TAKING the STAGE OVER

Keren Cytter

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Taking the Stage OVER in collaboration Ke Center for Contemporary Art  and Goethe Institut presents

SHOW REAL DRAMA

by Keren Cytter

 

Special thanks to Ke Center for Contemporary Art

Project supported by: Goethe Institut

 

Date: March 24th , 2012, 19:30

Venue: Ke Center for Contemporary Art Theater, Kai Xuan road no.613

 Visionaries Artist talk will take place March 25th, 2012, 16:00RockbundArt Museum

                 Show Real Drama in Beijing

                March 31st at Peng Hao Theater 14:00

        Keren Cytter  In UCCA on March 29th at 14:00

Karen Cytter’s first solo exhibition in China will be hosted by Magician Space with opening on March 30th 2012

 

 

Show Real Drama


Susie and Fabian are actors that needed a showreel. Because they didn't have any acting jobs they decided to write a script for scenes they would like to act one day. They made two scenes. In the play these two showreel scenes function as the brakes between the acts Show, act Real, and act Drama.
While they are in the back of the stage - Their text is referring to their relationships and memories.  When they are standing in the front of the stage, their text is referring to the stage and their acting career.  When they are reaching the center of the stage they are reenacting their showreel or dialogs from the past. 
SHOW REAL DRAMA was presented in 2011 Bergen Kunsthall,Bergen,Norway,  Based inBerlin,Berlin.


Performers: Susie Meyer and Fabian Stumm
Director: Keren Cytter
Video: Mia Meyer / Keren Cytter

 

Keren Cytter was born1977 in Tel Aviv,Israel. She lives and works inBerlin. In 2009 she was awarded the Absolut Art Award and shortlisted for the Preis der Nationalgalerie für junge Kunst inBerlin. In 2008 she received the Ars Viva 2008; Preis für Bildende Kunst des Kulturkreises der deutschenWirtschaft,Berlin, and in 2006 the Bâloise Art Prize inBasel.

Her recent solo exhibitions include , Keren Cytter – Avalanche, Stedelijk Museum , Amsterdam – NL,2011, The Hottest Day of the Year, Kunstverein Munchen, Munich – DE,2011,Keren Cytter – Avalanch, Pilar Corrias, London – UK,2011, Keren Cytter – Avalanche, David Roberts Art Foundation,London –UK,2011, Moderna Museet, Stockhol,2010

Her work was featured in Gwangju Biennale 2010, 53th Venice Biennale,2009, Generational- Younger then Jesus Triennale at New Museum 2009, Yokohama Triennale 2008, Manifesta 7, 2008.

Her play History in the Making, or the Secret Diaries of Linda Schultz with the dance company d.i.e. was presented at Tate Modern,London, Hebbel amUfer,Berlinand Van Abbemuseum,Eindhoven.

She is author of few books Keren Cytter: The amazing true story of Moshe Klinberg…, (limited edition, Paris 2009),Keren Cytter: The seven most exciting hours of Mr. Trier´s life in twenty-four chapters, (Rotterdam, 2008) and recent book White Diaries published by CCA Kitakyushi. Cytter also started dance and theatre company D.I.E in 2008

 

Fabian Stumm, born in 1981, lives and works inBerlin. He studied acting at the prestigious Lee Strasberg Theatre & Film Institute inNew York City and has appeared in numerous theatre and film productions. His film credits include roles in the thriller BELA KISS by Lucien Foerstner and the second world war drama LORE by award winning australian director Cate Shortland, both set for release in 2012. Since 2003 he has had theatrical engagements inBerlin at Hebbel am Ufer and Sophiensaele, among others. In 2009 he joined israeli artist Keren Cytters dance/theatre/performance company D.I.E NOW and performed on their international tour inLondon,New York City andGlasgow. Cytter also cast him in several of her films such as CROSS.FLOWERS.ROLEX, a short film trilogy which was nominated for the Preis fuer Junge Kunst der NationalgalerieBerlin in 2009.

