the influence of Rudolf Steiner’s theosophy and anthroposophy, to move to Christian metaphors with cross and crucifixion scenes as recurring pictorial elements. Hilma af Klint, Primordial Chaos, No. 16. From The WU/ROSENSeries.
13 DECEMBER
Tori Wrånes, Lips Don’t Cry, performance at the opening of The Coming World: Ecology as the New Politics at Garage Contemporary Art Museum, Moscow It’s always such a pleasure to see the work of Norwegian artist Tori Wrånes. She has this unique ability of being able to articulate exclusion and saga in the same sentence. MODERNITETEN SOM KATASTROFE Moderniteten som katastrofe – et intervju med T.J. Clark. Den internasjonalt kjente kunsthistorikeren T.J. Clark holdt nylig to forelesninger om Picasso under sin residency på OCA i Oslo. I regi av OCA skal han neste sommer også ta del i en forelesningsrekke som arrangeres i forbindelse med Venezia-biennalen. Clark går i dettelengre
CANNED CLIMAX
Herman Mbamba, Until the Wind Blows for Another Time, 2017-18.Photo: Edgar Bachel. “It’s not as bad as Documenta”. That is what I caught myself saying to a curator friend I bumped into in the foyer of Berlin’s Akademie der Künste, one of the three main exhibition venues of the 10th Berlin Biennale. VYKORT FRÅN ZÜRICH Sara Anstis (b. 1991, Stockholm) was raised on a small island off the Canadian west coast, and draws wherever she finds good light. She holds an MFA from Valand Academy, Gothenburg, and is currently basedin London.
9. DESEMBER
9. desember –. Daisuke Kosugi. Kunstkritikks egne skribenter og inviterte gjester velger det mest interessante fra kunståret 2016. Hver dag fra 1. til 24. desember kommer et nytt bidrag. I dag: Daisuke Kosugi. Av Daisuke Kosugi 09.12.16 Julekalender. Hvilke utstillinger, begivenheter og publikasjoner var de viktigste, skarpeste eller mest HISTORY IS BASED ON TRANSLATIONS Ana Torfs, Toast, 2003. The Brussels-based artist Ana Torfs’s first solo exhibition in the Nordic countries, Figments & Fragments at Pori Art Museum on the Finnish west coast, brings together three works dealing with the language-based politics of history and geography.The exhibition examines tales and legends about geographic locations that relate to Western colonialism. NOBODY WANTS TO PRODUCE IRRELEVANCE The discussion around curatorial credits is a funny starting point. Working for an organisation as a director or curator, I rely on a lot of other people’s work – doing everything from installation, marketing, administration, and keeping the organisation running, to other forms of content production, the live programme, the learningprogramme.
CREATIVE ENDGAME
Haaland’s works look like errors, jokes, mistakes, trash. They are broken objects and distorted images evoking an atmosphere of anxiety, hopelessness, and failure – a mood perhaps fitting in the face of pending ecological crisis. In the twisted reality of the pre-apocalyptic world, all relations change, and the human adorationof technology
CANNED CLIMAX
Herman Mbamba, Until the Wind Blows for Another Time, 2017-18.Photo: Edgar Bachel. “It’s not as bad as Documenta”. That is what I caught myself saying to a curator friend I bumped into in the foyer of Berlin’s Akademie der Künste, one of the three main exhibition venues of the 10th Berlin Biennale.IDYLLEN ER TILBAKE
The theme for the exhibition The Idyll: Wish You Were Here! was determined at the outset by the Finnish in-house curatorial team, Laura Boxberg, Eeva Holkeri, Silja Lehtonen and Johanna Lehto-Vahtera. However, even if the subtitle makes it sound like a typical summer exhibition, the outcome is far from light. To choose such a theme – the idyll – and combine it with the Nordic emphasis FORCED INTO POLITICS Last weekend saw the opening of the exhibition Pile o’ Sápmi Supreme in Context at gallery Tenthaus in Oslo. The exhibition has arisen out of Máret Ánne Sara’s protest against the authorities’ decision to introduce mandatory reductions to the number of reindeer herded in Finnmarksvidda in northern Norway. 2D RIRI - KUNSTKRITIKK Jon Rafman, View of Pariser Platz, 2016, 9th Berlin Biennial.Photo: Timo Ohler. Even entire exhibitions seem primarily made for and distributed via online circulation. They become “known” in the art world via platforms such as Contemporary Art Daily – an eight year old online platform that gives countless exhibitions a second life and, in turn, has even received its distinct response viaFILM FOR NERVENE
