The creative works of Dutch Italians at the Venice Biennale 2013.


Three Italian residents in The Netherlands have been asked to present their artistic  research at the next Venice Biennale from 1 June until 24 November 2013.

The artist Rossella Biscotti (in The Netherlands since 2004) has been invited to the international exhibition, Francesca Grilli (since 2007) will present a new work at the Padiglione Italia, while Lorenzo Benedetti (since 2008), Director of the museum De Vleeshal in Middelburg, has presented the winning project for the Dutch Rietveld pavillion – the latest work by Mark Manders.

The participation of Holland-based artists at the coming Biennale has been actively promoted by the Cultural Section of the Embassy of the Kingdom of the Netherlands through the support of several artistic projects and precise communication campaigns.

Rossella Biscotti has been invited by the curator of the Biennale, Massimiliano Gioni, to create a site-specific installation for the 55th International Art Exhibition. For this particular occasion, she has started an evolving project, which actively includes the female detainees of the prison of Venezia-Giudecca. Since January 2013 every two weeks, inside the prison, she holds an “Oneiric Laboratory”, where a group of detainees meets to collectivise their dreams and initiates a reflection on the situation they live in, based on their oneiric experiences (

Francesca Grilli is among the 14 artists who have been selected for the Padiglione Italia, which is curated by the Director of the Roman Macro museum, Bartolomeo Pietromarchi. In continuation with the research she has pursued over the last years, she says: “My work will again be centered on my ongoing research on sounds and voices. There will be a continuation with the recent residence at Rome’s Macro museum in ‘Variazioni per voce’” (

Lorenzo Benedetti, ultimately, will introduce a new project by artist Mark Manders, whose work has been selected for the historic Dutch pavilion at the Biennale, the Padiglione Rietveld (, which will celebrate its 50th anniversary.

Manders “is renowned for his poetic, sober-coloured sculptures that emanate mystery but also a strong visual attractiveness”, states Benedetti. Manders’ work is anti-spectacular, hence clearly in continuity with the Dutch artistic patrimony. “Mark uses Rembrandt’s palette and is an advocate of Rietveld’s idea of simplifying his art”.

The choice of The Netherlands is no coincidence. In their adoptive country, the Italian artists have found the space and the time to experiment. Study courses and work space are available at reasonable costs, and artists have access to institutions and funds. Ever since, the Netherlands have put great attention on contemporary art, and have created important institutions such as the Rijksakademie, De Appel, Witte de With and many more. With the recent reopening of the Stedelijk Museum in Amsterdam the artistic sector, in spite of budget cuts, is in great fermentation.

 “Italy and Holland have always had strong bonds” says Benedetti. “Historically, the Flemish and Dutch painters were very interested in Italy. But also more recently, artists such as Ger van Elk, Marinus Boezem or Jan Dibbets have been drawn to Arte Povera. I think also of Rudi Fuchs, who has been director at Turin’s Rivoli museum. Now the connection is reversed, with the Italians going to Holland, mainly because of the situation in Italy”. The Italian artists have chosen The Netherlands, says Grilli, “because it offers the possibility to do research. All Italian artists in Holland work with hybrid disciplines, like installations and video. These projects require lots of space and means”.

This year in The Netherlands a new plan for cultural politics has come into force. The visual artists support program is being administered with public funds but totally independently by the Mondriaan Foundation. The cultural sector, which traditionally has enjoyed generous support by the Dutch state, is facing harsh times and funds have suffered substantial cuts. Yet this need not be a mere problem, but could also stimulate a new vision and new qualities in the production of art. The Dutch art system is adapting itself to a new reality. Maybe Italians are more used to work within a system that does not guarantee a continuous certainty of public funding, as Francesca Grilli states: “Italians are more elastic, which is necessary, we are somehow open to anything.”

Image: Rossella Biscotti, Title One The Tasks of the Community, 2012 – CourtesyWilfried Lentz Rotterdam

For information please contact:

Embassy of the Kingdom of the Netherlands | Tel. 0039.06.32286001 |


TWENTE BIENNALE 23 May – 9 June in Roombeek, Enschede


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International Art Festival  /

On 23 May the international art manifestation Twente Biënnale opens its doors in cultural district Roombeek in Enschede. This year’s theme: IDENTIFYING EUROPE. International top artists and talents from the East of The Netherlands give their view on the history, current affairs and near future of Europe, the economic crisis, populism, Fort Europe and the changing position of art. Main location of Twente Biënnale 2013 is Rijksmuseum Twenthe, but during the manifestation, until the 10th of June, the public space of Roombeek and other cultural institutions in the district will also stage exhibitions, readings, workshops, performances, actions, incidents, music, theatre, film and much more.

During the Twente Biënnale 2013 more than 100 artists show their work. With contributions by Architects of Air (UK), Jonathan Meese (D), Marina Abramovic, Christoph Schlingensief (AT), Laibach-Kunst (SL), David Cerny (CZ), JR (FR), GOLDIE (UK), Electroboutique (RU), Topotek (D), Ergun Koken (TR), Alicia Framis, Miktor en Molf, Ahmet Ogut, Marc Bijl, Hugo Kaagman, Gert Jan Kocken, Jan Cremer, Teun Castelein, Refunc, FEMEN, Maarten van Rossem, Pieter Steinz, Jos de Mul and many, many more!

