28 February, 2006
art & the 60's
Adelaide Biennial 2006
Biennale of Sydney
Sculpture by the Sea - Perth
Artist's day out
rembrandt - caravaggio
Jacob van Ruisdael
snow show revisited
museums in florence
high tide - warsaw
Ernesto Neto - Malmo
the snow show - turin
what's on - berlin
Gabriel Orozco wins blueOrange
pigott & morandi
Kruger & Holzer get political
Kippenberger at the tate
bones of the skin
art magazines - australia
ANKAAA & AboriginalArt.org
National Indigenous Art Competition
Picture Australia Day
Latrobe Printmaking Conference
kill the humans
the floating brothel
Auckland Art Gallery
25 February to 2 July 2006
This exhibition from Tate Britain draws on the Tate's superb collection of works from the period, along with loans from the National Gallery of Victoria in Melbourne, and Auckland's own collections.
Art & the 60s from Tate Britain tracks the changes that took place during the swinging sixties when the barriers blurred between music, fashion, advertising and art. While the period gave new meaning to style, not all art was flippant, especially after the political protests of 1968. Underlying the slick mechanical production techniques and the collage effects was a serious desire to question society, to draw attention to the way technical advances affect the way we perceive and live in the world.
Lets Play 66
How much do you think you know about the 1960s? Let's Play 66 enables you to become a virtual contestant in a 1960s-style game show so that you can test out your knowledge of the 1960s. Let's Play 66 is a fun and engaging way to learn about British art, general history and popular culture. Anyone can play, whether you are a 60s quiz whiz or a complete novice. All of the answers to the questions can be found in the contextual information provided for the exhibition Art and the 60s: This Was Tomorrow.
all about the exhibition at the Tate
26 February, 2006
21ST CENTURY MODERN 4 March – 7 May 2006
Art Gallery of South Australia. Part of the Adelaide Bank Festival of Arts 2006.
The 2006 Adelaide Biennial of Australian Art, 21st Century Modern, showcases the work of over 30 established and emerging Australian artists, brought together in recognition of a moment when modern art is being looked at afresh within contemporary art.
Curator of the 2006 Adelaide Biennial is Melbourne-based independent curator and editor Linda Michael, whose many previous national and international projects include the renowned 2003 Venice Biennale exhibition We Are Family by Patricia Piccinini.
Linda Michael has selected over 80 works made over the past few years for this Biennial, by artists across three generations. Their works include paintings, sculptures, prints, photographs, video installations, lightworks, textiles, and ceramics; some blur the boundaries between the fine and applied arts.
The 2006 Adelaide Biennial artists are: Brook Andrew, James Angus, Frank Bauer, Janet Burchill & Jennifer McCamley, Debra Dawes, Domenico De Clario, A.D.S. Donaldson, Gareth Donnelly, Diena Georgetti, Shane Haseman, Raafat Ishak, Narelle Jubelin, Anne-Marie May, John Meade, Arlo Mountford, Vanila Netto, John Nixon, Rose Nolan, Robert Owen, Andrew Petrusevics, Scott Redford, Jacky Redgate, Robert Rooney, David Rosetzky, Slave (Nick Selenitsch, Rob McKenzie, Kain Picken and Christopher L. G. Hill, with contributions by Lizzy Newman, Mikala Dwyer and Grant Stevens), Daniel von Sturmer and Anne Wallace.
A number of these artists will present talks about their work in the exhibition as part of the Festival’s Artists’ Week (4 – 8 March), which also includes a forum on the Biennial.
The Adelaide Biennial of Australian Art at the Art Gallery of South Australia has been the nation’s pre-eminent survey of Australian contemporary art since it began in 1990. Presented every two years in conjunction with the Adelaide Festival of Arts, the Adelaide Biennial highlights exciting new trends in contemporary visual art and is the Festival’s premier visual arts event.
24 February, 2006
It was a beautiful sunny day in Amsterdam yesterday , so I took a day off and visited the sites. I went to the Rembrandt house to see the etching exhibition, then on to Rembrandtplein to see the Nightwatch sculpture installation, Katharina Grosse at DeAppel and finally Spuistraat for the graffiti walls.
17 December 2005 - 12 March 2006
Rembrandt and British Printmaking 1880 - 1930.
An exhibition in which the work of British etchers is juxtaposed with works by Rembrandt that inspired them. The exhibition is being organized in association with the Schloss Moyland Museum in Bedburg-Hau, Germany.
The Society of Painters-Etchers was founded in London in 1880. The aim of the Society's members was to free etching from the straitjacket of reproduction and establish it as an artistic medium in its own right with a standing equal to that of the art of painting.
Thanks to this society of artists, British etching flourished greatly in the period around 1900. In the exhibition Rembrandt and British Printmaking 1880 - 1930 the role of Rembrandt as a source of inspiration is central. Around one hundred etchings by thirty-four of the most important artists working in Britain, among them Francis Seymour Haden (1818 - 1920),
James Abbot McNeil Whistler (1834 - 1903) and David Young Cameron (1865 - 1945), are being shown alongside etchings by Rembrandt from the Rembrandt House Museum collection. Bringing prints from these artists face to face with those by Rembrandt demonstrates not only how they incorporated his ideas, but also their own ways of interpreting them.
