No More Modern : Notes on Metamodernism at Museum of Arts and Design, New York

No More Modern : Notes on Metamodernism

Screening Program
Tuesday, November 15 to Sunday, March 11, 2012 11:00 am to 5:00 pm each day

Museum of Art and Design
2 Columbus Circle New York, NY 10019

No More Modern : Notes on Metamodernism is presented in response to the exhibition Crafting Modernism: Midcentury American Art and Design. No More Modern : Notes on Metamodernism is organized by Jake Yuzna, Manager of Public Programs with assistance from Timotheus Vermeulen and Robin van den Akker.

Works Include

Easy Rider Pilvi Takala 2006, Video 4’25”
Nummer vier: Just because I'm standing here, doesn’t mean I want to. Guido Van Der Werve 2003, 35mm transfered to video 3’08”
Knot in Arrow: the Dig of No Body Mariechen Danz 2011, HD VIDEO 15’05

Move Along Benjamin Martin 2009, Video 0’53“

click here for More info

Responding to the New Moon

Yeni Aya Cevaben/Responding to the New Moon/
Antworten auf den Neumond: Prologue

Opening: November 11, 2011, 6 – 9 pm

Exhibition: November 11, 2011 – January 7, 2012

Galerie Tanja Wagner is pleased to present Yeni Aya Cevaben/Responding to the New Moon/Antworten auf den Neumond: Prologue with works by Hasan Aksaygin, Natalie Czech (in collaboration with Ashkan Sepahvand and Mara Genschel), Nilbar Güreş, Runo Lagomarsino, Johannes Paul Raether, Anca Munteanu Rimnic, Pilvi Takala, curated by Övül Durmusoglu.


Pohlstrasse 64 10785 Berlin

F +49(0)30 86 43 01 23


Pilvi Takala: Sidelines at Sorlandets Kunstmuseum

Pilvi Takala

The sides of a playing field are marked by lines that define the playing area. Watching a game from the sidelines and entering the field is similar to the small actions of Pilvi Takala’s artwork; performances, subtle interventions and other investigations into everyday life.

SKMU Sørlandets Kunstmuseum presents the solo exhibition with four works by Pilvi Takala where borders are crossed in different ways.

Opening hours /
Tuesday - Saturday: 11 - 17
Sunday: 12 - 16
Monday: closed

Adress /
Skippergata 24 B, PB 662
N- 4666 Kristiansand,

Wrong Address / Special Project / 4th Moscow Biennale

Wrong Address
September 22 – October 31, 2011

Curated and organized by: Anna-Kaisa Rastenberger and Tero Puha

Artists: Tero Puha (b.1971), Pilvi Takala (b.1981), Jarkko Räsänen (b.1984) 
Johanna Heldebro (b.1982), Minna Suoniemi (b.1972), Taus Makhacheva (b.1983)
and Maria Kirdan (b.1992)
Venue: Panopticon INUTERO (Moscow, Nizhnyaya Syromyatnicheskaya st., 5/7, bldg 9, ARTPLAY)

Players in the official competition at 25 FPS Festival, Zagre

Festival takes place between 20th and 25th of September

Players at video_dumbo, New York


Kunsthall Oslo

16.09 - 16.10.2011

A new artwork everyday for 23 days. Exhibition, concerts, performances.

Dina Danish, Marius Engh, Søren Thilo Funder, Ahmad Ghossein, Marianne Heier, Runhild Hundeide, Hassan Khan, Guro Moe, Ahmet Öğüt, Pia Maria Roll, Benjamin Seror og Morten Norbye Halvorsen, Dan Starling, Pilvi Takala, Mario Garcia Torres, Synnøve G. Wetten, Dan Wolgers a. o.

'Run, Comrade, the old world is behind you' is an exhibition showing a new work each day from the 16th of September to the 16th of October. 23 artists will present performances, objects, films, lectures, concerts etc., during a month in line with our opening hours (wednesday-sunday).
The exhibition will start with an empty room, progressively filled with new artworks until it becomes a group exhibition. The show will end on a finissage, concert and party on Sunday the 16th of October.

Players in Short Film Competition at Milano Film Festival

Milano Film Festival
9 - 18 September 2011

Short Film Competition

Players will be screened the 11th September at h.22.30 and the 15th September at h.15.00.

7th Shiryaevo Biennale/ Colliding Discourses

7th Shiryaevo Biennale of Contemporary Art
Strangers: Between Europe and Asia
4.8. - 30.8. 2011

Colliding Discourses
4th – 21st august, 2011, Art Center, Samara.

Colliding Discourses addresses the course and results of discourses colliding, for instance between and within nations, between Art and the Law, the view on sex or how history is written. The rate of discourses colliding increases with the improving speed of globalization. What happens when discourses come into conflict? What discourses prevail?