 

Susanne Meyer, born 1977 in Bonn/Germany, resident in Berlin, graduate of the University Mozarteum of Music and Acting Salzburg/Austria, has made a varied career in the performing arts in theatre and art movies. Among others, she has worked with Sabine Andreas, Jay Scheib or Alexander Marusch at different theaters as Bayerisches Staatsschauspiel Munich or Hebbeltheater Berlin (HAU). Moreover, she had worked with Gavin Quinn in Dublin for the Ulster Bank Theatre Festival and had roles in films by the Portugese artist Nuno Cera. In 2009/2010 she has been on tour with Keren Cytter’s company D.I.E NOW, presenting shows at various theatres, including in The Kitchen/New York City, The Tate/London and HAU/Berlin. Nightmare was her first film work with Keren Cytter. She also appeared in some other films by Keren, among them The Great Tale Of The Devil’s Hill And The Endless Search For Freedom in 2008, Les Ruissellments du diable in 2008, Flowers in 2009 and Ein guter Freund ist schwer zu finden in 2010.

 

 

 

les gens d'Uterpan

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Taking the Stage OVER in collaboration with Space18 at Bund18 presents

Caster by Annie Vigier & Franck Apertet (les gens d’Uterpan)

 


 Special thanks to Ai Ling Foundation

Project supported by: Consulate General of France in Shanghai and Institut Francais de Chine

 

Date: February 17th, 2012, 19:00

Venue: Space18 at Bund18

Zhong Shan Dong Yi Road No.18 , 3d floor

 

VISIONaries series artist talk will take place February 18th, 2012, 16:00, Rockbund Art Museum, Yuan Ming Yuan Road number 169


About Caster

An application of the re|action process

 

The position of the choreographer delineates and organizes a hierarchal system. The position implies an authoritative relationship based on observation. The discipline of dance establishes this situation by giving the person who observes absolute, directive power. The status of choreographer requires that we provide a constant evaluation of the physical skills, the morphological qualities and the psychological functioning of people (through a prism of organized selection during auditions, castings…etc).

A series of instructions, strategies, affirmations, validations and rejections feed and activate the diktat of obedience and subordination to our point of view. This position defines us as authorized to analyze and organize, it places a set of objective and subjective values on the body of the dancer.

By operating a transposition to an exhibition space, the activation of the relationship between anonymous individuals leads to a critical form of concrete installation of people. The function of the choreographer is that of a self-proclaimed power. Authorized to analyze, manage, organize and act upon the bodies presented in a given space.

 *Frenchifying of the verb to cast, used in the French-speaking audiovisual and artistic world, reinterpreted here to describe this choreographic piece.

Caster project has been activated many times in following venues around the world:

 

5th activation: November 12th 2011, Carpe Diem Arte e Pesquisa, Lisbon, Portugal
In the frame of the Temps d'Images Festival
Specific partners: Carpe Diem Arte e Pesquisa / Temps d’Images Festival / Institut Français

 

4th activation: July 13th 2011, Galeria Vermelho, Sao Paulo, Brazil
In the frame of the Verbo Festival
Specific partners: Verbo Festival - Galeria Vermelho / Institut Français / French Consulate inSao Paulo

 3rd activation: June 25th 2011, Institute of Contemporary Arts London, UK, in response to the exhibition Pablo Bronstein: Sketches for Regency Living,  Specific partners :InstituteofContemporary ArtsLondon/ French Institute inUK

 2nd activation: January 22nd 2010,Kunsthalle, Basel,Switzerland, in the frame of the Museumnacht 2010;Specific partners: Kunsthalle Basel / Culturesfrance

 1st activation: October 12th 2009, Project Arts Centre,Dublin,Ireland;Specific Partners: Project Arts Centre Dublin/ French Embassy in Ireland- Cultural Service/ Cultures France

With the support from the Regional Cultural Affairs Office of Ile-de-France — French Ministry of Culture and Communication - Grant for a project 2011 / Ile-de-France Region agreement of artistic and cultural permanency / Ile-de-France Region and Département de Paris – support to employment. Since September 2008, Annie Vigier and Franck Apertet (les gens d’Uterpan) are in residence at the CAC Brétigny (France) and receive the support of the General Council of Essonne – Support for the residence and the CAC Brétigny, equipment of the Val d’Orge Community www.cacbretigny.com. They are in open residence during the year 2012 at theBalticArtCenter, Gotland (Sweden) www.balticartcenter.com.

