Archive for the ‘New Media’ Category
Posted by artradar on October 19, 2010
INDIA FESTIVALS NEW MEDIA ART
Artists, critics, historians and art lovers gathered at the First National Art Week of New Media in late September this year at the Government Museum and Art Gallery in Chandigarh, India, through the collaboration between the National Lalit Kala Akademi and Chandigarh Lalit Kala Akademi. The six-day panorama is a showcase of contemporary artists exploring new mediums and possibilities when it comes to visual art. According to the Akademi’s chairperson Diwan Manna, “Art lovers will be amazed at the myriad possibilities in art.”
The first four days featured lectures and slide shows by some of India’s best known contemporary artists. For the first day Bharti Kher whose work encompasses sculpture, paintings and installations, delivered her talk. Her featured works tackled the topic of “traditional vis-à-vis modern” while at the same time explored the issues of feminism, class, identity and race.
Bharti Kher, 'Solarium Series I', 2007-2010, fiber glass and metal. Image taken from artnet.com.
Day two presented Sudarshan Shetty and his innovative and uncanny installations that re-establish his reputation as an acclaimed conceptual artist.
Sudarshan Shetty, 'Untitled' (from the Stab-series), 2009, wood and scissors. Image taken from artnet.com.
The third day was for Raqs Media Collective, a group of three media practitioners – Jeebesh Bagchi, Monica Narula and Shuddhabrata Sengupta. In addition to their degrees in Mass Communication, the trio has extensive experience when it comes to curating exhibitions and planning events, as well as working with various writers, architects and directors that have greatly contributed to the contemporary art of India.
Jiten Thukral and Sumir Tagra’s collaborative work in several diverse media such as painting, sculpture, video and fashion have also been well-received.
On the fifth day, Dr. Alka Pande, curator, professor and author on Indology and art history delivered her lecture. The sixth and final day featured a panel discussion with professors Dr. Alka Pande and Dr. Awadhesh Misra, journalist Rahul Bhattacharya, writer and art critic Dr. Rajesh Kumar Vyas, and artists Sheba Chhachhi and Vibha Galhotra.
Jiten Thukral and Sumir Tagra, 'Now in Your Neighbourhood', 2008, plastic bottles. Image taken from artinfo.com.
The event was an interactive and absorbing series inviting guests, students, critics and art lovers to explore more than the usual two or three-dimensional way of experiencing art. Talks from the artists themselves provided an insight into artistic creation and people from different areas of the industry provided another kind of perspective in viewing the works and Indian art in general.
The National Lalit Kala Akademi and its Chandigarh chapter, the Chandigarh Lalit Kala Akademi are institutions established for the promotion and preservation of the fine arts of India.
Related Topics: Indian artists, new media, Indian venues, festivals
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Posted in Events, Festival, Indian, New Media | Tagged: art critics, art history, art scholars, art writer, artist groups, Bharti Kher, Chandigarh, Chandigarh Lalit Kala Akademi, class, CMMS/EN, collaborative art, conceptual art, contemporary indian art, contemporary indian artists, Diwan Manna, Dr. Alka Pande, Dr. Awadhesh Misra, fashion art, feminism, festivals, First National Art Week of New Media, Government Museum and Art Gallery, identity, India, Indian, Indian artists, Indology, installations, Jeebish Bagchi, Jiten Thukral, Lalit Kala Akademi, Mass Communication, Monica Narula, National Lalit Kala Akademi, New Media, New Media Art, Now in Your Neighbourhood, paintings, race, Rahul Bhattacharya, Raqs Media Collective, sculpture, Sheba Chhachhi, Shuddharbrata Sengupta, Solarium Series I, Stab-series, Sudarshan Shetty, Sumir Tagra, traditional vis-à-vis modern, Vibha Galhotra, Video art | Leave a Comment »
Posted by artradar on October 15, 2010
NEW MEDIA ART FESTIVAL INSTALLATION
Akbank art centre, Istanbul continues with its exhibition “The Rhythm of Istanbul“, in collaboration with the Akbank Jazz festival. Marking the twentieth anniversary of this world renowned music festival, it will feature installations by six internationally acclaimed artists working in sound and new media.
Julian Opie, 'Rod and Verity Walking', 2010, lightbox installation. Image courtesy of Akbank Art Centre.
Curator Gisela Winkelhofer is using the commission to approach the use of sound and rhythm and to explore how movement combines with the architectural spaces of the festival, shedding new light on the confrontation between mass media and the individual.
Angela Bulloch, 'Progression of 8 Peverted Pixels', 2008, 7 DMX modules, 1 black box module. plexiglas, printed aluminium panels, DMX cables, 1 RGB lighting system DMX controller, size 52 x 52 x 52 to 62 x 70 x 62 cm. Image courtesy of Akbank Art Centre.
Accordingly, artists with a reputation for transforming the spatial encounter will be present. Canadian-born Berlin-based Angela Bulloch is showing her Progression of 8 Perverted Pixels (2008), taking the light transmitted from ordinary TV programmes, abstracting them beyond recognition and projecting them as shape-changing beams.
