Monday, May 10. 2010
Via e-storming
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Allan de Souza, The Goncourt Brothers stand between Caesar and the Thief of Bagdad, 2003
©Courtesy Allan de Souza and Talwar Gallery, New York / New Delhi
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DREAMLANDS
5 mai – 9 août 2010
Galerie 1, niveau 6
CENTRE POMPIDOU, PARIS
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De la toute fin du XIXème siècle jusqu’à nos jours, à travers plus de 300 œuvres, l’exposition « Dreamlands » interroge l’influence grandissante du modèle du parc d’attractions dans la conception de la ville et de son imaginaire. Photographies, installations, projections, peintures, dessins, plans et maquettes d’architecture, extraits de films : au sein d’un parcours spectaculaire et inédit, l’exposition explore une quinzaine de thèmes et de lieux, de Paris à Coney Island, de Las Végas à Shanghaï et souligne la « colonisation » toujours plus forte du réel par la fiction et le spectacle.
Autant de mondes utopiques où la réalité devient rêve !
Expositions universelles, parcs d’attractions contemporains, le Las Vegas des années 1950 et 1960, le Dubaï d’aujourd’hui: tous ont contribué à modifier profondément notre rapport au monde et à la géographie, au temps et à l’histoire, aux notions d’original et de copie, d’art et de non-art. Les «dreamlands» de la société des loisirs ont façonné l’imaginaire, nourri les utopies comme les créations des artistes, mais ils sont aussi devenus réalité: le pastiche, la copie, l’artificiel et le factice ont été retournés pour engendrer à leur tour l’environnement dans lequel s’inscrit la vie réelle et s’imposer comme de nouvelles normes urbaines et sociales, brouillant les frontières de l’imaginaire et celles de la réalité. Du «Pavillon de Vénus» conçu par Salvador Dalí pour la Foire internationale de New York de 1939, au «Learning from Las Vegas» (L’enseignement de Vegas) des architectes Robert Venturi et Denise Scott Brown, et au «Delirious New York » de Rem Koolhaas (qui associe Manhattan et le parc d’attractions de Dreamland), les seize sections de l’exposition retracent les étapes d’une relation complexe et problématique.
Via e-flux
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Eduardo Abaroa
Proposal: We Just Need a Larger World, 2009 (detail)
Courtesy the Artist & kurimanzutto gallery, Mexico City
Uneven Geographies:
Art and Globalization
8 May – 4 July 2010
Nottingham Contemporary
Weekday Cross
Nottingham NG1 2GB
UK
info@nottinghamcontemporary.org
http://www.nottinghamcontemporary.org
Éduardo Abaroa (Mexico City), Yto Barrada (Tangiers), Ursula Biemann (Zurich), Bureau d'Études (Paris), Öyvind Fahlström, (Rio de Janeiro, Stockholm & New York), Goldin + Senneby (Stockholm), Mark Lombardi (New York), Steve McQueen (Amsterdam & London), Cildo Meireles (Rio de Janeiro), George Osodi (Lagos & London), Bruno Serralongue (Paris), Mladen Stilinović (Zagreb), Yang Zhenzhong (Shanghai)
Curated by TJ Demos and Alex Farquharson (Director, Nottingham Contemporary)
Uneven Geographies focuses on projects by artists concerned variously with visualising the transnational mobility of capital, goods and people in today's global networks. Its point of departure is the assumption that the opaque and labyrinthine workings of worldwide economies tend to frustrate attempts to represent the historic conditions and expanding geographies that define current forms of globalization. Artists have consequently turned to the invention of innovative ways of imaging and narrating, analysing and reconceptualizing the processes and relations of globalization - whereby geopoetics mediates geopolitics.
Without returning to an imaginary lost language of objectivity, these artists' practices mobilize experimental forms of transnationalism—whether in regards to labour, migration, or resource allocation—via active and creative re-stagings by which the underlying relations of profit and exploitation become legible and are imaginatively reconfigured. These strategies creatively re-animate the novelistic and poetic, the cartographic and the documentary, the performative and the ludic, which connect to global processes situated in relation to varied geographies, including Mexico, the Congo, Morocco, Central Asia, the Bahamas and Mumbai. In the case of Fahlstrom—here the exhibition's historical forebear—and Lombardi, networks are tracked, rhizomatically, around the globe in diverse flows of capital and relations of power. With the photographic and video-based projects of Barrada and Biemann, passages of migration are imaged with ambivalence, evoking both the disenfranchisement of statelessness and its empowering potential. Whereas McQueen invests the imagery of Sub-Saharan manual labour with perceptual affect and literary allusion, contesting documentary legibility yet connecting current operations to the history of colonialism, Goldin + Senneby reveal how the conditions of post-representation serve as well to cloak unregulated economic power today.
These far-reaching engagements with the creative imaging of the cultural geographies of globalisation will be extended further through its public programme, in partnership with University of Nottingham and Nottingham Trent University. The programme include Lars Bang Larsen on Öyvind Fahlström, a short residency by Ursula Biemann, Renzo Martens and Alfredo Cramerotti on Episode III – "Enjoy Poverty", John Tomlinson on the acceleration of capitalism, and a keynote lecture by Saskia Sassen. The exhibition opens with a one-day conference, The Geopolitical Turn: Art and the Contest of Globalization featuring Cramerotti (author, Aesthetic Journalism), Angus Cameron (co-author, The Imagined Economies of Globalization and emissary of Goldin + Senneby), Mark Fisher (author, Capitalist Realism), geographer Alex Vasudevan, Sara Motta (Co-Director of The Centre for the Study of Global and Social Justice at The University of Nottingham), participating artists Biemann, Dario Azzellini and Oliver Ressler, Bureau d'Études and George Osodi and the exhibition's curators. All events are free but booking is essential. See our website for full dates: http://www.nottinghamcontemporary.org
Via r-echos
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The Portrait Machine Project by Carlo Van de Roer are photos made with a Polaroid aura camera developed in the 1970s by an American scientist in an attempt to record what a psychic might see.
This project explores the idea that a portrait photograph can reveal an otherwise unseen and accurate insight into the subject’s character.
The subject is connected directly to the camera by hand-plates that measure biofeedback, which the camera depicts as an aura of color in the Polaroid and translates into a printed diagram and description explaining the camera’s interpretation of the subject. It also explains separately, what the the subject is expressing and how they are seen by others, such as the photographer, suggesting the camera bypasses the control of the photographer and subject in making the portrait. This printout, which includes information about the subjects emotions, potential, aspirations, future, etc. is presented to the viewer along with each photograph in a similar manner to a caption.
found at I heart photograph
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