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ZAT (Zone Autonomie Temporaire)
LABORATOIRE AGIT’ART
17 RUE JULES FERRY DAKAR
1. December – 11. December

Le ZAT ( Zone d’Autonomie Temporaire) consiste à prendre un espace, une partie entière de la ville avec sa configuration et son fonctionnement habituel et de le libérer pour la création artistique
il s’agira de montrer comment la vie courante d’une rue peut être considéré comme un art, une œuvre, un souffle de vie et d’action commun .
faire en sorte que la rue elle-même et ses habitants deviennent une œuvre et des créateurs, créateurs de leur quotidien commun et de sa beauté
redynamiser le mot art, pour le rendre à la vie et pas seulement déstabiliser la rue pour l’offrir à l’art dans sa version habituelle.
occuper toute la rue Jules Ferry, les magasins, les halls d’hôtels, les boutiques et l’entrée des maisons pour y exposer des artistes. Faire une performance avec 250 performeurs sur tout le long de la rue durant le vernissage le 8 décembre à 17h

https://www.facebook.com/events/1623193401318362/

 

 

source

 

http://www.conditionsofpoliticalchoreography.org/
https://www.facebook.com/CCAtelaviv

 

 

 

Eine Stichprobe
Zwei Monate lang wagen wir ein Experiment: In einer Stichprobe mit 29 Künstlerinnen und Künstlern zeigen wir einen subjektiven Querschnitt durch die künstlerische Produktion in Brandenburg. Unter Missachtung aller Grenzen, Genres, Hierarchien stellen wir aus, was uns aufgefallen ist. Die Ausstellung wird zur Feldstudie – nicht nur über ein Land, sonden auch darüber, wie fließend Kultur und Identität erscheinen, wenn man schaut, ohne das Ergebnis zu kennen.
http://www.bkv-potsdam.de/brandenburg-atlas

 

 

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Farewell to an Idea

Geta Brătescu, Nina Canell, Vajiko Chachkhiani, Daniel Gustav Cramer, Haris Epaminonda, Markus Hoffmann, Felix Kiessling, Antje Majewski, Michael Müller, and Katie Paterson
curated by Jaromir Hladík
Opening: Tuesday, 13.09.2016, 19-21h
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“Farewell to an Idea. We are together, here, for now.
We’ve never met. We’ll never meet, most likely.
The half we can never possess remains.”
Jaromir Hladík

Neue Berliner Räume freut sich, zur Eröffnung von Farewell to an Idea einzuladen.
Die Ausstellung besteht aus zwei Teilen:
I. Fünf Künstler_innen konzipieren ein „Werk“, das nur in der Vorstellung existiert. Jede Idee wird in zwei Umschlägen verschlossen. Einer der beiden Umschläge wird gerahmt und im Ausstellungsraum präsentiert. Der andere wird im Vorfeld an eine zufällig ausgewählte Person verschenkt.
II. Fünf Künstler_innen zeigen ein „Objekt“ aus (fast) unbearbeitetem Material.
Fünf Objekte und fünf Ideen. Verborgen und frei. Die Zukunft hat Zeit.
Neue Berliner Räume is pleased to invite you to the opening of Farewell to an Idea.
The exhibition is composed of two parts:
I. Five artists contribute a “work” that only exists in the imagination. Each idea is enclosed in two envelopes. One of the two envelopes is framed and presented in the exhibition space. The other one is given to a randomly selected person as a present.
II. Five artists contribute an “object” from (almost) unworked material.
Five objects and five ideas. Hidden and free. The future takes time.

Address
Plattenpalast, Wolliner Str. 50
10435 Berlin-Prenzlauer Berg
(Map)
Duration
15. – 25.09.2016 free entry
Opening times
15. – 18.09.2016, 3pm – 6pm
Sunday, 25.09.2016, 3pm – 6pm

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Objects Do Things

Exhibition, performance, cinema, puppet slam
February 26–July 31, 2016
Centre for Contemporary Art Ujazdowski Castle
2 Jazdów Street
00-467 Warsaw, Poland
Hours: Tuesday–Sunday 12–7pm,
Friday 12–9pm
T +48 22 628 12 71
csw@csw.art.pl
Artists: Marvin Gaye Chetwynd, Geoffrey Farmer, Pierre Huyghe, Christopher Kline, Tomasz Kowalski, Antje Majewski, Paul McCarthy, Shelly Nadashi, Paulina Ołowska, Tony Oursler, Mary Reid Kelley and Patrick Kelley, Pedro Reyes, Lindsay Seers, and many others
Curator: Joanna Zielińska
Dramaturgy: Tim Etchells
Jokes: Michael Portnoy

A puppet theater resembles the human world, in miniature, with the one difference: its actors are small, animated objects. Puppets often remind us of the way we were as children and, indeed, the word “puppet” comes from “poppet,” an English term of endearment for a child. The little actors are like shells, they belong to anyone who knows how to make a character out of them. They have been known to become our agents in the world of grown-ups. They can be sharp-tongued, making grandiose speeches about politics, and they embody our inner voices and the weaknesses we want to conceal. Since they are in a way immortal, puppets can perform in scenes that are too daredevil for humans. They make us laugh. They often turn into animal figures, sometimes they become giants or naturalistic dolls, which look almost exactly like humans. Interacting with them can give us an anxious or uncanny feeling.

The Objects Do Things project appeals to the pleasure we get from engaging with the world of the imagination. It is shaped by the changes that have taken place in the visual arts in the past few years: the appearance of very many narrative and fictional threads and the unstoppable need to tell stories. It also uses the distinctive aesthetic that in popular culture brings to mind children’s theater and television programs. By contrast, the tradition of the puppet theater has deep roots in the history of the European avant-garde and the early days of performance art, especially Bauhaus, Surrealist, and Dada experiments.

This project came about at the point where theater and the visual arts meet, with fictional characters created by artists. Connecting the exhibition’s scenographic quality with live theatrical acts is an important innovation of the project. What happens when the theater in its most traditional form interacts with the art world, and who are the characters of this exhibition? What traits does a character need to possess for the public to want to identify with her? Empathy helps a human community survive, but when do emotions develop towards inanimate objects? How far can empathy go in the world of things?

The project puts “things” at the center of the study. It shows how objects can exist and interact in the artistic world and how this can refer to human existence. This is one of the key challenges of object-oriented ontology, with its commitment to realism and the belief that objects exist independently of the human mind. The characters brought into existence by artists have the ability to speak; rather extraordinarily, they activate stories contained in the exhibition space. Puppets become tools to actuate memories, and at the same time introduce narrative as part of the project.

The exhibition will host a film program, a performance program, and a puppet slam—a cabaret whose actors will include puppets. We will put on sketches conceived by visual artists and expert puppeteers. Stand-up comedy improvisations, karaoke jokes, and many other attractions will take place on a specially constructed stage set in the theater space of the Center for Contemporary Art Ujazdowski Castle.

Trailer: Episode 1Episode 2