Foundacio Joan Miro Barcelona
16/02/2017 — 21/05/2017
Foundacio Joan Miro Barcelona
should the world break in II
the anatomy of man 2017
Keith Arnatt, David Bestué, François Curlet, Carla Fernández, Esther Ferrer, Blanca Utrillas Gracia, Gilbert and George, Sílvia Gubern, Jiří Kovanda, Pere Llobera, Laura Porter, Celeste Marí, Christian Jankowski, Pere Llobera, Gustav Metzger, Joan Miró, Mariona Moncunill, Adam Nankervis (Museum Man), Yoko Ono, Henk Peeters ,Cesare Pietroiusti, Joan Hernández Pijuan, Michelangelo Pistoletto , Laura Porter, Marc Vives, Franz West, Elizabeth Wright
curator: Antonio Ortega
Self-management traces do it yourself practices from the pioneering artists of the sixties to the present. Through strategies that could be considered self-managed, these artists have taken control of their production and the emission and reception of their works with gestures of empowerment that have resulted in new ways of relating to the artistic system.
The works of the exhibition form a constellation of practices and gestures that constitute a defense of the continued power of the imagination and the creativity.
should the world break in II
the anatomy of man
Stephan Apicella Hitchcock, Anne Bean, Francesca Bertazzoni, Frank Blum,Ben Carey,Sico Carlier,Francesca Cho, Mateusz Chorobski, Mitya Churikov, Misha Dare, Paul Darius, Alan Dunn, Noel Ed De Leon, James Edmonds, Peter Fillingham,Thomas Heidtmann,Klaas Hübner, Brigitte Jurack, Sarah Johnston,Elmar Kaiser, Daniel Kupferberg, Marta Leite,Cyril Lepetit, Peter Lewis,David Medalla, Marita Muukkunen, Adam Nankervis, Anna Orlowski, Alwin Reamillo, Denis Salivanov, Dirk Sorge, St. & St.,Ernst Markus Stein, Ivor Stodolsky, Estella Sokol, Anja Teske, Alma Tischler Wood, Valerie Vivancos, Deborah Wargon
Foundacio Joan Miro Barcelona
should the world break in II
the anatomy of man 2017
Desire Line, 2005, C-print mounted to Sintra and Plexiglas, h 70.5” x w 3” (right image: detailed enlargement)
Stephan Apicella-Hitchcock was born in New York City, received a BA from Hampshire College in 1991 and an MFA from the Rhode Island School of Design in 1996. His projects range across the mediums of film, photography, sculpture, in addition to curatorial projects; regardless, the works reflect a strong interest in history. He was resident artist in the Lower Manhattan Cultural Council’s WorldViews studio residency program at the World Trade Center and the Shatana International Artist’s residency, Jordan. He taught at the Tokyo National University of Fine Arts, Rhode Island School of Design, the School of the Museum of Fine Arts Boston, the School of Visual Arts, and Parsons The New School For Design. Currently he teaches at Fordham University in New York City and at Pratt Institute’s School of Art and Design in Brooklyn, New York. Exhibitions have been held over the past three years in The Kingdom of Bahrain, Germany, Japan, Jordan, Spain, Switzerland and Syria.
Born 1986 in Opole, Poland.
National Film School in Łódź /department of Photography/ 2006 - 2011 / MFA
Institute of Creative Photography, Silesian University in Opava /Czech Republic/ BA
Academy of Fine Arts in Poznań /department of Multimedia/ 2005-2006
"This is a phantasmagoric hedge maze from the garden of one rich german family who developed city of Katowice and other cities in the Silesia region. After the war due to ideological changes their residency with the garden was destroyed and small part of the garden was changed into public park. The shape of the hedge walls is a multiplication of the garden`s paths outline."
Anna Orlowska 2017
Third Eye 2017
Anne Bean is a resident in the UK. Bean moved to England in 1969 after beginning her art education in South Africa at the University of Cape Town. She attended Reading University, graduating in 1973.
A central figure in the English live art scene, Anne Bean is a difficult artist to categorize. Her evocative work encompasses a range of media including slide projections, drawing, photography, video and sound using a wide range of materials from fire and pyrotechnics to weather balloons and wind to steam and honey. Since 1970, Anne has presented solo and collaborative projects incorporating static and time-based visual art, sound and performance extensively at art venues, festivals and unique sites throughout Europe, USA, Africa, Mexico and Japan.
She was a founding member of the irreverent pseudo pop-band Moody and the Menstruators (1971–74), which was imagined by the artist as an exploration of the boundaries between art and music. The Moodies' first performance was presented alongside an early gig by Roxy Music. They developed a cult following and found themselves featured in a double page spread in the Sunday Times in 1974. Bean was also a regular collaborator with the audacious duo The Kipper Kids (1971-2003).
PAVES Crossing Zones was initiated by Anne Bean in 2009. PAVES was a collaborative project between artists Anne Bean, Sinead O'Donnell, Poshya Kakl, Efi Ben-David and Vlasta Delimar that spanned England, Scotland, Ireland, Israel, Croatia and Palestine. The project focused on how political contexts shape artistic work.
Informed by improvisational practices that celebrate the chaotic and polyvocal and driven by a deep interest in materials and what they might be able to do, Anne Bean's practice has been influenced by Joseph Beuys’ concept of social sculpture (soziale Plastik) as well as the strange humour associated with the 1970s English performance art scene, typified perhaps by her extensive collaborations with the Kipper Kids. Bean's interest in collaborative processes began with her work with the pioneering performance art group Bernsteins, with Jonathan Harvey, Malcolm Jones, and the Kipper Kids , and continued to develop during her longterm working relationship with the drummer-artist Paul Burwell, and sculptor Richard Wilson. Together they formed the performance group, the Bow Gamelan Ensemble (1983–90)
In 2012 Bean took on the consciousness of the alter-ego, artist, and writer Chana Dubinski. Bean spent 16 months living as Chana in Newark, a small town in England, and produced a series of artworks that were exhibited at the 2013 Venice Biennale.
Museum Man’s right arm amputated at wrist and sleeve of coat pinned at the stump with soviet pin 2017
Ben Carey is an artist and writer from Maitland, Australia. Educated at the University of Newcastle and The University of New South Wales College of Fine Art, Benjamin has exhibited visual arts and performed Surrealist textual collage in Sydney, Rome, London, Copenhagen and Berlin, and has photography published at Capricious Magazine, New York. A versatile writer, Benjamin self-published his first novel of dissent at 25 and distributed a thousand copies in the streets of Sydney, Melbourne and Newcastle. He also writes critically in exhibition texts and reviews, including performance reviews at Month of Performance Art – Berlin 2015.
