Vincent Meessen: Mi última vida, es una exposición en el Museo Universitario de Arte Contemporáneo que se presentará del 28 de noviembre hasta el 23 de febrero del 2014.

20TH IMAGE SYMPOSIUM

SPECULATING ON CHANGE

17 — 20 JUN 2013

Directed by Pablo Martínez and Vincent Meessen

Participants :  Ayreen Anastas & Rene Gabri, Lars Bang Larsen, Diego del Pozo, Susanne Husse & Lorenzo Sandoval, Fritzia Irizar, Luis Jacob, Santiago López Petit, Asier Mendizabal, Andrea Phillips, Katrien Reist, Renée Ridgway, Katleen Vermeir and Ronny Heiremans.

These days the semiotic control associated with cognitive capitalism have become part of the fabric of life in all its aspects. The internet age has, of course, opened up space for the collection and redistribution of knowledge, but to turn a profit from these new spaces, the knowledge economy must imperatively colonise the time of users. This globalised semiocapitalism thus reconfigures various cultural ethoses by subjecting them to uninterrupted information flows, thereby saturating users' attention spans. In this context the self-entrepreneurial artist, combining independence, creativity, flexibility, and above all self-exploitation, has become a cultural “role model” – the perfect embodiment of the neo-liberal script that openly fantasises about a world of creative, competitive operators engaging in self-exploitation by speculating on potential symbolic added value.

The specific forms of positivism associated with populist cultural policies and art speculation pose a threat to the values of autonomy, opposition and radical negativity. Some artistic practices seek to transform the conditions of their alienation into productive resources in response to the widespread trend towards commodification and the precariat. Such artists strive to regain control over their time and over a form of sociability that escapes the temporality of capitalism by experimenting with what initially appear to be incompatible syntheses between original critical forms and financial autonomy.

This “productive alienation” throws the voices of the codes like a ventriloquist, appropriating the protocols of finance and trade. It draws on the social time and knowledge-sharing typical of self-organisation. It subtly plays with the agendas of other actors in the art field. Such “alienated art” develops an “economy of attention”, short-circuiting the official channels in the hope of re-routing missing people towards works that potentially meet their needs.

The artists, critics, and thinkers invited to speak at the 20th Jornadas will question the specificities of forms and protocols established by artists to renew the terms of criticism, thereby shaping the “community to come”.

Leituras do real, Lisboa

A exposição IndieMovingImage celebra o décimo aniversário do IndieLisboa com apresentações de diversos artistas que participaram em edições anteriores do festival através da exposição de trabalhos de imagem em movimento: filmes e vídeos de artistas e realizadores produzidos para um contexto de instalação.
Cada espaço convidado apresenta o trabalho de um artista, mostra que estará patente de 7 a 10 de Março. Leituras do Real pretende reflectir sobre a imagem em movimento como ferramenta para pensar a situação contemporânea em Portugal e no mundo.

Galeria 111 | Michael Robinson
Carlos Carvalho Contemporary Art | Johann Lurf
Carpe Diem Arte e Pesquisa | Camille Henrot
Museu da Eletricidade - Fundação EDP | Filipa César
Galeria Graça Brandão | Ben Rivers
Galeria Miguel Nabinho | Vincent Meessen
Módulo - Centro Difusor de Arte | Atsushi Wada
Museu Nacional de Arte Contemporânea Museu do Chiado | John Smith
Galeria Zé dos Bois | Salomé Lamas

