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Ben Cottrell, Jana Kochánková und Vladimír Skrepl / Lost Eye / MeetFactory Gallery / 2009 Katarína Uhlířová | review | 01.02.2009
BEN COTTRELL, JANA KOCHÁNKOVÁ UND VLADIMÍR SKREPL / LOST EYE / MEETFACTORY GALLERY / 2009
The shattered reality of Ben Cottrell from Cornwall and Berlin The first thing I noticed about the Lost Eye1 exhibition were the drawings. They were new to me, all of them from the two-month period when Ben Cottrell (born 1982 in Cornwall) was a resident of MeetFactory in Smíchov. Drawings of faces and grimaces. Collages of decaying smiles. Masks with wrinkles of reality. The many smaller…
Jacques Rancière – The Two ‘Resistances’ of Art Karin Rolle | review | 01.01.2009
JACQUES RANCIÈRE – THE TWO ‘RESISTANCES’ OF ART
The image of the free and rebellious artist who criticizes and reshapes society has lost much of its credibility. Yet the French philosopher Jacques Rancière still believes art to have political significance; he discusses the potential for resistance in contemporary art, presenting a theory in which the resistance of art is a relationship of tension between two different resistances. Scant,…
Georges Didi – Huberman:  Against the Unrepresentable Karin Rolle | review | 01.01.2009
GEORGES DIDI – HUBERMAN: AGAINST THE UNREPRESENTABLE
The precarious relationship between art and history is a topic explored by French philosopher and art historian Georges Didi-Huberman. In his Bilder Trotz Allem (Pictures in Spite of Everything), he sets forth an argument against the prohibition of displaying the radical inhumanity of the Shoah through visual media; against the formulation of the “unrepresentable” and against the scepticism of…
Homeland Decay Milena Dimitrova | review | 01.01.2009
HOMELAND DECAY
The impulse for this article was provided by the magazine’s publisher as we were discussing the books I'd been reading, in search of a general overview of modern art and the modernist avant-gardes of central and Eastern Europe. My search ended in failure: these books caused only confusion. They did not provide orientation. For one, many countries in southeastern Europe were hardly discussed in…
At arm’s length Milena Dimitrova | review | 01.01.2009
AT ARM’S LENGTH
Contemporary art that engages with Eastern Europe tends to be viewed from a purely Western perspective. Bulgarian artist Kamen Stoyanov, an artist as an observer, makes no attempt to evade this question. Vienna’s MUMOK in Vienna played host last year to the exhibition “at arms length” by Stoyanov, in connection with the awards ceremony of the Viennafair. This exhibit took as its theme the…
Punks not dead Tony Ozuna | review | 01.02.2008
PUNKS NOT DEAD
Punk. No One is Innocent—Art—Style--Revolt Kunsthalle Wien 16 May—7 September, 2008 In Eastern Europe, or in any non-English speaking country for that matter, punks must take pride in writing “Punks Not Dead” without the apostrophe after the “K,” as it should be. Without the grammatical correction, on their leather jackets, t-shirts and graffiti on the walls, the slogan takes on a Dadaist…
A place in front of the picture Lenka Vítková | review | 01.02.2008
A PLACE IN FRONT OF THE PICTURE
Maria Lassnig, Serpentine Gallery, London. Curator: Julia Peyton-Jones and Hans Ulrich Obrist, April 25 – July 8, 2008 At the recent London exhibition of Austrian painter Maria Lassnig (b. 1919), the large, bright walls of the elegant Serpentine Gallery display sizable figurative oil paintings, often self-portraits, some schematic male and female figures on a white background or symbolic bodies…
Unfolding the Middle East: Kristen Alvanson’s Nonad Robin Mackay | review | 01.02.2008
UNFOLDING THE MIDDLE EAST: KRISTEN ALVANSON’S NONAD
Azad Gallery, Tehran, May 2008 In his 1998 book on Leibniz, philosopher Gilles Deleuze proposed the figure of ‘The Fold’ as a way in which a philosophy of immanence might measure the multiplicity of the universe. If Being speaks in one voice, if we invoke no transcendent plane of organisation, then how can difference be articulated? Deleuze’s vision of folds-within-folds, which he discovers to…
Wölfli"s Universe Hana Tanimura | review | 01.01.2008
WÖLFLI"S UNIVERSE
There is a fine line between insanity and genius, though it sometimes takes something extraordinary to remind us of it. The works of Adolf Wölfli (1864-1930), a Swiss artist who created thousands of drawings while incarcerated in a mental institution, present a window into the mind of a man who straddled that line. Formally, Wölfli was a schizophrenic with pedophilic tendencies. Informally, he…
Love and death (from Mexico to Vienna) Tony Ozuna | review | 01.01.2008
LOVE AND DEATH (FROM MEXICO TO VIENNA)
Review of “Viva La Muerte!” — Art and Death in Latin America Kunsthalle Vienna, October 17, 2007—February 17, 2008. The tomb of Mexico’s last Emperor, His Imperial Majesty Maximilian I, is coveted in the Royal Crypt in Vienna, Austria. It was shipped there one year after he was publicly executed by firing squad in Mexico, 1867. Before becoming Emperor, Maximilian had merely been an Archduke.…
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