OPEN CALL:The Starr Fellowship 2018/19 http://www.dreamideamachine.com/en/?p=36424
Eleni Papaioannou’s artistic practice examines the relationship between artwork and urban space, the notion of the ephemeral, and the interrelation between spatial movement, material and sound. She creates large-scale site-specific installations and through her choice of locations, makes associations between the work and architectural space. Her work is usually shown outside the confines of exhibition spaces, the audience stumbling upon the work as they pass by.
Cecilia Vicuña is a poet, visual artist, filmmaker and political activist, Her multi-dimensional works begin as a poem, image, object, or line, that evolve into a film, a song, a sculpture or a collective performance. Vicuña’s impermanent, participatory works are transformative acts that bridge the gap between art and life, the ancestral and the Avant-Garde.
An artist, poet, theoretician, and professor of arts and design at the Bauhaus, Black Mountain College and Yale University, Josef Albers worked across the mediums of painting, printmaking, murals, and architecture. With his wife, the artist Anni Albers, he traveled to Mexico and other Latin American countries more than a dozen times from 1935 to 1967 to visit monuments of ancient Mesoamerica, which archaeologists were then excavating amid a resurgence of interest in pre-Columbian art and…
Today one of Italy’s most internationally acclaimed artists, Giovanni Anselmo first emerged as part of the Arte Povera Movement during the second half of the ‘60s. Working mainly as a sculptor, but also with photography and drawing and using mixed media including metal, plastic, water, stone and even perishable foods, Anselmo’s work is highly Conceptual and will require constant “feeding” due to many of the perishable and tenuous elements he employs in his work.
The 1960s and 1970s witnessed what has been termed the “dematerialization” of the art object. By contrast, the 1980s were characterized by a return to the traditions of painting and sculpture. Amid this celebration of conservative values, Julian Schnabel played a critical role in the emergence of Neo-Expressionist painting in the U.S.A.
In his installations and mixed-media works, Christian Boltanski uses photographs and found objects to question memory and individuality. An awareness of mortality, and of the general tenuousness of human existence, haunts his work. According to the artist, while individual memories might prove to be fragile, they are still filled with truthful yet unique values, making it the reason why he has often been choosing daily items as main creative elements to construct an archive of humanity.
Studio Drift (Lonneke Gordijn and Ralph Nauta) is a studio manipulating light and movement to explore existing and new relationships between nature, technology and mankind. At first glance their work seems to refer to familiar situations but on further investigation these references are brought into question. The viewer is manipulated into reshaping their relationship towards their environment and personal connections, stimulating open minded futuristic prospects where contradictions merge.
During the 1960s, Dennis Hopper carried a camera everywhere: on film sets and locations, at parties, in diners, bars and galleries, driving on freeways, and walking in political marches. He photographed movie idols, pop stars, writers, artists, girlfriends, and complete strangers. Along the way he captured some of the most intriguing moments of his generation with a keen and intuitive eye.
On 2017 started BAK’s (basis voor actuele kunst) long-term research itinerary “Propositions for Non-Fascist Living” (2017–2020) , prompted by the dramatic resurfacing and normalization of historical and contemporary fascisms in our present. Through impromptu artworks, lectures, readings, discussions, screenings, performances, and explorations of the assembly (of being together) as an art form, it opens up a space for politico-aesthetic experiments practicing art as imagination.
Urs Fischer rose to fame in 2011 at the 50th edition of the Venice Biennale when he melted a full-size wax copy of Giambologna’s “Rape of the Sabine Woman”, one of the great masterpieces of Renaissance sculpture.Fischer’s world is fluctuating and unpredictable, and the pleasure that we derive from his sculpture and painting is based on our attraction to and simultaneous repulsion by the dreamlike appearances that he constructs.