During Rembrandt’s 400th anniversary, the ‘Ondernemingsvereniging Rembrandtplein en Omgeving’ will unveil a bronze version of Rembrandt’s ‘Night Watch’ on the Rembrandtplein. This enormous sculpture group is the creation of two Russian artists, Alexander Taratynov and Mikhail Dronov and consists of 22 life-sized bronze figures.
Note dog. Its difficult to see in the painting and normally lost in reproductions. It looks like an underdrawing and may have been overcleaned? This installation begs to be seen in conjunction with a good image of the painting.
This new installation is the first work I have ever seen at deappel that I have enjoyed. It was like walking through a Frankenthaler. There's a narrative throughout that leads from room to room, interrupted in sharp contrast by the DeAppel's stairwell.
Think of it not so much as graffiti as feral printmaking.
for more Amsterdam street art, see blakkbyrd.
Article by Blakkbyrd
23 February, 2006
24 Feb - 16 June
Tommorrow the joint exhibition by the Rijksmusuem and the Van Gogh Museum opens at the latter. It brings together an impressive listing of works by Rembrandt and Caravaggio.
Download the overview of the works of art as PDF
The Rijksmuseum will also be celebrating the 400th anniversary of Rembrandt van Rijn’s birth in 2006 and will be exhibiting its entire collection of his paintings and drawings throughout the year, including Rembrandt’s most famous painting, 'The Night Watch'. www.rijksmuseum.nl
It is well known that Vincent van Gogh (1853-1890) was inspired by his great predecessor, Rembrandt van Rijn. This influence will be the subject of a special display in the print room of the exhibition wing. www.vangoghmuseum.nl
Rembrandt-Caravaggio is part of a series of exhibitions and events being organised in the Netherlands to commemorate Rembrandt’s 400th birthday. www.rembrandt400.nl
watch the commercial & sing happy birthday to Rembrandt
22 February, 2006
star of the month
at the women's artist registry
at NZ Art monthly
WALK TALL, 2000
February - March 2000
Australian artist, Rose Nolan's WALK TALL 2000 was a new banner work commissioned for the window space at the Adam Art Gallery to coincide with the Language Matters exhibition (11 February - 26 March 2000). As with her work in other media, Nolan's banners include words and fragments of text, often 'found' quotes.
Banners and flags have been central to Nolan's practice and large-scale hangings have been the focus of her recent bodies of work such as BIG WORD COMBOS. Emotive character references such as ACE/HERO/STAR or LOSER/FLOP. DUD/DUFFER/FOOL are commonly incorporated in either 'UP' and 'DOWN' sets of words.
By including a sense of the heroic (and by contrast, the inadequate or deficient) in these works Nolan connects them with both the provenance of modernist art and the figures of legend in our cultural and personal lives. The combination of colours and tone of instruction or proclamation recall political or revolutionary banners or the art of the Russian Constructivists of the early twentieth century.
In being self consciously handmade, these banners draw attention to the artist's materials and production. Their rough aesthetic and unprepossessing character distinguishes them from more familiar flags and banners. WALK TALL references the style of popular sports banners, more feeling and fandom than fine finish.The words WALK TALL, are at once both personal and public, ambiguously falling somewhere between a private mantra and public command (Nolan's initials add a further autobiographical element). In this fusion of the interior and communal, European and local, political and sporting, who (or which team) is Nolan reminding to "walk tall"?
from VUW NZ
uni melb review
to 4 June 2006
This exhibition has been jointly organized by the Royal Academy of Arts, London, the Los Angeles County Museum of Art and the Philadelphia Museum of Art.
Jacob van Ruisdael was one of the greatest painters of the Golden Age of Dutch painting. He was born into abject poverty in 1628 or 1629 and much of his life is shrouded in mystery. Raised in Haarlem he moved to Amsterdam and died there in 1682.
In the course of his life Ruisdael broke with many of the traditions of Dutch painting and became a figure of great influence. He is celebrated for faithfully recording nature while responding to it imaginatively. His works are also considered to be fine meditations on human experience in a world shaped by constant cycles of growth and decay.
Ruisdael's impact can be seen in the Barbizon School of France, the American Hudson River School, and in the work of John Constable, England's own leading lanscape painter. To coincide with this exhibition the John Madejski Fine Rooms have been hung with a selection of landscape paintings from the Royal Academy's Permanent Collection. These works can be seen free of charge during Jacob van Ruisdael: Master of Landscape.
The Association of Northern Central Australian Aboriginal Artists ("ANCAAA") was originally established in March 1987, by 16 Aboriginal owned and controlled community art and craft centres from NT, WA and SA. Its main function was to foster the Aboriginal arts industry for the benefit of its artists and organisations. In 1992 the Central region incorporated to become Desart.
