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Raphael Langmair shows at GALERIE VAN GELDER Amsterdam, 9 April – 18 May 2011
Untitled, 2011, ca 50 x 73.5 cm. Inkjet print. Edition of 3
Untitled, 2011 110 x 110 x 102 cm masoniet, glas, verfpot, schroevendraaier event sculpture
'One represented by the smell of another', 2011 31,5 x 46 cm screen print, scent and ink of inkfish edition 7
Current participant of the MFA program, Raphael Langmair, shows at Galerie Van Gelder Amsterdam.
English text (from Galerie Van Gelder)
One represented by the other.
Swiss artist Raphael Langmair (1985) shows in his first solo exhibition ‘One represented by the other’ a great interest in the transgression of an object to its image. Various reproduction techniques and display strategies are brought together in settings of temporality and vulnerability. A splash sculpture ‘Untitled’ (2011) is both an event and installation, which seems to be in a frozen moment before collapsing. A work ‘Empty pockets’ (2011) shows a heap of items taken out of the artist’s pocket, photographed at different moments. These five small photos on the gallery floor give the impression that the event is (partly) being recreated. A depicted inkfish in screen print, called ‘One represented by the smell of another’ (2011), is printed with ink of another inkfish. Part of reality is brought back into the image, i.e. including the slowly disappearing smell of fish.
In the painting ‘Ceci n’est pas une pipe’ of Rene Magritte the three-dimensional object was being looked at as either it is there or not. In Langmair’s case certain elements of each reproduced object are preserved. Here the artist searches a soft area between the two positions. He says: “For me photography essentially is organized paint. It presents the flat illusion of space “there”- while sculpture deals with the physical “here” of the object or event. It seems that I become more and more used to a continuous change from a physical space to imaginary space and back again.”
Raphael Langmair is interested in how movements, events and gestures become form, without loosing its spontaneous, inventive and contingent nature. In this way the artist could be called a neo-romanticist trying to keep pace with chance, purity and generosity found in reality, which he gives form by making use of sculptural photography, smelling prints and frozen events.
The End of History…and The Return of History Painting at MMKA, January 29 – May 8
from eflux
Panoramic view at Museum voor Moderne Kunst Arnhem (MMKA) Left: Pablo Alonso. Right: Ignacio Goitia. Courtesy Marc Pluim Fotografie/MMKA.
The End of History…and The Return of History Painting
29 January–8 May 2011
Museum voor Moderne Kunst Arnhem (MMKA)
The Netherlands
24 June–30 October 2011
Domus Artium (DA2), Salamanca
Spain
The Museum voor Moderne Kunst Arnhem (MMKA) presents the exhibition The End of History…and The Return of History Painting.
Curated by Paco Barragán, the exhibition is structured around 4 parts: Part 1: The Return of Religion; Part 2: Theater of Fear; Part 3: War on Terror and Protest; and Part 4: The End of Truth and the Rise of Storytelling.
The exhibition includes works by Miguel Aguirre (Peru), Pablo Alonso (Spain/Germany), Matthias Köster (Germany), Ignacio Goitia (Spain), Ronald Ophuis (The Netherlands), Pedro Barbeito (USA), Maryam Najd (Iran/Belgium), Nicola Verlato (Italy), Trevor Guthrie (Canada), Simeón Saiz (Spain), Pascal Danz (Switzerland), Gamaliel Rodríguez (Puerto Rico), Carlos Salazar (Colombia), Sandra Gamarra (Peru), Iñaki Gracenea (Spain), and Judy Sirks (Norway)
The End of History
The End of History…and the Return of History Painting references a long line of theories on “Ends of History” by thinkers such as Hegel, Kojève and Fukuyama. In Fukuyama’s thesis “The End of History”, 1989, he proclaimed the end of all ideological evolution and the world-wide triumph of liberal democracy. Departing from his thesis this exhibition analyzes the return of painting as both a consequence of a more conservative zeitgeist and as a response to historical events like September 11. Within this painting ‘revival’ there’s a return among a group of artists, engaged in a critical analysis of today’s society, to a kind of ‘anti-history painting’.
