Tuesday, 17 March 2015

TIME is Love.8 [Show 2] at Zeta Art Center, Albania

Zeta Art Center & Gallery presents

TIME is Love.8 [Show 2]
International video art program
Curated by Kisito Assangni

20-21 March 2015

Zeta Art Center & Gallery
Rr.Abdyl Frashëri n.31, Hekla Center
Tirana, Albania

Within the framework of Printemps de la Francophonie
In collaboration with the Embassy of France in Albania

Friday 20th March
5pm : Screening
6pm : Introduction by Valentina Koca (Director of Zeta Art Center) & Cocktail
7pm : Piano Jazz by Pierre-Yves Plat at University of the Arts

Saturday 21st March
11am : Screening
4pm : Curator talk with Kisito Assangni followed by a Q&A session

Free Admission

Abdelaziz Taleb (Morocco), Abdoul-Ganiou Dermani (Togo), Alexandre Braga (Brazil), Anna Sileks (Poland), Anthony Rousseau (France), Carlos Aires (Spain), Cesar Schofield Cardoso (Cape Verde), Cristina Pavesi (Italy), David Blandy (UK), Dorthe Slej Pedersen (Denmark), Ella Manor (Israel), Flavio Sciole (Italy), Francesca Lolli (Italy), Irina Gabiani (Luxembourg), Isabelle Lutz (Switzerland), Isidora Ficovic (Serbia), Joas Nebe (Germany), Kai Welf Hoyme (Germany), Laura Celada (Spain), Marcantonio Lunardi (Italy), Marc Neys (Belgium), Margarita Novikova (Russia), Michael Meldru & Marina Moreno (UK), Monika K. Adler (Poland), Mouna Jemal Siala (Tunisia), Nao Sakamoto (Japan), Niclas Hallberg (Sweden), Paako Sallah (Ghana), Ramia Beladel (Morocco), Rhasaan Oyasaba Manning (USA), Sandrine Deumier (France), Sarawut Chutiwongpeti (Thailand), Sinasi Gunes (Turkey), S/N Coalition (USA), Sydelle Willow Smith (South Africa), Toby Kaufmann-Buhler (USA), Tommy Becker (USA), Triny Prada (Colombia), Tyrone Brown-Osborne (USA), Yuri Pirondi & Ines Von Bonhorst (Portugal), Zierle & Carter (UK).

TIME is Love is an international video art project gathering several artists. Established in 2008, the program has traveled to major cities in the world attracting a vibrant mix of media professionals, researchers, young people and families. The screening is accompanied by exciting events, including talks and live performances.

Preoccupied with love, the project represents love stripped from its traditional clichés and timeless idealism. Each of the artists leads an interdisciplinary practice bringing a questioning and a criticism on a system of relation to others which appears to us as being dying.

Taking these ambivalent feelings as a starting point, the artists develop their own language according to their sensibility and history. The selected videos deal with prevented communications, disturbed feelings, globalisation, memory and spirituality. As a result, each video inspires the viewer to question the normative understandings of relationships in the occidental world.

About the curator
Kisito Assangni is a Togolese-French curator, consultant and producer who studied museology at Ecole du Louvre in Paris. Currently living between London and Paris, his practice primarily focuses on psycho-geography and post-globalisation impact on contemporary cultures. Kisito investigates the modes of cultural production that combine theory and practice.
He’s heavily involved in video and performance art. His projects have been shown internationally including the Whitechapel Gallery, Ben Uri Museum, London; Arnot Art Museum, New York; Malmo Konsthall, Malmo, Sweden; National Centre for Contemporary Arts, Moscow; Pori Art Museum, Finland; Foundation 3.14, Bergen, Norway; Motorenhalle Centre for Contemporary Art, Dresden, Germany among others.
He has participated in symposia, talks and events at numerous international venues.
Assangni is the founder/curator of TIME is Love Screening and Project [SFIP] - Platform for critical thinking, researching and presenting video art from Africa.
Special Thanks to Valentina Koça.
The event is kindly supported by the Embassy of France in Albania.