Upcoming works include his ongoing Patyczaki series of pastel drawings, and a new book TOGO, a collection of exploratory aphorism and memoirs set between northern Poland, Finland and Berlin.
“Affinity is my highest power: I don’t know how I got into it but I know that I can’t get out of it. Only the trans-figural and metamorphic can make it out of definitive territories and across space in no apparent order.”
Inhabiting no fixed genre or style, Sico Carlier’s focus is first and foremost on the field of his training: Fine Art. Alongside his Fine Art practice he publishes and re-publishes, directs film-based work and pursues styling positions which take on a product driven initiative consequential to his art. Carlier tests boundaries of his artistic output by means of experimenting with the formal structures in which an artist is produced. This has enabled him to construct client-oriented work which can be perceived as exploiting a parallel understanding, or in a less strongly defined form – added layers of meaning, without jeopardising his artistic integrity. Operating in such way, he tries to respect value systems of existing métiers and remain aware of trappings in any art practice described as hybrid.
During Art Brussels 2016, Sico Carlier curated Seducing you R.S.V.P. – a group-show, evidencing past transparency – the collectivisation of analog photography. In 2015 Paris-Photo L.A. provoked him to stage an intimate installation back-to-back with Paramount studio’s, on Sunset/Gordon in a newly built residential tower. Hereby he established formal links between both the Paris-Photo L.A. art-fair – and an earlier show back in 2010, situated on the 37th floor of a KCAP-designed high-rise in the city of Rotterdam. In 2007 he was invited to spend a year in a landmark modernist house designed (1929) by Theo van Doesburg in Meudon, now a suburb of Paris. During his year at the villa he was commissioned to write a future scenario for the house, and as a curator hosted interventions there by artists Tony Feher (USA-1956-2016) and Bas Van Beek (NL). He also worked on an (ongoing) project there concerning four women with strong relations to the history of the house; Nelly van Doesburg, Sophie Taeuber-Arp, Peggy Guggenheim and Hannah Höch.
They (the necklaces) were made by me during my residency at the Van Doesburg villa in Meudon in 2008.
While there i had decided to ignore as much as i could the whole "genious male artist cult" that has developed over time around Theo van Doesburg, which i think is wholly inaccurate and was not to be participated in, so i focussed on "the female presence" there, being Nelly (who actually paid for the house to be constructed), Wies (Nelly’s niece who inhereted the house and transformed it into a residency) Peggy and Hannah, Hannah H. was often visiting her old friend Nelly in Meudon, when both were artists widows, apparently working there on her "poupees", in the garden.
The necklaces are made of found buttons, buttons being on the female side of the spectrum of objects being collected in jars in western societies, opposing the jars of nuts, bolts and nails collected by male forces…
A male nail work also exists, which was already around before this period, this could also be shipped to Barcelona but it might be a bit overwhelming within your participation concept, and it is also a heavy object for fedex to handle (just in case, it has it’s own french passport as being "a musical instrument")
The nailwork was shown in Paris and later by Pablo Leon de la Barra in the white cubicle toilet gallery in London.
A necklace work would be more exclusive as they have never been shown before except at the house in Meudon itself.
Sico Carlier Correspondence 2017
Francesca Cho lives and works in both London and Provence.
In 2000 she obtained a Master of Fine Arts from Chelsea College of Art – University of Art London.
Since 1997 she exhibits internationally in solo and group exhibitions: London, Seoul, Berlin, Copenhagen, New-York, Italy, Rio de Janeiro … with features and reviews in various media including the: BBC (UK), The Sunday Telegraph (UK), WorldNet KBS TV (S. Korea) …
She uses natural materials for her works: rice paper, cotton muslin, ash … The ash is produced by burning former belongings e.g. old photos, letters, catalogues, paintings and drawings. The presence of ‘unforgettable stories’ in the ash means that Cho’s memories are now often embedded in the paint on canvasses / installations /sculptured forms.
Francesca works with the hope that “deep sorrow is ultimately peace and deep misery is ultimately joy”.
By Michaela Ahn 2017
Mateusz Choróbski was born in 1987 in central Poland (Radomsko, the Łódź province). He received a bachelor's degree in photography from the University of Arts in Poznań (2011) and a master's degree in media arts from the Academy of Fine Arts in Warsaw (2013). He achieved further expertise in multimedia during the period between 2011 and 2013 thanks to the inter-university cooperation between his home institute and the Fryderyk Chopin University of Music in Warsaw.
In his artistic undertakings, Mateusz Choróbski tests various ranges and scales of artistic expression: from short films to complex arrangements in gallery spaces, or contextual activities in public spaces. A significant aspect of his work is awareness of the relationship: picture viewer space, which is evident in the themes explored by him and influences the specific nature of his creativity.
seit Ende 2014 arbeitet in der online Redaktion bei RUNDFUNK BERLIN-BRANDENBURG
2014 gründet ein Kollektiv für Architektur und Kunst „wot tak„ (based in Berlin), mit dem Kollektiv zusammen machte Mitya bei zahlreichen Architekturwettbewerben wie Chicago Architecture Biennial oder IZOLYATSIA, Architecture Ukraine mit.
2013 – 2015 Onlinemagazine ARTUKRAINE
2007-2013 BERLIN UNIVERSITY OF THE ARTS (UDK)
2005 Fotojournalist bei INSTITUT FRANCAIS D‘UKRAINE
2004-2006 NATIONAL ACADEMY OF FINE ART & ARCHITECTURE KIEV
MEISTERSCHÜLERPREIS DES PRÄSIDENTEN (University President’s Award for Outstanding
Graduate), Berlin University of the Arts
Anarchy Brooch 2015
Misha Dare's work explores themes based on the body and female psyche, exploring the sexual and animal aspects of the feminine condition. She works with the idea of the ‘other’ female. Strong minimal form is the basis of her work and the interaction of the body and the psyche of the wearer. Misha’s work has a performance and sculptural element using the body as a vehicle for her designs. The materials and colours she uses are an important dialogue of the feminine discourse. Her forming of metal in her jewellery pieces allows scope to explore different applications of material and colour creating a discourse between the wearer and viewer.
