Nicolas Provost
www.shulamitnazarian.com
Illumination
Contemporary Art Centre
Moving Stories
www.artrotterdam.com
Projections, Exodus
Opening: Saturday April 23rd 2016 // 18:00 – 21:00
How do contemporary artist represent our dreams? What links are there between cinematographic illusion, psychoanalytical interpretations of our subconscious and—closer to home—the tradition of Belgian surrealism?
Cinema and art film allow to transcend the border of time and space in complex ways. For decades artist have been using techniques such as collage, mirror effects, tempo changes, blur and repetition to create new realities that take us far beyond the greyness of our everyday world .
The works at Pies in the Skies—all from the Argos collection—detach themselves from worlds that are ruled by logic and structure. The contributions by artists such as Heine Adval, Charley Case, Messieurs Delmotte, Ken Kobland, Isabelle Nouzha, Jacques-Louis Nyst, Hans Op de Beeck, Nicolas Provost, Krassimir Terziev, take us back—often subconsciously—to early psychological experiments and the roots of cinema.
www.argosarts.org/Pies in the Skies
Te ere van het Jheronimus Bosch jaar in 2016 presenteert het museum van 2 februari t/m 28 augustus een tentoonstelling over de zeven hoofdzonden van Jheronimus Bosch (1450-1516) in de hedendaagse kunst. Meer over het Bosch jaar in Brabant lees je hier.
Het laatste oordeel
Uitgangspunt van de tentoonstelling is een geautoriseerde copie van het Jheronimus Bosch triptiek ‘Het Laatste Oordeel’ (1504-1508). In dit middenpaneel (te zien in de Gemäldegalerie van de Akademie der Künste) wordt de jongste dag verbeeld. Hierin worden zij die goed hebben gedaan gescheiden van hen die gezondigd hebben. Kunsthistorisch onderzoek toonde aan dat het middenpaneel vooral de zeven hoofdzonden in diverse bloemrijke verbeeldingen weergeeft.
Middeleeuwse thematiek
De hedendaagse kunstcollectie van het museum omvat vele werken die actuele (sociaal-) maatschappelijke thema’s belichten uit de populaire en alledaagse beeldcultuur. Een deel van die werken brengt op een prikkelende manier de van oorsprong middeleeuwse thematiek van de zeven hoofdzonden anno 2016 voor het voetlicht: Superbia (ijdelheid/hoogmoed), Avaritia (hebzucht), Luxuria (wellust), Invidia (afgunst), Gula (vraatzucht), Ira (woede) en Acedia (luiheid).
Wellust, hebzucht etc. anno nu
In de tentoonstelling zie je bijvoorbeeld het werk van Terry Rodgers dat de zwoele decadente wellustige sfeer van de nieuwe jonge rijken laat zien. 
Ge-Karel van der Sterren toont op zijn doek ‘Spec-house at Zabriskie Point'(2007) zijn visie op de hebzucht van speculatieve projectontwikkelaars, die in het vorige decennium de wereldwijde economische crisis mede vormgaven. In de opzienbarende videofilm ‘Het Grote Gebeuren'(1975) van Jaap Drupsteen (naar een novelle van Belcampo) wordt het middenpaneel van Bosch in een eigentijds jasje samengevat. Een surreele verbeelding van de jongste dag is het resultaat, dat zich afspeelt in de ogenschijnlijke gemoedelijkheid van een Overijssels dorpje.
Deelnemende kunstenaars
In de tentoonstelling is werk te zien van onder meer de volgende kunstenaars: Robert Combas (F), Hervé diRosa (F), René Daniels (NL), Frans Franciscus (NL), Inez van Lamsweerde/ Vinoodh Matadin (NL/VS), Rob Hornstra (NL), André Masson (F), Terry Rodgers (VS), Martin Parr (VK), Maria Roosen (NL), Tinkebell (NL), Anthony Goicolea (VS), Joost van den Toorn (NL), Ge-Karel van der Sterren (NL), Rob Verf (NL), Jaap Drupsteen (NL) en Teun Hocks (NL).
De tentoonstelling maakt deel uit van een tweeluik over deugden en ondeugden: eerder toonde het museum de tentoonstelling ‘Works of Mercy’, waarin de zeven werken van barmhartigheid centraal stonden.
www.gemeentemuseumhelmond.nl/te-zien
Gravity
The reimagining and recycling of Hollywood iconography in contemporary art, and the way that movies live on in our personal and cultural memories, are explored in the exhibition Walkers: Hollywood Afterlives in Art and Artifact. Organized by independent curator and scholar Robert M. Rubin, the exhibition includes 120 works by 40 artists that dissect, appropriate, and redefine some of the past century’s most iconic films through photography, drawing, sculpture, print, and video. They are joined by a selection of rare film ephemera re-positioned as artworks ranging from costume designs for Rosemary’s Baby to the complete original key book stills from The 39 Steps. With a nod to the “walkers,” or zombies, from the TV series The Walking Dead, the exhibition’s title references the lingering power of film detritus on the imagination of the living.
