Reviews in Magazines, Newspapers and web portals

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Cover of the newspaper Corriere della Sera / La Lettura

Cop_Nada Prlja
Cover of the newspaper Corriere della Sera / La Lettura

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ARTRIBUNE _ Review

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Biennale di Venezia. Nada Prlja e il Padiglione della Macedonia del Nord

OCCHI PUNTATI SUL PADIGLIONE DELLA MACEDONIA DEL NORD A PALAZZO ROTA IVANCICH, CHE ACCOGLIE L’INDAGINE ARTISTICA DI NADA PRLJA.

Se, per dare un senso più contingente al titolo della Biennale in corso, si volesse augurare a chi arrivi a Venezia “Possa tu visitare padiglioni interessanti”, un buon modo sarebbe senz’altro abbandonare le calli più battute e andare alla ricerca di Palazzo Rota Ivancich, dove è stato allestito il Padiglione della Repubblica della Macedonia del Nord, con protagonista Nada Prlja (Sarajevo, 1971; vive tra Skopje, dove la sua famiglia si trasferì nel 1981, e Londra).
Il progetto veneziano di Prlja, dal titolo Subversion in Red, è ambizioso sia in pratica che in teoria. Quanto alla prima, il padiglione raccoglie un insieme di opere che spaziano dall’installazione alla performance, dal video all’assemblaggio, catturando il visitatore – con la decadente complicità dell’ambiente circostante – in un percorso immaginifico e nostalgico. Quanto alla teoria, l’artista dichiara netta, sin dalle note introduttive all’esposizione (e poi in un pregevole libro prodotto per l’occasione), la propria intenzione di confrontarsi con nozioni ideologiche da tempo marginalizzate per mettere in discussione e insieme rimotivare le società contemporanee. Il pensiero marxista, ripreso nella rilettura di Felix Guattari e nella prospettiva di un nuovo umanesimo, diventa così il primo riferimento concettuale della complessa macchina allestita da Prlja fin dall’opera più ampia e d’impatto: Subtle Subversion, una discussione tenutasi il giorno dell’inaugurazione tra artisti e intellettuali riuniti intorno a un grande tavolo posto al centro dell’esposizione, confrontandosi su una serie di concetti-chiave che un moderatore ha annotato sullo stesso tavolo nel corso del confronto.

 

58. Biennale d'Arte di Venezia. Padiglione Nord Macedonia. Nada Prlja. Photo Robert Jankuloski
58. Biennale d’Arte di Venezia. Padiglione Nord Macedonia. Nada Prlja. Photo Robert Jankuloski

LA MOSTRA

In un gioco intelligente tra grandi narrazioni e autobiografia, la mostra si sviluppa quindi nella ricostruzione critica del paesaggio estetico-spirituale vissuto dall’artista da giovane: ci sono così video che richiamano la black wave del cinema jugoslavo, ricostruzioni frammentarie di uno storico murale dipinto a Skopje da Borko Lazeski, riedizioni-riletture di opere di artisti del secondo Novecento quali Olga JevricBoris Nikolovski e Jordan Grabulovski, recuperate dal museo d’arte contemporanea della capitale nord-macedone per interrogarsi sulla profonda mutazione in corso nella città in cui Prlja è cresciuta.
S’intenda: la nostalgia che emerge dall’insieme non è quella di un tempo e un orizzonte passati (la Jugoslavia come categoria dello spirito insomma), quanto – con una visceralità tipicamente balcanica combinata a un’intelligenza cosmopolita – di un futuro possibile, dove una società collettivamente aperta e responsabile giunga a riconsiderare la disfunzionalità di molte delle sue fondamenta e pratiche correnti, in primo luogo quelle riconducibili ai rapporti tra “capitalismo e schizofrenia” sollevati da Deleuze & Guattari. In questa prospettiva, il richiamo di Prlja al secondo pensatore serve a uno sviluppo organico delle sue nozioni più potenti e irregolari, su tutte quella di “agencement”. Nell’insieme di nuove condizioni genetiche per una diversa realtà collettiva, in effetti, un’arte che non intenda ridursi a intrattenimento viene a svolgere una funzione di “sovversione sottile”, ma proprio per questo capace d’infiltrarsi a fondo nei tempi – senz’altro interessanti – che stiamo vivendo.

