Gallery

Art Bank, Food Bank, Technology Bank

One person show at Villa Caprile, Italy

Curated by Camilla Boemio with AAC Platform

 

Sponsored by Ioana Pioaru and Sistemi2000 Srl

https://aniconics.wordpress.com/2016/07/16/delivering-obsolescence-art-bank-data-bank-food-bank

 

In 2 parts: installation as an archaeology of the conditions  for staging art today and a found Press release.

 

 

Grouping together a wide range of elements car delivering materials View of obsolete technology from the side jpgblack bin liner, art works, archaeological finds s

Large waste bin View of central technology stack- developing an idea of a technology bank

 

 

Found press release

 

 

News

Exhibitions 2017

Hertfordshire University Curated by Janette Parris

May/June 2017

 

 

 

Exhibitions 2016/17

September

21st – 25th  Parallel Vienna, group show with Dadadada academy and the Open source gallery NY

with

Trond Arne Vangen

Iris Brosch

Maria Chevska

Katja Everett

Cora Jeannee

Panos Papadopoulos

Elizabeth Penker

Keti Sirbiladze

Selana Vronti

Monika Wuhrer

 

Aug

Art Riot Exhibition, Chelsea School of Art, London, UK

 

July 2016

 

“Delivering Obsolescence: Art bank, Data bank, food bank” One person show at the Palace of Villa Caprile, Le Marche, Italy. Curated by Camilla Boemio and AAC Platform

 

art bank, data bank, food bank

 

 

July 2016, Group show, Kunst Altonale 18, Hamburg, Germany

 

 

Stasis and Looping

 

Title: Stasis and Looping, 2016

 

A new work  “A visual essay on the effectiveness of art against the background of a protest against austerity”

 

 

Delivering obsolescence. Art Bank, Data Bank, Food Bank – Installazione site-specific di David Goldenberg

 

Research Seminar: David Goldenberg

Event Date May 4, 2016 3:30 p.m. – 5 p.m.

Location – ATRiuM, Cinema (CA B205)

Assembling a platform to stage Participating Cultures

Chair: Inga Burrows (University of South Wales)

The term Participating Cultures originated in a lecture that I delivered for the 2010 Mongolian Land Art Biennial, as a critique of participatory practices and the Biennial form as a platform for staging art in a Global context. Then expanded and visualised in installations for the Venice Biennial and the Caspian Sea Biennial, and more recently in a text for the Pavilion Journal in 2014 where Participating Cultures is recognised as the second term in the formulation of the scheme of Post Autonomy.

In the new lecture I propose to provide a general introduction that covers the initial steps towards the conceptualisation and visualisation of Participating Cultures, beginning with how to translate the concepts into recognisable forms and language that makes the ideas understandable to a wider audience and contributors. And at the same time establish a platform to both discuss and stage a project examining Participating Cultures against a background of stasis and obsolescence and the current state of sociopolitical emergency, that forefronts the health and capacity for art and thinking to register this state of affairs? As a term it is intended to signal and trigger re-imagining starting again, leading to re-configuring the spatial global role of art. Yet before this possible any discussion of change, starting again, and reconfiguration is only possible through a general understanding of the space of art and cultural power.

Da­vid Gol­den­berg, (Hit­chin, Hertfordshire, UK, 1956) is an im­portant Eng­lish con­cep­tu­al ar­tist. For ye­ars, his re­se­arch has been con­cen­tra­ted on the Post Au­to­no­my con­cept, which he has de­ve­l­o­ped in a num­ber of shows held at im­portant in­ter­na­tio­nal in­sti­tu­ti­ons, stan­douts amongst which are the re­cent (2012) The Sce­na­ri­os of Post Au­to­no­my, Glen­da Cin­que­gra­na: the Stu­dio, Mi­lan, Ita­ly; Tem­pla­te – Mo­bi­le Do­cu­men­ta, Chisenha­le Stu­di­os, Lon­don (2011), The Space of Post Au­to­no­my, Arts De­pot, Vi­en­na (2011), Plau­si­ble Art­worlds, Ba­se­kamp, Phil­adel­phia (2010), Mo­bi­le Do­cu­men­ta, Ford­ham Gal­le­ry, Lon­dra (2009), The Time of Post Au­to­no­my is Now, Your space, Van Ab­be­mu­se­um, Eind­ho­ven, Hol­land (2009), The Space of Post Au­to­no­my, Lo­cal Ope­ra­ti­ons, Ser­pen­ti­ne Gal­le­ry, Lon­don (2007).