Paul Darius studied at the sculpture department of the art academy berlin with Prof. Karin Sander, Prof. Albrecht Schäfer and Prof. Eran Schärf. He graduated with a ›Meisterschüler‹-degree in 2014. His artistic practice is linked to a close engagement with daily experiences that become source and inspiration for his works. The development of his works is associated with a creative concern with light, movement, bodily perception and directing the spectator’s attention, which leads to installations that combine objects, photography, video, drawing, printing and paraphernalia of daily life.
(Revolution to be embedded)
Alan Dunn (b. 1967, Glasgow) was curator of The Bellgrove Station Billboard Project (Glasgow 1990-91), lead artist on the tenantspin project (FACT, Liverpool 2001-7) and recently produced the 10xCD opus The sounds of ideas forming. Through these projects Dunn has developed collaborative work with Bill Drummond, Gerhard Richter, Yoko Ono, Philip Jeck, David Bowie, Pauline Oliveros and Brian Eno. He currently lives and works in Liverpool and lectures at Leeds Beckett University where he has just completed a PhD on sound art and co-runs MA Fine Art with Peter Lewis.
Artist’s uses of the word revolution is a 67-track collection considering the manners in which artists, musicians, politicians, poets, art students and teenagers have returned to recording the sound of the word revolution. The work includes agreed contributions from Douglas Gordon, Foreign Investment, Chumbawamba, archival material from Marcel Duchamp, Fluxus, Baader Meinhof, Black Panthers and Raul Castro and the estates of Aldous Huxley and Herbert Marcuse. See http://alandunn67.co.uk/ADCD.html
Noel Ed De Leon
Noel Ed De Leon
Noel Ed De Leon
London-based Philippine born artist Noel Ed De Leon holds a degree in architecture (1993-98) and has worked as a professional artist since coming to the UK in 2007. His interests span archiving as artistic practice, installation, multimedia sculpture, art made with readymade and found objects and live performance art. Much of Noel’s work deals with the themes of memory, remembrance and mapping traces of history through material objects. An avid collector of memorabilia and original artifacts from the First and Second World War, Noel frequently incorporates these artifacts into his installations and performances which explore how memories are kept alive in the social fabric, as well as erased through changing political, religious and social developments. Since 2011, Noel has exhibited as part of the London Biennale, holding a major solo show in 2014 at the Philippine Embassy of London. Noel is currently working as a freelance artist alongside co-directing Batubalani Art Projects.
Noel Ed De Leon
Arms (2007 - 2017)
Found Gloves Safety Pins Old Coin
Noel was instantly drawn to the concept of Should the World Break in II, he found that this was the perfect platform for him to convey the message and meaning of Arms.
Arms was a project he began back in 2007; he slowly accumulated deserted, discarded and dissipating gloves found in the streets, in institutions, construction sites and land marks. The narrative behind each glove he had collected was what captivated his imagination. In a way, he found this gloves poetic and metaphorical.
Each glove was hand stitched and pinned together to create an arm like shape and a wing as an expression of freedom to leave earthly things behind and reach paradise. Wings are also a portrayal of power and protection.Each glove could have been used as a means of protection, communication through hand gesture, and more importantly, to construct or create, or to demolish or destroy; just like us as humans, we like to invent, design, create mind blowing technology, build innovative buildings and many more amazing and incredible things with our own hands. However, it is also with these hands that we destroy mother nature and our selves as a human race, through corruption, wars and crime, almost as though our hands are weapons with infinite ammunition.
He decided to fill each glove with medical latex gloves to enhance their shape. He specifically chose medical gloves as he believed that we must first heal, change or improve from within to see a real transformation and transfiguration in our civilisation today.
Godwin A. De Leon, February 2017
Movement and Stillness
2014/2015, super8, 11min, colour, silent
James Edmonds is an artist filmmaker from the UK living in Berlin and London. His practice centers on a personal poetics in which the nature of recording, when approached from the materiality of analogue film, offers a tangible surface for what is intangible and fleeting - our personal experience, inner worlds, thoughts and reflections. He has presented screenings and exhibitions at various venues, project spaces, galleries and cinema events, including Fronteira Festival Brasil, The Temenos Screening Kino Xenix Zurich, Another Vacant Space Berlin, Mystetskyi Arsenal Lavra Kiev and ACCEA Armenia. Since 2015 he also curates the monthly film series Light Movement in Berlin.
el rei de reis 2015-2016
A Joseph Beuys. galeria cadaqués. Catalonia 2016
The King of Kings (things that you do not know about the English)
Peter Fillingham is a sculptor and curator. His practice includes site-specific, object-based installation, regeneration and cultural events. During the last three decades he has worked, collaborated and exhibited with many creative figures. His studio practice is related to a theatre of sculpture, (the processes through which ideas pass towards being realised as material/complete).
Since 1997 Fillingham has played a large part in ‘making present’ artistic events on the peripheries of perceived cultural epicentres, notably in Kent and Nord Pas de Calais, where his work has been highlighted in publications by Art Historian and writer Jane Lee. Known for his sensitivity in situating artists - through exhibitions and events - to new places and spaces, in turn, he is able to introduce those places – and art - to broader audiences. He is highly sympathetic to already existing ad hoc situations, which are not essentially changed through his interventions, but sit side-by-side with them.
His artistic practice has played an informed critical role in his teaching practice. He is a former Head of the 3D Pathway (Sculpture) at Central St. Martins and a former Chair of Fine Arts at Parson’s Paris. He is Editor-at-large at /Seconds.
Looking Forward to Seeing You Again
170 x 70 x 43 (LxHxW in mm)
Thomas Heidtmann is a media artist, formally educated at Univerity of Arts, Berlin, with an emphasis on Painting and New Media.
In his recent works, he examines forms and expressions of exploration, collaboration, and communication. He is fascinated by space technologies, mirrors, and questions of visibility and observation.
He combines traditional aesthetics, materials, and techniques with emerging technologies such as 3D-printing to create installations and objects that are often interactive and engaging. The interactions vary from the more obvious to the arcane. He builds ephemeral solutions for site-specific requirements, as well as autonomous pieces.
He is co-founder and board member of Lacuna Lab e.V., an artist-run association, collaborative community, and space in Kreuzberg, Berlin, working at the intersection of arts, science, and technology.
He has presented at ISEA in Hong Kong, Vorspiel / transmediale & CTM and Retune festival Berlin, and talked for example in Martin-Gropius-Bau Berlin.
Sound sculptor, improviser and instrument maker Klaas Hübner has
developed a body of work, which honors sound as a live-medium with which to craft,
shape and play in real-time.
