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Cover zur kostenlosen eBook-Leseprobe von »Dinh Q Lê«

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Dinh Q Lê

Hatje Cantz Verlag GmbH | E-Books


Since 2004/5, the artist Dinh Q. Lê has collected watercolors and ink drawings of Vietcong artists from North and South Vietnam. In his notebook, in an interview with Carolyn Christov-Bakargiev, he describes the historical and autobiographical correlations of his intense passion for collecting these drawings. In 1978, at the age of ten, Lê fled his hometown, Hà Tiên, with his family from the Communist regime and the Khmer Rouge. In 1997, after two decades in the U.S., he returned to Vietnam and settled there. The drawings that make up his collection have a melancholic mood. They depict people in idealized landscapes, as if they were looking for normality and natural life in the years of war. These very personal sketches and their “politics of form” suggest another reality against “official” propaganda images; they reveal a collective condition of waiting, a uniting hope.

 

Dinh Q. Lê (*1968) is an artist living and working in Ho Chi Minh City, Vietnam.

 

Carolyn Christov-Bakargiev (*1957) is Artistic Director of dOCUMENTA (13).

Language: English/German

 
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Cover zur kostenlosen eBook-Leseprobe von »Carolyn Christov-Bakargiev«

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Carolyn Christov-Bakargiev

Hatje Cantz Verlag GmbH | E-Books


In her Letter to a Friend, dOCUMENTA (13)’s artistic director Carolyn Christov-Bakargiev gives an insight into her working process, outlining some of the key issues around the 2012 exhibition. In shifting voices, such as storytelling, theoretical speculation, travel diary, press release, or critical reflection, she describes dOCUMENTA (13) as something more than an exhibition—for her it is a state of mind. It is a constellation of artistic acts and gestures that are already taking place as well as an exhibition that will open on June 6, 2012, and that will run for 100 days. Given the heterogeneity of the audience it addresses and the historical development of group exhibitions as “a non-commercial place to intensely aggregate,” what can this exhibition be today? Opening the boundaries of disciplines and fields of knowledge and emphasizing the procedural questions, dOCUMENTA (13) is coming together by thinking through a number of composite entangled ontologies instead of following a defined curatorial concept.

 

Language: German/English

 
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Cover zur kostenlosen eBook-Leseprobe von »Carolyn Christov-Bakargiev«

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Carolyn Christov-Bakargiev

Hatje Cantz Verlag GmbH | E-Books


Carolyn Christov-Bakargiev reflects on the historical as well as personal notion of destruction and art, as well as on the potential healing power that art can have. Guiding us through a web of etymological, historical, philosophical, personal, and art historical references, she takes the reader from Melanie Klein’s thinking about the dyadic relationship between mother and child and Walter Benjamin’s reflection on Klee’s Angelus Novus, to object studies starting with Man Ray’s metronomes, his Objects of Destruction, and Lee Miller’s photographs from the end of World War II, to Gustav Metzger’s “Manifesto of Auto-Destruction,” to melted objects from the Beirut National Museum and the blown-up Bamiyan Buddhas, which are accompanied by Michael Petzet’s report of ICOMOS’s response to the destroyed monuments, followed by artworks by Michael Rakowitz and drawings with poems by Anna Boghiguian, in addition to a postscript by art historian Dario Gamboni on the destruction of art, the concept of “world heritage,” and the legislation around it. For Christov-Bakargiev, “the sphere of art is poised on the edge of the private and of history, and becomes the location where one can experiment the possibilities of being on the edge of the anthropocentric, where the rubble lies.”

Carolyn Christov-Bakargiev (*1957) is Artistic Director of dOCUMENTA (13).

 

Language: English/German

 
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Cover zur kostenlosen eBook-Leseprobe von »Mark Lombardi«

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Mark Lombardi

Hatje Cantz Verlag GmbH | E-Books


The American artist Marc Lombardi (1951–2000) produced visual networks and diagrams that made visible the hidden connections between political and economic processes, corporations, and individuals. This notebook does not feature his well-known delicate drawings and networks, but reveals his research and thinking material. The former librarian Lombardi, known for his meticulousness, sorted and archived his material, drawn from publicly accessible media sources, through a system of index cards, reprinted here. In her introduction, Carolyn Christov-Bakargiev describes her personal experience of that outstanding artistic oeuvre, whose lines and connections are subordinated to the facts of financial scandals, terror attacks, and (economic) crime, while revealing names.

Language: German/English

 

 
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Cover zur kostenlosen eBook-Leseprobe von »Rudolf Arnheim«

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Rudolf Arnheim

Hatje Cantz Verlag GmbH | E-Books


The one-hundredth notebook is a revised reading of Rudolf Arnheim’s Art and Visual Perception: A Psychology of the Creative Eye (1954). Carolyn Christov-Bakargiev contrasts here the abstract art discourse of the present day with the process of concrete perception and the work of art itself. Even though today one may not be able to follow all of Arnheim’s theses, which are influenced by gestalt theory and perceptual psychology, it is valuable to re-think his theories, as well as his rejection of excessive art criticism, which “talks” the work of art “to death.” Along with a page from a 1956 reprint of the 1954 first edition of Arnheim’s book with handwritten commentaries by art critic J. P. Hodin, the notebook includes excerpts from the expanded and revised edition of 1974, with annotations by Christov-Bakargiev.

 

Carolyn Christov-Bakargiev (*1957) is Artistic Director of dOCUMENTA (13).

Rudolf Arnheim (1904–2007) was a German-born author, art and film theorist, and perceptual psychologist.

 

 
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