Specially commissioned by the festival, Tony Oursler‘s new work also evokes the spectator’s virtual relation to their surroundings. Both movement within the work and the transgression of different media takes central place in the exhibition. Another new work Rod and Verity Walking (2010) by Julian Opie positions itself on the fringes of two distinct mediums, in this case film and drawing.
Tony Oursler, 'Marlboro, Camel, Winston, Parliament, Salem, Marlboro Light, American Spirit', 2009, PVC tubes, video projection, dimensions varied. Image courtesy of Akbank Art Centre.
Related Topics: festival, installation, sound art, crossover art
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Posted in Electronic art, Festival, Laser, Light, New Media, Turkey | Tagged: Akbank, Akbank Jazz festival, Angela Bulloch, architecture, contemporary art, exhibition, festivals, Gisela Winkelhofer, Hugh Govan, installation, installation art, Istanbul, Julian Opie, Light art, Marlboro Camel Winston Parliament Salem Marlboro Light American Spirit, movement, New Media, Peter Kogler, Progression of 8 Peverted Pixels, rhythm, Rod and Verity Walking, Sound art, space, Stephan Reusse, the individual, The Rhythm of Istanbul, Tony Oursler, Turkey, Video art | Leave a Comment »
Posted by artradar on September 16, 2010
KOLKATA CONTEMPORARY ART PRACTICE ART GALLERIES INTERVIEWS
For a gallery that is just over a year old, Experimenter, co-owned, run and mostly curated by husband-and-wife duo Prateek Raja and Priyanka Raja, is quickly becoming a critical current in the very new trend of gallery spaces interested strictly in the contemporary. It is a welcome break from the traditional gallery system that regularly falls back on the moderns of Indian art.
A month before the duo heads off to the Frieze Art Fair in London this October, the gallery is wrapping up a show called “This is Unreal“. Featuring artists Susanta Mandal, Yamini Nayar and RAQS Media Collective, the show was conceived by the Rajas as an idea to cohere the multiple realities of modern life. At the crux of the show is the idea of the manipulation of what is real – artists consistently create and break realities leaving the viewer in a constant state of doubt and speculation. This event marks the eighth show in the gallery’s young but accomplished life.
Art Radar Asia spoke with Prateek Raja from Experimenter about the gallery, the show, the art scene in India generally and in Kolkata; Kolkata is a city that has produced a number of great artists, but lags behind Delhi and Mumbai in the art market scene.
Raja on the Gallery, artists RAQS, Susanta Mandal and Yamini Nayar
The title is provoking. Why “This is Unreal”? Tell us how this project came about.
“This project came about from an initial idea of confronting modern day conspiracies and then filtered down to how everything today is projected as something and is in reality something else. The topic was left open for the artists to interpret in a way they saw fit. However, at this point I would like to say that we work with a different kind of approach. Our shows originate in conceptual ideas first and then we invite artists whose work has been in the kind of direction we are thinking to respond to that idea [or] concept. So all these artists within the realm of their practice have the ability to project multiple realities from the same experience.”
Tell us about yourselves. You are a husband-wife duo – both educated in Asian art at Sotheby’s. How did Experimenter happen for you and how does this partnership work?
“We both had this common urge to work together in the contemporary scene while Priyanka was at Proctor & Gamble and I was consulting on contemporary Indian art. Then she decided to take the plunge in mid 2008 and we opened the gallery in April 2009. In between, we did a short course on contemporary Asian art at Sotheby’s. Priyanka is the planner. She works out all the details. She is the arms and legs of the gallery. I do some of the thinking, but we both do the curatorial thinking together. We do only six shows a year, but believe me, its not easy to plan, ideate and keep a natural flow to the exhibitions for the six that we do. In fact, we balance each other out very well. That’s how this partnership works really.”
Experimenter is invested in capturing the “plurality of expression.” It is also deeply interested in the “now.” Tell us a little about this. How does this show fit into this paradigm?
“‘The plurality of expression’ comes from the inclination to introduce multiple mediums of expression and at the same time challenge the viewers to question established aspects of viewing contemporary art and break pre-conceived notions. It is also very linked into “now” because whatever we show or plan to show is about our generation, is about what is happening now and is reflective of what our society, our values, our systems project “now.” And if you look at people, organisations, governments, and the society around us, you will slowly peel off layer after layer to eventually derive your own understanding of the world, which might be completely unlike what you had originally perceived it to be. So the title does provoke in that sense by calling things unreal. Sometimes, one does not even have to go deep, just viewing an idea from a different point of view gives a completely new meaning to it. That’s the essence of this show.”
Tell us about the works in this show.
“RAQS has contributed three pieces, Skirmish, The Librarian’s Lucid Dream and I Did Not Hear.
Installation view detail of RAQS Media Collective's 'Skirmish', as shown at Gallery Experimenter exhibition from the show "This is Unreal". Image courtesy of Gallery Experimenter.
Skirmish is a narrative about an estranged couple continuing their ‘skirmish’ on the walls of an unsuspecting city. The woman paints keys that are similar to the keys to her apartment that she had given to her partner, whom she has since distanced herself from, and the man cannot go anywhere without seeing the keys and recognises what a mockery she is making of his yearning for her. Yet in response he paints padlocks on the walls to continue that skirmish (and in a sense continue the only way of communicating with her) while the city assumes it’s just locksmiths and key-makers that have stepped up their business.
