Curated by Artemis Potamianou
design poster Ben Faydherbe
The Platforms Project @ Art Athina was started in 2013 with the aim of charting the artistic actions produced by collective initiatives of artists who decide to join forces in seeking solutions to art matters through what is known as platforms. The 2015 Platforms Project @ Art-Athina is to present 48 important platforms / art group actions from 15 countries with over 700 artists, making up a programme that attempts to offer viewers an insider’s look into visual creation, into the aspect of chemistry and collaboration in artistic practice, without focusing on sales. As in the two previous years, the art groups/platforms will have the opportunity to present an art project in a specific space -booth- so as to provide viewers with an experience of the way they work.
EX-MÊKH is the name for the collaboration of visual artists Ellen Rodenberg, Maarten Schepers and Kees Koomen. These artists all have their individual professional practices as an artist but next to that they show their works in their mutual contexts and they try to develop a relation with the spaces in which exhibitions are held.
LINK Platforms Project Art Athina LINK EX-MÊKH
We hereby invite you to the opening of the exhibition
Topp & Dubio 'A Hilarious Picture in Glass' bij JCA DE KOK
on Friday, May 29th from 19:00 to 23:00 hours.
This exhibition is the result of a Topp & Dubio investigation into the origin and meaning of the work 'Bust of Stalin Haring "now at the GEM / Fotomuseum in The Hague, but in 1986 by the Russian Jewish artist duo Komar & Melamid (New York) was created for the Hague Geleenstraat.
The installation in a'alarmtelefooncel', including houses a bust of Stalin, a herring and a red light diffusing lamp. Topp & Dubio have been very fan of this work and consider the installation as the most relevant artwork in public space in The Hague Topp & Dubio have investigated thoroughly and make it work in this exhibition unabashedly compare with one of the most famous works of the twentieth century: the Large Glass Marcel Duchamp. With the title 'A Hilarious Picture in Glass' have Topp & Dubio stuck a thought of Duchamp on the alarmcel to set it as a masterpiece discussed. With new installations, photographic works and a publication are made possible new perspectives on this iconic work of art. LINK Topp & Dubio LINK JCA DE KOK
Allicyn Henning and Dolf Pauw
For our own visual identity we wanted to show a certain position that is ever present in our other work. We wanted to find a way to create a visual identity that is both luxurious, minimalistic, modernistic and which even incorporates the ever present fun that's visible in what we make. We believe that this position helps create original design without pretence. Our company name ’EXITING’ (Exit, till seeing again) immediately sends you to a place where you drink a nice coffee and talk to family. A color feeling we wanted to enhance by the usage of red (yes, it's really red) in the design, while at the same time contradicting it in the coarseness of the bold capital spacing of our company name It's part of our philosophy that we never sell our customer something he or she doesn't need. We'd rather help them figuring out how to be as effective as possible in their wishes In our own visual identity we stick to that philosophy as close as possible. You know the drill, anywhere in your home are photobooks, videotapes and movies. Where you and family members are documented on. Twenty years ago capturing your life changed from analog to digital. We would like to help you to capture chronological all that old stuff. And record it on modern material so that your children and grandchildren can still enjoy it today.
Voor onze eigen visuele identiteit willen we naar een vorm, wat altijd aanwezig in ons andere werk, aan u tonen. We willen een manier om een visuele identiteit, die zowel luxe, minimalistisch, modernistische en deze zelfs voorzien, van het altijd aanwezige plezier, wat zichtbaar is in wat we doen, maken en vinden. Wij zijn van mening dat deze positie helpt bij het creëren van oorspronke-lijke ontwerpen zonder pretentie. Ons bedrijf met de naam 'EXITING' (Exit, tot weerziens) stuurt je meteen naar een plek waar je een lekker kopje koffie gaat drinken om te praten met familie. Het kleurgevoel willen wij verbeteren door het gebruik van rood (ja, het is echt rood) in het ontwerp, terwijl tegelijkertijd, de grofheid van de gedurfde hoofdkapitalen, onze bedrijfsnaam doet uitstralen.
Het is een onderdeel van onze filosofie dat we nooit onze klanten iets, wat hij of zij niet willen, te verkopen.