 Artists Statement:

For several years now the work that we develop examines the norms that define dance and the live arts. Our involvement touches upon several points, by exploring, among other things, the limits of the human body and of representation. The work explores the various frameworks that condition the body and mind by re-inventing the methods of exposition, production and appearance in performance. By integrating the place occupied by spectators, programmers and institutions into these processes, this approach re-proportions the choreographic field and the position of the choreographer, and applies it outside the original context. At the centre of today's evolutions and possibilities, the projects that we propose confront the socio-political issues of our times.

 Artists Bio:

Annie Vigier was born in 1965 and Franck Apertet in 1966. They live and work inParis.

Annie Vigier & Franck Apertet (les gens d’Uterpan) examines the norms that define dance and the live arts. By appearing in different frameworks that reveal the action of the body, or by adapting to them, they provoke the conditions for a new reflection on the different methods of representation, production and interpretation of performance.

Their pieces have been presented at the Project Arts Centre Dublin (Irland), the Tate Modern London and the Institute of Contemporary Arts London (United Kingdom), the Kunsthalle Basel (Switzerland), the VI Cali performance Festival (Colombia), the Museum of Modern Art in Warsaw (Poland), the Kunsthaus Graz-Museum Joanneum (Austria), the Berlin Biennale for contemporary art 2008 and 2010 (Germany), the Nam June Paik Art Center Seoul (Korea), White Box New York (USA) among other places…

 

 

 

 

 

 

 

 


 

Legacy of Marina Abramovic Future of Performance Special screening

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jovana stokic with marina abramovic photo credit marco anneli 

 

Taking the Stage OVER in collaboration with Space18 at Bund18 presents

 

Legacy of Marina Abramovic –Future of Performance

Special screening

 

Special thanks to Ai Ling Foundation

 

Date: December 17th 2011, 19:00

Venue: Space18 at Bund18

Zhong Shan Dong Yi Road No.18 , 3d floor

Marina Abramovic Institute was founded by the pioneer performance artist Marina Abramovic in 2007.  Marina Abramovic  started  the  archive of the  performance art in order to  preserve the legacy of long-durational performance she  practices, as well as to point to new visionary paths that performance art will take in the future in the works of young performance artists.

 To a constellation of art and politics today, Marina Abramovic offers a uniquely personal response. She is an artist interested not only in a particular political viewpoint, but in universal ethics. Abramovic’s notion of subjecthood and of compassion as its constituent, (as well as her art, which hopes to have a redemptive quality) is not in line with mainstream notion of a contemporary political artist. Her criticism of the world today is visual and visceral, and her spirituality is inclusive and ultimately humanist. The idea is that an individual change can occur when artists provoke a personal transformative act during the very act of viewing. This can happen only if   performances are observed during a long period of time that allow them to initiate a compassionate, transformative process. Marina Abramovic describes the importance of long duration in performance art: “The artist and public need time to enter a state of mind, and this state of mind can be achieved through repetition and the long duration of the piece. Every element and material becomes something else. You open the door and close it. That’s just opening and closing a door. But over hours, it becomes something else. It can take on another meaning.”。

 

During the evening screening of interview between Jovana Stokic and Marina Abramovic from 2009 at Location 1 will be presented as well as new project by Abramovic in Monte Negro titledMarinaAbramovicCommunity Center.

After the screening Jovana Stokic, curator of Marina Abramovic studio will give further introduction through Skype

 

More Information:

The Marina Abramović Studio is a space within Location One dedicated to the ongoing performance series of long-durational works focusing on open-ended forms of workshops, panels and discussions.

“The laboratory approach” of the Marina Abramović Studio has the goal of supporting the growth of performance art by promoting the works of emerging artists on an international scale, organizing and collaborating on events using a network of people converging at Location One. 

 

 

Marina Abramović
Since the beginning of Marina Abramovic’s career, during the early 1970s, where she attended theAcademy ofFine Arts inBelgrade, Abramović has pioneered the use of performance as a visual art form. The body has been both her subject and medium. Exploring the physical and mental limits of her being, she has withstood pain, exhaustion and danger in the quest for emotional and spiritual transformation. As a vital member of the generation of pioneering performance artists that includes Bruce Nauman, Vito Acconci and Chris Burden, Abramović created some of the most historic early performance pieces and continues to make important durational works. In 2005, she held a series of performances called Seven Easy Pieces at theGuggenheimMuseum inNew York. She was honored for Seven Easy Pieces by the Guggenheim at their International Gala in 2006 and by the AICA USA with the “Best Exhibition of Time Based Art” award in 2007. Marina Abramović, was the subject of a major retrospective exhibition at MoMA in the spring of 2010 titled “Artist is Present” in which she performing continuously throughout the whole duration of the exhibition