Installation view of RAQS Media Collective's 'The Librarian's Lucid Dream', as shown at Gallery Experimenter exhibition "This is Unreal". Image courtesy of Gallery Experimenter.
The second work is a wallpaper called The Librarian’s Lucid Dream that forms the backdrop against which Skirmish is installed. It’s an interpretation of a librarian’s dream through just assemblages of texts. These are titles of books but all the titles are mixed up to created new meanings and realities.
The video I Did Not Hear is of a shooter at a shooting range. While the headphones on the viewer lead him or her through an abstract narrative, a rather sinister scaffolding of events is generated by the voice which in turn leads to multiple possible identities and roles for the shooter.
Installation view of RAQS Media Collective's 'I did not hear', as shown at Gallery Experimenter exhibition "This is Unreal". Image courtesy of Gallery Experimenter.
Mandal creates a kinetic sculptural installation which has a screen and a light source behind that projects an image of a boiling bowl of liquid on an open flame. Using a common scene of ‘cooking something,’ Mandal makes a pun of the phrase ‘cook up’ to express how most things today are indeed cooked up to project a reality quite different from the factual truth.
An untitled installation by Susanta Mandal, as shown at Gallery Experimenter exhibition "This is Unreal". Image courtesy of Gallery Experimenter.
Nayar’s process is essential to the show. She creates sculptural assemblages from found objects, creates them for the camera, and after photographing them destroys the objects, thereby destroying the physical existence of the source of the photograph. The works form a point of entry into the object but do not quite reveal their actual meaning.”
Yamini Nayar, 'Pursuit', archival C print on paper. Image courtesy of Gallery Experimenter.
RAQS Media Collective has come a long way since 1992 when they started out as a group of three media practitioners in the art world. What do you make of RAQS’ growing popularity in the international arts scene?
“They are a super super important artist collective. Any international curator or museum with any interest in contemporary Indian art will know the importance RAQS has on the Indian scene. And how the international market sees India is also defined by the shows that get seen at important venues like the ones that RAQS show in. Their practice is very critical to the Indian scene internally as well. They have some very interesting things lined up this year in Europe. We will also show them solo in February 2011 … and at the India Art Summit in January 2011 in New Delhi within a group show.”
This is your first time working with RAQS, Mandal and Nayar. How was the experience?
“Absolutely fantastic. They are very professional artists. Works and concepts were discussed (that were true to Experimenter’s way of working) over a year ago and we fleshed out ideas to finally put this show on. The most interesting bit is that their work really fits well together.”
Trends in Indian art
Do you think gallery spaces in India are generally not very encouraging for installation art?
“No. I don’t think so. It’s just that this is a growing population and, like all things new and different, installations have some amount of resistance to viewing and experiencing them, even now. From a point of view of being open to exhibiting installation art, there are a bunch of new galleries like us who are doing interesting things.”
Installation art and conceptual art are increasingly popular with Indian artists today. Do you see this as a trend?
“It’s a natural progression of what the Indian art scene is. The newer, younger galleries are looking to show this form of work. You have to know at the same time that the Western art viewing audience also saw this development in other countries several years ago and that’s possibly the trajectory we might see here in India too, but over the medium term.”
Kolkata on the Indian art map
Describe for us the arts scene in Kolkata? Why not set up Experimenter in Delhi or Mumbai?
“Because its the only city in the country where one can have viewers coming back three times over, spending two hours at the gallery. This is a city where art, literature, philosophy and politics all feature in regular conversations with regular people. It’s also a city which is extremely responsive to new forms of cultural influences and it’s fun to stir things up in a somewhat sidelined city!
Opening an Experimenter in Mumbai and/or Delhi would be easy and just another … contemporary space would have been added to the growing number we see today. In Kolkata, you are really making an impact on the visual arts scene with a program like ours.”
What has your experience been working in the Kolkata arts scene? How do you compare it with Delhi and Mumbai?
“Fantastic. For Experimenter at least, we have some very exciting collections in Kolkata that we are adding work to and we are evolving a new generation of collectors. Of course, we make sure that everything is available online – one can show works, do short videos of installations, gallery walk-through videos and share the program with the world. To give a small example, we will be the only Indian gallery at Frieze Art Fair, London this year. We did not apply; they hunted us down and asked for us to apply and we got through in the curated section where there will be only about twenty young galleries from all over the world. We are probably the youngest, too. Experimenter turned a year old in April this year.”
Do you feel it’s difficult to straddle the roles of gallery owner and curator?
“For us, a gallery is an extension of who the owners are. It’s our program. It’s not like a large faceless organisation, so curating shows for the gallery comes with what we want to show and how we respond to things in today’s world as people. So it’s not tough. It’s critical that we put our minds to developing the program in such a way that there is reflection of the ‘now’ in whatever we do. Also, most of our shows are quite political in nature and we like that. We like to make people a little uncomfortable.”
