1. Art Basel Miami Beach 2012

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  2. James Kalm steers his bike down Bleeker Street in the pouring rain of a late summer shower, and ducks into Zürcher Studio to attend the opening of Brian Belott's "A Goosh Noosh". Belott, a Brooklyn artists whose a raising star on the Downtown scene, has a reputation for his devil-may-care whimsy and goofball fabrication of intuitively beautiful objects. Using a reverse glass technique for most of these works, the artist achieves dazzling results with sparkling cellophane, florescent colors and metallic tapes. Despite the lush decorativeness of the works, there's also a looming formalist vocabulary that adds an astringent bite to this sweet stew. This program contains an interview with Belott as well as his performance of "I've Got You Under My Skin" recorded September 18, 2012.

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  3. An unserem heutigen Rückschautag geht es an den Kulturbahnhof Kassel. Dort am äußersten Ende des Nordflügels gestaltete die Italienerin Lara Favaretto Teile ihrer documenta Arbeit. Neben ihrem Kunstwerk in Kabul-Bamiyan (Malerei) ist sie in Kassel zwei Schrottinstallationen auf einem Platz und in einer ehemaligen Lagerhalle vertreten. Alle Werke - in Kassel, wie auch in Kabul sind miteinander unter dem Titel Momentary Monument verbunden.

    Und was schreibt die documenta auf ihrer Seite über die Künstlerin?

    Lara Favaretto wurde 1973 in Trevisio, Italien, geboren und lebt in Turin. Ihre Arbeiten wurden in Einzelausstellungen im PS1, New York (2012), Tramway, Glasgow (2009), und Castello di Rivoli, Turin (2005), ausgestellt. Sie war Teilnehmerin der Sharjah Biennial (2009), der Torino Triennale (2008) und der Biennale of Sydney (2008) sowie der Ausstellung »spazio« im MAXXI – Museo nazionale delle arti del XXI secolo, Rom (2011).

    Schön! Wir haben wie immer artig nachgefragt, was das alles so bedeutet und wie die Besucherinnen und Besucher der Kunstwerke Favarettos so mit ihnen fühlen. Viel Spaß!

    # vimeo.com/51757678 Uploaded
  4. In the North Atlantic Pavilion we present three artists from West Nordic region. Hailing from the Faroe Islands, Iceland and Greenland each represents a city that, though small in population, is fierce in their strength of identity.

    In small nations the experience of the city differs drastically from the image of the sprawling metropolis that readily springs to mind with the notion of the urban. In Tórshavn, Reykjavík and Nuuk the edge of town is never too far away, the idea of community not lost in a mythologised past.

    In these cities hospitality plays a central role, not just in the shared personal lives of their inhabitants but also in the building of the nation. Each city sits on the coast, each with a long history of welcoming visitors. But with any unknown visitor, particularly one backed by a greater power, there’s an inherent anxiety, a desire to impress and yet a necessity to keep a distance until intentions and allegiances are known.

    The rituals and acts of hospitality are like a dance revealing the culture and expectations of the host whilst creating an environment to encounter the hosted on home turf. The notion of hospitality is inherently a welcoming gesture but it creates and maintains a barrier between those inside and those out.

    In extending hospitality to another a host-guest relationship is created, a power relationship. However, the context is crucial - where hospitality is extended inherently one party is on unfamiliar ground and so, within this limiting context, existing power relationships of the wider world can be negotiated, played with and subverted – at least for a time.

    Focusing on work that raises questions about surface appearances of hospitality, the exhibition explores this tension between host and hosted.

    A common theme running throughout the work is the creation of space that welcomes audiences. Each artist creates their own stage for the encounter of hospitality to take shape, within which duration and experience beyond the visual is key – whether considering that experience through stasis, anticipation or degradation.

    In this accompanying film the artists reflect on their works. It is our aim to reveal a little more about how the encounters can be read from an insiders perspective in order to create an environment where relationships might go beyond the initial surface encounter to create deeper, lasting connections.

    Curated by Andy Brydon & Ingi Thor Jónsson

    The North Atlantic Pavilion is supported by the Kulturekontakt Nord Culture and Art Programme, the Nordic Culture Fund and Arts Council England’s grants for the arts. Special thanks are also due to Samskip and the Embassy of Iceland in the UK. City States is presented by Liverpool Biennial in partnership with Liverpool John Moores University.

    For more information on Curated Place and our ongoing international residency programme visit curatedplace.com

    # vimeo.com/53222122 Uploaded 190 Plays 1 Comment
  5. North Atlantic Pavilion ‘Hospitality’ As part of City States, Liverpool Biennial 2012

    The inaugural North Atlantic Pavilion brings together artists from Greenland, Iceland and the Faroes as part of 'City States' at this year’s Liverpool Biennial. Hosted in the ex-Royal Mail Sorting Office at Copperas Hill, the exhibition features new works from artists including Sigurdur Gudjónsson (Iceland), Hanni Bjartalíð (Faroe Islands) and Jessie Kleemann (Greenland).

    Jessie Kleemann (b. 1959, Upernavik, Greenland) lives and works in Copenhagen. She works with performance art, paint and is also a poet. During performances Jessie works with traditional and contemporary Inuit themes, mixing video/film and music, poetry and dance. Kleemann has appeared in numerous international exhibition spaces, in remote villages in Greenland, and she is a regular guest-wolf of the international performance art group The Wolf in the Winter.

    Jessie bases new installations and performance on the importance of sea blubber to Greenlandic culture and its duality of aggression and aesthetics. The exhibition also features a recent video work, and a live performance by the artist. Kleemann uses shamanistic rituals as a mode of expression through performance to create a new form of artistic language. Inuit traditions and beliefs in spiritual beings are given new life. She often performs in elegant silk robes and recklessly dances with blubber and meat, creating a unique expression that harnesses the unique polarities between materials and that is simultaneously repulsive and captivating.

    This event is curated By NICE (Nordic Intercultural Creative Events) and Curated Place. The North Atlantic Pavilion is supported by the Nordic Cultural Fund and the Kulturkontakt Norden Culture and Art Programme.

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