 

About Jovana Stokic

Belgrade-born,New York-based art historian and curator Jovana Stokic holds a Ph.D. from theInstituteofFine Artsat theNew YorkUniversity. Her dissertation, titled “The Body Beautiful: Feminine Self-Representations 1970 – 2007,” analyzes  works of several women artists – Marina Abramovic, Martha Rosler, Joan Jonas — since the 1970s, particularly focusing on the notions of self-representation and beauty.  Jovana has been writing art criticism for several years, and has curated several thematic exhibitions and performance events in theUS,Italy,SpainandSerbia. Jovana was a fellow at the New Museum of Contemporary Art, New York, a researcher at the Whitney Museum of American Art, New York, and the curator of the Kimmel Center Galleries, New York University.  Jovana Stokic is curator of Marina Abramovic studio at Location 1.


 

Tino Sehgal

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Taking the Stage OVER presents

Tino Sehgal

 

Jointly organized by MOCAMin Sheng Art MuseumRockbund Art Museum

Special thanks to Goethe Institut

Institut für Auslandsbeziehungen

 

Dates: from June 2011 till September 2011

Shanghai MOCA:                    June21st to July10th

Minsheng Art Museum:          July 19th to August 14th

Rockbund Art Museum:          Sept. 1st to-25th

 

Tino Sehgal

Although internationally recognized, Tino Sehgal’s work, his unique sense of artistic approach, is more or less unknown to Chinese audiences. One of the reasons for this is the lack of material needed in order to re-present the different works, which we are so accustomed to consuming in the absence of the actual piece. This fact then allows his work to live in perpetuity in a different format: that is, as stories provided by people who actually were part of the situations he creates, which flow across the web as subjective testimonies that feed into curiosity and rumor rather than to some visual understanding of the work. This fact also creates a language barrier for many readers inChina, further preventing access. These stories provide a certain kind of mythic nature to the work that only a few people have actually seen, but that many continue to talk about.

 

Sehgal’s works are not documented through the traditional formats, and there are no wall labels or catalogs to refer to. For many these are very radical gestures, but still Sehgal acknowledges the art system that he is part of. His works are sold as any other works of art, but with a slightly different approach. He sells the immaterial piece without any written agreement, but he requires the presence of a notary public when the collector and artist meet. The artist then states the terms of the contract orally and the notary acts as a witness to the transaction. There is no certificate, no agreement or receipt. In this way, the work is temporarily materialized through the body of an interpreter that creates yet another situation within the particular work.

 

His background in dance and political economy, and the 20th century conceptual art tradition, has in many ways shaped his approach towards his own practice and in determining the context of its final display. Sehgal’s interest in the institutional western tradition of museums and such, it’s structure and role within society – the appearance of which can be drawn in parallel with the rise of democracy in western society – is in a way a point of departure in many of his works.

 

Alternatively, exhibitions and the institutional system in China that has coincided with the recent rise of contemporary art practices in China has been more shaded by the development of a market economy and private investment in contemporary art, and so there is a rather brief traditional grounding and very different social background. This, in a way, introduces the possibility of discussing new potential models for similar institutional systems with Chinese characteristics, and perhaps new and very different contexts for the presentation of Sehgal’s works, as all three sites for Tino Sehgal’s project are private and corporate venues devoted to contemporary culture.

 

Sehgal’s work has been described as constructed situations, which, when they occur within the institutional system, attempt to break away or free from the pedagogical relation between the art institution and visitor, creating a situation where rhetorical power is given to the individual or audience. Likewise, due to his interest in human relations and how human interactions function in certain environments, many of his works are not interpreted by professional actors but by ordinary people working in the institution’s service industry: the guards, ticket sales persons, and other museum staff, whose roles during the ordinary museum visit are rather marginal. Through such works, the artist provides the opportunity for a greater freedom of expression to the museum staff, re-introducing humanity to their positions, creating situations wherein different interactions can take place.