We willen hen liever helpen uitzoeken hoe zo effectief mogelijk hun wensen in onze eigen visuele identiteit is in te passen en we toch zo dicht mogelijk vasthouden aan die filosofie. U kent het wel, overal in huis bevinden zich fotoboeken, videobanden en filmpjes. Waar u en familieleden op gedocumenteerd staan. Twintig jaar geleden veranderde het vastleggen van uw leven van analoog naar digitaal.
Wij willen u graag helpen al dat oude materiaal chronologisch vast te leggen op modern materiaal zodat uw kinderen en kleinkinderen ook vandaag nog kunnen genieten.
LINK EXITING
Operadagen Rotterdam
may 22 til may 31
Operadagen Rotterdam is an international festival with a focus on new developments in opera and music theatre. More than ever before singers, musicians, actors, directors, and designers are moulding the classical opera repertoire to their will. Whilst keeping intact the spirit of the works, they find new interpretations that resonate with the world of today and tomorrow. Operadagen Rotterdam invites the audience to broaden their mind and experience the latest developments. Freedom, equality, fraternity. The famous slogan of the French Revolution has lost none of its relevance in the 21st century. After the central themes of Liberty (2013) and Fraternity (2014), equality is the leitmotiv of this year's festival. It runs from 22 through 31 May 2015 in various locations around Rotterdam. LINK operadagenrotterdam
With a studio in a remote spot in Jutland, western Denmark, Jacob Jensen began collaborating in the 1960s with Bang & Olufsen for whom he created a look characterized by clean, flat surfaces with minimal protrusions such as buttons and switches. The technical quality of B&O record players, speakers and television sets was also considered superior and they were soon a must in wealthy households in the United States. Prior to his work with B&O, Jensen worked with industrial designers Bernadotte and Bjørn, where he created the Margrethe Bowl, a set of identical mixing bowls in bright colors and differing sizes which are ubiquitous in Danish households. Some of Jensen's pieces for B&O are held at the Museum of Modern Art (MoMA) in New York following the "Design for Sound" exhibition in 1978, the fourth ever solo artist exhibition at MoMA at the time. LINK Danishnet
The Obama Paintings and The Lincoln Monument
@ MOCA Detroit
Two coming exhibits of New York artist Rob Pruitt will feature a flea market and a series of thousands of paintings of President Obama. Every day for the past six years, Mr. Pruitt has painted a portrait of Barack Obama, nearly 3,000 canvases since the start of his presidency. Mr. Pruitt said the series also began on a whim, as a way to chronicle Mr. Obama’s tenure. The artist plans to continue through the president’s final day in office.
Every morning, he culls media images for inspiration and then spends “under an hour” painting in red, white and blue on
a 2-foot canvas. In some, the president looks triumphant and in others, he looks fatigued. Mr. Pruitt said he wasn’t seeking to make propaganda. “I just wanted to make a complete portrait.” Collectively, “The Obama Paintings” will represent his longest series-and among the largest group of paintings the Detroit museum has shown in a single exhibit. Ms. Borowy-Reeder said Mr. Pruitt’s portraits will cover the
14-foot walls of nearly 9,000 square feet of gallery space within the museum. Additionally, the exhibit will include “Lincoln Monument,”
a 6-foot tower of tractor tires Mr. Pruitt painted in copper leaf. Around 200,000 pennies (that’s $2,000 worth) will cascade down the tires like a fountain. LINK MOCAD
Dorandi 1976
If you were alive in the 80s, your shoe wardrobe wasn’t complete without a pair (or five) of Chucks (otherwise known as Converse All Star high tops). It didn’t matter if you were a guy or a gal - this particular 80s fashion trend crossed the gender barrier (and the age barrier too).
The 80s can’t claim the Chucks fashion trend as its own. The Converse All Star High Tops have been around for quite a while. The Converse shoe company has been making them since 1917. It wasn’t, however, until world-famous basketball player Chuck Taylor began wearing (and selling) the shoes in the 1920s that they really caught on. By the 1980s the shoes had become a fashion statement and were available in dozens of colors. Black, white, pink, blue, yellow, red - you name it, you could get it. LINK youtube
Hajo Rose - Bauhaus Foto Typo focuses primarily on the Hajo Rose’s time at Bauhaus as well as his period in exile in Holland during the Second World War. Primarily remembered as a graphic designer and exhibition stand designer, Hajo Rose was also a highly talented photographer and drawer. Although Hajo Rose studied at Bauhaus Dessau and Berlin under Walter Peterhans, Josef Albers and Joost Schmidt, one of the greatest influences on his work was without question Laszlo Moholy-Nagy.
