Monday, June 24, 2013

Heimo Zobernig

From Artnews.org

07 June - 01 September 2013

Zobernig7.jpg

Heimo Zobernig
Exhibition view at Kunsthaus Graz 2013
Photo: UMJ / N. Lackner

 
Zobernig8.jpg

Heimo Zobernig
Exhibition view at Kunsthaus Graz 2013
Photo: UMJ / N. Lackner

Sunday, June 23, 2013

Vision Quest: Exploring the Venice Biennale

From ARTnews
By Posted 06/18/13

A channel-changing exhibition about imagination headlines a convergence of art from 88 countries

At the start of “The Encyclopedic Palace,” Massimiliano Gioni’s fantastic voyage into the creative recesses of the human mind, the curator provides two guiding spirits—better put, spirit guides—for the journey ahead. Both are early-20th-century European intellectuals who built their careers on dreams.
Carl Jung, page from The Red Book, 1914-30, paper, ink, tempera, gold paint, red leather binding. Encyclopedic Palace. COURTESY THE FOUNDATION OF THE WORK OF C.G. JUNG.
Carl Jung, page from The Red Book, 1914-30, paper, ink, tempera, gold paint, red leather binding. Encyclopedic Palace.
COURTESY THE FOUNDATION OF THE WORK OF C.G. JUNG.
This mesmerizing main exhibition of the 55th Venice Biennale begins in the Giardini’s Central Pavilion with Carl Jung, the Swiss psychotherapist, making his first appearance in an international art show. His cosmological illuminations, created between 1914 and ’30, record visions Jung achieved through what he called “active imagination”—a process that helped inspire his concept of the collective unconscious.

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Monday, June 17, 2013

Lauren Kearney: I prefer writing – nothing outshines it

I was born in Leicestershire in England and I moved to Bulgaria when I was thirteen-years-old. I lived in a rural village in the Gabrovo district for the first four years but currently I am living in Burgas and enjoying every moment of it.
As for work, I write for a Boston-based magazine known as Teen Voices and also Public Republic. My dream for the future is to become a full-time writer in Bulgaria.
Lauren Kearney

First, thank you for allowing me to interview you for Absinthe-Minded. Could you tell us about yourself?
I grew up in England. Then, when I was thirteen, I moved to Bulgaria with my dad, mum and sister and we lived in a rural Bulgarian village for four years. And now I’m still living in Bulgaria, but in a large city here.  In the meantime, I work as a writer and I’m also immersing myself into various wildlife conservation projects.

What brought you to Bulgaria and do you plan on staying there?
It’s a long story. Moving to another country has always been on the cards for us. My parents have always been eager for a new life in a new country. They love travelling and so do I, so coming to Bulgaria and living here permanently wasn’t scary for me. It was an adventure and still is. I really don’t know whether we’ll stay here permanently or not – I’m kind of torn between both. But for now, I’m enjoying life in Bulgaria.

The biggest challenge you had to face since you moved to Bulgaria? Was it hard to adapt?
Everything has been a challenge in its own way. From integrating with the locals, to dealing with periods of six week water shortages, it has all been challenging. But I have learned so much. I am much more resilient now. I think it took the locals a while to get used to us, but in the end, after we shown our willingness to fit in, they respected us. To begin with, everything was pretty intense, but I wouldn’t say it was that hard to adapt.

What was the most shocking difference between Bulgaria and the UK to you?
Probably the pace of life. When I return to England, the first thing that hits me is how rapid everything is. Nothing is slow or laidback at all. In Bulgaria, life is much more relaxed.

What are some of your upcoming endeavors you have planned?
At the moment I’m working as a freelance journalist and sometime in the near future I will be getting involved with an animal rescue organisation. At the same time, I’m immersing myself into wildlife conservation projects; signing petitions, writing letters to people of authority and donating whenever possible.

Would you consider working as a translator?
I don’t think so. I can speak Bulgarian, but I’m not fluent at all. If I were, I’m still unsure I’d work in this profession. I prefer writing – nothing outshines it.

Do you feel that the fact English is your mother tongue could open doors for you in a country like Bulgaria?
Possibly. I mean, living here has already opened doors for me, and that’s just from the general experience. I’m not sure whether, as a writer, it would open doors for me. I don’t know, to be perfectly frank.

