1 JUN - 30 AUG, 2013


    Myriam Thyes, "Global Vulva", 2009,
    Flash animation, digital video (HD),
    black/white, stereo, 6:20.

    Davis Museum

    Fundació Antoni Tàpies
    re.act.feminism #2. A Performing Archive

    Kristina Kanders

    Flamenco Joy


    My themes deal with symbols, myths and visual signs from architecture, politics, films, and religions. My artworks are explorations of their meanings, a questioning, reassessments, and creations of new associations. In order to undermine entrenched representations, I work directly with them, to develop them further, transform them and juxtapose them against new representations. My works are conceptual and sensual at the same time, proposing that simplicity and imagination can still move us. Using animation, abstraction, and found footage, I present critical views of political, social and religious systems. Symbols and mythic figures undergo transformations, start to communicate and build new relations - symbols of identities turn into elements of dialogues.


    The animation Global Vulva connects female figures and vulva symbols from different times, countries and cultures, while they morph into each other - the cultural meaning of the female genital becomes visible again.

    You'll see paleolithic engravings, the Greek goddess Baubo, a winged woman from an ice-age culture in Siberia, an Irish Sheila-na-gig, drawings of vulvas and of their symbols, the Indian goddess Kali and a Yoni stone, the Tibetan goddess Naljorma Dewa, a statue of a noble ancestor of the lwena in Angola, the Aztec goddess Mayahuel, the Black Stone at the Kaaba in Mecca, a double-tailed mermaid from a church in Tuscany, the protecting Dilukai from Micronesia, hands forming the mudra 'Lotus and Bee' in a labyrinth, an amulet of the Egyptian goddess Hathor, a winged sun disk, and the oldest human figure ever found, the so called Venus of Hohle Fels.

    Otherwise separated visualisations are interweaved, resulting in a more complex and global view on their symbolic levels.


    Myriam Thyes is a new media artist from Switzerland, living in Germany.

    1986-92 Academy of Fine Arts, Dusseldorf, Prof. Nan Hoover.
    Since 1994, Thyes participates in exhibitions and festivals internationally.
    Artistic media: video art, animation, photography and digital imagery. Initiates and realizes as well participatory projects and media art projects in public space.
    Best known works: participatory animation project Flag Metamorphoses; video installation Malta As Metaphor.
    Fundings by: City of Dusseldorf, Swiss Federal Office of Culture (2004, 2007), Swiss Arts Council Pro Helvetia (six times, 2004-2012), State of Luxembourg, State of Northrhein-Westfalia (Germany).
    AIR: Cité Internationale des Arts, Paris (1990); Malta (2006); Glasgow, UK (2008); Macedonia (2010).

    Awards: Depict! Award 2005, Encounters Festival, Bristol, UK; MultiMedia Prize 2006, Avanca Festival, Portugal.

    Nominations: Marler Videokunst-Preis, Germany 2004; Screengrab New Media Art Award, Australia 2009.

    Publications: UmBildungen / ReVisions (2007); Glasgow Styles / Magnify Malta (2012), both Kehrer Verlag Heidelberg.


    2013, 8-9 Beyond Glasgow, Kunstverein Aurich, DE.

    2012, 9 Flag Metamorphoses, Künstlerzeche Unser Fritz 2/3, Herne, DE.

    2012, 1-3 Glasgow Styles / Magnify Malta, Kunstverein Duisburg, DE.

    2010, 11 - 2011, 1 Malta As Metaphor, Kunstverein Bochumer Kulturrat, Bochum, DE.

    2010, 9-10 Flag Metamorphoses, ON-OFF Artprojects, Hamburg, DE.

    2010, 4 Flag Metamorphoses, Halle Zehn, Cap Cologne, Köln, DE.

    2009,11 Virtual Therapy, PRAXIS Projektatelier Staab, Cologne (Köln), DE.

    2009, 9-10 Glasgow Styles, relate art gallery, Meilen / Zurich, Switzerland.

    2009, 6-8 Speeded Up Flags and Slowed Down Heroes, Kunstverein Rhein-Sieg, Siegburg, DE.

    2006, 9-10 Flag Metamorphoses on the Big Screen! Central stations of Zurich, Basel, Bern, Geneva (Switzerland). / PROGR, Bern.