At this time ANCAAA changed its name to ANKAAA by substituting Kimberley for Central. Today, ANKAAA represents over 2,500 Artists from 34 art and craft centres located in the Tiwi Islands and the Darwin/Katherine, Kimberley, and Arnhem Land regions.
Exhibitions and special events.
Savanhdary Vongpoothorn arrived in Australia from Laos in 1979 when she was 8 years old. Since she began exhibiting in 1992 her work has gained considerable attention, winning her numerous prizes and public recognition.
Savanhdary creates her exquisite paintings by puncturing the surface of her canvas with a soldering iron and gradually building up layers of paint from the front and back of the canvas. The plurality of influences on both the textures and imagery in her work range widely from Lao textiles to high modernism, the Australian landscape and Aboriginal art. She has exhibited in galleries across Australia and internationally and her work also features in prestigious corporate and public collections.
She is represented by Martin Browne Fine Art, Sydney and Niagara Galleries, Melbourne.
more from anu
at martin browne
review reviewed on the artlife
20 February, 2006
JULIE GOUGH is a Tasmanian Aboriginal visual artist and a curator of Indigenous Art at the National Gallery of Victoria. Julie's art and research practice involves uncovering and re-presenting historical stories as part of an ongoing project that questions and re-evaluates the impact of the past on our present lives. Her work is concerned with developing a visual language to express and engage with conflicting and subsumed histories. Julie's intention is to invite a viewer to a closer understanding of our continuing roles in, and proximity to unresolved national stories. Julie's work in
Julie Gough has previously been employed as a lecturer in Aboriginal studies at the University of Tasmania and as an Interpretation Officer, Aboriginal Culture at the Tasmanian Parks and Wildlife Service. Julie has undertaken artist residencies in Tasmania, New York, London, Paris and Mauritius and was awarded a PhD from the University of Tasmania in 2001 (Transforming Histories: the visual disclosure of contentious pasts, 2000), MFA from the University of London, 1998, BFA 1st class Honours (University of Tasmania 1994), BVA (Curtin University, 1993) and BA (Prehistory and English Literature, UWA, 1986).
more from ANU
1997 samstag scholarships
DJAMBAWA MARAWILI is a leader of the Madarrpa clan and an activist and administrator on the interface between non-Aboriginal people and the Yolngu people of North East Arnhem Land. Djambawa’s art is closely related to his role as a leader and he draws on the sacred foundation of his people to represent the power of Yolngu and to educate others in the justice of his people’s struggle for recognition. Living at Yilpara, three hours from Yirrkala, he is immersed in the country he paints and carves. His work is represented in most major Australian collections, and in several overseas collections. In 1996 he won the prestigious National Aboriginal and Torres Strait Islander Art Award Best Bark Painting Prize.
Djambawa is chairman of the Association of Northern, Kimberley and Arnhem Aboriginal Artists (ANKAAA) and was recently appointed to the Australia Council's Aboriginal and Torres Strait Islander Arts Board. He is represented by Buku Larrnggay Arts, Yirrkala, and Annandale Galleries, Sydney.
more at ANU
The Buku-Larrnggay Mulka Art Centre and Museum is in Yirrkala, a small Aboriginal community on the north-eastern tip of the Top End of the Northern Territory, approximately 700kms East of Darwin. We service approximately twenty five homeland centres in the radius of 250km (Map). This part of Australia is very special. The coastline and hinterland are largely unspoilt and still managed by the traditional owners, the Yolngu (Aboriginal people of the region between Numbulwar and Maningrida). They have fought all attempts by non-Aboriginal people to dispossess them.
Dr Charles Merewether, Artistic Director & Curator of the 15th Biennale of Sydney, today announced the names of 85 artists and collaborations from 57 cities who will participate in the Biennale of Sydney from 8 June to 27 August 2006.
As Australia’s largest and most exciting contemporary visual arts event,
the Biennale of Sydney is renowned for showcasing some of the most innovative and challenging contemporary art from Australia and around the world. The 2006 festival will be held at over 15 venues and sites throughout Sydney, including the three principal venues; Pier 2/3 at Walsh Bay, Art Gallery of New South Wales and Museum of Contemporary Art, along with Artspace, Australian Centre for Photography, Blacktown Arts Centre, Campbelltown Arts Centre, Gallery 4a, Hyde Park Barracks, Ivan Dougherty Gallery, Museum of Sydney, National Art School, Performance Space, Tin Sheds at the University of Sydney, Sydney College of the Arts and the Sydney Opera House, along with various outdoor sites and special projects to be announced.
The 15th Biennale of Sydney, organised under the conceptual framework
‘Zones of Contact’, will feature artists from 57 cities, including countries and
regions that are rarely represented in major international festivals and biennales. The artists selected for the exhibition work in all forms of the visual arts and at least half will travel to Sydney for the opening in early June. 2006 Biennale artists are among the boldest and most dynamic practicing worldwide.
