SUPERFLEX | Pinacoteca Agnelli
It Is Not The End Of The World is part of La Pista 500, the artistic project of Pinacoteca Agnelli on the iconic FIAT car test track on the roof of the Lingotto, curated by Sarah Cosulich and Lucrezia Calabrò Visconti. It Is Not The End Of The World invites the viewer to reflect upon our present role in the escalation of climate change, to consider an apocalyptic scenario, and to imagine a future world of lively, diverse and perhaps even humanlike lifeforms.
Uta Barth | Getty Center
…and to draw a bright white line with light (11.2), 2011 printed 2021, Uta Barth. Pigment prints, 38 × 56 1/2 in. Getty Museum, 2021.51.1-.2. © Uta Barth
By The Getty Center
Uta Barth (born in West Germany, 1958) makes photographs that investigate the act of looking.
In her multipart works, she explores the ephemeral qualities of light as well as its ability to affect optical perception. Uta Barth: Peripheral Vision traces Barth’s celebrated career from her early experimentations while a student to later studies that probe the eye’s capacity and the camera’s role in translating visual information into a photograph. Organized chronologically, with sections dedicated to her most prominent series, the exhibition presents the first overview of the artist’s career in over 20 years.
Ann Veronica Janssens | Architectural Digest
Ann Veronica Janssens, frisson bleu, frisson rose, 2021. Courtesy of Esther Schipper. © Blaise Adilon
By Athéna Rivas
Cet été, dans le sud, Ann Veronica Janssens joue avec le soleil. Exposée à la Collection Lambert, à Avignon, mais aussi de l'autre coté de la Provence à la Fondation Cab à Saint-Paul-de-Vence, l'artiste belge présente des sculptures et des installations au sol, où la lumière apparait sous toutes ses formes.
Construite en réponse aux néons de Dan Flavin, installés au rez-de-chaussée de l'hôtel de Montfaucon, écrin de la Collection Lambert, l'exposition entre le crépuscule et le ciel d'Ann Veronica Janssens joue avec la lumière naturelle de la grande salle du premier étage. L'artiste a choisit de découvrir la totalité des vingt-six fenêtres pour laisser le soleil méditerranéen animer ses créations. À chaque heure de la journée, et chaque jour, ses sculptures et ses installations prennent une dimension singulière et dégagent une émotion différente.
Ana Prvački | Der Tagesspiegel
Ana Prvački, Artist in Residence at the Gropius Bau. Photo Credit: Ksenia Jacobsen
By Christiane Meixner
Ana Prvački musste nicht erst anreisen, um ihr Stipendium am Gropius Bau anzutreten: Die serbische Künstlerin lebt ohnehin in Berlin. Vergangenes Jahr durfte man ihr im Rahmen von „Die Balkone2“ – eine Ausstellung, die wegen Corona ausschließlich draußen stattfand und bloß von der Straße aus angeschaut werden konnte – auf die heimische Veranda in Prenzlauer Berg sehen.
Vor ein paar Tagen hat sie als Mentorin am „Forecast Forum 2022“ teilgenommen, das junge Künstler:innen von überall her ins Radialsystem einlädt, um zukunftsweisende Ideen zu realisieren – eine Woche intensive, an die eigene Substanz gehende Arbeit liegt gerade hinter ihr. Und auch jetzt gibt Ana Prvački Einblick in ihr Denken und Leben, das immer wieder von einer Substanz bestimmt wird. Vom Honig.
Ana Prvački | The New Institute
Ana Prvački - Apis Gropius , 2021-2022
By Antonia Lagemann
Ana, you have a very close emotional connection to bees—how come?
I come from a family of beekeepers. When my great-great-grandmother married my great-great-grandfather, she brought bees as her dowry. So everyone in my family has been beekeepers for many generations. I learned beekeeping with my grandfather, and when he passed away he left me with five hundred kilos of honey.
How and when did it take on such significance in your work?
When my grandfather died, I was pregnant, and I became really obsessed with bees. I started reading and doing research, looking at the science and theology, but also bee colony collapses—and I studied the history of bees and pollination. It turned into my passion. I just love bees. And you know what? Bees don’t really need us, like most of nature. But we need bees: without pollination our life and our evolution would have been completely different.
Ana Prvački | Berliner Zeitung
Apis Gropius (2022) by Ana Prvački
By Ingeborg Ruthe
„Wenn die Biene von der Erde verschwindet, hat der Mensch nur noch vier Jahre zu leben. Keine Bienen mehr, keine Bestäubung mehr, keine Pflanzen mehr, keine Tiere mehr, keine Menschen mehr.“ Die Mahnung stammt von Albert Einstein.