Rijksmuseum Twenthe
Right in front of the entrance of Rijksmuseum Twenthe you find the WWIII sculpture by Atelier van Lieshout, which is part of their Infernopolis project. In the museum itself you can see work of a.o. Czech enfant terrible David Cerny, the latest film by German top artist Jonathan Meese (world premiere) and an installation referring to the documentary by Austrian film maker Paul Poet, ‘Auslander Raus’. The installation is an audiovisual account of the art project of the same name by German artist Christoph Schlingensief, who in 2000, built a Big Brother house out of sea containers for rejected asylum seekers in the city centre of Vienna.

Museumlaan and Stroinksbleek – Church of Detention
In the public space of Roombeek you can find several art works amidst the district’s postmodern architecture. Here too, European social current affairs are never far away: don’t be surprised to stumble across washed up corpses from Northern Africa, caged free states behind fences or to find other references to the theme of the Biënnale. With contributions by a.o. Teun Castelein (best-known for his attempt to patent the word Allah), Miktor & Molf, Eddie the Eagle Museum, Felix & Mumford, ViaOral (winners Kunstvlaaiprijs 2010). Highlight will be the caged House of Europe/ Church of Detention – by collective Refunc from The Hague, as seen at Manifesta and Lowlands.

Architects of Air
Architects of Air (UK) presents 1200 square meters of hallucinating design with their latest giant inflatable Miracoco (2011). The design was derived from Islamic architecture, a playful reference to the theme of Twente Biënnale 2013, Identifying Europe. Last year the work could be seen by the side of Sidney’s Opera and now it is on display in the middle of cultural district Roombeek. An unforgettable art experience for all ages!

Balengebouw:  Jan Cremer – Marina Abramovic – EX$IT through the Gift$hop.
This building was predestined to become the Jan Cremer Museum. Partly due to the crisis the plans have been postponed indefinitely. During the Biënnale the building is taken over in true Cremer spirit: with work by Marc Bijl, Hugo Kaagman, Aldo van den Broek, Marc van Elburg, Via Oral, Boris Tellegen, and of course Jan Cremer himself. Also in Balengebouw: : ‘EX$IT Through The Gift$hop’: the Twente Biënnale Art fair and Expo, and film and media art with a.o. the installation ‘Balkan Erotic Epic’ by Marina Abramovic.

Street art  and Urban Art
Street art is one of the cornerstones of the Twente Biënnale. This year you can find street art in Roombeek, by a.o. Hugo Kaagman, JR and Booyabase, The Londen Police, ZEUS, Pipsqueak, but also by British drum ‘n bass pioneer GOLDIE, aka Clifford Price.

4D Streetpainting
A new sub-genre in street art is 4D Streetpainting, a drawing and painting style with Augmented Reality. Together with some of the best 4D Streetpainting artists from around the world, Dutch artist Leon Keer will give a live demonstration on the tarmac of the Museumlaan in Enschede, during the first weekend of the Twente Biënnale. See:

For more information about the program of the Twente Biënnale 2013, see: &


Jack Sal's workPerformance by Jack Sal
55. Biennale of Art Venice
Caffè Quadri, Piazza San Marco – Venice
Friday, May 31, 2013 – 10 am

Coffee/& is a performance that focuses on the concept of accumulation in it’s temporal sense and the participation of Jack Sal in his activities in Venice. In this new action conceived for the 55. Biennale of Venice, an event that has become a constant for the American artist who, since 1997 has organized his performances in the “Ponga Room” of the historic cafe and transforms it into an ideally traced picture frame in which space and time interact with the number  7. Without necessarily calling into question the symbolism of this number, between esotericism and magic, the 7 is the sum of the performances that Sal has created over time in this place; drinking coffee and using photographic POP Printing Out Paper.

“Coffee and” is also an expression in the English language to invite one for a coffee and a little something extra. In this way, the performance speaks in a symbolic way of all previous appointments by using the cups of coffee, and their position in the action of the performance, metaphorically drawing a map of the world that is the journey of the artist. In addition will be presented the non-profit project Cake in support of BAIT AL KARAMA, edited by Manuela De Leonardis in collaboration with Marimo – Brandlife designers and M.Th.I. Music Theatre International in which nineteen international artists (including Jack Sal) present their work in combination with a found object (an old recipe book written in Arabic and French) and its contents.

Performances by Jack Sal at Caffé Quadri: Café / Café (1997), The Doge’s Ring / The Ring of the Doge (1999), Bitter / Sweet (2003), Minor / Key (2005), East West – Jack Sal and Yooah Park (2009) and O / Ring / O (2011).

