tag:blogger.com,1999:blog-7030050678608021202024-03-13T12:19:02.603-07:00Pilvi Takala NewsPilvihttp://www.blogger.com/profile/02218907317730159708noreply@blogger.comBlogger284125tag:blogger.com,1999:blog-703005067860802120.post-52969154030467215782017-04-21T08:25:00.003-07:002017-04-21T08:25:30.758-07:00Body Media II<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-Y5BpoMJpJxI/WPojgenIEHI/AAAAAAAAAXY/hAjiilhBiswD-Nmwx4a2OX8wgc6-_TXYwCLcB/s1600/201704051501131010.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://3.bp.blogspot.com/-Y5BpoMJpJxI/WPojgenIEHI/AAAAAAAAAXY/hAjiilhBiswD-Nmwx4a2OX8wgc6-_TXYwCLcB/s400/201704051501131010.jpg" width="280" /></a></div>
<br />
<b>Body Media II</b><br />
<b>April 29 till July 30, 2017</b><br />
<br />
at <b>Power Station of Art</b><br />
200 Huayuangang Road, Huangpu District, Shanghai, 200011 <br />
<br />
Body Media II will first incorporate PSA’s industrial space as a cold body and a segment of modernity. This cold body will use hot language and hot narration to guide visitors around internally like the circulation of blood, to test if space, artworks, and visitors can achieve uniformity in terms of languages and actions.<br />
<br />
Body Media II continues the theme of Body Media, which took place at the Red Town Sculpture Center in 2007 and was mainland’s earliest international interactive media exhibition. 10 years ago, Body Media took place in two totally enclosed black boxes, and the sense of space was intentionally taken away, with bodies of visitors becoming keys to open projects in the sense of time. After a decade, when we re-look at “body” and “media”, they have gone beyond the relations of mirror or cooperation, and are leading to interesting performativity as they are now substitutes to each other.<br />
<br />
<a href="http://www.powerstationofart.com/en/exhibition/Body-Media-II.html">powerstationofart.com/en/exhibition/Body-Media-II.html</a> Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-53604266864086498742017-03-23T13:14:00.003-07:002017-03-23T13:14:45.216-07:00Double Feature with Pilvi Takala<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-lVXwdTLhSBs/WNQsHrmgFpI/AAAAAAAAAXA/42jnJO-AUNMFHyYEypff72lv6jwdTBRMwCLcB/s1600/csm_Players_RCP_c0d538e272.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="228" src="https://3.bp.blogspot.com/-lVXwdTLhSBs/WNQsHrmgFpI/AAAAAAAAAXA/42jnJO-AUNMFHyYEypff72lv6jwdTBRMwCLcB/s400/csm_Players_RCP_c0d538e272.jpg" width="400" /></a></div>
<br />
<b>Double Feature </b><br />
Schirn Kunsthalle Frankfurt<br />
Monday, 27 March 2017, 7.30 PM<br />
free entry<br />
<br />
For four years now the SCHIRN has acted as a forum for national and international film and video artists. In dialogue with the SCHIRN curators, international artists offer in-depth insights into their work and, more especially, into their filmic interests. DOUBLE FEATURE was designed as a platform presenting the extremely varied trends and forms of creative expression in the production of art films and for the juxtaposition of familiar and not so familiar positions. In 2017 visitors can expect to see works by, among others, Eli Cortiñas, Beatrice Gibson and Mélanie Matranga. Moreover, interviews with the artists will be available on the SCHIRN YouTube channel. <br />
<br />
UPCOMING: PILVI TAKALA <br /><br />
In her films Pilvi Takala interweaves the various film genres and at the same time goes beyond their limits. The director, documentary filmmaker and performance artist also generally plays the lead, putting herself in very tricky and embarrassing situations, in the course of which social norms and expectations are revealed.<br />
<br />
Double Feature takes place in the SCHIRN CAFÉ<br />
<br />
<a href="http://www.schirn.de/en/exhibitions/2017/double_feature/" target="_blank">schirn.de/en/exhibitions/2017/double_feature/ </a><br />
Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-13288898035493635532017-03-02T04:14:00.001-08:002017-03-02T04:14:19.394-08:00Article in Contemporary Art Society: Pilvi Takala<br />
News / Artist to Watch <br />Pilvi Takala<br />
<br />
by Ali MacGilp<br />
<br />
<a href="http://www.contemporaryartsociety.org/news/artist-to-watch/pilvi-takala/" target="_blank">got to the article</a>
<br />
<div class="post-footer-line post-footer-line-1">
<span class="post-author vcard">
</span>
<span class="post-timestamp">
</span>
<span class="reaction-buttons">
</span>
<span class="post-comment-link">
</span>
<span class="post-backlinks post-comment-link">
</span>
<span class="post-icons">
</span>
<div class="post-share-buttons goog-inline-block">
</div>
</div>
<br />
Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-89901692633909041862017-01-24T10:42:00.002-08:002017-01-24T10:42:43.178-08:00Article in the Creators Project: An Artist Gave Pre-Teens Thousands of Dollars to Do Whatever They Wanted<br />An Artist Gave Pre-Teens Thousands of Dollars to Do Whatever They Wanted—So They Made a Bounce House<br />
<br />
by Andrew Nunes<br />
<br />
<a href="http://thecreatorsproject.vice.com/blog/five-star-bounce-house-interactive-art" target="_blank">got to the article </a>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-18319139444941760862017-01-20T05:06:00.003-08:002017-01-20T05:06:54.083-08:00Article in ArtNews: Inside Job<br />Inside Job: In the Tradition of Institutional Critique, Artists Are Throwing Wrenches Into the Art World’s Works<br />
<br />
by Andrew Russeth<br />
<br />
<a href="http://www.artnews.com/2017/01/18/inside-job-in-the-tradition-of-institutional-critique-artists-are-throwing-wrenches-into-the-art-worlds-works/?utm_source=ARTnews+Today&utm_campaign=aa2e28dc4e-EMAIL_CAMPAIGN_2017_01_18&utm_medium=email&utm_term=0_1e263780b8-aa2e28dc4e-292850693" target="_blank">go to the article</a>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-55942885543538134972017-01-07T04:11:00.001-08:002017-01-07T04:11:28.820-08:00Pilvi Takala – The Stroker<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-btUakf8Bchk/WHDaMkvlnRI/AAAAAAAAAWg/WEztRLTaK9sseeV7zi4pMODPhM_I-JHQQCLcB/s1600/image.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-btUakf8Bchk/WHDaMkvlnRI/AAAAAAAAAWg/WEztRLTaK9sseeV7zi4pMODPhM_I-JHQQCLcB/s400/image.png" width="400" /></a></div>
<div class="rightColumn marginRight smallCopy grey markDown">
</div>
<div class="rightColumn marginRight smallCopy grey markDown">
12 January 2017<br />8:00 pm - 10:00 pm</div>
<div class="rightColumn marginRight smallCopy grey markDown">
<br />Hear internationally acclaimed artist Pilvi Takala in conversation with art curator Teresa Calonje on the unique performance piece that was commissioned by and created for Second Home in the summer of 2016. <br /><br />For 10 days in July, Takala lived and worked at Second Home posing as Nina Nieminen, an entrepreneur interested in the positive impact of being touched. <br /><br />Nina and her fictional business ‘Personnel Touch’ were integrated into the community on the premise of being a new part of Second Home’s wellbeing programme. <br /><br />During her time at Second Home, Pilvi captured and archived people’s reactions to being touched and has since used this research to form the basis of a new performance piece which has been produced in collaboration with dancer Emma Waltraud Howes. <br /><br />The dance piece will be showcased at Second Home in the afternoon and Pilvi and Teresa will discuss it as well as Pilvi’s experience of performing as Nina in Liberia in the evening. <br /><br />Second Home thanks the Finnish Institute for their generous support of this event.</div>
<br />