Tuesday, 17 February 2015

Sarah Derat @ Super Dakota

26 February - 11 April 2015
Super Dakota
45 rue Washington
1050 Brussels
www. superdakota.com

Sarah Derat - "See Something, Say Something"

Super Dakota is pleased to present the first solo exhibition of Sarah Derat in Brussels. See Something, Say Something, the evocative title acts as a provocation and manages to summarize the complexity of the work of the artist. Derat’s work is deeply social and centres on topics such as justice, the prison system, and a general sense of troubled human nature. The artist’s sculptures and installations oscillate continuously between the desire for the sublimation of the harsh realties of institutionalized retribution, and factual representation through the history and narrative of the work. The skilfulness of the artist resides in that sensitive balance.

Sarah Derat is a French artist born in 1984 and graduated from the Ecole National Supérieure des Beaux Arts de Paris.

OPENING 26.02.15
from 18:00 to 21:00

EXHIBITION from 27.02.15 until 11.04.15

Misogyny: Witches and Wicked Bodies

Wed 18th March 2015

Misogyny: Witches and Wicked Bodies

ICA - Institute of Contemporary Arts
The Mall
London SW1Y 5AH

Keynote Speaker: Deanna Petherbridge, artist and curator of Witches and Wicked Bodies
Respondents: Lynne Segal, Alexandra Kokoli and Katy Deepwell.

Deanna Petherbridge’s exhibition, Witches and Wicked Bodies (British Museum, 5 Sept 2014-11 Jan 2015 and Scottish National Gallery of Modern Art, Edinburgh, 27th July - 3rd Nov 2013), provided an intriguing and original historical overview of representations of witches from classical representations on Graeco/Roman pottery through to Symbolist works at the turn of the twentieth century.

This ICA/Middlesex University mini-conference aims to discuss this exhibition’s presentation of misogyny through the persistence of extremely potent and disturbing images of hideous old hags and desirable young sirens, as it has been revisited, restructured and represented throughout different periods of Western art history. The respondents will then introduce questions about the representation of older women in art, culture and society in the past and present and look at how different approaches within feminism have taken the figure of the witch and attempted to transform it.

Lynne Segal is Professor in Psychosocial Studies, Birkbeck College, University of London. Her recent books include:  Out of Time: The Pleasures and Perils Ageing (Verso, 2013);Making Trouble: Life and Politics (Serpents Tail, 2007); Straight Sex: The Politics of Pleasure (Virago, 1994; Verso, 2014). She will address the exhibition and its topic from the perspective of her extensive research into gender, sexualities and shifts and continuities in portrayals of ageing.

Alexandra Kokoli, Senior Lecturer in Visual Culture (Fine Art), Middlesex University, is completing a monograph on the feminist uncanny, (Bloomsbury Academic, forthcoming). Her talk will examine the figure of the witch in 1970s French feminisms informed by psychoanalysis, including Catherine Clément's contribution to The Newly Born Woman (co-authored with Hélène Cixous) and the bimonthly journal Sorcières (1976-1981). In psychoanalytic second-wave feminist discourse, the witch emerges as victim and heroine in one, bearing the marks of the most extreme misogynistic violence yet also embodying the potential for a feminist revolution.

Katy Deepwell is Professor of Contemporary Art, Theory and Criticism, Middlesex University, and editor of n.paradoxa: international feminist art journal and Feminist Art Manifestos: An Anthology (KT press, 2014). In her talk, she will address how feminist thought and research, notably Mathilda Joselyn Gage, Mary Daly and Silvia Federici, has analysed the witchcraze and how this emerges as a means to reconceptualise the question of heresies, cosmology, and relations of church and state for feminism, while at the same time providing potent imagery for feminist art works.

The event will be chaired by Professor Hilary Robinson, Dean of the School of Art and Design, editor of the anthology Feminism-Art-Theory 1968-2014 (Wiley-Blackwell, second edition, forthcoming 2015).

This talk is organized by Create/Feminisms, a research cluster in the School of Art and Design, Middlesex University and is a collaboration between the School of Art and Design and the ICA.

Free to all Middlesex Students on presentation of their ICA membership or student card.
Tickets available to the public: £8 full price/£5 concessions/£3 ICA members.