Dr Charles Merewether commented “There is a strong presence of artists from the Middle East, including Palestine, Lebanon, Israel, Egypt and Bahrain. There is an important representation from Eastern Europe, the Baltic and Balkan States —including artists from Russia, Latvia, Albania, Bosnia and Herzegovina, Croatia, Serbia and Montenegro and Romania. There will also be a much stronger presence from the Asian region, especially India, Japan and China.”
In commenting on the artist selection process, Dr Merewether today said
“In the process of selection, it has not been my overt aim to include a particular region just for the sake of it, but to include it because of the significance of the practice coming out of that area and the artist’s own engagement with the 2006 conceptual framework ’Zones of Contact’. Of the 85 artists participating,approximately half will be presenting new projects, many of those stimulated by their response to the exhibition concept.”
Seven Australian artists have been selected, including indigenous artists
Djambawa Marawili from the Northern Territory and Julie Gough from Queensland, both of whom are creating new bodies of work that will include painting and sculpture. Ruark Lewis, Rose Nolan, Tom Nicholson, Imants Tillers and Savanhdary Vongpoothorn will also be creating new works for the 2006 exhibition.
Visitors to the Biennale of Sydney 2006 can expect to see a wide range of works across many genres including painting, photography, fabric, sound and voice, light and projected works, drawing, video, film, performance, sculpture and installation.
To be accompanied by a 2-day forum " Why Make Prints 2" a series of artists' talks , panel discussions and more formal papers looking at the future of autographic printmaking in Art Schools/Universities and amongst contemporary Visual Arts practitioners. Target audience artists, art educators, print curators,suppliers and students.
This forum will address the continuing downsizing of printmaking facilities in artschools and universities throughout Australia in favour of new digital technologies. Is there anything that can be done about this or will these ways of making marks disappear or will they only be taught by the private sector? ? Does it matter if we throw away our stones and metal plates.
for details and further information consult our website from March
For expressions of interest in exhibition or presentation of papers and artists' talks please contact Jennifer Marshall on 03 54447461or e-mail: email@example.com by the end of March
"With his broad spectrum of works, Orozco has for years challenged our perception of reality. We are delighted that the Art Prize will enable the German Cooperative Banks in partnership with the Museum Ludwig Cologne to show a major solo exhibition of this internationally renown artist in
Germany," is how Christopher Pleister, President of the National Association of German Cooperative Banks (BVR), commented on the decision of the jury.
The blueOrange, awarded every two years, is endowed with a total prize-money of Euro 77.000 and an exhibition of the prize-winner in one of Germany’s prominent art institutions. Euro 7.000 of the prize-money are earmarked for an emerging artist, who is selected by the prize-winner. In 2006 it will therefore be Gabriel Orozco who will choose the recipient of this supporting award.
The award ceremony and exhibition opening will take place on November 2nd, 2006, at the Museum Ludwig Cologne, the partner institution of the blueOrange 2006. The exhibition of Gabriel Orozco will be on view from November 3rd, 2006, to January 28th, 2007.
Along with Gabriel Orozco the shortlist of the blueOrange included the artist duo Janet Cardiff & George Bures Miller, Douglas Gordon, Mona Hatoum, Aernout Mik, Dan Perjovschi and Tobias Rehberger.
For further information see http://www.blueorange.bvr.de
google image search
at villa manin
at the guggenheim
at documenta x
at sao paulo
bbc review - see silkscreen on blackboard
exhibitions listing at photography now
17 February, 2006
Sculpture by the Sea will be back for 2006
from 9 - 19 March
along Perth's stunning Cottesloe Beach.
This free to the public exhibition will showcase some 50 sculptures by Western Australia 's leading sculptors, alongside works by selected Australian and international sculptors.
The Northern Territory Art Gallery says it will no longer automatically acquire the artwork that wins that National Indigenous Art Competition. Previously, the gallery held on to the work, and the artist got a $40,000 prize.
Gallery director Anna Malgorzewicz says the competition organisers and the sponsor thought that automatic acquisition could be deterring people from entering."Whilst everyone is quite proud of the prestige and the status of winning the award, the fact that we then automatically acquired it meant that for some artists who can now command amounts of money that are three or four times the amount of the prize money were reluctant to enter," he (sic) said.
Why would anyone selling works for $120,000 to 160,000 each be interested in winning a $40,000 prize even if it wasnt aquisitive? For that matter, what proportion of indigenous artists sell for $120,000 to 160,000?
amateur dot painters need not apply?
Adelaide Fringe 2006 runs from 24 February to 19 March, while Adelaide Bank Festival of Arts runs 3-19 March. Events range from an Architecture symposium to Writers' and Artists' Weeks to live performances. Both festivals include some free events. See the festival websites for full programs.
The Adelaide Festival of Arts is one of the world's great arts Festivals. It has created a strong tradition of innovation since 1960 inspiring celebration and presenting diverse art from across
Each Festival program includes opera, theatre, dance, classical and contemporary music, cabaret, new media events, Adelaide Writers' Week (the largest literary festival in the world), outdoor entertainment, visual arts exhibitions, master classes, forums, a late night club and much more.