Other events on the occasion of the presentation of specific projects: Book: Pos/Neg (1999), and book and multiple: The Primary Drawings 3 +1 Jack Sal and Bruno Cora (2001), exhibition: Red / White in homage to Albert Mertz, Senko Studio – Viborg, Denmark (2003), Multiple: Minor / Key (2005) and Video: Video:Visions, produced by Dustintrouble (2011).

Jack Sal (Waterbury, United States, 1954, lives in New York, Rome and Todi), is conceptual/minimalist artist. His artistic journey began with photography and the technic of cliché-verre. In 1981 The International Museum of Photography/George Eastman House in Rochester organized his first solo institutional exhibition followed by others, including The Museum Ludwig in Cologne. In 2006 he created White/Wash II a monument for the victims of the pogrom of 1946 in Kielce (Poland). On June 23, 2012 the conference Jack Sal and the Chapel Gandini 1986/2012 (with Bruno Cora and Luigi Attardi), on the occasion of the reopening of the 18th church with frescoes produced by Sal in 1986 in Montà (Padua).

Coffee / &
Friday, May 31, 2013 – 10 am
Caffé Quadri, Piazza San Marco – Venice 30124
Tel (+39) 3295450473

From Paris to Hollywood: Man Ray’s photographs at London Portrait Gallery

Solarised Portrait of Lee Miller. c. 1929, Man Ray b (c) Man Ray Trust-ADAGP, Paris and DACS, London 2012, courtesy The Penrose Collection, Image courtesy the Lee Miller Archives

Solarised Portrait of Lee Miller. c. 1929, Man Ray b (c) Man Ray Trust-ADAGP, Paris and DACS, London 2012, courtesy The Penrose Collection, Image courtesy the Lee Miller Archives

Until 17 May  2013, the London Portrait Gallery shows the Man Ray’s amazing photographic exhibition.

Man Ray Portraits is the first major museum retrospective of this innovative and influential artist’s photographic portraits. Focusing on his career in America and Paris between 1916 and 1968, the exhibition highlights Man Ray’s central position among the leading artists of the Dada and Surrealist movements and the significant range of contemporaries, celebrities, friends and lovers that he captured: from Marcel Duchamp and Pablo Picasso to Kiki de Montparnasse, Lee Miller and Catherine Deneuve.

Featuring over 150 vintage prints and key works from international museums and private collections, the exhibition also demonstrates Man Ray’s use of revolutionary photographic techniques and early experiments with colour, as well as surveying his published work in leading magazines such as Vogue and Vanity Fair.

From the curator’s words, Mr. Terence Pepper: One of the many challenges in assembling a major exhibition on such a well-known photographer and artist as Man Ray was how best to share new research and balance the introduction of great, but lesser known works, together with great prints of his most iconic works. Similarly his published work in magazines of the 1920s and 1930s such as Vanity Fair, Vogue and Harper’s Bazaar has been examined but I was fascinated to find that no survey to date had looked at in depth as his work published in the great French news weekly VU magazine.

What was most exciting was that copies of VU were still available for purchase in specialised book shops in Paris or through French ebay. Some of these have found their way into the National Portrait Gallery’s exhibition showcases and the accompanying catalogue.

VU was founded in 1928 under the editorship of Lucien Vogel and was the precursor to magazines such as Weekly Illustrated, Picture Post and Life. Like a newsreel in print, VU’s picture-crammed pages offered news reportage illustrated with dynamic and sometimes experimental photography and photomontage. VU would run to 638 issues until 5 June 1940, shortly before German troops entered Paris during the Second World War. Altogether, thirty-four of Man Ray’s credited images, including several covers, appeared in VU. The first, in April 1928, portrayed the evocative scene of a woman in a leather flying cap dwarfed by the luminous stone head of an ancient Buddha from Angkor Wat in Cambodia. This was in fact a breaking news story: the subject, a French reporter and adventuress known as Titaÿna, whose real name was Elisabeth Sauvy-Tisseyre, had stolen the Buddha’s head on her travels to Angkor Wat. Other issues saw Man Ray as a photographer of Industrial imagery as well as special Christmas themed photographs of a modern day family and an early publication of Le Baiser including Lee Miller’s lips with an unknown other appearing below a montage with mistletoe.

This photograph would inspire his 1959 pop art work that recently set an auction record of over a million dollars. Other issues of Vu included full page reproductions of his 1936 sitting with the future Duchess of Windsor ( a sensational exclusive showing the true face of Mrs Simpson December 1936) as well as uncredited cover photograph of the cross-dressing Texan aerialist Barbette preparing his make-up in a 1930 issue (see top picture) .

I would love to hear from other enthusiasts who may have come across other published and credited Man Ray photographs that are generally not well-known.


