Suchergebnisse

The strategic use of 'piggy-backing' within journals or magazines has a rich historical context. This is known as the 'feuilleton' and it comes from French newspapers, popularised first by the symbolists and re-activated by so-called conceptual artists in the 1960s and 1970s. Marcel Broodthaers's sly political and subversive feuilleton commentaries are a case in point. Seth Siegelaub set a precedent for the exhibition's existence as document only, in his 1970 magazine Studio International. The initial approach Siegelaub wanted to was to us the magazine as a vehicle to 'piggy-back ' via the insertion of a separate pamphlet. Typically, the Feuilleton proclaims political, social messages with a clear ideological position in unexpected places. The Feuilleton is a project curated by Jo Melvin beginning in the Edicola Spoleto to creates a platform for new radical interpretations of the palimpsest. The MACRO – Museum for Contemporary Art of Rome spaces provide an extended platform for performance, sound, artists books, posters and other interventions made for the EDICOLA. MACRO contributors are Art & Language, Federico Antonini, Kate Atkin, Sophie Bouvier Ausländer, Riccardo Baruzzi, Gene Beery, Elisabetta Benassi, Andrew Bick, Johanna Bolton, Gavin Bryars, Stefano Calligaro, Elisa Cappelli, John Carson, Anne-James Chaton, James Cave, Adelaide Cioni, Alessandro Cicoria, Giulia Crispiani, A K Dolven, Allison Grimaldi Donahue, Alec Finlay, Barry Flanagan, Jeff Gibbons, Fabio Giorgi Alberti, John Giorno, Joschi Herczeg, Lucy Heyward, Michele Horrigan, Jeffrey Isaac, John Hussain Flindt, Michael Iveson, Olga Jevrić, Christine Kozlov, Conor Kelly, John Latham, Sol LeWitt, Claudia Losi, Eleonora Luccarini, Juan Pablo Macias, Giuseppe De Mattia, Gabriele Di Matteo, Charlotte Moth, Jeremy Miller, Olu David Ogunnaike, Giorgio Orbi, David Rickard, Tim O'Riley, Mattia Pajè, Janet Passehl, Anne Tallentire, Dragoljub Raša Todosijevic, Claudia de la Torre, David Tremlett, Franco Troiani.

The exhibition, curated by Melvin and held at Tate Britain, presented all the range of art practice shown in Studio International magazine during Peter Townsend's editorial reign. By showing all the covers as a wall installation, viewers could explore specific issues in depth by viewing archive material, the articles, drafts, correspondence, photographs, original design and layout sheets and different controversial discussions, such as Roger Hilton's letter to Townsend, which was part artist statement, part stream of consciousness and art political discussion. The display drew attention to projects of several artists, such as Marcel Broodthaers, and to the curatorial-editorial projects initiated by Seth Siegelaub. Other artists on show included Bridget Riley, Jan Dibbets, Phillip King, John Plumb, Joseph Beuys and Dieter Rot.

The starting point for the exhibition Memory Game at Villa Lontana is a nineteenth century chest of drawers comprising numerous colored marble samples used during the Roman Empire. The object is part of the Fondazione Santarelli Collection, which is treated as an archive to develop the curatorial projects of Villa Lontana. Each sample comes from a different quarry and location within the extended colonies of the Roman Empire: Afghanistan, Algeria, Egypt, France, Greece, Italy, Jordan, Libya, Macedonia, Spain, Syria, Tunisia and Turkey. The chest of drawers, together with the Enciclopedia dell'Arte Antica Treccani are presented in Villa Lontana's garage space alongside works by Tauba Auerbach, Cyprien Gaillard, Susan Hiller, Thomas Hutton, John Latham, Charlotte Moth, Rosalind Nashashibi + Lucy Skaer, Olu Ogunnaike and Giorgio Orbi. The chest of drawers is an object that provokes us to think about geographies and memory games in conjunction with the political, economic and geographic expansion of the ancient Roman Empire. "Those who still wander around the Palatine Hill, the Forums, the ruins of the baths and other monuments, will see small flakes and fragments of various kinds of colored marble, standing out among the stones and the loose earth, especially after the rain. These fragments are not stones originating from the soil of Rome, but come from all parts of the Empire." This passage comes from the seminal text Marmora Romana, written by Raniero Gnoli in 1971 after his visit to all the main places and monuments of the Mediterranean basin where there are ancient marbles, retracing the paths of Faustino Corsi. Memory Game presents different ways in which contemporary artists respond to geography, history, trade and economies: craft, tradition and re-invention, geopolitical structures and networks of power, transaction and exchange, economies and histories.

