Simon Starling Black Drop Ciné-roman

In 2012 Simon Starling presented Black Drop, a film about the transit of Venus observations and their relationship to early Cinema. Predicated on the idea that the 2012 transit may be the last to be recorded on celluloid (the next transit will occur in 2117), Black Droptracks the development of the French astronomer Jules César Janssen’s innovative “photographic revolver”, a device designed to counter human error in timing the crucial moments of Venus’ contact with the edge of the sun.

Simon Starling Black Drop Ciné-roman

The device was influential in the development of the Lumiére brothers’ cinematograph.Together with a small film crew, Starling travelled to Hawaii and Tahiti to observe and film the 2012 transit of Venus, and the sites of previous observations and photo-documentation (Point Venus, Tahiti and Honolulu). The recording of the event formed the basis for the production of a film about the relationship between the transit of Venus and the history of cinema, as framed by the parenthesis formed by the 1874 and 2012 transits.

Simon Starling Black Drop Ciné-roman

The book is a kind of ciné-roman on the film project. It will include a shot-by-shot account of the film with the voiceover as accompanying subtitles. It tells the story of the relationship between astronomy, photography and the beginnings of moving image technology, together with echoes about epic voyages and vast distances.

Simon Starling Black Drop Ciné-roman

Born in 1967 in Epsom, England, Simon Starling attended Nottingham Polytechnic and the Glasgow School of Art. His work is in the permanent collections of distinguished museums, such as the Tate Modern, London; Moderna Museet, Stockholm; Solomon R. Guggenheim Museum, New York; San Francisco Museum of Modern Art; Museum of Contemporary Art, Chicago. Starling has had solo exhibitions at numerous international venues including Tate Britain (2013); the Power Plant, Toronto (2008); Städtischen Kunstmuseum zum Museum Folkwang, Essen (2007); Portikus, Frankfurt (2002); UCLA Hammer Museum, Los Angeles (2002); Kunstverein Hamburg (2001). In 2003, the artist represented Scotland at the 50th Venice Biennial. In 2005 he won the Tate’s Turner Prize.

Humboldt 

Photo Lucia Leuci

Photo Lucia Leuci

We opened yesterday our physical space in via Panfilo Castaldi 4, in Milan. New editorial office of The Art Markets, the space will offer a cozy spot where to find the best of independent European press in town, with the support of various publishers and of all the artists that collaborated at The Art Markets since 2009, year of its foundation. Performances and dj sets will animate the Milanese foggy nights, and The Art Markets’ merchandising will be available for everyone. The Art Markets website offers art reviews totally advertisement free: proud of being totally independent in their editorial choices. The fundings obtained from the sales in the space will be re-invested in other editorial initiatives.

Photo Lucia Leuci

Photo Lucia Leuci

The Art Markets’ desire is to create a place of encounter for the younger generations, a cool spot where to get inspiration from, where to find new ideas from abroad, a living space where to party and have a good time. A cozy room where to find new friends. A posh isolation. Milan, which really lacks of cool bookshops, has to get international and burn, especially in concomitance with the Expo, and The Art Markets will be fuel for that. The bookshop will be focused on artist books, catalogues, design and illustration, Japanese photo books, magazines, theoretic books and zines, and we promise not to forget about fashion. Periodically publications will be presented at The Art Markets space with the artworks or artists featured at a time, including presentations and book launches.

Photo Lucia Leuci

Photo Lucia Leuci

All the visitors are welcome to interact in the new space, to talk about their new projects, which can eventually be presented on The Art Markets’ website. Books and magazines must be needed, touched, consumed and not just watched. To cite just a few of the publishers that will be available in the bookstore: Antenne Publishing, BUTT, Bergen Kunsthall, Bronze Age Editions, Bywater Bros, Cura, Conveyor Editions, Dashwood Books, Ditto Press, Dobedo, Confessions, Edition Patrick Frey, Editions Taube, Etudes Books, Fourteen Nineteen, Getsuyosha, Gottlund Verlag, Humboldt, Kaleidoscope Press, Kaugummi, Livraison, Mousse Publishing, Nieves, Oslo Editions, Printed Matter, Shelter Press, Taka Ishii, The Ice Plant, The Velvet Cell, Torpedo Press, the selection will change every month according to the patterns of demand.

Photo Lucia Leuci

Photo Lucia Leuci

The Art Markets was born in 2009 as the first European website of contemporary art in the warm and welcoming salons of Milan. The TAM guys are traveling, a lot. Interviews, reviews, press coverages, Skype sessions and studio visits are just some of the activities they enjoy doing together. And to this they associate a series of on paper editorial collaborations with various international magazines. The concept of market derives from the Greek Agorà, the main meeting point of the ancient Polis, the center of public life. That’s also where the logo comes from. And that’s why the guys chose the location of Repubblica, a urban square for exchange of ideas and arguments. The Art Markets is first and foremost a talent scout program for young artists, but also a European window for established artists.