Artists on view:
Nada Ackel, Francis Alys, Richard Avedon, Fiona Banner, Cindy Bernard, Pierre Bismuth, John Bock, Jim Campbell, Gregory Chatonsky, Gregory Crewdson, Brice Dellsperger, Jeff Desom, John Divola, Mark Flood, Aurelien Froment, Jean-Luc Godard, Michel Gondry, Douglas Gordon, Gregor Hildebrandt, Alex Israel, Larry Johnson, Isaac Julien, Martin Kippenberger, Agnieszka Kurant, Jean-Jacques Lebel, Guy Maddin, Mary Ellen Mark, Adam McEwen, Ivan Messac, Kristen Morgin, Yasumasa Morimura, Richard Mosse, Simon Norfolk, Richard Prince, Nicolas Provost, Bernard Rancillac, Tom Sachs, Manuel Saiz, Adam Savage, Hans Schabus, Leanne Shapton, John Stezaker, Hiroshi Sugimoto, Piotr Uklanski, Ming Wong, Mario Ybarra Jr.
Walkers is accompanied by a screening series, presented in the Museum’s Sumner M. Redstone Theater. Select films will be introduced by artists in the show.
A 290-page hard cover catalogue featuring a curatorial essay by Robert M. Rubin will also be available.
This summer Doug Aitken’s project Station to Station: A 30 Day Happening, takes over the Barbican from Saturday 27 June with more than 100 free events over 30 days, with special ticketed events every Thursday, Friday and Saturday.
This ‘living exhibition’ will include performances, works and residencies by over 100 artists including Siobhan Davies, Ed Ruscha, Terry Riley, Stephen Shore, Lawrence Weiner, Urs Fischer, Martin Creed, Olaf Breuning, Suicide, Lawrence Weiner, Tal R, Pedro Reyes, Boredoms, Mike Figgis, Urs Fischer, Ernesto Neto, Olafur Eliasson, Anri Sala, Savages, Joanna Hogg and Marcus Coatesand no day of Station to Station will be the same.
Barbican
With works by Erik Bünger, Geoffroy De Volder, Bernard Gigounon, Johannes Kahrs, Alexander Kluge, André S. Labarthe, Benoît Platéus, Nicolas Provost, Steve Reinke, Shelly Silver.
Works by Nicolas Provost: Long Live The New Flesh, The Dark Galleries, Gravity.
Argos Arts
The French understand Amour Fou as a mad or anti-social love. Film has become both a model and a reflection of those things we consider central in our lives. The history of cinema has imagined and reimagined love since the dawn of the 20th century. Included in Amour Fou are ten works that draw from the world of cinema to tell stories of love. Exposed in all their messy, destructive glory… tied up in a big, stained bow of misbehavior. Deranging and fertile they chart an obsessive journey from romance to love gone wrong.
R.Luke DuBois, Tracey Emin, Christoph Girardet & Matthias Müller, Jillian McDonald, Tracey Moffatt, Nicolas Provost, Pipilotti Rist, Brendan Van Hek, Angela Washko
This programme will celebrate the work of Michelangelo Antonioni, which is, in its aesthetical complexity, far from classical conventions in Cinema. He is one of the most important filmmakers who took the responsibility to dissolve the classical narrative causalities in favour of the expressive abstraction, thus, leading to a new and ambiguous relationship between the characters – their stories and landscaped background – and the spectator. The exhibition at Solar – Cinematic Art Gallery will combine some of the diversified approaches to this Antonioni’s adventure.
curtas.pt/solar
The Invader and The Origin of The World
Curated by guest curator Anna Erickson
www.kikik.net
www.be-part.be
https://www.youtube.com/watch?v=0n5b_9Hip3Q
Cory Arcangel, Slater Bradley & Ed Lachman, Chris Chong Chan Fui & Yasuhiro Morinaga, Gregory Crewdson, David Maljkovic, Nicolas Provost, Ana Torfs, Clemens von Wedemeyer
From 23 March to 1 June, the exhibition Cinema Remake – art & film at EYE shows the work of filmmakers and artists who use iconic feature films as a basis with which to create something radically new. Cinema Remake reveals how the phenomenon of the remake has produced exceptional results, both within cinema and on the interface between film and visual art. Filmmakers and artists seize upon existing films to make new and meaningful works. The exhibition is accompanied by an extensive film programme of remakes and the films that provided the inspiration for the works in the exhibition, such as Colors (1988) directed by Dennis Hopper and The Trial (1962) by Orson Welles.
As a sequel to EYE’s successful opening exhibition, Found Footage: Cinema Exposed, which focused on the use of existing footage by artists and filmmakers, EYE presents the exhibition Cinema Remake – art & film, which opens on 23 March. The remake is a familiar and frequent phenomenon in the world of cinema. Hollywood in particular often relies on existing films that were either trendsetters or made a lot of money in their day or country of origin. Besides popularity and profitability, there are also artistic considerations for remaking existing films and using them as a basis to create something radically new. The exhibition Cinema Remake reveals how the phenomenon of the remake has yielded exceptional results, both within cinema and on the interface between film and visual art.
