GAIA GALLERY ISTANBUL

GAIA GALLERY ISTANBUL
YVES HAYAT PASSION(S)
Openning : Fr, 13. November 2015 | 6-9 pm
Opening: FRIDAY, 13. NOV 2015
in association with Mark Hachem Gallery
Exhibition: 13.11 – 12.12 2015
http://www.gaiagallery.com/#!blank/c1q05
http://www.hayat-art.com/
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YVES HAYAT
Originally from Egypt, Yves Hayat first developed his aesthetic sensibilities living in a country enriched with history and cultural diversity. Art was his first love. In 1956, after the Egyptian Revolution, Hayat left for France. For five years, he studied Art at the Ecole Nationale des Arts Décoratifs of Nice. In 1973, Hayat chooses to go into advertising and marketing, which led him to open his own agency. The creative trade captive Hayat. His experience in the field also enabled him to discover and learn to use new forms of technologies, and to master his techniques. In the 1990s, equipped with those skills, he decided to return to the Art and rediscovers the old masters, photographing people, the streets, society products, museum paintings and recuperating magazine and web images which are carefully classified. Hayat is a perfect example of his time: an open mind on society, its streets, its media, its internet. While running his successful advertising business, he starts to show his artwork in galleries. Soon, his art activity took precedence over his profession, which he stopped in 2002.

Although Yves Hayat does not consider himself as a painter, photographer or designer, he is widely known as a “plasticien”, an untranslatable French term that refers to an artist who puts the meaning of his work to the fore and uses all the various media artistic expression, all the techniques and supports to express it.
Yves Hayat explains : “I admit that I’m more interest in manipulating reality than in recording it. My artwork between photography, installation and “Figuration Narrative” proposes visions where theatricalization is a part of the project. I am a total visual consumer: I film, download, scan, retouch…. as the director of a new reality. Using superimpositions, shifts, misappropriations, I confront past and present, beauty and horror, luxury and violence, indifference and fanaticism. Through a questioning about the art/ politic/ media relations, I try to conceive a critical art work where the attraction for the culture of media, cinema and advertising shows through. Using modern techniques, my work proposes a report of what our history and our society have thought, generated, transformed, destroyed… while always keeping in mind that when the work of Art creates unrest, it evacuates the common place”.

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As François Birembaux wrote, YVES HAYAT belongs to that category of remarkable artists who have something to say and who says it with such talent that they stamp their impression on the art of our time. His works, modern, contemporary, are however the product of a deeply classical culture. Thanks to all the techniques which belong to our time: photography, superimposition of images, etc…. he creates an original work rooted in the human cultural heritage but which, through the strength of its subjects, conveys every dimension of our era.

Through a strictly artistic approach, Yves Hayat expresses a philosophical thought, not in complicated words but by speaking to our senses, in a clear, untortured way. He presents the essence of our human condition and of our time, bringing out its distinctive characteristics and its violence (…)
The originality of Yves Hayat’s works lies in the amalgam of artistic perception with the images from a communication and information based society. The titles he gives to his works (Business must go on, Parfum de Révolte, the Icons are Tired, The Shadow of your smile …), utterly high jacked advertising slogans, have the effect of giving a meaning to the pollution of our everyday lives. They reveal our identity and display our own brand. Not a celebration of barbarity, but rather the fascination created by human ambivalence (…).

EXHIBITIONS :

Since 2006, Yves Hayat exhibited for solo shows in: Paris, Vienna, Cologne, Geneva, Brussels, Greece, Kuwait, Beirut, Monaco, Cannes, London & New York

and in institutional places such as Paris City Hall, Venice (Palazzo Bonvicini, Biennale 2013 and Vitraria Glass+A Museum in 2014-2015), Alliance Française of Montevideo, Docks of Marseilles, Sigmund Freud Museum Vienna, Klosterneuburg Monastery Vienna,…

He was also presented on several international art Fairs :
Scope Basel, Art Beirut, ArtFair Cologne, Art Southampton-New York, Contemporary Istanbul, Art Stage Singapore, Scope Miami, Art 14 London, India Art Fair, FotoFever Paris, Art Miami New York,…

All details on
www.hayat-art.com

PRESS BOOK
http://issuu.com/hayatartist/docs/hayat_mark_hachem_gallery_press_boo
CATALOGUE 2014
http://issuu.com/hayatartist/docs/catalogue_hayat_galerie_mark_hachem
SHOWS
http://issuu.com/hayatartist/docs/yves_hayat_shows_2001-2015

UCCA Haegue Yang

UCCA
Ullens Center for Contemporary Art
Haegue Yang
Come Shower or Shine, It Is Equally Blissful

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Opening: 29. Oct 2015 | 5 pm
October 30, 2015–January 3, 2016
798 Art District  No. 4 Jiuxianqiao Road,
Chaoyang District  100015 Beijing China
http://ucca.org.cn/en/exhibition/haegue-yang-2/

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Haegue Yang, completed with OK-RM, Eclectic Totemic, 2013.