As an improvisor Hübner has developed a playful, Punk and Flux inspired
practice, which ranges from installation based works, to live improv, to
theatre and sound design. Examples which illustrate his approach include
inviting audiences into a studio-flat, where Hübner submerged in a
bathtub tries to playing various self-built instruments. Such examples thrive on
the immediate tensions that arise between the body, the instrument, the
site and the sound itself. Similarly Hübner’s improv collaborations
literally see the artist ‘sweat’ as he teases out the sounds, which
emerge from his modified instruments.
Hübner’s attention to the sound and its immediate experience within a
space, is also reflected in his subtle understanding of how sound
effects our perception and awareness. Such concepts have been refined in his
more recent sculptural and theater based work where essentially, sound
becomes the main 'character'. These works are an exciting new move,
demonstrating a progression and maturity in Hübner’s work, which he describes as
'sound' for theater but without the actors (or Hübner as performer). Instead
within these works, the sound itself becomes the main character, resulting in
new modes for 'staging' sound whereby the audience can enter into the sound,
fully immersing themselves into its audio attributes. This treatment of
the sound is also reflected in his gallery based installations, within which
Hübner continues to refines such ideas, while all the time retaining a
playful presentation, which demonstrates a commitment to sound in all
its drama, guts and glory.
Teresa Dillon, June 2014
Klaas Hübner performed and played with artists such as Simon Berz, Suzie Whaites, Laurence Tompkins, Tom Verbruggen (Toktek), Utku Tavil, Lysandre Coutu-Sauvé, Marcello Bussato, Rob Cambre, Andrea Lange, Michal Dudek, Kaspar König, Seamus O´Donnell, Markus Stein, Nicole Johänntgen, Aurora Nealand, Trixa Arnold, Helen Gillet, Lena Geue, Martina Lenzin, Panagiotis Iliopoulos, Meredith Nicoll, Adam Thomas, James Singleton, Justin Peak, Martí Guillem, Moose Jackson, Christoph Rothmeier, Martin Krusche, Mark Southerland, Jeff Harschberger, Todd Chandler, Ottó Szabolcs Horváth, Yara Mekawei, Antti Virtaranta, Andrew Schrock, Mike Gamble, Natalie Sandtorv, Dave Dove, Joseph Mitchell, Ted Byrnes, Sandy Yang, Kira Vollman, Marshall LaCount, Mira, Rieko Okuda,Chris Hill, Roland Satterwhite, Tomomi Adachi, Natalie H-P, Nicola Lopez, Magnus Aanestad Oseth, Thiebault Imm, Matthieu Baud, John Mellencamp, Nathan Fuhr, Sam Andreae, Julia Reidy, Laura Weber, Adam Pultz Melbye, Shasta Ellenbogen, Esel durch Wiederholung and the evolotuion control comite among many others
When i was 21 i took off for one year, to do a service in an orphanage in Ghana, setting up an agriculture project for the kids. Planting orange trees, nursing small chickens, taking care of cows and goats, fixing things in the home. Doing some
towing and taxi service with a pick up truck once in a while, to generate income for the kids.
Those shoes, i found by that time on a big open market for used cloth in Accra.
They went along with me that year, nursing the orange trees, feeding the chickens, catching cattle to bring them to the slaughterhouse, playing with the kids, repairing the tractor and finally on my backpacking trip through many countries of West Africa before reaching Berlin via Spain and France.
The impact of my experiences traveling across West Africa by tro-tros, trains, boats and caps, the fact that i could easily pass the Strait of Gibraltar for maybe 35 Euro very easily with a German passport while i met people working their way up through different countries over years, to potentially drown in the waters between the African and the European continent. The contrast of all this to the wild, free and friendly Berlin of that time, left me as a quite confused young man, overwhelmed by this world. Also knowing that my life would take different paths, from now then before.
This shoes where my only pair of shoes then and I wear them as long as i could till the first years of art studies after washing dishes in a corner restaurant on Pappelallee for around 3 years. I fixed them many times. Duck tape and staples accumulated while the shoes fell apart.
The shoes finally ended up in the basement, moved along with me changing flats. I couldn't just dump them. After years of moving, one shoe got lost somewhere and just the right shoe was left. At some point I found a small aluminum cast cyclist on the Arkona flee market, sold by this guy with the bowler and the old cargo bike who sells a lot of interesting metal things. I fixed it on the shoe and thought it fit quite well. I love riding my bike and i like the tension of the materials and imagery of the two objects. The heavy old boot, used and loaded with many personal stories and the quick bicyclist, something shiny and fast moving forward.
When Adam told me about the beginning of museum MAN, the empty flat of this mysterious unknown man. I thought of my arrival in Berlin and the experiences i made. I could even smell the flat while Adam was talking. And when he ask me if i could contribute a work to the museum I knew that this shoe should finally find a better home then coal dust coated basements it was living in for many years.
Klaas Hübner Journal February 2017
The explorers have gone for tea 2014
Brigitte Jurack (born Duesseldorf, 1962) studied at Kunstakademie Duesseldorf, Glasgow School of Art and Chelsea College of Art & Design in London.
As an artist, Jurack looks at the world as it is and tries to make sense of it; her process could be described as picking up what is already out there. The material and non-material outcomes of what actually appears in the studio or exhibition are driven by the desire to create and hold on to the elusiveness of visual sensations.
Jurack has exhibited widely, including Irish Museum of Modern Art (Dublin), European Ceramic Work Centre (Hertogenbosch) and The 3rd World Water Conference (Kyoto). She was the 2002 Henry Moore Sculpture Fellow and was nominated for the 2014 Liverpool Art Prize. She is currently Head of Sculpture at Manchester School of Art, where she is undertaking a practice-based PhD. The research considers the connections between sculpture and play and included a study period at the British School in Athens under a Prince of Wales Bursary.
Jurack is also founding member of the artists' group Foreign Investment who have exhibited in Rio de Janeiro, Kiev, Hong Kong, Oslo, Berlin and the Istanbul and Venice Biennials.
Sarah Johnston is an artist stone carver from Australia living in Estonia and Finland. Her works are based in both small object gemstone carvings and larger stone sculptures. Working with stones as a material concept she then expands into film, installation, wearables and performance. She is interested in technology and stones juxtapositions in timelines; from expanded to instantaneous recordings of our histories, translating to what we long for and desire today.
‘REST’ identifies with a life and death of ‘Vilho’ marked on his stone. His life becomes transient yet the stones expanded timeline goes beyond his own, the material then lends to a symbol of eternity. Associating the soul and presence of a person and attaching this to a material, the gravestone is a representation of a person’s afterlife.