<a href="https://secondhome.io/cultural-programme/pilvi-takala-the-stroker" target="_blank">secondhome.io/cultural-programme/pilvi-takala-the-stroker </a>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-5178904548314784962017-01-05T08:21:00.001-08:002017-01-05T08:21:52.404-08:00Pilvi Takala at Pump House Gallery<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-FEGDhZOGMi8/WG5x4ksDG5I/AAAAAAAAAWQ/iQFPyhKOOLMet86hcAq4eIKq8hAu305UwCLcB/s1600/Pilvi-film-stills-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://4.bp.blogspot.com/-FEGDhZOGMi8/WG5x4ksDG5I/AAAAAAAAAWQ/iQFPyhKOOLMet86hcAq4eIKq8hAu305UwCLcB/s400/Pilvi-film-stills-3.jpg" width="400" /></a></div>
<br />
11 January – 27 March 2017<br />
Pump House Gallery <br />
<div class="no-margin">
Battersea Park, London, SW11 4NJ</div>
<br />
Solo exhibition <br />
Pilvi Takala<br />
<br />
Pump House Gallery presents an exhibition building on The Committee, a 2013 project by artist Pilvi Takala. <br />
<br />
For the project funded by the Emdash Award, Takala invited a group of children from a youth centre in Bow, London to spend her £7,000 award in any way they wished. They decided to design and produce a custom-made bouncy castle called “Five Star Bouncy House”, which could be used by them and hired out to raise funds for the youth centre. In Takala’s video that follows the process, the children explain how they decided to spend the prize money, discussing the process of decision-making and the values that guided them. <br />
<br />
As part of the exhibition the “Five Star Bouncy House” will be erected on weekends when the weather permits. <br />
<br />
About the artist:<br />
<br />
In her complex and rich practice Pilvi Takala confuses the space of exactly what the work is, whether a performance, a video, a sculpture or the space left behind after one of her interactions. Takala’s work sits between a serious investigation and playful agitation of social and political structures. Using disguise to engage and negotiate different social terrains, she reveals unspoken rules within systems of culture.<br />
<br />
Takala (b. 1981) lives and works in Berlin.<br />
<br />
<a href="http://pumphousegallery.org.uk/programme/pilvi-takala" target="_blank">pumphousegallery.org.uk/programme/pilvi-takala </a><br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-66298192928015187952016-12-16T06:26:00.003-08:002016-12-16T06:26:45.118-08:00The Profound Boredom Of Paul Cowan, Bernhard Hegglin, Georgie Nettell, Pilvi Takala, Hanna Törnudd & Annette Wehrmann<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-yRF5PtQK4M0/WFP5PyzfzdI/AAAAAAAAAV8/gLejKfOiySYBvt1NaCvI0aWn8_2wz0IBwCLcB/s1600/boredom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://3.bp.blogspot.com/-yRF5PtQK4M0/WFP5PyzfzdI/AAAAAAAAAV8/gLejKfOiySYBvt1NaCvI0aWn8_2wz0IBwCLcB/s400/boredom.jpg" width="400" /></a></div>
<br />
The Profound Boredom Of Paul Cowan, Bernhard Hegglin, Georgie Nettell, Pilvi Takala, Hanna Törnudd & Annette Wehrmann<br /> <br /> curated by Geraldine Tedder<br /> <br /> Opening Saturday 17th of December 6pm<br /> 18.12.16 - 21.01.17<br /> Saturdays 12 - 17 or by appointment<br />
<br />
<span style="font-size: 14.0px;">Riverside<br />
Schmiedeweg 4, 3048 Worblaufen</span><br />
<a href="http://www.riverside-space.ch/" target="_blank">www.riverside-space.ch</a>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-72731791311782545052016-10-18T03:17:00.003-07:002016-12-01T10:48:40.022-08:00Detail Is All review by Kate Sutton<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<a href="https://frieze.com/article/detail-all">frieze.com/article/detail-all</a><br />
<br /></div>
Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-4579298426191807162016-10-16T03:03:00.001-07:002016-10-16T03:03:21.504-07:00A Rule By Nobody<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-h691KtOxqdE/WANPV7vHTBI/AAAAAAAAAU4/b-g5RCg2MJcvdDVNMNiaR7OxSQF6gOgTACLcB/s1600/14502916_1323768317656616_3907881700084128573_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://4.bp.blogspot.com/-h691KtOxqdE/WANPV7vHTBI/AAAAAAAAAU4/b-g5RCg2MJcvdDVNMNiaR7OxSQF6gOgTACLcB/s400/14502916_1323768317656616_3907881700084128573_n.jpg" width="400" /></a></div>
<div style="text-align: right;">
<span style="font-size: x-small;">Image Credit: Liz Magic Laser, still from The Thought Leader, 2015</span></div>
<br />
<b>A Rule By Nobody</b><br />
Presented by Third Object<br />
As part of the Fall Curatorial Residency<br />
at Sector 2337<br />
<br />
The Nightingale Cinema, 1084 N. Milwaukee<br />
Sunday, October 16th, 7 pm, $5<br />
<br />
A Rule By Nobody is an exploration of the boredoms, frustrations and pleasures of bureaucratic routines. Drawing its title from Hannah Arendt’s definition of bureaucracy, the exhibition takes the bored energy of office labor and channels it into a multipart dive into the sublimely overflowing inbox, the inky warm Xerox room, the balled up wads of red tape, and the moments of escape that punctuate the droning beige sameness of nine to five.<br />
<br />
This video program is a motivational, team-building corporate retreat through other people’s daily grinds. The works in the screening emulate and parody various workplaces and their hierarchical structures to reveal inner formulas, dogmas and breaking points.<br />
<br />
Program Details:<br />
Hanne Lippard, Beige, 2013, Germany, digital video, 6m5s, color, sound<br />
<br />
Kay Rosen, Sisyphus, 1991/2011, USA, digital video, 2m1s, black and white, no sound<br />
<br />
Liz Magic Laser, The Thought Leader, 2015, USA, digital video, 9m21s, color, sound<br />
<br />
Simon Denny, Diligent Boardbooks Website Presentation, 2011, Germany, digital video, 1m20s, color, sound<br />
<br />
Ellen Nielsen, Flower Office, 2016, USA, digital video, 3m18s, color, sound<br />
<br />
Jodie Mack, Unsubscribe #3: Glitch Envy, 2010, USA, 16mm, 5m45s, color, sound<br />
<br />
Lawrence Weiner, To and Fro. Fro and To. And To and Fro. And Fro and To., 1972, USA, 1/2” open reel video transferred to digital video, black and white, sound<br />
<br />
Pilvi Takala, The Trainee, 2008, Finland, digital video, 13m52s, color, sound<br />
<br />
Andrew Norman Wilson, Workers Leaving the Googleplex, 2009-2011, USA, digital video, 11m3s, color, sound<br />
<br />
This exhibition series is organized under the Fall Curatorial Residency at Sector 2337. It is composed of a two-part group exhibition, an ongoing back room installation, a video screening at the Nightingale Cinema, a live performance, and a printed publication.<br />
<br />
Third Object is a roving curatorial collective based in Chicago. Recent exhibitions include Slow Stretch, Mana Contemporary Chicago; Satellites, The Franklin; Were the Eye Not Sunlike, ACRETV and Fernwey; and Mossy Cloak, Roots and Culture. Third Object is Ann Meisinger, Raven Munsell, and Gan Uyeda.<br />
<br />
A Rule By Nobody is made possible through the support of Sector 2337, the Propeller Fund, Direct Office Furniture Warehouse, Video Data Bank and the Nightingale Cinema.<br />
<br />
<a href="https://www.facebook.com/events/581777108678065/">www.facebook.com/events/581777108678065/</a>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-87610960816866560852016-10-12T12:48:00.002-07:002016-10-12T12:48:15.838-07:00Right of Refusal<b><span class="format"><br /></span></b>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-tz5-uSxlyuk/V_6THpyogsI/AAAAAAAAAUk/9bc3g2l6y94r2NrmJG1FEjKByFl-gLdDACLcB/s1600/47fb4bf08803b059903045163083d3f3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://2.bp.blogspot.com/-tz5-uSxlyuk/V_6THpyogsI/AAAAAAAAAUk/9bc3g2l6y94r2NrmJG1FEjKByFl-gLdDACLcB/s400/47fb4bf08803b059903045163083d3f3.jpg" width="400" /></a></div>