Arthur Jafas film Love Is the Message, The Message Is Death (2016) samler et bredt utvalg bilder fra afroamerikansk historie i en syv minutter lang, høytempo-montasje, tonsatt med gospelinspirert hiphop.Svarte ikoner, som tidligere president Barack Obama og Martin Luther King, Jr., og dokumentasjon av viktige historiske hendelser sidestilles med ukjente ansikter og kropper, noen ofre for DEN SISTE SOVJETSTATEN Kuratorene Ekaterina Degot og David Riff har tatt utgangspunkt i en fantasy-roman der handlingen er lagt til Sovjet på 60-tallet og sammenstiller ukjente deler av denne «sovjetiske erfaringen» med den nærmest utopiske situasjonen de kom over i Bergen, der godt finansiert «kunstnerisk forskning» er et av elementene som gjør atBergen og
15. DESEMBER
15. desember –. Milena Høgsberg. Kunstkritikks egne skribenter og inviterte gjester velger det mest interessante fra kunståret 2016. Hver dag fra 1. til 24. desember kommer et nytt bidrag. I dag: Milena Høgsberg. Av Milena Høgsberg 15.12.16 Julekalender Article in English. Hvilke utstillinger, begivenheter og publikasjoner var deREALM OF THE SENSES
Daisuke Kosugi, Good Name (Bad Phrase), 2017.Photo: Kjell Ove Storvik. Like many other fields of human endeavour, art too is getting involved in the struggle to pre-empt the future, to seize and conquer what has yet to be imagined: Everywhere we look we see speculative musings on the potential outcomes of a technologically assisted evolution and of network technology’s alteration of humanity A MONUMENTAL CHALLENGE TO DANISH HISTORY The Prime Minister is not alone in foregrounding the shift in Danish memory cultures of colonialism. Most of the events, exhibitions, publications, and seminars that engaged with colonial history in Denmark in 2017, were also more or less explicitly framed in opposition to the narrative of «innocent colonialism», to use social memory researcher Astrid Nonbo Andersen’s phrase, that the NOBODY WANTS TO PRODUCE IRRELEVANCE The discussion around curatorial credits is a funny starting point. Working for an organisation as a director or curator, I rely on a lot of other people’s work – doing everything from installation, marketing, administration, and keeping the organisation running, to other forms of content production, the live programme, the learningprogramme.
WALTZING OBJECTS
Endre Tveitan, Touch: swipe, tap, and beyond, 2017.Foto: Kunstplass . Two of the pieces inside, floating stone #3 and floating stone #4, are nearly identical.In each of them, the camera captures a rock from close range. Camera and stone are so closely intertwined in a movement of rocking back-and-forth and side-to-side that it remains unclear which one of them actually produces the motion.HILMA AF KLINT
From a “pantheistic” imagery with lotus flowers and mandala-like ornamentation, Hilma af Klint seems, under the influence of Rudolf Steiner’s theosophy and anthroposophy, to move to Christian metaphors with cross and crucifixion scenes as recurring pictorial elements. Hilma af Klint, Primordial Chaos, No. 16. From The WU/ROSENSeries.
13 DECEMBER
Tori Wrånes, Lips Don’t Cry, performance at the opening of The Coming World: Ecology as the New Politics at Garage Contemporary Art Museum, Moscow It’s always such a pleasure to see the work of Norwegian artist Tori Wrånes. She has this unique ability of being able to articulate exclusion and saga in the same sentence. MODERNITETEN SOM KATASTROFE Moderniteten som katastrofe – et intervju med T.J. Clark. Den internasjonalt kjente kunsthistorikeren T.J. Clark holdt nylig to forelesninger om Picasso under sin residency på OCA i Oslo. I regi av OCA skal han neste sommer også ta del i en forelesningsrekke som arrangeres i forbindelse med Venezia-biennalen. Clark går i dettelengre
CANNED CLIMAX
Herman Mbamba, Until the Wind Blows for Another Time, 2017-18.Photo: Edgar Bachel. “It’s not as bad as Documenta”. That is what I caught myself saying to a curator friend I bumped into in the foyer of Berlin’s Akademie der Künste, one of the three main exhibition venues of the 10th Berlin Biennale. VYKORT FRÅN ZÜRICH Sara Anstis (b. 1991, Stockholm) was raised on a small island off the Canadian west coast, and draws wherever she finds good light. She holds an MFA from Valand Academy, Gothenburg, and is currently basedin London.