Related Topics: Indian contemporary art, interviews, trends: fact and fiction blur
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Posted in Business of art, Conceptual, Curators, Fact and fiction blur, Found object, From Art Radar, Galleries work the web, Gallerists/dealers, Gallery shows, India, Indian, Installation, Interviews, Kinetic, New Media, Photography, Prateek Raja, Priyanka Raja, Professionals, Promoting art, Sculpture, Trends, Venues, Video, Words | Tagged: Ananya Mukherjee, art collectors, art curators, art gallery shows, Asian Art at Sothebys, conceptual art, curators in Asia, Experimenter, Frieze art fair, gallerists, gallery shows, I did not hear, Indian art, Indian art galleries, Indian Art Summit 2011, Indian artists, Indian contemporary art, Indian curators, installation art, Kolkata India, London, Mumbai, New Delhi, photography, Prateek Raja, Priyanka Raja, Raqs Media Collective, Skirmish, Sothebys, Susanta Mandal, This is unreal, Yamini Nayar | Leave a Comment »
Posted by artradar on September 7, 2010
DIGITAL ART SINGAPORE PUBLIC ART
Racing fever hits Singapore as the city prepares to host the Singapore Grand Prix from 17 to 26 September. And with the expectant influx of tourists, preparations are in full swing for the Digital Nights Showcase (DNS). The festival entails interactive new and digital artworks that will be displayed simultaneously with the Grand Prix for ten nights, allowing locals and tourists to enjoy works by internationally acclaimed European artists.
The DNS will feature at the Singapore Arts Museum and Orchard Road, Singapore’s high fashion street and as part of this, artist Tom Carr is getting ready to present his work for the first time in Asia. DNS Project Manager, Frederic Chambon says of the festival,
“Digital Nights will present some of the best works of world-renowned French and European artists in the digital arts field. Visitors of all ages and backgrounds will be able to interact with the artworks, designed to envelop the senses through stimulating visual and digital technology.”
A preparatory drawing for Tom Carr's 'A Red Carpet for Orchard Road' (detail). Image courtesy of the artist.
Tom Carr, one of a handful of contemporary European artists chosen to present at the DNS, will be showing A Red Carpet for Orchard Road. The artwork projects a red carpet onto the street, inviting everyone to walk on the digital projection for their moment of VIP experience. Unlike a real red carpet, the projections will not be static. Carr’s audience can play with shadows and lights, and become a part of the installation by moving around with the projection. A euphemism for celebrityhood, A Red Carpet invokes celebrity notions of beauty and fame; the location of Carr’s enterprise, Orchard Road, is also Singapore’s go-to street for celebrity fashion.
Carrʼs light projections have been shown at museums such as the Musée dʼArt Moderne de Céret in France, the Science Museum in Barcelona, Spain and the Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain. Carr lives and works in Sant Quirze del Valles, Spain. The dual concepts of space and time appear often in his works – most so with his famous installation for the Miro Foundation. His first project in Singapore is being facilitated by Bartha & Senarclens, Partners. Frederic de Senarclens from this firm says,
We are very excited to introduce a work of art by Tom Carr to the Singapore public. Public accessibility of new media and digital art in Singapore has increased tremendously in recent years, a demonstration of the governmentʼs recognition of the long-term implications of enhanced urban living through exposure to art and culture.
Digital Nights is being held from 17-26 September, 2010 in Singapore.
Posted in Art spaces, Artist Nationality, Electronic art, European, Festival, Installation, Interactive art, Laser, Light, Museum shows, New Media, Open air, Participatory, Public art, Singapore | Tagged: Ananya Mukherjee, Bartha & Senarclens, Digital Nights Showcase, Frederic Chambon, Frederic de Senarclens, installation, Madrid, Miro Foundation, Muse Nacional Centro de Arte Reina Sofia, Musee d'art Moderne de Ceret, Orchard Road, Partners, Red Carpet for Orchard Road, Sant Quirze del Valles, Science Museum Barcelona, singapore, Singapore Arts Museum, spain, Tom Carr | Leave a Comment »
Posted by artradar on August 31, 2010
KOREA ART BIENNALES IMAGE ART PHOTOGRAPHY DOCUMENTARY
Starting from the third of September this year and spanning sixty-six days, “Maninbo – 10000 Lives“, part of the eighth edition of the Gwangju Biennale, will focus on the 21st century’s obsession with images, journalistic or artistic. The Biennale presents itself as a “sprawling investigation of the relationships that bind people to images and images to people.” With works by more than a hundred artists created between 1901 and 2010, as well as several new commissions, the exhibition will be configured as a temporary museum that brings together artworks and cultural artifacts.
Hans-Peter Feldmann, '9/12 Frontpage (detail)', 2001, installation of 151 newspapers. © Hans-Peter Feldmann. Image courtesy of 303 Gallery.
But why this focus on images? Biennale director Massimiliano Gioni, number 50 on Art Review‘s 2009 Power 100, explains:
Each day billions of images are produced and consumed. More than five hundred thousand images per second are uploaded to a single website. Americans alone take an average of five hundred and fifty snapshots per second. A record of fourteen million USD has been paid for the right to reproduce one single image. We seek comfort in images and carry out wars in their name, we congregate around images, we adore them, we crave for them, we consume them and destroy them.
