Meet Victor Ramos

Victor Ramos is a self taught photographer based in Paris. Originally from San Sebastian, Basque Country, he is currently traveling around Europe.

© Victor Ramos

It’s impressive what he can do with a digital compact camera. Playing a lot with the light, the time being suspended in his photos, Victor Ramos brings poetry to contemporary life.

© Victor Ramos

We particularly like his recent series Donostia, where Victor Ramos is presenting playful scenes of “Killing the Barbie”, in occasion of a visit to his family.

© Victor Ramos

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Art Review – Power 100

The ArtReview Power 100, published each year in the November issue of ArtReview magazine, is a comprehensive listing of the artworld’s most powerful figures. Entrants are ranked according to a combination of influence over the production of art internationally, sheer financial clout (although in these times that’s no longer such a big factor) and activity in the previous 12 months – criteria which encompass artists, of course, as well as collectors, gallerists and curators. Regular appearances are also made by those who run the major art fairs, by museum and foundation directors, and even by the occasional critic.

1. Carolyn Christov-Bakargiev
2. Larry Gagosian
3. Ai Weiwei
4. Iwan Wirth
5. David Zwirner
6. Gerhard Richter
7. Beatrix Ruf
8. Nicholas Serota
9. Glenn D. Lowry
10. Hans Ulrich Obrist & Julia Peyton-Jones
11. Sheikha Al-Mayassa bint Hamad bin Khalifa Al-Thani
12. Anton Vidokle, Julieta Aranda & Brian Kuan Wood (e-flux)
13. Cindy Sherman
14. Alain Seban & Alfred Pacquement
15. Adam D. Weinberg
16. Annette Schönholzer, Marc Spiegler & Magnus Renfrew
17. Marc Glimcher
18. Marian Goodman
19. Massimiliano Gioni
20. Jay Jopling
21. François Pinault
22. Klaus Biesenbach
23. Matthew Slotover & Amanda Sharp
24. Barbara Gladstone
25. RoseLee Goldberg 
26. Eli & Edythe Broad
27. Patricia Phelps de Cisneros
28. Bernard Arnault
29. Nicholas Logsdail
30. Liam Gillick
31. Ann Philbin
32. Victor Pinchuk
33. Maja Hoffmann
34. Tim Blum & Jeff Poe
35. Marina Abramović
36. Dakis Joannou
37. Udo Kittelmann
38. Monika Sprüth & Philomene Magers
39. Matthew Marks
40. Gavin Brown
41. Damien Hirst
42. Rosemarie Trockel
43. Wolfgang Tillmans
44. Agnes Gund
45. Chus Martínez
46. Isa Genzken
47. Iwona Blazwick
48. Anne Pasternak
49. Sadie Coles
50. Daniel Buchholz
51. Toby Webster
52. Adam Szymczyk
53. James Lingwood & Michael Morris
54. William Wells & Yasser Gerab
55. Michael Ringier
56. Theaster Gates
57. Pussy Riot
58. Jeff Koons
59. Steve McQueen
60. Takashi Murakami
61. Boris Groys
62. Emmanuel Perrotin
63. Richard Chang
64. Tim Neuger & Burkhard Riemschneider
65. Slavoj Zizek
66. Thaddaeus Ropac
67. Chang Tsong-zung
68. Elena Filipovic
69. Tino Sehgal
70. Christian Boros & Karen Lohmann
71. Luisa Strina
72. Claire Hsu
73. José Kuri & Mónica Manzutto
74. Brett Gorvy & Amy Cappellazzo
75. Tobias Meyer & Cheyenne Westphal
76. Budi Tek
77. Walid Raad
78. Cuauhtémoc Medina
79. Massimo De Carlo
80. Bernardo Paz
81. Christine Tohme
82. Mario Cristiani, Lorenzo Fiaschi & Maurizio Rigillo
83. John Baldessari
84. Sheikha Hoor Al-Qasimi
85. Dasha Zhukova
86. Vasif Kortun
87. Anita & Poju Zabludowicz
88. Candida Gertler
89. Gisela Capitain
90. Carol Greene
91. Franco Noero & Pierpaolo Falone
92. Jacques Rancière
93. Miuccia Prada
94. Maureen Paley
95. Don, Mera, Jason & Jennifer Rubell
96. Paul Chan
97. Victoria Miro
98. Adriano Pedrosa
99. Johann König
100. Gregor Podnar