9. DESEMBER
9. desember –. Daisuke Kosugi. Kunstkritikks egne skribenter og inviterte gjester velger det mest interessante fra kunståret 2016. Hver dag fra 1. til 24. desember kommer et nytt bidrag. I dag: Daisuke Kosugi. Av Daisuke Kosugi 09.12.16 Julekalender. Hvilke utstillinger, begivenheter og publikasjoner var de viktigste, skarpeste eller mestREALM OF THE SENSES
Daisuke Kosugi, Good Name (Bad Phrase), 2017.Photo: Kjell Ove Storvik. Like many other fields of human endeavour, art too is getting involved in the struggle to pre-empt the future, to seize and conquer what has yet to be imagined: Everywhere we look we see speculative musings on the potential outcomes of a technologically assisted evolution and of network technology’s alteration of humanity A MONUMENTAL CHALLENGE TO DANISH HISTORY The Prime Minister is not alone in foregrounding the shift in Danish memory cultures of colonialism. Most of the events, exhibitions, publications, and seminars that engaged with colonial history in Denmark in 2017, were also more or less explicitly framed in opposition to the narrative of «innocent colonialism», to use social memory researcher Astrid Nonbo Andersen’s phrase, that the NOBODY WANTS TO PRODUCE IRRELEVANCE The discussion around curatorial credits is a funny starting point. Working for an organisation as a director or curator, I rely on a lot of other people’s work – doing everything from installation, marketing, administration, and keeping the organisation running, to other forms of content production, the live programme, the learningprogramme.
WALTZING OBJECTS
Endre Tveitan, Touch: swipe, tap, and beyond, 2017.Foto: Kunstplass . Two of the pieces inside, floating stone #3 and floating stone #4, are nearly identical.In each of them, the camera captures a rock from close range. Camera and stone are so closely intertwined in a movement of rocking back-and-forth and side-to-side that it remains unclear which one of them actually produces the motion.HILMA AF KLINT
From a “pantheistic” imagery with lotus flowers and mandala-like ornamentation, Hilma af Klint seems, under the influence of Rudolf Steiner’s theosophy and anthroposophy, to move to Christian metaphors with cross and crucifixion scenes as recurring pictorial elements. Hilma af Klint, Primordial Chaos, No. 16. From The WU/ROSENSeries.
13 DECEMBER
Tori Wrånes, Lips Don’t Cry, performance at the opening of The Coming World: Ecology as the New Politics at Garage Contemporary Art Museum, Moscow It’s always such a pleasure to see the work of Norwegian artist Tori Wrånes. She has this unique ability of being able to articulate exclusion and saga in the same sentence. MODERNITETEN SOM KATASTROFE Moderniteten som katastrofe – et intervju med T.J. Clark. Den internasjonalt kjente kunsthistorikeren T.J. Clark holdt nylig to forelesninger om Picasso under sin residency på OCA i Oslo. I regi av OCA skal han neste sommer også ta del i en forelesningsrekke som arrangeres i forbindelse med Venezia-biennalen. Clark går i dettelengre
CANNED CLIMAX
Herman Mbamba, Until the Wind Blows for Another Time, 2017-18.Photo: Edgar Bachel. “It’s not as bad as Documenta”. That is what I caught myself saying to a curator friend I bumped into in the foyer of Berlin’s Akademie der Künste, one of the three main exhibition venues of the 10th Berlin Biennale. VYKORT FRÅN ZÜRICH Sara Anstis (b. 1991, Stockholm) was raised on a small island off the Canadian west coast, and draws wherever she finds good light. She holds an MFA from Valand Academy, Gothenburg, and is currently basedin London.
