Christine Eyene, Dakar, 2012 - The 2018 International Biennial of Casablanca in MoroccoChristine Eyene, Dakar, 2012 - The 2018 International Biennial of Casablanca in Morocco

Christine Eyene to Curate 2018 Casablanca Biennial

2018 Casablanca Biennial

University researcher Christine Eyene invited to curate major international exhibition

Christine Eyene announced as artistic director of the 2018 International Biennial of Casablanca in Morocco

An art historian and research fellow from the University of Central Lancashire (UCLan) has been invited to curate a prestigious international art exhibition.

Christine Eyene has been announced as the artistic director of the 2018 International Biennial of Casablanca in Morocco and will work with a variety of international artists for the exhibition. Founded in 2012, the biennial aims to create dialogue between Moroccan and African artists and the international art scene.

Christine commented: “I am very happy to take up this role as the International Biennial of Casablanca will allow me to make a curatorial statement reflecting my latest research on an international platform. I’ve been active in the arts for 17 years and in fact worked in Morocco early in my career, so for me it’s a return.

“I plan to curate the biennial around the theme of islands and connecting fluxes; starting with Morocco as a country which shores connect to the Mediterranean and the Atlantic Ocean. I’ll also look at how marginalised spaces, for instance islands that still exist as European colonies, function within contemporary artistic spheres as places for experimental art practices. I’ll consider the British context, with the UK as two islands sliding their way outside of the European Union.”

In addition, Christine, who originates from France, will curate an exhibition at Nottingham’s New Art Exchange from 14 October – 3 January. Christine has brought together seven artists from diverse cultures; Ain Bailey, Sonia Boyce MBE RA, Linda O’Keeffe, Elsa M’bala, Madeleine Mbida, Magda Stawarska-Beavan and Christine Sun Kim whose work explore sound in a variety of ways from voice to sonic structures to rhythmic patterns, all around a theme of challenging assumptions about women working in male dominated areas.

Christine commented: “It is about creating conversations between artists who don’t know each other; some who are already well established and others who are in the early stages of their career, including Magda Stawarska-Beavan from UCLan, and also showing creative artistic talents that exist all over the UK, not just in London. I hope this show gives inspiration to young women and encourages them to challenge gender barriers.”

The curator and art historian who works on UCLan’s Making Histories Visible project, an interdisciplinary visual art research project based at UCLan’s Centre for Contemporary Art led by Lubaina Himid, Professor of Contemporary Art, hopes the two exhibitions will also inspire students from the University.

Christine added: “The art world is very challenging so I hope that students find it encouraging to see staff such as Lubaina and myself taking on artistic and curatorial roles internationally. These days artists need to be able to multitask and I am keen to share these skills with the next generation of talented students.”

More information:

Christine Eyene, Dakar, 2012 - Christine Eyene to Curate 2018 Casablanca Biennial in Morocco

Christine Eyene, Dakar, 2012 – Christine Eyene to Curate 2018 Casablanca Biennial in Morocco

Sluice Biennial

Sluice Biennial 2017 – Hackney, London

Sluice Biennial

30 September – 3 October

Hackney
London

The Sluice Biennial is an international platform that combines the visions of artist/curator-run galleries and projects. It prioritises artists over strictly art-market interests by focusing on curatorial rigour, a DIY ethos and collaborative programming.

This year, for their fourth edition, the Sluice Biennial is based in Hackney Central. The Biennial will create a hub of artistic activities over four days and multiple venues. It will present artistic practice as an investigation and promote self-initiated galleries, projects & discussion; all within the context of the global community.

With a diverse range of galleries & projects at the Biennial, there will be a large programme of exhibitions, live-performances, screenings and moderated talks. All of which will be presented by over twenty-five galleries from as far afield as Canada, Colombia, Germany, Ireland, the USA and from around the UK.

Sluice – run by artists and curators – was formed as a provocation and foregrounds criticality as a central concern. Sluice strategically adopts structures in order to showcase artist, curator and emergent discourse, projects and galleries.

More information: sluice.info

State of the Nation (1), 2016-17 - © Stephen Chambers Studio, by courtesy of the Heong Gallery at Downing College, Cambridge

Stephen Chambers – The Court of Redonda – Venice

Stephen Chambers

The Court of Redonda
Collateral Event of the 57th International Art Exhibition – La Biennale di Venezia

Venice
13 May – 26 November 2017

The Court of Redonda is a major solo exhibition of new work by the British artist Stephen Chambers, presented by The Heong Gallery at Downing College in the University of Cambridge as a Collateral Event of the 57th International Art Exhibition – La Biennale di Venezia.