How would you describe the level of English of the average Bulgarian?
I would say it’s quite high. Considering a huge percentage of Bulgarian’s only learn English at school, it’s amazing that some can speak it so fluently. I learned French at school and I can barely string a sentence together in French.

What other projects/causes do you support?
I’m heavily involved with various wildlife and animal welfare organisations. I support the WWF, PETA, and the Born Free Foundation. It all started a year ago, when I saw an advert on the television about endangered mountain gorillas. It was the World Wildlife Foundation pleading for donations. And in that instant, I was compelled to act. So after donating, I started researching these issues and I just could not believe what I was reading. The statistics of endangered animals were unreal. From then I’ve continued to support these causes and I want to raise awareness for this major concern.

What are your thoughts on Bulgarian literature? Do you follow the work of any specific contemporary authors?
I haven’t actually read much Bulgarian literature, so unfortunately I can’t really hold an opinion on it. I’ve read a couple of short stories, which were good, but apart from that, I’ve not read much.

What do you think Bulgarian literature needs to expand its global outreach?
Good marketing. The talent is there, you just need it to be in the right hands.

You’ve written for a variety of international literary magazines, what are your main topics of interest?
When I was fifteen, a few of my book reviews were published in print. I’ve also written a bit of feminist prose which has been published. Now I tend to focus on more serious topics. Global issues are my favourite subjects. I want to create awareness. I know from personal experience that awareness was what compelled me to act. When you are aware of a situation, it’s hard to turn your back on it and do nothing. When you educate yourself on what’s happening in your world, it’s impossible to ignore it.

Are you interested in creative writing?
Yes. I am a writer. I love writing. For me, I prefer prose over poetry. I’ve written poetry but I’m more of a story writer. There’s something so liberating about writing – that’s why I’m devoted to it.

Who are your favourite writers?
I have many favourite writers – and such a variety too: Sylvia Plath, Simone de Beauvoir, James Patterson, Stephen King, Jane Austen, Doris Lessing, Vladimir Nabokov, Fyodor Dostoevsky, Kate Chopin etc. The list goes on...

What are your plans for the summer?
To write more stories. And as I mentioned before, I’m hoping to become involved with an animal foundation, so that should be great.

Thank you again for the interview!

Monday, June 10, 2013

T-Guardian. La biennale 2013.



Here’s a new definition for “art on the move.” The “T-Guardian” sculpture, designed by artists Christoph Luckeneder and Manfred Kielnhofer, currently on a global tour of the world’s museums and exhibition spaces, has made its way to Venice for La Biennale—and it’s showing up in a new spot around the city each day. Luckeneder and Kielnhofer, both from Austria, have collaborated together before, most recently in a show at Gallery Liebau in Burghaun, Germany.


 



The T-Guardian piece, which depicts a cloaked red figure seated atop a metal cross covered in “spikes,” combines familiar forms from both artist’s body of works. Kielnhofer is known for his various depictions of the “Timeguard” figures, shrouded figures that recall themes from fantasy, mythology and the gothic. Luckeneder is known for his series of “light cactuses”—wire sculptures that play with various colors of light. Here, the two forms are juxtaposed, creating a new iconic, striking piece.
The only question is—where will it show up next? [ Christoph Luckeneder ] [ Manfred Kielnhofer ]

Sunday, June 9, 2013

Rome Literature Festival

From rome.wantedineurope.com

Rome Literature Festival
Photo: rome.wantedineurope.com

Rome Literature Festival


11 June-3 July. Rome book enthusiasts breathed a sigh of relief at the long-waited announcement that the yearly Rome Literature Festival has received the necessary approval and funding. Therefore the 12th edition of the festival, consisting in ten evening events, takes place once again in the magnificent setting provided by the Basilica di Massenzio in the Roman Forum. The very popular initiative celebrates the written word with a host of international authors who are invited to write a text inspired by a chosen theme, as well as read an excerpt selected from a published work translated into Italian. 