Man Ray Portraits

National Portrait Gallery

St.Martin’s Pl, WC2H 0HE

London | United Kingdom

until May 17, 2013

Tel. (+44) 20 7306 0055




Born Emmanuel Radnitzky, Man Ray grew up in America but spent the greater part of his life as an migr in Paris. Working in several media, Man Ray’s art includes painting, sculpture, collage, constructed objects and photography. Beginning in 1921, he received hundreds of commissions for portraits and commercial work which were featured in publications such as Vogue, Vu, Bazaar and Vanity Fair. He was an American, but worked in Paris from 1921 to 1940. His assistants included Berenice Abbott and Lee Miller, and Duchamp, Stieglitz, Picasso and Dali were among his colleagues. A member of the Dada art movement and the only American member of the Paris Surrealist movement, Man Ray considered himself an artist and thought of photography as a medium of artistic expression when used for more than reproduction. In describing his work, Man Ray once said, “I paint what can not be photographed. I photograph what I do not wish to paint.”

Bilbao and the Inhabited Architecture

Liam Gillick, How are you going to behave? (A kitchen cat speaks), 2009, Wood, lamps, stuffed cat, text, door blinds, MP3 player, Dimensions variable, Guggenheim Bilbao Museo, Gift of the artist, with generous support from Casey Kaplan Gallery, New York, and Esther Schipper, Berlin

Liam Gillick, How are you going to behave? (A kitchen cat speaks), 2009, wood, lamps, stuffed cat, text, door blinds, MP3 player, dimensions variable, Guggenheim Bilbao Museo. Gift of the artist, with generous support from Casey Kaplan Gallery, New York, and Esther Schipper, Berlin.

Until May 19, 2013, the Guggenheim Museum Bilbao is pleased to present Inhabited Architecture, a new exhibition of works from the Guggenheim Museum Bilbao collection that engages in a reflection on the concept of architecture and its ability to suggest a past or present created by us and our relationships with others. In this context, architecture is something that “embraces the consideration of the whole external surroundings of the life of man: we cannot escape from it if we would so long as we are part of civilization, for it means the molding and altering to human needs of the very face of the earth itself, except in the outermost desert,” as defined in 1881 by William Morris, lead proponent of the Arts and Crafts movement. From this perspective, architecture is much more than just buildings or inhabitable structures; it encompasses cities, streets, furnishings—in short, everything created by human hands.

The show includes six works from the Guggenheim Museum Bilbao collection by five international artists that reflect on the occupation of space as a place of narratives that already exist or are on the verge of being created by the observer.

Several pieces are making their public debut at the Guggenheim Museum Bilbao in this exhibition: How are you going to behave? A kitchen cat speaks (2009) by British artist Liam Gillick; Untitled (2008) by Doris Salcedo; Home (1999) by Mona Hatoum; and Life Forms 304 (2003) by Pello Irazu. These are accompanied by two pieces by Cristina Iglesias, Untitled (Alabaster Room) (Sin título [Habitación de alabastro]) from 1993 and Untitled (Jealousy II) (Sin título [Celosía II]) from 1997.

In Gallery 303 visitors will find the work How are you going to behave? A kitchen cat speaks (2009), originally produced for the German pavilion at the 2009 Venice Biennale by the British artist Liam Gillick (Aylesbury, 1964) and donated to the Guggenheim Museum Bilbao. The installation consists of a series of pinewood kitchen cabinets inspired by the famous Frankfurt Kitchen, which the Austrian architect and anti-Nazi activist Margarete Schütte-Lihotzky designed for a subsidized housing project in the 1920s. In this work, Liam Gillick evokes the modern utopian dream of universal access to upscale design and the contemporary discourse on inhabitable space, recurrent themes in the artist’s career. Inside the installation, a stuffed cat speaks to the observer about encounters, relationships; utopia and melancholy; dreams and disappointments; the passage of time and transformation, flooding the exhibition space and the spectator’s mind with sound.

Gallery 302 contains two works by Cristina Iglesias and the sculpture Untitled (2008) by Doris Salcedo (Bogotá, 1958). The Colombian artist’s piece is part of a series-in-progress begun in 1989, the largest produced by Doris Salcedo to date. In this vast array of assemblages, the artist uses home furniture to explore the turbulent political history of her native Colombia; as the artist reminds us, “Every piece I have created up to this point contains first-hand evidence of a real victim of the war in Colombia.” In the work by Doris Salcedo, well-worn pieces of furniture are combined in a hybrid, dislocated fashion, and their cavities and fractured surfaces are covered with concrete. Thanks to their material qualities, the resulting shapes become mute witnesses to traumatic experiences, both personal and collective.

Opposite this piece we find the 1997 work Untitled (Jealousy II) (Sin título [Celosía II]) by the Basque artist Cristina Iglesias (San Sebastián, 1956), which offers a reinterpretation of the typical lattice screen (celosía) found in Catholic confessionals or Muslim seraglios and perverts its original purpose by making this sculptural object uninhabitable, and therefore proposing a deserted, one-directional vision from the outside in. These limitations make us uncomfortably curious, suggest the absence of human intervention and, as the dual meaning of the title indicates (celosía is the Spanish word for both lattice and jealousy), speak to us of unfulfilled desires, misgivings and restless stirrings, and unrequited longings. Cristina Iglesias gives these lattices a quasi-primitive quality, with a finish reminiscent of the most natural structures, but she also uses them to conceal fragmented words which we strive to imbue with meaning, a history or a past, even though our expectations may be dashed once again. This is an architecture that cannot be inhabited but is defined precisely by personal histories and unfulfilled desires. Another piece by Cristina Iglesias from 1993, Untitled (Alabaster Room) (Sin título [Habitación de alabastro]), is suspended from the wall and presents an open, translucent architecture under which spectators are sheltered by the consistency and fragility of alabaster. This delicate yet sturdy refuge situates us in relation to our environment, modifies it, and is in turn modified by the surrounding conditions; the only limitation is that imposed by our own personal history.