Comissariado por João Laia

When Attitudes Became Form Become Attitudes, CCA Wattis, San Francisco

When Attitudes Became Form Become Attitudes

A Restoration / A Remake / A Rejuvenation / A Rebellion

CCA Wattis Institute for Contemporary Arts

September 13–December 1, 2012

California College of the Arts

Kent and Vicki Logan Galleries

Participating artists

Zarouhie Abdalian, Pablo Accinelli, Meriç Algün Ringborg, Jennifer Allora and Guillermo Calzadilla, Jonathas de Andrade, Kathryn Andrews, Nazgol Ansarinia, Nicolás Bacal, Christopher Badger, Alessandro Balteo Yazbeck, Yto Barrada, Taysir Batniji, James Beckett, Nina Beier, Erick Beltrán, Walead Beshty, Cezary Bodzianowski, Matthew Buckingham, Johanna Calle, Arabella Campbell, Juan Capistran, Mariana Castillo Deball, Etienne Chambaud, Marcelo Cidade, Claire Fontaine, Nicolás Consuegra, Abraham Cruzvillegas, Alexandre da Cunha, Maria Eichhorn, Michael Elmgreen and Ingar Dragset, Cevdet Erek, Annika Eriksson, Lara Favaretto, Aurélien Froment, Simon Fujiwara, Meschac Gaba, Dani Gal, Ryan Gander, Mario Garcia Torres, João Maria Gusmão and Pedro Paiva, Alexander Gutke, Jeppe Hein, Emily Jacir, Maryam Jafri, Alicja Kwade, Luisa Lambri, Adriana Lara, Tim Lee, Mateo López, Renata Lucas, Marie Lund, Kris Martin, Vincent Meessen, Simon Dybbroe Møller, Jonathan Monk, Shahryar Nashat, Roman Ondák, Fernando Ortega, Christodoulos Panayiotou, Nicolás Paris, Pratchaya Phinthong, Amalia Pica, Kirsten Pieroth, Wilfredo Prieto, Pablo Rasgado, Nicolás Robbio, Will Rogan, Pamela Rosenkranz, Fabrice Samyn, Kim Schoenstadt, Tino Sehgal, Sean Snyder, Mark Soo, Mateo Tannatt, Ron Terada, Hank Willis Thomas, Jan Timme, Clarissa Tossin, Guido van der Werve, Natasha Wheat, Carey Young, Akram Zaatari

This exhibition is a sequel to, and a reevaluation of, the legendary 1969 exhibition When Attitudes Become Form, which was curated by Harald Szeemann at Kunsthalle Bern in Switzerland. It brings together 82 international contemporary artists who follow, in various ways, the legacy of Szeemann’s iconic exhibition.

The 1969 show brought together new tendencies in the art known today as Postminimalism, Arte Povera, Land art, and Conceptual art, from Western Europe and the United States. It contributed a great deal to our historical understanding of the art of that time, how exhibitions themselves can influence artists and their works, and also how exhibitions can define art history. It was influential in promoting a wider understanding and acceptance of Conceptual art, as it included many non-material and process-based works.

When Attitudes Become Form has been discussed, researched, and examined in a wide range of essays, books, and conferences; When Attitudes Became Form Become Attitudes is the first major exhibition it has inspired. The new show will present existing pieces by artists working in relation to the history of Conceptual art as well as newly commissioned works by artists such as Zarouhie Abdalian, James Beckett, Abraham Cruzvillegas, Annika Eriksson, Simon Fujiwara, Jeppe Hein, Jonathan Monk, Nicolás Paris, and Hank Willis Thomas, who will respond directly to the history of the 1969 show and to the site of the new show. With the contemporary artworks installed alongside archival materials, floor plans, and installation images from the 1969 show, this new exhibition does not make a distinction between what is past and what is present, but rather considers When Attitudes Become Form as a living past.

The publication accompanying the new exhibition, designed by Jon Sueda / Stripe, will follow the original “office binder” format of the 1969 publication. It will include a conversation between Jens Hoffmann and Harald Szeemann, conducted in 2002; newly commissioned essays by Constance Lewallen, Christian Rattemeyer, and Julian Myers; and alphabetically arranged pages with artist biographies and images. Like Szeemann’s 1969 publication, it will also feature works that are interventions directly into the catalogue.

When Attitudes Became Form Become Attitudes 
will travel to the Museum of Contemporary Art Detroit
February 1–March 31, 2013.

