憎 陽 生此理
実 虚 逆 順
陰 愛 非彼死
Walter Benjamin (1892–1940) is best known for his pioneering work on technology, culture and art, making enduring contributions to aesthetic theory and Western Marxism.
It is less known, that from 1927 to 1933, Benjamin wrote and presented more than 80 broadcasts over the new medium of radio and the surviving transcripts are gathered for the first time in English in a book titled Radio Benjamin. Esther Leslie, Professor in Political Aesthetics at Birkbeck, Gareth Evans, writer and the Whitechapel Gallery’s film curator, and artist Mark Aerial Waller respond to Benjamin’s engagement with the unprecedented aesthetic and political implications of radio to explore the wide-ranging significance of his broadcast texts.
The Kunsthalle Bern is a venue for encounters with contemporary art that has international
reach. Its exhibitions have presented, investigated, discovered and discussed contemporary
positions since 1918.
Starting on 1 March 2015 or by agreement, the Board of the Kunsthalle Bern is seeking to
Director of the Kunsthalle Bern
In this high-profile position, you will be responsible for the artistic direction and overall
management of the Kunsthalle Bern. A small, highly motivated team will be on hand to assist
you in your tasks.
· Outstanding knowledge of contemporary art and a good international network
· A number of years’ experience working with artists, organising and curating exhibitions
· Experience in bringing art to local, national and international audiences through exhibitions,
publications and events
· Proven management and social skills, dependability and the ability to work under pressure
· Willingness to acquire and manage relationships with sponsors and financial backers, and
secure their loyalty to the institution
· Commitment to a vision of developing Bern as a city of culture, as well as cooperations with
national and international partner institutions
The working languages are German and English; a knowledge of French would also be an
Applications (including a letter of motivation, CV and a maximum of four published texts in
PDF format) may be sent by e-mail to the selection committee of the Kunsthalle Bern,
firstname.lastname@example.org, by 31 October 2014.
◇ エリ・ブロード - Wikipedia
◇ Eli Broad - Wikipedia, the free encyclopedia
Eli L. Broad (/brɵd/; born June 6, 1933) is an American philanthropist and entrepreneur. He is the only person to found two Fortune 500 companies in different industries.
Philanthropy and civic engagement
Eli and Edythe Broad created The Broad Foundations to advance entrepreneurship for the public good in education, science and the arts. The Broad Foundations, which include The Eli and Edythe Broad Foundation and The Broad Art Foundation, have assets of $2.4 billion.
In 2010, the Broads announced their participation in "The Giving Pledge," a commitment for wealthy individuals to give at least half of their wealth to charity. The Broads personally committed to give 75% of their wealth away.
As of March 2013, Forbes ranked Broad the 191st wealthiest person in the world, with an estimated net worth of $6.3 billion.
The Artist as Curator is a serial publication that examines a profoundly influential but still understudied phenomenon, a history that has yet to be written: the fundamental role that artists have played as curators. Taking the ontologically ambiguous thing we called “the exhibition” as a critical medium, artists have often in the process radically rethought the conventional form of the exhibition as such. This project is about precisely those exhibitions.
Two essays will appear in a loose booklet in each edition of Mousse over two years, before being published in book form at the end. Collectively, they will address twenty seminal artist-curated exhibitions, spanning a period from the postwar to the present.
The series is conceived and edited by Elena Filipovic, published by Mousse, and generously supported by an engaged group of art institutions and foundations that have made possible the research and production of the series.
Works and Manifestos
June 14 – August 17, 2014
"What is photography? Is it a print, an object or is it a jpg on your screen? Does it only exist if you print it out? Does it only count if it’s a big file, a TIFF? Or is it a snapshot on your phone or a slide projection, or is it the image you see in your mind before you click the shutter? Is it that great picture you missed, the time you ran out of film or the camera jammed or you didn’t even have your camera with you? In short, is photography an object or an image, or is it a way of seeing?" (Zoe Leonard)
Ever since its invention 175 years ago artists have consistently questioned the nature of photography. Today artists acutely aware of the omnipresence of photographic images produce works exploring numerous aspects of photography: its materiality, its popularism, its psychological impact, its claims to objectivity, and its force in mass media. Against a familiar backdrop of the accelerating disappearance of analog photography and the simultaneously triumphal progress of digital photography, these works explore new ways of re-picturing and inhabiting that history. The exhibition presents a history of photography that is wild and ironic, with tinges of melancholy here and there.
The second part of the exhibition – Manifestos – presents ground-breaking texts by those who are always the most radical writers on photography: photographers themselves. László Moholy-Nagy, August Sander, Henri Cartier-Bresson, Martha Rosler and Germaine Krull and many others wrote strong declarative texts – in a 20th century context of avant-garde movements deeply wound up with photography announcing their intentions in seminal publications of all sorts and even radio broadcasts exhorting readers and listeners to see the world with new eyes through the medium. Refl ected in an elaborate spatial scenography, the manifestos are displayed alongside photographic incunabula of their authors.