Curated by Emma Hill, The Court of Redonda centres on an enormous collective portrait of an imaginary court of writers, artists, film-makers and thinkers. The installation of over 100 individual paintings articulates the role played by artists in envisaging a world not how it is, but how it could be.

Redonda is a tiny, uninhabited island in the Eastern West Indies, around which an extraordinary literary legend has grown. It first took proper shape as a fantasy in the mind of Matthew Dowdy Shiell, a merchant trader who claimed the island in 1865 and elected himself monarch – effectively building castles in the air that others would add to and populate. His son M.P. Shiel, a writer of science fiction, determined that the kingship would be passed through a literary succession, and anointed the English poet John Gawsworth as his successor. Gawsworth went on to bestow honours to his friends, creating a court of writers, poets, artists and ne’er-do-wells.

Chambers has described his work as ‘the ignition point of unresolved narratives’ and has found in
the concept of Redonda a labyrinthine weave of visual possibilities. He was introduced to the legend through the writings of the novelist Javier Marías – a former king of Redonda, who appointed many creative individuals to his honorary court, including Pedro Almodovar, A.S. Byatt and W.G. Sebald. Sparked by a ‘mental collaboration’ with Marías, Chambers has envisioned his own court of luminaries.

As Rod Mengham describes it: ‘The art of Stephen Chambers makes visible the patterns of meaning that activate the individual imagination from within and without; his patterns refer us to the stories uniting us as a group, even when they are stories of division and rivalry: stories about islands, and their relationship to bigger land masses….’
The Redondan ‘court’ is counterpointed with three large canvases entitled State of the Nation that were made before, during, and after Britain’s referendum about whether to remain in the European Union. The paintings hint at the precarious state of the modern world through their motifs of a falling rider.

Stephen Chambers was elected to the Royal Academy of Art, London, in 2005 and was awarded an Honorary Fellowship from Downing College in the University of Cambridge, in 2016. The Court of Redonda will be shown at The Heong Gallery at Downing College in February 2018, and follows solo exhibitions at the Royal Academy, London (2012) and the Pera Museum, Istanbul (2014).

The exhibition will be accompanied by an illustrated catalogue with essays by Dr Rod Mengham and Kathleen Soriano.
Says curator Emma Hill: ‘It is fitting that the installation should find its place as a Collateral Event at the Biennale Arte 2017, which takes the exclamatory statement Viva Arte Viva as its title – for this expression of the necessity and freedom of the creative imagination, for art’s ability to reflect to us the moment we are living in, for an individual artist’s statement to carry the weight of this, is at the heart of the images Chambers presents us with in the faces of his imaginary courtiers.’

More information: www.thecourtofredonda.comwww.dow.cam.ac.uk/cultural-life/heong-gallery

State of the Nation (1), 2016-17 - © Stephen Chambers Studio, by courtesy of the Heong Gallery at Downing College, Cambridge

State of the Nation (1), 2016-17 – © Stephen Chambers Studio, by courtesy of the Heong Gallery at Downing College, Cambridge

Guardian of the Guano, 2016-17 - © Stephen Chambers Studio, by courtesy of the Heong Gallery at Downing College, Cambridge

Guardian of the Guano, 2016-17 – © Stephen Chambers Studio, by courtesy of the Heong Gallery at Downing College, Cambridge

Bella de la Rosa, 2016-17 - © Stephen Chambers Studio, by courtesy of the Heong Gallery at Downing College, Cambridge

Bella de la Rosa, 2016-17 – © Stephen Chambers Studio, by courtesy of the Heong Gallery at Downing College, Cambridge

Stephen Chambers - Court of Redonda Installation II 2017. Credit FS&SCS

Stephen Chambers – Court of Redonda Installation II 2017. Credit FS&SCS

lubaina-himid-a-fashionable-marriage-1986-photograph-by-denise-swanson-courtesy-of-hollybush-gardens-resized

The Place Is Here exhibition – Nottingham Contemporary

The Place Is Here

04 Feb 2017 – 30 Apr 2017

Nottingham Contemporary

The Place Is Here brings together around 100 works by over 30 artists and collectives spanning painting, sculpture, installation, photography, video and archival displays from the 1980s, exploring this pivotal decade for British culture and politics.

The exhibition evokes urgent and wide-ranging conversations taking place between black artists, writers, thinkers and institutions that addressed identity and representation, racism and colonial legacies. The 1980s was a time of racial division, economic inequality and civil unrest in Britain. Equally, art, its history and institutions were perceived as white and western-centric. Today, these debates feel more relevant than ever.