9. DESEMBER
9. desember –. Daisuke Kosugi. Kunstkritikks egne skribenter og inviterte gjester velger det mest interessante fra kunståret 2016. Hver dag fra 1. til 24. desember kommer et nytt bidrag. I dag: Daisuke Kosugi. Av Daisuke Kosugi 09.12.16 Julekalender. Hvilke utstillinger, begivenheter og publikasjoner var de viktigste, skarpeste eller mest HISTORY IS BASED ON TRANSLATIONS Ana Torfs, Toast, 2003. The Brussels-based artist Ana Torfs’s first solo exhibition in the Nordic countries, Figments & Fragments at Pori Art Museum on the Finnish west coast, brings together three works dealing with the language-based politics of history and geography.The exhibition examines tales and legends about geographic locations that relate to Western colonialism. NOBODY WANTS TO PRODUCE IRRELEVANCE The discussion around curatorial credits is a funny starting point. Working for an organisation as a director or curator, I rely on a lot of other people’s work – doing everything from installation, marketing, administration, and keeping the organisation running, to other forms of content production, the live programme, the learningprogramme.
CREATIVE ENDGAME
Haaland’s works look like errors, jokes, mistakes, trash. They are broken objects and distorted images evoking an atmosphere of anxiety, hopelessness, and failure – a mood perhaps fitting in the face of pending ecological crisis. In the twisted reality of the pre-apocalyptic world, all relations change, and the human adorationof technology
CANNED CLIMAX
Herman Mbamba, Until the Wind Blows for Another Time, 2017-18.Photo: Edgar Bachel. “It’s not as bad as Documenta”. That is what I caught myself saying to a curator friend I bumped into in the foyer of Berlin’s Akademie der Künste, one of the three main exhibition venues of the 10th Berlin Biennale.IDYLLEN ER TILBAKE
The theme for the exhibition The Idyll: Wish You Were Here! was determined at the outset by the Finnish in-house curatorial team, Laura Boxberg, Eeva Holkeri, Silja Lehtonen and Johanna Lehto-Vahtera. However, even if the subtitle makes it sound like a typical summer exhibition, the outcome is far from light. To choose such a theme – the idyll – and combine it with the Nordic emphasis FORCED INTO POLITICS Last weekend saw the opening of the exhibition Pile o’ Sápmi Supreme in Context at gallery Tenthaus in Oslo. The exhibition has arisen out of Máret Ánne Sara’s protest against the authorities’ decision to introduce mandatory reductions to the number of reindeer herded in Finnmarksvidda in northern Norway. 2D RIRI - KUNSTKRITIKK Jon Rafman, View of Pariser Platz, 2016, 9th Berlin Biennial.Photo: Timo Ohler. Even entire exhibitions seem primarily made for and distributed via online circulation. They become “known” in the art world via platforms such as Contemporary Art Daily – an eight year old online platform that gives countless exhibitions a second life and, in turn, has even received its distinct response viaFILM FOR NERVENE
Arthur Jafas film Love Is the Message, The Message Is Death (2016) samler et bredt utvalg bilder fra afroamerikansk historie i en syv minutter lang, høytempo-montasje, tonsatt med gospelinspirert hiphop.Svarte ikoner, som tidligere president Barack Obama og Martin Luther King, Jr., og dokumentasjon av viktige historiske hendelser sidestilles med ukjente ansikter og kropper, noen ofre for DEN SISTE SOVJETSTATEN Kuratorene Ekaterina Degot og David Riff har tatt utgangspunkt i en fantasy-roman der handlingen er lagt til Sovjet på 60-tallet og sammenstiller ukjente deler av denne «sovjetiske erfaringen» med den nærmest utopiske situasjonen de kom over i Bergen, der godt finansiert «kunstnerisk forskning» er et av elementene som gjør atBergen og