Sarah Johnston 2017
Fundació Joan Miró
on site graphite mural 2017
Prosthetic Forearm 2015
* 1982 in Aalborg, Denmark
Daniel Kupferberg is an artist and infuses curatorial practice within his ongoing dialogue. Daniel Kupferberg has exhibited in Berlin, including solo and group exhibitions in Berlin and Europe.
Northern European language and litterature studies, music and media sciences, Humboldt University, Berlin (DE)
Meisterschüler, UdK-Berlin (DE)
Interdisciplinary Arts with Jaan Toomik, Estonian Art Academi, Tallinn (EE)
Visual Arts studies, Universität der Künste-Berlin, in the class of Rebecca Horn and of Lothar Baumgarten (DE)
FAKB and JUKS art schools, Berlin (DK)
Grafisk Skole, Aarhus (DK)
History of Art, Aarhus University (DK)
....a sculpture made of ceramic and yellow string, 30x15x12cm.
This piece is made of 20 triangles that arranged on a certain manner could build up a convex regular icosahedron. In Timaeus by Plato, the icosahedron is the solid that represents water. I would like with this object to represent the water of the body of the man as such but also in a metaphorical sense. Water with its capacity of evaporation is also here a metaphor for all that was forgotten about this man, all the evaporated memories. This sculpture is a fossil of the water that flowed on the body of this man as well as all the memories that disappeared with him. This piece can be showed in many different ways. You can hang it from the ceiling, from a wall, from the neck or an arm of the man, or just lay it over the body of the man.
Marta Leite Correspondance 2017
Graduated in Sculpture and New Media, at the Universität der Künste Berlin (2010, title: Meisterschüler). Exhibits regularly since 2006, particularly in the following venues: Fabbrica del vapore (Milan); Museu do Neo-realismo (Vila Franca de Xira); CAAA (Guimarães); Altes Finanzamt (Berlin); Temporären Kunsthalle (Berlin); SIM Gallery (Reykjavik); Galeria Trama (Barcelona).
Selected awards and scholarships:
2016 SulcisHUB artist residency
2015 Scholarship Support for Visual Arts, Calouste Gulbenkian Foundation
Mediterranea 17, art biennial for the Mediterranean countries, Milan, Italy
2014 Jovens Criadores 2014 (Young Creators)
2013 Scholarship International Visual Arts Program, Calouste Gulbenkian Foundation
2010 Scholarships from Inov-art
2006 Scholarships for a travel project from Fundació Amigo Cuyás
1st prize of young painting, Fundació Banc Sabadell
Elements of Man 2016/2017
Cyril Lepetit uses various media in his work, including drawing, painting, digital photography, sculpture, sound, installation and performance. Born in Cherbourg in 1970, he studied at Ulster College of Art in Belfast (1993), and obtained his Masters at the Caen Ecole des Beaux-arts in 1995. He then lived in Paris until 1998. Following stays in Taiwan and Japan, he moved to London in 2000 where he now lives and works, exhibiting his work in the United Kingdom and around the world. E-mail: email@example.com Web: cyril-lepetit.com Solo Exhibitions 2014 M:otif (curated by Anne Duffau, A-Z Project), Enclave Deptford, London 2010 Planning Danielle Arnaud Contemporary Art, London 2008 Technotrans (curated by La Valise), Salon du Transport Routier, Labeaujoire, Nantes 2007 Studio visit, Curzon Soho Cinema, London untitled personal exhibition, E:vent Gallery, Bethnal Green, London 2006 Moving in Architecture (Artist’s Studio), Camden Arts Centre, London 2005 Naïve exhibition (curated by Andre Stitt), Trace Gallery, Cardiff 2004 Respectful Infidelity (curated by Gilles Forest), Wharf, CAC Basse-Normandie Prémice Galerie de l’école supérieure d’arts & médias de Caen/Cherbourg 2002 Haloua-Sweets (curated by Mai Ghoussoub & David Medalla), Kufa Gallery, Westbourne Grove, London Biennale 1999 Made in Taiwan (curated by Liu-Yung Hao), Whashang-Art-District, Taipei, Taiwan 1997 Pulsion Partielle (curated by Sylvie Zavatta), FRAC Basse-Normandie, Caen 1996 UP (curated by Yveline Lecuyer), Galerie des enfants, Artécole, Hérouville Saint-Clair
Daily Scripts 2017
Peter Lewis is an artist, curator and writer. He is now Research Fellow at The Leeds School of Contemporary Art and Graphic Design, Leeds Metropolitan University. He previously held posts as Assistant Director of Curating in Fine Art at Goldsmiths College, University of London from 2000-2003, and as Senior Lecturer responsible for Electronically Generated Image, Information and Sound at Kent Institute of Art and Design from 1997-2000. In 2003 he was Chief Curator for the 6th International Sharjah Biennial, United Arab Emirates. His earlier curatorial work includes Host in 1998 at Tramway, Glasgow, an investigation of collaborative practices within the independent scenes of London and Glasgow, developed in part from his involvement in alternative urban scenes, from 1991-1999 under the name of Flag Organisation. Big Blue, a political poster project, was hosted at Tate Modern, as part of Century City, developed as a collective and migratory work, changing according to the contingencies of time and place. (Big Blue was previously staged in Berlin cafés in 1998, co-curated with Francesca Ferguson, and in London on election night in 1997. He collaborated on films and video-works with Runa Islam, representing video artists in group shows and night-club installations from 1992 onward, most recently with Makiko Nagaya for Planet B – Die Ästhetik des B-Movies in der zeitgenössischen Kunst, Kunstverein Bregenz in 2004, a project that was part of Lewis’s continuing work at the Kunstverein Bregenz as a curator since 1997, working with the Chief Executive, Dr. Wolfgang Fetz, on other projects including Gymnasion, Palais Thurn und Taxis, 2001; most recently Go Between at the Kunstverein, 2005). He was invited curator for U.A.E at Sao Paulo Bienal in 2004, and advisor to the Commissioner General, Francesca Ferguson, for the German Pavilion at the Venice Biennale of Architecture. He now directs a continuing programme of curatorial projects at Redux with Makiko Nagaya in London, alongside his research at Leeds Metropolitan University.
The Year of the Rooster
Museum Man 2017
An Ode to the River Thames
Christmas Card 2016
David Medalla (born 1938) is a Filipino international artist. His work ranges from sculpture and kinetic art to painting, installation and performance art. He lives and works in London, New York City and Paris.
