Cindy Sherman: Retrospective

Cindy Sherman: “Untitled #465”, 2008, C-Print, 161,9 x 145,4 cm

Cindy Sherman, Retrospective, February 26-June 11, 2012
The Museum of Modern Art, New York

Throughout her career, she has presented a sustained, eloquent, and provocative exploration of the construction of contemporary identity and the nature of representation, drawn from the unlimited supply of images from movies, TV, magazines, the Internet, and art history.

Working as her own model for more than 30 years, Sherman has captured herself in a range of guises and personas which are at turns amusing and disturbing, distasteful and affecting.

To create her photographs, she assumes multiple roles of photographer, model, makeup artist, hairdresser, stylist, and wardrobe mistress. With an arsenal of wigs, costumes, makeup, prosthetics, and props, Sherman has deftly altered her physique and surroundings to create a myriad of intriguing tableaus and characters, from screen siren to clown to aging socialite.

http://www.moma.org/interactives/exhibitions/2012/cindysherman/

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From the Archive

Photography: Ahmed Kamel

14 August 2012

Magazine Contemporary Culture

Artists Main Photography No Comments

Ahmed Kamel, From the Series, Dreamy Day, 2004 – 2008

Ahmed Kamel is interested in domestic and urban life. He uses photography, video and drawing to address social issues. He was born in Cairo, Egypt in 1981, where he studied painting and received his BFA in 2003.

Kamel is the recipient of a number of residencies including “Mediamatic” Amsterdam, Netherlands, “Prohelvetia”, Bern, Switzerland, “Land NRW”, Dusseldorf, Germany and “Amongst Neighbours”, Istanbul, Turkey. He has participated in various solo and group exhibitions in the middle east and Europe.
His work is mainly concerned with how society constructs and idealizes its identity through means of visual representation that can act as markers of peopleʼs social and cultural background.

http://www.ahmed-kamel.com/selectedWork01.html

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Sculpture: Zuzanna Czebatu

5 February 2016

Magazine Contemporary Culture

Art Artists Main No Comments

Zuzanna Czebatu, Happy-Go-Lucky-No I â€“ III, 2016 and Within Meadows And Rolling Hills, 2016

Zuzanna Czebatul (born in 1986, Miedzyszecz) lives and works in New York. She graduated from the Städelschule, Frankfurt/Main in 2013. She is currently working towards her MFA at Hunter College, New York, as Fulbright Fellow. She is also a recipient of the 2015 SOMA Scholarship, Mexico City. Czebatul works as a sculptor, producing her own materials, and creating works that merge the differentiation between commercial product and artistic production. Her work is influenced by the aesthetics of ancient sculptures, modern forms of display and presentation, as well as the club culture of the 1990s.

“I grew up with rave culture and DJ a little bit today. Clubbing is a density of so much, the epitome of desire, break-out, expression, positioning. The way music leads the crowd in a certain direction, the side effects of reaching borders, the club itself is a place with it’s own set-up of rules: all this is like a micro map of what we’re looking for and it’s diversity. Techno is symptomatic for this, an endless loop suggesting the possibility of salvation kicks for every weekend.”

Working between media and place, Zuzanna Czebatul extends cognitive possibilities and relational aesthetics through the sculptural architectures of her installations. Reconfiguring spatial representations, Czebatul maps environments that read as site-specific studies from an aerial perspective.

“I’ve been always interested in the relationships between recipient and object, their context and the mechanisms of their display. There are hierarchies and power structures but in the end the viewer generates the value which makes all participating elements arbitrary. At the moment I am working on a six meter long plush sculpture in form of an broken obelisk, shattered on the floor. Quite the opposite of concrete and steel— a giant symbol of power, making space for something new in it’s collapse, availing the positive aspects of destruction and ability to see ‘chance’ even in subjective moments of personal failure.”

Czebatul has had solo exhibitions at Gillmeier Rech, Berlin; Opelvillen Rüsselsheim; and 1822-Forum, Frankfurt/Main. Her work has been presented in group exhibitions at Center, Berlin; 1m3, Lausanne; Heidelberger Kunstverein; and Villa Romana, Florence.

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Carola Dertnig, Performance Art and Documentation

27 September 2016

Magazine Contemporary Culture

Art Artists Main No Comments

Carola Dertnig, Sans titres, 2009 – 2015

Carola Dertnig is an Artist who is interested in upturning and overwriting aspects of performance art history through strategies of feminist historical revisionism, including imaginative reconceptualization and performative interventions with existing documentation.