‒ Luca Arnaudo

58.-Biennale-dArte-di-Venezia.-Padiglione-Nord-Macedonia.-Nada-Prlja.-Photo-Raul-Betti-1-458.-Biennale-dArte-di-Venezia.-Padiglione-Nord-Macedonia.-Nada-Prlja.-Photo-Raul-Betti58.-Biennale-dArte-di-Venezia.-Padiglione-Nord-Macedonia.-Nada-Prlja.-Photo-Ana-Lazarevska58.-Biennale-dArte-di-Venezia.-Padiglione-Nord-Macedonia.-Nada-Prlja.-Photo-Raul-Betti-1-158.-Biennale-dArte-di-Venezia.-Padiglione-Nord-Macedonia.-Nada-Prlja.-Photo-Raul-Betti-58.-Biennale-dArte-di-Venezia.-Padiglione-Nord-Macedonia.-Nada-Prlja.-Photo-Raul-Betti-1-3

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Osservatorio _ Review

R_North_Macedonia_Nada Prlja_1Subversion to Red, la Macedonia del Nord alla Biennale Arte 2019

Il Padiglione della Repubblica di Macedonia del Nord presenta alla 58. Esposizione Internazionale d’Arte – La Biennale di Veneziail progetto Subversion to Red dell’artista Nada Prlja

 

Al tema May You Live In Interesting Times, dato dal curatore Ralph Rugoff alla Biennale Arte 2019, la monografica Subversion to Red dell’artista macedone Nada Prlja risponde con un progetto intrinsecamente e letteralmente sovversivo, incoraggiando, fin dal titolo e attraverso molteplici lavori riuniti in una stratificata installazione multi-media e site specific, il ritorno alle nozioni “dimenticate” di idealismo e ideologia, e la rilettura critica dei postulati della teoria marxista e del pensiero di sinistra, allo scopo di ritrovarne una compatibilità con la società di oggi, e di contrapporre un’alternativa neo umanista, fondata sul concetto positivo di solidarietà, agli “ideali negativi” dominanti negli “interisting times” contemporanei.

Con questo obiettivo teorico, e attraverso pratiche artistiche ed extra-artistiche, l’artista costruisce un Padiglione “site specific” che include anche il visitatore nel “fil rouge” della “sovversione rossa” (sono andate letteralmente a ruba le spille con la rivisitazione della stella rossa, offerte durante l’opening), inducendolo ad un intenso percorso interdisciplinare, dove si susseguono performance e azioni sperimentali, video-installazioni e installazioni di scultura e pittura, cadenzate anche dal serrato dialogo con la magnifica decadenza delle sale di Palazzo Rota Ivancich.

 

observatore
Osservatorio_click here to go to original website_

Dagli ottocenteschi decori a grottesca dell’Atrio, emerge la prima installazione composta dai polittici fotografici della performance Humane Communism, che introducendo la componente “umana” nella rappresentazione statuaria dei padri del comunismo, conduce al focus dell’intero progetto espositivo: la performance live Red Discussion 2 – ripresa e visibile nella video-proiezione girata in occasione dell’opening del Padiglione – ha raccolto, intorno al tavolo pentagonale rosso, sei pensatori e curatori fra i più rilevanti nell’ambito delle pratiche transformative contemporanee, Charles Esche, Maurizio Lazzarato, Vlad Morariu, Chantal Mouffe, Laura Raicovich, Artan Sadiku, i quali hanno individuato strategie di uscita dall’attuale situazione di precarietà sociale, di sfruttamento e violazione dei diritti umani, definendo condizioni alternative agli “Interesting Times” in cui viviamo. Tracce evidenti dei punti chiave della performance sono i segni di writing bianco sulla superfice rossa del tavolo, mentre le “tracce sonore” stimolano il visitatore a rivivere l’evento, già sperimentato dall’artista in Red Discussion 1, alla Calvert 22 Foundation di Londra, nel 2013.

Il fil rouge della mostra immerge totalmente il visitatore nel rosso della video-installazione Red- Iness, che mette in scena, estetizzato, il lato intrinsecamente giocoso e sovversivo delle pratiche performative e artistiche di Nada Prlja; la quale non sostiene rivoluzioni radicali, al contrario suggerisce che i cambiamenti possono realizzarsi attraverso l’arte e la sovversione delle teorie.

