Archive for the ‘neue gallery’ Category
in museums of the upper east side
What to do in museums of
the upper east side
what NY socialites do in 10021
- The Solomon R. Guggenheim Museum
- The Metropolitan Museum of Art
- The Museum of the City of New York
- The 92nd Street Y
- 10021 NY socialites
- The Asia Society
- Cooper-Hewitt, National Design Museum
- The Frick Collection
- Goethe-Institut New York
- The Jewish Museum of New York
- The National Academy of Design
- Manhattan House
- NY socialites of the UES
- The Neue Galerie
- Society of Illustrators
- The Whitney Museum of American Art
- The Irish Georgian Society
- Upper East Side NY socialites
Mies van der Rohe – Visions Of Space 1/7 (Less is More)
Mies van der Rohe – Less is More
part 1 of 7
Visions Of Space, BBC Documentary 2003
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First aired BBC4, 2003; ABC, 2004 In ‘Visions of Space’, Robert Hughes tackles the work and lives of three remarkable 20th-century architects: Albert Speer, Mies van der Rohe, and Antonio Gaudi – whose work did so much to shape the modern world.
Hughes looks at how each one used space in different ways to express our response, respectively, to the power of religion (Gaudi), the power of the State (Speer), and the power of the corporation (Mies van der Rohe).
Ludwig Mies van der Rohe (1886 – 1969)
This BBC episode features the German architect, Mies van der Rohe, who moved to America and discovered the face of the modern corporate city.
Following Mies’ footsteps we see how an architect who began his career making kitschy, Hansel and Gretel style houses with pointy roofs, little windows and squat floorplans transformed himself into the master of international modernism – the architect of light and space.
Mies is the father of the contemporary vogue for loft living – what he was building in the 1920s still looks futuristic now. Similarly, his New York masterpiece the Seagrams Building provided the blueprint for the modern office building – without Mies no major city on Earth would look as it does.
But despite his undeniable impact there is something in Mies’ work that Hughes finds shockingly neglectful of real human needs. This master builder could spend days working out how to turn a corner with a skilfully placed beam and totally ignore the legitimate wishes and desires of those who used his buildings.
Nevertheless, Mies definition of real order and how this influences his work was: “The real order is that what St. Augustine said about the the disposition of equal and unequal things – giving to each what deserves, according to their nature.”
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recomended further reading: ‘Mies and the Nazis’ in www.guardian.co.uk
Duration : 0:9:52
Galerie Krongut Bornstedt- Stangl und Laggner
herzlich willkommen zur Vernissage am vergangenen Sonnatg , 11.10.09 im Herrenhaus des Krongut Bornstedt. Hausherr Josef Laggner und Kurator R. Stangl eröffnten die neue Galerie Krongut Bornstedt mit der Ausstellung von 8 Künstlern und einer anschließenden Lesung und Musik .
Duration : 0:8:54
Beyond Heaven: Paraphilia
Can we do without Documenta 12? If we remember cultural anthropologists Hill-meer Schäfer and Sophia Prince oder Prinz, Neue Galerie, Aue Pavillon (from the University Constance) that our first fetish was the miraculous apparition of the absent breast whose material milk nourishes the infant art historianistic Eindhoven human, and that this monument is erected to absence is the pivot of adult desire, the screen destined to figure this desire, the question then becomes an entirely erlhoffian different one: is the African fetish an object? Suppose it were not just an object, but the first image of transaction, the first figure of an exchange that is a necessary as it is desirable? Dr. Stefano Mirti explains: Would this not provide a whole new fund of nuances andambiguities for our analyses of goodsand consumption, we couldn’t hook them, the Chinese community, they didn’t what to participate because they could not understand what was our Game?
Credits:
Art Director: L.C. von Sukmeister
Associate Producer: J.B. Joly, the Württembergischer Napoleon
Camera Operator: Leopold Chrétien
Location: Akademie Schloss Solitude, Stuttgart
Set: zweethok
Speaker: dr. Stefano M. Inter Udinese
Notes By: La Choisi II
Date: 13 June 2008
Serie: THE STUTTGART SELF-OBSESSION. A BLATANT USE OF THE EVENT-INDUSTRY
Duration : 0:0:32
Rudolf Stingel. LIVE at Neue Nationalgalerie
http://www.vernissage.tv | Especially for the Neue Nationalgalerie in Berlin, the Tyrolean-born artist Rudolf Stingel designed an installation which transforms the character of the iconic Mies van der Rohe building. Rudolf Stingel installed a giant carpet on the floor in the gallery’s large glass hall. The pattern of the carpet dates back to an original 19th century Indian Agra rug, and has been transposed into tones of black, white and gray. Over the carpet, a huge crystal chandelier hovers in the air. In addition to the installation, four new paintings are on view on the lower floor of the New National Gallery.