Throughout the exhibition, montage emerges as a key device through which artists were re-assembling histories and identities under new terms. The Place Is Here is itself conceived of as a kind of montage. Different positions, voices, media and archives are assembled to present a portrait of a period that is not tightly defined, finalised or pinned down.

Artists include: John Akomfrah, Rasheed Araeen, Martina Attille, David A. Bailey, Sutapa Biswas, Zarina Bhimji, Black Audio Film Collective, Sonia Boyce, Vanley Burke, Ceddo, Eddie Chambers, Rotimi Fani-Kayode, Joy Gregory, Sunil Gupta, Mona Hatoum, Lubaina Himid, Gavin Jantjes, Claudette Johnson, Isaac Julien, Chila Kumari Burman, Dave Lewis, Mowbray Odonkor, Maybelle Peters, Pratibha Parmar, Keith Piper, Ingrid Pollard, Donald Rodney, Veronica Ryan, Marlene Smith, Maud Sulter

The exhibition was first shown at the Van Abbemuseum in Eindhoven, and was curated by Nick Aikens as part of The 1980s: Today’s Beginnings? This expanded version at Nottingham Contemporary is co-curated by Nick Aikens and Sam Thorne.

More information: www.nottinghamcontemporary.org

Lubaina Himid, A Fashionable Marriage, 1986. Courtesy of Matthew Birchall and Tao Lashley-Burnley.

Lubaina Himid, A Fashionable Marriage, 1986. Courtesy of Matthew Birchall and Tao Lashley-Burnley.

Lubaina Himid - Fashionable Marriage installation, Tate Liverpool

The Place Is Here – Lubaina Himid – Fashionable Marriage installation, (Image: Tate Liverpool)

Luminoacoustics (Bojan Gagić ir Miodrag Gladović, Croatia). LIGHTUNE.G. Presented by LAB852

10th Kaunas Biennial | Lithuania

18 September – 31 December, 2015
Curated by Nicolas Bourriaud

10th KAUNAS BIENNIAL: CONTEMPORARY ART ABOUT THREADS, DISTANCE, HISTORY AND STORIES, COMMUNITIES AND CABBAGE’ STOREHOUSES

Kaunas Biennial, the biggest contemporary art festival in the Baltic States, will start its 10th edition on the 18th of September with the exhibition Threads: Fantasmagoria about Distance, curated by the well-known art theorist and curator Nicolas Bourriaud.

For the celebratory season the organisers of the Biennial chose to focus on the topic of contemporary communication and direct the programme towards provoking live encounters and networking. This year the festival will present over 80 contemporary artists from the world round and will focus on collaborations between visual and sound artists. The programme of the festival will spread out to the main galleries as well as public and industrial spaces.

Following the main concept of the Biennial and emphasizing the topic of new forms of communication, Nicolas Bourriaud and artists will question the relative notion of distance. According to the curator, Threads strives both to approach the form of fantasmagoria and address the way today’s artists include the notion of distance in their works. in a globalized and digitalized world, how does art deal with transportation, real time communication? What is the current shape of the presence/absence dialectics? How do artists present absent realities? Occupying five floors of the famous modernistic Kaunas Central Post Office building, the exhibition will present works by such artists as Liam Gillick (USA), Walead Beshty (UK), Saadane Afif (FR/DE), Roberto Cabot (BR), Pakui Hardware (Neringa Černiauskaitė and Ugniaus Gelguda, LT/USA), Lothar Hempel (DE), Julijonas Urbonas (LT), Katja Novitskova (EE), Arnas Anskaitis (LT), Carsten Höller (SE), Bronė Sofija Gideikaitė (LT), Amalia Ulman (AR/UK/ESP), Katie Paterson (UK), Attila Csorgo (HU), Kelley Walker (USA) and Darius Žiūra (LT).

The Biennial’s partner, Crafts Council (UK), will explore the impact of new technologies on contemporary art by organising an international seminar and curating an exhibition called Sonic Patterns, in which interdisciplinary sound, video and visual art projects will be presented. The installation “Dataflags” by Fabio Lattanzi Antinori (IT), recently seen in the V&A Museum, and James Bulley’s (UK) project „Tactus“, creating experiences of Braille via sound, will engage with the audiences; connections of images and sound will be expected from David Littler (UK), Knyttan (UK) and Alex Mclean’s (UK) live performances as well.