Questo tema è sviluppato ricorrendo alle pratiche tradizionali dell’arte nelle ultime tre sale del percorso, dove l’installazione site specific Subtile Subversion include le opere di scultura e di pittura The CollectionShe does what She wants, progettate, realizzate e infine concluse in situ, come omaggio verso i lavori di alcuni artisti della Jugoslavia attivi negli anni ’60, selezionati per la capacità di sfuggire al realismo socialista al tempo dominate. Gli esemplari cui l’artista si inspira sono stati donati dagli artisti per far parte della collezione del MoCA Museo di Arte Contemporanea di Skopje, fondata sul concetto di condivisione e “solidarietà”, uno dei postulati chiave del “pensiero di sinistra” e fulcro delle aspirazioni del progetto di Nada Prlja.

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TELMA TV _ Review

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Link to original website / Link to PDF full text

Проектот на Нада Прља на Венециското биенале оценет како интелектуална храна за посетителите

Проектот „ Субверзија во црвено“, со кој визуелната уметница Нада Прља ја претставува нашата земја на 58 Венециско ликовно биенале и дебатата „ Црвена дискусија“, што се одржа во рамките на отворањето на нашиот павиљон , на 08 мај во Палата Рота Иванчич, светската ликовна критика ги оценува како интелектуална храна за посетителите. Во списанието „ Нордиска уметност“, во текстот „ Проблемот на организацијата“, кој се осврнува на годинашната понуда на Венециското биенале, уметничката критичарка од Стокхолм, Ким Вест, пишува дека настапот на Прља би можел да ги нахрани интелектуално гладните посетители на биеналето, курирано од американецот Ралф Ругоф.

  • Во импресивниот павиљон на Република Северна Македонија, Нада Прља директно се занимава со прашањето на современите предизвици и можности на критичката традиција, низ изложбата „ Субверзија во црвено“, која се обидува да ја обнови политичката историја на ѕидното сликарство, од доцната социјалистичка ера во Скопје. Низ просториите на палатата Рота Иванчич во Венеција, Прља, меѓу другото поставува слики, преку кои се пресоздадени и реставрирани детали од муралите на Борко Лазески, од 1981 година, од тогашната главна Пошта во Скопје. Во врска со отворањето на павиљонот, беше снимена дискусијата за уметноста и политиката, насловена „ Црвена дискусија“, на која учествуваа Шантал Моуф, Чарлс Еш и Маурицио Лазарато, што можеби би можело да ги нахрани интелектуално гладните посетители на биеналето, курирано од Ралф Ругоф, вели во тектот Ким Вест.

Проектот на Нада Прља „ Субверзија во црвено“, е распореден во 6 простории во палатата од 17 век, Рота Иванчич. Вклучува слики, скулптури, видео и објекти, меѓу кои и црвена маса на која се одржа „ Црвената дискусија“. Претставувањето на Северна Македонија на ликовното биенале во Венеција, годинава го организира Музејот на современа уметност. Комесар е Мира Гаќина, куратор е Јованка Попова, куратор- соработник е Тевж Логар од Словенија, а соработник, теоретичарот Артан Садику.

Сотир Трајко

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KUNSTKRITIKK_Review

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The Problem of Organisation

The 58th Venice Biennale provides an image of art’s postdigital condition, where politics is consigned to the level of the individual artwork.

 

 

Ryoji Ikeda, data-verse,2019. Photo: Andrea Avezzù.

At the end of Arsenale’s long corridor, a giant video projection is shown in a separate space. The film, data-verse (2019) by Ryoji Ikeda, consists of a composition of data visualisations: advanced, dynamic cloud diagrams in 2D and 3D; vast maps that are expanded, rotated, and layered; endless charts and lists that sweep, swarm, and flicker against the screen’s black background. What types of data that are packaged and visualised in the film is unclear, but also irrelevant. The giant dimensions of the screen, the high resolution of the image, and the frenetic pace of the editing combine to make the experience overwhelming, illegible – which seems to be the very point. Contemporary techniques designed for managing ungraspable data sets are themselves deployed for generating images that set our cognitive capacity out of play.

The display, accordingly, is mainly technical. Digital instruments which could be used for rendering intensely complex data sets comprehensible, are here instead employed to showcase the technology itself. This appears to have little to do with critical self-reflexivity – there are no apparent attempts to such effect in the film – and more to do with a desire to present the technology as a sublime spectacle: an artificial, techno-scientific miracle at an inconceivable scale, beyond human capacity or needs. What is fetishised in Ikeda’s film is the global techno-sphere as such.