Ana Prvacki aus Serbien interessiert sich schon lange für die bedrohte Spezies. Für ihre Art-in-Residence-Arbeit im Gropius-Bau, dem Ausstellungshaus der Berliner Festspiele, erfand die 46-Jährige eine fiktive Bienenart, die im Grünen hinterm Museum leben soll. „Apis Gropius“ ist ihr Name und wir lernen sie kennen per App mit QR-Code im Lichthof des Museums. Prvacki sagt, „Bienen sind unsere Gastgeberinnen auf diesem Planeten und wir sind von ihrer Bestäubung total abhängig.“
Philippe Parreno | Financial Times
By Peter Aspden - July 15, 2022
Cosmic forces appear to be unleashed in the opening minutes of “La Quinta del Sordo”, a new film by the French artist Philippe Parreno now showing at the Prado Museum in Madrid. Amid an ominous ambient soundtrack, played through headphones, planets and stars appear to be on the move. A sinister organic form — is it a giant, sun-devouring creature? — comes out of the darkness. Specks of light flicker across the screen in super-slow-motion, and seem to explode.
As a prelude to Uta Barth’s forthcoming retrospective at The Getty Center, slated to open in November 2022, Tanya Bonakdar Gallery and 1301PE have collaborated on a small career-spanning survey that provides a solid introduction to the artist’s work of the past five decades. Curated by writer Jan Tumlir, the exhibition is divided into two sections, with Barth’s figurative photos featured at Bonakdar and her non-figurative works on view at 1301PE.
Read MorePhilippe Parreno | Times UK
By David Sharrock
When Goya painted his nightmarish Black Paintings directly on to the walls of his country retreat near Madrid he never intended them for public display.
An exhibition by Philippe Parreno, the French artist, has recreated the alarming experience of first viewing them inside the farmhouse, demolished long ago. The Black Paintings are among the most disturbing and priceless works of art housed by the Prado Museum in Madrid.
Philippe Parreno | The Guardian
La Quinta del Sordo. Photograph: Otero Herranz, Alberto/© Museo Nacional del Prado
By Adrian Searle
“Parreno’s film oscillates between surface and depth, light and shadow; between sound and vision, the pictorial spaces Goya created and the walls of the rooms they originally covered. This oscillation continues, like a tilting gyroscope, between past and present. At the end of the film, we see a crossroads at dusk, street lights, a row of buildings. We hear the traffic and the screeching brakes of a local train taking a bend in the track.”
Fiona Banner | Forbes
Fiona Banner aka The Vanity Press, Pranayama Organ, 2021. High definition digital film 10:38 mins. Soft Parts: Wing, Flap, Fin, 2022 Bespoke beanbags. Dimensions variable. Installation view, Patronato Salesiano XIII, Venice, 2022. Photo: Enrico Fiorese
By Joanne Shurvell
“One of the only exhibitions where you’re actually among the locals, a basketball court within a converted church and a community playground, is the site of British artist Fiona Banner’s mesmerising film.Two full-scale inflatable military decoy aircrafts, a Typhoon and a Falcon slowly inflate on the beach, coming to life like two long-slumbering creatures. The setting of the film then shifts to a grassy precipice, where two figures, including the artist, are dressed as fighter planes and dance around each other. The church organ soundtrack is equally captivating.”
Fiona Banner | Evening Standard
Fiona Banner aka The Vanity Press, Pranayama Organ, 2021. High definition digital film 10:38 mins. Soft Parts: Wing, Flap, Fin, 2022 Bespoke beanbags. Dimensions variable. Installation view, Patronato Salesiano XIII, Venice, 2022. Photo: Enrico Fiorese
By Nancy Durrant
“Simultaneously funny and oddly moving, this ten minute (yay!) film by the British artist Fiona Banner was made during lockdown on a shingle beach on the English South Coast - a bleak spot, liminal and soaked with ancient history. Two characters start out sprawled on the beach, slowly filling out to a soundtrack of human breath (and increasingly, deliberately overblown and ominous music) to reveal themselves as… two inflatable fighter planes, dancing together on this grey stretch, a much-needed emasculation of the tools of conflict. It’s ridiculous but also weirdly lovely (and short). The film is accompanied by a painting and a publication artwork, and the script for an impenetrable but entertaining Noh play written by Banner and her collaborator Tom McCarthy. It’s bonkers, and fun.”