<br />
<b> MOBILITY IN POST DEMOCRACY </b><br /><br />Mon 24 Oct 2016<br />
5.30PM-9.00PM <br /><br />The New School University Center<br /> Starr Foundation Hall, UL<br /> New York City<br /> Free Admission<br />
<span class="info"> </span><br />
Mobility in Post Democracy<br /> Post Democracy has recently arisen as a complex and contradictory term: for some it promises a new participatory platform for the mobilizing forces of social media, considered catalysts for political imagination. Others equate Post Democracy with democracy's demise due to the penetration of global capitalism into every regime type coupled with the increasing intervention of international actors in domestic politics. Decried as "democratic melancholy," such skepticism is considered ill placed by yet others for whom "democracy" was never a political system to aspire to. <br /> <br /> Under the heading Mobility in Post Democracy, the Vera List Center is presenting a series of interdisciplinary panels, seminars, and lectures that examine Post Democracy as a condition informed by mobility – across institutions, states, and ideologies. The series brings together an international group of scholars, activists, students, and artists to probe the concept of Democracy more generally at the time of the contested U.S. presidential elections, and the concurrent emergence and demise of democratic regimes throughout the world. <br /> <br /> Artist-driven, the events aim to ask questions such as: How can new social movements counter networks of power? What creative organizing tactics are being developed to reinvigorate a democratic ethos? What forms of political institutions and alliances are flexible and resilient?<br /> <br /> Right of Refusal<br /> With many states on the brink of a democratic collapse, the Mobility in Post Democracy series connects to the simultaneous disdain and opportunity revealed in this moment. On the heels of a keynote address by Wendy Brown, which will reveal the neoliberal mechanisms that have undermined democracy while pointing toward modes of resistance in new organizational models, this panel discussion will consider refusal as another possible strategy to thwart the further erosion of liberal democracy. By framing resistance as a human right, the right of refusal invokes coordinated action, solidarity, and the law to magnify the political implications of individual decisions. These discussions are particularly relevant as voters in the United States consider their options in the forthcoming presidential elections.<br /> <br /> Discourses on human rights are primarily concerned with protecting and supporting individuals as active members of society. Active participation requires two general categories of rights: rights that protect individuals from discrimination, oppression, and other forms of harm; and rights to social, political, cultural, and economic resources necessary to participate, often in the form of material support from states.<br /> <br /> This seminar focuses on another form of rights that are often overlooked in rights-based discourses: the right to refuse and embrace non-participation. The right of refusal can take many different forms. In the face of increased globalization and hyper-mobility, how can the right to remain stave off urban developers and alter the flow of migrants? Is it possible to opt out of a digital presence through the right to be forgotten? How does the right of refusal challenge the role of the state as protector and provider? For the 2016 U.S. presidential elections, many voters are considering opting out instead of choosing between the Republican and Democratic candidates. What does non-participation mean for our ability to question and critique the government? What are the affordances of collective refusal, as in a boycott? Is refusal a form of protest, a sign of privilege, the mark of apathy, or something else entirely?<br /> <br /> The event begins with a film screening/interactive gaming session from 5-6pm in the University Center Event Cafe, followed by a panel discussion from 6:30-8pm exploring the various manifestations the right of refusal may take. The participants in this event argue for the right to refuse action and participation, to remain silent, to reject market principles of efficiency, to refuse to be part of the system. The upcoming U.S. elections provide the context to consider the ramifications of non-participation.<br /> <br /> Participants<br /> Colleen Macklin, Associate Professor of Design and Technology, Parsons<br /> Lucas Pinheiro, Lecturer in New Media Art History, Parsons<br /> Joshua Simon, Curator and 2011-2013 VLC Fellow<br /> Pilvi Takala, Artist<br /> Miriam Ticktin, Associate Professor of Anthropology, New School for Social research<span class="info"> </span><br />
<span class="info"><br /></span>
<span class="info"><a href="http://www.veralistcenter.org/engage/events/2024/right-of-refusal/">www.veralistcenter.org/engage/events/2024/right-of-refusal/</a></span>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-32769706715549143882016-10-12T12:45:00.000-07:002017-04-25T04:14:26.588-07:00What You Get Is What You See: The Body at Work<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-l73jgggiDjk/V_6SDIwXGDI/AAAAAAAAAUg/xWpnVzMQa1ghxzr23Km7HG3PNK9mmxkzwCLcB/s1600/the-trainee-stillB-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://4.bp.blogspot.com/-l73jgggiDjk/V_6SDIwXGDI/AAAAAAAAAUg/xWpnVzMQa1ghxzr23Km7HG3PNK9mmxkzwCLcB/s400/the-trainee-stillB-1.jpg" width="400" /></a></div>
<br />
<br />
<b>Sunday, Oct. 23rd, 2016</b><br />
<b>At Uniondocs</b><br />
7:30pm, $9. <br />
With Filmmaker Pilvi Takala <br />
Part of What You Get Is What You See: A Series on Spectatorship <br />
Co-presented with The Vera List Center at The New School<br />
<br />
The Body at Work. Laborious Gestures, Awkwardness and Hostage Spectatorship <br />
<br />
Using her own body and presence as a research tool, Artist Pilvi Takala places herself in awkward, uncomfortable but constructive places to investigate social situations and human behavior. <br />
<br />
In this screening-presentation, she will look at the creative process behind her narrative videos that emerge from her experiments with others. From a community of poker players in Thailand, a corporation office in the Finland to a boarding school and a text message service in the US, we will follow her infiltration and disguised activities in work settings, witnessing how small but subtle infractions can disrupt people’s sense of purpose and seriously threat social order. <br />
<br />
Following the screening and presentation, Pilvi Takala will be in conversation with Mathilde Walker-Billaud.<br />
<br />
This event is co-presented with the Vera List Center for Art and Politics at The New School, in connection with the panel-discussion on Monday October 24th: The Right of Refusal. <br />
<br />
What You Get Is What You See: A Series On Spectatorship <br />
<br />
In What You Get Is What You See, Mathilde Walker-Billaud invites artists, filmmakers and writers to show us how to become more active, more engaged–and perhaps better–spectators. The speakers share their experiences and personal observations as audience members, viewers, readers, watchers, listeners of visual and performance arts, radio, TV, graphic design, cinema and Internet. Through their trained gaze and skilled sensitivity, they disturb and displace our perception of contemporary culture and expose spectatorship as an everyday dynamic act.<br />