Thursday, 5 February 2015

Staying Power: Photographs of Black British Experience 1950s-1990s

16 February – 24 May 2015

Victoria and Albert Museum

Staying Power: Photographs of Black British Experience 1950s-1990s is a project to increase the number of black British photographers and images of black Britain in the V&A collection. It aims to raise awareness of the contribution of black Britons to British culture and society, as well as to the art of photography.

This display showcases a variety of photographic responses to black British experience from the 1950s to the 1990s. All of the photographs are from the V&A Collection and were acquired as part of the project Staying Power: Photographs of Black British Experience 1950s-1990s, a collaboration with Black Cultural Archives funded by the Heritage Lottery Fund.
Black Cultural Archives promotes education about the cultural identity and history of people of African and African-Caribbean descent in Britain. A concurrent exhibition, also drawn from the V&A’s Staying Power collection, will be on view at the organisation’s heritage centre from 15 January 2015.

About the Project
Staying Power: Photographs of Black British Experience 1950s-1990s is a project to increase the number of black British photographers and images of black Britain in the V&A collection. It aims to raise awareness of the contribution of black Britons to British culture and society, as well as to the art of photography.
Photographs collected by the Museum will be used to generate oral histories. There are plans for the photographs and oral history testimonies, from photographers and community members, to be jointly exhibited at the V&A and Black Cultural Archives (BCA) in its new building in Brixton. The five-year project is a partnership between the V&A and the BCA. It is funded largely by the Heritage Lottery Fund (HLF).
Black Cultural Archives
Black Cultural Archives (BCA) was founded in 1981 as a grassroots community and voluntary organisation. BCA promotes education about the cultural identity and history of people of African and African-Caribbean descent in Britain. It aims to become the leading national institution dedicated to collecting, preserving and celebrating the histories of black people in the UK.
BCA’s archive collection includes rare historic documents, oral histories, photographs, and as well as a unique collection of periodicals and independently published material. BCA operated from a shop front location in the centre of Brixton, South London for its first 20 years. It is currently working to open the UK’s first Black heritage centre, which will house its archive, library, learning and exhibition spaces.

Galerie Alain Coulange, Paris

3 March – 4 April 2015

Galerie Alain Coulange
44 rue de Montmorency
75003 Paris

As a continuation of the project AnyWhere, the gallery Alain Coulange is relocating to a new street front space in March 2015, located at 44 rue de Montmorency in the Marais. During March, May, September and November 2015, the gallery will show a rotation of exhibitions lasting for one month.

The first exhibition will be dedicated to the works of Bernard Joubert, dating from 1980 through 1982.

Beginning in 1970 with a series of paintings on which he traced lines onto the canvas straight from the tube of paint, Bernard Joubert subsequently, from 1977 through 1981, began to use painted canvas ribbons, hanging them directly on the wall, creating open geometric formations.

His work has been shown in numerous institutions, private homes, and in the streets of Venice, New York, Brussels, and Paris. The gallery Yvon Lambert presented four exhibitions of his work between 1974 and 1981, as well as the galleries Françoise Lambert in Milan (1974, 1975, 1979), Albert Baronian in Brussels (1975, 1977), Rolf Ricke in Cologne (1977), Ugo Ferranti in Rome (1977) and Hal Bromm in New York (1978). 

In 1980, the alignment and intersection of the ribbons on which he added touches of color began to accentuate the pictorial aspect of his work.

In 1982, he began to use wider strips of canvas. This expansion of color, an important element in subsequent years, continued his investigation into the idea of support as place, an idea that Bernard Joubert continues to explore up to his most recent work. 

His work from the year 1982, so important in the evolution of his oeuvre, have never been shown. These works, along with others from the 1980’s, will make up the inaugural exhibit of the gallery Alain Coulange in March 2015.