Many artists and filmmakers seize upon existing, often iconic films in order to unravel their cinematic language, to make the viewer aware of the codes and unwritten laws of film, and to tell their own story. A good example of this is the work Recalling Frames from 2010 by David Maljkovic, in which he takes the famous Orson Welles film The Trial (based on Kafka’s Der Process) as his starting point, to ultimately arrive at a new and entirely original installation. Maljkovic uses stills from the film in combination with recent photos of the modernist building in Zagreb where parts of the original film were shot, in addition to a 16mm projection and the soundtrack of the film.
Another example is a work by the New York artist Cory Arcangel, in which he reinterprets the film Colors by Dennis Hopper as a mesmerizing, abstract play of colours. In various film, photo, slide and video installations, Cinema Remake reveals how cinema continues to serve as a starting point from which to create new and meaningful artworks, time and time again.
–
Stardust, 2010
–
‘What I try to do in my work is use these different cinematic codes that we have developed over the past century and make the viewer aware that we are all part of a big film memory.’ Nicolas Provost
Stardust (2010) is the second part of the Plot Point trilogy by Nicolas Provost. In this trilogy Provost employs the grammar of suspense – a twist of self-filmed images together with dialogues and sound from well-known films or television series are schematically and rhythmically coordinated into a Hollywood-type language. In other words, the scenes in Stardust are not staged, but situations encountered by Provost in situ, to which he then applies a Hollywood-style cinematic language. In Stardust Provost is inspired by the cliché image of the city of Las Vegas. He introduces various intrigues which overlap one another without yielding their mystery. By means of clichéd film locations – casinos, hotel lobbies, limousines, clubs – Stardust creates a conspiratorial atmosphere of glitter and crime in a world of stars, gamblers and dollars. In every aspect, the film resembles a Hollywood movie, but is actually a documentary image of Las Vegas. The fact that real stars appear on camera, such as Dennis Hopper, Jon Voight and Jack Nicholson, only increases the confusion as to the ‘reality level’ of Stardust. Because though they appear before the camera as a random passer-by or extra, their iconic appearance still prevents the viewer from seeing them in a role other than that of actor. Stardust is also in keeping with another cinematic tradition. Already at the inception of film, masters such as W alter Ruttmann or Dziga Vertov tried to capture an experimental portrait of cities on film. Rather than focus on the city-dweller or typical architecture, they wanted to record the fascinating dynamic of modern, energetic city life with the eye of the camera. If we draw a line from Vertov until now, then Provost teaches us a new lesson in the phenomenology of seeing. If Vertov showed the city as he would want us to see it, namely as a Marxist utopia, then Provost shows us that we can hardly see the city differently than the way we see it, namely as cinematographic ideology.
(Text by Curator Jaap Guldemond)
www.eyefilm.nl/cinema-remake
Group exhibition with:
Herman Asselberghs, Charif Benhelima, Greet Billet, Michaël Borremans, David Claerbout, Stijn Cole, Willem Cole, Luc Coeckelberghs, Lulu Cuyvers, Marc De Blieck, Bart De Clercq, Jos de Gruyter & Harald Thys, Yvan Derwéduwé, Dieter Durinck, Valentijn Goethals, Ivan Grubanov, Sophie Nys & Danai Anesiadou, Nicolas Provost, Sofie Muller, Matthieu Ronsse, Luc Tuymans, Sofie Van Bossele, Philip Van Isacker, Michaël Van den Abeele, Dan Van Severen, Pieter Vermeersch en Philippe Van Snick.
https://bib.kuleuven.be/commissie-kunst/agenda/Tentoonstelling
Larry Clark, Spike Jonze, Nicolas Provost, Florian Drexel, Christopher Samuels, Ryan Wolfe
Curated by James Cope
The Pollock Gallery
Artists included in Amor Fati: David Armstrong, Maxime Ballesteros, Benjamin Degen, Zhivago Duncan, Richard Dupont, Martin Eder, Eloise Fornieles, Douglas Gordon, Loris Gréaud, Nir Hod, Michael Joo, Kika Karadi, John Miserendino, Yoko Ono, Angel Otero, Nicolas Provost, Matthew Stone, Stephen Tashijan, Mickalene Thomas, Andy Warhol, Graham Wilson, Nick van Woert
In Amor Fati, we bring together works from artists whose identity and practice shape an immersive look into Dionysian constructions. The works within this exhibition expose the many iterations of irrational human folly, destructive debauchery, primal intuition, ecstatic revelry, reckless exploit and sacrifice. Dionysus, with its celebration of everything that escapes human reason, is the mythological vessel distorting the rational world. In dialog with one another, the works display a modern paganism, revealing a cult of worship as an answer to the inevitable fall of the artist.
Pioneer Works is pleased to present Amor Fati, a group exhibition curated by Anna Erickson and Wills Baker.