 

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

,

BumBaG !

PHILAE * HAS LANDED! The European space agency’s ambitious attempt to place a spacecraft on the surface of a comet succeeded when A SIGNAL arrived at the mission COntrol center at Darmstad > geRmany > just after 5 p.m. local time:

CHEERS ERUPTED ’ chococino / unsweetened latte.

FANny PaCK !

:

The jackpot rolls over until ALL numbers are matched, surpassed by twomegamillion-ethical-banners: The “Unleashed Pomerics” > damp-clothes-coverages stuffed in KOSKIN adaptations of hardwear manufacturers.

BELLy bAG !

Espresso-intenso > Das “Unformed Profezzionen” stie unt zing, dock tink tol hut kit! untiktelen kosmotiej frokt in cuvant telescopat: le mic dejune avec l’ erbe dans le soire, le train, la gare! La culture environmental, Magnetique, madames le sac! = Retweeted: – HERE is where shiny shoes are highly recommended; desirable –

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

The entrance to the club, belted devices orbiting around uncovered bellies, skinny JEANS plus flattened black painted stockins: PHILAE *

CHAoS pouch !

POLYVINYL CHLORIDE > cappUCCINO, célébré comme le créature absolut de la femme dans ses projets paralleles: en dialogue avec les pozzibilitaten teknologiques, sociales et politiques de son époque! > BOUTIQUES SIGNéeS.

Emblematic, is much to be just a matter of nationality, however it seems enjoyable: the shiny-glossy material around us – well it’s something that’s gonna STYLE – a proto AaAart object to borrow, two realms, emails listing forty quotes plus 11 a.m. in a café in the Marais: At first as a smiling school girl.

waIST WalLEt !

DAS unt DAS: 75 euros. Juice and cookies had been set up downstairs. Zara!

a leading peer-reviewed journal for graduate students, decors and interior designs.

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

Courtesy of Lucia Leuci

BumBaG ! > Google translated:

Philae * leszállt! Az Európai Űrügynökség ambiciózus kísérletet tegyen egy űrhajó felszínén egy üstökös sikerült Ha egy jel érkezett a Mission Control Center at Darmstad> Németország> csak 5 óra után helyi idő: CHEERS tort.

* SESAME: The Surface Electric Sounding and Acoustic Monitoring xperiments will use three instruments to measure properties of the comet’s outer layers. = a fabric pouch secured by a zipper, worn rounding a strap AROUndthe HIPs or waist.

buffALo pouch !

Epic Top >disambiguation> HEP: - The jive is hip, don’t say hep

taste and behavior, self-proclaIMing highly-selective circleS. the media and digital industries moving into traditional working class areas > GOLD and PURPLE vinyl-ic abstractions: leggings, striped-tops, PLATFORM shoes.

La chanson magnifica. substrats de urban democracy, POMERICS. = BUMBaG !

SUPERFICIE magnética.

Lucia Leuci 

This autumn Salvatore Arancio was invited to take over the gallery space of Ensapc Ygrec (Ecole nationale supérieur d’arts de Paris Cergy) with the exhibition The Hidden, curated by Emeline Vincent. The exhibition is built up on the artist’s archival investigation conducted in the Jardin d’Agronomie Tropical in Nogent-Sur-Marne, located in the eastern part of Paris. This spot constituted the core of colonial exhibitions organized in Paris in 1907 and 1931: the main idea of these was to boost trade and to gain popular support for the colonial empires together with a highly didactic role, while demonstrating the aboriginal lifestyle of the colonies.

© Marina Gadonneix. Courtesy of Ensapc YGREC and Federica Schiavo Gallery, Rome.

© Marina Gadonneix. Courtesy of Ensapc YGREC and Federica Schiavo Gallery, Rome.

© Marina Gadonneix. Courtesy of Ensapc YGREC and Federica Schiavo Gallery, Rome.

© Marina Gadonneix. Courtesy of Ensapc YGREC and Federica Schiavo Gallery, Rome.

Using the garden’s archival database as a starting point, the artist has brought together a variety of practices, such as ceramics, sculpture, prints and video. In the exhibition, the archives are widely explored and reproduced: at the same time, the artist opens up the possibilities to reinterprete the remains of the garden. An essential part of the relics used by the artist is in liaison with agronomical experimentations led by a group of scientists on the site, experimentations that led to the mass introduction of exotic florae across French colonies. This is how the artist interests in the process of creation of utopias in a context of transforming landscapes: an apocalyptic vision is present in the exhibition, which is created through an encounter between the constantly reshaping nature and the original architecture of the garden. The result is a reminiscent of a Garden of Eden, where science, nature and historical presentations are in a constant dialogue. This is how the artist examines the potential of images in his narrative praxis, by combining the familiar and the unknown, symbolic readings and implications.