Exhibition from Tuesday March 3 through Saturday April 4
Opening : Tuesday March 3, 6pm
The gallery will be open starting at 11am
Regular hours from Tuesday through Saturday, 11am-7pm

Traduction : Allison Blumenthal

06 30 46 48 95

Lightbox 001: Ben Jackel

4 – 18 February 2015

ROPPONGI 605 Gallery
7-5-11Roppongi, Minato-ku, Tokyo, Japan 106-0032
[Casa Grande Miwa 6F]
Wed-Sat noon to 7pm
and by appointment

video series

Ben Jackel

Fire Hydrants (2014)
Creation of a Drone (2012)
In the Studio (2011)
+ + +

2.4 - 2.18.2015

curated by Kio Griffith

106-0032東京都港区六本木 7-5-11
カサグランデ・ミワ6階 605

Ben Jackel /// courtesy of L.A. Louver 
協力:L.A. Louver

TYPE [Tokyo + Yokohama Project Exchange]

Sculptor Ben Jackel is primarily interested in creating handmade objects that deal with the subject and history of war. Working with clay, wood, and stoneware, Jackel creates monochromatic statues of warriors, Humvees, ships, cannons, and fighter jets that have a smooth, hand-rubbed finish of beeswax and graphite. He has also made a series of everyday objects like a fire extinguisher, a fire hose, and a box of sprinkler heads—objects often required by law in case an emergency arises, but rarely used or considered.


Who makes Europe

-------  > 1st March 2015

„Who makes Europe”

Exhibition: 17.01 - 01.03.2015
Curator: Susanne Hinrichs
Project in cooperation with City of Bremen and Goethe Institut in Warsaw.

Gdańska Galeria Güntera Grassa, ul. Szeroka 34/35, 36, 37, Grobla I 1/2
Gdańska Galeria Miejska, ul. Piwna 27/29
Gdańska Galeria Miejska 2 (GGM2), ul. Powroźnicza 13/15

Opening hours: Tue-Wed 11-17, Thur-Sun 11-19
Filippo Berta (I), Florenty/Türkowsky (F/G), Marco Godoy (E), Klara Hobza (CZ), Lukas Hofer (G), Fancis Hunger (G), Cecile Ibarra (F), Karska/Went (PL), Adi Matei (RO), Eleonore de Montesquion (F/EST), Antonio R. Montesinos (E), Ciprian Muresan (RO), Dorota Nieznalska (PL), Virgile Novarina (F), Öffler/Larsen/Cerclin (G/N), Fabian Reimann (G), Patricia Reis (PT), Max Schaffer (G), Pablo Serret de Ena (E), Andrzej Wasilewski (PL), Krzysztof Wroblewski (PL)
*Curator: Susanne Hinrichs (G)

“Europe is not a place, but rather an idea” (Bernard-Henri Lévy)

Identity is a quality that refers to a singular individual or a group of individuals with similar characteristics. Whereas the individual subject is isolated from other subjects by the means of their specific singularity, group cohesion creates loyalty and solidarity between its members, although one of the possible outcomes of this may be their differentiation from other communities.

If Europe doesn’t exist as a place, as put forward by Bernard-Henri Lévy, then what is that makes European identity so precious? Can Europe be based solely upon its political, socio-economic, and cultural similarities? Is it enough to have an agreed corporate blue print held as a flag and anthem, the free movement of goods, a common E.U. citizenship, a common currency and a shared space of freedom, security and justice to create a European identity? Indeed, due to the last few years of economic difficulties, it seems essential to strengthen this internal bond in order to construct an entity with which European citizens can identify themselves with despite any differences they may have.

Despite their closeness in proximity and comparable characteristics, the integral elements of Europe differ in language, tradition, history and culture. How much individuality, and alongside it, identity remains in a country and its inhabitants when being part of a greater whole? Can Europe only be created out of a renunciation of one’s self, or perhaps the consciousness of European member states will be able to retain its personal character in spite of it all.

The project WHO MAKES EUROPE specifically raises this question. In this exhibition German curator Susanne Hinrichs and 25 international working and living artists reflecting on Europe and its identity through contemporary art.

Question Bridge Screening & Workshop

Friday 20 February 2015

Morris Library Guyon Aditorium
1255 Lincoln Dr
Carbondale, Illinois 62901

SIU’s Global Media Research Center will host a new symposium in collaboration with the Big Muddy Film Festival titled Expanding Media: Identities. The inaugural symposium has been established to create a forum to examine current and expanding trends in media making. This year’s symposium considers issues of identity and will have a unique focus on issues of representation from the perspectives of black men in the United States. 