15. DESEMBER
15. desember –. Milena Høgsberg. Kunstkritikks egne skribenter og inviterte gjester velger det mest interessante fra kunståret 2016. Hver dag fra 1. til 24. desember kommer et nytt bidrag. I dag: Milena Høgsberg. Av Milena Høgsberg 15.12.16 Julekalender Article in English. Hvilke utstillinger, begivenheter og publikasjoner var de__
KUNSTKRITIKK
Nordisk kunsttidsskrift__ norsk/english no
Dansk udgave Norsk utgaveSvensk utgåva
International edition VERDEN ER ET ÅBENT SÅR Steve McQueens foruroligende værker får vores øjne til at svie afverdens smerte. Av
Francesca Astesani
08.04.20
Kritikk dk
/en
WARHOL BIT FOR BIT
Blokkjedekunstens skjebne er finansialiseringen av kunstneren selv.Av Anthea Buys
07.04.20 Essay no
/en
OSLO TINGRETT
STANSER IKKE
RIVING AV Y-BLOKKA
– Staten har fått medhold i at de kan utvise et helt fritt skjønn i enhver plansak og det er skremmende, sier Gisle Løkken, president i Norske arkitekters landsforbund.Av Andreas Breivik
07.04.20 Nyhet
no
/en
SJÄLEN I KARANTÄN
Lina Bjerneld visar hur dagens undantagstillstånd är en förlängning av något som var på plats redan innan. Av Frans Josef Petersson06.04.20
Kritikk se
/en
HELSINGFORSBIENNALENSKJUTS UPP
Invigningsupplagan av den nya biennalen i Helsingfors senareläggs pågrund av Covid-19.
Av Maria Hirvi-Ijäs07.04.20Nyhet
– DAGENS DRITT ER
MORGENDAGENS GULL
Videokunstarkivet skal overtas av Nasjonalmuseet. Prosjektleder Per Platou er bekymret for videreføringen av arkivets åpne karakter.Av Andreas Breivik
06.04.20Nyhet
EN KORT KRITIKK AV
ALT SOM EKSISTERER
Å avkolonisere er å forandre de grunnleggende materielle relasjonene som definerer våre liv.Av
Niilas Helander
03.04.20 Kommentar no/en
GALLERIER
LARMAR OM KRIS
Galerie Forsblom slår igen som en följd av Covid-19, men Galleriförbundets vädjan att museerna ska stödja branschen genom inköp har ännu inte givit resultat.Av Robert Stasinski
02.04.20Nyhet
FINLAND HAR STÄNGT – KONSTEN BIDAR SIN TID Förhoppningen är att en exceptionell situation ger upphov till något nytt och oväntat. Av Maria Hirvi-Ijäs31.03.20Nyhet
VERDIEN AV ÅPENHET
I den situasjonen Nordnorsk Kunstmuseum står i etter avskjedigelsen av Jérémie McGowan, er det relevant å spørre når Kulturdepartementet må gå inn i saken.Av Mathias Danbolt
02.04.20
Kommentar
_ 1 _
KULTURPROBLEMET
Konferansen Considering Monoculture i Brussel vek ikke unna de samtidige utfordringene for et kunstfelt situert i det sekulære, sosialliberale og globaliserte prosjektet. Av Charlotte Bik Bandlien01.04.20
Rapport
KULTURLIVET KALDER
STATSMINISTEREN
Dansk kulturliv savner fortsat en hjælpepakke. En række organisationer bag danske kulturarbejdere appellerer nu tilstatsministeren.
Av Pernille Albrethsen01.04.20Nyhet
KÆRE METTE
FREDERIKSEN
Åbent brev til statsministeren: Danske kulturarbejdere har brug fordin hjælp nu!
Av Danske kulturarbejdere01.04.20Debatt
PROGRAMMERT
DELTAKELSE
Strømmen av digitale erstatninger for arrangementer som er avlyst på grunn av pandemien, gir virtualiseringen av kunsten vind i seilene.Av Anthea Buys
31.03.20 Essay
no
/en
PREKÄRA GEMENSKAPER Årets upplaga av Sydneybiennalen är en starkt platsbunden och fysisk konstupplevelse, som efter att ha varit öppen i 10 dagar endast är tillgänglig online. Av Aileen Burns , JohanLundh 30.03.20
Rapport se
/en
PLAN B
Erin Sexton og Yohei Hamadas omgjøring av utstilling på Kurant i Tromsø til livestream ivaretar den muntlige kunstsamtalen under pålegget om sosial distansering.Av Nicholas Norton
23.03.20Kritikk
LYDEN AF ISOLATION
Isolationskunst fra Teheran, Milano og København viser, at podcast er det perfekte medie i en tid, hvor vi savner at høre hinandens stemmerhelt tæt på.