Fiona Banner | Frieze
Fiona Banner aka The Vanity Press, ‘Pranayama Organ’, 2021, installation view, Patronato Salesiano XIII, Venice, 2022.
BY SEAN BURNS IN CRITIC'S GUIDES | 22 APR 22
“Fiona Banner’s installation, ‘Pranayama Typhoon’, occupies a school gymnasium at Patronato Salesiano. As with all of the artist’s work, everything is cleverly interconnected for the viewer to decode. The ISBN number of the exhibition’s publication also appears on a small screen in the show, while the painting Capitalist, Capitalist, Capitalist (Ellipsis) (2022), containing rock-sized full-stops in a landscape, hangs on the gym’s basketball hoop. The central video, Pranayama Organ(2021), features two performers dressed as floppy fighter jets jostling on a beach: it’s a flaccid and futile distillation of failed, warmongering masculinity. Banner has been recycling this motif for over a decade: the Typhoon and Falcon jets are heavy signifiers of human ingenuity and destruction.”
Philippe Parreno | Artforum
Organizers of the Sharjah Biennial have released the names of more than 140 artists participating in the event’s hotly anticipated 2023 iteration, conceived by the late Okwui Enwezor and curated by Hoor Al Qasimi, director of the Sharjah Art Foundation, which oversees the biennial. Artists from over seventy countries will be represented across sixteen venues scattered around the city, including a former kindergarten, a vegetable market, and a power station. The event is slated to take place February 7–June 11, 2023.
Rirkrit Tiravanija | Sculpture Magazine
April 12, 2022 by John Gayer
Grimbergen, Belgium
Though pertaining to the global impact of the Covid-19 pandemic, Tiravanija’s pervasive use of “free” also urges us to consider its many meanings and associations. Today, that four-letter word resonates clearly, something that failed to happen 30 years ago. Jörn Schafaff emphasizes this point in the exhibition text, noting that untitled 1992 (free) was misunderstood as signifying “’free food for all,’ leaving its poetic dimensions largely unnoticed.”
Rirkrit Tiravanija | New York Times
The Artist cooking with his students.
Interview by Alice Newell-Hanson
April 21, 2022
“ I don’t really think of what I do as an artistic practice. There’re no boundaries or limits. All the ways I fill a day — even if I’m doing nothing at all — are one and the same. I don’t have a studio. I don’t wake up and go to a place where I sit down and make things. I just do what I need or want to do, and throughout that process, I think about various possible works. Everything informs everything else.”
By Hannah Nguyen, Deputy Living Arts Editor
“Her work is really strong in the sense that as you spend more time with it, there’s more that you can discover in the world, and you start seeing connections across all the different works that are presented together in the gallery, so it’s rewarding in that sense” - Leonie Bradbury
Article by Marcia Morgado
“In Mongrel, an exploration of the hyphenated idiosyncrasies of exiles, Pardo relives and shares memories from the time he left his native Cuba as a child and, along with thousands of his compatriots, was welcomed at the historic Freedom Tower, which now houses MOAD. Here we find a space of reflection accomplished by recreating an interior that conveys the sense of exile, loss, of fragmentation. Still, in the colors and textures, we also find light and the possibility of fulfillment.”
Ann Veronica Janssens, yellowbluepink, 2015, Artificial fog, yellow, blue and pink filters, Dimensions variable
Over four days, the Belgian dance company Rosas will occupy the Exhibition Hall of the Neue Nationalgalerie with a performance that was specially created for the building. The piece provides museum-goers with a unique exploration of the interplay between architecture, sculpture, music and dance. The Rosas production Dark Red (a series of compositions made for different museum spaces) has most recently been performed at Kolumba in Cologne and at Fondation Beyeler in Basel.
Dark Red’s multi-day showing marks the first performance of a major choreographic work in Mies van der Rohe’s iconic museum building. The vast, transparent space of the exhibition hall serves as the stage for this dance piece by the Belgian choreographer Anne Teresa De Keersmaeker, which was produced in collaboration with dancers Cassiel Gaube and Soa Ratsifandrihana, flautist Chryssi Dimitriou, and visual artist Ann Veronica Janssens.
Fiona Banner, Olde English, 2021, Oil on found painting, 45.7 x 60.5 cm
By Francesca Gavin
In an age of liquid borders, climate change, plastic pollution and mass immigration, the world is watching its water. It’s a theme that has possessed our cultural life also, where aquatic paintings, photography and digital installations are flooding our galleries.