<br />
322 Union Ave. Williamsburg<br />
Brooklyn, NY 11211<br />
<br />
<a href="http://www.uniondocs.org/event/2016-10-23-pilvi-takala/">www.uniondocs.org/event/2016-10-23-pilvi-takala/ </a><br />
<br /></div>
Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-61643347391557594542016-10-01T12:03:00.000-07:002016-11-02T12:09:42.255-07:00FAKE. It is not true, it is not a lie.<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-N3z4kSZVLjo/WBo3ncXpeBI/AAAAAAAAAVg/9JU6k45TfMYkJmgq-leb3jqL9pbux6EVQCLcB/s1600/fake.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="271" src="https://2.bp.blogspot.com/-N3z4kSZVLjo/WBo3ncXpeBI/AAAAAAAAAVg/9JU6k45TfMYkJmgq-leb3jqL9pbux6EVQCLcB/s400/fake.jpg" width="400" /></a></div>
<div class="text">
<a href="http://www.cece.gva.es/es/" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;" target="_blank"></a><br />
<div class="right">
</div>
<div class="right">
<b>FAKE. It is not true, it is not a lie. </b></div>
<div class="right">
20 October 2016 - 29 January 2017</div>
<div class="right">
</div>
</div>
<div class="text">
IVAM <br />
Guillem de Castro, 118<br />
46003 Valencia<br />
<br />
Picassian maxim that the art is a lie that tells the truth remains today. In a world dominated by simulations, by speeches and stories “manufactured” to be true, and an image whose primary condition is part of someone’s sneaky ventriloquism, increasingly practices from creation realm that are ready to dress to camouflage something else to reveal the current truthful regimes. It is the same in an images war. If classical aesthetic was based on goodness, beauty and truth foundations, truthful disruptive practices do not stop asking the same questions, but precisely where nobody expected, when we are fully confident in a space dominated by the comfortable “story” idea, sheltered from frauds and deceptions.<br />
<div class="right">
</div>
<div class="right">
The fake that parasitical and masked format that appears what is not, has become, in many artists’ hands, a weapon that seeks to short-circuit the mass reality manipulation, often using his enemy techniques. However, unlike simple deceit from commercials and political marketing -and also, why not aesthetic- the fake does not seek appearance perpetuation, but as soon as possible to reveal mechanisms and myths that make credibility becomes a possibility: to question, in ultimately, authority linguistic forms, in media, in museums, in academic discourses on moral gossip. With additional problem that often fake also becomes part of the criticizing show, making it authority format. </div>
<br />
The exhibition FAKE. It is not true. It is not a lie reviews some camouflages, infiltrations and sabotages undertaken by artists around the world since Orson Welles made credible a Martian attack to expose media’s manipulative power in an increasingly constrained society to certain veracity formats. Artists who invent other artists and ridicule the excellence cultural discourse; documentaries that appear objective realities and that put into question the journalistic resources; performers who feigned roles to blow up certain of what we see or hear; digital artists infiltrated in war games to short-circuit users expectations; false statements submitted in iconic truthful academic museums and end up exposing the fiction and fragility of their power …; not forgetting, of course, the fake is also an inherent format of the power discourse, why FAKE. It is not true. It is not a lie exhibition will show some of the most notorious and terrible fakes institutionally promoted. Ultimately, images war is aimed to establish how we should believe. <br />
<br />
Nietzsche said that truths are illusions of which have forgotten that they are.</div>
<div class="text">
</div>
<div class="text">
<a href="https://www.ivam.es/en/exposiciones/fake-it-is-not-true-it-is-not-a-lie/">www.ivam.es/en/exposiciones/fake-it-is-not-true-it-is-not-a-lie/ </a></div>
Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-55153395245785435912016-09-30T08:33:00.001-07:002016-09-30T08:33:19.900-07:00CURA. NO.23 - A VISIT TO Pilvi Takala. CCA Glasgow<span id="goog_853614628"></span> <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-gCYcaTFJxV0/V-6FZ6f4IhI/AAAAAAAAAUQ/2_QIJM6JsskYjZPJzdry3BKM2p7tVIkJgCLcB/s1600/issue22-cover-969x1024.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://3.bp.blogspot.com/-gCYcaTFJxV0/V-6FZ6f4IhI/AAAAAAAAAUQ/2_QIJM6JsskYjZPJzdry3BKM2p7tVIkJgCLcB/s400/issue22-cover-969x1024.jpg" width="377" /></a></div>
<br />
COVER BY JON RAFMAN <br />
<br />
<br />
INSIDE THE COVER<br />
The Refracting Eye. On Jon Rafman<br />
by Bret Schneider <br />
<br />
POP UP SECTION<br />
THE MACHINE<br />
A year-long section edited<br />
by Anthony Huberman <br />
<br />
PORTRAITS IN<br />
THE EXHIBITION SPACE<br />
Arnold Rüdlinger: The Dawn of the<br />
Contemporary<br />
by Lorenzo Benedetti <br />
<br />
ICONS<br />
Carolee Schneemann, Meat Joy<br />
by Vincent Honoré <br />
<br />
ARTIST’S PROJECT<br />
by Guan Xiao <br />
<br />
SPOTLIGHT<br />
Ian Cheng in conversation<br />
with Elvia Wilk <br />
<br />
SPOTLIGHT<br />
Athena Papadopoulos in conversation<br />
with Samuel Leuenberger <br />
<br />
SPOTLIGHT<br />
Cayetano Ferrer in conversation<br />
with Olivian Cha <br />
<br />
ABOUT<br />
Davide Balula<br />
by Daniel S. Palmer <br />
<br />
SPOTLIGHT<br />
Emmanuelle Lainé in conversation<br />
with Flora Katz <br />
<br />
ABOUT<br />
The Clothed Condition. Centre<br />
for Style by Matthew Linde<br />
by Anna Gritz <br />
<br />
A VISIT TO<br />
Pilvi Takala. CCA – Centre for<br />
Contemporary Arts, Glasgow<br />
with João Mourão & Luís Silva <br />
<br />
HOT!<br />
Rachel Maclean<br />
by Siôn Parkinson <br />
<br />
Julien Nguyen<br />
by Lorenz Pammer <br />
<br />
Louisa Martin<br />
by Frances Loeffler <br />
<br />
Antoine Renard<br />
by Philipp Kleinmichel<br />
<br />
<a href="http://curamagazine.com/current/">curamagazine.com/current/ </a><br />
<br />
<span id="goog_853614629"></span>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-52858552749533185522016-09-30T06:11:00.004-07:002016-09-30T06:11:34.158-07:00What’s The Riddle<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-uynJnz_G9aU/V-5kIN2SR7I/AAAAAAAAAUA/LMddw7scK9kuMhSsD1v3iMPP7Ki7jGAnQCLcB/s1600/What%2527s%2BThe%2BRiddle.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://2.bp.blogspot.com/-uynJnz_G9aU/V-5kIN2SR7I/AAAAAAAAAUA/LMddw7scK9kuMhSsD1v3iMPP7Ki7jGAnQCLcB/s400/What%2527s%2BThe%2BRiddle.jpg" width="400" /></a></div>
<br />
<b><span class="_4n-j fsl">What’s The Riddle </span></b><br />
<b><span class="_4n-j fsl">5 October – 5 November<br /> Private View: Tuesday 4 October 18:00-20:30</span></b><br />
<br />
<span class="_4n-j fsl"><span class="_4n-j fsl">Pi Artworks London is pleased to announce What’s
The Riddle curated by Berlin-based curator Övül Ö. Durmusoglu. What’s
The Riddle is the first of five exhibitions that make up Pi Artworks
London’s Curatorial Season that runs from October 2016 – July 2017. For
the season Övül Ö. Durmusoglu, Alexandra Schwartz, Sacha Craddock,
Oliver Sumner, and Morgan Quaintance have been invited to devise and
develop their own curatorial project working with artists predominantly
or entirely from outside the gallery’s ros<span class="text_exposed_show">ter. <br /> <br />
Our personal and political environments are shaped and sometimes
traumatised by the choices we are asked to make; like or dislike, yes or
no, in or out. They offer no solutions to widespread discontent.