The intriguing title of the exhibition comes from a thirty volume epic poem by Korean author Ko Un, called Maninbo or 10,000 Lives. The poem comprises over 3,800 portraits in words, describing every person Ko Un had ever met, including figures from history and literature. Like words for Ko Un, images for people today have come to be metonyms for cultures, people and events. While for most this seems to be a concept applicable more directly to photographs and documentary video, artists at the Gwangju Biennale have reportedly worked with a diverse range of media.
A significant part of the power of images today derives from the way the artist merges aesthetics or art with politics. The hundred life-size sculptures of the Rent Collection Courtyard that relate the suffering of the Chinese peasants at the hands of a tyrannical landlord, have become one of the foundational images of the Chinese Cultural Revolution and is being presented at the Gwangju Biennale in its entirety.
Zhao Shutong, Wang Guanyi and the Rent Collection Courtyard collective, 'Rent Collection Courtyard', 1974-78, 100 copper plated fiberglass sculptures (exhibition view, Schirn Kunsthalle Frankfurt 2009). © Norbert Miguletz. Image courtesy Gwangju Biennale Foundation.
The Rent Collection Courtyard was created between 1965 and 1978 by the students, artists and faculty of the Sichuan Fine Arts Institute and celebrates the power of images to educate and stir revolutions.
Hans-Peter Feldmann presents us a picture stamped on the minds of world populations. Presented as a collage of images that are distributed within the media, Feldmann produces an assertive archive of visual memory, its persistence hammered into the minds of those who view them.
The Gwangju Biennale was founded in 1995 in memory of the spirit of civil uprising resulting from the 1980 repression of the Gwangju Democratization Movement. In its eighth year, Gioni sums up his vision:
The exhibition 10,000 Lives attempts to present a series of case studies that explore our love for images and our need to create substitutes, effigies, and stands-ins for ourselves and our loved ones. The exhibition unravels as a gallery of portraits or as a dysfunctional family album. It tells the story of people through the images they create and the images they leave behind, but it also follows the lives of images themselves, tracing their endless metamorphoses, from funerary statue to commercial propaganda, from religious icon to scientific tool, from a mirror of ourselves to a projection of our desires.
The Gwangju Biennale will run from 3 September to 7 November this year.
Related Topics: biennales, Korean venues, documentary art, photography, video art
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Posted in Artist Nationality, Biennales, Business of art, International, Korea, New Media, Photography, Promoting art, Video | Tagged: 10000 Lives, Ananya Mukherjee, Apocalypse, art photography, Chinese Cultural Revolution, commercial propaganda, documentary, documentary video, Gwangju, Gwangju Biennale, Gwangju Democratization Movement, Hans-Peter Feldmann, Image, image art, journalism, Ko Un, Korea, Maninbo, Maninbo or 10000 Lives, Massimiliano Gioni, photojournalism, political art, Rent Collection Courtyard, revolutions, Sichuan Fine Arts Institute, Video, Video art | Leave a Comment »
Posted by artradar on August 5, 2010
INTERVIEW ASIAN ART MUSEUM CONTEMPORARY ART PAKISTANI ARTISTS
Revolutions come far and few in between in the museum world. This season promises to be different. The Musée Guimet, France’s leading ancient Asian art museum, has opened its doors to contemporary Asian art for the first time since its inception in 1898. Leading the transition from the museum’s rich history of antique collections to a contemporary view of art is a show called “Perpetual Paradox”, featuring works by Pakistani artist Rashid Rana.
The director of Musée Guimet Jacques Gies, who is also one of the curators of the show, says of this move,
The museum is much more than a safety-deposit box for antiques. In view of the value of the Asian dynamic in our modern-day world – where Asian cultures are for the first time in Western history making a place for themselves that grows larger every day – the time has come, we believe, to reflect on and reconsider our notion of the museum.
Rashid Rana, 'Red Carpet', 2007.
Art Radar Asia spoke with Jacques Gies and Caroline Arhuero, curators of “Perpetual Paradox” at the Musée Guimet about, among other things, what the move means for the Musée Guimet and the museum world in general.
Since 1945, Musée Guimet has been home to a prestigious, one of a kind collection of ancient Asian art. With “Perpetual Paradox”, the museum exhibits contemporary art for the first time. What prompts this foray into contemporary Asian art? Does the museum have plans to build a contemporary Asian art collection?
This policy of the ‘Contemporary Factory of Art’ will to be the spearhead of a new acquisition policy, in resonance with the collection. This is in order to extend the historical competency of the museum until the contemporary time and also towards the future.
How did the curators zero down on Rashid Rana?
We heard of the artist’s name from the president of Sotheby’s France, Mr. Guillaume Cerutti, and then we conducted the research and here we are today.
Tell us about the experience of working with Rashid Rana on “Perpetual Paradox”?
With the artist, a very positive working relationship … hearing each other out. So, we were able to well place his works, with his agreement, within the permanent collections of the museum.
How does this experience compare with other shows you have organised?
Last year, at the first ever exhibition of the “contemporary art factory”, with the living artists Hung-Chih Peng and Chu Teh-Chun, we experienced the same great interest for this difficult exercise. Moreover, these artists [are] very aware of the quality of the ancient works [currently in the museum], even showed some concern about this challenge. Only the greatest [contemporary artists] have this modesty.