Anna Erickson is an art dealer based in New York. She began her career at Gagosian Gallery in New York, before moving abroad to join Haunch of Venison in Berlin, Germany. After living and working in Berlin for several years, during which time she curated the large-scale group exhibitions, “In Fifteen Minutes Everybody Will Be Famous” and “The Garden of Earthly Delights,” Anna returned to New York and is currently an Associate Director at Hauser & Wirth.
Wills Baker is an art advisor, curator and designer working out of Brooklyn, NY. Following positions at London’s Paradise Row gallery and Hauser & Wirth NY this is his first North American show.
will be part of Doug Aitkin’s nomadic Station to Station project travelling across the USA
www.stationtostation.com
Ministry of Culture of the Russian Federation
National Centre for Contemporary Arts (NCCA)
NCCA Volga region branch
with support of the Embassy of the Kingdom of the Netherlands
part of the official program of the Russia-Netherlands Year
present exhibition of contemporary video art
Cinema Empire. Dutch Edition.
30 August – 27 October 2013
Arsenal (Nizhny Novgorod, Kremlin, building 6)
Exhibition at the Arsenal will present video art from Holland. Artists actively explore cinematograph in their works; cinematograph as a language is the basis of aesthetics and stylistics of works of the exhibition’s participants. Exposition includes five video installations.
Using works of artists from Netherlands as an example, the exhibition will introduce audience to diverse methods of cinema language in video art. In his video Gravity Nicolas Provost consistently and dynamically clashes together dozens of kissing scenes from the Hollywood classics; special cinema effect used in film editing causes dizziness. Elodie Pong continues the tradition started by Provost in a sense. One of her works was created with infinite series of movie finals with “The End” caption, arranged in a melodramatic movie sequence. Cinema becomes a character, it forms a “body” of works of Elodie Pong and Nicolas Provost. On the contrary, Sonja Wyss doesn’t use “ready-made shots”; instead she turns to fiction films. She explores nature of cinematograph and experiments with its visual language.
Undoubtedly, behind any representations of formal artistic methods in video art there are vivid, often ironic artistic statements on various subjects – from eternal questions of love and death to contemporary topical issues
Artists: Nicolas Provost, Elodie Pong and Sonja Wyss.
Curator – Karina Karaeva, film expert, head of cinema and video art department of NCCA (Moscow)
Press screening will take place on the 29th of August at 17.00, opening ceremony will begin at 19.00.
Tuesday-Sunday 12:00 – 20:00. Admission fee 100 rub., discount tickets 50 rub.
with Maurice Doherty, Ciara Finnegan, Kandy Fong, Kristin Lucas, Peter Spiers and Jeanne Susplugas.
www.aichitriennale.jp/english/artist/nicolas_provost.
Bill Beckley, Cecily Brown, Rosson Crow, Natalie Frank, Nan Goldin, Andreas Gursky, David LaChapelle, Nicolas Provost, Agathe Snow, Dash Snow, Florian Sussmayr, Ena Swansea, Wolfgang Tillmans and Andy Warhol
Friedman Benda is pleased to announce And those who were seen dancing were thought to be insane by those who could not hear the music, a group exhibition curated by Thorsten Albertz, from July 16 to August 17, 2013. From the outgoing and flamboyant to the introverted and lonesome, the show assesses the culture of nightlife – its customs and expectations – through the art it has provoked from the 1970s to the present. An unconventional opening celebration will be held on Tuesday, July 16 from 6-9pm at Friedman Benda, 515 West 26th Street.
In the exhibition, a diverse group of artists explore the bacchanalian nights and elusive nocturnal moments that define the collective party experience. It is a setting where routines of the day are cast aside to make way for an alternative set of rituals. From New York City’s historic Studio 54 to Berlin’s open air ‘Love Parade,’ club culture elicits a complex web of emotions, unique to each participant though foreign to none. Intrigued by the sensational nature of the party, each artist captures an affecting moment in its evolution from the questioning of identity in Nan Goldin’s polaroids of young men preparing to go out to Nicolas Provost’s video play with synthetic atmospheric manipulations.
An unconventional opening celebration will be held on Tuesday, July 16 from 6 – 9pm
An overarching homage to the frivolity of the party and its influence in contemporary art, viewers to the exhibition are greeted by Andy Warhol’s Studio 54 painting in proximity to Bill Beckley’s photo “The Bathroom” (1977) which directly contrasts with Warhol’s commercial themes by capturing an intimate bathroom stall encounter. A generation later, Agathe Snow, who famously hosted a 96-hour dance marathon for the 2008 Whitney Biennial, turns attention once again to celebratory excess. Here, her commissioned work places a disco ball at the centerpiece of the exhibition, casting a playful, ever-changing light across all neighboring works.
Some artists have chosen to turn their eye to the indecent. In his work “Spitting On Dick”, Wolfgang Tillmans blatantly relinquishes any previously held inhibitions, emphasizing the voyeuristic aspect of the show, while Cecily Brown, exploring the wonders of foreplay, invites an audience. Natalie Frank chronicles a subconscious, primal instinct, painting dense environments that play host to characters acting out sinful fantasies.