The Battle – Koen Delaere vs Jeroen Doorenweerd

© Koen Delaere, Jeroen Doorenweerd

While Koen Delaere paints on a daily basis, Jeroen Doorenweerd hasn’t painted for over 20 years but he is really looking forward to doing it again. This exhibition will be a Battle, in Utrecht Centraal Museum. The joint works of the two artists will be exhibited in the analogue room made for the show in de Lakenhal, Leiden, in 2009. The room will be rebuilt in the Centraal Museum Studio.

© Koen Delaere, Jeroen Doorenweerd

The recipe is for both of them, in turn, to paint on the walls and ceiling, without prior consultation or final objective, just continuously to paint a new layer on top of each others work, indiscriminately. Both aiming for a point at where control gives way to direct experience, Delaere and Doorenweerd have no idea of what the outcome will be.

Host Edwin Jacobs will report as judge and jury on a weekly basis and present a final judgement of the Battle.

© Koen Delaere, Jeroen Doorenweerd

Whatspace

Opening 26 October 2012

Centraal Museum, CM Studio,

Nicolaaskerkhof 10, 3512 XC Utrecht

 

Jesper Just’s new work from Belleville

© Jason Mandella

It is still possible to see the exhibition at James Cohan Gallery, New York, of Danish artist Jesper Just until October 27th. This is the artist’s first exhibition at James Cohan Gallery and the first solo exhibition in New York since his survey show at the Brooklyn Museum in 2008. The artist is well known for employing high production value cinematography to create film works that subvert the usual stereotypes that have come to be associated with Hollywood’s mainstream film industry.

© Jesper Just

The exhibition marked the NY premiere of two important recent works: This Nameless Spectacle (2011) filmed in Paris (stills from video), and Sirens of Chrome, filmed in Detroit. The artist also produced a new work for the exhibition. Installed in the gallery’s main space, Just’s two-channel work This Nameless Spectacle takes its title from American poet William Carlos Williams’ poem The Right of Way. In this poem Williams describes the fascination with which we observe anonymous actions, the “nameless spectacles” which surround us every day, everywhere. In the film, Just tracks his two protagonists through Paris’ famous Buttes Chaumont park.

© Jesper Just

This Nameless Spectacle is presented on two massive panoramic screens that face each other. The action is mirrored and split between the two screens, bouncing from one to the other. This choreography is intended to wholly envelop the viewer in both the imagery and the narrative, simultaneously rendering the viewer a witness and an important player in the action. Dependent on the viewers’ gaze and attention that focuses on the anonymous and nameless spectacle witnessed within the film, the story is complete. This Nameless Spectacle was commissioned by the Musée d’Art Contemporain du Val-de-Marne, France. The work was shown as part of a larger exhibition of Just’s films in 2011 and is now part of the museum’s permanent collection.

© Jesper Just

Jesper Just has been selected to represent Denmark at the Venice Biennale in 2013. The artist has been commissioned to create a new film installation for the Danish Pavilion. Working in closely with prominent London-based firm of Caruso St John Architects on the Pavilion’s architecture. Just will re-imagine and transform the Pavilion into a seamless experience for the Biennale visitor.

© Jesper Just

Also in 2013 a survey exhibition of the artist’s work will be mounted at the Herning Museum for Contemporary Art, a new Steven Holl-designed museum in Jutland, Denmark, which will include a new commission to be filmed in LA.

© Jesper Just

Jesper Just lives and works in New York, NY. His work is included in the collections of the Carnegie Museum, Pittsburgh; the Guggenheim Museum, NY; the Israel Museum, Jerusalem; the Moderna Museet, Stockholm; the Museum of Modern Art, NY and the Tate Modern, London, in addition to many others.