    2005 Commercio Gallery, Zurich, Switzerland.

    2005 The Matrix at Lake Zurich, installation in public space, ArtBox Thalwil, Zurich, Switzerland.

    2003 Relationship Patterns, video-installation and paintings, Kunstverein Emmerich, Germany.

    1999 BeziehungsMuster, for the 70th birthday of Anne Frank, Frank-Loebsches Haus, Landau, Germany.

    1997 as large as life, association for contemporary art, steirischer herbst, Graz, Austria.

    1997 Wishes and Warnings in the Wind II, flags installation in public space, Luxembourg, Luxembourg.

    1997 Festival International, Echternach, Luxembourg.

    1996 Wishes and Warnings in the Wind, flags installation in public space, Dusseldorf, Germany.

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    JANUARY 1 - APRIL 30, 2013

    Danger Museum (Miho Shimizu & Øyvind Renberg),
    "Tomorrow & Yesterday", 2012, cylinder seal, polyurethane resin, 6,1 x 1,9 in

    With thanks to:

    Ryohei Takahashi

    Àngels Casanovas and Sonia Blasco
    Museu d'Arqueologia de Catalunya - Barcelona

    Mar Gomila
    Eurofitness Perill - Barcelona

    Miho Shimizu and Øyvind Renberg's Danger Museum started as a mobile exhibition space, travelling and adapting its structure to present the works of friends and colleagues. The experience of travel has encouraged the production of reflexive, visual works that connects as a visual travelogue.
    Their interest in applied art and series production is reflected in projects that encompass multiples, furniture, posters, LPs and tableware. The change in meaning as the objects circulate within different contexts, is part of a dynamic that drives their practice. "Tomorrow & Yesterday", produced for Davis Museum, extends from a series of works inspired by the Japanese picture scroll. Shimizu and Renberg have already explored the scroll's narrative possibilities in watercolours serializing a Norwegian fjord trip. Tomorrow & Yesterday is a cylinder seal, an engraved sculpture cylinder tool, originating in ancient Mesopotamia, that can roll a picture relief into wet clay. Their relief depicts an allegory on the relationship between man and woman: A man hunts a bird, whose egg hatches into a new bird that hunts the man. By continuous rolling, the relief proposes an endless cycle.


    Danger Museum | Miho Shimizu | Øyvind Renberg | Tomorrow & Yesterday | Davis Museum | Barcelona fromDavis Museum on Vimeo.

    Davis Museum Permanent Collection
    Posted: 12�� 28th, 2012 ˑ Tag: ,Scroll,Solo show,Spain

    Danger Museum | Miho Shimizu | Øyvind Renberg | Tomorrow & Yesterday | Davis Museum | Barcelona fromDavis Museum on Vimeo.

    Thanks to:
    Àngels Casanovas と Sonia Blasco
    カタルーニャ州立考古学博物館 – バルセロナ

    Mar Gomila

    Eurofitness Perill – バルセロナ

    JANUARY 1 – APRIL 30, 2013

    212. 清水美帆 & オィヴン・レンバーグ (DANGER MUSEUM)
    (東京、日本、1976 | オスロ、ノルウェー、1976)
    Tomorrow & Yesterday、2012、シリンダー シール、ポリウレタン樹脂、7.4 x 2.9 インチ。

    制作協力: 高橋量平 (Gelchop)

    The Davis Lisboa Mini-Museum of Contemporary Art、バルセロナ、スペイン

    清水美帆 とオィヴン・レンバーグのデンジャー ミュージアムは移動美術館として活動を開始し、友人や他のアーティストの作品を展示する場として形を変えながら旅をしていました。こういった活動を数年続けて行くうちに、旅での体験、私的な出会い、訪れた場所に順応することに刺激を受け、やがてその場の状況に呼応した視覚的な作品やオブジェを制作するようになりました。それは収集した素材をコラージュにし、経験を再構築し、フィクションと記録の要素を織り交ぜて制作していくものです。

    二人の応用美術やシリーズ作品への興味は、エディションの作品(マルチプル)、家具、ポスター、LPレコード ジャケットの制作、食器といった作品に反映されています。オブジェが美術の枠の中や外を行き来することで作品の意味合いが変わることは、こういった活動の原動力の一つとなっています。