Participating artists: Guy Ben-Ner (IL), Heath Bunting (GB), Dmitry Bulnygin (RU), Phil Collins (GB), Oleg Elagin (RU), Sören Thilo Funder (DK), Felix Gmelin (SE), IRWIN (SL), Swetlana Heger (AU/DE), Zuzanna Janin (PL), Ladonia, Bo Christian Larsson, (DE/SE), Marina Naprushkina (BY/DE), Anneé Olofsson (SE), Magnus Petersson (SE), Ales Pushkin (BY), Pilvi Takala (SF) och Artur Zmijewski (PL).

Curator: Martin Schibli, Director of Exhibitions, Kalmar konstmuseum

She Devil 5 at Macro Museo d'Arte Contemporanea Roma

Via Nizza 138, corner of Via Cagliari V-Tunnel
25 June - 30 October 2011
Press Conference: June 24, 11 am Opening: June 24, at 19.00

In collaboration with STUDIO STEFANIA MISCETTI

MACRO - Museo d'Arte Contemporanea Roma presents "SHE DEVIL 5", the latest in the series of video screenings on the theme of female identity, named after the famous 1989 film by Susan Seidelman, and which alludes to the diabolic and bizarre spirit of female experience and investigation of everyday things.

Katharina D. Martin (Germany, 1971), Stick (2008), presented by Chiara Vigliotti Katarzyna Kozyra (Poland, 1963), Cheerleader (2006), presented by Lydia Pribisova; Jen DeNike (USA, 1971), Flag Girls (2007), presented by Benedetta Carpi de Resmini; Pilvi Takala (Finland, 1981), Real Snow White (2009), presented by Dobrila Denegri; Valerie LeBlanc (Canada), Walking on water (2009), presented by Elena Giulia Rossi; Kate Street (Great Britain, 1979), Flowering (2010), presented by Susanna Bianchini; Berni Searle (South Africa, 1964), Seeking Refuge (2008), presented by Antonia Alampi; Bahar Behbahani (Iran, 1973), Suspended (2007), presented by Maria Garzia; Janaina Tschäpe (Germany, 1973), Untitled/Scream (2004), presented by Laura Giorgini; Laurel Nakadate (USA, 1975), Oops! (2000), presented by Cristiana Perrella; Janet Biggs (USA, 1959), Brightness All Around (2011), presented by Manuela Pacella; Nina Lassila (Helsinki, 1974), Woman with Knife? (2009), presented by Maria Cristina Giusti; Julika Rudelius (Germany, 1968), Dressage (2009), presented by Caterina Iaquinta.

How to Work (More for) Less at Kunsthalle Basel

Image: Installation view of How to Work, Pratchaya Phinthong, Untitled, 2011

How to Work (More for) Less
Kunsthalle Basel
12 June–21 August 2011

Juliette Blightman, Tania Pérez Córdova, Raphael Hefti, Judith Hopf, Tobias Kaspar, Adriana Lara, Adrian Melis, Pratchaya Phinthong, Pamela Rosenkranz, Pilvi Takala & Projekt an der Rückwand / Back wall project: Pedro Wirz

Opening: Saturday, June 11, 2011, 7pm
 Press preview: Friday, June 10, 2011, 11am

We are happy to announce the opening of the new exhibition, “How to Work (More for) Less”, at Kunsthalle Basel. The show has been developed as a series of modifications performed on the art works that constituted the previous group exhibition at Kunsthalle, which was entitled “How to Work”. In “How to Work”, we aimed at questioning all the different ways of working as an artist today. The exhibition brought together heterogeneous responses to the question of the basic motivations behind making art, the methods artists use, and the goals they want to achieve. The show investigated a range of contemporary modes of production, from the rhetorical elaboration of a typical studio practice to appropriation of existing cultural material or the blurring of boundaries between commercial and artistic work; from semi-clandestine, subversive operations in the public sphere to delegating work to a third party. These working methods and the strategies they represent can be traced back to several radical developments in 20th century art: the idea of questioning the exclusivity of artistic labor in Conceptual Art, the use of chance processes and found objects by Dadaists and Surrealists, but also Russian Productivism with its postulate of artistic work counting possibly as one of the types of non-alienated labor.

The idea was to continue working on the show that was already “there” and give it a new title: “How to Work Less”. This not only signals a productive interval in production; it also subverts the demand for absolute novelty that drives the majority of art exhibitions today and, at the same time, for shows whose premises and content are fully transparent, a commonly pursued objective in today’s contemporary exhibition operations. We hoped that by proposing to “work less” we could do more than that. One of the participating artists, Adriana Lara, points out that while emphasizing the declared wish to “work less”, the exhibition in fact requires substantial “brainwork” on the part of all participants (artists, curators, and audience alike) and ends up being more work intensive. In conclusion, Lara suggested a dialectic change of the title into “How to Work (More for) Less”, which was accepted as her contribution to the show.