Digital color print, dimensions variable. Courtesy the artists.

From 30 October 2015 to 3 January 2016, the Ullens Center for Contemporary Art (UCCA) is pleased to host the first solo exhibition in China of Haegue Yang. “Haegue Yang: Come Shower or Shine, It Is Equally Blissful” includes the artist’s major works from 1994 to the present with newly commissioned sculptural installations. Through the Lobby, Nave, and Central Gallery, viewers navigate the plurality of Yang’s unique visual language, a landscape of material hybridity—spices, Venetian blinds, clothing racks, synthetic straw, Choco Pies, bells, graph paper—torn, lacquered, woven, lit, and hung. Here, Yang attempts to stage diverse narratives of nameless subjectivities in a syncretic mode of abstraction and figuration that does not seek a balance between the two.

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National Pavilion of Mauritius

National Pavilion of Mauritius @Venice Biennale
Palazzo Flangini in Venice until the 22nd of November
Current: From One Citizen You Gather an Idea
National Pavilion of Mauritius, 56th Venice Biennale
(Co-curator & participating artist),
Palazzo Flangini, Cannaregio 252,
Venice, 6.05 – 22.11.2015
Bildschirmfoto 2015-10-31 um 17.05.05

Here the citizen does the talking about the country himself; the stranger is not asked to help.

You get all sorts of information. From one citizen you gather the idea that Mauritius was made first,

and then heaven; and that heaven was copied after Mauritius. Another one tells you that this is an exaggeration…

[Mark Twain, Following the Equator, 1897]

Olga Jürgenson

HELPING YOUNG REFUGEE FAMILIES SURVIVE

WINTERRICE: HELPING YOUNG REFUGEE FAMILIES SURVIVE

WINTERRICE – 100 PORTS IN A STORM
RAISING AND DISTRIBUTING SURVIVAL KITS FOR YOUNG REFUGEE FAMILIES IN GREECE
An Initiative of R.I.C.E. (REAL INSTITUTE OF CIVIC ENGAGEMENT)
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We are a group of international artists based in Greece. On islands nearby,
refugees, including babies and children, are suffering unimaginably in the wet and cold.
It is unbearable. We have to do something constructive together. We have decided to
activate our platform and network for DIRECT ACTION NOW.
JOIN WINTERRICE BY CONTRIBUTING
read/watch about the situation here:


https://www.indiegogo.com/projects/winterrice-helping-young-refugee-families-survive#/

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What We Need 

ALL OF US will raise the money to buy 100 emergency kits for winter compiled for YOUNG FAMILIES AND PREGNANT WOMEN in dire straits (Refugees are often forced to abandon all of their belongings during the crossing).

EACH KIT CONTAINS REUSABLE ITEMS
Quality waterproofed dry-bag (see bottom),  3 people light weight pro storm shelter (see below), 4 reusable emergency sleeping bags , 4 ponchos (2 adult, 2 child), a 1L thermos, insulation mat, pack of 4 lighters, windup flashlight (led), 2 vitamin packs (1 adult, 1 child), 4x emergency nutrition food portions, 4 hats (2 adult, 2 child), basic first aid kit,  Children Identity bracelets, 1 lightweight but warm blanket. Additionally prenatal vitamins will be provided to pregnant women.

100 EUR will buy ONE family kit (wearable as a light-weight rucksack) that will raise the chances of survival for babies, children and parents during their transit. You can put a personal message (and/or a phone number if they pass through the town you live in) in the kits you sponsored.

Our Promise

We are experienced in organizing things. In fact, we have lots of experience in organizing things and people. We are equally good in getting expert advice and listening to it.  We are in contact with various support groups on different island and will be coordinating our efforts carefully to maximise the impact of your kits. There is no time to wait!