 

InShanghai, Sehgal will present two pieces: “This is New,” and “This is Exchange,” which will be presented in three different venues as an ongoing, simultaneous project. These two pieces as presented by Sehgal in the specific environments of Chinese institutions will provide the possibility for a very different reading of the pieces.

 

After the market boom and subsequent over-production in the visual arts field in China, the prospect of introducing artists that dematerialize not only objects but also the sale and documentation of their works, while providing a way in which to establish direct relations between individuals, shares the same utopian dream that the larger exhibition too generates: leaving behind no traces, or perhaps locating such traces in some other more significant form than in their physical manifestations.

 

 

 

Hu Xiangqian

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Taking the Stage OVER in collaboration with Space18 at Bund18 presents

Diagram of Speed by Hu Xiangqian

 

Special thanks to Ai Ling Foundation

 

Date: August 6th 2011, 19:00

Venue: Space18 at Bund18

Zhong Shan Dong Yi Road No.18 , 3d floor

 

VISIONaries series artist talk same evening after performance at 20:00

 

Artist Statement:

There is distance from A to B.

From turning on the switch to the light going on is a distance. Electricity arrives in its own speed. This notion of speed captivates me and there is a beautiful sensation in it.

I arrive in my own speed from scratch line to end point.

What is the connection between these speeds?

I attempt through my own speed to feel and catch the speed of electricity. I don’t compete with electricity but I try to find an intersection between my speed and the speed of electricity.

 

 

More About Hu Xiangqian:

Originally from Guang Zhou, currentlyBeijingbased artist Hu Xiangqian is one of the leading young artist inChinacurrently. He talks about himself as a kind of radar that scans for information from its surrounding and implements these things into his consequent work. So far his work, the most of which is video, are more or less documentations of the artist’s performances. However, these works go beyond simple video documentation of the performances as he processes information provided through the video Xiangqian uses video as a medium in its own right, and for its ability to easily transfer information and grasp the viewer’s attention.

In his performative video works the artist is always in front of the camera as the main actor, and this has been the case ever since his early works at the age on 21 when he ran in a mayoral campaign for his home village Nanting. In 2008 video titled Sun in which the artist exposed himself to the sun over a period of six months in order to become black to his recent video: Hu Xiangqian Museum. Hu Xiangqian Museum is first piece that artist performed in front of the audience not only camera, presenting collection of his own ongoing collection of the work.

Diagram of speed is artist second performance in front of the audience.

 

 


 

Tino Sehgal

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Taking the Stage OVER presents

Tino Sehgal

 

Jointly organized by MOCAMin Sheng Art MuseumRockbund Art Museum

Special thanks to Goethe Institut

Institut für Auslandsbeziehungen

 

Dates: from June 2011 till September 2011

Shanghai MOCA:                    June21st to July10th

Minsheng Art Museum:          July 19th to August 14th

Rockbund Art Museum:          Sept. 1st to-25th

 

Tino Sehgal

Although internationally recognized, Tino Sehgal’s work, his unique sense of artistic approach, is more or less unknown to Chinese audiences. One of the reasons for this is the lack of material needed in order to re-present the different works, which we are so accustomed to consuming in the absence of the actual piece. This fact then allows his work to live in perpetuity in a different format: that is, as stories provided by people who actually were part of the situations he creates, which flow across the web as subjective testimonies that feed into curiosity and rumor rather than to some visual understanding of the work. This fact also creates a language barrier for many readers inChina, further preventing access. These stories provide a certain kind of mythic nature to the work that only a few people have actually seen, but that many continue to talk about.

 

Sehgal’s works are not documented through the traditional formats, and there are no wall labels or catalogs to refer to. For many these are very radical gestures, but still Sehgal acknowledges the art system that he is part of. His works are sold as any other works of art, but with a slightly different approach. He sells the immaterial piece without any written agreement, but he requires the presence of a notary public when the collector and artist meet. The artist then states the terms of the contract orally and the notary acts as a witness to the transaction. There is no certificate, no agreement or receipt. In this way, the work is temporarily materialized through the body of an interpreter that creates yet another situation within the particular work.

 

His background in dance and political economy, and the 20th century conceptual art tradition, has in many ways shaped his approach towards his own practice and in determining the context of its final display. Sehgal’s interest in the institutional western tradition of museums and such, it’s structure and role within society – the appearance of which can be drawn in parallel with the rise of democracy in western society – is in a way a point of departure in many of his works.

