Artyčok.tv

SUMMA

vidla — Thu, 11 Mar 2010 07:00:45 +0000

It is a kind of game with basic shapes, which results in both screenings shapes changes projected in one room gallery and the resulting three-dimensional object placed on a table in another room.

EVERYTHING TO MORE

vidla — Wed, 10 Mar 2010 07:00:51 +0000

New York based Japanese artist Hiroki Otsuka’s first solo show in Europe featuring drawings and murals.The show’s title alludes to Otsuka’s cooperation with Berlin-based choreographer Jeremy Wade, there is no end to more, a critical multi-medial exploration of “Kawaii” (cuteness) commissioned by the Japan Society NY that premieres from 25 - 27 November at the renowned Berlin Hebbel am Ufer theatre. One day later, November 28, the murals and drawings of Otsuka’s one-man show at Kunstraum Richard Sorge will be unveiled. The exhibition extends the themes of Kawaii, saturation and alienation into the realm of shifting and dark sexuality.
In his drawings and paintings, Otsuka makes an elegant transition from erotic Manga to disturbing fine art, applying intriguing gender twists to his uninhibited explorations of sexuality. His works “delve into our own experiences of the carnal; whether straight, gay, trans-gendered or otherwise, these works speak to the diversity of sexuality,” curator and expert for Japanese modern art Eric C. Shiner has written.
Not only the Manga, but also the Ukyo-e tradition (which had its own erotic/educational sub-genres directed to all sexes) are referred to in Otsuka’s work, as is a Warhol-like seriality and the Manga-related Japanese Cosplay phenomenon that originally stems from sexual role playing, but has gained crossover appeal and also includes people presenting themselves as comic/fantasy figures at clubs or conventions.
The way the works in the “Everything to More” exhibition are placed on the wall mimics the irregular layout of Mangas. While viewing, the spectator is making the familiar head movements of the comic reader. Spontaneous narratives arise from the playful arrangement of the individual pieces. Also a toilet seat refers to the low status of Manga artworks as toilet literature. The exhibition’s murals will be on view in a group show at the Warhol Museum next year.
“everything to more” - Hiroki OtsukaUnable to express himself fully as a young artist in Japan, Otsuka moved to San Francisco, and is currently based in New York, where he has worked for the Takashi Murakami studio and exhibited with such artists as Yoko Ono and Yasunao Tone. He has recently executed large scale murals for the Japan Society (NY). This fall, Otsuka’s work can be viewed in “Making faces : Depiction of women in Japan from Edo to Today” at the Pittsburgh University Art Gallery.

PYTHAGORAS’ DESCENT

vidla — Tue, 09 Mar 2010 07:00:06 +0000

Exhibition Pythagoras’ descent of Petra Feriancová (1977) is characterized by the same radicalism that is present in several of her aspects.

FROM PLACE TO PLACE

vidla — Mon, 08 Mar 2010 07:00:34 +0000

Multimedia impress from Krakow in Poland.

EXIT PRIZE

vidla — Sun, 07 Mar 2010 07:00:10 +0000

Prize EXIT nationwide competition for students of art schools in the Czech Republic is announced by the Faculty of Arts and Design UJEP in Usti nad Labem.

SUBVERSIVE EXCERPTS

vidla — Sat, 06 Mar 2010 07:00:23 +0000

The exhibition Subversive Excerpts devotes itself to experimental and conceptual art practices that had established between the nineteen-sixties and eighties in Europe and South America under the influence of military dictatorships and communist regimes. (GDR, Hungary, Romania, the Soviet Union, Spain, Chile, Brazil, Argentina, and Peru.) The focus of the show is on artistic practices that not only radically question the conventional concept of art, the institutions, and the relationship between art and public, but that have, at the same time, subversively thwarted structures of censorship and opposed the existing systems of power.

STUDIO OF PAINTING, KOCEĽOVA 23

vidla — Fri, 05 Mar 2010 07:00:51 +0000

Exhibition „Ateliér maľby“ represents collectively graduates eponymous studio of the Academy of Fine Arts at Koceľova Street. 23 in Bratislava under the direction of Professor John Berger, from the years 1987-2008.

ANTHEA HAMILTON

vidla — Thu, 04 Mar 2010 07:00:32 +0000

Solo show of London-based artist Anthea Hamilton. The show includes new sculptures and wall-based work following on from her recent exhibitions at Chisenhale Gallery and La Salle de Bains, Lyon. Hamilton produces carefully arranged environments in which each sculptural element is autonomous and yet come together in a way that has been described as “three-dimensional collage.” Often her environments have taken cues from specific, non-gallery spaces, such as the gymnasium, TV studio or swimming pool, whilst her sculptures act like players within these stage sets – commonly carrying out appropriate routine tasks and rituals. In this way her immersive installations explore such themes as leisure, attraction and mechanisms of desire, creating delicately balanced situations where the viewer is always placed at centre stage.
Central to an understanding of Hamilton’s work is her use of materials. Some of the found-objects present in the current exhibition are taken from popular TV or fiction, for example are a translation of a 2D character into 3D merchandise. Often, they are strikingly removed from their original context (for example, a pin-up poster that was intended as a symbol of desire seems more appropriate to a teenage bedroom than a gallery setting). Whilst her more idiosyncratic assemblages may seem bewildering at times – including a rubber cartoon mask of a character from The Simpsons, an over-sized wrapped cheese fashioned from leather and foam, or a clear perspex chair made from cut-outs of the artists own legs – each are precisely chosen for the specific senses they provoke and the associations they inspire.
More often than not these associations are to do with the body. Indeed, in previous examples of Hamilton’s work her sculptures often appeared like disconnected bodies – figuration was hinted at but never actually revealed. In her new works the figuration remains but in a form that is abstracted even further. Indeed, her sculptures appear more solidly grounded in the idea that they are inanimate objects that work within a wider environment, even with a use value (a chair, a blind, a table), or that they might be chosen in a similar way to furnishings – integral choices that inform a larger set of surroundings within which the visitor is invited to explore and reveal connections.
Whilst Hamilton’s use of ‘poor’ everyday materials – as well as her overall reductionist style and a retro-store colour palette – clearly connect her to a contemporary aesthetic, the effect is anthropomorphic and less to do with the legacy of Minimal Art than a choreography of different feelings and emotions. Issues of titillation and an overtly sensual mood verging on the sexual come into play, in the same way that curator Francesco Manacorda has written of Hamilton that she “is interested in tracing a personal history of love and attraction … in a mapping of the distance between individuals and the objects of their desire.”

CRITIQUE AWARD FOR YOUNG PAINTING 2010

vidla — Wed, 03 Mar 2010 07:00:31 +0000

The painting’s theme and its overlapping became some specific feature of Criticism prize for this 3rd annual competition. It is understood in the context of the current artist production.

new function “In progress”

twentyfortysix — Tue, 02 Mar 2010 19:05:08 +0000

We now how tedious is to check all the time the artycok.tv and fill up the search again and again with the desired action you want to see. Now you do not have to suffer anymore. We have made a box “In progress” we call it, located on the bottom of the index page, where you can see the list of the articles we are currently working on.