This year’s theme has still to be announced, as well the calendar and the names of the participants. Invariably many Anglophone writers are amongst those invited to take part, and the festival offers a unique occasion to listen to them reading from their own work in dialogue with musicians, actors and artists who collaborate to give vitality and originality to the event. Entry is free, but tickets must be picked up at least two hours before the actual reading begins at a specially constructed box office in Via dei Fori Imperiali, Clivio di Venere Felice. For information tel. 060608, www.festivaldelleletterature.it.


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Saturday, June 8, 2013

Translators Associations Europe: Vienna House of Literature

From www.lexis.pro

Translating in Austria

Translators Associations Europe: Vienna House of LiteratureThe Vienna House of Literature, opened in autumn 1991 in Vienna, is the home of three clubs: a documentation center for modern Austrian literature, the Syndicate of Austrian Authors and, last but not least, a translators community.

Its website provides a quick and concise view of the otherwise widely scattered information on Austrian contemporary literature.

Is you’re a translator or an author working or thinking of working in Austria, you should contact this translation association. Also, if you represent a translators association or own a translation agency it could be interesting to know what synergies could be created between your tow organizations.

The website of the Vienna House of Literature has extensive information of contemporary literary life in Austria, biographies with lists of works, news, and technical information for researchers and students as well as writers and literary translators.

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Saturday, June 1, 2013

Baboró International Arts Festival for Children

From Festivals.ie

Baboró International Arts Festival for Children is Ireland's flagship international arts festival devoted exclusively to children and families. In 2013 they celebrate 17 years of presenting a multidisciplinary arts festival to thousands of families. 

Baboró brings the most diverse selection of the finest in professional performing arts from Ireland and around the world to its annual one-week festival in Galway. The festival programme varies from year to year to bring a wide diversity of exposure to the arts especially created for young audiences and their families.  


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Tuesday, May 28, 2013

Trisha Baga & NO BROW

 
TRISHA BAGA
&
NO BROW
Benjamin Hirte | Lisa Holzer | David Jourdan | Nick Parker | Philipp Timischl | Nicole Wermers | Westphalie
curated by Katharina Zimmer

Exhibition
12 Apr - 1 Jun 2013



Installation views / Ausstellungsansichten:



Trisha Baga, Werner Eats His Shoe, 2013, One 2D projection on glow-in-the-dark-paint and 3D projection on foam panel with spackle, paint and half disco ball, format variable, installation detail, Galerie Emanuel Layr, 2013


Trisha Baga, Werner Eats His Shoe, 2013, One 2D projection on glow-in-the-dark-paint and 3D projection on foam panel with spackle, paint and half disco ball, format variable, installation detail, Galerie Emanuel Layr, 2013



Trisha Baga, Werner Eats His Shoe, 2013, One 2D projection on glow-in-the-dark-paint and 3D projection on foam panel with spackle, paint and half disco ball, format variable, installation detail, Galerie Emanuel Layr, 2013



David Jourdan, Untitled (Neighborhood details, and others you may twitter), 2013, silkscreen on paper, 100 x 70 cm


Philipp Timischl, “Untitled (Full Motion/London)”, 2013, mixed media, 134 x 95 x 5 cm




Nick Parker, Untitled, 2013, dyed cement, epoxy resin, foil, 19 x 14 cm


Installation view, NO BROW: Benjamin Hirte | Lisa Holzer | David Jourdan | Nick Parker | Philipp Timischl | Nicole Wermers | Westphalie, curated by Katharina Zimmer, Galerie Emanuel Layr, 2013


Lisa Holzer, Chanel 539 JUNE passing under Carrot Juice, 2013, pigment print on cotton paper, 88 x 68 cm


right: Nicole Wermers, Müsliregal (Eigenmischung), 2013, powdercoated steel, Müsli, Fixings, 2.5 x 42 x 280 cm
Benjamin Hirte, o.T. (the method board pattern), 2013, inkjet print on paper, 420 x 105 cm; Lisa Holzer Chanel 505 PARTICULIÈRE passing under Cocoa, 2013, pigment print on cotton paper, 88 x 68 cm

Benjamin Hirte, o.T., 2013, Wick cough sirup, Sinupret drops, plinth, 25 x 165 cm


Trisha Baga, Hercules, 2013, Blue ray 3D video projection onto piece of paper and 3D glasses, format variable, Galerie Emanuel Layr, 2013


Westphalie, Trisha Baga & No Brow (Der Popper-Knigge), edited by Katharina Zimmer, 2013, invitation cards and B&W photocopies (Der Popper-Knigge, Hamburg, 1979), stapled; song (ABC, The Look of Love, 1982).