 

Review of Condo by David Goldenberg

New text in collaboration with Maria Inez Plaza

Social share

New text on Participating Cultures for Reflector M

Participating Cultures

 

 

Here, There and Everywhere: Eurasian Cities

Project Director, Project Artist Kyong Park

JIHOI LEE, CURATOR

Asia Culture Center, ACC Creation, in Gwangju, South Korea,

from November 25th, 2015 to July 5th, 2016

 

Poster work South Korea small

 

Guide

http://imaginingneweurasia.org/exhibition/programs/

http://imaginingneweurasia.org/main/

eMuseum

 

I have three text/poster works

Collapse

Fiction

From Art into Politics and from Politics into Art

 

Opening of European Promise 11th December

European Promise

 

New text on Curating degree zero in OnCurating issue 26

Curating degree zero

 

Arts Initiative Tokyo,
Rosanne Altstatt,
Amasté,
Artlab,
Anthony Auerbach,
B+B: Sophie Hope & Sarah Carrington,
Marius Babias,
Basekamp,
 Ute Meta Bauer,
Lorenzo Benedetti,
Tobias Berger,
Ursula Biemann,
Beatrice Von Bismarck,
Blok,
Lionel Bovier,
Tim Brennan,
c a l c,
camouflage,
Ele Carpenter,
Daniela Cascella,
Vaari Claffey,
Barbara Clausen,
consonni,
 Copenhagen Free University,
CRUMB,
Alice Creischer & Andreas Siekmann, D.A.E: Peio Aguirre & Leire Vergara, Catherine David,
Joshua Decter,
 Clémentine Deliss,
Claire Doherty,
Barnaby Drabble,
Sergio Edelsztein,
 Eichelmann, Faiers & Rust, EIPCP, Octavian Esanu, Jacob Fabricius, Elena Filipovic, Fiteiro Cultural, Freee, Mark Garry, Sönke Gau, Catalin Gheorghe, GMK, David Goldenberg, Horst Griese, Frederikke Hansen,
Kent Hansen,
Maria Hlavajova,
Justin Hoffmann,
Manray Hsu,
Andrew Hunt, Per Hüttner, Instant Coffee,
International 3, K&K, Christoph Keller, Alexander Koch, Annette Kosak, Holger Kube Ventura, Kuda.org, Kuratorisk Aktion, Daniel Kurjakovic, Simon Lamunière, Kelly Large, Maria Lind, Locus +, Chus Martínez, Bernd Milla, Elke aus dem Moore, Nina Möntmann, Heike Munder, Lise Nellemann, Tone Olaf Nielsen, Hans Ulrich Obrist, NEID, Paul O’Neill, Marion von Osten, Sarah Pierce/The Metropolitan Complex, Planet22, Tadej Pogacar, Prelom, Aisling Prior, Protoacademy, Catherine Queloz, Reinigungsgesellschaft, RELAX, Dorothee Richter,
Maria Riskova, Stella Rollig, Sabine Schaschl-Cooper, Annette Schindler, Katharina Schlieben, Eva Schmidt, Trebor Scholz, Marco Scotini, Yukiko Shikata, Nathalie Boseul Shin, Gregory Sholette, Joshua Simon, Lisette Smits, Reinhard Storz, Bettina Steinbrügge, Szuper Gallery, Toasting Agency, TNC Network, Attila Tordai, Trinity Session, Mark Tribe, Unwetter, Value, Sencer Vardaman, Yvonne Volkart,
Stevan Vukovic, Gavin Wade, Florian Waldvogel, Cristine Wang, Astrid Wege,
Lee Welch WHW, Jan Van Woensel,
Ina Wudtke, Florian Wüst, Tirdad Zolghadr, Tal Ben Zvi.

 

The archive of curating degree zero is open to the public at  the Media and Information Centre (MIZ) at the Zürich University of the Arts (ZHdK).

Information on the archive

Catalogue

Curating Degree Zero Archive

The Curating Degree Zero Archive (CDZA) documents the work of over 100 contemporary art curators who are known internationally for their critical and experimental positions. This collection of exhibition documentation, gifted to the archivists by the curators themselves, contains, among other materials, catalogues, DVDs, magazines and ephemera. In this way the archive presents a representative cross-section of the critical curatorial discourse at the beginning of the 21st Century.

The project began with the three-day symposium ‘Curating Degree Zero’, organized in Bremen in 1998 by Dorothee Richter and Barnaby Drabble. Between 2003 and 2008 the two curators worked together again on the Archive, which grew in size as it travelles to 18 venues around the world as an exhibition and program of live events and public discussions.