 

Alternatively, exhibitions and the institutional system in China that has coincided with the recent rise of contemporary art practices in China has been more shaded by the development of a market economy and private investment in contemporary art, and so there is a rather brief traditional grounding and very different social background. This, in a way, introduces the possibility of discussing new potential models for similar institutional systems with Chinese characteristics, and perhaps new and very different contexts for the presentation of Sehgal’s works, as all three sites for Tino Sehgal’s project are private and corporate venues devoted to contemporary culture.

 

Sehgal’s work has been described as constructed situations, which, when they occur within the institutional system, attempt to break away or free from the pedagogical relation between the art institution and visitor, creating a situation where rhetorical power is given to the individual or audience. Likewise, due to his interest in human relations and how human interactions function in certain environments, many of his works are not interpreted by professional actors but by ordinary people working in the institution’s service industry: the guards, ticket sales persons, and other museum staff, whose roles during the ordinary museum visit are rather marginal. Through such works, the artist provides the opportunity for a greater freedom of expression to the museum staff, re-introducing humanity to their positions, creating situations wherein different interactions can take place.

 

InShanghai, Sehgal will present two pieces: “This is New,” and “This is Exchange,” which will be presented in three different venues as an ongoing, simultaneous project. These two pieces as presented by Sehgal in the specific environments of Chinese institutions will provide the possibility for a very different reading of the pieces.

 

After the market boom and subsequent over-production in the visual arts field in China, the prospect of introducing artists that dematerialize not only objects but also the sale and documentation of their works, while providing a way in which to establish direct relations between individuals, shares the same utopian dream that the larger exhibition too generates: leaving behind no traces, or perhaps locating such traces in some other more significant form than in their physical manifestations.

 

 

 

Tino Sehgal

Slideshow Image

Taking the Stage OVER presents

Tino Sehgal

 

Jointly organized by MOCAMin Sheng Art MuseumRockbund Art Museum

Special thanks to Goethe Institut

Institut für Auslandsbeziehungen

 

Dates: from June 2011 till September 2011

Shanghai MOCA:                    June21st to July10th

Minsheng Art Museum:          July 19th to August 14th

Rockbund Art Museum:          Sept. 1st to-25th

 

Tino Sehgal

Although internationally recognized, Tino Sehgal’s work, his unique sense of artistic approach, is more or less unknown to Chinese audiences. One of the reasons for this is the lack of material needed in order to re-present the different works, which we are so accustomed to consuming in the absence of the actual piece. This fact then allows his work to live in perpetuity in a different format: that is, as stories provided by people who actually were part of the situations he creates, which flow across the web as subjective testimonies that feed into curiosity and rumor rather than to some visual understanding of the work. This fact also creates a language barrier for many readers inChina, further preventing access. These stories provide a certain kind of mythic nature to the work that only a few people have actually seen, but that many continue to talk about.

 

Sehgal’s works are not documented through the traditional formats, and there are no wall labels or catalogs to refer to. For many these are very radical gestures, but still Sehgal acknowledges the art system that he is part of. His works are sold as any other works of art, but with a slightly different approach. He sells the immaterial piece without any written agreement, but he requires the presence of a notary public when the collector and artist meet. The artist then states the terms of the contract orally and the notary acts as a witness to the transaction. There is no certificate, no agreement or receipt. In this way, the work is temporarily materialized through the body of an interpreter that creates yet another situation within the particular work.

 

His background in dance and political economy, and the 20th century conceptual art tradition, has in many ways shaped his approach towards his own practice and in determining the context of its final display. Sehgal’s interest in the institutional western tradition of museums and such, it’s structure and role within society – the appearance of which can be drawn in parallel with the rise of democracy in western society – is in a way a point of departure in many of his works.

 

Alternatively, exhibitions and the institutional system in China that has coincided with the recent rise of contemporary art practices in China has been more shaded by the development of a market economy and private investment in contemporary art, and so there is a rather brief traditional grounding and very different social background. This, in a way, introduces the possibility of discussing new potential models for similar institutional systems with Chinese characteristics, and perhaps new and very different contexts for the presentation of Sehgal’s works, as all three sites for Tino Sehgal’s project are private and corporate venues devoted to contemporary culture.