-
Trisha Baga & NO BROW
Benjamin Hirte | Lisa Holzer | David Jourdan | Nick Parker | Philipp Timischl | Nicole Wermers | Westphalie curated by Katharina Zimmer
11.04.2013 – 01.06.2013
Aesthetic has long become a commodity of the twenty-first century, has already been internalized by mass culture and has been implemented by the market as a functioning construct of values, lifestyles and experiences.
Trisha Baga & NO BROW is a trial version of two separate shows interlacing and corresponding with each other. It takes as its point of departure the interest of young artists in the appearance and design of the everyday and its free circulation through visual circuits of distribution. By regurgitating styles of their surroundings, the artistic positions in Trisha Baga & NO BROW not only reflect the re-calibrated relation between applied and autonomous art, but also probe the currency of design as a diagnostic tool to uncover the hidden ecologies of the things that fill the lifeworld. However utopian current approaches to design may be, this show focusses on artistic strategies of re-staging and reiterating designed networks, activities and services. Doing so, the artists that come together in the show explore anew the modernist promise of universality and democracy in today’s era, in which the modern dualisms of subject and object have irrevocably proven obsolete.
After all, as Bruno Latour would have it, only a conception of a democracy expanded by a non-hierarchical inclusion of things, or non-human beings and networks can meet the challenges of the present. The mode of distraction here acts as the show’s undercurrent to parallel today’s shifting relation between the tangible, the virtual and the detached flows of information. This mode is reflected in the show’s format that resembles a one-armed bandit. Trisha Baga’s solo installation shall hereby act as the initiating coin – an activating stream of consciousness, surfacing various strings of thought and different layers of questioning the possibilities of being and making today. By staging comments and works of Benjamin Hirte, Lisa Holzer, David Jourdan, Philipp Timischl, and Nicole Wermers in the gallery spaces next to Baga’s installation, NO BROW will showcase the contemporary nexus of production and consumption and the role of visual encodings and unfixing circulation within it. All artists are invited to contribute to this investigation of contemporary strategies of marketing and the “universal merging with the universality of the commodity form in the amnesic code of exchange value.”1
1Egenhofer, Sebastian, Abstraktion, Kapitalismus, Subjektivität: Die Wahrheitsfunktion des Werks in der Moderne, München: Wilhelm Fink Verlag, 2008.
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Galerie Emanuel Layr, Vienna
-

Upcoming Art Fairs:
LISTE 18, Basel 11 - 16 June 2013 (Lisa Holzer)
Frieze Art Fair, London Frame 11 - 14 Oct 2013 (Benjamin Hirte)

Monday, May 27, 2013

Close Approximations: a new international translation contest



From Asymptote
One promise Asymptote made during our Indiegogo campaign was "to hold a new international translation contest." Well, here it is. Our first post-campaign venture, born from your amazing support, is to give our support to emerging translators the world over. Ready for your big break?

DETAILS

"Close Approximations," our new international contest, will be judged by two translators we greatly admire, Eliot Weinberger (poetry) and Howard Goldblatt (fiction), and we're offering 1,000 USD to the winner in each category, as well as publication in Asymptote. The winners and shortlist will be announced in our January 2014 issue.

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Saturday, May 18, 2013

Blood on Everyone’s Neck



Rainer Werner Fassbinder’s Blood on the Cat’s Neck presented by Torn Space Theater is an erratic labyrinth of unresolved psychological problems, explosive emotions and unspoken desires that is so overpowering it looks nothing less than surreal. At the same time however, there isn’t a single line in the winding dialogues which is not genuinely human and thus close to our own experiences and thoughts.

This is precisely what makes Fassbinder one of the greatest ideologues of contemporary cinema and theater – the ability to bring together so many different facets of reality and come up with a work that seems to be out of this world. In Blood on the Cat’s Neck this ethereal atmosphere is enhanced by the presence of a member of another planet, Phoebe Zeitgeist, who is sent to the Earth in order to report on the state of democracy.