Bewitched System, CA2M, Madrid

Symposium: A Bewitched system

The exorcising role of images

Agency, Aurora Fernández Polanco, Dora García, Fernando García-Dory, Avery Gordon, Tamar Guimaraes, Joachim Koester, Maurizio Lazzarato, Marie-José Mondzain, Jalal Toufic, Eulalia Valldosera

Directed by Vincent Meessen and Pablo Martínez

CA2M Centro de Arte Dos de Mayo
Av. Constitución 23
28931 Móstoles, Madrid, Spain

www.ca2m.org

Un-scene II, Wiels, Brussels

Un-Scene II is the second edition of what is now a triennial tradition at WIELS, an integral part of its ongoing research into the practices and questions that animate the artistic life around the institution. While featuring twelve artists working in sculpture, installation, performance, photography, painting, and video, the exhibition brings together a suite of idiosyncratic practices that seemed, with their specific idioms, to draw on and put into perspective the larger questions driving art making in Belgium today.
Artists :
Nel Aerts, Harold Ancart, Abel Auer, Olivier Foulon, Steinar Haga Kristensen, Gerard Herman, Dorota Jurczak, Vincent Meessen, Sophie Nys, Eléonore Saintagnan, Michael Van den Abeele, Peter Wächtler

A Blind Spot, HKW, Berlin

Exhibition

A BLIND SPOT

31.05.-01.07.2012 | Wed-Mon and holidays 11-19 h
Admission: 5 €/3 € | Mon free (Mon 25.6. closed) 

The blind spot of a photograph refers to something not visible or shown but nonetheless latent in the image. Dismissing the dominant pictorial regime, the images in “A Blind Spot” preserve an openness and indeterminacy that precludes reducing them to a description or illustration of a specific reality. This is the point of departure for questioning the documentary aspect in contemporary artistic and photographic practices.

The exhibition, curated by Catherine David, includes works by : Eric Baudelaire, Elisabetta Benassi, David Goldblatt, Hassan Khan, Joachim Koester, Vincent Meessen, Olaf Nicolai, Efrat Shvily, Jeff Wall and Christopher Williams.

My Last Life, Netwerk, Aalst (B)

My Last Life Netwerk centrum voor hedendaagse kunst, Aalst (Belgium)

December 10 - March 3, 2012.

January 20 : In dialogue with Christian Kravagna & Lidwien van de Ven

February 7 : Prospectus - discursive platform with guests :

Corinne Diserens /Jean-Pierre Rehm / Didier Debaise / Yvan Flasse / Fabrizio Terranova / TJ Demos / Olivier Marboeuf/Pierre Huyghebaert/

Atlas Critique, Parc Saint léger (France)

Atlas Critique, Parc Saint léger (France)

17 mars > 27 mai 2012
Vernissage vendredi 16 mars à 18h30
Avec les œuvres de :

Erick Beltrán, Lia Perjovschi, Vincent Meessen, Claire Fontaine, Allan Sekula & Noël Burch, Phillippe Rekacewicz, Fernand Deligny, Stalker, Michael Druks, Berger & Berger,
Estefanía Peñafiel Loaiza, Pedro Lasch, Lewis Caroll & Henry Holiday, Adriana Varejão, Endré Tot, Nastio Mosquito, Internacional Errorista, Francis Alÿs, Chto Delat ?, REP Group,Radek Community & Dmitry Gutov, James Wentzy & AIDS Community Television, Société réaliste, René Gabri & Ayreen Anastas
Avec une performance de : Patrick Bernier et Olive Martin Avec des conférences de : Razmig Keucheyan et Teresa Castro
Commissariat : Aliocha Imhoff et Kantuta Quirós / le peuple qui manque

Sweet Protestations, Argos center for art & media, Brussels

Sweet Protestations 
Argos center for art & media, Black box
January 29 - April 01, 2012
With Angel Vergara, Wolf Vostell, Vincent Meessen, 
Messieurs Delmotte, Luc Deleu, Filip Francis & De Nieuwe Coloristen