Works seen in “How to Work” have been expanded, others rearranged, and still others shown in reduced form or even left out. Two more artists have been invited to “How to Work (More for) Less” who did not participate in “How to Work”: Judith Hopf and Pedro Wirz, with his special project of collaborative sculptural works for the back wall of the Kunsthalle.
As the constant increase of work efficiency, productivity, and profit is the core of capitalism, the refusal to work is an economic nightmare. The notion of “abandoning the workplace” or just “working less” critically addresses the distinction between work and leisure, which defines the capitalist organization of time. At the same time, taking a critical distance to work means more work—and this is what the artists in the show decided to do.

Pilvi Takala wins Prix de Rome 2011 Visual Arts

9th of June 2011 Pilvi Takala (FIN / NL, 1981) received the first prize Prix de Rome 2011 Visual Arts of € 45,000. The second prize of € 20,000 was awarded to Vincent Vulsma (NL, 1982). The two basic prizes of € 10,000 each were awarded to Priscila Fernandes (PT / NL, 1981) and Ben Pointeker (AT / NL, 1975). The award ceremony took place at SMART Project Space, Amsterdam. Also, the KPN Kunstprix was awarded to Petra Stavast, and the IMC Weekend Kinderjury announced Priscila Fernandes as their winner.

Act / OUT at Onomatopee

Act / OUT

a call for contact - a call for clash

Ann Messner (USA), Karl Philips (B), Anna Witt (AT), Albert Heta (Kos), Pilvi Takala (F/NL), Jan Rothuizen (NL), Filippo Minelli (I), Ahmet Ögüt (TR/NL), Jeroen Erosie (NL), Sebastian Stumpf (D).

10 / 06 – 10 / 07 / 2011

opening: June 10th, 8pm

+++ colour bomb launched by Filippo Minelli +++ drinks & music: Nina Grunenberg + Damien Fagnant 'A primera vista – palmeras para llevar' +++

artist talk: July 10th, 2pm — Sebastian Stumpf, Albert Heta

Act / OUT thematizes a variety of individual artistic acts in public space that evoke a persistent belief in the individual story. As gestures of subjective opposition they insert disconcerting moments into our daily, economically optimised procedures. Sediments on film, photo, in installation or drawing, show how the actions attract and repel, how they take shape in an interplay between beauty and subversion.

Sometimes in danger of being overshadowed by the recent attention for more conspicious urban interventions, there are artistic actions with a rather subtle, ambivalent tone using public space as their point of departure. Recognizing the public sphere as a diverse and agonistic discursive state, the exhibition assembles a varietyof approaches to “act out
” that are inspired to intervene by political motives, metaphorical narratives or personal impulses. Aiming to blur the all too obvious imagery that determines our public sphere as well as our collective memory, the works range from playful and touching to the absurd and confronting. Therewith the artists introduce different perspectives on the current state of affairs. They stage exemplary situations that, in the act as well as transported to the exhibition room, both confront and
ensnare their public.

Act / OUT presents thus ten artists renegotiating our public sphere by engaging relationships between people, structures and modes of organization. The exhibition thus aims to broaden our perception of function in our spatial and social environment.


Poster image: Jan Rothuizen - Curator: Lene ter Haar - Graphic design: Eric de Haas - Exhibition design: Maartje Dros

Onomatopee is an institution for reflection and communication. The foundation aims to question the parameters of our (designed) culture. Each project consists in an exhibition and a publication.

Onomatopee office & projectspace
Bleekstraat 23
5611 VB Eindhoven
The Netherlands

Too late, too little, (and how) to fail gracefully

Too late, too little, (and how) to fail gracefully

From 11 June until 25 September, the Fort of Asperen, part of the New Dutch Waterline, is the scene for a large international group exhibition curated by Bik Van der Pol.

Participating artists include: Lara Almarcegui, Tarek Atoui, Marc Bijl, André Cadère / Alain Fleischer, Critical Art Ensemble, Teddy Cruz, Martijn Engelbregt, Tim Etchells / Vlatka Horvat, Harun Farocki, Zachary Formwalt, Freddy Heineken, Runa Islam, Jeroen Jongeleen, Otto Karvonen, Jasper Niens, Navid Nuur, the Mobile Academy/Hannah Hurtzig, Cesare Pietroiusti, Åsa Sonjasdotter, Hito Steyerl, Pilvi Takala, Javier Téllez, Nomeda & Gediminas Urbonas, The Yes Men, Artur Żmijewski.