Expanding Media: Identities will feature the work of photographer Chris Johnson and the development of Question Bridge, a film, interactive web site, and mobile app that is “…a platform for Black men of all ages and backgrounds to ask and respond to questions about life in America”. 

The Expanding Media: Identities symposium will begin with a screening of Question Bridge: Black Males on Friday, February 20th at 4:00 pm in the John Guyon Auditorium of Morris Library. The screening is free and open to the public. A brief reception will follow the screening and the event will continue with a panel session including: Chris Johnson of The Question Bridge, Dr. Gerald Butters, Professor of History at Aurora University, Dr. Novotny Lawrence, Chair of SIUC’s Radio, Television and Digital Media Department, Dr. Angela Aguayo, Assistant Professor in the Department of Cinema and Photography at SIUC and Hassan Pitts, Artist in Residence with the Big Muddy Film Festival. 

A companion/ hands- on workshop titled Question This?: Workshopping the Tools of Cultural Dialog will take place on Saturday, February 21st from 1:00pm -3:00pm on the Cinema Soundstage in Communications 1116. Workshop leaders Chris Johnson and Hassan Pitts will guide participants on a practical and critical tour of today’s mobile technologies that will include concepts of ethnography and image-based representation. The event is free and open to the public. For workshop reservations, please contact Zach Sapienza at zsapienza@siu.edu. 

For further information, please contact Jay Needham, Interim Director of the Global Media Research Center and Associate Professor for Radio, Television and Digital Media by email at jayn@siu.edu

Tuesday, 3 February 2015

KAYTRANADA at Palais de Tokyo, Paris

Thursday 19th March 2015

Palais de Tokyo
20 Avenue de New York
75116 Paris








20-22 February 2015

Come and join the battle between bacteria and immune cells inside our interactive Blister Cinema! 

Panay Fashions
9 Marine Gardens,
Margate CT9 1UN (opposite Margate Clock Tower)
12 - 6pm, Fri 20 - Sun 22 Feb 2015

A horsefly bite has left behind a trail of nasty bacteria. The body's defence system needs you! 

Blister Cinema will simulate different stages of the inflammation process with a series of simple video games and our Kinect sensors will put you right inside the action. 

Created by local artists Genetic Moo in collaboration with scientist Dr Neil Dufton. An Animate Projects commission supported by the Wellcome Trust as part of http://www.silentsignal.org/

Talks at 2pm and 4pm on Friday and Sunday

There will be opportunities to learn about the science involved. You can talk to the artists about the project and about creative coding in general. You will be able to meet a huge horsefly and walk inside a 3D dome construction with interactive projections. 

For more info visit http://www.geek-play.com/

The Rajasthan series at AF Projects

4 February 2015

AF Projects
2 Eastcastle Street
London W1W8DD

For her second show with AF Projects, Ates presents photographs from her residency in Rajasthan at the City Palace Museum in Udaipur. Themes of female identity and cross-cultural displacement where contemporary readings of the veil, in particular, play a central role, inspiring Ates to examine further the tensions and sympathies within our current ideas of the exotic in her evocative tableaux.

An ambiguous figure - a Classical Indian dancer - models fabrics in vermilions, azure blues, explosive pinks, from Udaipur’s local markets. Portrayed as a silhouette, on which the cloth falls in beautiful arrangements cascading onto the floor, the figure occupies the palatial, decorated spaces, enlivening them through her presence. The brilliance of the newly manufactured silks adds a sense that this is a contemporary figure, independent and confident, further amplified by subtle indications of dance gestures. 

Yet the overall impression is one of fusion, like the calm atmosphere portrayed by 18th and 19th miniatures from the Mughal Courts and from the painting schools of Rajasthan. Stilled is an intelligent, gently feminist portrayal of an India imagined and experienced by a Turkish artist with an understanding of the constancies as well as the rapidly changing realities of modern, western dominated cultures and their impact on more ancient, traditional cultures.

Turkish born, Ates has an MA in Printmaking (Royal College of Art) and is now Digital Print Tutor at the Royal Academy Schools. Her work is collected internationally and is in the V&A and the RA collections.