The work Home (1999) by British of Palestinian origin artist Mona Hatoum (Beirut, 1952), which occupies Gallery 301, consists of a large table strewn with various cooking utensils attached to each other by metal clips and wires plugged into an electrical outlet. A computer program causes the electrical current to turn on several small light bulbs hidden beneath some of the objects, which shine with variable intensity and frequency, while speakers amplify the humming noise that this circuit emits. The entire installation is fenced off by a series of horizontal steel cables that separate the audience from these potentially lethal objects. In this installation, as in other pivotal examples from her earlier and later oeuvre, Mona Hatoum generates an unsettling, menacing scene that contrasts with the image of comfort and safety usually associated with the domestic space, thereby underscoring a constant in her work: the desire to trigger an emotional response in the spectator by creating environments that are halfway between attraction and repulsion, between the familiar and the bizarre.

Finally, the Gipuzkoa-based artist Pello Irazu (Andoain, 1963) transforms the exhibition space with his Life Forms 304 (2003), incorporating the architecture of Gallery 304 into the installation by means of a pentagram-like mural painting that envelops us and alters our perception of the space. Meanwhile, the built object standing in the center of the gallery becomes an impenetrable, seemingly unstable shelter in which the combination of different materials and colors gives the impression that we are witnessing a deconstruction in preparation for rebuilding, the recycled materials of previously inhabited spaces or architectures.

By examining the work of five pivotal artists in the Guggenheim Museum Bilbao Collection, this exhibit offers visitors a chance to reflect on space and its occupation through experience, history, or personal relations. All architecture has its history—a history of the domestic or the public, of man in isolation or as part of a group, but always a history of transiency, of something experienced or staged at a specific moment in time, or that is about to unfold before the visitors’ eyes.

Inhabited Architecture

Guggenheim Museum

Avenida Abandoibarra, 2

Bilbao | Spain

until May 19, 2013

Tel.  + 34 34 944 35 90 00

The Artist’s Eye at the Glucksman Gallery in Cork

Gianfranco Gorgoni, Andy Warhol, New York City,1972, Raccolta della Fotografia - Galleria civica di Modena

Gianfranco Gorgoni, Andy Warhol, New York City,1972, courtesy of Galleria civica di Modena

28th March, Artists’ portraits from the Galleria Civica di Modena Collection at the Glucksman Gallery, University College Cork in Ireland, marks the opening of the exhibition ‘The Artist’s Eye’, featuring 80 selected works from the Photography Collection of the Galleria Civica di Modena, curated by the two directors of the museums: Fiona Kearney and Marco Pierini. The exhibition constitutes the first step in a major cultural exchange with the museum based inside the University of Cork: an international collaboration project which – from June to September – will also form the basis of the exhibition at the Palazzina dei Giardini in Modena entitled ‘Island. New Art from Ireland’.

Max Ernst sitting in his New York studio, his face clouded by cigarette smoke; Pablo Picasso lying by the sea in a declamatory pose; Jannis Kounellis on horseback inside the Galleria L’Attico in Rome; Joseph Beuys emerging fully clad from a watery marsh donning a felt hat; John Lennon captured naked, locked in an embrace with Yoko Ono, only a few hours before his death.

These and many other faces of contemporary art will be the protagonists of a show featuring shots by some of the greatest masters of photography from Italy and around the world, all to be found in the permanent collection of the Italian museum. Artists’ portraits, self-portraits and performances. These are the three main areas of the event which sheds light on major artistic events which a range of Italian artists witnessed throughout the ‘60s and ‘70s.

The protagonists portrayed include Laurie Anderson, Peter Blake, Alighiero Boetti, John Cage, Salvador Dalì, Max Ernst, Jannis Kounellis, Piero Manzoni, Mario Merz, Luigi Ontani, Pino Pascali, Pablo Picasso, Robert Rauschenberg, Anton Räderscheidt, Andy Warhol and Bob Wilson, captured by photo-artists such as Claudio Abate, Lucien Clergue, Giorgio Colombo, Robert Doisneau, Carlo Fei, Franco Fontana, Gianfranco Gorgoni, Annie Leibovitz, Silvia Lelli, Uliano Lucas, Roberto Masotti, Arnold Newman, Paolo Pellion di Persano, Roger Pic, August Sander, Alberto Schommer and Paolo Terzi.