© Marina Gadonneix 
Courtesy Ensapc YGREC and Federica Schiavo Gallery, Rome.

© Marina Gadonneix. 
Courtesy of Ensapc YGREC and Federica Schiavo Gallery, Rome.

© Marina Gadonneix. 
Courtesy of Ensapc YGREC and Federica Schiavo Gallery, Rome.

© Marina Gadonneix. Courtesy of Ensapc YGREC and Federica Schiavo Gallery, Rome.

By operating from a geopolitical, social and economic display dating from the beginning of the XX century, the artist introduces a new heterotopia in the gallery space, in a Foucauldian sense of the term: the exhibition ends up juxtaposing several simultaneous places, thus proposing a microcosm of different environments. Despite the focus on the archival database, the result is more complex than expected: the explored archives are not conceived so much in order to document, but rather, to assume the significance of modern and historic, political, geographical and social encounter, thus creating a common space, which is free of direct value-creating praxis. The result is an ensemble, which is bound to evolve, with its fluctuating and de-structured timeframe.

© Marina Gadonneix 
Courtesy Ensapc YGREC and Federica Schiavo Gallery, Rome.

© Marina Gadonneix. 
Courtesy of Ensapc YGREC and Federica Schiavo Gallery, Rome.

© Marina Gadonneix 
Courtesy Ensapc YGREC and Federica Schiavo Gallery, Rome.

© Marina Gadonneix. 
Courtesy of Ensapc YGREC and Federica Schiavo Gallery, Rome.

Born in 1974 in Catania (Italy), Salvatore Arancio graduated with a MA Fine Arts Photography from the Royal College of Art (UK). He grew up in Sicily and has been living and working in London for many years. Recent solo and group exhibitions include: “Cathedral”, AV Festival, Northern Gallery For Contemporary Art, Sunderland, UK, (2014); “Curiosity: Art & the Pleasure of Knowing”, Hayward Touring, UK (2013); “Cyclorama”, Museo Tamayo Arte Contemporáneo, Mexico City, Mexico (2013); “Alternating Layers of Contrasting Resistance”, Rowing, London, UK, (2013); “Solo Project”, Art Rotterdam, Rotterdam, (2013); “The Little Man of the Forest With the Big Hat”, Federica Schiavo Gallery, Rome, Italy, (2013). Upcoming shows include a two-man presentation a show at the Centre d’art contemporain La Halle des bouchers, Vienne, France (May 2015). He is represented by the gallery Federica Schiavo, Rome.

Ensapc Ygrec

Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

We met in Paris the independent curator Azad Asifovich in occasion of a visit to the exhibition Dogs in the Living Room at Galerie Rabouan Moussion. He explained us how, Farid Rasulov’s exhibition, took a great effort in terms of work: 550 meters of carpet interiors to be pasted by four assistants helping the artist, in order to cover the entire surface of the gallery, including every detail such as cups and books, throughout one month of installation. According to Rasulov: “Paris has a different mood, a special aura, a perfume. The city is like an obsession. I don’t know what attracts me, but I know this is my city”. Dogs in the Living Room is, as a matter of fact, developed all over in the Parisian gallery, from the floors to the ceilings, with traditional carpets from Azerbaijan. In November 2010 the Azerbaijani carpet was proclaimed a masterpiece of Intangible Heritage by UNESCO, in 2011 and 2013 Farid Rasulov’s Carpet Interiors were presented at Venice Biennale, at the Azerbaijan Pavilion.

Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

Born in Shusha, in the region of Karabakh, historical center of carpet waving, Farid Rasulov lives in Baku, Azerbaijan, ancient center of carpet weaving, but decides instead for this exhibition, to look for the fabric in Germany, and having it printed in Russia. A clash between the East and the West, a sign of a system of production, almost completely industrialized and globalized, and an artist who keeps an eye on the ancient patterns, repeated infinitely on the surface of the white cube of the gallery. Rasulov’s practice seems to be rooted in a Western universe represented by the white cube, and by the furnitures, but with an Eastern touch offering to the visitor a kaleidsocope of arabesques from his country, a traditional know-how transmitted from generation to generation. He said to the curator Azad Asifovich: “I use the carpet as a symbol of the Orient. It covers the Western interior, coexisting, it’s eternal”.

Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

In this conflict there are sometimes victims: human beings such as animals and plants. Dogs, but also cats, donkeys, horses, pigs, and other animals’ sculptures he adopted in his past installations, are victims of this dualism. It doesn’t really matter which kind of animal Rasulov is representing, in his work they are always a symbol of life and nature. And all of them are bright white, a representation of nature in its purity. The white dogs of the exhibition are looking out of the windows, sitting or standing. They are helpless animals without soul, faithful friends stucked inside the orientalized white cube and looking for light and freedom. Farid Rasulov’s installation at Galerie Rabouan Mouission is inspired by the Guba carpet waving school, but the artist will present in every installation a different region, every pattern being influenced by the variety of landscapes, from where the various color pigments are extracted: Baku, Shirvanm Ganja, Qazakh, Karabakh, Nakhchivan and Tabriz.

Courtesy of Galerie Rabouan Moussion

Courtesy of Galerie Rabouan Moussion

Bom and raised in a family of scientists, Farid Rasulov, was destined to a bright future in medicine, but In 2007, after graduating from the University of Medicine in Azerbaijan, he decides to move away from science. Living in Baku, the capital, and regularly attending artist studios, he discovers, through contemporary art, a way of life, the concept of freedom of choice, new languages. This radical shift leads him to participate in the 53rd and 55th Venice Biennale. Farid Rasulov is an artist devoting intense use of diverse energy mediums: painting, 3D, animation, sculpture, installation. More informations about his practice in Alice Cazaux’s critical text Anatomie d’une Tradition.

Galerie Rabouan Moussion

 

 

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

“The mirror is thoroughly egoless and mindless. If a flower comes it reflects a flower, if a bird comes it reflects a bird. It shows a beautiful object as beautiful, an ugly object as ugly. Everything is revealed as it is. There is no discriminating mind or self-consciousness on the part of the mirror. If something comes, the mirror reflects; if it disappears the mirror just lets it disappear . . . no traces of anything are left behind.” (Zenkei Shibayma, On Zazen Wasan, Kyoto, 1967)

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

The Premier Machinic Funerary Part II is the second installation in a series depicting a form of hyper-commercial ancestral worship. The installations present abstracted funerals for the 3D printed scan of ancient hominid fossils set in contemporary retail or commercial environments. Arising before art, and marking a transition in the emergence of humans, intentional burial is the oldest of all rituals, as well as evidence of a complex cognition capable of the abstraction required for thinking about the afterlife. Dating back 60,000 years it has also been observed among the closely related Neanderthals, who decorated their transitions into the afterlife with flowers and antlers.

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Perhaps more appropriately understood as anti-funerals, these installations mark the re-emergence of a lifeform as it transitions through various phases from organism to fossil, or from CT scan to 3D print. Phase transitions are said to occur at critical thresholds, switching a physical system from one state to another, like the critical points of temperature at which water changes from solid to liquid, or from liquid to gas. These critical thresholds structure the topological space of possibilities within any physical system and thereby define its expression into the physical world.

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

In this installation, the phase transitions undergone by this Homo Habilis (1.9 mya) and Paranthropus Aethiopicus (2.52 mya), which themselves originate at the threshold of humanness, provide an example of how being itself exists primarily in the topological realm of possibilities, and only in the secondary emerging into the physical through a given media. Timur Si-Qin

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Courtesy of Carl Kostyál

Timur Si-Qin (b.1984 Berlin) is an artist of German and Mongolian-Chinese descent who grew up in Berlin, Beijing and the American Southwest. Si-Qin has shown internationally at the Taipei Biennial, Bonner Kunstverein, CCS Bard New York, Museum Fridericianum Kassel, Ullens Center for Contemporary Art Beijing, Société Berlin, among others. Si-Qin lives and works in Berlin. The Premier Machinic Funerary: Part II at Carl Kostyal in London follows Part I presented as part of the Taipei Biennial 2014, and will be followed by Part III in New York with Eleanor Cayre in November.

Carl Kostyál

Timur Si-Qin

 

Preview in pictures of this edition of Fiac art fair. A selection of 2D works you may find in Paris.

Hans-Peter Feldmann

Hans-Peter Feldmann

Marieta Chirulescu

Marieta Chirulescu

Sebastian Black. Courtesy the artist & Balice Hertling

Sebastian Black. Courtesy the artist & Balice Hertling

Albert Oehlen. Courtesy the artist and Galerie Max Hetzler, Berlin | Paris

Albert Oehlen. Courtesy the artist and Galerie Max Hetzler, Berlin | Paris

Matt Sheridan Smith. Courtesy of the artist and  Kaufmann Repetto, Milan / New York

Matt Sheridan Smith. Courtesy of the artist and Kaufmann Repetto, Milan / New York

 

 

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