Joan Jonas to Represent US in 2015 Venice Biennale

Joan Jonas, Organic Honey's Vertical Roll

Joan Jonas, Organic Honey’s Vertical Roll, Ace Gallery, Los Angeles, 1972. Photo by Roberta NeimanJoan Jonas, The Shape, the Scent, the Feel of Things

Joan Jonas, The Shape, the Scent, the Feel of Things, performance at Dia Beacon, 2005.  Photo by Paula CourtJoan Jonas, Organic Honey's Vertical Roll

Joan Jonas, Organic Honey’s Vertical Roll, Musee Galliera, Paris, 1972/1973.Joan Jonas, Mirror Piece

oan Jonas, Mirror Piece, performance at Annadale on Hudson, 1969.  Photo by Joan JonasJoan Jonas, Organic Honey's Vertical Roll

Joan Jonas, Organic Honey’s Vertical Roll, Musee Galliera, Paris, 1972/1973.  Photo by Beatrice Helligers

Joan Jonas has been a tenured visual arts professor at MIT for the past 15 years, and is currently Professor Emerita in the MIT Program in Art, Culture, and Technology (ACT). Curated by Paul C. Ha, Director of the MIT List Visual Arts Center and commissioner for the project; and Ute Meta Bauer, currently the Director of the Centre for Contemporary Art (CCA) at the Nanyang Technological University in Singapore and previously the Founding Director of the Program in Art, Culture, and Technology (ACT) at MIT, Jonas’s installation for the U.S. Pavilion will be an exceptional moment in her longstanding relationship with MIT.

For the five galleries of the U.S. Pavilion, Joan Jonas will conceive a new complex of works, creating a multilayered ambience, incorporating video, drawings, objects, and sound. Literature has always been an inspiration and source for Jonas, and the project for Venice will extend her investigation into the work of Halldór Laxness and his writing on the spiritual aspects of nature, but will focus on other literary sources.

The List is renowned for presenting groundbreaking contemporary artwork and has always served as a creative laboratory where artists are free to experiment—–a leadership position that has been affirmed by the Center’s selection as the commissioning institution for the U.S. Pavilion for the third time in the past 15 years, having organized the Pavilions by Fred Wilson in 2003 and Ann Hamilton in 1999.

“Joan’s voice and vision have been powerful forces in contemporary art for five decades, and I am thrilled that we will present her latest work in Venice, one of the most iconic forums for the presentation of cutting-edge artwork,” said Paul Ha, Director of the MIT List Visual Arts Center. “Joan’s selection is not only an acknowledgement of her outstanding contributions to the art world thus far, but also an investment in the innovative promise of her future work.”

Jonas has continued to work with a multimedia approach throughout her career, being one of the first artists to explore the potential of the video camera as a tool for image-making and the TV monitor as a sculptural object. At the same time, Jonas experimented in her performances with incorporating the body into the visual field. Her installations and performances bring these components together through drawing, props, and objects to create works reflecting her research in relation to space, narrative, or storytelling, and materials as they are altered through various technologies such as the mirror, video, and distance. In Venice, she will work with these diverse aspects of her practice to create five distinct rooms, with common themes unifying and resonating in the entire space, relating to the present condition of the world in poetic terms.

Jonas’s work developed out of her art history studies and sculptural practice, and expanded to performance and film in the 1960s through her involvement with the New York avant-garde scene. Her work has had a significant influence on contemporary art to date, as she has continued to be a major figure in the fields of performance and video art throughout the past five decades.

In conjunction with the presentation of her new work at the U.S. Pavilion, the List will present several of Jonas’s most significant, single-channel video works, selected from her 40-year career, in an exhibition in the List’s Bakalar Gallery from April 7 through July 5, 2015. The intimate exhibition will provide important background and context for Jonas’s new work on view simultaneously in Venice, and will share with local audiences the pivotal videos and performances that led to the artist’s selection as the U.S. representative for the 2015 Venice Biennale.

“As I know from working with Joan as both a curator and educator, one does not only see her work, one experiences it. Her performances make a lasting impression, and her ability to work with spaces in a sensual way will most certainly turn a visit to the U.S. Pavilion in Venice into a profound encounter,” said Ute Meta Bauer, Director of the Centre for Contemporary Art at the Nanyang Technological University, Singapore.

“We are especially proud to be presenting an MIT professor as the representative artist for the U.S. at the Venice Biennale,” said Philip S. Khoury, Ford International Professor of History and Associate Provost, who oversees the arts at MIT. “Joan’s fearlessly experimental work is emblematic of MIT and the List’s mission to foster the creation of intellectually investigative, challenging artwork, and we have no doubt that her installation for the U.S. Pavilion will push new boundaries and captivate audiences in ways that were previously unimaginable.”