What challenges have you faced? What have you enjoyed the most? What has surprised you the most as the curator of “Perpetual Paradox”?
They were numerous, as this exhibition by principle requests a tricky solution to avoid “over interpretation”. [We needed to] create dialog between the works, those of Rashid Rana and the historical collection, without over interpretation [and] find the secret link that can give each his dimensions. The greatest satisfaction is that this setting was rewarding because it was just. My surprise was to see the first works by R. Rana – especially the “sculptures” – integrated particularly well [into the museum’s collection]…
The exhibition, “Perpetual Paradox”, places Rana’s “paradoxical” pieces amongst ancient Asian art pieces. This opens up several dialogs between the past and the present. How have the curators and the artist envisioned this?
The cross-historical dialog is precisely what we want to give [and] to see … integrate the work of a contemporary artist, that with this stimulus somehow our audience may feel the contemporary dimension of the works from the past … the museum can be this link crossing all times. Aren’t we [the viewer] the contemporary of all creations of art, as we receive them in the present, from the paintings [at] Lascaux to contemporary pictures?
Can you name some of the works in “Perpetual Paradox”? How did the curators narrow down on the works?
The selection of the works was made in consultation with the artist. It can be looked at it [in] fives ways: (1) “The Idea of abstract”; (2) “Transcending Tradition”; (3) “Real Time, Other Spaces”, (4) “Between Flesh and Blood”; and (5) “Self in other”.
Rana’s work is truly contemporary in the way he uses technology. His content is driven in some ways by the presence of technology in our lives. But at the same time, his free use of traditional motifs sets him apart from a lot of artists. How would you place this contradiction within Rana’s work? What is it that you think makes him an important artist today?
Here is precisely the paradox! But there is no contradiction between the use of a process, a very modern technology, and the ancient subjects. This is precisely because he assumes both…
This is the second showing of Rana’s work in France, after the first at a group show in 2006. How have the viewers responded to Rana’s work?
It seems this is the first exhibition of this scale in France, certainly for a monographic exhibition. The first ever reactions, including [those] from the staff of the museum, are extremely positive. They see a new step in the policy of the Musée Guimet.
Museum shows are stepping stones in an artist’s career. This is Rana’s eighth museum show in nine years. “Perpetual Paradox” is also his first solo in France. What do you foresee for this prolific artist?
We are convinced of the large stature of the artist R.Rana. It is clear that his name will shine; that he will be an artist contributing to a refocus of the international artistic scene in Asia.
What would you say about the growing interest in Asian contemporary art? Do you see a substantial change in the last, say ten to fifteen years?
Definitely. This is a question we could not imagine five years ago.
Are there more contemporary shows in the pipeline at the Musée Guimet?
Of course. We underline it, a coherent policy with the title “Contemporary Factory of Art in Asia”.
About Rashid Rana and “Perpetual Paradox”
Trained as a painter, Rana is well known for using a variety of media like photography, video and installations, but dislikes being called a photographer, video-artist or sculptor.
Rashid Rana, 'Sites_1-C Print+ DIASEC', 60.96cm x 91.44cm, 2009.
In “Perpetual Paradox”, Rana’s work in digital imaging allows him to associate opposing elements in the same piece by inlaying micro-photographic details and creating pixellated images. By associating the seen with the unseen, the artist highlights the hostility between cultures, holding responsible those who create today’s images and therefore play a role in the construction of tomorrow’s traditions. Rana says of his work,
In this age of uncertainty we have lost the privilege of having one world view. Now every image, idea and truth encompasses its opposite within itself.
Rana made his mark on the Asian art circuit with his first-ever international show in 2004 at New Delhi’s Nature Morte art gallery run by Peter Nagy. Thematically, Rana’s work express a solid affiliation with the miniature arts tradition but his fascination seems to be with the idea of “gestalt” – that the whole is perceived as more than the sum of its parts.
For instance, in a 2005 show called “Beyond Borders: Art of Pakistan” at the National Gallery of Modern Art, Mumbai, Rana’s Creating Identity showed the human body as the sum of a thousand fragmented pieces which were put together in a way such that one could see visible cracks between each fragment. Viewed from afar, the digital print showed people with their gaze affixed at the sky during a National Day Parade. On closer view, it became apparent that the bodies were made up of miniature images of scenes from Bollywood films, an obsession shared by people across the India-Pakistan border.
Similarly in a 2010 show called “Hanging Fire” at Asia Society, New York, showcasing Rana’s “Red Carpet” series, the carpet works as a euphemism for buyable cultural memories and heirlooms.
Rana’s images work to undo the intricate beauty and cultural historicism of the carpet and create a new layer of meaning by appropriating gory, actual photo-images comprising thousands of tiny images, “pixels”, depicting the slaughter of goats as prescribed by Halal law. Rana’s works impact through a series of additions, subtractions, cultural associations and interpretations, all the while challenging one’s “one world view”.