Opening Night 28th January 2012

As a prelude to the Festival van de Verwarring (Festival of Confusion) 2012 / Sapere Aude in the Beursschouwburg, Argos presents the Black Box programmeSweet Protestations. Five short to medium-long video documents examine and illustrate the role of the artist who enters the public domain in order to question the surrounding ’reality’. In the works the maker becomes personally transformed into a ‘sweet’ intruder, into an object that encroaches upon the surroundings without concomitantly changing to direct confrontation: interactions which raise a field of tension between the onlookers and the singular actions of the artists. In these ‘documents bruts’, which engender credence, ridicule and even real civil protest, the artists employ an idiosyncratic jargon which often borders on ritual. InThe Intruder Vincent Meessen moves silently through the busy shopping streets and market squares of Ouagadougou, cocooned in a suit of cotton blossoms: Burkina Faso’s ‘white gold’. The white figure expresses the object of attraction and surprise or of aggression and ridicule: for the passers-by he is an image susceptible to appropriation, a symbolic mirror bulging with implicit political, social and economic significance. A 1995 cultural exchange project between Europe and Africa forms the introduction andgives rise to Messieurs Delmotte’sTourist Renouncement, an artist whose filmed mini-performances attempt to transcend reality and its limitations. This early work strings together critical actions, steeped in bitter-sweet humour in which he theatrically interprets the historical relationships and clichés between the two continents. Less direct in nature is Straatman Lottery in which Angel Vergara Santiago chops up recordings of performances in Birmingham under his alter ego, Straatman, with images of the city’s population, an entirety interspersed with sketches and textual comments. Although the title refers to an imaginary lottery which he organized there, Léo Ferré sings/muses on L’impossible to a text by Arthur Rimbaud. Although Zwei Betoncadillacs in Form der Nackten Maja on close inspection forms a documentation of the realization of the sculpture of the same name by Wolf Vostell in the West Berlin of 1987, this period piece – at the time the work was inaugurated to celebrate the 750th anniversary of Berlin; in 2006 it was restored to its original form – can also be read as a recorded performance. The debit for that is the role of the onlookers who protest against the work (“Wasting tax money is no art”, “That kind of art here? No thank you”) but also the position of Vostell himself who as a real maestro directs his team and the works. In addition, the historical Inktpot (Ink-well) by Luc Deleu, Filip Francis & De Nieuwe Coloristen (The New Colourists), in which the artists transform an abandoned Second World War bunker in the Koksijde dunes into an ink-well, the register of recording rises as a result of inserting items including animation and images of a snow-covered Brussels during the editing.

Programme:

Vincent Meessen - The Intruder
2005, video, colour 7’26”, multiple languages spoken, English subtitles.
Messieurs Delmotte - Tourist Renouncement
1995, video, 19’07”, sound.
Angel Vergars Santiago - Straatman Lottery
2000, video, 5’41”, sound.
Wolf Vostell - Zwei Betoncadillacs in Form der Nackten Maja
1987, video, 6’30”, sound.
Luc Deleu, Filip Fancis & De Nieuwe Coloristen - Inktpot
1971, video, 5’14”, silent.

Spectres of History: Documents in Contemporary art, Amsterdam

Spectres of History: Documents in Contemporary art 

University of Amsterdam

January 25, 2012

With Sven Augustijnen, Vincent Vulsma, Wendelien von Oldenborgh, Vincent Meessen & Sophie Berrebi

L'avenir du passé: politiques de l'archive, ENSA Bourges (F)

L'avenir du passé: politiques de l'archive
ENSA Bourges (F), january 4, 2012
Giovanna Zapperi & Alejandra Riera's seminar

Manifesta 9, Coffee Break, Genk (B)