To learn more about Joan Jonas and the U.S. Pavilion, please visit http://joanjonasvenice2015.com

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All The World’s Futures

 

The title chosen by Okwui Enwezor for the 56th International Art Exhibition is: All the World’s Futures. A theme that Futurelab find very fitting in deed.
Okwui Enwezor has explained his project as follows:
« The ruptures that surround and abound around every corner of the global landscape today recall the evanescent debris of previous catastrophes piled at the feet of the angel of history in Angelus Novus. How can the current disquiet of our time be properly grasped, made comprehensible, examined, and articulated? Over the course of the last two centuries the radical changes have made new and fascinating ideas subject matter for artists, writers, filmmakers, performers, composers, musicians. It is with this recognition that the 56th International Exhibition of la Biennale di Venezia proposes All the World’s Futures a project devoted to a fresh appraisal of the relationship of art and artists to the current state of things ».
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We are looking forward to the many apocalyptic themes that will no doubt be found in the 56th Venice Biennale. The lab agrees with New Zealand’s representative artist Simon Denny that invasion from giant mechanized predator aliens are in our future.www.labiennale.org

BGL to represent Cananda in the Venice Biennale

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After seeing this fox impaled by a plexi spire, the Futurelab is excited to see what BGL, an artist collective established in 1996, comes up with for this year’s Venice Biennale.

The three artists live and work in Québec City.

From the Parisan Laundry website:

Renowned for cheeky, critical and explosive works, BGL creates self-referential, site-specific installations that seek to re-contextualize the space of the gallery. These artworks are at once nostalgic, while simultaneously indebted to contemporary culture. The trio often utilizes local signage, foodstuffs and urban clichés as references into a long-term investigation of our own unpredictable relationship with nature and consumer culture. Within BGL’s playful scenarios, we are able to witness the transformation of the Canadian landscape: an ongoing battle between the organic and the artificial. As a result, the viewer becomes more aware of their personal implication in a disposable consumer culture. This is precisely what BGL is engaging with in their artistic practice: a process of recycling and reusing that is then restaged and recontextualized within the gallery space. The collective’s massive exhibitions have included the staging of a seasonal ornamental tree factory, a bonfire and even a ‘Marché aux puces’ (flea market). Such works reposition found objects, cultural ephemera and unique sculptures in new and thought-provoking ways.

BGL was created while the three members—Jasmin Bilodeau, Sébastien Giguère and Nicolas Laverdière—were students at Laval University. For almost two decades now, the collective has presented major installations and performances and participated in innumerable group and solo exhibitions. BGL has been invited to show their work by a variety of institutions, including the first edition of the Bienal del fin del mundo (Ushuaia, Argentina), the Musée d’art contemporain de Montréal, the Musée d’art moderne Lille Métropole (France), Mercer Union (Toronto), Hart House (Toronto), The Havana Biennale (Cuba) and The Montreal Biennale. More recently, the artists have enchanted their public with the installation Fancy Canada conceived especially for the 2013 major group exhibition Oh Canada! at MASS MoCA (Massachussetts). In 2012, the members of BGL took part in the Louis Odette Sculptor-in-Residence Program at York University (Toronto). Recent notable projects include Alberta’s Nuit Blanche, Cultiver son jardin at the UQAM gallery,Marshmallow, Cauldron + Fire at the Vancouver Art Gallery and Le discours des éléments at the National Gallery of Canada, among others. The collective has been recognized by the Canada Council for the Arts and The Conseil des arts et lettres du Québec on numerous occasions and has twice been a finalist for the Sobey Art Award. Their work is found in the collections of The Musée National des beaux-arts du Québec, The Montreal Museum of Fine Arts, and The National Gallery of Canada. BGL was chosen to represent Canada at the 2015 Venice Biennale.


Irena Nakhova, represents Russia in 2015 Venice Biennale

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Irina Nakhova (b. 1955) graduated from the Moscow Institute of Graphic Arts in 1978. She is an installation artist and an academically trained painter who “parlays art historical references into interactive environments that are humorous and poignant” (Marina Mangubi). She has had a long and distinguished career with numerous solo exhibitions in New York, Moscow, Austria, Estonia, Chicago, and London. She is a member of unofficial artists’ group, now known as the Moscow Conceptual School. She is also a member of the Union of Russian Artists since 1986. Since 1992 Irina lives and works between Russia and the US. Nakhova taught contemporary art at Wayne State University in Detroit (MI), Carnegie Mellon University in Pittsburgh (PA), and International Summer Academy of Fine Arts in Salzburg, Austria. Her artwork is in museums and private collections in France, Germany, Great Britain, Italy, Russia, Spain, Sweden, Switzerland, and the United States.

content from Nailya Gallery website