Further information on the show will shortly be available on the Art First website - www.artfirst.co.uk


-------- > 8 February 2015

De Markten
Location: De Markten vzw
Oude Graanmarkt 5
1000 Brussels, Belgium
Admission free

 FACELESS in the context of the 8th edition of the Computers, Privacy & Data Protection Conference

DURATION: January 22 - February 8, 2015

Opening hours: Tue-Sun 12:00-18:00

GUIDED TOUR with Bogomir Doringer

January 27, 12:15-13:15


featuring Josephine Bosma, Manu Luksch, Bogomir Doringer, Jeremy Bailey, Adam Harvey

January 28, 18:00-22:00


Marina Abramović, Lisette Appeldorn, Martin Backes, Jeremy Bailey, William Basinski, Zach Blas, Thorsten Brinkmann, DAWAMESK (Thomas Mercier), Ondrej Brody & Kristofer Paetau, Sterling Crispin, Ben DeHaan, Sofie Groot Dengerink, Nezaket Ekici, Arthur Elsenaar, Shahram Entekhabi, Caron Geary aka FERAL is KINKY, David Haines, Ren Hang, Adam Harvey, Sabi van Hemert, KATSU, Brian Kenny, Ute Klein, Miodrag Krkobabić, Vanessa Lodigiani, Zachari Logan, Jill Magid, Slava Mogutin, Veljko Onjin, Bernd Oppl, Tanja Ostojić, Marco Pezzotta, Gerda Postma, Eva-Maria Raab, RAF SIMONS, Daphne Rosenthal, Tarron Ruiz-Avila, Mustafa Sabbagh, Olivier de Sagazan, Daniel Sannwald for WOODKID, Carmen Schabracq, Frank Schallmaier, Hester Scheurwater, Tim Silver, Jan Stradtmann, Sergei Sviatchenko, Filippos Tsitsopoulos, Saša Tkačenko, Marc Turlan, Levi van Veluw, Ari Versluis & Ellie Uyttenbroek, Philippe Vogelenzang & Majid Karrouch, Martin C de Waal, Bernhard Willhelm, Andrew Norman Wilson, Lucy Wood and Jwan Yosef
IN SUPPORT OF: Privacy Salon vzw en Restart vzw.
PARTNERS: IAPP, deBuren, Vrije Universiteit Brussel,  De Markten and freiraum quartier21 INTERNATIONAL / MuseumsQuartier

ENDURANCE @ Davide Gallo, Milan

5 February - 5 March 2015

Davide Gallo
Via Farini 6
20154 Milan

It is no coincidence that in spring 2016, the prestigious Tel Aviv Museum of Art, will dedicate a solo exhibition to the artist Nir Evron; undoubtedly Evron’s research in the film and video art area, represents one of the more advanced peak of Israeli art scene.

Never as in his latest film, a 16mm, entitled "Endurance", the perception of visual data has nothing to do with the stimulation of sensory processes and the consequent emotional reaction that arouse in the observer. In this work, the solicitations belong to a sphere now totally mental. Cerebral impulses no longer emotional, express the relationship between space and time, and allude to a different mode of perception of this combination.
In "Endurance" the artist, taking the cue from a dwelling plan of the city of Rawabi, north of Ramallah, faces the relationship between geography, human space that transforms it, needs to measure it and the time necessary to perceive it. Analyzing the scheme, the standard model of one of the new apartments, Nir Evron, without using any camera, marks on the film the interior space of the dwelling through conventional geometric figures, gray and black rectangles that synthesize the space occupied by furniture, doors and windows. Then, using the basic length/duration formula of 16mm film - 1 meter = 5.4 seconds, he transforms the space of the image, therefore each "shot" of the film represents the length of a wall of the dwelling. In this way, the duration of the entire film corresponds to the perimeter of the apartment, and can potentially surround the entire space.
The return of Evron to the use of 16mm film has nothing to do with the romantic fascination of equipment now in disuse, but it stems from the awareness that only cinema and celluloid have the potential to physically express the relationship between space, time and perceptive faculties.

