I walked Art Basel Miami Beach 2011 art fair while the VIPs where not there yet and it was a very cool experience as I was almost alone walking the show and without the inconvenience of the thousands of people who rush to the art fair. Later on I saw P Diddy and Julian Schnabel walking like they were on a shopping mall. See here a selection of artworks I found during my walk in the art fair.
I walked some hours during Art Basel Miami Beach 2010 and took these 113 pictures for you to view and enjoy. See Art Basel 2010 here.
I walked a bit in Fiac Paris 2010, see some contemporary art stills here.
Exhibition runs from November 4th to the 8th, 2009. Vernissage opening starts at 6:00 pm
104 rue d’Aubervilliers / 5 rue Curial 75019 Paris
M : Stalingrad (ligne 2) , Crimée ou Riquet (ligne 7)
Vélib’: bornes rue d’Aubervilliers, rue Curial, rue Riquet
Posted on Frieze Issue 120 Jan-Feb 2009
Nicolas Bourriaud, curator of the next Tate Triennial, ‘Altermodern’, talks to frieze about botany, modernity, time, class and exhibition-making image
TOM MORTON Your forthcoming book The Radicant employs a botanical metaphor to identify a form of cultural production whose roots are not static and buried, like those of a tree, but mobile and above ground, like those of a creeper or ivy. How has this informed your approach to the forthcoming Tate Triennial, an exhibition that has traditionally consisted of British artists but for which you have selected non-British ‘passers-by’, including Subodh Gupta and Loris Gréaud.
NICOLAS BOURRIAUD Whether buried or visible, roots and origins constitute brakes or barriers in contemporary art. The Postmodern period has been active in levelling the different ‘versions’ of time and space across the planet, by de-occidentalizing them. Artists nowadays start from a globalized cultural state, from where they try to reach more specific fields, and not the other way round. Pascale Marthine Tayou or Navin Rawanchaikul, for example, can observe the world from Cameroon or Chiang Mai. They no longer need to sell their cultural roots but to organize connections between signs and forms, circuits of meaning: they progress in a ‘radicant’ way. Let’s not forget that ‘radical’ means ‘belonging to the root’. The Triennial’s hypothesis consists in affirming an emerging modernity for our century, based on planetary exchanges, on translation, on the intertwining of space and time in a multi-layered world. That is why it comprises artists who are UK-born, residents and those who are passing through. Being British means having been sufficiently irradiated by a certain amount of specific cultural wavelengths. I prefer to show London as a magnet for influences and energies that originate elsewhere.
TM Both The Radicant and the Tate Triennial arrive at a moment of global economic crisis. Is this significant to your construction of ‘altermodern’?
NB The term ‘Postmodern’ first appeared around the time of the 1973 oil crisis, an event that caused the world to realize for the first time that our energy reserves were limited – i.e., it put an end to the idea of superabundance, infinite progress and the Modernist idea of culture as a projection into the future. The oil crisis represents for me the ‘primordial moment’ of Postmodernism. Since then the economy has been disconnected from natural resources and reoriented towards an immaterial ‘financialization’, whose limits we clearly see now, with the partial collapse of the system. While the economy was severing its ties with concrete geography, culture was becoming divorced from history as a coherent scenario. Postmodernism was the story of this disconnection, leading to a reified conception of ‘origins’. What I call ‘altermodern’ is the narrative of our reconnection with both, through a new set of parameters linked to globalization: instantaneity, availability, displacements …
Paris is specially nice today… the Contemporary Drawing Art fair opened yesterday and I visited it today to give you guys a little taste… once again I got in for free with my Maex press pass… take a look a the slide show here, more on the Salon du Dessin Contemporain here
The colors have arrived… go fetch here
A Cuban in Venice, the other day I was able to see the catalogue raisonne of Wifredo Lam and saw that he shot lots of what looks like super eight in Venice back on his days… It is a shame that this, my favorite and most influential Cuban artist is dead… to know that Felix Gonzalez-Torres, a Cuban-born American artist who died in 1996, has been chosen to represent the United States at the 2007 Venice Biennale is a testimony of how important his work is today… some may say that their collectors promote his work to give value to the artwork… but you can see in the pictures, people were crazy to get his prints… proof that his ideas of social artwork do work.
Read more here
The Venice Biennale is the 52nd International Art Exhibition with the subtitle Think with the Senses – Feel with the Mind … it was interesting… yet it let me empty… It ends in a few days and here are a few pics (379) for you to review the artwork shown at this survey of contemporary art. enjoy virtual tour here
Denied to participate but always fascinated by the superflat culture… Congratulations to the TM Sisters and David Leroi… Take a look at this video about Takashi Murakami’s theory of the super flat done by the BBC: Toying with Art
Here are a few pictures of the art works currently on exhibition at Young Creations 07 happening at the Bellevilloise in Paris, France.
See the slideshow here
Opening Reception / Vernissage
Jeune Création 2007
Friday November 2nd 2007 starting at 6:00pm
at the Bellevilloise at 19-21 rue Boyer 75020 Paris
Exhibition runs from Nov 2nd to Nov 11th 2007
more information here
Read the press release (french), they flatted me by using one of my art works in their press release …