Several portraits – such as that of Peter Blake for example – have a direct tie with the history of the Galleria Civica itself insofar as they were produced during the preparation of exhibitions at the Gallery, or in the case of John Cage and Robert Rauschenberg (shot by Roberto Masotti), of Shirin Neshat and Luigi Ontani (in front of the lens of Carlo Fei), of Laurie Anderson and Vito Acconci (captured by Silvia Lelli), were added to the collection on the occasion of exhibitions or shows of works from the collection itself.

Among the works chosen, there are also shots familiar to the general public, ones that have since been absorbed by the collective imagination, yet the presence of which in the Gallery Collection is still little known. Among these we might mention the previously noted portrait of Yoko Ono and John Lennon taken by Annie Leibovitz in 1980, and the famous shot by August Sander taken in 1927 depicting the German painter Anton Räderscheidt, which has since become part of the very history of photography.


The Artist’s Eye

Lewis Glucksman Gallery

Cork City Centre – Washington Street and Western Road

Cork | Ireland

from 28th March to 7th July 2013

Tel. +353 21 4901844

Gillian Wearing’s photographic exhibition in Monaco

Gillian Wearing, Self Portrait at 17 Years Old, 2003 © Gillian Wearing, Courtesy Maureen Paley, London

Gillian Wearing, Self Portrait at 17 Years Old, 2003 © Gillian Wearing, Courtesy Maureen Paley, London

The first major retrospective of Gillian Wearing’s œuvre in Germany showcases photographic works and film installations, by the curator  Bernhart Schwenk, from March 21 to July 7, 2013, Pinakothek der Moderne in the Museum Brandhorst, Munich. Nine exhibition rooms provide an overview of her work to date and convey its specific aesthetic qualities and characteristic artistic strategies. For Gillian Wearing, as can be seen, creating art means rendering social relationships visible. Gillian Wearing is considered one of the most important artists of her generation in Great Britain. Born in 1963 in Birmingham, she studied at London’s renowned Goldsmiths’ College and has been an international name since the 1990s. In 1997, the artist was awarded the Turner Prize.

In her work, Gillian Wearing repeatedly focuses on a person’s self-expression in staged situations. She is interested in the views and behaviour of people from the most varied walks of life – ordinary citizens, as well as the homeless, pensioners and school children. This candid but always equally circumspect analysis produces portraits in which a fragile balance is struck between self-awareness and the perceived image, private and public worlds, truthfulness and projection.

Her earliest works are from a project created on the streets. In 1992/93 Gillian Wearing asked total strangers to write an important thought of theirs spontaneously on a piece of paper. She then photographed each person with their message. The series of some 600 portraits entitled »Signs that Say What You Want Them to Say and Not Signs that Say What Someone Else Wants You to Say« mirrors control and the loss of control that are automatically associated with the production of an image and its effect.

In a group portrait reminiscent of historical paintings, 26 men and women in police uniform look silently but sternly at the viewer. This portrait however is not a photograph but a film. In the video installation »Sixty Minute Silence« (1996), the »merely« portrayed figures turn into unpredictable protagonists – for one whole hour.
Most people have probably asked themselves how much of their mother or their father they have in them. Inspired by old photographs, Gillian Wearing slipped into replicas of garments worn by her immediate relatives in a self-dramatisation as members of her own family (2003–06). It is always Wearing herself who peers into the camera from behind the silicon masks – sometimes older than those captured in the original photographs actually were. Times and generations merge together; the contrasting notion of closeness and distance is dissolved.

Wearing’s early video »10–16« (1997), in which adults move around to the voices of children and youths between ten and sixteen years old, is confusing through its antitheses. »I’m interested in people«, Gillian Wearing says, knowing that creating a picture is always related to power, and that monopolising and manipulation can never entirely be avoided. With this in mind, Wearing examines the structures of social conventions and intermingles individual and standardised forms of communication.

Gillian Wearing

Pinakothek der Moderne | Museum Brandhorst

Theresienstrasse, 35a

Munich | Germany

from 21 March to 07 July 2013

Tel. +49 (0)89 238052286

Creative Bowie at London


From 23 March to 11 August, 2013 the Victoria & Albert Museum will give unprecedented access to the David Bowie Archive, for the first international retrospective of the extraordinary career of David Bowie – one of the most pioneering and influential performers of modern times. David Bowie is will explore the creative processes of Bowie as a musical innovator and cultural icon, tracing his shifting style and sustained reinvention across five decades.

The V&A’s Theatre and Performance curators, Victoria Broackes and Geoffrey Marsh have selected more than 300 objects that will be brought together for the very first time. They include handwritten lyrics, original costumes, fashion, photography, film, music videos, set designs, Bowie’s own instruments and album artwork.

The exhibition will explore the broad range of Bowie’s collaborations with artists and designers in the fields of fashion, sound, graphics, theatre, art and film. On display will be more than 300 objects including Ziggy Stardust bodysuits (1972) designed by Freddie Burretti, photography by Brian Duffy; album sleeve artwork by Guy Peellaert and Edward Bell; visual excerpts from films and live performances including The Man Who Fell to Earth, music videos such as Boys Keep Swinging and set designs created for the Diamond Dogs tour (1974). Alongside these will be more personal items such as never-before-seen storyboards, handwritten set lists and lyrics as well as some of Bowie’s own sketches, musical scores and diary entries, revealing the evolution of his creative ideas.