Related Topics : museum collectors, Pakistani artists, museum shows
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Posted in Acquisitions, Art spaces, Asia expands, Caroline Arhuero, Carpet art, Collectors, Computer animation software, Curators, Events, France, From Art Radar, Installation, Interviews, Islamic art, Jacques Gies, Museum collectors, Museum shows, Museums, New Media, Pakistani, Photography, Professionals, Rashid Rana, Sculpture, Venues, Video | Tagged: Ananya Mukherjee, antique art, antiques, art acquisition, art acquisitions, art curators, art interviews, art relics, Asia Society New York, Asian art, Asian art museums, Asian art scene, Asian Contemporary Art, Beyond Borders: Art of Pakistan, Bollywood, Caroline Arhuero, Chu Teh-chun, classic/contemporary trend, Contemporary Factory of Art, Creating identity, digital photomontages, digital printmaking, France, Gestalt, Guillaume Cerutti, Halal Law, Hanging Fire, Hung-Chih Peng, installations, Jacques Gies, Lascaux, Miniature arts, monographic exhibition, Musee Guimet, museum acquisitions, museum collectors, museum curators, museum exhibitions, Museum policy, Museum shows, Museum solo, Museums, National Gallery of Modern Art Mumbai, Nature Morte, New Delhi, Pakistani art, pakistani artists, Paris, Perpetual Paradox, Peter Nagy, photography, Pixels, Rashi Rana, Red Carpet, sculpture, Solo show, Sotheby's France, Video | Leave a Comment »
Posted by artradar on August 3, 2010
ART PROFESSIONAL INTERVIEW MYANMAR ARTIST AND ART SCENE
Late last month, Art Radar spoke with Nindityo Adipurnomo, one of the executive directors of Cemeti Art House, about the recent “+ROAD” collaborative project and exhibition between five young artists from Myanmar and five from Indonesia. He presented our readers with valuable insight into the Indonesian art climate and his perspective on the project.
Art Radar Asia thought it important to find out what is going on in Myanmar, so we contacted Aye Ko, Executive Director of New Zero Art Space and one of the participating artists in the exhibition. Here is what he had to say…
Aye Ko with some of his paintings
Outreaching to one of the most prestigious art centers in Asia
The reason why Aye Ko initiated the “+ROAD” project, as he said, was because he knew that Cemeti Art House is one of the most important art centers in Asia. He had had his first experience with Cemeti Art House when he invited the two executive directors, Nindityo Adipurnomo and his wife Mella Jaarsma, to the ASEAN Contemporary Art Exchange Program in 2009, where New Zero Group tried its best to build mutual understanding and connections with Cemeti. The project was initiated as a further step towards collaboration.
Aye Ko was keen for New Zero Group to learn from Cemeti Art House. He says,
The whole project was what we asked Nindityo for. The detailed program was planned by Cemeti Art House. As you know, Cemeti Art House’s experience is about twenty years, but honestly New Zero is just green. That’s why we need to learn from them.
Access to a passport the major selection criteria for Myanmar artists
According to Aye Ko, the most important consideration in the selection of Myanmar artists to participate in “+ROAD” was whether the artists held a valid passport, which is very difficult and costly to obtain in Myanmar. The second consideration was whether the artists could concentrate on their artwork and be serious about it. The final consideration: selecting a variety of artists who produced different genres and styles of work.
The “+ROAD” project ran for two weeks; an exhibition followed. Although two weeks is not a long time, Aye Ko did have a chance to observe the Indonesian art scene, culture and developing environment, especially during the workshops, when he and the other artists had friendly conversations and shared their knowledge, opinions and ideas. He attributes their successful communication to patience, understanding and a passion for arts, especially new media and contemporary art.
When Aye Ko and other artists brainstormed ideas in workshops, they didn’t know these ideas would be used to put together an exhibition; the news came as a surprise as well as a headache when the Cemeti organisers broke it. The artists began to seriously discuss their ideas: ways of presenting them as well as the use of materials, lighting and space. Aye Ko explained that this process is how great artworks are created and how artists gain respect and admiration from each other.
Myanmar artists need to learn from their Indonesian counterparts
Presentation of ideas and reflections on society were usually different for each of the artists involved in the “+ROAD” project, who had different ideas and emotions because of their unique social-cultural backgrounds and corresponding identities, but Aye Ko appreciated the differences. As he explains,
The sense of art could be promoted through sharing. Different ideas could also help [us] to understand more about their passion and identities. We also have an opportunity to oppose a view point.
Aye Ko felt that two weeks were a rather short period of time in which to brainstorm ideas and produce a piece of artwork, but overall he enjoyed the experience. It gave him the opportunity to discover different ideas and styles in others’ artwork and to learn from the Indonesian artists. As he explains,
I saw how hard working the artists from Indonesia are. I think the Indonesia artists concentrated a lot on their art and the ideas and they feel deeply about their art. I feel that we, Myanmar artists, need to work more, concentrate more and improve our communication.
Aye Ko’s view of the Myanmar art scene and future prospects
Aye Ko believes that projects like “+ROAD” are crucial for educating Myanmar artists and exposing them to international art practices and standards.
[The] Myanmar art scence is isolated from other countries. It needs to develop internationally and take time to develop enough for [the] international [art community]. Indonesian artists are catching up with international artists. [The] international art society is interested in Indonesia artists, in my opinion. There are many museums in Indoneisa but there is only one in Myanmar.