Adelaide Fringe began in 1960 as an alternative to the Adelaide Festival, which offered limited opportunity for local and smaller-scale artists. As an open access event, the Fringe allowed anyone with ideas and enthusiasm to register and be a part of the program, showcasing their arts to a welcoming public.
Adelaide Fringe and Adelaide Festival have run side by side now, every second year, for over three decades. They are now inextricably linked as complementary events which together create an electric atmosphere of excitement and creativity across the city.
Adelaide Fringe is renowned for fresh ideas, risk, imagination, spontaneity and fun. It is the largest arts event in
Artists from across the globe participate alongside home-grown talent, in all artforms. For independent artists, it’s an inspirational environment. For audiences, it’s an atmosphere that encourages taking a chance on something new.
16 February, 2006
Under the title Biennale Cuvée the O.K presents selected projects from the art biennales of Venice, Istanbul, Prague & Vilnius, which all took place in 2005. For the first time, Linz thus becomes the setting for a representative exhibition of current trends in contemporary art and a measure of what this term means internationally today.
15 February, 2006
kill the humans mp3
A Survey 1955–2005
4 November 2005 to 19 March 2006
now showing at the NGV
This exhibition is the first comprehensive survey of ceramic works by Gwyn Hanssen Pigott, Australia’s most acclaimed potter. The exhibition spans the fifty years of her career to date, from the functional wares she produced through the 1960s and 1970s, through to the still-life groups of porcelain vessels that she developed in the 1980s and for which she is internationally renowned. The exhibition can be seen in two of the galleries usually reserved for the works of Asian art, in order to reflect the fundamental influence of the Kent Collection of Chinese ceramics on Hanssen Pigott’s decision to become a potter.-----------------------------------
at phillip bacon
Hanssen Piggott’s well established debt to Morandi implies a meditative approach, but while these pots are essentially contemplative, her configurations also distil and abstract the rhythmic motion of household things – careful placements that suggest studied randomness as well as quiet poise. Some congregate as they might on a kitchen surface.
As Karen Wilkin has written of the hybrid nature of Morandi’s own workspace: “there is nothing remarkable about any of it. Quite the contrary, as attested by the sheer multiplicity of the stacks of crockery, the rows of bottles, the clusters of generic vases and all the seemingly uncountable objects that covered the shelves and tables of [the] overpoweringly cluttered monastic studio”.
Hanssen Pigott, like Morandi, selects from this kind of multitude, gives it an order. She plays with numerous combinations of form and glaze (varied white, ochres, blues) and with vertical or longer, more horizontal formations.
at the tate
Caravan is the first major touring exhibition by this Australian artist in the UK. Gwyn Hanssen Pigott is one of Australia's most successful ceramic artists, with a career spanning over forty years. She is renowned for the abstract simplicity of her meditative, off-white porcelain pots, arranged in close groupings; which can be seen both as metaphors and as ordinary everyday objects.
With a career spanning five decades, Gwyn Hanssen Pigott now has an international reputation. The artist has made a long study of historical pottery, both Asian and European, and is well practised in the traditions of wood-fired ceramics.
Since 1988, Hanssen Pigott, inspired by the paintings of the Italian twentieth-century artist Georgio Morandi, has formed groups of her pots into still-life arrangements.
In these works, the profiles, volumes and materials of the vessels are endowed with special significance, even a metaphysical dimension.
ZACHETA NATIONAL GALLERY OF ART
February 17–April 09
It is the first major exhibition of its kind presented in Poland and the largest-scale exhibition combining artists from both nations staged internationally. The exhibition presents work across a range of media including drawing, painting, photography, sculpture, video and performance. As a special feature of the exhibition a number of artists have traveled to Warsaw to produce newly commissioned site-specific art works, some of them reflectingon the artists" engagement with Polish culture.
HIGH TIDE is loosely framed by three themes "Popular Visions", "the Suburban", and "New Outlooks" and collects three generations of artists from Bill Culbert (b. 1935) to A.L.A.N. Hsu (b. 1981).
The starting point for the exhibition, "Popular Visions", looks at Australian and New Zealand art from a Polish point of view and locates themes and motifs in the work that match expectations, such as: big and beautiful nature; "exotic" and strange nature; the ocean; and the importance of indigenous people in both cultures. Even though many artists from both nations make work that reflects the popular imaginary it is often for the
purpose of making humorous commentary or revealing a hidden underbelly of this imagination. Environmental concerns are repeated in the exhibition as artists point to the impact that human contact is having on the unique and often fragile ecologies of both geographies. Ironically, themore people who visit this nature the faster its beauty fades. Similarly, the Aboriginal, Maori, and Pacific Island artists in the exhibition chart the complicated impact that European colonization has had on their homelands and peoples.
Despite the important role nature plays in the characterization of Australia and New Zealand they are both urban cultures; more than 85% of the population in both nations live in cities. Sydney the region"s largest city has a population approaching 4.5 million people so can truly be considered a metropolis. It is hardly surprising, therefore, that a number of artists in HIGH TIDE make work that refers to urban/street culture relating to "the Suburban" theme. As is often the case with art made in large cities there is even a tendency to withdraw from the space of the city itself to the privacy of domestic, truly "suburban" spaces: what are known in Australia and New Zealand as the "living room" and the "the back yard".