Christine & Margaret Wertheim, Bleached Reef, 2005–2016. Photo: Francesco Galli.

At the other end of Arsenale, Ed Atkins has been assigned a room of his own, or at least a part of one. Taking up the obscure space is Old Food (2017–2019), an installation with elements in different media: digital animations; dark, distressed panels with various texts; clothes racks with garments in tight rows. The films resemble Atkins’s earlier ones: synthetic, computer-generated, aggressively intimate images of postdigital materialities and posthuman bodies. The texts concern themes relating to Atkins’s works and the contexts in which they are shown, such as the affective charge of his CGI figures, or the body of the exhibition visitor in a digital surveillance economy – but they are authored in a sort of satirical ‘art speak’, an ironic jargon that mocks its own pretensions. I do not understand the purpose of the clothing racks in the installation, but they add a fateful aura to the whole, a kind of strangely misplaced faux Boltanski gravitas.

What is clear, however, is that Atkins wants to assume many positions simultaneously. He wants to defend his reputation as an artist at the forefront of digital development. He wants to assure us that he is aware of the debates surrounding the problematic effects of the digital techno-sphere. And he wants to let us know that he thinks such critique is a bit tiresome, dated. He wants to cover his bases, in short, and the effect is, of course, that the different positions cancel each other out: the experimental enthusiasm is suffocated by the critical-ironic discourse; the critique is obfuscated by its own self-parodying mode of address. What remains is a room filled with anxious art with high production value.

Atkins’s and Ikeda’s works are, in many ways, representative of Ralph Rugoff’s main exhibition at the 58th Venice Biennale, May You Live In Interesting Times (a title, we might note, that succeeds with the impressive feat of being at once completely bland andoffensive). Almost all of the works in the exhibition belong to the same contemporary world of postdigital forms and techniques; a world, that is, where the digital paradigm exerts a governing influence over analog forms, techniques, and materials. There are also clear thematic links between many of the works of the seventy-nine participating artists. “May You Live In Interesting Times,” writes Rugoff in the exhibition catalogue, “has been formulated in the belief that an exhibition, like a work of art, is most deeply engaging when it provokes a vivacious inquisitiveness and encourages us to wonder and to question, and to try to better understand how different pieces of the world fit together.”

Avery Singer, Various Works, 2017–2019. Photo: Andre Avezzú.

Postdigital convergence

So: patterns and orders can be traced in the exhibition, artistic tendencies and curatorial selection principles can be discerned. Among recurring elements are sculpture and assemblage works that borrow freely from the formal repertoire of Cubist sculpture, the Pop object, and arte povera, but using contemporary, postdigital techniques and materials. We could mention Gabriel Rico’s assemblage works, such as Multis Utile Bellum (2017), where abstract forms in simple, low materials are combined with disused media-technological objects and different kinds of everyday cultural debris; or Carol Bove’s sculptures, such as Nike I (2018), which merge the New Realist predilection for the worn-out or destroyed industrial object (think of Arman’s collections of mass-produced consumer items, or César’s mashed cars), with Claes Oldenburg’s colourful, smooth, plastic surfaces.

Among other recurring elements are figurative paintings and photographs where the pictorial surface serves primarily as a scene for the staging of different modes of subjectivity. Here we could mention Avery Singer’s hybrid airbrush paintings/3D renderings, which in a conspicuously trashy style evoke the postdigital everyday life of a young American artist (as in Calder (Saturday Night)[2017]), and Zanele Muholi’s “visual activism” series Faces and Phases (2006–ongoing), showing proud black lesbians in South Africa in large, half-length photo portraits which are installed at regular intervals in Arsenale and in the main pavilion’s labyrinth.

Zanele Muholi, Faces and Phases, 2006–. Photo: Andre Avezzú.

There are also a number of works which can be described mainly as tech showcases demonstrating the spectacular effects of new software and devices. We can mention Ikeda’s film, but also Cyprien Gaillard’s technically advanced trifle, LAnge du foyer (Vierte Fassung) (2019), an animated figure from Max Ernst’s famous painting from 1937, which appears to hover in space in the midst of the large rotunda in the main pavilion in the Giardini, or Dominique Gonzalez-Foerster’s virtual reality work Endodrome (2019), about which I can only say that I do not understand what this technique, which is based on radical disembodiment and exclusion of the physical environment, has to do in an exhibition (not least because the waiting time to experience the work was prohibitively long already during the relatively empty, first press preview).