    プロジェクトはそれぞれの名前、デンジャー ミュージアム、そしてマルチプル作品を扱うピーナッツ サーキットとして発表しています。

    「Tomorrow & Yesterday」はDavis Museumのために制作され、日本の絵巻物から発想を得たシリーズの延長上にあります。清水とレンバーグは、いままでにノルウェーのフィヨルドの旅を元にした水彩画のシリーズで、絵巻物の物語構成の可能性を探っています。「Tomorrow & Yesterday」はcyinder seal(円筒印章)という彫刻の施された筒状の道具で、それは古代メソポタミアに由来し、粘土の上に転がすとレリーフ状の絵柄が現れます。レリーフのモチーフは男と女の関係を表現したアレゴリーです—男が鳥を狩り、その鳥の卵から雛が生まれ、男を狩る。粘土の上を転がし続けることにより、この関係は永遠に繰り返されます。

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    Sean Miller | Ben Patterson | Connie Hwang

    September 1 - December 31, 2012

    "Museum Grounds"


    "John Erickson Museum of Art: Dustpan Gallery for Art Museum Dust
    (with dust ball made of dust from over 70 art museums)"
    2010-11, wood, leather, cadboard and dust, 6,1 x 6,1 x 1,9 in

    "Paper Piece Residue from Fluxus Performance: Ben Patterson at JEMA
    (To-Fro Exhibition Case)"
    2010-11, digital video, 00:08:031, plexiglas, wood and paper, 4,92 x 4 x 4 in

    "Dust Cloud Book in John Erickson Museum of Art To-Fro Exhibition Space"
    2010-11, wood, digital print of dust microscopy on paper, leather,
    and aluminum walking stick, 6,1 x 6,1 in

    "Arnolfini Dust I"
    2011, microscope photography, 5,9 x 5,9 in

    "Arnolfini Dust II", 2011, microscope photography, 5,9 x 5,9 in

    The Davis Lisboa Mini-Museum
    of Contemporary Art in Barcelona

    (From Davis Museum to MACBa. Fluxus 2.0 Re-enactment/Galerie Légitime Re-enactment by Ben Patterson. Paris/Barcelona) Videoperformance by Davis Lisboa

    Saturday, August 25, 2012

    11:16 hs - Carrer de Puigmartí (Davis Museum)

    11:27 hs - Carrer del Torrent de L'Olla

    11:42 hs - Carrer de Córsega

    11:58 hs - Passeig de Gràcia

    13:26 hs - Plaça de Catalunya

    13:32 hs - La Rambla (Rambla de Canaletes)

    13:39 hs - Carrer de Bonsuccés

    13:47 hs - Carrer d'Elisabets

    13:49 hs - Plaça dels Ángels (MACBA, Museu d'Art Contemporani de Barcelona)

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    May 1 - August 30, 2012

    TOM MARIONI, (Cincinnati, USA, 1937)
    "Beer, Art and Philosophy: A Memoir", 2011,
    printed book on paper, 6,49 x 8,4 x 0,59 in

    Actress: Claudia Espínola de Carvalho

    Tom Marioni is a sculptor who
has created a large body of work in drawing and printmaking. He has lived
in San Francisco since 1959
    1969: "One Second Sculpture"
1970: "The Act of Drinking Beer with Friends is the "Highest form of Art"
1970: Founded the Museum of Conceptual Art (MOCA). Closed in 1984
1975: Editor/Designer Vision Magazine
2000: Founded The Society of Independent Artists
    In 1969, as an art action, Tom Marioni released a tightly coiled metal tape measure into the air. The instrument started out as a circle, then opened up and created a loud sound as it made a drawing in space, and finally fell to the ground as a line. The work was titled One Second Sculpture, and it demonstrated several principles of Conceptual Art. This type of art was new at the time but has now become a major influence on artists and on our society. A principle demonstrated by "One Second Sculpture" is that duration can be an element in art. Another is that the lasting form of an artwork is created and later re-created in the viewer's mind. And a third principle is that elements other than the visual (in this case, sound) may be part of the form of an artwork.
    Conceptual Art extended and expanded traditional art approaches in unprecedented ways. For example,instead of looking for form in things, or objects, in the world, Conceptual artists began to pay attention to forms that occur in life situations. Marioni pioneered using social situations as art, and his 1970 piece called The Act of Drinking Beer with Friends is the Highest Form of Art has become legendary. Also in 1970, Marioni founded the Museum of Conceptual Art (MOCA) as "a large-scale social work of art." Until it closed in 1984, he directed MOCA and at the same time continued to pursue his individual work as an artist. MOCA was the first "alternative art space" in the United States, and its presence in San Francisco is evidence that in our time, with our fast world-wide communications, it is not necessary to live in the country's primary art center to do influential work. MOCA presented many landmark shows, (including the first Sound Sculpture show in 1970), and also provided a social situation for artists.
    Tom Marioni is a sculptor who has created a large body of work in drawing and printmaking. Tree, Drawing a Line as Far as I Can Reach, 1972, set up a theme that he has developed for twenty-eight years. A work from the same time, Bird, Running and Jumping with a Pencil, Marking the Paper while Trying to Fly (1972) is the forerunner of his new color print Flying with Friends (Drypoint). In fact, most of Marioni's prints have been results of repetitive activity, his own or others'. Even his pictorial prints are dependent on his activity—a Zen-like concentration on mark-making.
Marioni is interested in Asian art and thought, and the elegant spareness of his art in general has something to do with Zen philosophy. The work has a simple beauty that, like Zen, offers at the same time something to think about.
    - Kathan Brown: Crown Point Press