Medalla was born in Manila, the Philippines, in 1942. At the age of 12 he was admitted at Columbia University in New York upon the recommendation of American poet Mark van Doren, and he studied ancient Greek drama with Moses Hadas, modern drama with Eric Bentley, modern literature with Lionel Trilling, modern philosophy with John Randall and attended the poetry workshops of Léonie Adams.
In the late 1950s he returned to Manila and met Jaime Gil de Biedma (the Catalan poet) and the painter Fernando Zóbel de Ayala, who became the earliest patrons of his art. In the 1960s in Paris, the French philosopher Gaston Bachelard introduced his performance 'Brother of Isidora' at the Academy of Raymond Duncan, later, Louis Aragon would introduce another performance and finally, Marcel Duchamp honoured him with a 'medallic' object.
His work was included in Harald Szeemann's exhibition 'Weiss auf Weiss' (1966) and 'Live in Your Head: When Attitudes Become Form' (1969) and in the DOCUMENTA 5 exhibition in 1972 in Kassel.
In the early 1960s he moved to the United Kingdom and co-founded the Signals Gallery in London in 1964, which presented international kinetic art. He was editor of the Signals news bulletin from 1964 to 1966. In 1967 he initiated the Exploding Galaxy, an international confluence of multi-media artists, significant in hippie/counterculture circles, particularly the UFO Club and Arts Lab. From 1974 - 1977 he was chairman of Artists for Democracy, an organisation dedicated to 'giving material and cultural support to liberation movements worldwide' and director of the Fitzrovia Cultural Centre in London.
In New York, in 1994, he founded the Mondrian Fan Club with Adam Nankervis.
Between 1 January 1995 and 14 February 1995 David Medalla rented a space at 55 Gee Street London, in which he lived and exhibited. He exhibited seven new versions of his biokinetic constructions of the sixties (bubble machines; and a monumental sand machine). These machines were constructed after Medalla's original designs, by the English artist Dan Chadwick. The exhibition also featured large-scale prints of his New York 'Mondrian Events' with Adam Nankervis, and five large oil paintings on canvas created by David Medalla in situ at 55 Gee Street. Another important feature was a monumental animated neon relief entitled 'Kinetic Mudras for Piet Mondrian' constructed by Frances Basham using argon and neon lighting after Medalla's original idea and designs. Medalla also invited artists to perform at the space.
David Medalla has lectured at the Sorbonne, the École des Beaux-Arts in Paris, the Museum of Modern Art of New York, Silliman University and the University of the Philippines, the Universities of Amsterdam and Utrecht, the New York Public Library, Simon Fraser University in Vancouver, Canada, the Universities of Oxford, Cambridge, Canterbury, Warwick and Southampton in England, the Slade School of Fine Art, St. Martin's.
David Medalla was the founder and director of the London Biennale in 1998, a “do-it-yourself” free arts festival, with International co-ordinator Adam Nankervis.
Medalla has won awards from the New York Foundation for the Arts and the Jerome Foundation of America.
Medalla is in the permanent collection of TATE Modern UK, Arts Council England, National Museum Manila Phillipines, Ateneo Museum Manila Phillipines, Singapore National Gallery, QAGOMA Australia, Aukland City Art Gallery New Zealand, Inhotim Brazil, Reina Sofia Madrid and private and public collections worldwide.
I Heard A Fly Buzz
should the world break in II
found another vacant space.
Adam Nankervis is an artist and curator who has infused social, conceptual and experimental practice in his lived-in nomadic museum, museum MAN, and his ongoing project ‘another vacant space.’. His immersion into the experimentation of social sculptural forms and aesthetic collisions are a trademark of his art.
His ongoing project ‘another vacant space.’, re-manifested in Berlin, Wedding in 2011, since first being found in an abandoned shoe shop on Mercer Street NYC in 1992. The project focuses on the re-emergence of the hidden in subject, content and theory, the ephemeral, exploring the art of creative destruction and reconstruction, inviting both contemporary artists and the historical.
His curatorial practice is infused within his own projects, and singularly, Johannesburg Biennale 1997,curated by Okwui Enwezor and Gerardo Meesquera, LIFE/LIVE Musée d’Art Moderne de la Ville Paris, curated by Hans Ulrich Obrist, Los Angeles Biennale 2001, curated by Koan Baysa, Museum MAN/ Blurprint of The Senses Liverpool Biennale, 2004/ 2006, aFoundation and Arts Council England. Centro Cultural Palacio de la Moneda, Santiago, Chile, curator, Isa Garcia. A Spires Embers, Arsenal Kiev 2009,’ iIsolation’, Izolyatsia Donetsk, Luba Mikhailova, Ukraine 2010, A Wake, Dumbo Arts Center, NYC November 2012.
Nankervis, in collaboration with David Medalla, formed The Mondrian Fan Club, & is the International Coordinator of the London Biennale 2000–2016 which was founded as a free-form artist initiative.
Alwin Reamillo is an interdisciplinary artist living and working between Australia and the Philippines. He started a degree in painting at the College of Fine Arts, University of the Philippines but did not graduate and began his career as a lecturer in visual arts at the Philippine High School for the Arts. After migrating to Australia in 1995 he was admitted to the Master of Fine Arts program at the Western Australia School of Arts due to his work and continued practice but without holding a Bachelor’s degree.
Reamillo became interested in the ideas of mobility, memory and exchange. His practice – ranging from painting, photography, collage and sculpture to mixed media installations to performance and shadow puppetry - is fundamentally rooted in the notions of mobility, trans-cultural movement and collaboration. Artist’s use of mobile elements and crafts reflect his ideas around travel, migration and cultural identity. Expanding on the Beuysian concept of ‘social sculpture’, Reamillo continues to create sculptures that allow movement, dialogue and exchange as well as engages himself in cross-cultural collaborative projects.
Alwin Reamillo has participated in established international shows such as the Venice Biennale (as part of artist duo Reamillo and Juliet, 1995), Havana Biennale (1997) and others.
Reamillo studied painting at the University of the Philippines College of Fine Arts. He started his career as a visual art teacher at the Philippine High School for Arts.
