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The Victoria and Albert Museum presents Disobedient Objects , a pioneering exhibition that investigates the powerful role of objects in movements for social change.

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Focusing on the period from the late s until now, a time of constant technological development and political challenges, the exhibition demonstrates how political activism drives toward a collective creativity that challenges standard definitions of art and design.

Since many of the artifacts were loaned directly from activist groups, the objects exhibited were hardly ever seen in a museum before.


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The exhibition is organized in several sections, including the introduction of the design of activist objects in relation to four ways of effecting social change: direct action, speaking out, making worlds, and solidarity. From a tableau of three puppets used in protests against the first Gulf War by the politically radical United States—based Bread and Puppet Theater, to simple pamphlets, to hand-painted placards by gay-rights activists, to banners used in conjunction with social media—solidarity can be demonstrated by even the smallest objects.

The case studies include an installation of masks and posters by the Guerrilla Girls, the anti—death penalty Tiki-Love Truck by the artist Carrie Reichardt, and a project by the Barbie Liberation Organization, responsible for switching the voice boxes on hundred of toys, including talking GI Joe and Barbie dolls, a project that sparked a widespread discussion about gender stereotypes.

The Berlin-based artist Katie Paterson launched Future Library , her new public artwork that will unfold over the next one hundred years in the city of Oslo, Norway. From to , Paterson, along the leading publishers and editors from Future Library Trust, will invite one writer every year to contribute a new text to a growing collection of the as-yet unpublished and unread manuscripts. The Future Library project has received its foundations as a gift from the City of Oslo: a forest in Nordmarka.

There, Paterson planted one thousand new trees in May These trees will be cut down in in order to provide the paper on which the commissioned texts along a century will be printed as an anthology of books. Paterson b. Her poetic installations evidence her philosophical engagements between people and their natural environment, an engagement that derives from an intensive and sensitive research and collaboration with specialists as diverse as astronomers, geneticists, nanotechnologists, and fireworks.

Paterson has named the prizewinning author, poet, essayist, and literary critic Margaret Atwood as the first writer to contribute to Future Library.

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Atwood has begun writing the first text that will be handed over at a special event to be held in May A choreographer, dancer, artist, and writer, Forti figured prominently in postmodern dance and Minimal art. She has been engaged with kinesthetic awareness and composition, dedicating herself to experimentation and improvisation.

Her artistic projects include collaborations with other artists, such as the musicians Charlemagne Palestine and Peter Van Riper. In the early s, together with dancers including Steve Paxton and Yvonne Rainer, Forti introduced movements from everyday life, revolutionizing the idea of dance and performance art. When living near the zoo in Rome in the late s, she began to develop performance pieces based on the movements of animals. Forti also explored working with minimalist objects made of simple materials.

In her most recent works, the News Animations , she includes spoken words in her dance, evidencing her ongoing interest in incorporating current events into movement. Through these works, the artist states that physicality and the language relationship to thought are pretty basic to us. Embedded in the mail-art tradition, concrete poetry, and performance, and with a language-oriented conceptual spine, her work, since the mid s, has variously and provocatively touched upon such issues as the notion of public space, the situation of women, female subjectivity, and the Polish political context.

She was the first woman artist to encroach upon public space in the nude in Poland, publicly making a value statement about being a female artist, basing her art and its vocabulary on her specific experience as a woman, and connecting her artistic gestures with political statements and a visible presence in the public.

Her retrospective in Gdansk and her inclusion in Wack! Art and the Feminist Revolution —8 have marked her recent international acknowledgment as one of the leading figures of feminist and conceptual avant-garde in Poland and beyond.


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  • Curated by Naomi Lev, this exhibition explores the distinct role of object-human relationship as manifested in the work of three New York—based artists: Tamar Ettun, Monika Sziladi, and Aimee Burg, all graduates of the Yale MFA program but of diverse cultural origins and practices. Her recycling of mundane objects of everyday rituals renders them archeological artifacts that preserve ancient ceremonial events.

    Her sculptures, video, and onsite installation are a reflection of a longer process, which traces the correspondence between objects and bodies, as well as sculptures and movement.

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    As she often states, in her works the body becomes sculptural and the objects become performative. Through a photographic process Sziladi creates unique digital collages that are constructed from scenes she shoots at events, conventions, and meet-ups of various subcultures that communicate through social networks.

    In her most recent series, Prisoners of Our Own Device , she enhances moments of the complex physical and psychological exchange we develop with objects, garments, architecture, devices, or other people with which we surround ourselves. While this haunting film was shown previously in New York and at the Sharjah Biennial , its screening in the United Kingdom in the context of a program that reflects on the impact of the First World War around the globe becomes particularly meaningful. Lydda Airport, an important stop along the empire route for the British government, is shown under construction and deserted except for the figure of Jacir and the main character, Hannibal, one of the largest passenger planes in the world at the time, that disappeared in over the Gulf of Oman on its way to Sharjah.

    The film also invokes the story of Amelia Earhart, the pioneering pilot who crossed the Atlantic Ocean on her own in and disappeared over the Pacific in her journey around the world in Jacir—an artist known for her historical narratives through photography, film, installation, social intervention, writing, and sound—wrote, directed, performed, and created the soundtrack for this film.