The artwork in The End of History…and The Return of History Painting reflects on the relationship between painting and our historical moment as well as investigating paintings’ relationship to photography, video and television—the media that usurped its role as documenter of history.
The Return of (Anti-)History Painting
For centuries history painting had been one of the most important pictorial genres. With the invention of the camera and its ability to quickly produce and distribute more reliable and less subjective forms of documentation it is quite comprehensible that history painting practically disappeared until today. Artists are now reclaiming the genre creating a kind of ‘anti-history’ painting in which it’s not about melodramatic and idealized compositions at the service of a national conscience, glorification of the past or certain heroes, but a critical analysis of relevant, recent political or historical events: from the War in the Balkans, Iraq, to the terrorist attacks in New York and Madrid, Guantanamo, the guerrilla in Colombia, Islamic and Christian fundamentalism, the war on terror, and the fallacies of ‘neo-con’ capitalism.
Painting and Mass Media: Slowness and Acceleration
Today’s information and mass media society have brought about a diffused ‘aestheticization’ where artists are mixing political and war images with those proceeding from adds, commercial cinema and entertainment. Be it by hiding images behind layers, making them transparent or pixilated, applying faded colors and thick paint, there is a slowing down of the experience of viewing an image through a hand made, physical rendering. But, besides this ‘slowness’ and physicality that we traditionally associate with painting, the painting medium is also paradoxically going through an ‘acceleration’ process through its newfound relationship with iPhones, scanners, Photoshop, Facebook, satellites, digital cameras, and 3-D programs.
The artists portrayed in The End of History…and The Return of History Painting show that painting as a medium offers renewed possibilities and is able to provide an alternative and critical reading of contemporary history while it engages with its own technological and mass-media context.
The exhibition will tour to the Domus Artium (DA2) Contemporary Art Center in Salamanca, Spain. There will be additional works included by Fabián Marcaccio (Argentina/USA), Alexis Esquivel (Cuba) and Diego Vallejo (Spain).
Exhibition Information
The End of History…and the Return of History Painting, 29 January -8 May 2011, Museum voor Moderne Kunst Arnhem (MMKA), Arnhem, The Netherlands; Domus Artium (DA2) Salamanca, Spain, 24 June – 30 October 2011. For further press information please contact Linda Schregardus at Linda.schregardus@arnhem.nl; www.mmka.nl
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CHERNOBYL ON STEROIDS
I just spoke with a Japanese friend of mine in Kyoto, he seemed pretty relaxed about the whole thing. This French guy is not:
Some Images:
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TALK: Tower Blocks, Columns and the Common
WEDNESDAY MARCH 30
Tower Blocks, Columns and the Common
Re-thinking Post-War Urban Development and Public Art in the City
Wednesday March 30
11.00 h
studio Andre Volten
adress: Asterdwarsweg 10, Amsterdam Noord
Take the small ferry at the north side of thet station in the direction of the Buiksloterweg.
It is a 20 min. walk.
It is a 20 min. walk.
Texts Central to the talk:
The Renewal of What was Tomorrow’s Idealistic City. Amsterdam’s Bijlmermeer High-rise by Gerben Helleman & Frank Wassenberg. (PDF here 1)
Art and Public Space: Questions of Democracy by Rosalyn Deutsche. (PDF here 2)
Posted in Related to Theory
…
This landed in my inbox the other day.. Comments please.
APPARATJIK
First we take Mainhattan, then we take Berlin…
APPARATJIK MINI SUMMIT
at Globe. Deutsche Bank Towers, Frankfurt a.M.
