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      15 Jun 2008

      Venice Biennale 2009 first entries

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      Australia at Venice Biennale 2009 Dock man to pilot Irish Republic to Venice German Pavilion 2009 - The future always acts differently An honor, a joy and a challenge (Israel pavilion) New Zealand at the Venice Biennale 2009 Bruce Nauman Representing the United States at the 2009 Venice Biennale Ragnar Kjartansson to represent Iceland at the Venice Biennale in 2009 The Danish Pavilion and The Nordic Pavilion In the 2009 Edition of the Venice Biennale video: the muppets show intro [youtube=http://www.youtube.com/watch?v=Uh_aG5MzPVM]
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      26 May 2008

      Venice Biennale 2009 - Biennale Venezia 2009

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      txt: Biennale Arte 53. Esposizione Internazionale d’Arte
      Si svolgerà dal 7 giugno al 22 novembre 2009, nelle tradizionali sedi dei Giardini e dell’Arsenale, nonché in vari luoghi della città, la 53. Esposizione Internazionale d’Arte della Biennale di Venezia. Le date sono state fissate dal Cda della Biennale, presieduto da Paolo Baratta. Direttore del Settore Arti Visive della Biennale è, come noto, Daniel Birnbaum, con lo specifico compito di curare la 53. Esposizione Internazionale d’Arte.
      It will take place from June 7 to November 22 2009 in the traditional locations of the Gardens and Arsenale, and in various places in the city the 53 Venice Biennale International Art Exhibition . The dates were fixed by the Board of the Biennale, chaired by Paolo Baratta. Director of Visual Arts Sector of the Biennale is, as you know, Daniel Birnbaum, with the specific task of curating the 53 International Art Exhibition.
      img: light shopping - oddtag on flickr.com
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      22 May 2008

      re:public Refusés in Venice

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      txt: re:public - www.ibrida.org
      Re:public. “Re” as reply and “public” as public. The reply of the public. More than 100 artists, that were not admitted to the last Colletiva Bevilacqua La Masa, will face the public’s judgement in a open, clear and clean, confrontation. The public will be invited to leave a comment about the expositions and the works to create a direct confrontation that will stimulate the debate. This will be a personal growth for the audience and the artists. There will be no captions. No prepared commentary. Images of the works with the comments will be published on www.ibrida.org. Ibrida & Associazione Momos presents re:public, Refusés! The answer is public 28th May – 15th June 2008 Bacini dell’Arsenale di Venezia, Tese di San Cristoforo. Every day. From 10.00 to 13.00/ from 15.00 to 19.00 Free admittance. The Vaporetto stop- Celestia. You can take Vaporetto 41, 42 (from Ferrovia you can change vaporettos at Fondamente Nuove), 51, 52 (is a request stop). The entrance is 100 meters from the stop on the left. For the opening day and for handicapped people the entrance will be placed in the CAV building near Bacini stop (Vaporetto 41, 42). Opening day: 28th of May 2008 at 18.00
      ---------------------------------------- re:public Refusés! comunicato stampa [it]
      Ibrida & Associazione Momos presentano re:public Refusés! La risposta è pubblica, 28 Maggio – 15 Giugno 2008, Tutti i giorni. 10.00-13.00/15.00-19.00,Ingresso gratuito. Bacini dell' Arsenale di Venezia. Tese di San Cristoforo. Fermata Celestia. Vaporetto 41, 42 (dalla Ferrovia cambio a Fondamenta Nove). Vaporetto 51, 52 (fermata a richiesta). Ingresso dalla passerella a sinistra dopo cento metri. Per il giorno dell’inaugurazione e per spettatori diversamente abili accesso dall’ingresso CAV nei pressi della fermata Bacini . Vaporetto 41, 42. Inaugurazione il 28 Maggio 2008, ore 18.00.
      Ibrida & Associazione Momos www.ibrida.org ibrida.info@gmail.com img: jam-packed refuse bin Jan the manson on Flickr.com
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      15 May 2008