The Fort of Asperen was erected in the 19th Century, but it was not until 12 April 1940 that the Fort was first prepared for war. Yet, the New Dutch Waterline became immediately obsolete as the German Luftwaffe flew over the Fort without problems; dropping their paratroopers far behind its defense line. This particular moment marked the end of the New Waterline's military function.

The system, although ingenious, never offered an adequate solution against 'intruders'. You could say the defense system was out-dated from the start, as it was based upon the outdated defensive principles of the first Dutch Waterline. To use this example as a metaphor we might question if it is at all possible, or desirable, for a society to try and keep out 'intruders' at all costs. The erected defense system turns out to be, despite all efforts, no match for the resourcefulness and imagination of the opponent who – often with amazingly simple means – escapes, breaks in, strikes back, or sets out another path.

Over time these 'means' have developed. Today, warfare follows a different trajectory, even more closely linked to economical and financial mobilization, the consequences of globalization and migration, technical innovation, and political interests. Warfare has developed a different guise. An important part of it takes place from afar; behind the keyboard, on the stockmarket, in the blogs and the media: places without any particular local fixture. Driven by economic efficiency and the growing influence of technical resources, an increasingly sophisticated arsenal of tools and strategies is developed to localize, identify, isolate, control and manipulate subjects. Speeded up by mass-media and populism, existence has become a rat-race to create the illusion of ultimate control and stability, set against the backdrop of capitalism, globalization and its related crises.

'Too late, too little, (and how) to fail gracefully' is inspired by the irony of Fort's military past. This summer the Fort will be home to a large scale multidisciplinary manifestation, that reflects on the impossibility and undesirability of building fortifications and creating expectations that are not (or cannot be) met. The project is articulated around the theme of 'intruders' and looks critically and with some irony to societal boundaries and barriers. When do we perceive the other as a threat? How are social barriers erected and how are these undermined? The manifestation strives, through artists projects and activities, to incite a broad audience to think about how territories are defined. Do borders indeed offer desired safety and protection? Or are they merely a mental construct?

The various artists projects and activities are developed under code-names, such as Trojan Horses, The Historical Fort, Early Warning Systems, Smokescreens and Camouflage, the Campaign and Infiltrators – opening the project to historical and contemporary issues, from ecology to warfare, internet developments and information terrorism, ownership and collectivity. The manifestation consists an exhibition and public program mediated by an imbedded publicity campaign, in the fort and its surroundings, with lectures, film screenings, installations, performances, and more.

Asperen, Langedijk 60, 4151 BR Acquoy, The Netherlands.
Acquoy is a small town in the proximity of Utrecht.
Open: Tuesday-sunday 10 am – 5 pm

KAAP Exhibition for Children


Exhibition (not only) for Children

Fort Ruigenhoek, Utrecht

Kaap is an exhibition of contemporary art consisting of new works made for the whole family. The exhibition will be open to the public from 10 a.m. to 6 p.m. on every weekend from 29 May to 10 July.

Artworks by artists from all over the world

The artistic management of this year’s Kaap was the work of Tiong Ang, artist and creator. He invited thirteen artists to take part. Each of them made a new work specially for Kaap. During the exhibition, each work will have an attendant guide to answer any questions about it. The idea of Kaap is that artists can find inspiration in the challenge of making work for children and in bringing out the essence of their art with absolute clarity. The work made for Kaap typically invites its public not just to look but also to take part.

Artists: Frank Koolen, Pilvi Takala, Yeondoo Jung, Birthe Leemeijer, Praneet Soi, Tintin Wulia, Rini Hurkmans and Hans Scholten, Erica van Loon, Mella Jaarsma and Nindityo Adipurnomo, Yoko Semaya and Lyndsey Housden

The fort location

Kaap is pure adventure, a trip of discovery through the bunkers and the greenery of Fort Ruigenhoek. The historic fort, which forms part of the 17th century New Dutch Waterline, lies on an island surrounded by open countryside. The bunkers and other buildings lie half-buried in grass, shrubs and trees.

Stichting Storm

Kaap is an initiative of Stichting Storm. This foundation works closely with artists and theatre makers on projects aimed at a youthful audience. Among other things Storm organizes the Tweetakt theatre festival in Utrecht.

Alternativa 2011

Alternativa 2011

Wyspa Institute of Art

Fundacja Wyspa Progress
Doki 1
80-958 Gdańsk

Opening party: May 28, 2010 7pm
Exhibition on view
29 May–30 September 2011

Located in the legendary Gdansk Shipyard, where the workers' strikes of 1980 began the process of the disintegration of the Communist bloc, Alternativa looks at the atmosphere of political momentum and its possibilities. Alternativa aims to investigate the ways in which contemporary art intersects with the political. It seeks diverse modes of knowing and is searching for a performative, affectual apparatus through which we can explore possible ways of existing in contemporaneity. For the exhibitions and events, the newly renovated spectacular space, Hall 90B, is made available along with Wyspa's and Modelarnia's own spaces.