In the last five years an increasing number of artists from Australia and New Zealand have begun to live and work internationally; concentrated in the United States and western Europe. Naturally, artists belonging to this group have begun to make art works that reflect their new living spaces and the cultures and art histories they are now engaging with. A different version of this process is artists who emigrate to Australia and New Zealand from elsewhere in the world, often as art students, whose work makes new cultural connections or reflects multi-national concerns. This group of artists produces "New Outlooks" on the art produced in both countries.
HIGH TIDE is an exhibition that aims to introduce Polish audiences to contemporary art from Australia and New Zealand and reflect upon culture from both countries in an insightful and humorous fashion.
The exhibition is co-organized with the Contemporary Art Centre in Vilnius, where it is going to be presented from June till August 2006.
Artists presented at the exhibition:
Brook Andrew, Guy Benfield, Mladen Bizumic, Lisa Crowley, Bill Culbert, Destiny Deacon and Virginia Fraser, Ex de Medici, Mikala Dwyer, Shaun Gladwell, Matthew Griffin, A.L.A.N. Hsu, Peggy Napangardi Jones, The Kingpins, Maddie Leach, Daniel Malone, MINIT (Jasmine Guffond and Torben Tilly), Tracey Moffatt, TV Moore, James Morrison, Callum Morton, Ani O'Neill, Michael Parekowhai, Patricia Piccinini, Rachel Rakena, Scott Redford, Ann Shelton, Jim Speers, Kathy Temin, Yvonne Todd, Francis Upritchard, Ronnie van Hout, Suzann Victor, Louise Weaver, Boyd Webb
14 February, 2006
18 feb - 1 may 2006
Ernesto Neto works with abstract installations which often take up the entire exhibition space. His materials are gossamer-thin, light, stretchable fabrics in nylon or cotton. Like fine membranes fixed to the ceiling by long, stretched threads his works hang down into the room and create shapes that are almost organic. Sometimes they are filled with scented spices and hang in tear-shaped forms like gigantic mushrooms or huge stockings, sometimes he creates peculiar soft sculptures which the visitor is allowed to feel through small openings in the surface. He also creates spatial labyrinths which the visitor can enter and thereby experience the work and interact with it.
Neto’s art is a sensual experience which creates associations with the body and with something organic. He describes his works as an exploration and a representation of the body’s landscape from within. It is important to Neto that the viewer should actively interact with and physically experience his work by feeling, smelling, and touching it.
For Malmö Konsthall Neto will create a completely new work which he is calling The Malmö Experience. The exhibition in Malmö will provide an extensive overview and synopsis of Neto’s oeuvre and contain a number of important works which will be presented in a new way. In a huge “organic labyrinth” of fabrics and shapes, which takes up the entire exhibition space, the visitor can experience the work from both inside and outside. The exhibition is based on the colours of the rainbow and the body labyrinth/organism consists of a number of smaller spaces which together constitute the whole.
11 February, 2006
London's Tate Modern is showing a major retrospective dedicated to German artist Martin Kippenberger, who died in 1997.
According to Holger Liebs, Kippenberger, who was never fond of retrospectives, would have liked this one because the London curators took Kippenberger's "Love of shown work" seriously. Liebs explains why the British are so fond of the artist. "For the British, this strange German is more or less new territory; he's somewhere between the off-beat pop of the Young British Artists and the politics of Joseph Beuys' work. The German sense of guilt is particularly fascinating for the British. None of the critical reviews failed to mention the sculpture series 'Martin, stand in the corner. Shame on you!' (1989). Kippenberger's self-portraits of himself standing in the corner, in some cases crimson with shame, pepper the show as a running gag. He made them after he was accused of using Nazi symbols." +++
09 February, 2006
It was not, as it turned out.
“But”, says Agzarian, “what arose from that was the general debate in the community both locally and nationally about the influence of the Government, and their stance on this question about funding. In these uncertain times, I think the question was raised from concerned artists like myself as to what would have happened if there was funding – would the Government have taken the pieces down?”
Michael Agzarian hopes to exhibit his work in Sydney again in the coming year. Until then you can see it online at www.nomorelies.com.au.
from the program
07 February, 2006
The melodrama of the Kelly story captivated Sidney Nolan. When Kelly staggered out of the Glenrowan Inn, wearing his metal armour, forty kilos in weight, and beating his breastplate with a revolver, he roared: 'Come out boys and we'll whip the lot of 'em!' Having neglected to cover his lower legs with armour, the police shot him in the knees. Falling to the ground, Kelly declared: "I'm done, I'm done".