Manifesta 9
Coffee Break
Genk (B)
December 9-10, 2011

Friday December 9, 2011 12:30 Doors open, Registration 13:30 – 14:00 Welcome Coffee 14.00 - 14.10 Introduction by Hedwig Fijen, director of Manifesta 14.10 - 14.30 Introductions on The Contemporary at Service of the Past by Cuauhtémoc Medina, Manifesta 9 Curator 14:30 - 15:00 Jeremy Deller, artist, lives and works in London Screening So Many Ways to Hurt You, the Life and Times of Adrian Street (2010) 15:00 – 15:30 Dawn Ades, Associate Curator Manifesta 9, in conversation with Jeremy Deller 15:30 – 15:45 Short Break 15:45 – 16:00 Sneak Preview: Manifesta Journal #13 16:00 – 16:20 Vincent Meessen artist, lives and works in Brussels On Vita Nova (2009) and the research behind 16:20 – 16:45 Johan de Boose Doctor in Slavic Studies, author, lives and works in Ghent Martyrs (Bloedgetuigen), 2011. A short reading 16:45 – 17:30 Moderated talk with Vincent Meessen and Johan de Boose moderated by Katerina Gregos, Associate Curator of Manifesta 9 17:30 – 18:15 Ibro Hasanovic, Bosnian artist based in Rouen (FR) on The Short Story, on oral narrative traditions. Screening The Short Story (2011) 18:15 – 18:30 Conclusions of the day by Cuauhtémoc Medina 18:30 - 21.00 Buffet Saturday December 10, 2011 10:00 - 10:10 Introduction / Memory fresh up previous day by Cuauhtémoc Medina 10:10 - 11.20 Conversation by Christopher Fraga, PHD candidate in ethnography at NYU based in New York with Cuauhtémoc Medina, Katerina Gregos and Dawn Ades on their practices, on Manifesta 9 11:20 - 13:20 Workshops: All Coffee Break participants divide up in three workshops. The artists will develop different strategies in collaboration with the audience in order to approach the theme of the “Contemporary at the Service of the Past”. 1. Phil Collins, Berlin-based British artist 2. Yan Tomaszewski, Paris-based Polish artist 3. Eva Gronbach, German fashion designer, based in Cologne 13:20 - 14:00 Short presentation workshops 14:00 -14:30 Lunch 14:30 - 16:15 Victor Misiano, Moscow based curator of Manifesta 1, Chairman of the Manifesta Foundation, on Progressive Nostalgia 16:15 - 17:00 Ekaterina Degot, independent art historian, art critic, and curator from Kiev - Curatorial case study: 1st Ural Industrial Biennial: Shockworkers of the Mobile Image 17:00 - 17:45 Moderated conversation by Cuauhtémoc Medina with Victor Misiano and Ekaterina Degot - in search for the tension between fear of nostalgia versus fear of the past 17:45 - 18:00 Final conclusion of Manifesta 9 Coffee Break by Katerina Gregos and Cuauhtémoc Medina 18:00 Goodbye toast, cheers!

Wäscherei Kunstverein, Zürich

Wäscherei Kunstverein, Zürich

December 16, 2011.

Organized by The Postgraduate Programme in Curating

Zurich University of the Arts

Pensées achipéliques + Routes, voyages et traductions, Nantes

Pensées archipéliques
ENSA Nantes (Emmanuelle Chérel's seminar)

December 12, 2011

10-12 AM

Routes, voyages et traductions

Contrechamp /Le Cinématographe

Nantes

December 12, 2011
8PM

Partant du film expérimental culte de Peter Kubelka Notre voyage africain (1966), on s'aventurera plus loin dans deux films récents qui proposent eux aussi des relectures d'images. Dans Why Colonel Bunny Was Killed, Miranda Pennell travaille les images d'archives coloniales britanniques au corps jusqu'à ce qu'elles révèlent leur "inconscient optique". Avec Vita Nova, Vincent Meessen revisite une icône de la critique postcoloniale, l'image d'un enfant de troupe coloniale française commentée en son temps par Roland Barthes dans ses célèbres Mythologies. 