Touching on memory and signifiers, Rosson Crow, Andreas Gursky and Ena Swansea transport the viewer to familiar yet manipulated environments. Crow’s work deftly plays to our curiosity and voyeuristic tendencies, highlighting the feelings of isolation and dissociation that sometimes arise in the midst of a seemingly happy celebration. Gursky and Swansea address the experience of the individual who gets lost within the crowd. Gursky’s monumental Love Parade photograph hones in on the defining celebration of the 90s that found tragic conclusion in the 2010 stampede at Dortmund, while Swansea’s collection of nighttime personalities occupy the same space, yet seemingly engage in celebration with themselves.
For the opening of the exhibition, key nightlife elements will be replicated in an unconventional gallery set-up. The evening will feature a live DJ and special performance under the glittering light of a central disco ball. Be prepared to show your ID at the door for this 18-and-up reception.
www.friedmanbenda.com
MAY 21, 2013 6:30PM
Nicolas Provost will present some of his recent video works that deal with the relation between visual art and the cinematic experience. He will discuss his ideas and creative process of his Plot Point Trilogy which he filmed in New York, Las Vegas and Tokyo and his experience with the film industry through the making of his first feature film The Invader.
the Plot Point Trilogy: Plot Point (2007) – Stardust (2009)- Tokyo Giants (2012) and more video works
www.artplus.com
http://www.blouinartinfo.com/news/story/883638/soon-to-launch-online-biennale-includes-180-artists-will
BiennaleOnline, which claims to be the first art biennial taking place entirely on the Internet, has just released its inaugural list of artists. In total, 180 will take part in this first edition, which will officially open on April 26, 2013.
This new venture is part of the art world’s increasing use of the digital space. With various sorts of art commerce sites making headlines, it seems logical that a non-selling, biennial-type of event should follow suit. BiennaleOnline’s founders David Dehaeck and Nathalie Havemanidentified the niche and launched the umbrella organization responsible for the biennial, ART+, in 2012.
BiennaleOnline hopes to distinguiss itself by its very high-profile curatorial team. Among the 30 curators who helped pick this year’s participants are such heavy-hitters are deputy director of New York’s Jewish Museum Jens Hoffman, the Serpentine Gallery’s director of exhibitions Hans Ulrich Obrist, and Moderna Museet director Daniel Birnbaum, as well as independent curatorsAdriano Pedrosa and Catherine David. Each curator selected five artists, one for each category — photography, new media, installation, performance, and traditional media (painting, drawing, sculpture) — and had to include at least two from their own country.
The BiennaleOnline focuses on emerging art and gathers such rising stars as Ed Atkins,Michael Dean, Nina Canell, and Sophie Bueno Boutellier. More established figures like the Lebanese artist Tony Chakar and Icelandic star Ragnar Kjartansson will also take part.
The whole operation is given an extra layer of seriousness by its artistic director Jan Hoet. TheDocumenta IX curator and founder of SMAK in Ghent is responsible for putting together a separate online exhibition as part of the show, which will include 25 artists and be entitled “Reflection and Imagination.” “Great contemporary art is the sum of reflection and imagination,” commented Hoet. “The artist adds his or her personal vision to history and the memory of history. I hope this combination of factors will be present in every single work in this biennale. In this way we’ll come to a new world and new art.”
The BiennaleOnline’s preview is slated for April 19 for visitors ready to shell out $80 to log on, and will continue until April 25. Admission rates will drop to $10 thereafter. The biennial will remain accessible online until October 14, and the artists will share 30 percent of the ticket sales revenue.