Lewben Art Foundation is offering the unique possibility to explore its outstanding collection in the exhibition Networked Encounters Offline featuring works by Ian Cheng (USA), Gabriele De Santis (IT), Nick Darmstaedter (USA), Mohamed Namou (FR), Deimantas Narkevičius (LT) and Simon Denny (AU), analyzing the forms of post-internet art communication. Opening in the same space — M. Žilinskas Art Gallery — will be a solo exhibition by the laureate of the last biennial Andrius Janušonis (LT), entitled Homage to Kaunas’ Poets.

The organisers of Miniartextil, Arte&Arte, based in Italy, will be presenting Simona Muzzeddu (IT) and photographer Mattia Vacca (IT), who is not only making a special project about the Lithuanian conscription, but will also show his latest project, A Winter’s Tale: a photo report about an archaic community living in the Italian Alps, whose men are away from home for nine months every year. Another photography project in the Biennial is The Birth of Kikimora by Artūras Morozovas (LT). Kikimora is a creature from Slavic mythology which may lure one into a swamp, but it is also the word used to describe the uniform of a sniper. It is a photo story about women who sew camouflages in Kiev for Ukrainian snipers fighting in the East. The meaninglessness of war will also be analyzed in the exhibition and performance The Terrible Love of War by Italian artist Silvia Gaimbrone (IT) in cooperation with the Kaunas Boys and Youth Choir.

During the Biennial, the residency programme Cotemporal Encounters: Interdisciplinary Approaches to Sound, Memory, and Place will occupy historical industrial places, derelict factories, former cabbage storehouses and other architectural spaces, as well as other events. Twelve young artists from all over Europe will work together exploring the city’s social and political past and trying to rediscover it in the ruins of architecture embracing contemporary art. In the former textile factory, the Croatian organisation LAB852 together with famous sound artist Elisabeth Schimana (AT) and her team will implement an ambitious interdisciplinary project called AGORA or an Artistic Assembly. Another key part of the Biennial, based on community art projects, is called Friendly Zone #6. Cabbage Field, curated by Vita Gelūnienė and Ed Carroll. The project focuses on an abandoned and polluted territory 13 000 sq. m. large, where rubbish heaps make waste of architectural heritage — former cabbage storehouses. The curators initiated cleaning actions, talks and discussions with local people, collected their memories and stories in order to change the space and help create a stronger community.

Among the many events and initiatives in the 10th Kaunas Biennial, the advanced educational programme and presentation of the book Contemporary Art Biennial as a Site Specific Event: Local versus Global on the 3rd of October are to be mentioned. The book’s editor Dr. Daiva Citvarienė has invited such international experts as Marieke van Hal (co-founder of the Biennial Foundation and International Biennial Association), Michaela Ott (philosopher), Lewis Biggs (curator, founder and long-lasting developer of the Liverpool Biennial), Eugen Rădescu (co-founder of the Bucharest Biennial, theoretician, curator), Tomasz Wendland (Artistic Director at the Mediations Biennale in Poznan), and Skaidra Trilupaitytė (PhD in Art History), to share their ideas and thoughts on the subject. The book features interviews with Virginija Vitkienė (PhD in Art Criticism, curator, Artistic Director of the Kaunas Biennial) and Nicolas Bourriaud (writer, curator).

According to artistic director of Kaunas Biennial dr. Virginija Vitkienė, “we are creating a network already for two decades, we are connecting artists, curators, ideas, spaces and places and communities. Networks and communication, interaction and cooperation are the main dimensions of Kaunas Biennial where everyone is very welcome”.

More information:
www.biennial.lt

FRIENDLY ZONE #6. CABBAGE FIELD. A site specific land reclamation project led by Vita Gelūnienė and Ed Carroll.

FRIENDLY ZONE #6. CABBAGE FIELD. A site specific land reclamation project led by Vita Gelūnienė and Ed Carroll.

Attila Csorgo. CLOCK – WORK, 2011-2015.

Attila Csorgo. CLOCK – WORK, 2011-2015.

Lothar Hempel. ACID AND IRON, 2011. Images are courtesy of the artist and Anton Kern Gallery, New York. © Lothar Hempel

Lothar Hempel. ACID AND IRON, 2011. Images are courtesy of the artist and Anton Kern Gallery, New York. © Lothar Hempel

Luminoacoustics (Bojan Gagić ir Miodrag Gladović, Croatia). LIGHTUNE.G. Presented by LAB852

Luminoacoustics (Bojan Gagić ir Miodrag Gladović, Croatia). LIGHTUNE.G. Presented by LAB852

Nicolas Bourriaud. © Jonas Petronis

Nicolas Bourriaud. © Jonas Petronis