 

Sehgal’s work has been described as constructed situations, which, when they occur within the institutional system, attempt to break away or free from the pedagogical relation between the art institution and visitor, creating a situation where rhetorical power is given to the individual or audience. Likewise, due to his interest in human relations and how human interactions function in certain environments, many of his works are not interpreted by professional actors but by ordinary people working in the institution’s service industry: the guards, ticket sales persons, and other museum staff, whose roles during the ordinary museum visit are rather marginal. Through such works, the artist provides the opportunity for a greater freedom of expression to the museum staff, re-introducing humanity to their positions, creating situations wherein different interactions can take place.

 

InShanghai, Sehgal will present two pieces: “This is New,” and “This is Exchange,” which will be presented in three different venues as an ongoing, simultaneous project. These two pieces as presented by Sehgal in the specific environments of Chinese institutions will provide the possibility for a very different reading of the pieces.

 

After the market boom and subsequent over-production in the visual arts field in China, the prospect of introducing artists that dematerialize not only objects but also the sale and documentation of their works, while providing a way in which to establish direct relations between individuals, shares the same utopian dream that the larger exhibition too generates: leaving behind no traces, or perhaps locating such traces in some other more significant form than in their physical manifestations.

 

 

 

Antti Laitinen

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Taking the Stage OVER in collaboration with Rockbund Art Museum presents

Snow Man by Antti Laitinen

 

Special thanks to Frame and Rockbund Art Museum

 

Date:May 21st 2011, 19:00

Venue: Rockbund Art Museum

169 Yuan Mingyuan road, 1st floor

 

VISIONaries series artist talk same evening after performance 20:15

Artist statement:

In my performances, I place myself in different absurd situations that underlie an ironic and personal take on various social and cultural phenomena. The absurdity comes from the seriousness with which it is performed.

My artistic practice is located between performance art and visual arts. I make performances that are sometimes then translated into photographs, videos and-or sculptural work.

I am interested in transforming physical activity in works of art and in this sense, my art practice is very much process oriented.  My artistic practice has been close to nature, it has often taken place in wilderness

Bestue Vives

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The Human of the Future

By Bestue Vives

 

Project supported by:Consulate General of Spain in ShanghaiAECID (Spanish Agency for the International Cooperation and Development) and The Institut Ramon Llull

Date:May 1st 2011, 19:00
Venue: Zendai Contemporary Art Exhibition Hall

(1436 Jungong Rd, Building No 101, Yangpu District, Shanghai) 

VISIONaries series artist talk same evening after performance 20:15

 

 The Human of the Future through bodypainted models of possible human of the tomorrow touch upon different aspect of human life from the birth, reproduction, social aspects, relations developed with envirnoment, gender, emotional life and order. With the sense of humor and satira that characterize work of Bestué-Vives through Human of the Future artists touch upon changing human nature as a realist prospect of our civilization.

Reference in a piece have been drawn from different theories on post-human from Foucault to Zizek. Artists provide different scenarios of the future of the human very closely connected with current direction of continuous decoding of body and human today seen as a bridge between animal and overman according to the Nietzsche, or passage that leads to abyss.

 Recent US based agencies have been working on experiment controlling humans emotions and attitude from outside attacking brain by certain electro-magnetic waves. Craig Venter in January 2008 made first man made DNA structure, building synthetic genome of living organism. These few examples and many others happen in recent years bring issues of future of the human into the questions and importance of experience of our body in real life and stepping out of the cyber space and virtual satisfaction.The Human of The Future mirrors our future and is challenge to recognize our future selves through Human of the Future. VISIONaries series of artists talks are collaboration between Taking the Stage OVER project and Vision magazine

Re-Performing History

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Time: March 19th 2011, 19:00
Venue:Bund 18 Space third floor
Artists:Li Mu, Tang Dixin, Wang Sishun, Gao Mingyan, Zhang Lehua,Lu Pingyuan, Hu Yun

 

Project Re-performing History attempts to re-establish a relationship between historical performance piecesand individual emerging artists based in China. It gives artists the opportunity to examine historical artpieces from a personal perspective, taking them as a point of departure for making his or her own work. Dueto lack of actual video documentation of original performance works, interpretation has come from verysimple images found in art magazines or art history books. This lack of archive material may causepossibilities for misinterpretation and requires further research on particular pieces of interest forcontemporary artists who are trying to re-establish relationships with historical practices.