Not only was Moholy-Nagy instrumental in the development of the photography department in Dessau, but as the leading light in the typography department he also influenced Rose’s master Joost Schmidt. In addition, following the dissolution of Bauhaus in 1933 Hajo Rose briefly worked as am assistant for Moholy-Nagy in Berlin.
LINK minimumblog
Kerry James Marshall is one of the leading contemporary painters of his generation. Over the past twenty-five years, he has become internationally known for monumental images of African American history and culture. Marshall attributes his interest in these subjects to the geography of his upbringing. Born in Birmingham, Alabama just as the bus boycotts were beginning, the artist and his family moved to the Watts neighborhood of Los Angeles, in 1963 (two years before the race riots) and finally settled in South Central Los Angeles at the height of the civil rights movement. The experience of growing up at the epicenter of socio-political change has yielded a body of work deeply rooted in personal biography and historical detail. LINK American art
@ Biennale di Venezia,
Pavilion of Ukraine
"Новоутворення 2"
інсталяція, 2010
Робота створена у співпраці з архітектором Олександром Бурлакою.
Друга версія інсталяції, реалізованої у 2010 році для Уральської Індустріальної Бієнале в Єкатеринбурзі. Інсталяція в київському Арсеналі складається з восьми кіл двометрового діаметру з картами міських ділянок, на яких публічний простір знищується новими торговими та офісними центрами, "елітними" житловими будівлями з підземними паркінгами. Ці карти - результат дослідження процесів, які відбуваються із простором сучасного Києва. Водночас, карти відсилають до практик радянського авангарду, зокрема до ПРОУНів Еля Лисицького. Нові ПРОУНи демонструють капіталістичну трансформацію пост-радянського міста. Вони проблематизують стосунки між утопічним поглядом з минулого та пост-утопічними реаліями сьогодення.
"Neoplasm 2"
Installation, 2010
The work was created in collaboration with an architect Alexandr Burlaka.
The second version of installation, realised in 2010 for The Ural Industrial Biennale in Ekaterinburg. Installation in Kyiv Arsenal consists of eight circles (d 2 meters) with maps of city areas where the public space is ruined by new-built shopping malls, office centers, "elite" buildings with underground parking etc. The maps are a result of the research of Kyiv recent city transformation processes. These maps refer to geometric abstractions of the Soviet avant-guarde, especially to PROUNs of El Lissitzky. They emerge like new PROUNs representing capitalist transformations of post-soviet cities. They are questioning the relations of utopical views from the past and post-utopical conditions of the present. LINK Nikita Kadan LINK Hope, Biennale di Venezia, Pavilion of Ukraine
Felice Varini paints on architectural and urban spaces, such as buildings, walls and streets. The paintings are characterized by one vantage point from which the viewer can see the complete painting (usually a simple geometric shape such as circle, square, line), while from other view points the viewer will see ‘broken’ fragmented shapes. Varini argues that the work exists as a whole - with its complete shape as well as the fragments. LINK Felice Varini
Behind The Cut - Outs
@ Stedelijk Museum Amsterdam
As part of the Public Program, in conjunction with the exhibition The Oasis of Matisse (March 29 - August 16, 2015), the Stedelijk Museum proudly presents a review of the most complex conservation projects on Henri Matisse’s work. During the last decade of his life Matisse deployed two simple materials-white paper and gouache-to create works of wide - ranging color and complexity. He used an unorthodox implementa pair of scissorsto transform the paper and paint into a world of plants, animals, figures, and shapes. Preserving these so-called cut - outs, some of impressive scale, has been a true challenge for conservators all over the world and will be the focus of a discussion by conservators Karl Buchberg (MoMA, New York) and André van Oort (previously with the Stedelijk Museum, Amsterdam). LINK Stedelijk AMS