David Bowie is

V&A South Kensington

Cromwell Road


From 23 March to 23 August 2013

Tel. +44 (0)20 7942 2000



David Bowie is widely regarded as one of the most influential writers of pop music. Born David Jones, he changed his name to Bowie in the 1960s, to avoid confusion with the then well-known Davy Jones (lead singer of The Monkees).
The 1960s were not a happy period for Bowie, who remained a struggling artist, awaiting his breakthrough. He dabbled in many different styles of music (without commercial success), and other art forms such as acting, mime, painting, and playwriting. He finally achieved his commercial breakthrough in 1969 with the song “Space Oddity,” which was released at the time of the moon landing. Despite the fact that the literal meaning of the lyrics relates to an astronaut who is lost in space, this song was used by the BBC in their coverage of the moon landing, and this helped it become such a success. The album, which followed “Space Oddity,” and the two, which followed (one of which included the song “The Man Who Sold The World,” covered by Lulu and Nirvana) failed to produce another hit single, and Bowie’s career appeared to be in decline. However, he made the first of many successful “comebacks” in 1972 with “Ziggy Stardust,” a concept album about a space-age rock star. This album was followed by others in a similar vein, rock albums built around a central character and concerned with futuristic themes of Armageddon, gender dysfunction/confusion, as well as more contemporary themes such as the destructiveness of success and fame, and the dangers inherent in star worship. In the mid 1970s, Bowie was a heavy cocaine abuser and sometime heroin user. In 1975, he changed tack. Musically, he released “Young Americans,” a soul (or plastic soul as he later referred to it) album. This produced his first number one hit in the US, “Fame.” He also appeared in his first major film, L’uomo che cadde sulla Terra (1976). With his different-colored eyes and skeletal frame, he certainly looked the part of an alien. The following year, he released “Station to Station,” containing some of the material he had written for the soundtrack to this film (which was not used). As his drug problem heightened, his behavior became more erratic. Reports of his insanity started to appear, and he continued to waste away physically. He fled back to Europe, finally settling in Berlin, where he changed musical direction again and recorded three of the most influential albums of all time, an electronic trilogy with Brian Eno “Low, Heroes and Lodger.” Towards the end of the 1970s, he finally kicked his drug habit, and recorded the album many of his fans consider his best, the Japanese-influenced “Scary Monsters.” Around this time, he played the Elephant Man on Broadway, to considerable acclaim.
The next few years saw something of a drop-off in his musical output as his acting career flourished, culminating in his acclaimed performance in Furyo (1983). In 1983, he recorded “Let’s Dance,” an album which proved an unexpected massive commercial success, and produced his second number 1 hit single in the US. The tour which followed, “Serious Moonlight,” was his most successful ever. Faced with this success on a massive scale, Bowie apparently attempted to “repeat the formula” in the next two albums, with less success (and to critical scorn). Finally, in the late 1980s, he turned his back on commercial success and his solo career, forming the hard rock band, Tin Machine, who had a deliberate limited appeal. By now, his acting career was in decline. After the comparative failure of Labyrinth (1986), the movie industry appears to have decided that Bowie was not a sufficient name to be a lead actor in a major movie, and since that date, most of his roles have been cameos or glorified cameos. He himself also seems to have lost interest in movie acting. Tin Machine toured extensively and released two albums, with little critical or commercial success.
In 1992, Bowie again changed direction and re-launched his solo career with “Black Tie White Noise,” a “wedding” album inspired by his recent marriage to Iman. To date, the 1990s have been kinder to Bowie than the late 1980s. He has released three albums to considerable critical acclaim and reasonable commercial success. In 1995, he renewed his working relationship with Brian Eno to record “Outside.” After an initial hostile reaction from the critics, this album has now taken its place with his classic albums.
In 2003, David released an album entitled ‘Reality.’ The Reality Tour began in November 2003 and, after great commercial success, was extended into July 2004. In June 2004, David suffered a heart attack and the tour did not finish it’s scheduled run. Reality is David’s last tour and album to date. After recovering, David has not released any new music, but did a little acting. In 2006, he played Tesla in The Prestige (2006) and had a small cameo in the series “Extras” (2005). In 2007, he did a cartoon voice in “SpongeBob SquarePants” (1999) playing Lord Royal Highness. He has not appeared in anything since 2008 and stays home in New York with his wife and daughter. Bowie has influenced the course of popular music several times and influenced several generations of musicians. His promotional videos in the 1970s and 80s are regarded as ground-breaking, and as a live concert act, he is regarded as the most theatrical of them all.