Machismo creates a dialogue between selected sculptures from the Santarelli Collection and thirteen contemporary male artists across generations from Belgium, Italy, India, the Netherlands, USA and the UK, who in different ways interrogate and critique iconographies of machismo. The media of film, sound, painting, performance and sculpture in works by Bas Jan Ader, Marcel Broodthaers, Gino De Dominicis, Jeff Gibbons, Emiliano Maggi, Michael O'Mahony, Luigi Ontani, Cesare Pietroiusti, Gianni Politi, Robert Rauschenberg, Prem Sahib, Raja Ram Sharma and Franco Troiani, experienced in juxtaposition with the ancient sculptures, creates new dialogues with the construct of machismo.

Temple Bar Gallery + Studios presents Publication Scaffold, a series of events, performances, installations and discussions held during the opening weekend of Dublin Art Book Fair 2019, curated by artists Michele Horrigan and Sean Lynch, and curator Jo Melvin. Publication Scaffold finds practical and metaphorical ways of envisaging the process of publishing. It points to books not solely as objects, but as conversation and encounter, as discursive notions surrounding their own existence. Publication Scaffold plans to go up, down and around Temple Bar Gallery + Studios, to be encountered in surprising places and times throughout the fair's schedule. It is fitted and bolted together both by hand and by thought, making operative spaces for wide-ranging and digressive territories. Pages turn, words are uttered, platforms for communal discovery emerge. Juxtaposition and serendipity are fundamental to these investigations, leading to new ways of thinking about the portable, malleable exhibition format as a publication itself. Highlights include a launch of John Hutchinson's new publication, and Ruth Clinton and Niamh Moriarty present a talk on their practice. Emanuele De Donno reveals the inner workings of Viaindustriae, an expansive publishing and research initiative based in Foligno, Italy, while John Carson and Conor Kelly's sprawling psychogeographic artwork, Evening Echoes, presented at TBG+S back in 1995, is reprised. Gareth Bell-Jones speaks of artist John Latham's challenges to ideas of perceived knowledge. Vukašin Nedeljkovic urgently interrogates the social conditions and experiences of asylum seeker accommodation in Ireland. Renata Pekowska showcases her continuing research on the role and history of artists' books in Ireland, while Wayne Daly entangles himself with the legacies of visionary architect Cedric Price. Dan Starling skypes in from Vancouver his adaption of Charlie and the Chocolate Factory, and as Adam Chodzko's world revolves at pace, surprising relationships and connections occur through his affirmative actions. Gene Beery's self-published artist books are pithy critiques of arts institutions and social mores, while Ramon Kassam navigates the neoliberal cultural infrastructures that have appeared in Ireland. Cesare Pietrousti exposes the inherent commodification in distribution networks and trans-active exchange. Barry Flanagan's concrete poetry will be performed at Publication Scaffold, as Elisabetta Benassi recontextualises the archives of 20th-century news into sculptures, film, books and slides. Juan Sandoval explores the concept of land, extracting soil from industrial sites and places of political and social conflict to make ceramic objects. Publication Scaffold at Dublin Art Book Fair has been made possible by an Arts Council Arts Grant, along with support from the Artist Residency Programme at the Irish Museum of Modern Art, Dublin; Askeaton Contemporary Arts, Limerick, and Mahler & Lewitt Studios, Spoleto.