Fondazione Imago Mundi is pleased to introduce When the Globe is Home, the new exhibition with which Gallerie delle Prigioni will recommence its activities.
Curated by Claudio Scorretti and Irina Ungureanu, the exhibition brings together works – many of which are being shown for the first time – by 13 international artists selected from the Imago Mundi Art Theorema collections, to explore the ongoing contemporary mediation between global and local, near and far, the collective and the individual: between “Home” and “the World”. When the Globe is Home, which will run until 29th November, continues the exploration of and dialogue among contemporary visual cultures by the Imago Mundi art project promoted by Luciano Benetton. Conceived and partially staged before the outbreak of the global pandemic (the inauguration date was originally planned for 31st March), the recent shared lockdown experience affords a new evocative power to the central idea of this exhibition that specularly connects the world and home. In the design of the exhibition, each of the individual “cells” that make up Gallerie delle Prigioni – the former Habsburg prison restored by the architect Tobia Scarpa – has been conceived as a “home”, an intimate and familiar space in which the artists can express, distil or expand their vision. The climate emergency, sustainability, social transformations of cities, migrations and new aesthetic sensitivities, new encounters, experiences, and the acceleration of contemporary globality are some of the themes addressed by the 13 artists. A concept that emerges with particular energy and creative passion is the figuration of a “new home”: of loss, discovery, reconstruction.
Art Theorema is a continuation of the research and promotion of the artistic talents in Imago Mundi; it integrates the over 150 collections dedicated to the nations and native communities of five continents. This first collection, Art Theorema#1, presents 231 works by 203 artists from 104 countries.
From Europe to the Caribbean, from African countries to Australia, from Canada to Central Asia, Art Theorema traces the kaleidoscopic and colourful portrait of the local artistic expressions that, all together and faithful to the pluralistic principles of the art of Imago Mundi, contribute to the formation of a global scenario of contemporary art.
Installation shots of Herbert Read Gallery “America is the best form of Marxism” after a quote by Kojeve, exhibition. Including details showing Kojeve’s selected photos from archive, charting the end of history in the 1950’s and the role of art after philosophy, in the form of a Richard Prince work, with text “Humans revert back to being animals and speaking like insects at the End of History”. Two identical round tables, Tee-shirt with text caught in a loop, on Dummy, ReadyMades Belong to Everyone, Morag Kiel and Georgie Nettle “Fascism of everyday Life”, Bioswap, Painting by Dan Rees “A good idea is a good idea, after De Kooning, Wall drawings based on the Herbert Read Gallery Archives 2000-2019, Posters and Press Releases 2000-2019.
A new text on The New language of Art is to appear in a new book on current Art
Date to be announced soon
This Historic Moment
Granulation Pt 8
The topic of the fourth edition of FMAV due to be in Tangier Morocco from
16 to 19 Oct
Europe’s other Borders with North Africa
FMAV will dedicate all its main time to activities of exhibitions and workshops and panels to the issues of migration and refugees Over the last two decades, human catastrophes at sea have indisputably transformed the maritime borders of Europe into a macabre deathscape. Untold tens of thousands of refugees, migrants, and their children have been consigned to horrific, unnatural, premature deaths by shipwreck and drowning, often following protracted ordeals of hunger, thirst, exposure, and abandonment on the high seas. The most comprehensive database documenting migrant and refugee deaths during attempts to traverse the maritime borders of Europe estimates the total number at more than 30,000 for the period since the year 2000. Although such statistics are imperfect and the records surely involve a significant undercount, that is an average of 4-5 people who died every day during this period. With 4,329 migrant and refugee deaths recorded in the Mediterranean, 2016 became the deadliest year on record: on average, approximately 12 people died every day that year. Although 2017 saw a modest decline in the number of recorded deaths, this figure remained alarmingly high: on average, roughly 9 people died every day. Thus, it is no exaggeration to declare that EU-ropean border enforcement policies and practices have actively converted the Mediterranean into a gruesome mass grave. Artists from the North of Morocco namely Tangier,Tetouan and Assilah and Europe Spain,Italy and England will work on this theme and celebrate it through meeting and panels for fans of visual arts and performance. Nicholas De Genova
Parts 7 – Granulations
of contemporary art and moving image
25th October – 17th November
co-curated by David Goldenberg
One of this year’s themes is the idea of rebirth, renewal and starting again.Resident artistDavid Goldenberg will introduce Granulation, a collective public installation, encouraging contributions to a collaborativeartwork and a discussion on art in response to the festival program.Goldenberg aims to use exhibited artworks and festival activities to construct formal ideas of how art takes place today, exploring how these ideas could be unfixed and reconstituted to develop new languages of art, in particular, a new language of art for Medway.