The play, under Dan Shanahan’s direction, can be roughly divided into two parts – the first one, in which the action is driven by the eight earthlings, four women and four men, who converse with each other in series of changing pairs, and a second one in which Phoebe herself takes over the scene and carries out her mission.

As Dan Shanahan himself remarked after the end of the performance, Fassbinder has left no specific stage directions in his script, so the entire concept of the stage and costume design has been created by the Torn Space Theater production crew. The set designer, Kristina Siegel, talks about the “clinical white” of the stage and the white costumes of the eight humans merging with the surrounding space. In sharp contrast to them, Phoebe is dressed in black, to separate herself not just from the appearance of the human beings but also from their moral and emotional weaknesses and sensibilities.

Indeed, the spatial construction of the stage induces associations with the lens of a camera, the camera through which Phoebe inspects the life of the humans. Instead of the proverbial fourth wall, here Fassbinder breaks the first wall, the barrier between front stage and back stage, opening up the space between the voyeuristic alien and her observees and hence between them and the audience who feels somewhat uneasy, or perhaps on the contrary – a bit more relaxed – knowing it is not the only one watching what is going on on the stage.

Phoebe is by far not just a voyeur, at least not a conventional one, for she is not concerned so much with the actual actors she is observing, with their specific characters and traits, as she is with their interactions. The figures themselves matter to her to the extent to which she is able to learn to copy them perfectly in order to use their own weapons against them. And their weapons are precisely what they use to harm and humiliate each other – their words. Soon, it becomes clear that the suffering they cause each other through them is, despite the way it may actually appear, not deliberate; that perhaps the exchange of deeply-penetrating, emotionally-condensed phrases each pair utilizes is in actuality a monologue derived not from the desire to inflict pain on the other but rather to get rid of the pain inside one’s own soul and conscience.

In this sense, even the harshest insults we hear from the ruthless Lover or the hotshot Model, the sadomasochistic Teacher or the coarse Policeman, are not meant so much to crush their opponents, as they are to help the speaker express the pressing psychological issues within them. Relatively early on it becomes evident that the topics regarding material difficulties such as the need for money, secure accommodation, a reliable job or a stable partner are really just the surface of a much deeper matter – of the sense of security and love whose lack leads to disastrous instances of miscommunication and emotional (self-)abuse.

What the entangled paths of the verbal expression of these problems ultimately lead to is by itself a catastrophe whose external executor becomes Phoebe Zeitgeist. In the second part of the play, when she takes the reigns of the action in her own hands, it is as if she embarks on a bloody crusade to free the world (hers or ours?) from the presence of the poor losers whose helpless tirades she’s been listening thus far. What makes the scenes to follow even gloomier is the feeling that such a tragic fate can hypothetically be reserved not just for Fassbinder’s characters but basically for every one of us, since we are, in our suppressed desires and fears, not too much different than the people in the play.

As was already pointed out, Phoebe is not just a voyeur. But she isn’t a mere witness of the verbal and moral crimes of the eight protagonists either. She is the council of the jury at a trial personified, and not just that – she get to be the judge, executing the sentence, too. In a way however, she is also the convict committing a crime after she has already been brought to the trial organized by the audience. It has embraced her out-of-this-world look and presence on stage, has taken it for granted and has assumed throughout the play what she might do in the end. She does not disappoint us and fulfills her share of the deal. Should we be proud of ourselves for correctly predicting what she is about to do? Or should we be ashamed of ourselves, of the protagonists, of humanity in general, for letting itself fall prey to an alien vampire because of its irreversible vices and weaknesses? Is that all we can pass on to an extraterrestrial visitor to our planet – violence and cruelty?

Torn Space Theater’s production and the amazing play of the actors will make you think about these and many more issues, whether you like it or not. Because, as a character in the play says, “You can’t avoid suffering.” But, as another one exclaims, “When you’re unhappy, you have to talk about it.” And that’s exactly what Blood on the Cat’s Neck does and why it is still so important today, more than three decades after it was first written.