Gender Check: Femininity and Masculinity in the Art of Eastern Europe

Gender Check: Femininity and Masculinity in the Art of Eastern Europe

13.11.09 - 14.02.10

Museum Moderne Kunst

Wien


| mumok.at |

Shows that examine the roles we play as men and women in contemporary society are fairly common in the West, but prior to the fall of the Iron Curtain in 1989, little was known about how Eastern European artists were handling this topic. Social realism depicted men and women in Eastern Europe in the role of the heroic worker; in the 1960s, “unofficial art” began to question that reality. Gender Check, at Vienna’s Museum of Modern Art, considers the development of male and female roles in art since that time.

Following artists’ rejection of social realism and embrace of unofficial art, feminine art concerns that were sweeping the world in the ‘70s made their way to Eastern Europe and spurred male artists to also question role-playing and identity. New forms of expression, such as photography, video, and performance art, arose to deal with the new ideas. As more and more educated women took up art, men were no longer able to dominate the field.

After the wall fell, nationalist trends and neoliberal influence gained ground in Eastern Europe. At the same time, artistic criticism of militaristic and misogynistic ideologies increased. The subject of homosexuality was openly discussed for the first time and religious concepts about femininity and patriarchal authority were questioned... (continue reading @ flavorwire.com)

Boris Mikhailov (Ukraine), Photo from the series: Suzi et cetera, 1960s

Izabella Gustowska (Poland), Sacrifice I - from the cycle Relative Similarities, 1989-1990

Marina Abramovic (Serbia), Art Must Be Beautiful, Artist Must Be Beautiful, 1975, Video performance, 14:14 min

Edwina Leapman @ Annely Juda Fine Art

Edwina Leapman

New Paintings

28 January - 27 March 2010

Annely Juda Fine Art

| annelyjudafineart.co.uk |

Deepening Blue, 2009

Deep Pool, 2009

Edwina Leapman has been shown in solo exhibitions in the UK and across Europe since 1974. Her work comes from an important tradition of post war abstraction inspired in part by Mark Rothko and the American Abstract Expressionists. This exhibition comprises 20 new paintings made from 2007 to 2009.

Leapman’s work has always been based on line and process – paint is stroked in parallel lines across a contrasting ground from left to right. Recent work has shown a development in increasingly dense and complex grounds – often made up of many layers of different colours. In this exhibition the development is also applied to the lines – often visibly made up from several hues. The lines have also become more fragmented – sometimes almost skipping across the canvas creating an optical dance (continue reading)

rebecca horn

The feathered prison fan, 1978

via mot-art-museum.jp

The Raven’s Twin, 1997

Unicorn, 1970/72

via siouxwire.com

| rebecca-horn.de |  

antonio carena 1925-2010 r.i.p.

peter loewy

Peter Loewy. Drawings. An Exhibition with Photographic Portraits

09.02.2010 - 11.04.2010

palais pinakothek

Jean-Auguste-Dominique Ingres, 2009

yves klein

via treatyourselftothebest.blogspot.com

markus schinwald

markus schinwald

january 14 - february 20, 2010

 

yvon lambert gallery

paris - france

adam, 2009

For his first solo exhibition at Yvon Lambert, Markus Schinwald has constructed, in reference to Frederick Kiesler, an installation of pillars and other architectural elements in the exhibition space that serves not only as an artwork in itself, but also as an architectural prosthesis that frames the other works presented. The artist will also exhibit appropriated antique oil paintings that he has manipulated by outfitting them with unidentifiable apparati that translate internal experience into external conditions. Schinwald investigates the role of the body in relationship to its environment by seamlessly adding these intriguing—and often unsettling—elements. The masks, bits, hoods, prostheses, and bandages added to the figures incite contextual curiosity, prompting the viewer to wonder if the objects are medical or sexual, and also to question who is in control of the subjects—if anyone. In addition to paintings, there are several sculptures on wooden pedestals on view. The legs of Chippendale furniture, extracted from their original purpose, are given human attributes through their assembly as sculptures. In his work, Schinwald explores the human condition, circumnavigating the themes of body and space; discomfort; and collective existence. There is a haunting sense of mystery present in Schinwald’s work, which touches on the mythical and historical while also confronting the viewer with the restrictions of his own cultural surroundings (from the press release)

image from artdaily.org

gelso nero

birdy's wife

home

shadowplay

> gelso.daportfolio.com <

chan-hyo bae

self-portrait

via pictureyear.blogspot.com

giuseppe penone: rovesciare i propri occhi

giuseppe penone, rovesciare i propri occhi (to reverse one's own eyes), 1970

via lastplanetojakarta.com

photo by claudio abate

via collezionemarone.com

gilbert and george

winter tongue fuck, 1982

via niksixtyeight.blogspot.com

barkley l. hendricks

lawdy mama

via latimesblogs.latimes.com

shudder

SHUDDER

Edwina Ashton, Barry Doupé, Ann Course, Avish Khebrehzadeh, Matt Mullican, Raymond Pettibon, Naoyuki Tsuji and Markus Vater.

21 January 2010 - 14 March 2010

Presented by The Drawing Room and Animate Projects.


| drawingroom.org.uk |

markus vater, the cave has been moved, 2008

edwina ashton, gladiators and slaves, 2008

In this international group exhibition drawing, by nature in flux and mobile, is combined with animation techniques to create disjointed, deeply affecting narratives.