Solo exhibitions: “P.I. For Sale”, Hiraya Gallery, Manila, Philippines (1994), “Semena Santa Cruxtations or how to gobble sideways”, Cultural Center of the Philippines, John Batten Gallery, Hong Kong, “24HR Art/Northern”, Territory Centre for Contemporary Art, Darwin (2001), “Ang Viand (MacKilling Me MicroSoftly with E-saw)”, Tambayang Makiling Artspace, Manila, Philippines (2004), “Emo + Mag-himo Grand Piano Project (Manila)”, Cultural Center of the Philippines and the Galleria Duemila, Pasay City, Philippines (2007), “Thuringowa Helicopter Project”, Pinnacles Gallery, Riverway Arts Centre, Thringowa, Queensland (2007), “Nicanor Abelardo Grand Piano Project (Prelude)”, Jorge B Vargas Museum + Filipiniana Research Center, University of the Philippines, Manila (2008), “Playing By Ear (Oido)”, Gallery East, North Fremantle, Western Australia (2008), “Alwin Reamillo - Re Played By Ear”, Artinformal, Mandaluyong City, Philippines (2011).
Dirk Sorge studied Fine Arts at the Berlin University of the Arts and at the Sydney University of the Arts in Sydney, Australia, graduating as a Masterclass in 2011. At the Technical University of Berlin, he studied "Culture and Technology" (BA) with the core topic of philosophy To 2012 and spent a semester abroad at the Zhejiang University in Hangzhou, China. He is currently enrolled in the master's program "Philosophy of Knowledge and Science" and has been working as a student assistant in the BMBF project "Anthropofakte" since 2013. He is a volunteer of the blind and visually impaired in Berlin and works as a visual artist.
Electronic vision prostheses
2027 blindness is cured. The natural eyes of the blind are replaced by spectacle-shaped digital cameras, which are connected with the optic nerve and thus transmit video mobile phones to the visual cortex. The camera players are high-resolution, colorful and crisp and contain additional information about the environment in text form. Through the digitalization and the complete networking of the visual prostheses the pictures can also be sent directly to friends and acquaintances as Livestream.
The "sad service" of the fork
The public view of the topics of prosthetics and disability is characterized by media reports on paralympic superathletes, physically handicapped models and cyborgs, which have changed from the future visions of the 80s to our contemporaries. The present object, the fork knife, draws attention to a much less spectacular aspect of prosthetics, namely the annoying coping with everyday life.
St. & St.
St. & St.
"About the determination of intangibility“ (2017)
St. & St.
St. & St. is the name of the artist team Stephanie Gerner and Stephan Halter and was founded in 2009. Both were born in 1977 in Germany and are living and working in Berlin.
In their work St. & St. explore hierarchic and buerocratic systems and standardization as well as stereotypical thinking that are all based on communication or the lack of it.
For that reason they don´t confine themselves to a certain technique or media and always integrate the location as part of their work. In their videos and installations St. & St. often use punched dots and shredded files as a symbol to question the transfer and transformation of information in our society.
St. & St. showed in various locations such as: The Foundry, London, UK (2009), 1st Ural Industrial Biennal, Ekaterinburg, Russia (2010), Dumbo Art Festival, New York, USA (2010), Gallery of Literature Museum, Tblisi, Georgia (2011) and several other venues in Germany and worldwide.
Stephanie Gerner and Stephan Halter also work as solo artists for several years and exhibited in Germany, Bulgaria, Ukraine, UK, USA, France, Russia, Italy and Japan.
Hand of Cards 2017
Ivor A Stodolsky is a curator, writer and theoretician based in Finland, Germany and France. His engaged curatorial practice is informed by his theoretical work at the intersections of art, politics, history and philosophy, resulting in thematic projects with exhibitions, conferences, residencies and events internationally. He is also the the editor of related publications and films. Recent projects include The School of the Displaced (Kyiv Biennial 2015), Pluriculturalism (Moderna Museet, Malmö), The Square (a pre-mondial newspaper), Back To Square 1 and To The Square 2 (Checkpoint Helsinki), the 4th Roma-Gypsy Pavilion (Cineromani, Berlin), Re-Public (Urb Festival, Kiasma, Helsinki), Re-Aligned Art from Russia, Ukraine and Belarus (Tromsø Kunstforening), Re-Aligned/Media Impact (Moscow Biennale) as well as many other Perpetuum Mobile projects.
Perpetuum Mobile is a curatorial vehicle he founded together with Marita Muukkonen in 2007. Ongoing larger-scale umbrella-projects include the Re-Aligned Project (with over 9 iterations in several countries), the Perpetual Pavilion (including the 2nd and 4th Romani-Gypsy Venice Pavilions), Residencies for Artists at Risk (Fresh Air/HIAP), Perpetuum Labs (BAC Visby, Helsinki), The Arts Assembly (Manifesta 8, Beaux Arts Paris, CAFA Beijing, Ekaterinburg, etc), SINO-FI (Finland/China) and the Outside Insiders Project (Moderna Museet, Malmö). Most recently PM launched The School of the Displaced at the Kyiv Biennial 2015.
Ivor Stodolsky holds a BA in Philosophy and Mathematics from Bristol University, an MRes from the London Consortium (Birkbeck, Tate, ICA, BFI and AA), and was a researcher at the Aleksanteri Institute, Helsinki University, a base for his field research in St. Petersburg, Russia. He continues to develop his theoretical work in cooperation with academics and independent thinkers.
From early in life, Ivor Stodolsky has been close to movements in poetry, music, film and art. He has been active in artistic movements in Munich, London, St. Petersburg, Vienna, Prague, Helsinki and Berlin. Associate Editor of the op-ed syndication service Project Syndicate (www.project-syndicate.org) for some years, he returned to academic research in 2003. He has been an active curator since 2007.
Estela Sokol was born in 1979, São Paulo, city where she lives and works. Through the combination of relatively antagonistic materials such as marble and acrylic, PVC blades and wooden chassis, the artist has been developing a comprehensive research on color, light and its presence in space, works that often appear as painting or sculpture.
She has made several exhibitions in the last years, of which they stand out: GELATINA, Anita Schwartz Gallery of Art, Rio de Janeiro, Brazil, If the desert were orange, the thing would be pink, Taipa Museum, Macau, China, 2012; Frames and Sculptures, Zipper Gallery, São Paulo, Brazil, 2012; Secret Forest, Gallery 32, London, England, 2011; Licht Konkret, Galerie Wuensch, Linz, Austria, 2011.