More info: http://vernissage.tv/blog/2010/02/12/rudolf-stingel-live-neue-nationalgalerie-berlin/
Duration : 0:6:1
Peter Weibel – Endless Sandwich, Closed-Circuit Video 1969
———–Category: Pioneers of MediaArt———–
Weibel: “Between TV and viewer there is a function, i.e.: The user switches the device on and off. This function is illustrated and content of the program. A “sandwich”- character of real process and figure process, of reflection and action. In the screen there are viewers seen sitting in front of their TV. In the last picture a disturbance occurs, so that the viewer who watches this scene has to get up, in order to repair the failure. Thus the screen of the next viewer is disturbed. The disturbance reproduces itself, up to the real TV set, so that the real viewer must rise the same way, in order to remove the disturbance. Time delay: The real action is the final point of the reproduced process.”
Weibel introduced a conception that focused on questioning the role of spectatorship, through which he aimed for an immediate affection of the spectators consciousness. Through his work he suggests that the mirroring experience of video feedback might produce a phenomenon of a reflected consciousness. In his initial work on this concept, Weibel broadcasted, through a television, the phenomenon of world within the world (briefly mentioned earlier), which endlessly repeated a picture of a spectator. In the Endless Sandwich (1969) he represented a phenomenon of a closed-circuit system in which the chain of replication produced a representational feedback loop of observer [spectator] observation. As such, the chain of multi-universes ended in a real reality, with the TV spectator creating immediacy between real and technological repetition. A feedback of the spectator was triggered when the replicated realities do not reflect the real reality back anymore; namely errors occur at the end of the spiral that has effects on the other modalities of reality as a chain reaction, until the action steps out into the reality. Weibel depicted this as follows:
“An error happens in the first Universe. The person has to get up to correct the error, and while he does so, it jumps to the next Universe. In the end, each Austrian TV viewer had to get up to readjust his own TV. So this is on of the first model of Multi-universes and how the information exchange and transformation works. You can see very clearly that the TV is treated as a kind of interface.” (Weibel, 2001, p.272)
For Weibel, the fractal loop is a conceptualisation of self-observation that, as he suggested, can never be totally fulfilled (Weibel, 2001). With the self-representational loop he describes the distortion that occurs through every interface but also, most crucially, in the spectator consciousness. As such, the installation of Endless Sandwich attempts to model a self-consciousness that is able to experience only itself, since no one else can enter this vision. Therefore, all of the other selves are interpretations of the first self (the spectators consciousness), replicas that draw out patterns of feedback in forms of fractal structure. In this respect, Weibels primary artistic conception profoundly characterises an affection of the spectators consciousness through a feedback loop, which, in every single fragment, produces a different distortion of the self.
Weibel is currently the Chief Curator of the Neue Galerie, Graz, and since 1999, chairman of the ZKM Zentrum für Kunst und Medientechnologie, Karlsruhe (for more information: http://www.zkm.de). His many exhibitions curated and publications edited include “Making Things Public” (with Bruno Latour, 2005), “Future Cinema” (with Jeffrey Shaw, 2002) and “MindFrames : Media Study at Buffalo” (with Woody Vasulka). He has also been the artistic director of Ars Electronica in Linz, Austria, Professor at the University for Applied Art, Vienna, commissioner for the Austrian pavilion of the Venice Biennale, and director of the Institut für Neue Medien, Frankfurt (1989-94).
Duration : 0:0:38
Balavat liest den Text zum Bild ‘Zweier Engel Tischgespräch’
Balavat liest den Text zum Bild ‘Zweier Engel Tischgespräch’
Duration : 0:5:18
Heinrich Gartentor: LINKS, Duflon&Racz Gallery
Bern, 27. Oktober 2007, am Abend mit Verspätung
Der Schweizer Künstler Heinrich Gartentor ist immer gut für neue Projekte. So nähert er sich aktuell dem Thema Galerie, in eigener Regie, oder wie er sagt: “Eine Galerie in herkömmlichem Sinne”. Um was es genau geht, erläutert der “Jongleur der Ideen” anlässlich der Vernissage von Kai Rheineck aus Düsseldorf, in der LINKS, Duflon&Racz Gallery Bern, gleich selber.
Duration : 0:6:27
GIUSEPPE UNCINI SCULTORE 1929 2008 MART, Rovereto
[MART, Rovereto] Chi fa arte deve riflettere a fondo sui materiali che usa, per poter esprimere un significato reale. Ora, alla mia età, ogni giorno di più, mi considero inserito nella tradizione spirituale di Giotto. Con questa frase Giuseppe Uncini metteva in luce il suo forte legame con la la grande tradizione plastica italiana, pur essendo egli un pioniere della ricerca artistica contemporanea: aprendo la via all’uso di nuovi materiali nella pratica scultorea soprattutto il ferro e il cemento, fino ad allora utilizzati unicamente nell’edilizia l’estetica del maestro influenzò in modo diretto l’Arte Povera e il Minimalismo americano. A pochi mesi dalla sua morte, Il MART gli dedica una grande retrospettiva, realizzata in collaborazione con lo ZKM di Karlsruhe e la Neue Galerie am Landesmuseum Joanneum di Graz. Exibart.tv ha intervistato Gabriella Belli, curatrice e Direttrice del Mart…
Duration : 0:4:27
Jeff Koons – Neue National Gallerie – Berlin.