Unsere Afrikareise (Notre voyage en Afrique) 
de Peter Kubelka 
1961-1966, 13 min 
À partir de plusieurs heures dʼimages et de sons prélevés lors dʼun voyage en Afrique, Kubelka a monté ce film en suivant plusieurs lignes métaphoriques, rythmiques et chromatiques. Par le truchement du montage audio-visuel, il articule, en autant de confrontations, les relations entre le colonisateur et le colonisé, le chasseur et le chassé, le sujet percevant et lʼobjet regardé. 

Why Colonel Bunny Was Killed 
de Miranda Pennell 
2010, 27 min 
Prenant comme point de départ un récit d’exploration écrit par un médecin missionnaire anglais en 1909,Why Colonel Bunny Was Killed est entièrement composé de photographies datant de l’époque coloniale prises à la frontière nord-est des Indes Britanniques. Tentant de faire émerger une réalité refoulée de ces photos prises au cours du conflit colonial, le film joue subtilement image contre son. Il nous amène à examiner l’argumentaire et la symbolique coloniale à travers ses discours, ses codes vestimentaires, ses meubles, ses trophées… 

Vita Nova 
de Vincent Meessen 
2009, 27 min 
Vita Nova revisite une image parue en couverture de Paris Match en 1955 et montrant un enfant de troupe coloniale au salut. Devenue célèbre suite à sa déconstruction par Roland Barthes (Mythologies, 1957) et à la fortune critique que connu cette analyse, particulièrement dans le monde anglo-saxon, cette image est devenue une icône de la pensée sémiologique moderne. Meessen part au Burkina Faso à la recherche de l’enfant qui figurait en 1955 sur la couverture du magazine avant de poursuivre sa quête en Côte d’Ivoire et dans divers fonds d’archives. En chemin, il convoque différents régimes narratifs pour "dire l’histoire" et faire de Barthes un personnage de sa propre œuvre. Il recontextualise des extraits de textes de Barthes et leur donne un sens nouveau. Il éclaire ainsi un pan tout à fait oublié de la biographie de l’auteur qui, pour déclarer " la mort de l’auteur" en 1968 avait argumenté l’inutilité du biographique.

Hantologie des colonies, Paris

Hantologie des colonies

Paris & banlieue, 

October 8 - november 18, 2011.

Espace Khiasma, Musée du Jeu de Paume, Les Laboratoires d'Aubervilliers, Le Peuple qui manque, Ciné 104, La Galerie de Noisy-le-Sec, ENSBA, Maison Populaire de Montreuil, Mains d'Oeuvres...

Curated by Normal, produced by Espace Khiasma

With films by de Sven Augustijnen, Raoul Peck, Marie Voignier, Ben Russell, Wendelien van Oldenborgh, Filipa César, Patricia Esquivias, Angela Ferreira, Penny Sipopis, Philip Scheffner, Olive Martin & Patrick Bernier, Raquel Schefer, Miranda Pennell, Patrizio di Massimo, Uriel Orlow, Brigitta Kuster & Moise Merlin Mabouna & guests introducing or discussing the films : a.o. Giovanna Zapperi, Corinne Diserens, Françoise Vergès, Olivier Marboeuf... 

Cortopotere, Bergamo

Cortopotere

International competition

Bergamo, Italy

October 23-29, 2011

Cher Conseiller, FRAC Lorraine / La Première Rue, Briey

Cher Conseiller, 

(solo show)

FRAC Lorraine/La Première Rue

Cité Radieuse, Briey-en-Forêt, France

October 14 - january 29, 2012

My Last Life, Espace Khiasma, Les Lilas

My Last Life
(solo show)

Espace Khiasma, Les Lilas, Seine Saint-Denis, France

September 29 - November 12, 2011.

On October 8 @ 5PM : talk with Corinne Diserens

Métro : Mairie des Lilas

video_dumbo, New York

video_dumbo


September 23 – 25, 2011

DUMBO ARTS CENTER [DAC]
111 Front Street, Suite 212
Brooklyn, NY 11201
Tel. 718.694.0831
Fax 718. 694.0867