Absence of critique

May You Live In Interesting Times is also characterised by manifest exclusions. For example, the tradition of critical formalism is almost completely absent. Traces from the adventures of painterly abstraction, visual echos from minimalist stylistic techniques, and references to conceptual art and institutional critique leak into certain artworks at the level of style – as pastiche, or as thematic complement – but hardly one single work in the exhibition actively inscribes itself into these traditions. This is a postcritical rather than a postconceptual exhibition.

Which does not mean that the critical tradition is absent from this year’s Venice Biennale as a whole, but it can only be found outside of the main exhibition. In what is perhaps this year’s best national pavilion, the Spanish one, the sculptors Itziar Okariz and Sergio Prego deploy a composition of bodies and voices, forces and signs, providing a sort of spatial articulation of art’s physical and political conditions (Perforated [2019]). The exhibition’s “aesthetics of silence,” proposed by way of a suite of sculptures, films, and performances that play with the architecture and the display conventions of the pavilion, provides a moment of at once repose and tense concentration in the busy clutter of the Giardini.

Teresa Margolles, Muro Ciudad Juarez, 2010. Photo: Francesco Galli.

And in the impressive pavilion of the Republic of North Macedonia, Nada Prlja directly addresses the issue of the critical tradition’s contemporary challenges and possibilities, in an exhibition that seeks to restore the political history of mural painting in late socialist-era Skopje (Subversion to Red [2019]). Throughout the rooms in the pavilion’s dilapidated Venetian palace, Prlja has installed, among other things, a group of paintings which recreate and restage details from a suite of murals made by Borko Lazeski in 1981 for the since-disused main post office in Skopje (Department of Conservation and Restoration [2015–2019]). In connection to the pavilion’s opening, a panel discussion about art and politics was also filmed (Red Discussion 2, with participants such as Chantal Mouffe, Charles Esche, and Maurizio Lazzarato), which may perhaps provide some nourishment for the intellectually starved visitor to Rugoff’s exhibition (video from an earlier discussion in the same series can be found here).

Interesting crisis

In any case, the main exhibition’s lack of interest in the critical project speaks to a more fundamental problem. May You Live In Interesting Times exclusively features works by living, active artists. It is firmly entrenched in a contemporary world of techniques and materials, possibilities and problems. Essentially all aspects of the crisis of the global present are represented in one or several works in the exhibition. Climate apocalypse, systemic racism, rampant global inequality, the persistence of patriarchy, the destruction of the public sphere on the part of monopolised digital media – the list of problems and injustices that are referenced in the exhibition’s different works is long, perhaps even exhaustive (possibly, this is what the title’s “interesting times” refers to).

From Arthur Jafa’s attempt to create a critical concept of whiteness against the background of the systemic racism of US society in The White Album (2019) – another work that was almost impossible to properly see during the overcrowded preview days at the main pavilion in Giardini – to Teresa Margolles’s assisted readymade La Búsqueda (2014), a brutal monument to murdered and disappeared women in Ciudad Juárez, Mexico; and from Christine and Margaret Wertheim’s collectively crocheted coral reefs (Bleached Reef[2005–2016]), to Anthony Hernandez’s photo series Pictures for Rome (1998–1999), which documents the modern architectural ruins left behind by neoliberal ‘redevelopment’ enterprises in Rome,  together the different contributions to Rugoff’s exhibition form a radically heterogeneous, unorganised representation of the crisis of the global present.

Nicole Eisenman, Untitled, 2018–2019. Photo: Italo Rondinella.

If there is one overriding political-aesthetic task today, it is to transform such heterogeneity into an assembled image of these different problems, which could make it possible for us to grasp them as one common problem, but without assigning political or logical priority to any of its aspects, without dismissing any one of those aspects as secondary to the others. Only in this way can it become possible to imagine a real political alternative to the present. This is the problem of organisation, and it is not addressed by May You Live In Interesting Times, which instead consigns all politics to the level of the individual artwork. “From the acceleration of climate change to the growing disparity of wealth in nations, contemporary matters of concern are addressed in many of the works in this exhibition,” Rugoff writes in the catalogue, but then immediately adds a reservation: ”But let us acknowledge that art is more than a document of its time” (which is right, but why should this mean that art can not address “contemporary matters of concern”?).