Claudia Angelmaier, Michael Badura, Sylvia Ballhause, Laura Bielau, Viktoria Binschtok, Kristleifur Björnsson, Bernhard Blume, Christian Boltanski, Günter Karl Bose, Johannes Brus, Michel Campeau, Sarah Charlesworth, Jojakim Cortis & Adrian Sonderegger, Tacita Dean, Bogomir Ecker, Hans Eijkelboom, Hans-Peter Feldmann, Joan Fontcuberta, Florian Freier, Katharina Gaenssler, Jochen Gerz, G.R.A.M., Aneta Grzeszykowska, Jeff Guess, Rudolf Herz, John Hilliard, Alfredo Jaar, Kenneth Josephson, Erik Kessels, Jochen Lempert, Zoe Leonard, Les Levine, Zbigniew Libera, Stanislaw Markowski, Santu Mofokeng, Ugo Mulas, Andreas Müller-Pohle, Renate Heyne & Floris M. Neusüss, Peter Piller, Steven Pippin, Richard Prince, Barbara Probst, Arnulf Rainer, Timm Rautert, Benjamin Rinner, Józef Robakowski, Thomas Ruff, Ed Ruscha, Adrian Sauer, Joachim Schmid, Pavel Maria Smejkal, Michael Snow, Clare Strand, Larry Sultan & Mike Mandel, Vibeke Tandberg, Ulrich Tillmann & Wolfgang Vollmer, Wolfgang Tillmans, Axel Töpfer, Timm Ulrichs, Franco Vaccari, Matthias Wähner, Gillian Wearing, Jan Wenzel, Christopher Williams, Akram Zaatari
Shahidul Alam, ANT!FOTO/Katja Stuke & Oliver Sieber, Nobuyoshi Araki, Keith Arnatt, Mel Bochner, Victor Burgin, Henri Cartier-Bresson, Louis Jacues Mandé Daguerre, Louis Darget, Eugenio Dittborn, Hossam el-Hamalawy, Peter Henry Emerson, Group f/64, Francis Frith, Luigi Ghirri, Raoul Hausmann, John Heartfield, Mishka Henner, Rudolf Herz, Lewis W. Hine, Thomas Hirschhorn, Edwin Hoernle, Oliver Wendell Holmes, Martin Kippenberger, Oscar Krifka, Germaine Krull, Heiner Kurzbein, Dorothea Lange, Sherrie Levine, Jerzy Lewczynski, Lomographische Gesellschaft, Man Ray, F.T. Marinetti / Tato, Chris Marker, Renzo Martens, Peter McKenzie, Lucia Moholy, László Moholy-Nagy, Johannes Molzahn, Daido Moriyama, Maurice Vidal Portman, Albert Renger-Patzsch, Alexander Rodtschenko, Martha Rosler, August Sander, Joachim Schmid, Allan Sekula, Jo Spence / Terry Dennett, Otto Steinert, Hito Steyerl, Alfred Stieglitz, Paul Strand, William Henry Fox Talbot, Karel Teige, Raoul Ubac, Timm Ulrichs, Johan van der Keuken, Ai Weiwei, Minor White
The exhibition is being kindly supported by the Kulturstiftung des Bundes and the Kunststiftung NRW.
◇ Victor Burgin - (Mis)Understanding Photography - News - Galerie Thomas Zander
VICTOR BURGIN & LARRY SULTAN/MIKE MANDEL– (MIS)UNDERSTANDING PHOTOGRAPHY
The group exhibition (Mis)Understanding Photography - Works and Manifestos at Museum Folkwang in Essen presents a history of photography. In the context of the disappearance of analog photography and the evolution of digital photography, the works explore new ways of re-picturing and inhabiting that history. Until August 17, the exhibition shows photographs and manifestos exploring various aspects of photography. We are pleased that Victor Burgin’s Framed from the series US77 is part of this exhibition. In US77, one of his earliest and most influential photographic series, Burgin characteristically combines text with black and white photographs,, whose style is reminiscent of glossy magazines. These quasi-typical American landscapes comment on the social and cultural changes in American society in the 1970s, while the photographic style locates the individual in a media-dominated world. Please click here for more information about the exhibition.
Reviewed by Allie Haeusslein
By Viviane Sassen
Prestel, Lakewood, 2014. 120 pp., 110 illustrations, 60 in color, 9½x11". - See more at: http://blog.photoeye.com/2014/07/book-review-pikin-slee.html#sthash.Rwqc1zFz.dpuf
◇ 「photographs 62」
◇ Researching Photography: record: RP 福居伸宏 (*Japanese text only)
◇ 福居伸宏 インタビュー 2010 | Tomio Koyama Gallery (*Japanese text only)
◇ Nobuhiro Fukui interview 2008 | Tomio Koyama Gallery
◇ Nobuhiro Fukui | Tomio Koyama Gallery