Granulation – Open to All
As part of 51zero festival, UK-based artist David Goldenberg is coordinating a newcollective public installation entitled Granulation, situated in Rochester High Street.
“How can we use art works and other activities as molecules to build an overview of how art takes place today, then take those molecules and rebuild the body of art differently? ”
”If it is possible to start again, how do we start a new language for art and what form should it or can it take? To develop a new language of art for Medway,people should have an active role in shaping this language, where we are all starting from the same position”.
The project belongs to the people of Rochester whoseinput and contribution are key for the installation to be realised. People are invited to contribute ideas, material and objects, take part in discussions andmake work during the first week of the festival, collaborating with the artist in creating the installation.
Guildhall Museum, 17 Rochester High Street, October 27th–3rd November.
– Participating in theInstallation
Contributing ideas,material and objectsshould respond to the concept ofrebirth and renewal, “starting a new language of art for Medway”. These can take any form e.g. a text, text/image,essay, images,found objects from the public realm, personal items, that tells a story about art in the area. Unless agreed all objects should be small scale and portable.
Please send text/image material via email or Wetransfer along with:
Title of text –
Your name –
Contact No –
Link to website/ online profile/ link to other work –
If you wish to contribute hard copies or objects please arrange to bring it along to the installation during October 27th – 3rd November, between 10am-5pm.
Please note that your contributions may become part or be developed into new work or a discussion,so please bring copies only.If you wish your objects to be returned, do please state it clearly and arrange collection.
– Participating in the talk and discussion(Sat 2nd November – NB venue may change)
The aim is to develop a discussion from material that is sent to the festival. The collective material will be used to provide an informed insight into how art works today, framing a context to pose a further question:how does art function in Medway and what language is specific to discussing this art?
Key questionsas introduction to talks and discussions include:What resources, material and information do we need to stage an event that facilitates this process? Why do we want to do this?How will we do this?What are the expectations? What form should a new work (art installation) take in building a new language of art?
You may alsobeinterested in collaborating, taking part in:
– collaborating with building the new installation during the festival
– meeting the artist for aninformal exchange leading into to the final talk and discussion
– proposing talks and activities related to the theme
Expression of interest are invited betweenJune – September.
Please email firstname.lastname@example.org the subject line
– 51zf/19 – Granulation – material
– 51zf/19 – Granulation – talk/collaborationspecifying a time to meet the artist, drop in at the Guildhall or attend the Talk.
Publicity: allOpen Call contributors would be listed in our publicity.
Fee:all selected artists/musicians/contributors/work experience will be offered a nominal fee to cover expenses.
Parts 6 – 5 Years Gallery, London, UK
Parts 5 -Envisioning the Economy of the Future, and the Future of Political Economy
Art as Global Currency in 8 simple clusters and 2 complex clusters and one image molecular images combining all the images into different patterns
Drunken Walk Algorithm used in the stock Market,
Descartes “I think therefore l am”, location of folders on
my desk top, Art about nothing
Plotting the rise of the Right wing, Arts links to the Art Market, excavating Western Ontology as the root and core of Western Global White Supremacists
How do we assemble a work that is capable of operating today within the existing complexity, what issues and aspects does it need to assimilate?
What is the context against which we exist and produce culture and which art and culture contributes in shaping?
A work assembled from 10 x clusters of screen shots of images extracted from Multiple internet sites. Selected images from the Mining the internet series 2014-18, building a picture of total power. Key figures who contributed to the conceptualisation and shaping of the Post Historical environment we exist in and against which art functions and promotes.
Figures who shaped the British Empire and who went onto assist in the rebranding of the British Empire into the British Commonwealth, the formation of a Global Government, writing of British History. The formation of the EU, Nonlinear Warfare, images of the end of history and political historical events.
The texture of post Global Market collapse 2008, the financialization of art, arts link to the art market, and arts role in Globalisation, and the capacity of art to address this complexity.
Tate Liverpool Exchange, Liverpool, UK
“Production – Process – Collaboration”
28th July – 5th August
in parallel to the Liverpool Biennial
The talk and project take place in the Tate Exchange main space
My text in the catalogue VVM 7
I will give a talk on Saturday August 4th, 3 pm on
My new interview is just about to be published in Meio 3, a Dutch Brazilian publication. It is basically a short autobiographical text that traces my interest in art since the age of 7 and allows me to clarify recent thinking and concepts.