Composition of the world

An exhibition might help us “understand how different pieces of the world fit together,” Rugoff enthusiastically writes in the same text, and it is difficult not to agree with him. An exhibition is a complex aesthetic object, and an exhibition the size of a biennial – and perhaps the Venice Biennale, in particular – is a hypercomplex such object. In theory, it should, with its inherently collective, multimedia, and dynamic form, be specifically suited for commanding precisely such heterogeneity, for producing an image whose complexity and scale might respond to the complexity of the crisis of today.

This is not to expect a miracle, or to ascribe magical capacities to the exhibition. It is merely a question of the level at which it attempts to assert itself. When Peter Osborne talks of our art historical moment as the “age of the biennial,” he means, among other things, that biennials, through the complexity of their formal and temporal structures, have the potential to represent the structure of contemporary global capitalism. Okwui Enwezor’s edition of the Venice Biennale four years ago was an attempt to produce an assembled image at such a global, even universal level. It failed, but the failure was interesting.

Hito Steyerl, This is the Future, 2019. Photo: Andrea Avezzù.

May You Live In Interesting Times does not venture to formulate any such assembled representation, neither discursively nor more generally through the aesthetic-semantic compositions in the exhibition spaces. The exhibition’s single strong curatorial device, to invite the same group of artists to participate with different works at Arsenale and in the main pavilion in the Giardini – sculptures by Nicole Eisenman in one place, paintings in the other; posters by Ed Atkins in one building, a multimedia installation in the other, etc. – is in itself empty: it tells us only that one and the same artist can work with different styles and materials, which should hardly surprise anyone.

Apart from this, all attempts to organise the exhibition as a whole appear to be of a technical and practical nature: they concern exhibition design, spatial arrangement, the programming of visitor movements and gazes. Unlike Enwezor, Rugoff seems to have devoted some care to establishing order, variation, and rhythm for the visitor’s passage through the exhibition spaces in Arsenale, administering appropriate doses of attention and distraction: a group of sculptural grotesques by Cameron Jaime, produced using traditional craft techniques and materials (Smiling Disease [2008]), is placed next to a technically hyperadvanced film installation featuring images of artificial flowers and AI-generated tourist vistas, by Hito Steyerl (This is the Future [2019]); Gabriel Rico’s slow assemblages of found objects and faulty electronics, are placed next to Khalil Joseph’s high-paced collage of YouTube clips and music videos (BLKNWS [2018–ongoing]), etc.

At the 58th Venice Biennale, the organisation of the whole is a question of the administration of experience, in other words, whereas politics can only be expressed at the level of the individual artwork. Which is to say that Rugoff’s exhibition does not attempt to assert itself at the conceptual level of politics at all. Or, to conclude with a Venetian aphorism: artists make art, the rich own our wealth, politics is the domain of philanthropy.

by Kim West

 

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Link to original website / Link to PDF of the review

Со перформансот „Црвена дискусија“, отворен македонскиот павилјон на Биеналето во Венеција

 

Во рамките на 58. Биеналето во Венеција, беше отворен и павилјонот на Северна Македонија со проектот Субверзија во црвено на уметницата Нада Прља во Палацо Рота Иванчиќ со перформативното уметничко дело „Црвена дискусија“.

Учеството на Република Северна Македонија на годинашното Биенале го прогласија за отворено Мира Гаќина директор на Музејот на современата уметност (МСУ), кој оваа година е носител на нашиот настап, Јованка Попова куратор на изложбата, со пригодни поздравни говори на Никола Димитров, министер за надворешни работи на Република Северна Македонија и Роберт Алаѓозоски, национален координатор за култура.

Како одговор на темата „Да живеете во интересно време“, избрана од кураторот на годинашното Биенале Ралф Ругоф, проектот на Нада Прља „Субверзија во црвено“ поттикнува враќање кон „заборавените“ идеи за идеализмот и идеологијата, како вид на мотивација за современото општество.

Проектот користи различни уметнички и не-уметнички методологии, вклучувајќи ја Црвената дискусија II, експериментален настан во живо со неколку современи мислители и куратори ангажирани во трансформативни практики, меѓу кои Чарлс Еше, Маурицио Лазарато, Влад Морариу (модератор), Шантал Муф, Лаура Раикович, Артан Садику, кои заеднички ќе се обидат да најдат излезни стратегии од сегашните услови на социјална несигурност и експлоатација, преку дефинирање на алтернативни услови за „интересното време“ во кое живееме.