Full List of Artists
Meriç Algün
Ringborg Edgardob Aragon
Francesco Arena
Marcela Armas
Ed Atkins
Niclas Bacal
Guy Bar Amotz
Wojciech Bąkowski
Eduardo Basualdo
Stefania Batoeva
Atul Bhalla
Beni Bischof
Rossella Biscotti
Lucas Blalock
Katinka Bock
Gwenneth Boelens
Thomas Bogaert
Pawet Bownik
Veronica Brovall
Michal Budny
Sophie Bueno Boutellier
Giuseppe Campuzano
Nina Canell
Francesco Cavaliere
Tony Chakar
Rosa Chancho
Alejandro Chaskielberg
Jeanette Chávez
Chieh-Jen Chen
Wei Chen
Paolo Chiasera
Vaast Colson
Sarah Conoway
Michael Dean
Koenraad Dedobbeleer
Raphaëlle de Groot
Edith Dekyndt
Virginia De Medeiros
Liz Deschenes
Jessica Dickinson
Aleksandra Domanovic
Eitan Efrat
Nezaket Ekici
Charlie Engman
Ruth Ewan
Sirah Foighel Brutmann
Linda Fregni
Nagler Leyla Gediz
Mariam Ghani
Babak Golkar
Kristin Grey Apple
Meta Grgurevič
Osang Gwon
Hadley+Maxwell
Petrit Halilaj
Susan Hefuna
Thomas Helbig
Calle Holck
Jonathan Horowitz
Vlatka Horvat
Carlos Irijalba
Fritzia Irizar
Sarah Anne Johnson
Zin Ki Jong
Regina José Galindo
Leja Jurišič
Nikita Kadan
Franka Kassner
Ragnar Kjartansson
Thomas Kratz
Sheung-Chi Kwan
Olivier Laric
Guillaume Leblon
Changwon Lee
Sojung Lee
Yeesookyung
Gauthier Leroy
Ellen Lesperance
Hanna Lidén
Shiga Lieko
Minouk Lim
Ryan Lobo
Jarbas Lopes
Nicola Lopez
Maider Lopez
Desire Machine Collective
Kevin Mancera
Luiza Margan
Taus Makhacheva
Maria Marshall
Hiroyuki Masuyama
Manuel Mathar
Mediengruppe Bitnik
Wesley Meuris
Maro Michalakakos
Mikael Mikael
Adrien Missika
Marge Monko
Ivan Moudov
Carter Mull
Marina Naprushkina
Otobong Nkanga
Uri Nir Navid Nuur
Christine Ödlund
Ahmet Ogut
Teatro Ojo
Nikolay Oleynikov
Daniela Ortiz
Sener Özmen
Amilkar Packer
Anna Parkina
Slawomir Pawszak
Kiko Perez
Dulce Pinzón
Falke Pisano
Frédéric Platéus
Sharon Poliakin
Paloma Polo
Agnieszka Polska
Nicolas Provost
Michael+Florian Quistrebert
Shiming Qiu
Timofey Radya
Camila Ramirez
Lucy Raven
Teja Reba
Mandla Reuter
Beau Rhee
James Richards
Evariste Richer
Rubedo
Analia Saban
Jeremy Shaw
Praneet Soi
Julia Spinola
Corin Sworn
Alberto Tadiello
Pilva Takala
L.N. Tallur
Zin Taylor
Angelica Teuta
James T. Hong
Clarissa Tossin
Katerina Undo
Ignacio Uriarte
Joris van de Moortel
Jan van Imschoot
Stela Vasileva
Yvonne Venegas
Ben Vickers
Vincent Vulsma
Suse Weber
Pavel Wolberg
Zorka Wollny
Chung-Yu Wong
Wai-Yin Wong
Jui-Chung Yao
Samira Yamin
Xiang Yang
Weili Yeh
Masha Yozefpolsky
Cheng-Ta Yu
Tobias Zielony
www.amoa-arthouse.org
3809 West 35th Street Austin, TX 78703
Visions of the modern global city by some of the world’s most exciting artists, Metropolis brings together stunning work by 25 contemporary artists of the highest international standing to Birmingham and includes digital projection, painting, sculpture, photography and mixed media installation.
Metropolis: Reflections on the modern city is a major showcase of international contemporary artwork jointly collected by Birmingham Museum and Art Gallery and the New Art Gallery, Walsall and developed in partnership with Ikon Gallery, as part of the £1 million Art Fund International initiative. Now shown together for the first time, these works represent an ambitious and nationally-significant new collection for Birmingham, Walsall and the West Midlands.
www.bmag.org.uk/events?id=2362
Opificio Telecom 8th and 9th February 2013
L’exposition Screen/play présente une sélection d’œuvres d’artistes d’aujourd’hui qui utilisent, s’approprient ou détournent le langage, les codes, les représentations et les imageries du cinéma américain pour les traduire dans un vocabulaire esthétique contemporain.
Le cinéma américain, symbolisé par Hollywood, fait office de modèle de référence. Si l’un des apports majeurs du cinéma américain est la fabrication de codes esthétiques et narratifs aboutissant à la création de genre bien définis (thriller, western, comédie musicale, film d’horreur, de zombies etc.), nombre d’artistes, présents dans cette exposition, jouent de ces codes et représentations. L’exposition s’intéressera notamment aux artistes contemporains qui abordent la question de la narration dans le cinéma et utilisent le montage pour déconstruire le récit.Mais le cinéma hollywoodien n’est pas seulement à l’origine d’un système narratif classique et ultra- référencé, il est aussi un faiseur d’icône et de célébrité, le générateur d’une société du spectacle, aujourd’hui emblématique. L’imagerie populaire véhiculée par le cinéma hollywoodien sera aussi abordée dans l’exposition, au travers d’œuvres mettant en scène la figure de la star.
Long Live the New Flesh
This exhibition brings together artists who explore the darker side of the urban environment as well as those who celebrate its potency as a glimpse of modern life. Many of the works have been acquired for the region’s collections with the support of Art Fund International. Artists include Mohamed Bourouissa, Nathan Coley, Barry McGee, Miao Xiaochun, Nicolas Provost, Dayanita Singh, Gavin Turk and Zhang Enli.