Av Louise Steiwer
30.03.20Mini
KUNSTKRITIKKEN
OG KRISEN
Et nedlukket kunstliv betyder også, at kritikken er sat i stå. Den nye bestyrelse bag dansk AICA om, hvorfor det er afgørende, at den gode kritik kommer gennem krisen.Av AICA Danmark
30.03.20Debatt
HJEMMETRENING
Adelita Husni-Beys nylige utstilling på Bergen Kunsthall kjennes sørgelig aktuell nå som den eskatologiske katastrofen ikke lenger er forbeholdt fiksjonen.Av Nora Joung
26.03.20Kritikk
PSYKONAUTISK ESTETIK Den viktigaste konsten på 2010-talet var den som hjälpte oss att navigera genom privata och samhälleliga neuroser, perversioner och psykoser. Av SinzianaRavini 27.03.20
10-tallet i nordisk kunstse /en
I FIGURATIONENS
DYBE AFGRUND
I Per Kirkebys bronzeskulpturer er figuration et grænseland, hvor formen udvindes af materiens kaos for dernæst hurtigt at falde tilbage i mudderet igen.Av Francesca
Astesani
26.03.20 Kritikk dk/en
DEN SELVUTSLETTENDE
INSTITUSJONEN
_Old Tree_ på Hordaland kunstsenter har intet samlende prinsipp, annet enn at dette er en utstilling, og at den er vakker.Av
Kristoffer Jul-Larsen24.03.20
Kritikk
UD OVER VORES
EGEN NÆSETIP
Hvad kan kunstverdenen lære af coronavirussen? Tanker fra en kunstglobetrotter i karantæne i Toscana.Av Irene
Campolmi 24.03.20
Kommentar dk
/en
KUNST I ANDRES KANALER For mange norske visningssteder presser smittetiltak formidlingen over på kommersielle, digitale plattformer. Andre bedyrer viktigheten av å holde åpent. AvRagnhild Aamås
20.03.20 Nyhet
_ 1 _ no
/en
DANSK KUNSTLIV
UNDER PRES
Effekten af coronavirus kommer til at kunne mærkes flere år frem, lyder det fra en række centrale aktører.Av Louise Steiwer
20.03.20Nyhet
dk
/en
HALV MILJARD I AKUT
RÄDDNINGSPAKET TILLSVENSKA KONSTNÄRER
– Om ett akut stöd ska inrättas så bör förlorad inkomst och specifika ekonomiska behov utgöra kriterier, förutom hög kvalitet, säger Anna Söderbäck, direktör på Konstnärsnämnden.Av Robert Stasinski
20.03.20Nyhet
_ 1 _
KONSTLIVET DRABBAS
HÅRT AV CORONAKRISEN Moderna Museet och Nationalmuseum blir de sista stora museerna i norra Europa att stänga dörrarna. Men många mindre institutioner ärfortfarande öppna.
Av
Robert Stasinski
19.03.20 Nyhet
se
/en
Å LEGGE ET TRAUME
TIL ET TRAUME
Midt i koronapandemien er forberedelsene i gang for å rive Y-blokka. Det kan umulig være godt verken for demokratiet eller folkehelsa.Av Mariann Enge
19.03.20 Kommentar
_ 1 _
no
/en
TUMBLR-NOSTALGI
OG 5G-PUNK
Yngvild Saeter frembringer teknologiske væsner fra efterlivet. Det er både et koncentrat af nostalgi og en personlig popkulturel vitalisme.Av Louis Scherfig
19.03.20Mini
TIL SENGS OVER
GRØNLAND
_Hasansens kjelke_ på Interkulturelt Museum i Oslo er en humoristisk og varm hyllest til norsk-pakistansk kultur.Av Mariann Enge
18.03.20Kritikk
AMPUTERAD
NANCY SPERO
Louisianas utställning gör våld på ett betydande feministisktkonstnärskap.