      Multiversity in Venice

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      link: www.sale-docks.org
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      txt: MULTIVERSITY, or the Art of Subversion 16, 17 and 18 May 2008 S.a.L.E. DOCKS VENICE www.sale-docks.org multiversity.sale@gmail.com
      The event “Multiversity, or the Art of Subversion” is the fruit of a joint effort between Uni.Nomade and S.a.L.E. (Signs and Lyrics Emporium), between a trans-territorial network of militants and researchers carrying out a critical analysis of the themes of contemporaneity and a self-managed space, called S.a.L.E. docks, born a few months ago in Venice so as to intervene on a practical level in the world of cultural production. A world which, not only in Venice, has affirmed itself as preferred area for current capital valorisation processes. In fact, if we concentrate on contemporary art, this undoubted importance can be seen on at least three levels. The first is the central role which immaterial assets and knowledge, creativity and affections, relational and communicational talents assume for contemporary forms of production: artistic production cannot get away from this centrality. The second is the relationship between cultural production and the metropolis where the interlacing between town-planning and architecture, fashion and design, art and literature, in that productive social space par excellence – the urban basins – becomes on the one side a crucial element in the process of subjectification through which are built the multiplicity of forms of life which inhabit it, to the other decisive factor for defining the strategic positioning of each metropolitan area in the economic competition between global cities. The third is the relationship between the art market and the financial capital: at a global level, banks and multinationals are the among the main investors in a sector which today seems to be the only one to have not been even slightly touched by the crisis which has overrun the world system of money circulation. What we are now seeing is a complex capturing system, which capital has brought into play in the multiple flow of informal cultural production, from the appropriation of the ability to cooperate of individual intelligences and individual ways of life, to ensure the valorisation of what has been defined as the “symbolic collective capital”. The complexity of these dynamics depends on a double mechanism of exploitation, where the first aspect is made up of the barriers of intellectual property and from each further moment of private appropriation of general social knowledge, while the second is the parasitic rapport which is established towards the creative production by those speculative interventions occurring in the body of the metropolis, there where state and private institutions, large events and art fairs, and cultural zones and meta-zones are established. Where S.a.L.E.’s experience wants to immerse itself critically, what the Multiversity event has decided to face, is called “culture factory”, that is the place of valuation of cognitive capitalism, but it is only so in the measure in which it, before anything else, the place of creative subjectivity, of the expression of the multitudes, and consequently, the space of a face-to-face between creative freedom and autonomy of cooperation on the one hand, and the system of dominion and exploitation of this productive force on the other. In this light, Multiversity, will present, discuss and compare, with the most advanced European and global experiences, the first results, although partial, of an enquiry on the city’s job insecurity linked to contemporary art and intangible work. Here the main question is to understand widespread behaviours and the methods of intervention which could change a social composition, already central in the forms of contemporary production, in a political composition. Examined also will be the core issues of the role of university training on the one side, and the communication network on the other side, played within the most complex organisation of the work of the “culture factory”. An indispensable requisite for this discussion is the comparison around contemporary art understood as a “wider social institution”: from the historical-artistic events which drove art in the post-war period from the transcendental space of medial specificity to the social space with its relationships of strength, to the relationships established between art, social movements and cultural activism outside of any avant-garde rhetoric, to the methods of capture by the institutional artistic system and by the financial ciruits of a vast heritage of critical thought and conflicting ways of life. For these reason, the Multiversity event will be organised into three seminar sessions: 1. Art and activism This means problematizing historical events and contemporary forms in the interlacing between art and activism. Some of the questions to start off the discussion will be: Which road was travelled to reach the conception of the work as transcendental to a conception of the same as object, process or dynamic able to intervene within man’s space-time and subsequently, within social processes? How did we go from a judgement of the work based on a topography of its material characteristics to one based, instead, on the analysis of its function, or even its efficiency in social terms? How does it function today, in this post-Ford era, activist art? What, once all avant-garde rhetoric is abandoned, is the position of art and artists with respect to movements? 2. Art and the market: between creative freedom and financial capture This second point must necessarily move from gathering date on the size of the art market and its relationship with financial capital. Art is taken here as an example of paradigmatic value because of the extreme paradox which affects it: if artistic work expresses a maximum level of creative freedom, at the same time it is subject to maximum fixation within the financial capital. 3. Art and multitude: for the survey into social composition, conflicts and organisation of live work in the “culture factory” This session will examine the core of the relationship between singularity and multitude, and between individual production and construction of the common. There are two research plans which will proceed in parallel. The first is historical-artistic and concerns the attempts which, starting in the 60s, were developed by artists in response to the rhetoric of the individual genius, up to the current platforms of collective production tied to the affirmation and diffusion of social hacking. The second plan concerns the survey into social composition of precarious workers which has grown around the culture industry’s drive. From the students in the training circuits to temporary workers in the cooperatives for logistics and stage design, trainees, networkers, project consultants, freelancers, to that global class of artists and professionals intent on becoming an integral part of the international art system. In all this wide social galaxy, we will need to investigate the material conditions of life and work, needs and aspirations, desires and possible assertions. . All this to get to the key point: how to transform this social composition into a political composition? PROGRAM 1) FRYDAY 16 ore 17 Art and Activism. Marco Baravalle, Claire Fontaine, José Pérez de Lama (Osfa), Brian Holmes, Marko Stamenkovic. ore 21 Performance: Margine Operativo. 2) SATURDAY 17 ore 9.30 Art and Activism (second session) Marco Scotini, Giovanna Zapperi, Judith Revel, Maurizio Lazzarato. ore 14 Art and Market. Chiara Bersi Serlini, Anna Daneri, Matteo Pasquinelli, Pier Luigi Sacco, Angela Vettese. ore17.30 Hans Ulrich Obrist ore 18 Art and Moltitude. Antonella Corsani, Adam Arvidsson ore 21 Performances VS Music 3) SUNDAY 18 ore 9.30 Art and Moltitude (second session) Antonio Negri, Alberto de Nicola, Gigi Roggero, Pascal Nicolas le Strat ore 18 Massimo Cacciari One lesson on: “One: Number 31” by Jackson Pollock “Brodway Boogie-Boogie” by Piet Mondrian Will participate to the discussion during the seminar: Beppe Caccia, Octavi Comeron. Andrea Fumagalli, Cristina Morini, Margine Operativo, Sandro Mezzadra, Alessandro Petti. During the days of the seminar till June 16, S.a.L.E. will host a selection of works by: Claire Fontaine, Marcelo Exposito, Andrea Morucchio, Lab. Cartografia Partecipata. Info and program updating: www.sale-docks.org
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      11 May 2008