The Summer 2011 programme will materialise in two exhibitions.

Labour and Leisure is a project encompassing that other side of labouring or what is out of sight of the typical representation of the work or worker. It seeks interest in stagnation, spare time and its uses, dreams and phantasies, false identities, forms of survival, frustrations of engagement and failures of transformation.

Artists: Anders Bojen & Kristoffer Ørum, Kalle Brőllin, Jane Cheadle, Maureen Connor, Roman Dziadkiewicz, Kőken Ergun, Elżbieta Jabłońska, Hiwa K, Grzegorz Klaman, Zbigniew Kosycarz, Kasia Krakowiak, Joanna Malinowska, Ekta Mittal & Yashaswini Raghunandan, Ines Moreira, Jacek Niegoda, Cora Piantoni, Konrad Pustoła, Jadwiga Sawicka, Dominika Skutnik, Marek Sobczyk, Łukasz Surowiec, Michał Szlaga, Pilvi Takala, Milica Tomić, Anna Reinert, Zorka Wollny & Anna Szwajgier, Mariusz Waras, Julita Wójcik, and Artur Żmijewski.

The project is curated by Aneta Szylak in collaboration with Maks Bochenek as curatorial assistant. The exhibition reader is edited by Krzysztof Gutfrański.

Estrangement: At the very core of the project there is the question of the circulation of cultural forms. The idea of considering the notion in this way arises at the intersection of the poetics of Shklovsky-a representative of Russian formalism-and the Arabic term taqseem, which means both musical improvisation and mathematical division. Found forms and 'everydayness' are points of entry into the way the project takes shape and disintegrates. 'Estrangement' works with various elements that do not seem to be connected then places them under observation and sometimes sets them to work.

Artists: Sherko Abbas, Shirwan Can & Horen Gharib, Shirwan Fatih, Gaylan Abdullah Ismail, Maryam Jafri, Hiwa K, Poshiya Kakil, Hüseyin Karakaya, Anton Kats, Reben Majeed, Rozhgar Mahmud Mustafa, Mattias Olofsson, Sener Ozmen, Diary Muhammad Osman, Joanna Rajkowska, Avan Sidiq, Cengiz Tekin and Knutte Wester.

Estrangement is curated by Aneta Szylak and Hiwa K. The exhibition reader is edited by Francesca Recchia.

Flip Side at Kunsthalle Lissabon

Pilvi Takala:
Flip Side
Kunsthalle Lissabon
27.5. - 2.7.2011

Opening 26.7. at 10 pm

Kunsthalle Lissabon is pleased to present Flip side, Pilvi Takala's first solo show in Portugal. Flip side will feature two recent works of the artist, The Messengers (2008) and the critically acclaimed Real Snow White (2009).
Through these two pieces, Flip side will look at the mechanisms that underly the construction of public personas, either a Disney-owned character that becomes too tangible, thus escaping the corporation control over collective subjectivities and associated profit, or a Croatian celebrity whose life and actions are defined and understood inasmuch as they are perceived and mediated through gossip magazines. In both cases, these figures are nothing more than fictional constructions, one becoming too real for fictional standards and the other appearing too fictional for reality standards.

Kunsthalle Lissabon
Rua Rosa Araújo 7-9
1250-194 Lisboa - Portugal

Utan titel (video) at Skånes konstförening

Utan titel (video)
Opening 27.5. 17-21.
Exhibition on view until 23.6.
wed-fri 14-18, sat-sun 13-16

Participating artists:
Sonja Lillebæk Christensen (DK), Pilvi Takala (FI), Jacob Taekker (DK), Eiríkur Örn Norðdahl (IS), Debbora Elgholm (SE), Alessandra Bergamasch (BR), Jan Hakon Erichsen (NO), Maria Lusitano (Portugal), Morten Dysgaard (DK), Kaia Hugin (NO), Morgan Schagerberg (SE), Petter Ballo (NO), Mette Hansen (SE), Cao Guimarães & O Grivo (BR), Henrik Lund Jørgensen (DK) och Shirin Sabahi (IR).

Cao Guimaraes & O Grivo (BR) 27/5, 3/6, 10/6, 16/6, 22/6
Maria Lusitano (Portugal) 28/5, 4/6, 11/6, 17/6, 23/6
Henrik Lund Jørgensen (Denmark) 29/5, 5/6, 12/6, 18/6
Shirin Sabahi (Iran) 1/6, 9/6, 15/6, 19/6

Curated by Per Brunskog

Skånes Kunstförening
Bragegatan 15
Malmö, Sweden

Prix Night with Pilvi Takala

Prix Night with Pilvi Takala | 19 May, 20.00 hrs. Free entrance

SMART Project Space
Arie Biemondstraat 111
Amsterdam, Netherlands

Prix Nights are organised as part of the Prix de Rome 2011 Visual Arts Exhbition. Please join us on the 19 May for a Prix Night with Pilvi Takala, Fl, 1981, who was recently described as ‘a rule breaker’ by Elena Filipovic. Pilvi Takala introduces her prolific practice and presents recent works.