When Nolan painted his Kelly series, he was himself, like the bushranger, a fugitive from the law. In July 1944, faced with the possibility that he would be sent to Papua New Guinea on front-line duty, Nolan went absent-without-leave. He went to stay at Heide, near Melbourne, in the home of John and Sunday Reed. Amid this environment, what the French like to call a 'ménage à trois', Nolan created his Kelly paintings. He had made a total of 45 Kelly paintings between March 1945 and July 1947
fairweather at phillip bacon
at galleries schubert
06 February, 2006
"the true founding mothers of modern australia".
The british media are saying that Australians are all the offspring of a handful of whores and our rich culture is the resultsof their efforts.
see the video short
03 February, 2006
03 February - 19 March 2006.
The Snow Show 2006, the third to be curated by Lance Fung, will be presented prior to the opening of the XX Winter Olympic Games in Turin in February 2006. The event will bring together six new collaborative examples of snow-built cutting-edge contemporary art and architecture. The teamed participants include Kiki Smith and Lebbeus Woods, Yoko Ono and Arata Isozaki, Carsten Höller and Williams & Tsien, Daniel Buren and Patrick Bouchain, Paola Pivi and Cliostraat, Jaume Plensa and Norman Foster.
Sestriere, in the Italian alps, has a unique topography that will allow the six new projects to take advantage of the varied settings, providing different levels for vantage and entrance points for each of the projects. As the event coincides with the Winter Olympics, the participants have taken into account the implications of sport and incorporated it into their design, bringing architecture and contemporary art to an international and mainstream audience of millions.
For full information on The Snow Show 2006 please have a look on the website,
02 February, 2006
The National Library is collaborating with Yahoo! Australia & NZ on an initiative to increase the number of contemporary images in PictureAustralia, a community resource which the Library manages.
PictureAustralia, is a bank of more than one million images from the pictorial collections of over 40 national and international institutions. The images are primarily historical – pictures of Australian towns, streets, public buildings as well as people and events. How interesting it would be to compare images of those towns and streets with how they look today. That’s where we need your help.
The Library has established two groups on FlickR, Yahoo!’s online image repository,
PictureAustralia – Australia Day and PictureAustralia – People, places and events. We invite you to take photographs of your town or city on Australia Day, join FlickR and add your images to the Australia Day group.
For more information contact: www.pictureaustralia.org
WHY BERLIN ! No. 5 – Exhibitions in Berlin
January – April 2006 and more
3.2. bis 7.2.2006
transmediale.06 - festival for art and digital culture, berlin
3.2. – 19.3.2006
Smile machines: Exhibition of the transmediale 06
curated by Anne-Marie Duguet, Paris
Akademie der Künste
Hanseatenweg 10, Berlin-Tiergarten
25.03. - 28.05.2006
4. berlin biennale for contemporay art
KW Institute for Contemporary Art and other venues
Auguststr. 69, Berlin-Mitte und andere Orte
Tue - Sun 12:00 - 19:00, Thu until 21:00
Neupräsentation der Sammlung:
Kunst - Fotografie - Architektur - Multimedia
24.2. – 3.5. 2006
jetzt I now 7: Fritz Balthaus: Skulptur
24.2. – 28.5.2006
Sabine Hornig: Raum mit großem Fenster - Rauminstallation
Eberhard Blum: Visual Work - Zeichnungen ab 24.
Februar 2006 Eröffnung 23. Februar 19 Uhr
17. März bis 10. Mai 2006
Fred Thieler Preis für Malerei: Bernd Koberling
8. April bis 18. Juni 2006
Pirelli Kalender - Fotografien
Alte Jakobstrasse 124-128, Berlin-Kreuzberg
Mon - Sat 12:00 - 20:00, Sun 10:00 - 18:00
13.01.06 - 02.04.06
Annie Leibovitz . American Music
10. 03. - 23.4.06
Isabelle Huppert . woman of many faces
23.03. - 07.05.06
C/O Talents 01 . Stephanie Kiwitt
08.04.06 - 07.05.06
Fotografie und Tanz
C/O Berlin . The Cultural Forum for Photography
Linienstrasse 144, Berlin-Mitte
Wed - Sun 11:00 – 19:00
27.1. – 18.3.2006
Janet Cardiff & George Bures Miller: Berlin Files
Zimmerstrasse 90/91, Berlin-Mitte
Mon - Sat 11:00 - 18:00
29.07.05 - 26.03.2006
Minimalism and After IV
Neuerwerbungen der Sammlung DaimlerChrysler
Potsdamer Platz, Haus Huth
Alte Potsdamer Str. 5, Berlin-Mitte
daily: 11:00 - 18:00
04.02.2006 - 23.04.2006
Hanne Darboven- Hommage à Picasso
Deutsche Guggenheim Berlin
Unter den Linden 13-15, Berlin-Mitte
daily: 11:00 - 20:00, Thu until 22:00
10.01. – 01.02.2006
Friends and Enemies
Gagosian Gallery Berlin
Auguststr. 50a, Berlin-Mitte
Tue – Sat 12:00 - 18:00
24.09.2005 - 23.04.2006
Fast nichts - Minimalistische Werke aus
der Friedrich Christian Flick Collection
17.12.2005 – 05.03.2006
Ulrike Grossarth. 1, 2, 3, 4, 5 – Umgebung
21.01.2006 – 23.04.2006
Lebenslauf = Werklauf: Hommage an Joseph Beuys
23. 03. - 18.6. 2006
In still water crocodiles lurk - Video-installation 1995/2004
Hamburger Bahnhof - Museum für Gegenwart - Berlin
Invalidenstr. 50/51, Berlin-Tiergarten
Tue - Fr 10:00 - 18:00, Sat 11:00 -20:00, Sun 11:00 - 18:00
19.1. – 26.3.2006
In der Sprache der Mode - Lisa D. und Swetlana Heger
Haus am Waldsee
Argentinische Allee 30, Berlin-Zehlendorf
daily 10:00 - 18:00
Helmut Newton´s Private Property
Helmut Newton- a gun for hire
Helmut Newton Stiftung
Zeit Raum Bild. 10 Jahre Dokumentarfotografie, Ausstell.
