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
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
Programme notes for the Festival
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.
A digital or hard copy of the catalogue for the Biennial will be available soon
Photos of opening speeches
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
Booklet 3 Catalogue currently in the process of being designed
Publications on Post Autonomy
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
Article by Camilla Boemio
Forthcoming events and projects in 2017/18
July 2018 Tate Liverpool, talks, workshops, performances
Early 2018 Vinyl Factory, organised by 1000 miles an hour, London, UK
Early 2018 Imago Mundi Highlights, Imago Mundi Museum, supported by the Benetton Foundation and Fabrica, Teviso, Italy. [Cata]
December a new interview is to be published by Meio, a Dutch Brazillian Journal
My text for Iris republished in Imagista
New text for Reflektor M
La Cuisine Allmonde, galeriedutableau. Marseille, France
October/November Medway Arts Festival, Rochester, UK
November 3rd Ghost Pavilion, organised by Reflektor M, Museum Villa Stuck, Munich, Germany
October Venice Biennial, Venice, Italy
Artists´ Books for Everything
An exhibition of the Centre for Artists´ Publications
Juni 3rd – August 6th 2017
Centre for Artists´ Publications / Weserburg
Museum für Moderne Kunst
6th December, What happens to us, curated by Marsha Bradfield and Amy McDonnell, Welcome at the Same Table with CINZIA CREMONA. Wimbledon Space, Wimbledon School of art, London, UK.
23rd November I have work in Art-e-motion, presented by Marina Moreno, Palazzo Mora, Venice, Italy
Three new texts 2016/2017
January 2017 new version of “After the catastrophe” for the Catalogue of “Diane La Chasseresse” Iris Brosch, Published by Editions Rue de Temple
“After the catastrophe” Published by Normal Magazine
“Switch on and off (new version) ” Published by Pavilion Magazine
Excerpt from my text on Participatory Practices written for Fillip Journal No 8 quoted by Fabiola Hanna 3.6.2017
Pavilion homepage New book on Art after Autonomy
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
AND Journal 27 & 28
Texts from the early 1990’s on Microwaves and Frozen stills and Flexible Response
10th November Talk on recent work at The University of the Arts Canterbury