Carola Dertnig’s drawings, video works and installations are concerned with the performative content of language—text, images, gestures—and document these as a process within which roles arise and are articulated. Ways of seeing shaped by feminism as well as the explicit interest in politicising gender are among the central aspects of her work. Parallel to her artistic activity, Carola Dertnig has curated numerous exhibitions on performance art and initiated the feminist network a room of one’s own.

Dertnig lives and works currently in Vienna. Since 2006 she is a Professor for Performative Art at the University of Fine Arts in Vienna. She was a participant in the 1997 Whitney Museum Independent Study Program in New York.and has been teaching as a Guestprofessor at Cal ARTS in Los Angeles. Dertnig’s work has appeared in several exhibitions atP.S.1 Contemporary Art Center, Artists Space, New York, Museum of Modern Art New York and the Secession and the MUMOK in Vienna. 2006 Dertnig published the Let’s twist again If You Can’t Think It, Dance it. Performance in Vienna from 1960 until today (coedited with Stefanie Seibold). 2009 / 2011 Dertnig was part of the Research project “Performing Knowledge in the Arts”. In 2014 the Publication, “Performing the Sentence. Views on Research and Teaching in Performance Art”, coedited with Felicitas Thun, was published.

Source: The Academy of Art, Oslo.
Text: Press Release caroladertnig.at.
All images belongs to the respective artist and management.

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Ari Benjamin Meyers

9 December 2013

Magazine Contemporary Culture

Artists Main No Comments

Ari Benjamin Meyers, Songbook, Installation view, 2013

Ari Benjamin Meyers artist, born 1972 in New York, is an American composer and conductor working in the experimental, electronic, new music scene in Germany. He is also active in the field of contemporary art.

While primarily known for his work with the ground breaking dance club-orchestral mash-up, Redux Orchestra, he has also worked with many other artists most notably Einstürzende Neubauten and Anri Sala. Other collaborators include Dominique Gonzalez-Foerster, Anri Sala, Tino Sehgal, La Fura dels Baus, The Residents, raumlabor.berlin, Ricardo Villalobos, Staatsoper Dresden, Staatskapelle Berlin, Solomon R. Guggenheim Museum New York, Morton Subotnick and The Orb.

Meyers’ catalog includes operas, music for plays, dance, and film as well as music for diverse chamber ensembles. As evidenced by his arrangements for the live performancesRedux Orchestra versus Einstürzende Neubauten, Meyers’ work often takes the form of productive sabotages: he constructs and deconstructs musical situations and deliberately plays on the expectations of a given audience. Although personally distancing himself from the term “Crossover”, his work is often discussed within that context.

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Paul Berger

9 January 2012

Magazine Contemporary Culture

Art Main No Comments

Paul Berger, Whimac 1, 1994 and 750s-mc, 1999

Paul Berger have been working in the photographic medium since 1965, and in digital electronic media since 1981. He earned a BA degree in Art at UCLA in 1970, studying with Robert Heinecken and Robert Fichter. Berger completed MFA graduate work at the Visual Studies Workshop in Rochester, New York, in 1973, studying with Nathan Lyons. His photographic work has always involved multiple images in structured sequences, often with texts.

This interest in sequence and narrative transitioned to one based in digital manipulation of electronic imagery beginning in the early 1980’s. Paul Berger had a book version of the series Seattle Subtext published in 1984, and a catalog to the Seattle Art Museum exhibition “The Machine in the Window” published in 1990. Berger have exhibited photographic and digital artworks widely, both nationally in America and in Europe, including major exhibitions in New York, Chicago, Los Angles, San Francisco, Paris and Cologne.

Berger was the subject of a 2003 retrospective exhibition “Paul Berger: 1973-2003” at the Museum of Contemporary Photography, Chicago, which was reviewed in Artforum that same year. Berger have been published in numerous books, including Seizing the Light: A History of Photography; Robert Hirsh, 2000; Nash Editions: Photography and the Art of Digital Printing, ed. Garrett White, 2007; and The Digital Eye: Photographic Art in the Electronic Age; Sylvia Wolf, 2010. Paul Berger have taught at the University of Washington’s School of Art for 35 years, having co-founded the Photography program in 1978.

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