Pilvi Takala will be in conversation with visual artist and former Prix de Rome jury member Tiong Ang who is this year's curator of Kaap, an exhibition of contemporary art consisting of new work made for the whole family which will open on the 29th of May at Fort Ruigenhoek close to Utrecht. Pilvi Takala participates in this exhibition with a challenging new installation providing a large amount of two euro coins as building material for children.

Prix de Rome exhibition at SMART

Prix de Rome 2011 Visual Arts Exhibition
SMART Project Space
8 May - 24 July 2011

Opening reception 7 May 2011, 19.00 hrs

The Prix de Rome exhibition features new work by the four shortlisted artists, Priscila Fernandes, Ben Pointeker, Pilvi Takala and Vincent Vulsma, shown alongside works from the long list nominees Gwenneth Boelens, Mark Boulos, Petra Stavast, Edward Clydesdale Thomson, Guido van der Werve and Katarina Zdjelar.

Opening reception 7 May 2011, 19.00 hrs | Afterparty with Aardvarck + Juha - 03....00 hrs.
Celebrate in the company of former PdR artists twisting tunes - Desiree Dolron, Jan van de Pavert, Thomas Manneke, Claire Harvey + Nicoline van Harskamp, Jozef van der Heijden, David Haines and Una Henry. Followed by Amsterdam phenomena Aardvarck and Juha - till late!

The winning artist will be announced at a celebratory event on 9th June 2011. The Prix de Rome award is €85,000 with €45,000 going to the winner, €20,000 to the second prize and €10,000 each for the other shortlisted artists. The winner will be decided by a jury whose members are, Pedro Cabrita Reis (Artist); Sung Hwan Kim (Artist); Wendelien van Oldenborgh (Artist); Silke Otto – Knapp (Artist); Adam Szymczyk (Curator, writer, Director Kunsthalle Basel); Els van Odijk (Director Rijksakademie, Secretary Prix de Rome): the jury is chaired by Hendrik Driessen (Director of Museum De Pont in Tilburg).

SMART Project Space
Arie Biemondstraat 105-113
NL-1054 PD Amsterdam

Scream - an exhibition about fear at Vestfossen kunstlabratorium

Scream - an exhibition about fear
7.5. - 2.10.2011
Vestfossen kunstlabratorium

Arne Borgan (NO), Ella Tillema (SE), Emil Holmer (SE), Erik Olofsen (NL), Fredrik Strid (SE), Heli Ryhänen (FIN), Jette Hye Jin Mortensen (DEN), Joakim Allgulander (SE), Jonas Livröd (SE), Jukka Korkeila (FIN), Jukka Vikberg (FIN), Jyrki Riekki (FIN), Lars Brunström (SE), Leif Holmstrand (SE), Marco Evaristti (DEN), Marcus Copper (FIN), Mathias Kristersson (SE), Matti Kalkamo (FIN), Michael Kirkham (ENG), Mikael Ericsson (SE), Nadja Bournonville (SE), Pilvi Takala (FIN), Ragnhild Ohma (NO), Ricard (SE), Roland Person (SE), Sverre Bjertnæs (NO), Thale Vangen (NO), Tilda Lovell (SE), Veronica Brovall (SE), Volker Sieben (D)

Curator: Göran Green
Vestfossen Kunstlaboratorium
Fabrikkgata 11
3320 Vestfossen

The Return Of The Losers at Kalmar konstmuseum

The Return Of The Losers
Kalmar konstmuseum

Kjersti Andvig (NO), Páll Haukur Björnsson (ISL), Conny Blom (SE), Alessandra Di Pisa (SE), Sara-Vide Ericson (SE), Klas Eriksson (SE), Ivan Galuzin (NO), Tamar Guimaraes (DK), Gustav Hellberg (SE), Eva Isleifsdottir (ISL), Elin Magnusson (SE), Jumana Manna (NO) & Roxy Fahrat (SE), NUG (SE), Hanna Ojamo (SF), Kristian Skylstad (NO), Pilvi Takala (SF), Sören Thilo Funder (DK), Theis Wendt (DK), Danh Vo (DK) and YKON.