The exhibition includes three new co-commissions, by London-based artists Edwina Ashton and Ann Course and Canadian artist Barry Doupé, supported by Arts Council England. The works will premiere online on animateprojects.org in January 2010, to coincide with their presentation as part of Shudder, 

Esther Leslie has said that for Adorno “the shudder represents the very principle of life itself, barely findable today but sometimes emergent in the experience of art”. In their attempt to imitate life, artists have the potential to trigger in the viewer genuine experience which is denied by modern rational society. Since its first use over 100 years ago animation has been seen as a means to bring the subject to life. In the earliest known example of drawn animation, ‘Fantasmagorie’ (1908) cartoonist Emile Cohl drew and filmed 700 drawings, double exposing each drawing and creating a two- minute film. The title is a reference to the “fantasmograph”, a mid-Nineteenth Century variant of the magic lantern that projected ghostly images that floated across the walls. The drawings are simple, a mere stick man, but in the two minutes the world is turned upside down, objects morph into animals and flowers, heads roll and the fractured narrative shifts constantly - 'Fantasmagorie is a stream of consciousness' which simulates lived experience... (continue reading)

zhu ming

8 may 1999, 1999

18 March 2006, 2006


via chinesecontemporary.com

light space no. 3, 2004

via artnet.com

...Whether seen in the flesh or in photographs, Zhu Ming’s performances, through his raw display of his naked body, are controversial works that call attention to the vulnerability and aloneness of all humankind. During the first decade of his performances, his works were banned from public display in Mainland China because it was believed that Zhu Ming’s works were polluting to the general public. As a result, the majority of his performances from the Bubble and Luminescent Man series were performed abroad. 

The Bubble series, a performance series that was initiated in 1997 and makes use of specially designed plastic bubbles, discusses the transience of life and the endless cycle of life and death. These same themes were also an inherent aspect of Zhu Ming’s more recent works, Luminescent Man, in which the artist paints his body with toxic fluorescent powder and performs in a darkened room. The images from these performances alternately show the artist curled in foetal position, as a many-armed Bodhisattva and as a single head floating in a black abyss. Regardless of medium, Zhu Ming’s works often place enormous stress on the artist’s body and, through these external, physical struggles, the artist finds internal, spiritual peace in the process of performance (read the complete text @ chinesecontemporary.com)...

annette lemieux

transmitting sound, 1984.jpg

hell text (detail), 1991

weight, 1990

Annette Lemieux is one of the few wunderkind of the 1980s global art scene who has endured beyond that feverish time to become a significant artist whose work continues to grow in depth and resonance. Lemieux is a prominent figure in the US and abroad. Her work has been exhibited in major institutions internationally and is recognized in preeminent museum and private collections. Currently, Lemieux is Professor of the Practice of Studio Arts at Harvard University, Cambridge, Massachusetts. This exhibition provides the first critical overview of the artist’s work, which is regularly cited in contemporary art texts that analyze post-conceptualism in contemporary culture. The works selected have been carefully chosen according to chronological and thematic developments tracing themes, such as Sign/Symbol/Language, Reinventing/Living/Designing History, and The Loaded Grid, which the artist continues to return to. Organized thematically the exhibition is constructed to present a salient statement representing twenty-five years of prodigious work... (continue reading here)

> kam.uiuc.edu <

vincent desiderio

study, 2009

nude I, 2008

nude II, 2009

> marlboroughgallery.com <

sanghee song

The 16th book of Metamorphoses The love story of Khora, Plesiosaurus & Leviathan 

> witzenhausengallery.nl <

kelly mark

via wherewolves.tumblr.com more images >>> ireallyshould.com

david noonan

they became what they beheld


via three-walls.org

via artblart.wordpress.com

untitled, 2007

via roslynoxley9.com.au

gallery, galerie, galleria

Gallery, Galerie, Galleria

Curated by Adam Carr

15.01.10 – 13.03.10

Opening 15.01.10, h 7 pm

Norma Mangione Gallery
via Matteo Pescatore 17 – 10124 Torino, Italy
+39 011 5539231

www.normamangione.com

Jesse Ash, Michael Asher, BANK, Robert Barry, Nina Beier and Marie Lund, Nina Beier, Daniel Buren, Stella Capes, Tomas Chaffe, Michael Elmgreen & Ingar Dragset, Lara Favaretto, Claire Fontaine, Simon Fujiwara, Ryan Gander, Mario Garcia Torres, Jens Haaning, Jeppe Hein, Adam McEwen, Jonathan Monk, Alek O., Fernando Ortega, Kirsten Pieroth, Wilfredo Prieto, The Hut Project, Dan Rees, Mandla Reuter, Gregor Schneider, Santiago Sierra, Andreas Slominski, Simon Starling, Ron Terada, Mungo Thomson, Jan Timme, Bedwyr Williams

GALLERY, GALERIE, GALLERIA is an exhibition that will stage a history of the various and diverging ways that commercial galleries have been utilised by artists, examining and presenting artworks both past and present. The exhibition will encompass works by a cross-generational group of artists – including a number produced specifically for the occasion – some of which will address Norma Mangione Gallery and its location, as well as a historical display comprised of documentation, artefacts and ephemera related to site-specific and situational works, conceived by artists for other galleries... (from the press release)