Изложбата ја вклучува и инсталацијата „Суптилна субверзија“, инсталација која редефинира серија на историско значајни уметнички дела од 1960-тите од колекцијата на МСУ Скопје, колекција заснована на концептот на Солидарност, како еден од клучните постулати на левичарската мисла и клучна аспирација на овој проект.

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Académie Des Arts _ Review

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Academie des Artes _ . click to the original website_click here for PDF of the text

Mostra monografica “Subversion to Red” dell’artista Nada Prlja, che rappresenta la Macedonia del Nord alla Biennale Arte 2019 a Venezia.

Al tema May You Live In Interesting Times, dato dal curatore Ralph Rugoff alla Biennale Arte 2019, la monografica Subversion to Red dell’artista macedone Nada Prlja risponde con un progetto intrinsecamente e letteralmente sovversivo, incoraggiando, fin dal titolo e attraverso molteplici lavori riuniti in una stratificata installazione multi-media e site specific, il ritorno alle nozioni “dimenticate” di idealismo e ideologia, e la rilettura critica dei postulati della teoria marxista e del pensiero di sinistra, allo scopo di ritrovarne una compatibilità con la società di oggi, e di contrapporre un’alternativa neo umanista, fondata sul concetto positivo di solidarietà, agli “ideali negativi” dominanti negli “interisting times” contemporanei.

Con questo obiettivo teorico, e attraverso pratiche artistiche ed extra-artistiche, l’artista costruisce un Padiglione “site specific” che include anche il visitatore nel “fil rouge” della “sovversione rossa” (sono andate letteralmente a ruba le spille con la rivisitazione della stella rossa, offerte durante l’opening), inducendolo ad un intenso percorso interdisciplinare, dove si susseguono performance e azioni sperimentali, video-installazioni e installazioni di scultura e pittura, cadenzate anche dal serrato dialogo con la magnifica decadenza delle sale di Palazzo Rota Ivancich.

Dagli ottocenteschi decori a grottesca dell’Atrio, emerge la prima installazione composta dai polittici fotografici della performance Humane Communism, che introducendo la componente “umana” nella rappresentazione statuaria dei padri del comunismo, conduce al focus dell’intero progetto espositivo: la performance live Red Discussion 2 – ripresa e visibile nella video-proiezione girata in occasione dell’opening del Padiglione – ha raccolto, intorno al tavolo pentagonale rosso, sei pensatori e curatori fra i più rilevanti nell’ambito delle pratiche transformative contemporanee, Charles Esche, Maurizio Lazzarato, Vlad Morariu, Chantal Mouffe, Laura Raicovich, Artan Sadiku, i quali hanno individuato strategie di uscita dall’attuale situazione di precarietà sociale, di sfruttamento e violazione dei diritti umani, definendo condizioni alternative agli “Interesting Times” in cui viviamo. Tracce evidenti dei punti chiave della performance sono i segni di writing bianco sulla superfice rossa del tavolo, mentre le “tracce sonore” stimolano il visitatore a rivivere l’evento, già sperimentato dall’artista in Red Discussion 1, alla Calvert 22 Foundation di Londra, nel 2013.

Il fil rouge della mostra immerge totalmente il visitatore nel rosso della video-installazione Red- Iness, che mette in scena, estetizzato, il lato intrinsecamente giocoso e sovversivo delle pratiche performative e artistiche di Nada Prlja; la quale non sostiene rivoluzioni radicali, al contrario suggerisce che i cambiamenti possono realizzarsi attraverso l’arte e la sovversione delle teorie.

Questo tema è sviluppato ricorrendo alle pratiche tradizionali dell’arte nelle ultime tre sale del percorso, dove l’installazione site specific Subtile Subversion include le opere di scultura e di pittura The Collection; She does what She wants, progettate, realizzate e infine concluse in situ, come omaggio verso i lavori di alcuni artisti della Jugoslavia attivi negli anni ’60, selezionati per la capacità di sfuggire al realismo socialista al tempo dominate. Gli esemplari cui l’artista si inspira sono stati donati dagli artisti per far parte della collezione del MoCA Museo di Arte Contemporanea di Skopje, fondata sul concetto di condivisione e “solidarietà”, uno dei postulati chiave del “pensiero di sinistra” e fulcro delle aspirazioni del progetto di Nada Prlja.