  • the money raised will be used purchasing the most necessary items in bulk at a very good prices.
  • We will then bring your kits to the Greek island where they are most needed at that time.
  • We will take it there ourselves and distribute them directly to young families before the end of the year. We will not be paid for our time, effort or personal expenses.
  • We will keep everyone informed on the process vial email and Facebook.
  • We will update our strategy if it makes sense to do so.
  • The sooner we reach our goal the sooner we get going.

Other Ways You Can Help

You might not be able to contribute cash but that doesn’t mean you can’t help:

  • find links regarding cheap purchases of listed items
  • identify additional, useful l items to add to the kit and send them to us
  • raise items in your neighbourhood and send them to us.
  • help gathering things in Athens
  •  help distributing kits in December on one of the Greek islands
  • become an official ambassador of this campaign actively encouraging others to contribute (we would add you as a team member on this website).
  • share this campaign with your friends.
  • share this campaign with everyone else too.
  • do you speak arabic? If so, let us know.
contact@riceonhydra.org
ABOUT RICE
R.I.C.E. is a cultural initiative based on Hydra, Greece. Founded in 2013, it is dedicated to exploring the choreography of humans. R.I.C.E. aims to envision human relations (personal, political and social) with the sensibilities of an artist, poet, dancer. It is a loose collective of individuals  that include well-known as well as emergent national and international artists and thinkers. By contributing to this campaign in any way you can consider yourself part of this initiative.
ABOUT CONTRIBUTING
We had to launch this campaign in Dollars instead of Euros as it the only reliable way to enable your contribution via credit-card. Otherwise we would have had to depend on Paypal which recently suspended its operations in Greece and we could not have accepted contributions from within Greece. Despite paying in Dollar your European account or credit-card will be charged in EUR at the daily conversion rate.
PLEASE NOTE: WE ALSO ACCEPT RELEVANT DONATIONS IN KIND AND DIRECT CASH DONATIONS (WHICH WILL BE LOGGED ONLINE FOR YOU TO SEE) TO ANY OF THE R.I.C.E. TEAM!

Kunstraum am Schauplatz

Kunstraum am Schauplatz
ANDREA BOŽIĆ & JULIA WILLMS
Spectra: Light Like a Bird, Not Like a Feather
Eröffnung: Freitag, 6. November 2015, 19 Uhr
Opening: Friday, November 6th 2015, 7pm
Ausstellung: 7. – 26. November 2015
Exhibition: November 7th – 26th 2015
Praterstraße 42 / Hof 2
A-1020 Wien, Vienna
http://www.artfoundation.at

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Spectra ist ein nomadisches, langfristiges Projekt von Andrea Božić und Julia Willms | Tilt. Die Orte, in denen Spectra in Erscheinung tritt, werden Teil des Organismus, werden Teil des Kunstwerks. Spectra schafft Raum für eine spezifische Art der Wahrnehmung. Das Projekt in Wien ist eine der ersten Manifestationen der Serie. Für die Dauer des Projekts wird der Kunstraum am Schauplatz zu Spectra: zu einem Raum, in dem das Wissen, wo wir uns befinden, vorerst ausgesetzt wird.

Die Manifestation in Wien ist eine Kollaboration mit dem Ort, der Natur, dem Nachthimmel und eine Übung in Aufmerksamkeit: eine Passage durch Räume, Innen ist Aussen ist Innen. Light Like a Bird, Not Like a Feather.

Spectra ist die Fortsetzung von Božićs’ und Willms’ Auseinandersetzung mit den Auswirkungen von Aufmerksamkeit und Imagination, Auffassung von Präsenz, Betrachtung als politischer Akt, Darstellung der Realität und Distribution von Urheberschaft. Ihre Arbeiten reorganisieren die Wahrnehmung: Konzeptionelles, Sensorisches und Physikalisches wird kombiniert und in paradoxe Beziehungen zueinander gesetzt. Alle Arbeiten sind Teil grösserer Konstellationen und sind eine Kosmologie in Entwicklung.
* TILT ist eine in-disziplinäre Plattform gegründet von Andrea Bozic, Robert Pravda und Julia Willms, um künstlerische Praxis und künstlerisches Denken jenseits disziplinärer Grenzen zu fördern und zu inspirieren.

