1. CUT-UPS, CUT-INS, CUT-OUTS / The Art of William S. Burroughs

    02:01

    from mglc Added 1,103 9 0

    Razrezano, vrinjeno, izrezano Umetnost Williama S. Burroughsa 19. 2.–7. 4. 2013 Razstava Razrezano, vrinjeno, izrezano; Umetnost Williama S. Burroughsa je predstavitev vznemirljivega in eksperimentalnega opusa ameriškega pisatelja in umetnika Williama Sewarda Burroughsa (1914–1997). Obsega tematski izbor njegovih del, ustvarjenih v različnih medijih: od zvočnih cut-upov, vizualnih kolažev in abstraktnih slik, narejenih s puško šibrovko, do redkih knjig, filmov, fotografij in efemernega gradiva. Številna dela so bila do zdaj le redkokdaj razstavljena. Umetniško delo Williama S. Burroughsa je težko definirati, saj umetnik ponuja številne načine branja in razumevanja svojega obsežnega ustvarjalnega opusa. Na razstavi je poseben poudarek na tehnikah kolaža in cut-upa, ki tvorita pomemben in vpliven del tako Burroughsovega umetniškega jezika kot njegove umetniške zapuščine. Na razstavi je mogoče videti Burroughsove cut-upe v številnih in različnih medijih, razstava izpostavlja za njegov opus značilno spajanje umetniških področij. S to metodo je vplival na široko področje pop kulture, umetnosti, glasbe in tehnike digitalnega vzorčenja (semplanja). Metoda cut-up je bila nadaljevanje idej Tristana Tzaraja, ki jih je opisal v Kako napravite dadaistično pesem (Pour faire un poème dadaïste, 1920). Burroughsa je s to metodo seznanil Brion Gysin, ki jo je v Parizu oktobra 1959 po naključju odkril oziroma znova iznašel, ko je izrezoval paspartuje za akvarele z olfa nožem. Burroughs je s svojimi inovacijami vplival na delo več generacij umetnikov, s svojimi stališči pa nasploh zaznamoval razmišljanje več generacij. Burroughsovi zgodnji eksperimenti v kolažu z vsemi možnostmi, ki so jih odpirali, so imeli širok vpliv na uporabo lepljenja magnetofonskega traku in obliko besedil pri številnih glasbenikih, kot so na primer The Beatles, Frank Zappa, Lou Reed, David Bowie, Brian Eno, Patti Smith, Laurie Anderson in Sonic Youth. Kot svobodomislec pa je Burroughs razširil svoj vpliv predvsem v obdobju druženja z ameriškimi beatniki, med katerimi sta bila Jack Kerouac in Allen Ginsberg. Njegovo idejo elektronske revolucije so posvojili tako hipiji kot punkerji ter kasneje cybernisti. Razstava Kunsthalle Wien v sodelovanju z Mednarodnim grafičnim likovnim centrom. Kustosa razstave: profesor Colin Fallows in Synne Genzmer. Koordinatorka razstave: Lili Šturm. __ Cut-ups, Cut-ins, Cut-outs The Art of William S. Burroughs 19 February–7 April 2013 Cut-ups, Cut-ins, Cut-outs: The Art of William S. Burroughs is a presentation of the exciting and experimental oeuvre of American writer and artist, William Seward Burroughs (1914–1997). It encompasses a thematic selection of his works created in a variety of mediums: from audio cut-ups, visual collages and abstract paintings depicted with a shotgun, to rare books, films, photographs and ephemeral material. Many works have so far been rarely exhibited. The artwork of William S. Burroughs is hard to define, since the artist offers many ways of reading and understanding his extensive creative oeuvre. The exhibition places a special focus on the collage and cut-up techniques, which form an important and influential part of Burroughs’ artistic language, as well as his creative legacy. Since Burroughs’ cut-ups can be seen at MGLC in numerous and very diverse mediums all in one place, the exhibition highlights the merging of artistic fields, so typical for his body of work. He had an influence on a wide range of pop culture, art, music and digital sampling with this method. The cut-up method was a continuation of the ideas of Tristan Tzara, which he described in How to Make a Dadaist Poem (Pour faire un poème dadaïste, 1920). Burroughs acquainted Brion Gysin with this method, who accidentally discovered or re-invented it in Paris in October 1959, when cutting out passe-partouts for watercolours with a Stanley knife. Burroughs influenced the work of several generations of artists with his innovations, and generally made an impact on the thinking of several generations with his viewpoints. Burroughs’ early experiments in collage, with all the possibilities that they opened up, exerted great influence on a number of musicians in the way they spliced magnetic tape and formed texts, like for instance The Beatles, Frank Zappa, Lou Reed, David Bowie, Brian Eno, Patti Smith, Laurie Anderson and Sonic Youth. But as a free-thinker, Burroughs was particularly influential during the period when he spent time with the American beatniks, including Jack Kerouac and Allen Ginsberg. His idea of the electronic revolution was adopted by the hippies as well as the punks, and later by the cybernists. An exhibition of the Kunsthalle Wien in cooperation with the International Centre of Graphic Arts. The curators of the exhibition: professor Colin Fallows in Synne Genzmer. Coordination of the exhibition: Lili Šturm.