Perhaps if the answers cannot suffice, then it’s time to reformulate the
questions. A parallel reality where things are organically more complex
and diverse requires the artistic ability to critique, to imagine
beyond the perceived knowledge, and to shift the collective memory.
What’s The Riddle brings together artworks that return to fundamental
formal questions of artistic work and its system in their alternative
conception of time. Kasper Bosmans, Geta Brătescu, Osman Dinç, Rodrigo
Hernández, Ad Minoliti, Anca Munteanu Rimnic, and Pilvi Takala search
for the riddle, challenge the drive to seek correct answers, and
reconfigure their mythologies.<br /> <br /> Osman Dinç looks at the
essential, earthly knowledge with artistic questions that are plain,
direct and poetic. Choreographing elements like metal, glass, and earth
together, Dinç is obsessed with working towards new formulations that
address essential earthly knowledge. All his artistic life he has worked
in series intertwined with each other in an attempt to stop time.
Kasper Bosmans works with curiosities, puzzles, riddles and surprises.
He gathers material incessantly, collecting it in notebooks and
drawings. His drawings Legend Sint Rombout + Vitiligo [2016] are part of
the process of making legends to map out his intuitive thinking where
idiosyncratic daily impressions enjoy a playful dialogue with universal,
ancestral symbology in the way they appear. In Anca Munteanu Rimnic’s
newly conjured photographic triptych the artist speaks of a mesmeric
possibility between what was, what is and what if'. Her poetic dialogue
with the psychoanalytic computer program Eliza from the 1960s tickles
her reader with humour, showing what is lost in the interaction between a
machine and a human.<br /> <br /> Rodrigo Hernández’s anachronistic
narratives are composed of fragments of stories, dreams, and visions. He
invites his audience into a playful dialogue with these narratives, to
be part of a flowing thread of well-learned questions and images they
had forgotten over time. Hernandez works with how we perceive and how we
make what is perceived our own. In a time of self-affirmations, he
prefers to dissipate essences and their mythologies by edging the
spheres of our imagination with a dose of very needed ambiguity. The
idea behind Pilvi Takala’s Workers Forum [2016] came from her experience
working for a service in the United States where users pay for a
pretend girlfriend or boyfriend to text them. Takala was fascinated by
the potential in the fictional space created in the text message
exchange, but like many of the other workers, she was frustrated by the
inconsistencies and lack of quality in the existing service. Making
Workers Forum she observed that human relationships cannot work without
their fictions such as the one provided by the luminescent beep and the
machine seems not to function properly without its precarious human
prosthesis.<br /> <br /> Geta Brătescu video work The Line [2014], made in
collaboration with Stefan Sava, came out of her multifaceted thinking on
drawing. The camera focuses on her hands as she sketches in her drawing
book, the viewer witnessing moments of self-inquiry, discovery, and
deviation. The lines make up timeless, abstract and, dynamic forms that
Bratescu has worked with all her life. Ad Minoliti creates extensive
multimedia spaces in her paintings and sculptures inspired by cyborgs,
geometry and abstraction, genderless identities, a sci-fi inspired queer
feminist vision, and vintage pornographic magazines. Her humorous
personal utopias take place in these spaces shifting the memory of
modernist utopias and proposes imaginative ways to transgress our
algorithmically fed perception.<br /> <br /> Pi Artworks London is open
Tuesday – Friday, 10:00 – 18:00 and Saturdays, 11:00 – 18:00. For
information, interviews and images, please contact Neil Jefferies:
nj@piartworks.com / +44 207 637 8403</span></span></span><br />
<br />
<span class="_4n-j fsl"><a href="https://www.facebook.com/events/1087524901367902/#"><span class="_4n-j fsl"><span class="text_exposed_show">facebook.com/events/1087524901367902/# </span></span></a></span><br />
<br />
Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-76283844732169907842016-08-31T01:03:00.003-07:002019-03-20T06:57:07.862-07:00VIDEO NIGHT - SPACE collection Lüttich<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-2aILbk6vkKg/V8aO4utNUmI/AAAAAAAAATU/eEqqMITWceUIkhxn7C8TV5WU6LUh-eGxQCLcB/s1600/13580464_10154022909464069_2864606855129388210_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://4.bp.blogspot.com/-2aILbk6vkKg/V8aO4utNUmI/AAAAAAAAATU/eEqqMITWceUIkhxn7C8TV5WU6LUh-eGxQCLcB/s400/13580464_10154022909464069_2864606855129388210_o.jpg" width="400" /></a></div>
<br />
<br />
<b><span class="_4n-j fsl">VIDEO NIGHT supported by </span><span class="_4n-j fsl">SPACE Collection</span></b><br />
September 3, 2016 // 9pm <br />
<br />
SPACE Collection<br />
Féronstrée 116<br />
4000 Lüttich<br />
Belgium<br />
<br />
<span class="_4n-j fsl"><span class="_4n-j fsl">Organized by Mathilde Ganancia and Charlotte
Lagro with the support of SPACE Collection, VIDEO NIGHT reunites eight
international artists for an evening of art videos.<br /> <br /> Each of th<span class="text_exposed_show">em
explore how the singular can relate to the enormous : from the
individual facing massive institutions to massive immersions mesmerizing
the individual. <br /> <br /> Using animated video, performative fiction,
documented performance and revisited interview, the artists slip into
various roles while establishing new forms of introspections.<br /> <br /> Avec / with :<br /> </span></span></span><span class="_4n-j fsl"><span class="_4n-j fsl"><span class="text_exposed_show">One Of Twelve (NY)<br /> Sophia Cleary (LA)<br /> Arnaud Dezoteux (Paris)<br /> Virgile Fraisse (Paris)<br /> Gregory Kalliche (NY)<br /> Jacques Lizène (Liège)<br /> Kianoosh Motallebi (Bxl)<br /> Pilvi Takala (Berlin)<br /> <br /> Image: theothersideofthemuffledwa<wbr></wbr><span class="word_break"></span>ll (Gregory Kalliche)<br /> <br /> +++ Trailer:<br /> <a href="https://vimeo.com/179640462">vimeo.com/179640462</a></span></span></span><br />
<br />
<span class="_4n-j fsl"><a href="https://www.facebook.com/events/282265922133377/"><span class="_4n-j fsl"><span class="text_exposed_show">facebook.com/events/282265922133377/ </span></span></a> </span>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-20630565154538631142016-08-30T01:34:00.001-07:002016-08-31T01:04:06.728-07:00DAVOR Freiluftkino Weißensee - Real Snow White<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-4DwiRKH4rnM/V8VD9hP9AYI/AAAAAAAAATE/kNiTe9OujJglIdVceuemM-l1lw8XmhtDACLcB/s1600/displacing-motion1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://1.bp.blogspot.com/-4DwiRKH4rnM/V8VD9hP9AYI/AAAAAAAAATE/kNiTe9OujJglIdVceuemM-l1lw8XmhtDACLcB/s400/displacing-motion1.jpg" width="400" /></a></div>
<br />
<b>DAVOR</b><br />
Freiluftbühne Weißensee<br />
Große Seestraße 9, 13086 Berlin <br />
<br />
Real Snow White, 2009, Video, Farbe, Ton, 9:15 min<br />
Fr. 22.7.2016, 21:30 Uhr/ Do. 4.8.2016, 21:15 Uhr/ Sa. 13.8.2016, 21 Uhr<br />
<br />
DAVOR ist eine Programmreihe künstlerischer Filme im Freiluftkino Weißensee. Vor den eigentlichen Hauptfilm gesetzt, ohne inhaltlichen Bezug dazu, mit unvorhersehbaren Effekten. Mit Displacing Motion, Mutual Red und Responding Environs von Silva Agostini; You Kiss By The Book von Nina Hoffmann; Durchzug und Mauer von Konrad Mühe; Real Snow White von Pilvi Takala; Gegen den Strich von Eva Vuillemin und Die Rechte des Gehsteig von Anna Witt, ausgewählt von Silke Baumann & Akiko Bernhöft. <br />
<br />
Am Freitag, dem 26.8., gibt es den großen Davor–Abend, an dem alle Beiträge der Davor-Reihe und andere künstlerische Arbeiten in einem Programm gezeigt werden!<br />
<br />