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http://www.andreabozic.com
http://www.willmsworks.net

https://www.facebook.com/events/947727025289749/

KLIMT/SCHIELE/KOKOSCHKA UND DIE FRAUEN

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Unteres Belvedere
KLIMT/SCHIELE/KOKOSCHKA
UND DIE FRAUEN
Presse: Mittwoch, 21. Oktober 2015 | 10 Uhr
Eröffnung: Mittwoch, 21. Oktober 2015 | 19 Uhr
Es sprechen
Agnes Husslein-Arco, Direktorin des Belvedere
Jane Kallir, Kuratorin
Alfred Weidinger, Kurator
Ausstellung: 22. Oktober 2015 – 28. Februar 2016
Rennweg 6, 1030 Wien
http://www.belvedere.at/de/

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Am Anfang des 20. Jahrhunderts stellten weitreichende gesellschaftliche und wirtschaftliche

Veränderungen sowie eine gedankliche Neuorientierung die traditionellen Geschlechterrollen infrage.

Die zunehmende Gleichstellung von Mann und Frau rief hierbei einerseits heftige Gegenargumente hervor –

beispielsweise vom populären Theoretiker Otto Weininger. Andererseits kann die sexuelle Befreiung aber

als ein gemeinsames Ziel betrachtet werden, da sowohl bei Männern als auch bei Frauen der Wunsch bestand,

aus den moralischen Zwängen des 19. Jahrhunderts auszubrechen. Das relativ freimütige Bekenntnis

zur sexuellen Lust auf männlicher und weiblicher Seite versetzte die österreichische Kunst des frühen 20. Jahrhunderts in Aufruhr und erfüllte die Werke der führenden Künstler des Landes mit einer Mischung aus Grauen und Begeisterung.
Gustav Klimt, Egon Schiele und Oskar Kokoschka näherten sich der damals allgemein als „Frauenfrage“ bezeichneten Thematik jeweils auf eigene Art und Weise, wobei es auch zu Überschneidungen kam. Klimt/Schiele/Kokoschka und die Frauen geht diesen Unterschieden und Gemeinsamkeiten auf den Grund und liefert dabei neue Einblicke in die Geschlechterbeziehungen des frühen 20. Jahrhunderts sowie in die Ursprünge der modernen sexuellen Identität. Die sowohl chronologisch als auch thematisch gegliederte Ausstellung konzentriert sich dabei auf vier Hauptthemen: auf das Porträt, das (Liebes-)Paar, die Mutter und das Kind und den Akt.

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Egon Schiele, Die rote Hostie, 1911
Aquarell und Bleistift auf Papier
48,2 x 28,2 cm

Es ist wohl nicht weiter verwunderlich, dass Klimts kostbare, elegante und in leuchtenden Farben ausgeführte Porträts bei den Damen der Wiener Gesellschaft regen Anklang fanden. Doch die individuelle Persönlichkeit der Dargestellten ließ der Künstler beinahe vollkommen hinter die reich ornamentierten Oberflächen zurücktreten. Schiele und Kokoschka kehrten diese dekorative Formel um, indem sie ihre Modelle in eine bildnerische Leere stießen. Damit erzwangen sie eine Konfrontation mit existenziellen Ängsten, die hinter Klimts Horror Vacui verborgen geblieben war. Der damals herrschenden Auffassung zum Trotz, dass Frauen keine Seele hätten, prägten Schiele und Kokoschka damit eine neue, moderne und psychologischen Fragen nachgehende Porträtmalerei.

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Gustav Klimt, Goldfische, 1901/02
Öl auf Leinwand 181 x 67 cm

Auch das Motiv der Mutter mit dem Kind, eines der ältesten Bildthemen der westlichen religiösen Kunst, wurde unter dem Druck der Sexualpolitik des Fin de Siècle einer Wandlung unterzogen. In der allgemeinen Vorstellung kategorisierte man Frauen als „Madonnen“ (keusch und mütterlich) oder „Huren“ (sexuell unersättliche Räuberinnen). Klimt und Schiele unterwanderten diese Dichotomie, indem sie Akte von Schwangeren und nackte Mütter zeigten. Damit stellten sie eine ausdrückliche Verbindung zwischen Mutterschaft und weiblicher Sexualität her. Kokoschka hingegen scheint tatsächlich der Auffassung gewesen zu sein, dass die Mutterschaft eine Frau von sexueller Promiskuität „heilen“ könne. Er wabesessen von dem Wunsch, mit seiner Geliebten Alma Mahler ein Kind zu zeugen, und stellte sie in seiner Kunst wiederholt allegorisch als Jungfrau Maria dar.