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    January 1 - April 30, 2012

    TÓNIA COLL, (Ferreries, Spain, 1965)
    "Llit", 2011, assemblage of plastic toy and hair, 4,5 x 2,6 x 2,1 in

    Tónia Coll

    Va néixer a Ferreries (Menorca) el 17 de febrer de 1965. Després de passar la infantesa i la joventut a l'illa, va desplaçar-se a Barcelona, on va estudiar belles arts a la Universitat de Barcelona. Després d'una estada a la Bristol Polytechnics, va prosseguir els estudis fent els cursos de doctorat i va defensar a la mateixa Universitat la tesi Miquel Barceló. Insularitat i creació, que va obtenir la màxima qualificació acadèmica. L'editorial Columna, de Barcelona, es va interessar en la publicació del treball, que l'any 2000 va sortir en forma de llibre. Després d'impartir classes a la facultat on havia estudiat, Tónia Coll va guanyar la plaça de professora titular al Departament de Pintura, on ha coincidit amb altres artistes de la talla de Joaquim Chancho o Joan Hernández Pijuan. Docència universitària, cursos artístics, vida familiar, creació artística...
    Tónia Coll s'ha convertit amb el temps en una artista global que domina, gràcies a la seva formació moderna, tots els gèneres i formats de l'art contemporani: pintura, fotografia, dibuix, vídeo, il·lustració, assaig o instal·lació.
    La seva obra forma part d'importants col·leccions privades i públiques, com la de la Universitat de Barcelona, la del Consell Insular de Menorca, la de la Fundació Sa Nostra o la de la Fundació La Caixa. Ha rebut premis i guardons de pintura i ha fet exposicions individuals importants, com «El cant de les sirenes», a la sala d'exposicions de Sa Nostra a Ciutadella (1997), i diverses
    de col·lectives. «La flor i la presó», un diàleg entre l'art i l'espai on està exposat, és la culminació d'aquest viatge artístic iniciat a l'illa de Menorca. «La flor i la presó» és una exposició entesa també com a punt de partida i taller de noves experiències artístiques que es puguin anar produint. L'oblit o la memòria, el dolor de les dones i la seva capacitat de transformació, la convivència, en un mateix paisatge i espai temporal, de la bellesa i l'horror, la reflexió intel·ligent
    sobre la insularitat, les tensions entre nomadisme i sedentarisme, la relació de la dona i el món. La recuperació de materials la presència dels quals es redueix a les llars i que l'art ha considerat poc nobles, i la intensificació irònica del seu poder de metamorfosi.

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Davis Museum

Davis Lisboa, Davis Museum | The Davis Lisboa Mini-Museum of Contemporary Art, 2009, plexiglas ballot box and vinyl, 7,8 x 7,8 x 7,8 in.

Davis Museum | The Davis Lisboa Mini-Museum of Contemporary Art, was founded on Facebook in 2009, is the smallest…

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Davis Lisboa, Davis Museum | The Davis Lisboa Mini-Museum of Contemporary Art, 2009, plexiglas ballot box and vinyl, 7,8 x 7,8 x 7,8 in.

Davis Museum | The Davis Lisboa Mini-Museum of Contemporary Art, was founded on Facebook in 2009, is the smallest contemporary art museum in the world, with its own permanent contemporary art collection. It is also a ready-made sculpture and collective work of art. It is a non-profit artistic project that organizes and produces exhibitions, encourages research and promotes contemporary art exhibitions.

Davis Museum has travelling exhibitions to other cultural centers, museums and institutions, nationally and internationally, while generating debate, thought and reflection. Its mission is the selection, presentation, study, dissemination and preservation of contemporary art by emerging and renowned artists from around the world.

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