© Jesper Just

James Cohan Gallery

Selected by Ingrid Melano

Elina Brotherus – Artists at Work

© Elina Brotherus, Courtesy Gallery TAIK

© Elina Brotherus, Courtesy Gallery TAIK

Don’t miss the exhibition at Gallery TAIK, Berlin, of Finnish artist Elina Brotherus with a solo exhibition in relation to the Month of Photography 2012. The title of the exhibition “Artists at Work” refers to the corresponding series (2009) from which a variety of works will be displayed. Furthermore a selection of photographs of Brotherus’ complete works will be presented.

© Elina Brotherus, Courtesy Gallery TAIK

Elina Brotherus once again uses herself as the principal model in her pictures. However, in contrast to her previous works she uses her role as a model to challenge our sense of objectivity. The series is a study of perception, a triangular interaction between herself and two painters as they try to capture her portrait on canvas. In these photographs Brotherus subtly undermines our sense of self by blurring the outlines of reality through the act of interpretation. This series leaves us with the question who is looking at whom and how we process what we are actually seeing. Brotherus invites the viewer to take the stage and become part of the interaction, seeing the model as both subject and object simultaneously.

The View of the Other is not what we see, but what we feel through the sense of being included.

© Elina Brotherus, Courtesy Gallery TAIK

 Gallery TAIK

The Helsinki School

Ricardo Rendón – Open Window

© Ricardo Rendón

I discovered Mexico City-based artist Ricardo Rendón during Volta Art Fair in Basel some years ago. Ricardo Rendón regards his site-specific installations as interventions – actions that disrupt our expectations within a given situation. For BMoCA, he created Open Window, a monumental installation that engages the public through an altered architecture, while interacting with the works on view inside the museum by providing a darkened environment.

© Mustikka

Using heavy machinery and tools commonly used for construction and manual labor, he punctures drywall panels that have been inserted to cover all windows, creating random allover circular patterns that allow beams of sunlight to seep through and change direction as the day progresses. Rendón leaves the cutout pieces where they fall as a record of the perforating action and signifying the possibility to continue puncturing until the windows are returned to their ordinary function.

© Ricardo Rendón

Ricardo Rendón was born in Mexico City, Mexico in 1970, where he currently lives and works. He received a BFA from the National Arts School, CENART, Mexico City in 2004, and a BA in Graphic Communication and Design from the Metropolitan University, Mexico City, in 1992. He has exhibited in galleries and museums worldwide, including the Stedelijk Museum, Amsterdam, Netherlands (2009); Maison Rouge, Paris, France (2008); the Tamayo Museum, Mexico City (2003), and ARCOmadrid, Spain (2005).

© Ricardo Rendón

His works can be found in contemporary art collections, including the Cisneros Fontanals Art Foundation (CIFO), Jumex Collection, and Fondation Daniel Langlois. He has been a member of the National System of Creators CONACULTA-FONCA since 2006, and has been teaching at the National Arts School La Esmerelda in Mexico City since 2005.

© Ricardo Rendón

Visual Rhythm has been made possible by Presenting Sponsor Mike’s Camera and by a partnership with the Brakhage Center at the University of Colorado Boulder.

BMoCA

Jens Hoffmann: history, role, physiognomy of the curator

Jens Hoffmann Mesèn (born 1974 in San José, Costa Rica) is a writer and exhibition maker. He has organized exhibitions since 1997 and is currently the Director of the Wattis Institute for Contemporary Arts at the California College of the Arts in San Francisco where he also directs the Capp Street Project artist-in-residence program.

Jens Hoffmann has curated more than 30 exhibitions internationally since the late 1990s. His current curatorial projects include “When Attitudes Became Form Become Attitudes” (opening in fall 2012 at the CCA Wattis Institute and spring 2013 at the Museum of Contemporary Art Detroit) and the 9th Shanghai Biennial (opening October 1, 2012, at the new Shanghai Art Museum).

Hoffmann‘s training in theater has as much influence on his curatorial efforts as his experience with art history and curating. Of key importance for all of his exhibitions is the staging of the experience, from the design of the installation to the conceptualization of the catalogue, the related programming, and the “performances” of the artworks themselves. The stage set of the exhibition space, site, or geographical location is itself an important factor in the development of his ideas, which respond to both time and place. Hoffmann takes into account the larger historical and sociopolitical context in which an exhibition is happening as well as the relevant curatorial and art historical relationships.