<a href="http://freilichtbuehne-weissensee.de/kurzfilmreihe-davor/">freilichtbuehne-weissensee.de/kurzfilmreihe-davor/ </a>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-75027069762076757742016-06-16T08:57:00.001-07:002016-08-31T01:04:18.631-07:00Kunsthal Aarhus - Pilvi Takala<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-yEgU6rHkYMw/V2LMB1WwgCI/AAAAAAAAAS0/JywcYTii1GU_MaZ4HeNStdHoPLPY454_wCLcB/s1600/real_snow_white_2009.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="277" src="https://1.bp.blogspot.com/-yEgU6rHkYMw/V2LMB1WwgCI/AAAAAAAAAS0/JywcYTii1GU_MaZ4HeNStdHoPLPY454_wCLcB/s400/real_snow_white_2009.png" width="400" /></a></div>
<br />
Exhibition period: 22 June-21 August 2016<br />
Opening: 22 June<br />
<br />
<b>Kunsthal Aarhus presents an exhibition by the Finish artist Pilvi Takala.</b> <br />
<br />
Artist Pilvi Takala provides an overview of her work of the last ten years in her first solo exhibition in Denmark. The exhibition consists of 8 single channel video works, their costumes, and the public work Lost Pigeons.<br />
<br />
Takala’s rich performative visual art practice takes place mostly at moments where she blends into social and public environments. In the spaces and places of offices, class rooms, amusement parks and public streets, her form of disguise and infiltration reveals the direct operation of many of the systems she finds herself in.<br />
<br />
From a marketing office in Finland, to a shopping mall in The Netherlands and a boarding school in the US, the project of infiltration is often employed to offer practical stages of public research. Takala investigates these environments in a humorous way, and through her challenges Takala plays with our expectations, our prejudism and our notion of what is normal behavior within these shared places. The result mostly comes to us in the form of narrative video, rather than us witnessing the direct movements. It alludes to a form of extreme observation of how these things actually work and what they tell us of our own position in a larger framework of communities and life. A clear example of Takala’s work and tactics is The Trainee (2008) where she as an artist were part of a month-long traineeship at Deloitte in Helsinki. Embedded within the company, she slowly changed her concentration of the job from ‘working’ into ‘thinking’. Obviously raising attention within the office to her – at first sight – passive activity, her colleagues confronted her directly on her lack of productivity. It challenged the very basic need and value of work in a direct office landscape, showing cracks internally within such an environment in parallel to trying to develop artistic responses to such systems.<br />
<a href="https://www.blogger.com/goog_434188003"><br /></a>
<a href="http://kunsthalaarhus.dk/en/programme#overlay=en/programmes/pilvi-takala">kunsthalaarhus.dk/en/programme#overlay=en/programmes/pilvi-takala</a>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-21585039313175039752016-06-06T08:02:00.002-07:002016-06-20T10:43:23.200-07:00Detail ist alles - Kunsthalle Mainz<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-taWvWjSs4JI/V2grMPXIWHI/AAAAAAAACoc/xrwgcfzY-xoeSIQkrDEvgLrwSi8_CPxtQCLcB/s1600/unnamed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://2.bp.blogspot.com/-taWvWjSs4JI/V2grMPXIWHI/AAAAAAAACoc/xrwgcfzY-xoeSIQkrDEvgLrwSi8_CPxtQCLcB/s400/unnamed.jpg" width="275" /></a></div>
<br />
Kunsthalle Mainz<br />
Am Zollhafen 3 - 5<br />
55118 Mainz<br />
Germany<br />
<br />
<b>Detail ist alles </b><br />
<br />
Vito Acconci / Francis Alÿs / Samson Kambalu / Jiří Kovanda / Klara Lidén / Ahmet Öğüt / Roman Ondak / Neša Paripović / Pilvi Takala <br />
<br />
24th June – 16th October 2016<br />
Opening: Thursday, June 23rd, 2016 at 7pm </div>
Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-49200232639333970262016-05-18T02:35:00.000-07:002016-05-18T02:35:40.539-07:00Bucharest Biennale 7 <div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-Uxgm7zCmnfw/Vzw2N13ineI/AAAAAAAAAR8/lEFlXezZP0AIlUINB2scb9z9vCN1dsumgCLcB/s1600/bb7.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="https://2.bp.blogspot.com/-Uxgm7zCmnfw/Vzw2N13ineI/AAAAAAAAAR8/lEFlXezZP0AIlUINB2scb9z9vCN1dsumgCLcB/s400/bb7.png" width="400" /></a></div>
<br />
The BUCHAREST BIENNALE continues to build a strong partnership between Bucharest — a geocultural space where the political is reflected in all aspects of life—and the rest of the World. In transcending specific geographical, historical, or political frameworks, it connects to a broader complexity, namely the one of “resistance” within the quotidian realm.<br />
<br />
As a biannual cultural event, BB’s temporary structure allows a deconstruction of the systems supporting and underlying what has been called the “experience economy”. The Bucharest Biennale goes beyond merely orchestrating memorable “events” that aim for prescribed notions of customizable transformation, which are characteristic of this economic model and importantly reflected in the global biennial format as well. Instead, the Biennale offers a platform to analyse, and potentially redirect, current social, political and economic imaginaries. It intends to make visible the power structures supporting such spheres of control, addressing the ways in which they are organized and coordinated, as well as implemented across broad segments of society. <br />
<br />
<u><b>On BB7:</b></u><br />
<br />
<b>What are we building down there? </b><br /><br />- What is the difference between a fairy tale in the West and a fairy tale in the East?<br />
<br />
- A fairy tale in the West starts with the words “Once upon a time there was…”<br /> A fairy tale in the East starts with the words “Once upon a time there will be…”* <br /><br />Once upon a time there will be a Bucharest that positions itself as a model city for<br /> privatization processes worldwide… <br /><br />In order to grasp this fairy tale-proposition, we first need to go back in time.<br />
<br />
<a href="http://www.bucharestbiennale.org/concept/">continue reading </a><br />
<br />
<b>List of BB7 participating artists:</b><br />
<br />
Merve Bedir (TR)<br />
Bors & Ritiu (RO)<br /> Nanna Debois-Buhl (DK)<br /> Burak Delier (TR)<br /> Andrea Faciu (RO)<br /> Brendan Fernandes (CA)<br /> Allard van Hoorn (NL)<br /> Adelita Husni-Bey (IT)<br /> Tuomas A. Laitinen (FI)<br /> Lehman Brothers (DK)<br /> Tamás Kaszás (HU)<br /> Metahaven (NL)<br /> Rie Nakajima (JP)<br /> SPEEDISM (BE)<br /> Nasan Tur (DE)<br /> Jaro Varga (SK)<br /> Vermeir & Heiremans (BE)<br /> Visible Solutions LLC (ES)<br /> Pilvi Takala (FI)<br /> Andrew Norman Wilson (US)<br />
<br />
<a href="http://www.bucharestbiennale.org/">www.bucharestbiennale.org</a><br />
<br />Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-72941807974622472752016-05-16T09:15:00.003-07:002016-05-16T09:15:44.348-07:00 Pilvi Takala at Centre for Contemporary Arts<div class="separator" style="clear: both; text-align: center;">
<a href="https://3.bp.blogspot.com/-i-_cjPERTgA/VznxOkj7BWI/AAAAAAAAARs/YmoBhGBGhHYnSjIB5pweZss5bwNMeLSTACLcB/s1600/Pilvi-Takala-Lost-Pigeons-2012-600x848.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://3.bp.blogspot.com/-i-_cjPERTgA/VznxOkj7BWI/AAAAAAAAARs/YmoBhGBGhHYnSjIB5pweZss5bwNMeLSTACLcB/s400/Pilvi-Takala-Lost-Pigeons-2012-600x848.jpg" width="281" /></a></div>
<br />
Centre for Contemporary Arts, Glasgow<br />
April 8 – May 15, 2016<br />
<br />
Pilvi Takala provides a major overview of her work of the last ten years in her first solo exhibition in Scotland.<br />
<br />
Takala is known for her video works that investigate different social
situations and human behaviour. Her rich performative visual art
practice takes place mostly where she blends into environments that
seemingly have little to do with an artistic reality. From communities
of poker players in Thailand, teahouses in Turkey and dance events in
Estonia, to a shopping mall in The Netherlands and a boarding school in
the US, disguise and infiltration are employed to offer practical stages
of public research and response.<br />
<br />
One clear example of her tactics as an artist is <em>The Trainee</em>
– her month-long project in partnership with Deloitte Helsinki in 2008.