Av Frans Josef Petersson17.03.20
Kritikk se
/en
INGEN LØFTER TIL TRÆNGTEBILLEDKUNSTNERE
Kulturministeren kom ikke med nogen konkret støtte til kunstnerne på dagens møde med repræsentanter for UKK, BKF og den øvrige danskekulturbranche.
Av Louise Steiwer
17.03.20Nyhet
INNTEKTSKRISE
I KUNSTFELTET
– Alle bidrar solidarisk for å begrense spredningen av koronaviruset, da må den samme solidaritet vises de som mister inntekten, sier Ruben Steinum, styreleder i Norske billedkunstnere.Av Stian Gabrielsen
16.03.20Nyhet
no
/en
BARE ET BYGG
Jeg ble kalt kulturfiende – bulldozer», sa arkitekten bak Y-blokka, Erling Viksjø, til Dagbladet i juli 1970. Femti år senere står hans egen bygning for tur.Av Andreas Breivik
20.02.20 Rapport
_ 1 _ no
/en
10-TALLET I
NORDISK KUNST
I Kunstkritikks essayserie deler inviterte kritikere og kuratorer sine refleksjoner over den nordiske samtidskunsten fra tiåret vinettopp la bak oss.
PSYKONAUTISK ESTETIK Den viktigaste konsten på 2010-talet var den som hjälpte oss att navigera genom privata och samhälleliga neuroser, perversioner ochpsykoser.
Av Sinziana Ravini
27.03.2010-tallet
i nordisk kunst se
/en
EKSTEMPORÆR KUNST
I 2010’erne opgav kunstnerne samtiden til fordel for fortiden, fremtiden og andre og større tidsligheder. Kunsten er ikke længere kontemporær, men ekstemporær.Av Toke Lykkeberg
06.03.2010-tallet
i nordisk kunst dk
/en
_ 3 _
ETT DECENNIUM UTIFRÅN SETT Internationaliseringen underminerade den nordiska konstscenen, samtidigt som en ny bild av Norden, färgad av den koloniala historien, spreds på tiotalet.Av Anders Kreuger
28.02.2010-tallet
i nordisk kunst se
/en
NÅR
SAMTIDSKUNSTEN
OPPNÅR
MYNDIG ALDER
Det som på titallet ble presentert som aktiv kulturpolitikk, var i realiteten en demontering av et fungerende system under påskudd av å ha noe å erstatte det med.Av Tommy Olsson
21.02.2010-tallet i
nordisk kunst no
/en
_ 3 _
DET LÅNGA 2010-TALET Under tiotalet har det blivit tydligt att arkivets fascination inte kan separeras från de digitala databasernas ideologi.Av Kim West
14.02.2010-tallet i
nordisk kunst se
/en
FØLG
KUNSTKRITIKKS
ESSAYSERIE
OM 10-TALLET I
NORDISK KUNST
Ni skandinaviske skribenter, kritikere og kuratorer vil i løpet av våren dele sine refleksjoner over den nordiske samtidskunsten fra tiåret vi nettopp la bak oss.Av Mariann Enge
14.02.2010-tallet i
nordisk kunst no
/en
MEST LEST
1
VERDIEN AV ÅPENHET
Av Mathias Danbolt
02.04.20Kommentar
2
KULTURPROBLEMET
Av Charlotte Bik Bandlien01.04.20Rapport
3
GALLERIER LARMAR OM KRISAv Robert Stasinski
02.04.20Nyhet
4
EN KORT KRITIKK AV
ALT SOM EKSISTERER
Av Niilas Helander
03.04.20Kommentar
5
– DAGENS DRITT ER
MORGENDAGENS GULL
Av Andreas Breivik
06.04.20Nyhet
6
PREKÄRA GEMENSKAPERAv Aileen Burns ,
Johan Lundh
30.03.20Rapport
7
PROGRAMMERT DELTAKELSEAv Anthea Buys
31.03.20Essay
8
KUNST I ANDRES KANALERAv Ragnhild Aamås
20.03.20Nyhet
9
OSLO TINGRETT STANSER IKKE RIVING AV Y-BLOKKA…Av Andreas Breivik
07.04.20Nyhet
10
DEN SELVUTSLETTENDE
INSTITUSJONEN
Av Kristoffer Jul-Larsen24.03.20Kritikk
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