Hoffmann trained as a theater director and studied stage directingdramaturgy, with Andrea Breth and Manfred Karge and cultural sociology with Wolfgang Engler at the Ernst Busch School for Performing Arts in Berlin. He holds an MA from DasArts: School for Advanced Research in Theater and Dance Studies at the Amsterdam School for the Arts were he studied under the Dutch theater pioneer Ritsaert ten Cate.

A defining characteristic of Hoffmann’s work is his conception of an authorial role for the curator, as well as applying the ideas and strategies of artists (in particular Conceptual art) to his curatorial efforts. His unique approach has resulted in a highly personal exhibition history that reflects a creative development not dissimilar to that of an artist.

He was co-curator (with Adriano Pedrosa) of the 12th Istanbul Biennial. He co-curated the 2nd San Juan Triennial in Puerto Rico in 2009, the 9th Lyon Biennial in 2007, he was guest curator for Manifesta 4 in Frankfurt in 2002 and co-curator of the 1st Berlin Biennial in 1998. With Harrell Fletcher, he developed the People’s Biennial (together with Independent Curators International), of which the first edition was presented in 2010-11 at five U.S. museums. In 1999 Hoffmann organized, together with Maurizio Catellan, the 9th Caribbean Biennial in St, Kitts.

In 2009 he founded the publication The Exhibitionist: A Journal on Exhibition Making, and he has been an editor-at-large for Mousse magazine since 2011. In addition to this Hoffmann is a frequent contributor to Frieze and Artforum.

In 2006 Hoffmann began working with the Kadist Art Foundation, which is based in Paris and San Francisco, and has built their 101 Collection, a collection of artworks from the West Coast of the United States, and El Sur, a collection of artworks by young and emerging Latin American artists. Since 2012 Hoffmann is member of Kadist’s Art Committee.

Hoffmann is an associate professor at the Graduate Program in Curatorial Practice at California College of the Arts in San Francisco and has been an adjunct professor at  Accademia delle Belle Arti in Milan since 2004. From 2003 to 2009 he was a lecturer at the MFA in Curating Program at Goldsmiths College University of London. In 2012 Hoffmann was Visiting Professor and Course Leader of the 4th Gwangju Biennial Curatorial Course.

From 1995 to 1997 Hoffmann worked an assistant dramaturg with Tom Stromberg at the Theater Am Turm in Frankfurt. Stromberg and Hoffmann realized the performing arts program for Documenta X “Theater Sketches” in 1997. The following year Hoffmann became co-curator of the 1st Berlin Biennial, which he organized as artistic coordinator with Klaus Biesenbach, Nancy Spector, and Hans Ulrich Obrist. This was followed by two years at the Guggenheim Museum in New York as an assistant curator for contemporary art. From 2003 to 2007 Hoffmann was the director of exhibitions at the Institute of Contemporary Arts in London.

He worked for Brussels 2000: Cultural Capital of Europe, for which he curated, with Barbara Vanderlinden, the program “Indiscipline,” a large scale series of talks, lectures, and performances exploring interdisciplinary links among science, art, political theory, and architecture though the spoken word. From 2001 to 2002 Hoffmann worked as a guest curator with Mattijs Visser at the Museum Kunst Palast in Düsseldorf, where he organized “SPECTACULAR: The Art of Action,” a yearlong examination of the relationship between performance art and the museum’s collection, with various stagings and actions taking place throughout the museum.

His most recent books include “The Artist’s Studio” (for the MIT Press series Documents of Contemporary Art and Whitechapel Gallery, 2012), “The Next Documenta Should Be Curated by An Artist” (ed.) (Revolver, 2004), and “Perform” (coauthored with Joan Jonas, Thames & Hudson, 2005). “SHOW TIME,” a history of exhibitions from 1990 to the present, is forthcoming from Thames & Hudson in 2012 and “The Exhibition As A Dramatic Construction” will be published by Sternberg Press in 2013.