Reviews of my work for the Odessa Biennial
Reviews of 51 zero Festival
51zero Festival of Moving Image and installation
Rochester Cathedral, Guildhall Museum, Huguenot Museum, Kent University, Rochester, Kent
PV Rochester Cathedral Friday 27th October 7 – 9 pm
27th October – 2nd November 2017
Co-curated by David Goldenberg
View of work clustered into a series of 4 displays inside the Guildhall Museum
With Bas Jan Ader, Acconci, Dan Rees, Nikita Kadan, Sung Tieu, Alia Syed, Derek Ogbourne, Maria Khierkhah, Smadar Dreyfus
Friday 27th Opening Rochester Cathedral, Sunday 29th October Opening of the Guildhall Museum with a day of discussions titled New Coordinates, Tuesday 31st October Talk around an installation, Wednesday 1st November Developing a new script, Thursday 2nd November Decreation and new coordinates and developing a new script for art.
My contribution to the 5th Odessa Biennial fleshes out ideas first proposed for Distributing Obsolescence: Food bank, Art bank, Technology bank last year for Villa Capri, Italy, that sought to establish a set of coordinates to situate contemporary art.
The new project is structured through a series of negations, it is untitled and without a press release and the material is inserted into an existing installation across two rooms, using a found Russian press release juxtaposed with press releases I have amassed over the past few years which are changed each day. The work sought to develop a whole idea around change, which forces are stopping development and ideas for taking thinking and art forward.
The work sought to develop a whole idea around change, which forces are stopping development and ideas for taking thinking and art forward, reflected in the change of register in the material across the two rooms.
Below is just a trial area and will undergo considerable changes over the next few weeks. The files are low resolution, but if anyone wants copies of high-resolution material please email email@example.com
Below are a series of publications to accompany the installation for Odessa and are intended to provide detailed background information on the new installation/visual essay. Booklet 3 is currently being designed and the 9th Booklet of recent texts will also be produced, while the 4 books designed with Ioana Pioaru in 2012 that summarised the history and ideas behind Post Autonomy is also available again. Booklet 10 on the language of the body is under development and will be published soon
Publications to accompany the installation for the Odessa Biennial
5th Odessa Biennial of Contemporary Art – Turbulence. August 26th – September 3oth, 2017
Curated by Mikhail Rashkovetsky and Semen Kantor, The Museum of Odessa Modern Art, Odessa, Ukraine
Including Dan Prejovschi, special section to include Boris Mikhailov, and a special section curated by Monika Szewczyk with Artur Zmijewski
Zanny Begg, Kristina Paustian, Renee Ridgway, Ghost of a Dream, Nikita Kadan & Yuri Leiderman, Martinka Bobrikova & Oscar de Carmen
The “Delivering Obsolescence. Art Bank, Data Bank, Food Bank” project
Curated by Camilla Boemio, with Fabio Lattanzi Antinori and David Goldenberg
The following information on the Biennial is the English translation of a text on the Biennial website
” The Odessa Biennial once again confronts artists with Global problems. That, according to many authoritative experts, is one of the signs of provincialism and marginality. However, in the era of fundamental crisis, and even more so – a crisis of fundamentals, the true outline of the future often encountered in the margins of canonic texts, at the boundaries, are melting in the fire of innovations.
Half a century later after “Future Shock” by Alvin Toffler outstanding sales manager discovered that we are shaped by turbulent flows of V.U.C.A, volatility, uncertainty, complexity and ambiguity.
If earlier turbulence in culture has been defined as a crisis or transition with their spatial-temporal boundaries, now the state of turbulence claims to be boundless. The ancient curse “May you live in an era of change” becomes meaningless as contemporary culture fails to reach a state of stability. Out put from turbulent area is considered a catastrophe that could end human existence as a whole.
Unity and opposition, private and the general enter into the most dangerous zone of risk. Radical design modeling is urgently needed as permanent change accelerates exponentially. One such means has been art. A daily challenge of art at all times has been working with universal relationships, including dynamic ones. Value’s of this function in turbulent zone trends to infinity. We are once again called to look into the essence of social problems from the specific and universal art optics. But we exist at a moment where audiences for contemporary art are isolated ( which is a generation of a postindustrial society) becomes unbearable. ” The Odessa Bienniale is curated by Mikhail Rashkovetsky and Semen Kantor
Text and images from Distributing Obsolescence: Food Bank. Art Bank. Technology Bank show, background information for the new installation in the Odessa Biennial can be found in the following publication
Text by Suzana Milevska “Infelicitous” Participatory Acts on the Neo Liberal stage, Participatory art’s promises and hopes for Democratization of Society, with reference to my Fillip 8 article and A short history of Post Autonomy