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    • Weegee Kuratorengespräch im FLATZmuseum

      15:51

      from Hansjörg Kapeller Added 223 0 0

      Ein aufschlussreiches Kuratorengespräch über die Ausstellung “Weegee | How to photograph a dead corps” im FLATZmuseum sehen sie in nachfolgendem Video. Der Ausstellung gebührt das Prädikat “sehr sehenswert”.

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      • Cut-ups, Cut-ins, Cut-outs / The Art of William S. Burroughs

        00:55

        from mglc Added 217 4 0

        Razrezano, vrinjeno, izrezano Umetnost Williama S. Burroughsa 19. 2.–7. 4. 2013 Razstava Razrezano, vrinjeno, izrezano; Umetnost Williama S. Burroughsa je predstavitev vznemirljivega in eksperimentalnega opusa ameriškega pisatelja in umetnika Williama Sewarda Burroughsa (1914–1997). Obsega tematski izbor njegovih del, ustvarjenih v različnih medijih: od zvočnih cut-upov, vizualnih kolažev in abstraktnih slik, narejenih s puško šibrovko, do redkih knjig, filmov, fotografij in efemernega gradiva. Številna dela so bila do zdaj le redkokdaj razstavljena. Umetniško delo Williama S. Burroughsa je težko definirati, saj umetnik ponuja številne načine branja in razumevanja svojega obsežnega ustvarjalnega opusa. Na razstavi je poseben poudarek na tehnikah kolaža in cut-upa, ki tvorita pomemben in vpliven del tako Burroughsovega umetniškega jezika kot njegove umetniške zapuščine. Na razstavi je mogoče videti Burroughsove cut-upe v številnih in različnih medijih, razstava izpostavlja za njegov opus značilno spajanje umetniških področij. S to metodo je vplival na široko področje pop kulture, umetnosti, glasbe in tehnike digitalnega vzorčenja (semplanja). Metoda cut-up je bila nadaljevanje idej Tristana Tzaraja, ki jih je opisal v Kako napravite dadaistično pesem (Pour faire un poème dadaïste, 1920). Burroughsa je s to metodo seznanil Brion Gysin, ki jo je v Parizu oktobra 1959 po naključju odkril oziroma znova iznašel, ko je izrezoval paspartuje za akvarele z olfa nožem. Burroughs je s svojimi inovacijami vplival na delo več generacij umetnikov, s svojimi stališči pa nasploh zaznamoval razmišljanje več generacij. Burroughsovi zgodnji eksperimenti v kolažu z vsemi možnostmi, ki so jih odpirali, so imeli širok vpliv na uporabo lepljenja magnetofonskega traku in obliko besedil pri številnih glasbenikih, kot so na primer The Beatles, Frank Zappa, Lou Reed, David Bowie, Brian Eno, Patti Smith, Laurie Anderson in Sonic Youth. Kot svobodomislec pa je Burroughs razširil svoj vpliv predvsem v obdobju druženja z ameriškimi beatniki, med katerimi sta bila Jack Kerouac in Allen Ginsberg. Njegovo idejo elektronske revolucije so posvojili tako hipiji kot punkerji ter kasneje cybernisti. Razstava Kunsthalle Wien v sodelovanju z Mednarodnim grafičnim likovnim centrom. Kustosa razstave: profesor Colin Fallows in Synne Genzmer. Koordinatorka razstave: Lili Šturm. __ Cut-ups, Cut-ins, Cut-outs The Art of William S. Burroughs 19 February–7 April 2013 Cut-ups, Cut-ins, Cut-outs: The Art of William S. Burroughs is a presentation of the exciting and experimental oeuvre of American writer and artist, William Seward Burroughs (1914–1997). It encompasses a thematic selection of his works created in a variety of mediums: from audio cut-ups, visual collages and abstract paintings depicted with a shotgun, to rare books, films, photographs and ephemeral material. Many works have so far been rarely exhibited. The artwork of William S. Burroughs is hard to define, since the artist offers many ways of reading and understanding his extensive creative oeuvre. The exhibition places a special focus on the collage and cut-up techniques, which form an important and influential part of Burroughs’ artistic language, as well as his creative legacy. Since Burroughs’ cut-ups can be seen at MGLC in numerous and very diverse mediums all in one place, the exhibition highlights the merging of artistic fields, so typical for his body of work. He had an influence on a wide range of pop culture, art, music and digital sampling with this method. The cut-up method was a continuation of the ideas of Tristan Tzara, which he described in How to Make a Dadaist Poem (Pour faire un poème dadaïste, 1920). Burroughs acquainted Brion Gysin with this method, who accidentally discovered or re-invented it in Paris in October 1959, when cutting out passe-partouts for watercolours with a Stanley knife. Burroughs influenced the work of several generations of artists with his innovations, and generally made an impact on the thinking of several generations with his viewpoints. Burroughs’ early experiments in collage, with all the possibilities that they opened up, exerted great influence on a number of musicians in the way they spliced magnetic tape and formed texts, like for instance The Beatles, Frank Zappa, Lou Reed, David Bowie, Brian Eno, Patti Smith, Laurie Anderson and Sonic Youth. But as a free-thinker, Burroughs was particularly influential during the period when he spent time with the American beatniks, including Jack Kerouac and Allen Ginsberg. His idea of the electronic revolution was adopted by the hippies as well as the punks, and later by the cybernists. An exhibition of the Kunsthalle Wien in cooperation with the International Centre of Graphic Arts. The curators of the exhibition: professor Colin Fallows in Synne Genzmer. Coordination of the exhibition: Lili Šturm.

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