Curator: Martin Schibli

Kalmar konstmuseum
SE 392 33 Kalmar
Telephone + 46 (0)480 42 62 82
Fax + 46 (0)480 42 62 80

How to Work at Kunsthalle Basel

How to Work

27 March–22 May 2011

Juliette Blightman, Tania Pérez Córdova, Raphael Hefti, Tobias Kaspar, Adriana Lara, Adrian Melis, Pratchaya Phinthong, Pamela Rosenkranz, Pilvi Takala

To that end, the participants in “How to Work” deploy an array of strategies that demonstrate a notable political and ethical awareness, acutely conscious of the present art world economy and its instant commodification of any work made within (or without) the system. They use found objects and material sourced from the Internet, they document or straightforwardly imitate the reality that surrounds them in order to achieve the estrangement of all-too-familiar content, they stage performative interventions simulating and twisting reality, they perform a détournement on classical techniques and genres, and they employ seriality or chance procedures to make their works.The exhibition “How to Work” at Kunsthalle Basel brings together nine international contemporary artists from the generation that emerged in the first decade of the new millennium. Collectively, their practices, however varied, are indebted to Conceptual art of the 1960s and ’70s, as well as its manifold incarnations in the later, neo-Conceptual work of the 1980s and ’90s that, following the seminal “Pictures” exhibition curated by Douglas Crimp in 1977, critically engaged with politics of image- and object-making. In the 1960s, Conceptual art consciously mirrored the larger economic change from an industrial to service-based economy that had been taking place since the ’50s, as fields like advertising and information technology gradually advanced and more traditional industries went into decline.

“How to Work” attempts to look at possible ways of how one works as an artist today. The question of how to work in this cultural and political moment, and what that work should consist of, needs to be renegotiated or answered in a new way. The contemporary artists’ approach to work can be contextualized within the broader shift from material (manual) to immaterial (mental) labor, which is an indelible aspect of the change from an industrial economy (focused as it is on the manufacturing of specific products) to a service-based economy (providing as it does “solutions”). Even more recently, the knowledge-based economy has come to the fore, in which what matters is not the fixed and ready-available product or the way it is distributed, but how customers (now called participants) relate to each other. To counter the growing sameness of human relationships in the existing utopia of a global society that is composed of sharing, creative individuals, the artist’s work should make a difference. But can the very idea of making a difference be trusted?

The title of the Kunsthalle Basel exhibition quotes the artwork “How to Work Better” (1991), a ten-point manifesto by the Swiss artist duo Fischli and Weiss. Painted in large stenciled letters on the façade of an office building in Zurich, the titular work comprises ten short persuasive sentences (such as “know the problem” or “accept change as inevitable”) on how to work better, aimed at influencing the attitude of workers in order to improve the workplace environment, motivate creativity, and boost the quality of production—whatever it may be, wherever it is. At the same time, these new ten commandments seem to be retrieved from a creative director’s desktop trash folder (in former times, it used to be a dustbin), rather than invented by the artists themselves. The manifesto is patently generic, not tailored for any particular type of business, and the formulas it contains are so superficial that they can be read as a critique of the “aesthetics of bureaucracy” (a term often applied to Conceptual art, too), itself used as a cover for the constant strive toward the enhancement of “intellectual services” and the corresponding loss of tangible content in today’s creative industries, art included.

Fischli and Weiss’s “How to Work Better” also reads as a formal take on Conceptual art masterpieces like Lawrence Weiner’s enigmatic text works in block letters executed in galleries and public spaces around the world, or as a parody of formulations used in Sol LeWitt’s “Sentences on Conceptual Art” (1969), which include “Successful art changes our understanding of the conventions by altering our perceptions”. Interestingly, the source of the Fischli and Weiss work was a freestanding signboard featuring motivational sentences in English and Thai that the artists photographed in a pottery factory in Thailand in 1990. As cheap labor attracts global manufacturers to Thailand, local workers often travel abroad to find work, seeking better employment conditions. The motivational sentences appear to be gleaned from a Western European management manual, but when placed in a Thai factory, they immediately acquire an additional, distinctly Eastern flair. The Zen-like statements of “How to Work Better” seem to have lost their original intent in multiple translations – and money flows – across cultures and contexts.

The selection of works in “How to Work” at Kunsthalle Basel does not follow a thematic criterion, although many of the pieces exhibited address the economy of their own making and the way it relates to the larger economy. Accordingly, the title of the show is meant as a general framework of the question that every artist and worker today must face, and not as a fixed “theme” that the works should themselves illustrate. Rather than insisting on boosting quality, and instead of explaining “how to work better”, the exhibition proposes a critical reduction of the question, asking modestly how one works at all, now.

The exhibition has been generously supported by Annemarie Burckhardt.
With additional support by Roldenfund.

Mister Motley

"Pilvi Takala in therapie" in Mister Motley (in dutch)

Denk jezelf rijk / Lucy

article on "Money Making Strategies That WORK" (in dutch) here.