Moving Image, the contemporary video art fair in New York

Zhao Zhao (b. 1982), “I cannot Sleep Sadly by Your Side,” 2012, Single channel video, 15:00 minutes. Courtesy the artist and Chambers Fine Art, New York / Beijing

Zhao Zhao, I cannot Sleep Sadly by Your Side, 2012, Single channel video, 15:00 minutes. Courtesy the artist and Chambers Fine Art, New York / Beijing

Moving Image was conceived to offer a viewing experience with the excitement and vitality of a fair, while allowing moving image-based artworks to be understood and appreciated on their own terms. The newly formed Moving Image Curatorial Advisory Committee for New York 2013 is inviting a selection of international commercial galleries and non-profit institutions to present single-channel videos, single-channel projections, video sculptures, and other larger video installations.

Moving Image, the contemporary video art fair, is very pleased to announce the artists and participating galleries and non-profit institutions in our 2013 New York edition. Returning to the Waterfrot Tunnel in the Chelsea District of Manhattan, March 7-10, 2013, with an international selection of single-channel videos and installations from Europe, Asia, South America, and North America, Moving Image has been conceived to offer a viewing experience with the excitement and vitality of a fair, while allowing moving-image-based artworks to be understood and appreciated on their own terms.

Highlights of the 2013 New York fair include historical works by highly influential pioneers of video and filmmaking, including Hermine Freed (Video Data Bank, Chicago, IL), Tommy Turner (PPOW, New York, NY), and Michel Auder (Newman Popiashvili Gallery, New York, NY). Among the newly expanded installation section this year are works by Jan Tichy (Richard Gray, Chicago, IL / New York, NY), Jennifer and Kevin McCoy (Postmasters, New York, NY), and Ted Victoria (Schroeder Romero, New York, NY). New works at the fair include those by Marinella Senatore (Peres Projects, Berlin, Germany), Bryan Zanisnik (Aspect Ratio, Chicago, IL), and Edin Vélez (presented by El Museo del Barrio, New York, NY).

Moving Image, the contemporary video art fair, will take place March 7-10, 2013. Located in the Waterfront Tunnel event space between 27th and 28th Streets with an entrance on 11th Avenue in Chelsea. Moving Image will be free to the public and open Thursday – Saturday, March 7–9, 11–8 PM and on Sunday, March 10, 11-4 PM. An opening reception will take place Thursday, March 7,6–8 PM.

Moving Image was cofounded by Murat Orozobekov and Edward Winkleman of New York’s Winkleman Gallery.

Moving Image, the contemporary video art fair
Waterfront New York Tunnel
269 11th Avenue Between 27th and 28th Streets New York, NY 10001
Opening Reception March 7, 2013, h 6pm – 8pm
Thursday – Saturday 11– 8pm
Sunday 11am – 4pm

Manipulated Photography in the Digital Age at New York

Matthew Porter , 110 Junction, 2010, printed 2012, Photograph, © Matthew Porter

Matthew Porter , 110 Junction, 2010, printed 2012, Photograph. © Matthew Porter

Until May 27th 2013 we can visit the exhibition: After Photoshop: Manipulated Photography in the Digital Age. This installation explores how artists have used digital technology to alter photographic images from the late 1980s to the present. It features approximately 25 works drawn from The Metropolitan Museum of Art’s collection, several of which are on display for the first time.

While photographers have long used manual techniques to alter their images, digital cameras and software applications such as Adobe Photoshop have made this process quicker, easier, and more accessible than ever before. In some instances, contemporary artists have used digital tools to reinterpret celebrated works from the history of photography. Joan Fontcuberta’s Googlegram: Niépce (2005) is based on the first known photograph: Joseph Nicéphore Niépce’s View from the Window at Le Gras (1826). By processing the results of a Google Image search for the words “photo” and “foto” through photomosaic software, Foncuberta re-created Niépce’s photograph as a composite of 10,000 images. Debbie Grossman fashioned her own version of history in the series My Pie Town (2010), in which she modified Russell Lee’s Depression-era photographs of Pie Town, New Mexico, re-populating the scenes exclusively with women.

Other artists in the exhibition use digital manipulation to create otherworldly scenarios. In her ongoing project Double Life, Kelli Connell digitally stitches photographs together to imagine an intimate relationship between two women uncannily similar in appearance—perhaps identical twins. The Belgian architectural photographer Filip Dujardin uses Photoshop and Google SketchUp, a 3D modelling program, to create seamless images of buildings that do not exist in reality. Other artists in the exhibition, including Nancy Davenport, Craig Kalpakjian, Beate Gütschow, Matthew Jensen, Maria Marshall, and Osamu James Nakagawa use digital tools with similar subtlety, creating images that are realistic enough to be believable and just fantastic enough to spur reflection on photography’s mediating role between reality and artifice.

After Photoshop: Manipulated Photography in the Digital Age is organized by Mia Fineman, Assistant Curator, with Shana Lopes, Research Assistant, both in the Department of Photographs. It will be presented concurrently with the special exhibition, Faking It: Manipulated Photography Before Photoshop, which traces the history of manipulated photography from the 1840s through the early 1990s.

After Photoshop: Manipulated Photography in the Digital Age

The Metropolitan Museum of Art | New York

until 27 May 2013

T. (+1) 212 535 7710