With only a few people knowing the true nature of the project, the
artist (posing initially as a normalseeming marketing trainee) began to
apply peculiar working methods. Gradually shifting her concentration of
the job from working to thinking, she started to raise attention within
the office of her – at first sight – passive activity. Her traineeship
challenged the very basic value of work in a direct office
landscape, showing cracks internally within such an environment in
parallel to trying to develop artistic responses to such systems. <em>The Trainee</em> will be included in the exhibition at CCA amongst a range of works such as <em>Real Snow White</em>
which highlights the strict discipline of Disneyland when Takala –
posing as a fan and dressed as Snow White – is banned from entering the
park by security; <em>The Angels</em>, where the artist disguises herself as a shop assistant and performs bonafide acts of kindness; <em>Easy Rider</em>, a film made secretly on public transport as a man borrows clothes from a stranger and <em>Event on Garnethill</em>,
a publication of a performance that Takala developed while studying at
Glasgow School of Art in 2004 in which she dressed up in a local school
uniform and spent time on the streets among the school pupils.<br />
<br />
Pilvi Takala said: “I consider Garnethill the birthplace of my
practice and showing the work that grew out of that simple gesture in
CCA now is extremely meaningful. The way I use my own body as a tool for
research has evolved in many ways, but it’s always as crucial to choose
the right way to dress for each situation.”<br />
<br />
Also included in CCA are two of Takala’s award-winning works. <em>Broad Sense</em> focusses
on an intervention in the European Parliament which saw questions about
dress codes submitted to each member state and the resulting
responses printed on nineteen different t-shirts worn by Takala on
visits to the Parliament over the course of three days. <em>Broad Sense</em> was awarded the first prize of Prix de Rome Visual Arts 2011.<br />
<br />
In 2013, Takala won the Emdash Award, aimed towards production of a
new work for Frieze Art Fair, and invited a group of local children to
spend her award. They were free to spend the money any way they wanted,
and choose how they would formulate decisions as a group. In the
resulting film,<em> The Committee</em>, the children explain how they chose to spend the £7,000 prize money and discuss the values which guided their decisions.<br />
<br />
CCA Curator Remco de Blaaij said: “Pilvi Takala’s works employ the
simple tactics of starting conversations in a way that confronts micro
realities. European security, corporate rules and local customs are all
challenged to perform what might be expected. What unfolds, however, is a
very carefully constructed breakdown of barriers, in order to reveal
their actual significance and meaning in our current societies and
lives.”<br />
<br />
Programmed as part of Glasgow International Festival of Visual Art.<br />
A series of events will accompany this exhibition and will be announced soon.<br />
<em></em><br />
<a href="http://www.contemporaryartdaily.com/2016/05/pilvi-takala-at-centre-for-contemporary-arts/">contemporaryartdaily.com/2016/05/pilvi-takala-at-centre-for-contemporary-arts</a>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-64243305679096090862016-05-09T02:07:00.003-07:002016-05-13T02:17:57.919-07:00Double Act: Art and Comedy at the Bluecoat<div class="separator" style="clear: both; text-align: center;">
<a href="https://1.bp.blogspot.com/-efFdSpkXUeo/VzBTPMnSclI/AAAAAAAAARc/IiNoGYkDx8kTgjjsHckTS8yARwkfsZvNACLcB/s1600/7_Red_sauce_Brown_Sauce_Mania_video_screengrab_2014_%25282%2529_web_THUMB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://1.bp.blogspot.com/-efFdSpkXUeo/VzBTPMnSclI/AAAAAAAAARc/IiNoGYkDx8kTgjjsHckTS8yARwkfsZvNACLcB/s400/7_Red_sauce_Brown_Sauce_Mania_video_screengrab_2014_%25282%2529_web_THUMB.jpg" width="400" /> </a></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<b>Double Act: Art and Comedy explores how comedy helps us to shape meaning and negotiate the complexities of everyday life. </b><br />
<br />
Humour is a way of binding people together: providing consolation, a sense of shared experience and a powerful weapon of resistance. But, what we find funny can also be cruel, hateful, establishing symbolic boundaries that divide people into distinct groups, setting those with power against those without. <br />
<br />
The show draws together artists from diverse cultural and political contexts, each sharing an interest in humour as a resource to animate their art practice and to connect with an audience. <br />
<br />
The exhibition curators, David Campbell and Mark Durden, are founding members of the artists’ group Common Culture and are currently studio holders at Bluecoat. This project stems from explorations in their own work of the comedic impulse within contemporary British culture. As the title suggests, the exhibition itself is a ‘double act’ and will be held at two venues, Bluecoat and MAC, Belfast (6 May - 31 Jul 2016), each featuring different works. <br />
<br />
Programmed in association with The MAC, Belfast.<br />
<br />
Artists: Bill Woodrow // Mel Brimfield // Peter Land // Common Culture // Bank // Gemma Marmalade // Jo Spence and Terry Dennett // Sarah Lucas // Maurice Doherty // Alex Bag // Thomas Geiger // David Sherry // Erica Eyres // Peter Finnemore // Kara Hearn // Pilvi Takala<br />
<br />
<b>Sat, 09 Apr 2016 - Sun, 19 Jun 2016 <br /> 10.00 AM - 6.00 PM Free entry</b><br />
<br />
<b>Fri 8 Apr Exhibition Launch </b><br />
<b></b><br />
<br />
<br />
for more info and related events please visit: <a href="http://thebluecoat.org.uk/events/view/exhibitions/3355">thebluecoat.org.uk/events/view/exhibitions/3355</a><b> </b><br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-15473028922053987862016-05-06T01:36:00.000-07:002016-05-25T01:38:23.850-07:00Infinite Next<div class="separator" style="clear: both; text-align: center;">
<a href="https://4.bp.blogspot.com/-cCBweMQBKPw/V0VjbN7NYzI/AAAAAAAAASM/mF5z0WP8k08fDCtPnuvRMY0f7p0Y35tggCKgB/s1600/1-1024x576.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://4.bp.blogspot.com/-cCBweMQBKPw/V0VjbN7NYzI/AAAAAAAAASM/mF5z0WP8k08fDCtPnuvRMY0f7p0Y35tggCKgB/s400/1-1024x576.jpeg" width="400" /></a></div>
<b>May 7 - June 19, 2016 <br /> Infinite Next</b><br />
The Living Art Museum<br />
Völvufell 13-21<br />
111 Reykjavík<br />
Iceland<br />
<br />
Infinite Next is a group exhibition of works by Anna Líndal, Amy Howden-Chapman, Bjarki Bragason, Bryndís Snæbjörnsdóttir & Mark Wilson, Hildigunnur Birgisdóttir and Pilvi Takala. <br />
<br />
Inifini<span id="goog_621696659"></span><span id="goog_621696660"></span>ty is limitless, there is endless space, size or context and it is impossible to measure or view it in entirety. <br />
<br />