Bag Lady Saturday 26th in Woluve Shopping Center, Brussels

As part of her contribution
to The Other Tradition, Pilvi Takala’s Bag Lady will take place in the Woluve Shopping Center on Saturday February 26th starting 2 pm.

Interview in Dutch and French

by Riikka Thitz on the website of Finnish Cultural Institute for the Benelux

The Other Tradition at Wiels, Brussels

With: Danai Anesiadou, Ei Arakawa (& Silke Otto-Knapp), Cezary Bodzianowski, Sharon Hayes, Sung Hwan Kim, Roman Ondák, Jimmy Robert, Katerina Šedá, Tino Sehgal, Jiří Skála, Pilvi Takala, Tris Vonna-Michell.

This group exhibition identifies a new genre of art in which a constructed situation, event, or action is the central medium for a young international group of artists. Many will carry out live actions, involve actors to enact their instructions, or in some way record their actions for the exhibition.

Curated by Elena Filipovic

Av. Van Volxemlaan 354
1190 Bruxelles - Brussel
tel +32 (0)2 340 00 50
fax +32 (0)2 340 00 59

Money Making Strategies That WORK

Real Snow White Best Short Film at Stuttgart Film Winter

Real Snow White and Klappe by Stanislaw Mucha share the Norman 2011 prize for best short film at Stuttgart Film Winter.

Players in Rotterdam Tiger Awards Competition for Short Films

40th International Film Festival Rotterdam
26 January to 6 February 2011

Players screenings:
Rotterdam Tiger Awards Competition for Short Films 7
Sun 30 Jan 19:45
Mon 31 Jan 12:00

The winners of the three Rotterdam Tiger Awards for Short Films, will be announced on Monday January 31st at 22:00 in the Kleine Zaal in the Rotterdamse Schouwburg.

Players on IFFR website

24th Stuttgart Film Winter

Real Snow White in International Competition at Stuttgart Film Winter
Program: Shortfilms 2
Thursday 20.1. at 22:00 Saal 1
Friday 21.1. at 12:00 Saal 2

24th Stuttgart Film Winter
Festival 20.1.-23.1.2001 / Warm up 13.1.-19.1.2011

If it's Part Broke, Half Fix it at CAC Vilnius

"If it's Part Broke, Half Fix it"
Stalkers, Players and Taxies, Phone Calls and Laments, Corridors and Witness Reports, Disappointment and Shame

Contemporary Art Centre, Vilnius (CAC)

Opening 28 January at 6 pm
Live! The Pain: Hip-hop by Sam de Groot & Paul Haworth at 7 pm

Andrea Büttner (GER), Dalia Ddenaite (LT), Denes Farkas & Neeme Külm (EST), Carina Gunnars & Anna Kindgren (SWE), Sam de Groot (NL) & Paul Haworth (UK, NL), Johnson & Johnson (EST), Krõõt Juurak (EST, AT) & Mårten Spångberg (SWE), Flo Kasearu (EST), Epp Kubu (EST), Darius Mikšys (LT), Anu Pennanen (FIN), Taaniel Raudsepp & Sigrid Viir (EST), Rytis Saladžius (LT), Anna Škodenko (EST), Pilvi Takala (FIN), Triin Tamm (EST), Timo Toots (EST)

Curated by Margit Säde Lehni

Organised by Center for Contemporary Arts, Estonia and Contemporary Art Centre (CAC), Vilnius

With the support of: Nordic Culture Point, Cultural Endowment of Estonia, Estonian Ministry of Culture and IASPIS

KOH-I-NOOR at Den Frie Center of Contemporary Art

/ JANUARY 8th - JANUARY 30th 2011

Florian Neufeldt, Claus Larsen, Christian Tonner, Martin Flemming, Jens Axel Beck, Christian Danielewitz, Lasse Krog Møller, Anders Visti, Anu Ramdas, Gudrun Hasle, Pilvi Takala, Kirstine Strømberg, Brian Enevoldsen & Marianne Bitsch, Nina Yuen, Stine Marie Jacobsen, Christian Jeppsson, Torben Ribe, Anders Bojen & Kristoffer Ørum, Kaspar Bonnén, Jacob Borges, Mette Hersoug, Michala Paludan, Thomas Bo Østergaard, Masar Sohail, Sonja Rendtorff, Søren Andreasen, Lukasz Ogorek, Niels Grarup, Pernille Madsen, Jesper Carlsen, Pernille Leggat Ramfelt, Søren Thilo Funder, Trevor Gainer, Line Ellegaard, Lea Porsager, Ulla Hvejsel, Anne-Mette Arendt, Jonn Herschend, Tucker Nichols and Heidi Hove

Den Frie Center of Contemporary Art
Den Frie Centre of Contemporary Art
Oslo Plads 1
2100 København Ø