d. Museum f. Fotografie im Kulturforum am
Boris Hars-Tschachotin, Hannes Nehls: MAKROSKOP
Museum für Fotografie
Jebensstr. 2, Berlin-Charlottenburg
Tue - Sun 10:00 - 18:00, Thu until 22:00
26.1.- 5.2. 2006
>(er-)schrecken< Projektwoche zum Thema Terror
17.2.- 7.4. 2006
blickdicht - Fotografie aus der arabischen Welt
19.5. - 20.8. 2006
Nafas - Aktuelle Kunst aus der islamisch geprägten Welt
ifa-Galerie Berlin, Institut für Auslandsbeziehungen
Linienstr. 139/140, Berlin-Mitte
Tue- Sun 14:00 - 19:00, until 31.08. 2005 also Fri - Sat 14:00 - 21:00
23.2. - 29.3.2006
Tiergartenstr. 35, Berlin-Tiergarten
Mon – Fri 9:00 - 17:00
26.1. – 12.2.2006
International Studio Program: Lucas Lenglet + Shin Il Kim
26.1.2006, 19:00 h
Open Studios + DJs
23.2. – 12.3.2006
International Studio Program: Tea Mäkipää
23.2. - 12.3.2006
23.3. - 9.4.2006
International Studio Program: Michel de Broin + Yoshiaki Kaihatsu
23.3. - 23.4.2006
Painting as Presence: Painters from Germany,
Poland and Scandinavia, curator: Mika Hannula
Kuenstlerhaus Bethanien GmbH
Mariannenplatz 2, Berlin-Kreuzberg
Wed - Sun 14:00 - 19:00
27.01. - 17.4.2006
Fang Lijun - Holzschnitte und Zeichnungen
Kulturforum Potsdamer Platz
Matthäikirchplatz 4, Berlin-Tiergarten
Tue - Fri 10:00 - 18:00, Sat & Sun 11:00 - 18:00
18.12.05 - 26.2.2006
Contemporary Arab Representations. The Iraqi Equation
B-ZONE: Becoming Europe and Beyond
KW Institute for Contemporary Art
Auguststr. 69, Berlin-Mitte
Tue - Sun 12:00 - 19:00, Do bis 21:00
Zeitgenössische Fotokunst aus Brasilien
Tiefebene hochkant. Aktuelle Kunst aus Ungarn
NBK - Neuer Berliner Kunstverein
Chausseestr. 128/129, Berlin-Mitte
Tue - Fri 12:00 - 18:00, Sat & Sun 14:00 - 18:00
23.09.2005 - 22.01.2006
male Lago - unsichtbarer Beitrag Jörg Immendorff
30.09.2005 - 22.01.2006
Pablo - der private Picasso
Schätze aus dem Musée Picasso, Paris
17.2. - 7.5.2006
Melancholie. Genie und Wahnsinn in der Kunst
Potsdamer Str. 50, Berlin-Tiergarten
Di/Mi/Fr 10:00 - 18:00, Do 10:00 - 22:00
Sa/So 11:00 - 18:00
14.1. - 12.2.2006
Resolution/Dissolution (I) - High Definition
25.2. - 26.3.2006
Resolution/Dissolution (II) – Signal Noise
8.4. - 21.5.2006
Sexy Mythos: Ideas and Images about Artists
NGBK - Neue Gesellschaft für Bildende Kunst
Oranienstr. 25, Berlin-Kreuzberg
daily: 12:00 - 18:30
3.2. bis 7.2.2006
transmediale.06 - festival for art and digital culture, berlin
3.2. – 19.3.2006
Smile machines: Exhibition of the transmediale 06
curated by Anne-Marie Duguet, Paris
Akademie der Künste
Hanseatenweg 10, Berlin-Tiergarten
SAVE THE DATE:
30 September – 4 October 2006, Preview 29 September
ART FORUM BERLIN 2006 -
The International Fair for Contemporary Art
Messe Berlin, Halls 18-20
daily noon – 8 p.m.
For more information go to: http://www.white-cube-berlin.org