Works in the exhibition deal in different ways with systems which all societies struggle with; late-capitalism, ecosystems in degradation, human experiments to alter the environment, knowledge production, manifestations and the effects of humans on the environment. Since the beginning of agriculture and with the industrial revolution, which took place between 1760 and 1820-40, humans have become a geological force. Human activity began to mark deeper footprints on the planet and cause changes to natural processes. Today the effects are apparent in climate change, which is hard to quantify as an entirety, instead it appears as fragments in all things, as an imbalance in bio systems, droughts or rain, as changes in circumstances and future prospects of all species. Recently in world history, culture has been able to produce products that continue to have an impact dozens of millennia after the production or their use occurred. <br />
<br />
Thus, the residue of atomic bombs will spread and glaciers melt, thousands of years after the plug has been pulled on all the world’s factories. The geological time-frame has overlapped with the human time-frame for the first time. Ahead are endless connections between processes that upon first sight are not directly related; communities of the past and the present infiltrate the future, which individuals try to imagine and locate themselves within, while political power systems struggle to form common goals.<br />
<br />
<a href="http://www.nylo.is/events/infinite-next">www.nylo.is/events/infinite-next</a><br />
<br />
<span id="goog_621696655"></span>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-36878982253739713362016-04-14T23:23:00.004-07:002016-04-14T23:24:48.990-07:00ARTISTS’ CINEMA: Pilvi Takala at MSU<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-DN977WAmNBE/VxCHqlLpPZI/AAAAAAAAARM/Gy7gUybpKQMP9fDOetBHY1RQlOagNmUAQCLcB/s1600/real%2Bsw.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="261" src="https://2.bp.blogspot.com/-DN977WAmNBE/VxCHqlLpPZI/AAAAAAAAARM/Gy7gUybpKQMP9fDOetBHY1RQlOagNmUAQCLcB/s400/real%2Bsw.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<b>Gorgona Hall, Friday, April 15th 2016, 7 PM. Entrance is free.</b><br />
<br />
Presentation of artworks by Pilvi Takala in the program ARTISTS’ CINEMA is performed in collaboratin with the project PERFORMIG THE MUSEUM.<br />
<br />
After presentation of artworks done by Jasmina Cibic, MSU Zagreb is bringing another guest artist - Pilvi Takala. Artworks and film production of this artis from Finland is based on research of different social structures in different cultural contexts. She takes on the position of a director and the viewer become the real actor in her stories. By analyzing social topics and situations such as dreams coming true and money approation, she focuses our attention on disruption of borders and rules to show the real social situations.<br />
<br />
Program:<br />
<br />
Real Snow White (2009), 9:15 min / Players (2010), 7:50 min / Drive With Care (2013), 13 min /<br />
<br />
The Committee (2015) 15 min / Workers Forum (2015), 6:23 min<br />
<br />
Total: 51 min<br />
<br />
ARTISTS’ CINEMA is a screening program at the Museum of Contemporary Art in Zagreb established in 2012, aimed at introducing contemporary artists and their cinematic works, created at the meeting point of contemporary art and cinema, of film and visual arts. The program presents recent works of film/video outside the context of production of entertainment and spectacle as well as introducing historical perspectives and developments. It completes the programming of the Museum and complement the presentation of this hybrid form. It is aimed to intensify the dialog and exchange on the cultural scene of the city, connecting artists, curators, and critics with the public; in this way it will contribute to an active internationalization of the art scene engaged in the media of moving images.<br />
<br />
Curated by: Branka Benčić, independent curator<br />
<br />
Project manager: Tihomir Milovac, senior curator MSU<br />
<br />
<a href="http://www.msu.hr/#/en/20963/111690/0/1/">www.msu.hr/#/en/20963/111690/0/1/</a>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0tag:blogger.com,1999:blog-703005067860802120.post-69950487796764399032016-04-09T07:52:00.004-07:002016-04-09T07:53:35.375-07:00Pilvi Takala at CCA Glasgow<div class="separator" style="clear: both; text-align: center;">
<a href="https://2.bp.blogspot.com/-y5OymVdm0hY/VwkWA6IQ43I/AAAAAAAAAQ8/h7duWUiEsugrwFfXK_LoKCa9FlPKGr6NA/s1600/IMG_6161.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://2.bp.blogspot.com/-y5OymVdm0hY/VwkWA6IQ43I/AAAAAAAAAQ8/h7duWUiEsugrwFfXK_LoKCa9FlPKGr6NA/s400/IMG_6161.JPG" width="400" /></a></div>
<br />
<b>Fri 8 April – Sun 15 May 2016</b><br />
<br />
Centre for Contemporary Arts<br />
350 Sauchiehall Street<br />
Glasgow G2 3JD<br />
United Kingdom<br />
<br />
Artist Pilvi Takala provides an overview of her work of the last ten years in her first solo exhibition in Scotland. <br />
<br />
Takala’s rich performative visual art practice takes place mostly at moments where she blends into environments that seemingly have little to do with an artistic reality. In the spaces and places of offices, class rooms, amusement parks and public streets, her form of disguise and infiltration reveals the direct operation of many of the systems she finds herself in. <br />
<br />
From communities of poker players in Thailand and a marketing office in Finland, to a shopping mall in The Netherlands and a boarding school in the US, the project of infiltration is often employed to offer practical stages of public research. This research mostly comes to us in the form of documentation, rather than us witnessing the direct movements. It alludes to a form of extreme observation of how these things actually work and what they tell us of our own position in a larger framework of communities and life. A clear example of her tactics as an artist is her month-long traineeship at Deloitte in Helsinki in 2008. Embedded within the company, she slowly changed her concentration of the job from ‘working’ into ‘thinking’. Obviously raising attention within the office to her – at first sight – passive activity, her colleagues confronted her directly on her lack of productivity. It challenged the very basic need and value of work in a direct office landscape, showing cracks internally within such an environment in parallel to trying to develop artistic responses to such systems. <br />
<br />
For the show at CCA, Takala will build upon her archive and focus on revisiting a work she developed in 2004 in Garnethill that signalled a way of working in a specific Glasgow community. <br />
<br />
-- <br />
<br />
Programmed as part of Glasgow International Festival. <br />
<br />
A series of events will accompany this exhibition and will be announced soon.<br />
<br />
Tue-Sat: 11am-6pm // Sun: 12noon-6pm // Free <br />
During GI festival only, the exhibition will be open on Monday, 11am – 6pm (11, 18 & 25 April).<br />
<br />
<a href="http://www.cca-glasgow.com/programme/56c5e4de694f20161d000002" target="_blank">www.cca-glasgow.com/programme/56c5e4de694f20161d000002 </a>Anonymoushttp://www.blogger.com/profile/07539565455111953721noreply@blogger.com0