This project is a very crucial event, not only for me but also for New Zero Art Space, Myanmar artists and arts, and new generation artists. Because our country is isolated, it can [be] directed from an isolated country to a free and open art society. With this hope, I am trying to do different types of projects which can give [me] more knowledge.
[By] displaying these exchange programs, Myanmar artists knock the door of international art society for the first time.
As I said, I am planning to make this kind of event in Myanmar. We already did the Nippon-Myanmar Performance Art Exchange (2001/2005/2009), the Hong Kong-Myanmar Performance Art Exchange (2010), the ASEAN Contemporary Art Exchange (2009), and the Artists Residency Program (2010). There will also be the Mekong Contemporary Art Exchange in Vietnam and Bangkok this month. These events motivate me to do more art events continuously in order to promote international standards for local artists and new generation artists.
Related Topics: Myanmar artists, Indonesian artists, art spaces, collaborative art
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Posted in Art spaces, Artist Nationality, Artist-run, Collaborative, Directors, Indonesian, Interviews, Medium, Multi category, Myanmar/Burmese, New Media, Nindityo Adipurnomo, Professionals, Styles, Z Artists | Tagged: +ROAD, +Road| 5 Myanmar Artists + 5 Jogja Artists, artist collaborations, Artists Residency Program, ASEAN Contemporary Art Exchange Program, Aye Ko, Carmen Bat Ka Man, Cemeti Art House, collaborative art, contemporary art, contemporary artists, Emerging artists, Hong Kong-Myanmar Performance Art Exchange, Indonesian art, Indonesian art scene, Indonesian artist, international art community, local artists, Mekong Contemporary Art Exchange, Myanmar art, Myanmar artist, new generation artists, New Media, New Zero Art Space, Nindityo Adipurnomo, Nippon-Myanmar Performance Art Exchange, Southeast Asian art, Southeast Asian artists | Leave a Comment »
Posted by artradar on July 28, 2010
YOUTUBE GUGGENHEIM VIDEO ART ONLINE BIENNIALS
The world’s most popular online platform for video sharing, YouTube, will soon be put to the test as a potential new platform for art expression in joint initiative with the Guggenheim Museum. Launched this year, YouTube Play. A Biennial of Creative Videos is a creative video competition and art project committed to the exploration of online video art.
A media and an art institutions are cooperating to find out how the internet is changing the video art form and whether there is art in online videos – an emerging media which is continually establishing new ways to create, distribute and consume videos.
The promotional imagery for YouTube Play. A Biennial of Creative Video.
“This collaboration with YouTube gives us a chance to explore digital media, bring it into the museum, and see how it functions, see if it functions. And through the process learn more about the phenomenon, because we would like to believe that art is transformative.” Nancy Spector, deputy director and chief curator of the Guggenheim Foundation (as quoted in the Otago Daily Times)
For the competition, each applicant may submit one original video entry of ten minutes or less that he or she has created in the past two years. When the competition closes for entry at the end of this month, a team of Guggenheim curators will review all the entries and create a shortlist of 200. A separate jury of nine professionals – from various disciplines such as visual arts, filmmaking, animation, graphic design and music – will then select twenty to be screened in four Guggenheim museums worldwide. All 200 entries will be available to view on the YouTube Play channel.
“We are, in a sense, inviting people to raise the standards of YouTube. This is aspirational for people who are interested in seeing their work be taken artistically.” Nancy Spector, deputy director and chief curator of the Guggenheim Foundation (as quoted in the Washington Post)
The project provides an opportunity for anyone, albeit art professionals or amateurs, to submit an innovative, original video to YouTube Play to compete for the chance of having his or her winning entry shown in October in four Guggenheim museums simultaneously: the Solomon R. Guggenheim in New York, the Deutsche Guggenheim in Berlin, the Guggenheim Bilbao in Spain and the Peggy Guggenheim Collection in Venice. The jury is looking for innovative works that debate on, discuss, test, experiment with and elevate the video medium. They expect to see something “different” – not “what’s now” but “what’s next”.
“People who may not have access to the art world will have a chance to have their work recognized. We’re looking for things we haven’t seen before.” Nancy Spector, deputy director and chief curator of the Guggenheim Foundation (as quoted in the New York Times)
To express your thoughts and opinions of the biennial visit The Take, a platform for commentary and discussion of the project by Guggenheim-invited guests, staff, and web site visitors.
Related Topics: media – video, themes and subjects – technology, events – biennials
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Posted in Art and internet, Biennials, Business of art, Crossover art, Emerging artists, Events, Medium, Museums, New Media, Overviews, Promoting art, Technology, Themes and subjects, Trends, Video | Tagged: art and technology, art and the Internet, art awards, art competitions, biennial, Carmen Bat Ka Man, collaboration, Deutsche Guggenheim, Guggenheim, Guggenheim Bilbao, Guggenheim Museum, internet, Internet channels, Nancy Spector, New Media Art, Online art, online video, Otago Daily Times, Peggy Guggenheim Collection, Solomon R. Guggenheim, The Take, Video art, video art competition, video sharing, Washington Post, YouTube, YouTube Play, YouTube Play. A Biennial of Creative Videos | Leave a Comment »