      The Venice Factory

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      Gondolas full of tourists. In the background the renovation works' scaffolding of the Punta della Dogana de Mar (also known as Punta della Salute). Project: architect Tadao Ando, $$ François Pinault Foundation, Palazzo Grassi. img: The Venice Factory - oddtag on flickr.com
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      11 May 2008

      The Art Factory

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      txt: Pinault, Ando et Cacciari lancent la Pointe de la Douane
      Hier après-midi, devant la presse internationale et les autorités locales, François Pinault, président de Palazzo Grassi a présenté, avec Tadao Ando, le projet architectural du futur centre d'art contemporain à la Pointe de la Douane. En présence du maire de Venise, Massimo Cacciari, ils ont annoncé l'iminent début des travaux afin d'assurer une ouverture du site à l'occasion de la prochaine Biennale d'art contemporain, en juin 2009.
      txt: Manifesto - Aurora Street associazione culturale
      The bell tower clock strikes seven in the evening. In the central hall of the Venice Museum darkness falls, shrouding the blackened remains of what was once the main square of our city. This is where our ancestors met to do what the inhabitants of every city do in their main squares: stroll, meet with friends, converse and maybe even enjoy an ice-cream while sitting at one of the many square’s Caffès, letting their thoughts dance to the notes of the small orchestras. Today it seems that the aim of the Museum is to reproduce that atmosphere of past times for visitors with the same effective suggestion as a washed-out photograph fixed on the tombstones of people who have been buried.
      img: Punta Dogana e Santa Maria della Salute - Catching Flies on flickr.com
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      16 Apr 2008

      Venice from East to West

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      txt: Venice is a dream still, although a bit noisy and full - The Telegraph - Calcutta - India
      Today, with little of the past elegance of Venetian inhabitants and visitors on show and the famous bars and teashops in the Piazza selling overpriced cocktails to profligate tourists, Beaton would not have been impressed by the lycra generation doing Venice even had he appreciated the importance of tourism to keep the city alive and afloat. It is only the hidden shops and restaurants and the markets known to habitués that retain a particular atmosphere of the place, although the tradition of craftsmanship of the city continues in sympathetic and skilled restorations of great works of art; the preservation of ancient skills such as the handloom silk weaving of the Bevilaqua family and the skills of the Murano glass blowers; and a continuance of the love for beauty that carries the visitor from the 12th century, through the High Renaissance, and, to my mind, the overblown frills of mannerism and the baroque, on to the glorious 20th century riches in the Guggenheim Museum. The present-day opening of the Palazzo Grassi and the ongoing development of the Punta della Dogana as exhibition sites for the contemporary collection of the French billionaire, Francois Pinault, can be celebrated as part of the generational artistic life of the city.
      video: Jeff Koons @ Venezia 2/4 - blog.palazzograssi.it Incontri di Palazzo Grassi aspettando Punta della Dogana [dailymotion id=x45099]
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      8 Apr 2008

