The history of collage as an artistic practice in its own right begins in the 20th century, in the framework of the avant-garde and unfolding by conceptual art practices. Up until the beginning of the 20th century, the collage has only appeared marginally in European Art. Since the first collages in the practice of the Avant-garde, the technique has penetrated into the very heart of the artistic system. Along with film montage, collage represents the artistic language, medium and procedure of the 20th century that underwent major changes.
The exhibition (REZ) CUT – Examples of collage in artistic practices in Central and Eastern Europe from the Avant-garde until today explores relations of collage in contemporary artistic practices following a historical trajectory of the avant-garde art that saw the emergence of experiments in collage / montage as radical artistic language, in relation to economic, ideological and institutional [...]
Joe Scanlan has curated two shows in Nantes with works from the collection of the Frac des Pays de la Loire. For these exhibitions, titled Décor and Avant-poste, Scanlan has attempted to achieve something like a successful utilization of art – to see what it might look like to pick up where Broodthaers left off and to emphasize the value – indeed, the necessity – of deception in art.
Décor: Georg Baselitz, Martin Boyce, Marcel Broodthaers, Miriam Cahn, Patrick Caillière, Alan Charlton, Arnaud Claass, Robert Combas, Béatrice Dacher, Koenraad Dedobbeleer, Hoël Duret, Jimmie Durham, François Morellet, Antoinette Ohannessian, Kristin Oppenheim, Joyce Pensato, Gala Porras-Kim, Stephen Prina, Fred Sandback, Bojan Sarcevic, Joe Scanlan, Kiki Smith, Kristina Solomoukha, Mladen Stilinović
Museum of Contemporary Art Zagreb, 19.01–18.03.2018
Nilbar Güres, My totems and me as a totem, 2013
Museum of Contemporary Art, Zagreb, presents I AM THE MOUTH with works from Art Collection Telekom. The corporate Art Collection Telekom was initiated by Deutsche Telekom in 2010 and comprises today of some 200 art works by about 60 artists from around 15 countries. The collection has a clear focus on contemporary art from Central and Eastern European countries.
The title of the exhibition I AM THE MOUTH is from a video work by Polish artist Agnieszka Polska. It expresses the characteristic qualities of contemporary art from a region in Europe, which is searching for identity in the global context. These voices are looking for new social and political structures, for a democratic and civic exchange by balancing opposing ideas and interests. The artworks in the exhibition are the mouth of a whole generation that wants to shape its own future and take responsibility for it. The works are telling the stories, concerns, hopes [...]
neue Gesellschaft für bildende Kunst, 03.02.–25.03.2018
Sven Stilinović, Untitled (Bound Figure) / Bez naziva (Zavezani lik), 1980
Where do works of performance art begin and end? How do they or the traces they left behind live on in the context of exhibitions? What do performances in socialist Eastern Europe reveal about artistic expression, political critique or nonconformist social behaviour? The exhibition Left Performance Histories features action art in Eastern Europe from the 1970s on in a way that also reflects on its continued relevance in the present. The show includes works of over 25 artists, some well-known to those familiar with the alternative culture of the former Eastern Bloc, others possibly a new discovery even to the insider.
Rather than a comprehensive retrospective, the exhibition zooms in on a handful of selected topics that have been often left out of critical debates. Where the unofficial art of socialist Eastern Europe is conventionally framed as a reservoir of subversive gestures against an oppressive social, cultural and political environment, the present selection prefers [...]