CURA. NO.23 - A VISIT TO Pilvi Takala. CCA Glasgow

COVER BY JON RAFMAN



INSIDE THE COVER
The Refracting Eye. On Jon Rafman
by Bret Schneider

POP UP SECTION
THE MACHINE
A year-long section edited
by Anthony Huberman

PORTRAITS IN
THE EXHIBITION SPACE
Arnold Rüdlinger: The Dawn of the
Contemporary
by Lorenzo Benedetti

ICONS
Carolee Schneemann, Meat Joy
by Vincent Honoré

ARTIST’S PROJECT
by Guan Xiao

SPOTLIGHT
Ian Cheng in conversation
with Elvia Wilk

SPOTLIGHT
Athena Papadopoulos in conversation
with Samuel Leuenberger

SPOTLIGHT
Cayetano Ferrer in conversation
with Olivian Cha

ABOUT
Davide Balula
by Daniel S. Palmer

SPOTLIGHT
Emmanuelle Lainé in conversation
with Flora Katz

ABOUT
The Clothed Condition. Centre
for Style by Matthew Linde
by Anna Gritz

A VISIT TO
Pilvi Takala. CCA – Centre for
Contemporary Arts, Glasgow
with João Mourão & Luís Silva

HOT!
Rachel Maclean
by Siôn Parkinson

Julien Nguyen
by Lorenz Pammer

Louisa Martin
by Frances Loeffler

Antoine Renard
by Philipp Kleinmichel

curamagazine.com/current/

What’s The Riddle

What’s The Riddle
5 October – 5 November
Private View: Tuesday 4 October 18:00-20:30

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 roster.

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.

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.

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.

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.

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

facebook.com/events/1087524901367902/#

VIDEO NIGHT - SPACE collection Lüttich

VIDEO NIGHT supported by SPACE Collection
September 3, 2016 // 9pm

SPACE Collection
Féronstrée 116
4000 Lüttich
Belgium

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.

Each of them explore how the singular can relate to the enormous : from the individual facing massive institutions to massive immersions mesmerizing the individual.

Using animated video, performative fiction, documented performance and revisited interview, the artists slip into various roles while establishing new forms of introspections.

Avec / with :
One Of Twelve (NY)
Sophia Cleary (LA)
Arnaud Dezoteux (Paris)
Virgile Fraisse (Paris)
Gregory Kalliche (NY)
Jacques Lizène (Liège)
Kianoosh Motallebi (Bxl)
Pilvi Takala (Berlin)

Image: theothersideofthemuffledwall (Gregory Kalliche)

+++ Trailer:
vimeo.com/179640462

facebook.com/events/282265922133377/ 

DAVOR Freiluftkino Weißensee - Real Snow White

DAVOR
Freiluftbühne Weißensee
Große Seestraße 9, 13086 Berlin

Real Snow White, 2009, Video, Farbe, Ton, 9:15 min
Fr. 22.7.2016, 21:30 Uhr/ Do. 4.8.2016, 21:15 Uhr/ Sa. 13.8.2016, 21 Uhr

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.

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!

freilichtbuehne-weissensee.de/kurzfilmreihe-davor/

Kunsthal Aarhus - Pilvi Takala

Exhibition period: 22 June-21 August 2016
Opening: 22 June

Kunsthal Aarhus presents an exhibition by the Finish artist Pilvi Takala.

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.

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.

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.

kunsthalaarhus.dk/en/programme#overlay=en/programmes/pilvi-takala

Detail ist alles - Kunsthalle Mainz

Kunsthalle Mainz
Am Zollhafen 3 - 5
55118 Mainz
Germany

Detail ist alles

Vito Acconci / Francis Alÿs / Samson Kambalu / Jiří Kovanda / Klara Lidén / Ahmet Öğüt / Roman Ondak / Neša Paripović / Pilvi Takala

24th June – 16th October 2016
Opening: Thursday, June 23rd, 2016 at 7pm

Bucharest Biennale 7

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.

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.

On BB7:

What are we building down there?

- What is the difference between a fairy tale in the West and a fairy tale in the East?

- A fairy tale in the West starts with the words “Once upon a time there was…”
A fairy tale in the East starts with the words “Once upon a time there will be…”*

Once upon a time there will be a Bucharest that positions itself as a model city for
privatization processes worldwide…

In order to grasp this fairy tale-proposition, we first need to go back in time.

continue reading

List of BB7 participating artists:

Merve Bedir (TR)
Bors & Ritiu (RO)
Nanna Debois-Buhl (DK)
Burak Delier (TR)
Andrea Faciu (RO)
Brendan Fernandes (CA)
Allard van Hoorn (NL)
Adelita Husni-Bey (IT)
Tuomas A. Laitinen (FI)
Lehman Brothers (DK)
Tamás Kaszás (HU)
Metahaven (NL)
Rie Nakajima (JP)
SPEEDISM (BE)
Nasan Tur (DE)
Jaro Varga (SK)
Vermeir & Heiremans (BE)
Visible Solutions LLC (ES)
Pilvi Takala (FI)
Andrew Norman Wilson (US)

www.bucharestbiennale.org