Anja Teske (b. 1964, Minden) studied Fine Art with Heinrich Riebesehl at the Hochschule Hannover as well as in St. Petersburg and at the Slade School of Fine Art in London, where she took her MA in Media. Her works are portraits of persons and spaces in the outer and inner sphere. The examples presented are Juwelia alias Stefan and Werner Unverzagt. Juwelia combines facets of life such as identity, love, individualism, artwork-man; a person who questions her identity permanently and is forced to create it anew. Werner Unverzagt, the last of the Unverzagt Family, lived 12 years in his hotel „Villa Balzer“ without any guests until his death; but being prepared for guests every minute. The hotel reflects the history of the last 150 years. A recipient of several awards like the one-year Schloss Balmoral grant, the Lower-Saxony Art Prize for Young Artists, the Jean Spencer Award, advancement from Berliner Senat, she exhibited extensively in Germany, Austria, Spain, Denmark, USA and her upcoming show „Du/You” is at Fotogalerie Wien. Recently she has worked in residency programs in China and Island. Anja Teske currently lives and works in Berlin, Germany.
Alma Tischler Wood
Alma Tischler Wood
Left Hand 2017
Alma Tischler Wood
Alma Tischler Wood's practice is abstract painting, occasional videos and Foreign Investment, the international artist group based and founded in the UK. Alma was educated at the Academy of Fine Art in Munich (MA 1986) and had solo exhibitions in Europe and the USA. She lives and works in London.
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Inside Man 2017
Born by the Mediterranean in the 70s, Valérie Vivancos, aka Ocean Viva Silver, sailed the Anglo-Saxon artistic and musical undercurrents for 11 years. Her travels have lead her to the ports of Liverpool, San Francisco, New York and Rio amongst other auspicious locations for drifting and performing. Her practice is focused on composition protocols that interweave life and fiction and collecting “curious” experiences.
The Innocent Soul 2017
Deborah Wargon received her diploma in music at the Victorian College of the Arts, Melbourne, Australia. He then received a scholarship from the Stuttgart Academy and an MA in Scenography at St. Martin's London & Hogeschool voor de Kunsten, Utrecht, the Netherlands. As a violinist, she has worked in several orchestras in Australia, Israel and Austria, as a composer she has worked for several productions at the Grant Street Theater in Melbourne.
Since 1989, she has been composing and working at several German-speaking theaters, including: Theater am Goetheplatz, Bremen; Theater of the West, Berlin; Cologne theater; State Opera Hamburg; The Vienna Volksstheater; Landestheater Linz; Thalia Theater Hamburg; Dojo Theater Bern; La Comedie de Saint- Etienne, France. Since 2002, she also had exhibitions in Berlin, London and San Francisco.
Foundacio Joan Miro Barcelona
curator: Antonio Ortega
should the world break in II
the anatomy of man 2017
Museum MAN was first conceived in 1996 and properly established in Berlin 1997. In a former DDR apartment, where Nankervis had moved. Inside he found the flotsam-jetsam of an elderly man who had passed away in the apartment some time before. The photographs, books, personal items and various paraphernalia, discarded recklessly, were buried like a Pompeian ash pile underneath years of coal dust. Coal was burnt in every home and apartment in East Berlin. Yellow and viscous dust inches deep covered this mans mysteries. Through these found relics of an anonymous (by Nankervis´s choice), this man, his life, his remnants, his personal paraphanelia, a history of a city was revealed, broken into a puzzle, piled like the filled skips of the abandoned city outside. Clue led to clue led to a decades of absence. Until a year later when access to the cellar was gained, there to be found again in boxes of discarded photo albums, and more paraphanelia. A history within a history of every man Berlin was unravelling.
Once established,as a museum in defiance of the burgeoning gentrification of the area Prenzlauerberg, Museum MAN the location, the now rehabitated apartment, was left untouched but its contents were archived, images splayed on the wall were intervened by the artists own habitation, who saw the space as a potential of an exhibiting space for younger, established, unknown artists. An experiment in intervention in art as a democratic form of expression. Orchestrated but not curated. Berlin at that time had few established galleries, and artists by impulse were creating works in borderless states. This kernel, this model blossomed within the destruction of the old town. Berlin was an oasis of abandoned potential. A camouflaged habitation in the ruins as most of East Berlin at that time, and potential was unrestricted and formless in the areas brokenness.
Soon Museum MAN, being an invitational space, the model, not by design, became a meeting place from artists, musicians, performances all contained in this broken concrete 60square metre block. Its success of inclusionary, democratic form was invited to Liverpool under the vision of James Moores, and the aFoundation for the Liverpool Biennale 2004/2006. Museum MAN, then continued to travel nomadicly from New York, Copenhagen, Santiago to Valparaiso, Kiev and a return to Berlin. The invitation and the open invitational saw some exhibitions include and involve over 500 artists in Liverpool with the project BLURPRINTS, to the more intimate exhibitions, performances of theatre groups, and VJ´s, bands and poets, musicians and historians all over the world.
In synchronicity with the 20th anniversary of Museum MAN, Museum MAN ''When The world Breaks In II", to be exhibited at Miró Foundation Barcelona in February 2017 curated by Antonio Ortega in the exhibition autogestión.
Due to spatial constriction, the idea that has haunted me personally, due to a certain restriction in an expansive and all inclusive project, in one particular space, is contained in the following proposal:
The concept is to replicate the figure of the man in Museum MAN, in sculptural form, like the jigsaw of elements of flotsam jetsam the museum was founded on,as the artists would picture him as whole but by submitting the anatomy of man, or to be more precise, an element of the anatomy of the man. A literal undertaking of a 5' 10'' man laying prostate in space. A homage made collectively, and exhibited at the Miró Foundation Barcelona. As inclusive as this project is, if interested in this more intimate and unique proposal from Museum MAN, a part of the anatomy, clothing, paraphanelia that can be part of this very intimate construction, please contact me, with ideas both of content and material. The base foundation will be clay and wax, but artists are free to choose which part of the man they would want to construct as an independent art work, but within keeping of making up a whole, with the possibility of his atomising into space. An absence of work, an intangible idea, will also be included as in the past, remaining true to the ethos and history of the museum. It remains in the artists´ hands the contributions to be made. One of the cornerstone philosophies of which Museum MAN was constructed.
Foundacio Joan Miro Barcelona
should the world break in II
the anatomy of man 2017
*with many thanks and gratitude to all participating artists
continuing to be updated
more images/ uploads of installation and artist`s individual catalogue to be posted Saturday 18 February 2017 onward
photos- a.n 2017
The Minus Objects. Struttura per parlare in piedi [The Minus Objects. Structure for speaking standing up], 1965-1966
*temporarily hosting as museumman.org is under renewed construction