In 2011, the resulting collection was gifted to the Media and Information Centre (MIZ) at the Zürich University of the Arts (ZHdK). Since the opening of the University’s new premises in the Toni-Areal in 2014, the archive ist accessible as a permanent refernce collection in the lower floor of the MIZ.

The entire contents of the CDZA are listed in the NEBIS Catalogue, and material that, due to conservation issues, cannot be accessed directly in the reference section can be ordered for viewing through the NEBIS catalogue. Several unedited video recordings are listed in the eMuseum and can also be requested for viewing in the MIZ archive.

Further information about the archive and the touring exhibition can be found on the former CDZA website which is documented in the Arts Media Archive (Medienarchiv der Künste).

 

Interview October 2015

 

For exibitart.com

 

CURATORIAL PRACTISES

La Post Autonomy di David Goldenberg
di Camilla Boemio
camilla boemio

 

 

Catalogue for venicevending show

Venicevending catalogue

Gallery

2nd International Bodrum Biennial

(                  ) Collapse, 2015, Şevket Sabancı Kültür ve Sanat Merkezi, Turgutreis

Bodrum cover

 

“In a technical sense the project is looking at the erosion of thinking and art under the regime of Neo-Liberalism primarily through the prism of Post Autonomy, which I no longer understand as a theory but a means to record the erosion and loss of the attributes of art and thinking leading to this historical moment – so the work is a meditation on this. It also poses a provocation if art is truly free which aspects of society is art capable of interrogating, and making transparent, which leads onto locating images for Colonialism and Globalisation, then ideas for reinventing a new institutional critical practice. But central to the work has to be how to break colonial behaviour, actions and thinking, but foremost what is art able to say today, are we able to say anything?” In many respects’s the pooling together of these fragments can be seen as a path to reimagining an Enlightenment.

 

 

 

Biennial website http://www.bodrumbienal.org/en/2015-biennial-artists/

collapse text

A Fictitious event

From Art into Politics and from Politics into Art

Installation shots

IMG_4354 IMG_4361 IMG_4364 IMG_4365 IMG_4393 IMG_4395 IMG_4398 IMG_4418

Forthcoming Projects

1. European Promise, a project by Jochen Gertz, November 2015

http://europeanpromise.eu/square/

2. 20th June Art against austerity, as part of the protest against austerity, London, UK

3. 2015 Spatialisation of Art, PV 21st June, CNM, National Gallery of Macedonia

4. Tolerance and forbearance 2nd International Bodrum  Biennial 12th September – 12th November 2015, with  Mounir Fatmi, Djawid C. Borower, Triny Prada, , Elisabeth Penker, David Mabb

Full list- http://www.bodrumbienal.org/tr/2015-bienal-sanat%C3%A7%C4%B1lar%C4%B1/

5. DEPTFORD CONVERSATIONS, Curated by Janette Parris. DEPTFORD X: London’s Contemporary Art Festival . 25 th September – 4 th October

http://www.deptfordx.org/programmes/9/events/365

Paul Noble, Georgina Starr, Simon Patterson, Lucy Gunning, Catherine Yass, Elizabeth Wright, Bridget Smith, Neal Tait, Sarah Dobai, Jessica Voorsanger, Brian Dawn Chalkley, Alison Jones, Ruth Maclennan, Kimathi Donkor, Judith Dean, Tony Rickaby, Cullinan Richards, Jemima Stehli, Mike Stubbs, Nicola McCartney, Jane Draper, Richard Kirwan, Sadie Murdoch, Erika Winstone, Alison Gill, Mark Dean, Arnaud Desjaurdin, Cecille Emmanuelle Borra, Robert Ellis, Kaye Donachie, Edward McCool, Lolly Batty, Steven Appleby, Marion Coutts, Karin Ruggaber, Rachael House, Dawn Mellor and Jason Oddy.

6.  OUR GLOBE OUR DREAM, WHAT IF? Projecting our dream for the world, our reality in the future.   MARINA MORENO & ART-E-MOTION.

7.Archive of Artists’ Publishing: BookBlast‏. Banner repeater. Launch Whitechapel Gallery, Late September. The exact date and location in the gallery will be posted soon.

8. October Exhibition and book publication, Chelsea school of art, London, UK [Further information to follow]

9. Project with Jan-Hendrik Pelz. [Date and further info will follow shortly]

16. New text that I assisted with for Reflektor – http://reflektor-m.de/kuenstler/text/counter-cultural-curating-the-one-night-exhibitions.