A street can be where we live, where we work or where we shop. It can be a focus for bustling activity and a celebration of diversity. It can also be a site for conflict, anxiety, loneliness, alienation and economic gloom.
www.thenewartgallerywalsall.org.uk/whats-on/exhibition/street
www.santelmomuseoa.com/index.php?option=com_flexicontent&view=items&id=8197&cid=0&Itemid=123&lang=en
Saint-Bavo’s Cathedral (Sint-Baafsplein, 9000 Ghent, Belgium)
Group exhibition
Curator: Jan Hoet – Co-curator: Hans Martens
Sint-Jan is the former name of the cathedral and is inspired by the “The Mystic Lamb / Ghent Alterpiece” by Hubert and Jan Van Eyck at the St Bavo’s Cathedral. The exhibition explores traces of religion and spirituality in contemporary art.
For many artists it is a true challenge to display their works in such meaningful surroundings. They forge a relationship with the physical and mental architecture of the cathedral and its heritage. Another surprising fact: there is no budget, only generosity. The artists work for free. They are displaying works (some small or modest, others monumental) under the topic “spirituality and religion”. The works are displayed on the various altars and side chapels in the cathedral. Jan Hoet has truly managed to bring together an impressive line-up of influential artists for his Sint-Jan project. This exhibition is yet another reason to visit Ghent, and more particularly St Bavo’s Cathedral and its Mystic Lamb. Highly recommended!
The following artists have confirmed their participation:
Alessandro Algardi / Anne Wenzel / Ann Veronica Janssens / Ben Benaouisse / Berlinde De Bruyckere / Bizhan Bassiri / Bruce Nauman / Cristina Lucas / Damien Hirst / David Adamo / David Claerbout / Dirk Braeckman / Ed Lipski / Fernando Sanchez Castillo / Frederik Van Simaey / Geert Bisschop / Gerard Godal / Gregor Schneider / Huang Yan / Ian Wilson / Jan Fabre / Jan Van Imschoot / Jan Van Oost / Johan Tahon / Karel Dierickx / Koen Theys / Kris Martin / Leo Copers / Luciano Fabro / Mandla Reuter / Maria Degrève / Maria Gabriëlle / Mario Airo / Marlene Dumas / Masashi Echigo / Masato Kobayashi / Matthieu Ronsse / Maurizio Cattelan / Mehdi-Georges Lahlou / Michaël Borremans / Navid Nuur / Nicolas Provost / On Kawara / Pascale Marthine Tayou / Philippe Vandenberg / Ricardo Brey / Rossella Biscotti / Sarah Westphal / Stanislas Lahaut / Thierry De Cordier / Thomas Bogaert / Thomas Raat / Wim Delvoye / …
Supercluster – Phase n°1 – Phoenix Artificier
Artists: Stephan Freivogel, Laurent Montaron, Nicolas ProvostWith Long Live the New Flesh, 2009, Nicolas Provost appears to push the compression of video images to such an extreme to bring them to the brink of destruction. In revealing the structure of pixels in horror movies, he is able to mute the images in an abstract and brutal material, which paradoxically acquires a fascinating pictorial beauty.
Each of these three works specifically question the film medium, its relation to time and image. If they bring up reflexions on our media environment, they also allow the spectator to be immersed in the heart of a hypnotic experience where his senses and apprehensions of time are disturbed.
www.can.ch/spip.php?article320
www.argosarts.org
From 21 March until 11 July 2012 Contour will present video art in De Loketten in the Flemish Parliament.
De Loketten is a monumental space in the House of the Flemish Representatives. In this space, the Flemish Parliament pursues an active exhibition policy in which contemporary art plays a prominent role. The Flemish Parliament has presented prior exhibitions which focus on specific media, such as ‘Design Icons in Flanders’ (2003-2004), ‘6+ Antwerp fashion in the Flemish Parliament’ (2007) and ‘Screen Worlds: Contemporary photography in the Flemish Parliament’ (2008). The current exhibition, ‘Contour on Tour’, highlights video art in Flanders.The exhibition consists of a nucleus of twelve artists whose works are being shown in an enormous black box in the middle of the space. It includes works by Sven Augustijnen, Michaël Borremans, Wim Catrysse, David Claerbout, Anouk De Clercq, Johan Grimonprez, Hans Op de Beeck, Nicolas Provost, Bart Stolle, Dennis Tyfus, Sarah Vanagt, Katleen Vermeir and Ronny Heiremans. Together the works on display by these artists provide an exciting survey of the first decade of the twenty-first century. This decade is characterised by digital techniques becoming increasingly accessible and less expensive. Due to these developments, video art has definitively earned its place in museums, art centres and galleries.
On the one hand, in the selection of video works we see a focus on the pure, poetic quality of the moving image. On the other hand, the medium lends itself perfectly to critical reflections on the documentary nature of images. The video works presented distinguish themselves from cinema and television by their uncompromising play with narrative structures, image composition, sound and the — often interactive — relationship with the spectator.In a few separate spaces you can browse through acompilation of historically important video works from the previous decades, put together by Argos.Commissioned by the Flemish Parliament, this exhibition was produced by Contour. The curatorship of ‘Contour on Tour’ is in the hands of Hans Martens.
www.contourmechelen.be
The 12th edition of Helsinki Photography Biennial is organized in March–April 2012.