But "Endurance" is not a work on its own, or not only, because it is closely linked to two other previous films, "A Free Moment" of 2011, and "Oriental Arch" of 2009, so as to constitute a trilogy. Both works are shot in symbolic places of the Israeli-Palestinian conflict. In "Free Moment" the camera, mounted on a robotic arm, probes architecture while turning it into a conductor of historical memory, while in "Oriental Arch" highlights the relationship between territory and "behavior", human and socio-cultural, able to condition. "Oriental Arch" follows the “Seven Arches Hotel”, in east Jerusalem, which was built and owned by the royal family of Jordan. The camera, using long shots, in an effort to give a physical sense of passage of time, follows the shadows, trying to discover spaces, inhabited by a few workers who insist, with rituals, as a liturgy, to keep alive an almost abandoned and spectral place.

While writing these lines about Evron’s work I also wish to mention another of his films: "In Virgin Land" of 2006, in which the artist addresses the issue of contradiction, behind the apparent consistency between filmic image, which appears in one way, and a description that refers to concepts and mental contents of another nature.

In conclusion, returning to "Endurance" I believe that it represents a further step forward in the research of the artist, since right in this work, in addition to issues dear to him, he addresses the issue of perception, of mental stimulus, which replaces and exalts the visual and sensory perception, with which one generally is used to enjoy a work of art.
The biography of Nir Evron includes prestigious participations, like the 6th Biennial of Contemporary Art in Berlin, the 19th Biennale of Sydney, The Israeli Museum in Jerusalem, Martin-Gropius-Bau in Berlin, LAX-Art Los Angeles and ICP New York, among others.

"Endurance" was produced with the generous support of the New Fund for Cinema and Television, Israel.

Sunday, 30 November 2014

London Alternative Photography Collective

2 December 2014
71a Gallery
71a Leonard Street
London EC2a 4QS
On Tuesday 2nd December at 6.30pm, London Alternative Photography Collective (http://lapc.4ormat.com/) will be meeting at71a Gallery, Shoreditch.




Fractal Scars, Salt Water and Tears invites us into a liquid dream-like world of desire. Cascading waterfalls and seashells whispering the lapping of waves are juxtaposed with statues, who seem to be stepping out of the stone from which they are carved. A large-scale backdrop of a cave is painted in dripping inks. Languid female nudes punctuate mythical landscapes, auto-erotic in their gaze and gesture, eyes turned away or averted to storm clouds above them. A pregnant woman lies under a night sky with a child lying between her thighs, another rests on her elbow, back turned, swallowed by the darkness of the boat-bed she is lying upon. Sisters, friends, lovers, strangers, these women of flesh and stone tell us of pleasure and longing.
Teichmann's practice uses still and moving image, collage and painting to create alternate worlds, which blur autobiography and fiction. Central to the work lies an exploration of the origins of fantasy and desire and how these are bound to experiences of loss and representation. Both filmic works and photographs of turned away bodies and primordial spaces of enchantment work with the relationships between images, and the narratives these juxtapositions create.
Across writing, photographic works and film pieces, we move from real to imagined spaces, exploring the relationship between loss, desire and the imaginary. Within staged fantastical images, the subjects are turned-away figures of loss, desired but always already beyond reach. The photographic medium is worked upon with painting, collage and montage, narrative voice over juxtaposed with moving image. Here, the photographic is loosened from its referent, slipping in and out of darkness, cloaked in inks and bathed in subtle hues of tinted light. The spaces inhabited within the films and images are womb-like liquid spaces of night, moving from beds to swamps and caves, from the mother to the lover in search of a primordial return.
Into, Out From, Through: Esther Teichmann and the Photograph as a Portal calls for a new way to look at photographs, not as mirrors of or windows into the world but as portals between personal and universal, reality and supernatural and photography and other mediums, examining the work of Esther Teichmann in these terms. Through the layering of memory, desire, fear, fiction and fantasy, Teichmann uses and extends the photographic medium as a passage between realms of experience and artistic creation. Her work exploits the tension between photography’s relationship to reality and sense of otherworldly power. This complex, even troubled relationship with the medium has yielded a passionate foray into others. - Jessica Brier (SFMOMA curator of Photographs - Introduction to Daylight Digital feature)