      Daniel Birnbaum xè el Diretòr

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      txt: Biennale Art 53rd International Art Exhibition (2009) The Board nominates Daniel Birnbaum as Director The Board of Directors of the Fondazione La Biennale di Venezia, chaired by Paolo Baratta, held a meeting on 7th April 2008 in which it nominated Daniel Birnbaum as Director of the Visual Arts Sector, with specific responsibility as curator of the 53rd International Art Exhibition, to be held in 2009.
      My recent exhibitions have all been close collaborations with artists, often individually, sometimes in larger contexts. The Venice Biennale is a new kind of challenge, but the principle remains the same: the artist's vision is at the center. How does one steer clear of the hierarchies dictated by commercial interests and fashion? As the director of an art academy, my interest has long been directed towards another kind of influence and another kind of significance. There are artists who inspire entire generations and these key artists are not always the most visibile in the world of museums and fairs. I would like to explore strings of inspiration that involve several generations and to display the roots as well as the branches that grow into a future not yet defined. The geography of the art world has been expanding rapidly with new centers emerging: China, India, the Middle East... It will be my ambition to create a show that, although articulated into individual zones of intensity, remains one exhibition.
      video: Pirate Rabbit Attacks Biennale in Venice - coniglioviola on youtube.com [youtube=http://www.youtube.com/watch?v=3mAzxMDS4oc]
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      3 Apr 2008

      Arts, Culture and Public

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      txt: Arts, Culture and the Public Sphere
      How do cultures relate to the public sphere? To which extent is the shape of the public discourse affected by cultural codes? What are the cultural dimensions of public knowledge? Why and how does culture matter? In contemporary societies the public sphere is constantly shaped and reshaped by media discourses. The public discourses can no more be analyzed at the national levels only because globalization processes are at work. We are witnessing the emergence of multiple global public spheres, which are intersecting to each other, articulating both local and global issues. In this context the role of culture is highly increased. The visibility of cultural codes becomes global. They are used to express power, to mediate conflicts, to negotiate claims of citizenship, to construct minority identities, gender and ethnicity issues, and to inscribe the public knowledge of the past in the national and international arena. The aesthetic dimensions are becoming key issue to articulate power relations. Culture matters and it does it in many new ways.
      Arts, Culture and the Public Sphere Expressive and Instrumental Values In Economic and Sociological Perspectives Venice (Italy) November 4 - 8 2008 A joint Conference organized by: FDA – Faculty of Design and Art – IUAV University, Venice DADI - Department of Art and Industrial Design – IUAV University, Venice EPOCA - Centre of Economics and Advanced Cultural Policy Research – IUAV University, Venice Sociology of Culture RN of the ESA - European Sociological Association Sociology of the Arts RN of the ESA - European Sociological Association video: Part 2 of the video on Chelsea space, London. Detailed info at VernissageTV [blip.tv ?posts_id=248547&dest=-1]
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      30 Mar 2008

      That sinking/not sinking feeling

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      txt: Is Venice Sinking?
      The net effect was like letting the air out of your tires, or perhaps more aptly, draining your waterbed. It wasn’t until the late 60’s that hydrologists put one and one together, slapped their foreheads, and sounded the alarm. The Italian government acted swiftly and banned groundwater pumping in the area forever. That did the trick and plugged the leak. Not only did the dramatic subsidence stop, but the area actually saw an upward “bounce” of a couple centimeters. Now the level of sinking is back to its normal “background”, non-crisis levels. But the damage has been done. As we’ll discuss in upcoming posts, losing those 10 precious centimeters was a huge strategic blow to Venice’s battle against the sea.
      link: www.veniceisnotsinking.it [it] video: Venice Under Siege - Italy journeymanpictures on youtube.com [youtube=http://www.youtube.com/watch?v=XrOoW38JWsw]
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    #contemporary #change #future @Venice area (Italy)

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