“People I Met “

“People I Met ” 
project by Miki Kratsman
developing for the past 5 years.
What happened to the people in the photographs
?ماذا حدث للناس في الصور |

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ميكي كراتسمان هو مصور الذي يغطي الصراع الفلسطيني الاسرائيلي منذ 1986. هذه الصفحة مهداه الى مشروعه الحالي، لمتحف بيبادي بجامعة هارفارد، التي تركز على الشهيد الفلسطيني.

Miki Kratsman is a photographer covering the Israeli-Palestinian conflict since ’86. This page is dedicated to his present project for Harvard University, that focuses on the Palestinian Shahid.
اضغط هنا لقرائة المزيد >> Read More

في كل سنوات عمله (بالاضافة الى عمله المشترك مع جدعون ليفي في مقالتهم في صحيفة “هأرتس” )، كراتسمان التقط صور ل’ناس عاديين’ الذين كانوا فقط في الجوار او في المنطقة الذي كان يلتقط فيها صور لحدث ما. كجزء من بحثه، يحاول كراتسمان ان يعرف ماذا حدث لهؤلاء ’الناس العاديين’، الناس الذين عن طريق خطأ ظهروا في الصور. ماذا كانوا يفعلون هناك، اثناء اطلاق النار؟ ماذا حدث لهم منذ الحدث؟ وهل اصبح احدهم شهيداً؟

أي تعليق أو أي نوع من المعلومات هو موضع ترحيب.

شكراً على مساعدتكم, وليحل السلام على منطقتنا.

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In all the years of Kratsman’s work (including co-operating with Gideon Levy on their column “Twilight zone” in Haaretz newspaper), he captured many ‘regular people’ who just happened to be around the event he was shooting. As a part of his research, He is trying to find out what happened to those ‘regular people’, the ones that by chance appeared in the photos. What were they doing there, at the day of the shoot? What happened to them since? Did any one of those people died in the conflict and became Shahid?

Any comment or any kind of information is welcome.

Thank you for your help, and may peace arrive to our region.
Webseite
http://bit.ly/Kratsman_CheloucheGallery
https://www.facebook.com/kratsman.people.i.met?__mref=message_bubble

Bildschirmfoto 2015-10-07 um 10.17.40

Miki Kratsman’s images at the exhibition (Time After Time) are taken from his Facebook page (Miki Kratsman: People I Met); Kratsman “cuts” portraits of non-combatants in the occupied territories from his photographic archive, and uploads them to his “page”. ‘What has become of them?’ He asks his Facebook audience. The answers vary; some of these non-combatants have already died: wanted, by-passers, shot with precision (target killings) by employing some of the most advanced military technology that differentiates between one and the other, or in any other conflict-related situation. Some of them are still among us. Kratsman’s politics are there, of course. But Kratsman’s course has additional motives. To my knowledge, Kratsman is writing a story about ‘representation’ and its fate. I use the word fate for a good reason. ‘Happened’ is a word that could mediate the banal next to the tragedy. Indeed, while bearing in mind the objectives in the photographs, it is photography in a violent and difficult place. The photographs are ‘bad’, ‘cutout’, ‘taken by’, and ‘pasted on’. They are kind of an insult to the sharp and bright fetishism of photography as we know it. Kratsman points out to a fictitious subjectivity. These are classic ‘missing persons’ photographs; those that are pointed at, carelessly at times; a partially erased inventory list. The portraits, of people living or dead, are individually a world of its own for their relatives, yet nothing to those who want them dead. Kratsman brings this dissonance to his Facebook page. This results in a softer appearance on the one hand, while reveals the poignance on the other. Facebook, if you will, is the tool-box, the workshop. These are the boundaries of his territory; his space allowance. Facebook is “cool”, quick, clean, electronic. What does Facebook has to do with Shahids? How can one draw an analogy between a ‘Bullet to the head’ and Facebook ‘Likes’? Or, in other words- who, or what, do I like when I ‘Like’ a picture of a wanted man on Kratsman’s Facebook? And what does this entire colonialist Facebook issue have to do with the horrible life under occupation? These questions do not deal with sentimentality whatsoever. They are precisely what they are: questions that arise from representation, regarding the culture of representation and the ever-growing distance between ‘life’ and us.
From “Time After Time” exhibition text by Danny Yahav-Brown

Visit Miki Kratsman: People I Met Facebook page
http://www.chelouchegallery.com/artistWorks.php?id=49