    The animation was created using archive footage from the Library of Congress as well as original aerial photographs taken by Geoffrey Grierson. With a practice that spans a wide range of media, such as illustration, graphic design, drawing, video, textiles, performance, installation, photography, and printmaking, the artist defines herself as a natural drawer.

    Drawing is the foundation of my language.

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    I draw with a pencil, I draw with scissors … with anything. She has chosen to remain in Romania during the Communist times, and she feels it was the right choice. In her early video The Studio , we can see the artist creating inside this intimate room surrounded by her artworks, an environment that captures the playful, experimental, and feminine as she defines it approach that characterizes her practice, making also evident her frequent use of role playing and self-portraiture.

    Carolee Schneemann is one of the most important artists to have emerged from the experimental avant-garde scene of New York in the early s. Though finally acknowledged as a pioneer of feminist and performance art—an acknowledgement that had been for years unduly marred by her controversial, for many, use of her beautiful nude body—it is fair to say that the breadth and depth of her multiform contributions to the radical advancement of postwar art, including painting, film, performance, and multimedia installation, remains unstudied and unfathomed.

    It was her participation in the antiwar movement, however, that triggered her first use of media images of war and death in the mid-sixties, something that continues to characterize her collage aesthetic and multimedia practice. Performances of Snows and Night Crawlers , on the fringe of Expo 67 in Montreal, marked a high point in her political experiments in Kinetic Theatre and Expanded Cinema , during which film was extended beyond the screen to include collage and other forms of art.

    Among them is the poignant photomontage Terminal Velocity , a monumental photographic montage that stands out as representative of a new form of historical painting, while also breaking another corporal taboo, that of the dead body, as put by Annable Teneze. With this work Schneemann records a real event while infusing a hard note of humanity across five columns of close-ups showing bodies falling from the World Trade Center towers on September 11, A hard-hitting creation based on a key moment in our current world, Terminal Velocity questions the effectiveness and the distortions of the media coverage of such tragic events, a question raised in such subsequent video installation works as More Wrong Things or Precarious , in which spectators are submerged in a torrent of projected images and reflections.


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    • Curated by Anabelle Teneze and begun last year at the Rochechouart Museum of Contemporary Art, which in bought Terminal Velocity , is accompanied by a fully illustrated catalogue with fresh views on the intersection of her art with history, feminism, and the empire of image, called Then and Now. Carolee Schneemann. Rama is an Italian self-taught artist born in in Turin, where she still lives. These psychosexual images based on her witnessing of female patients wandering the wards half naked were presented in her first exhibition in Turin in The exhibition was shut down, as her work was considered too radical for the Fascist-dominated Italy she grew up in.

      Her autobiographical, explicitly female approach mirrors that of other artists of her time, such as Louise Bourgeois. Rama mentioned that rubber stimulated her more than all the other materials. She was attracted to the sensual, fleshlike quality of rubber and was interested in its character and temperament that suggest a feeling of unease. He committed suicide when he was declared bankrupt in The artist states that these works express the sadness she feels at his loss, a sadness that will never pass. Badischer Kunstverein presents an extensive solo exhibition dedicated to Annette Wehrmann — , curated by Ort des Gegen e.

      Ort des Gegen e. Wehrmann lived and worked in Hamburg. Throughout her diverse practice, she has developed a unique artistic position. Somewhere between sculpture and intervention, Werhmann fused conceptual and performance art methods with the language of the Situationist International, feminism, and science fiction. Her oeuvre, a distinctive mix of anarchic prose, dry humor, and intellectual discourse, reflects the political development, the daily life, and the art scene of the s.

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      Wehrmann had an important position in her generation and what became the art scene of post-Wall Berlin. Voicing her unease about the world, Wehrmann underlined an independent creative position that not only inscribed in her art, but also in her life. These assemblages of cheap materials, influenced by feminist science-fiction literature, are given a central role in the exhibition.

      Through this huge installation comprised of sculptural works, photographic series, working drawings, and a floor piece, Horn intends to offer an overall experience. The works selected represent a compendium of the elements that underpin the creative process of the American sculptor, installation artist, draughtsman, photographer and writer: people, the landscape, light, words, water, presence, glass, faces, change, forms, series, spaces, the appearance of the self, and time.

      The show includes text-oriented sculptural installation from the White Dickinson series; the photographic series You are the Weather, Part 2 , which explores the essence of water as well as questions of human identity and appearance; Still Water The River Thames, for Example and Dead Owl ; as well as a series of self-portraits a.

      Here, Horn uses repetition to examine the relationship between individual and collective identity and to create an endless labyrinth of gazes and disenchanted desire. The Consortium Art Center presents the exhibition Feminine Futures , an illuminating survey of radical experimentation with dance and performance by female avant-garde artists from to —itself a potent and understudied prelude of feminist and performance art. Curated by the artist and curator Andrien Sina and first staged in the context of Performa in New York, Feminine Futures , in its latest iteration in France, comprises more than six hundred items—an incredible collection of photographs, letters, drawings, manifestos, programs, and first editions that sheds light on the unexplored gendered margins of twentieth-century avant-gardes in which overlooked origins of body art and interdisciplinary vanguard art practices seem to lie.

      The Museum of Contemporary Art in Zagreb presents the first retrospective exhibition of Vlasta Delimar, one of the most significant multimedia and performance Croatian artists to have emerged from the postconceptualist scene in former Yugoslavia and Croatia in the s.