17. New article – http://www.medyaege.com/dunyaca-unlu-sanatcilar-bodrumda-bulusacak/47116/

 

 

 

new work in the national museum of macedonia

 

 

 

2012:
Uros Djuric, Ines Efremova, Dijana Bogdanovska, Ilina Cholak, Pavel Pavelka, Irmak Donmez, Dilyana Stoimenova

2013:
Fitore Isufi – Koja, Maureen Bachaus, Kushtrim Zeqiri, OPA, Duygu Sezgin, Chrissie Barrows

2014:
Ana Lazarevska, Bekim Korca, Iceberg Fernandez, Jeton Muja, Maureen Bachaus, Ioana Pioaru, David Goldenberg, Brigita Antoni, Katarina Bunushevac

Celebrating 25 years of Existence of the Art colony Galichnik

In collaboration with Skopje Summer Festival (Скопско лето)

Art Colony Galicnik from the very beginning in 1990 has been following the current developments in visual arts with participation of Macedonian and above all international artists where in the ambient of the western part of Macedonia, in the Reka region, works of art are created that remain as Macedonian cultural heritage and artistic treasure. One of the characteristics of Galicnik Art Colony is that it continuously follows the current happenings in art, especially the art of new visual practices emerging in the last ten years, and is one of the few in the region and beyond where artists work in non-traditional artistic mediums i.e. they work in the so-called new media art, so it can rightly be said that this colony can carry the title multimedia art center.
The joining of the artists is well known from the period of impressionism and painting in the open – plein-air, which can be said is the precursor of the organization of the today’s art colonies. The term colony in the past (and even today in some parts of the world) is/was a gathering of people outside their territory, as a means of spreading the power of the imperialist countries… The power of the international art colonies consists of joining of artists from different parts of the world and creation of artistic and utopian state in time without political or provisional authority, governed by the ideology of creativity, where opinions, theories, work and experiences in the field of visual arts are exchanged and disseminated. Seen from a historical, geopolitical and socio-cultural aspect, Galicnik Art Colony as a projection of the authoritarian rule of the concepts and the ideas of and about art is experiencing the need for anesthetizing the world around us, which is imperative to art. The colonization of art in this regard is beneficial in our society making this art colony or workshop one of the most important socio-cultural phenomena present in Macedonia, the region and beyond.
During the last three years in Galicnik have created young artists from Macedonia (Ana Lazarevska, Dijana Bogdanovska, Ines Efremova, Ilina Cholak…), from the region; Europe and the rest of the world (Chrissie Burrows, Dilyana Stoimenova, Duygu Sezgin, Irmak Donmez, Jeton Muja, Maureen Bachaus, Pavel Pavelka, Uros Djuric etc.) in various media: conceptual photography, digital art, video, performance, comic book… where artists guided by their conceptual vocation have left works which enrich the fund and the production of works of art of the contemporary visual artistic expression in Macedonia.

Gorancho Gjorgjievski

Between Revolution and Heresy

IMG_2920I will give a reading of my text Between Revolution and Heresy on the 6th February at Buro Westaustellung, Vienna, Austria.

http://www.artfoundation.at/

06/02/2015
BÜRO WELTAUSSTELLUNG

DA­VID GOL­DEN­BERG

lec­tu­re

Be­ginn 06. Fe­bru­ar 2015, 19 Uhr

Ausstellungsort:

Pra­ter­stra­ße 42, 1020 Wien

BÜRO WELT­AUS­STEL­LUNG Stie­ge 1 / Mez­za­nin

Öffnungszeiten:

Mo–Fr 14.00–18.00
& nach Ver­ein­ba­rung

Da­vid Gol­den­berg
“Re­vo­lu­ti­on and Here­sy”

“Sin­ce I will be dis­cus­sing, throughout this text, the term Post Au­to­no­my [I will use the ab­bre­via­ti­on PA for Post Au­to­no­my], which is pro­bab­ly un­fa­mi­li­ar to many peo- ple, I need to pro­vi­de a ba­sic ge­nea­lo­gy and de­fi­ni­ti­on. At this point, all I want to say is that the term was in­ven­ted in the 1970s in re­s­pon­se to Barthes’ ”The De­ath of the Aut­hor” and re­vi­ved in the 1990s as an al­ter­na­ti­ve term for and cri­tique of Post Mo­der­nism. Se­veral aut­hors in­ter- pret the term Post Au­to­no­my to si­gnal “af­ter art”, or “the end” or “com­ple­ti­on of Au­to­no­my”.”

Da­vid Gol­den­berg, Bet­ween Re­vo­lu­ti­on and Here­sy, 2014