Biography: German/ American artist Esther Teichmann (b. 1980) received an MA and PhD from the Royal College of Art. Primarily based in London, she is senior lecturer at the London College of Communication, lecturer at the Royal College of Art and spent 2012/2013 as guest professor at the California College of the Arts in San Francisco. Teichmann has both published and shown her work internationally. In the last year, she participated in group exhibitions at the Houston Centre of Photography and the Dong Gang Museum of Photography in South Korea. Teichmann has recently been published in Carol Mavor's Black and Blue (Duke University Press) and Mavor's Blue Mythologies (Reaktion Books). New visual and written works are featured in issue 51 (2014) of the Spanish/ Mexican Photography biannual EXIT and on Daylight Digital (2014), with an essay by SF MOMA curator, Jessica Brier. Fractal Scars, Salt Water and Tears was shown at Flowers Gallery in London in May and will tour to Paris for the Levallois Award in October. Teichmann produced Vol V of Self Publish Be Happy’s book club edition. The Fall issue of Hotshoe, So it Goes and the winter issue of Cabinet magazine feature new work. Teichmann will be included in the 2015 Phaidon book by David Campany of his 100 favorite photographs. In 2015 Esther has solo and group public space shows in London, Paris and Germany. Alongside her own visual practice, Teichmann writes, edits and curates, currently working on a collaborative curatorial and book project with the artist Christopher Stewart (published by Black Dog and showing in the LCC galleries in 2015), Staging Disorder , featuring artists such as Sarah Pickering, Adam Broomberg and Oliver Chanarin, Richard Mosse and sound artists from CRISAP (UAL sound arts research centre) and writers such as Dr. Jennifer Good, Prof. Alexandra Starva, Prof. Howard Caygill amongst others. In the past Teichmann has written and edited pieces for Foam museum (Amsterdam) and programmed a talk series for the Photographers’ Gallery (London). www.estherteichmann.com


Guy Paterson has been teaching both Alternative Photographic Processes and Cameraless Photography for over 13 years at Central St. Martins and elsewhere.
His own work approaches photography from a fine art print background combining photomechanical techniques with conventional photography.
Fascinated by what we leave behind - both in the form of artefacts and redundant technology. His work often re-appropriates and reassigns obsolete industrial equipment, materials and techniques questioning our standing and perception of history and therefore progress.
For him the stripping of photography to its basic essentials allows both a typological analysis and a rich personal aesthetic.

Experimental Turntable Music

Friday 19 December 2014
Skalitzer Str. 133
10999 Berlin
Doors: 9 PM
Starts: 10 PM
Experimental Turntable Music 

Turntablist Joke Lanz creates autonomous sound-cells that melt into a language free of any function. He combines ritual reductionism with anarchistic playfulness, atmospheric soundscapes with cut-up noise and physicalness with unpredictability: Massive scratches, walls of sound, grooves, loops, noises and voice modulations! Also known for his international acclaimed Noise project 'Sudden Infant', he collaborated next to his turntable solo shows with: Shelley Hirsch, Jorge Sanchez-Chiong, Mat Pogo, Strotter Inst, Christian Weber, Christian Marclay, DJ Olive etc.


Camilla Sørensen and Greta Christensen have worked together since 2001 modifying, deconstructing and reconstructing turntables and vinyl records for their artistic needs as the Danish duo Vinyl Terror & Horror. The results of these modifications are amazingly detailed and well executed noise compositions — raw, lo/hi tech stuff! Their approach to music starts from a visual and sculptural practice. They are working in the field of cinematic soundscapes with a high tolerance level of possible hi- fi disasters. Sentimental heartbreaking sequences where the opera singer is looping and the birds are singing backwards……. untill the breakdown of needles and chaos taking over.


Ghost in the machine music – vinyl dissonance for lost memories: a live dubbed rhythmical collage made of squeezed record crackle, analogue synthesizer, dubplates of field recordings, dusty shellac records and clumsily triggered drum machines. London based artist Graham Dunning makes things in lots of different formats, but generally to do with either Sound or Found Objects in some way. Dunning has solo releases on Entr'acte, Exotic Pylon and various DIY labels; Webster and Dunning have released recordings through Linear Obsessional and Raw Tonk.