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Review by a curator Cathy Byrd, Fresh Vue: Where (not) to go?

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Review by a curator Cathy Byrd, click on the image to see full text.

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Mottingers-Mainung review: Lay the hand to another artist

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Read full review about the exhibition

Im Vergnügungspark für Kunst-Hipster Jonathan Monk lässt aus Jeff Koons’ Kunst die Luft raus: Deated Sculpture No. 1, 2009© Bild: Adam Reich Die Schau “Remastered – Die Kunst der Aneignung” in Krems zeigt, wie Künstler heute Vorbilder verarbeiten. Man kann sich das Feld zeitgenössischer Kunst wie ein Computerspiel vorstellen, nur dass es statt ums Meistern diverser Schwierigkeits-Levels darum geht, möglichst viele Meta-Ebenen zu erklimmen. Als der USKünstler Robert Rauschenberg 1953 etwa eine Bleistiftzeichnung von Willem DeKooning in seinen Besitz brachte, um sie einem Akt künstlerischen Vatermords auszuradieren, erklomm er erst die erste Stufe. Pierre Bismuth versuchte 2006 dann herauszunden, wie die ausradierte Zeichnung ausgesehen haben könnte – und als Rauschenberg verstarb, ohne diese Frage zu beantworten, zeichnete ein chinesischer Kopist das Blatt noch mal. Das ist mindestens Meta-Level 4, quasi Großmeister-Status. Meterweise Meta-Ware KULTUR 25.11.2017 12/20/2018 Im Vergnügungspark für Kunst-Hipster | kurier.at https://kurier.at/kultur/im-vergnuegungspark-fuer-kunst-hipster/299.458.328 2/2 Solcher “Kunst der Aneignung” ist die Ausstellung “Remastered” in der Kunsthalle Krems (bis 18.2.2018) gewidmet, wobei man nicht dem Denkfehler aufsitzen darf, dass es eine Kunst ohne Aneignung je gegeben hätte: Die Rubens-Schau des KHM etwa erzählt für die Barockzeit davon, und die Bezugnahme auf Vorgänger ist – man denke an Antikenstudien und Meister-Schüler-Beziehungen – noch viel älter. Besonders in den 1980er-Jahren wurde das bewusste Nachmachen jedoch gegen den modernen Geniekult in Stellung gebracht. Auch wenn Kunsthallen-Kuratorin Verena Gamper Protagonisten dieser so genannten “Appropriation Art” wie Louise Lawler oder Sherrie Levine zeigt, möchte sie ihre Zusammenstellung nicht als Rückblick verstanden wissen: Ist doch jene Epoche selbst schon Teil eines kunsthistorischen Kanons und als solcher für Kritik und Persiage freigegeben. Heutige Akteure wie Ciprian Mureşan, Misha Stroj oder die Gruppe G.R.A.M. pegen einen lustvolleren Umgang mit Zitat und Imitation, und wenn Klaus Mosettig ein riesiges Tropfbild des archetypischen Moderne-Machos Jackson Pollock mit dem Bleistift nachzeichnet, gehört wohl auch eine Portion Liebe zum Vorbild dazu. Klaus Mosettig Number 32, 2008/09 Gratstift auf Papier 269 x 457,5 cm Courtesy Klaus Mosettig © Bildrecht, Wien, 2017 Fot…© Bild: Franz Schachinger

Die Frage, wie viel Bildwissen nötig ist, um alle Referenzen der Schau zu würdigen, trifft einen blinden Fleck: Einschlägig bewanderte Kunst-Hipster werden sich vor Aha-Erlebnissen kaum einkriegen – allen anderen hofft die Kunsthalle eine “Kunstgeschichte aus zweiter Hand” zu erzählen. Doch auch wer die Referenzwerke kennt, wundert sich über deren Rolle: Als Reibebäume für junge Künstler haben die Werke von klassischer Moderne bis zu Pop und Minimal Art ausgedient, sie erscheinen mittlerweile mehr wie klassische Partituren. Und die Kunst bewegt sich auf einen Repertoirebetrieb zu.

 

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Book review Breath deep, without and air by J. Bojarovski

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Read the full  review about the exhibition