HPB12 will feature photographic art from Finland as well as abroad. In April, the biennial will for the first time become a month of photography, expanding not only to the main partner museums but to many galleries and public spaces in the Finnish capital. The biennial creates a highly visible and interesting set of events for the art form whose role as one of the most interesting mediums in both Finnish and international contemporary art is beyond question.
The theme of HPB12 will be urbanity and the city. Through these concepts, the biennial will explore how art meets the city, how the city receives art, and how urbanity is addressed in art. Through photography and moving image works, the festival will examine the core and the boundaries of the city, its points of conflict and places of calm.
In 2012 the biennial is organized in co-operation with Helsinki City Museum and the City of Helsinki Cultural Office.
www.hpb.fi
Drawing inspiration from the 1924 Russian propaganda animation of the same name, Interplanetary Revolution is an exhibition looking at failing/ed ideologies; notions of otherworldliness and the uncanny; and revolutionary critique. The exhibition features contributions from a wide range of artists’, a few curators, a choir and a number of guest speakers.
Gallery 1
It should be noted that through the duration of exhibition the artists and works in Gallery 1 may change.
The opening of the exhibition features works by: Shiro Masuyama, Gary Shaw, Laura Graham, Susan MacWilliam, Marty Carter & the Lawerence Street Workshops, Brendan Jamison, Brendan O’Neil, Colin Darke, Kim McAleese & Phillip McCrilly, Gerry Gleason and the Factotum Choir.There is a plan of the Gallery 1 available at the entrance (it will be updated as the artists and works change).
The Backspace features Interplanetary by Ben Crothers, a new exhibition with works by: Chris Burns, Adham Faramawy, The Girls, Allan Hughes, Ryan Moffet, Brian Kennedy, Laura McMorrow, Nicolas Provost, Erik Mark Sandberg, and David Sparshott.(A PDF download accompanying Interplanetary will be available from the Gallery Website
Gallery 2
features R E V O L U T I O N, the reworking of an exhibition curated by Maurice Doherty for Galerie Deadfly, Berlin last September.
Revolution Clockwise entering from backspace – Ma Qiush, Reynold Reynolds, Jofroi Amaral, Sophie Hamacher, Clemens Wilhelm, Pierre Granoux , Peter Richards, Anonymous, Rebecca Loyche, Captain Hate.… for further details of Revolution click here Revolution_List_of_Artworks
Gallery 3
Jonas Mekas, The Brigg, 1964. A video reproduction of a 16mm film courtesy of the Re-Voir. “this harrowing screen exercise depicts the methodical, round-the-clock fiendishness inflicted on 10 prisoners by three guards, all of it apparently in the line of duty” New York Times
Interplanetary Revolution will be accompanied by a series of Guest Talks and Screenings
www.goldenthreadgallery.co.uk/event/interplanetary-revolution
If an artist was to document contemporary, American street life in the city of New York and capture something of the post-September 11 era’s psyche in a dramatic cinematic construction, then it might look something like Nicolas Provost’s film Plot Points.Provost’s work plays with film genres, the codes of cinema, and the boundaries between fact and fiction. In Plot Point, a compelling, suspenseful narrative is constructed with footage he shot with a hidden camera, yielding thousands of images and hours of footage. Through masterful edits and the overlay of an absorbing soundtrack, Provost has created a believable dramatization of mundane, everyday urban experiences.
While Provost has used his own camera to capture street footage in Times Square and weave it into an imaginative, award-winning film, the footage recorded by millions of surveillance devices installed around the globe lead to a different type of narrative altogether.
www.kcai.edu/nicolasprovost
Curator/s: Gilles Lipovetsky, Jean Serroy, Andrés Hispano
The aim of the exhibition is to show every aspect of the power of the screen: seduction, spectacle, creation of archetypes and models, information, communication, shock factor, interactivity, surveillance, etc. It is a power that technological advances serve to renew, increase and diffract from the initial format, the big cinema screen, to today’s proliferation. Screens that are present everywhere, at all times, screens that allow us to see and do everything: TV screens, video screens, touch screens, spy screens—interactive, recreational, informational… The screen has become a constituent element of hypermodern societies.
The exhibition also sets out to show how this power has gone from the big screen of the cinema to all kinds of digital screens, imposing its model: the cinema model or cinevision, a worldwide phenomenon, creating a world made up of screens and screens that create the world.Independently of cinevision, the screen has also become the gateway to the world. It is not only aspects of everyday life that happen on screen; relations with the city, culture and knowledge are also conditioned by what screens contain and convey. The phenomenon is all the more powerful because it is globalized and instant: the screen not only creates another, illusory, spectacular world, it actually gives us access to it.
This exhibition will run at the Museu San Telmo (San Sebastian) from June to September 2012.
www.cccb.org/en/exposicio-global_screen-39450