Sustaining Creativity – Creating Sustainability
Dates: 2–4 March 2011, Wed–Fri 5pm–midnight, free entry
Hosts: Apparatjik and Ute Meta Bauer (Cambridge, USA)
Guests: Laura Anderson Barbata, artist (Mexico-City/New York City), Joseph Grima, editor-in-chiefDomus (Milan), Holger Hagge, architect Deutsche Bank (Frankfurt a.M.), Nikolaus Hirsch, rector Staedelschule (Frankfurt a.M.), Erik Ljunggren, musician (Oslo), Linda Poppe, Survival International Deutschland (Berlin)
Virtual Guest: Max Tegmark, MIT professor of astrophysics (Cambridge, USA)
Special Features/Screenings: Blacksmoke’s Danger Global Warming project; Survival International; Waste Land, directed by Lucy Walker
Venue: Deutsche Bank Towers, Taunusanlage 12, 60325 Frankfurt a.M.; public transport S1, S2, S3, S4, S5, S6, S8, S9; train stop: Taunusanlage
Globe. is curated by Daniel Birnbaum, Nikolaus Hirsch, Judith Hopf & Willem de Rooij.
Further information: www.db.com/globewww.db.com/art-in-the-towerswww.apparatjik.comglobe.frankfurt@db.com mailbox.kunst@db.comeyeon@apparatjik.com
***************************
THE APPARATJIK LIGHT SPACE MODULATOR
at Neue Nationalgalerie Berlin
Dates: 12–27 March 2011
Performances: 12 March and 26 March 2011 at 9pm,
27 March 2011 at 9pm special performance together with the Deutsches Kammerorchester Berlin
Tickets are available atapparatjik.com
Venue: Neue Nationalgalerie Berlin, Kulturforum Potsdamer Platz, Potsdamer Strasse 50, 10785 Berlin
Opening Hours: Tue, Wed, Fri 10am–6pm, Thu 10am–10pm. Sat, Sun 11am–6pm, Mon Closed.
Apparatjik has been invited by the Nationalgalerie Berlin to present the collective’s first large-scale project in Berlin in March 2011.
Apparatjik is a transdisciplinary working collective founded in 2008 by four world-renowned musicians: Jonas Bjerre (MEW), Guy Berryman (Coldplay), Magne Furuholmen (a-ha) and producer Martin Terefe. Apparatjik functions as an experimental multigenre platform and collaborates with media technicians, designers, scientists and various NGOs. Ute Meta Bauer (MIT Program in Art, Culture and Technology) joins the collective on special occasions.
The Apparatjik Light Space Modulator combines an audiovisual installation and three unique concerts inspired by the visual experiments of László Moholy-Nagy, who taught at the German Bauhaus. The performance on March 27 is dedicated to Mies van der Rohe, architect of the Neue Nationalgalerie, on the occasion of the 125th anniversary of his birth.
The Apparatjik Light Space Modulator will be accompanied by an extensive publication in collaboration with NODE Berlin Oslo to be published in late 2011 including a comprehensive documentation of Apparatjik’s recent activities.
Further Information:apparatjik.com
Press Contact:Daniela Fuchs
Posted in Related Events
Source Materials, Thomas I’Anson
Source material for upcoming project:
Rob Scholte, Jaski Art Gallery, Amsterdam. 5 -27 March.
Visiting advisor to the program Rob Scholte will present new work at the Jaski Art Gallery in Amsterdam from the 5 March.
GLOSSY
ROB SCHOLTE
5 – 27 MARCH 2011
OPENING SATURDAY 5 MARCH 2011
16 – 19 hours
artist present
JASKI ART GALLERY
NIEUWE SPIEGELSTRAAT 29
1017 DB AMSTERDAM
TEL 31 / 20 – 620 39 39
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Dexter Sinister Interview
Chicago based Bad at Sports recently interviewed Dexter Sinister for their online radio program. New York based Dexter Sinister were involved in the chaos of Manifesta 6. Bad at Sports speak with Stuart Bailey of the Dexter Sinister collective. Listen to it here.
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akv st.joost mfa 