Daily Archives: September 13, 2010

The Creative Time Summit: Revolutions in Public Practice 2 (New York)

The Creative Time Summit:
Revolutions In Public Practice 2

October 9-10, 2010

The Cooper Union Great Hall
51 Astor Place
New York, NY 10003-7132

Over 40 international artists and thinkers present on socially engaged art at this second annual, two-day conference.

Creative Time is pleased to announce the second annual Creative Time Summit: Revolutions in Public Practice. Over 40 international artists, curators, critics, scholars, anarchists, and activists will travel from countries throughout Asia, Africa, South and Central America, Europe, the Pacific Isles, as well as from across the United States, to give concise presentations about their socially-engaged work in this two-day conference. The talks are grouped into topics including Markets, Schools, Food, Governments, and more. The second Leonore Annenberg Prize for Art and Social Change, a 25,000 USD award generously supported by the Annenberg Foundation, will be given to Rick Lowe on the opening day of The Summit. The Summit is curated by Nato Thompson.

Presenters will bring to the table a vast array of practices and methodologies that engage with the canvas of everyday life. The Creative Time Summit is meant to be an opportunity to not only uncover the tensions that such a global form of working presents, but also to provide opportunities for new coalitions and sympathetic affinities.

“We will talk and provoke,” said Creative Time Chief Curator Nato Thompson. “Although many believe that politically engaged art speaks to the choir and operates in a naïve consensus, we are aware that there are numerous forms and numerous politics. Not only are the questions of audience, engagement, resistances, legibility, and aesthetics complicated, but of course, more pressing, are the political realities they confront. The Summit offers the opportunity to hear from artists, curators, and thinkers whose work offers examples that wrestle with these concerns.”

Presenters include: Danielle Abrams, The Bruce High Quality Foundation University, Julia Bryan-Wilson, Chen Chieh-Jen (represented by Amy Cheng), Chto delat/What is to be done?, Phil Collins, Agnes Denes, Dilomprizulike, Claire Doherty, Eating in Public, FEAST, Amy Franceschini, Andrea Fraser, Regina José Galindo, Gridthiya Gaweewong, Shaun Gladwell, Sofía Hernández Chong Cuy, InCUBATE, The International Errorists, Jakob Jakobsen, Surasi Kusolwong, Dinh Q. Lê, Learning Site, Aaron Levy, Chus Martinez, Otabenga Jones & Associates, Trevor Paglen, Claire Pentecost, J. Morgan Puett, Oliver Ressler, Laurie Jo Reynolds, Scott Rigby, Bisi Silva, Mounira Al Solh, Superflex, Anton Vidokle, W.A.G.E., Eyal Weizman, Stephen Wright, and more.

For a detailed schedule, please visit www.creativetime.org/summit.

Tickets can be purchased from www.creativetime.org/summittickets from September 9 onwards.

Creative Time’s new projects continue the organization’s 35-year-long commitment to groundbreaking, historically important artwork and fostering a culture of experimentation and change. Creative Time works with artists to push the boundaries of art-making and expand its own practice. Creative Time’s recent projects include Paul Ramírez Jonas’ Key to the City, Jeremy Deller’s Conversations About Iraq, Paul Chan’sWaiting for Godot in New Orleans, and Tribute in Light. The organization has worked with 1,400 of the world’s most dynamic artists and worked in 17 states across the nation.

Project support has been provided by the Annenberg Foundation and the Laurie M. Tisch Illumination Fund.

The Leonore Annenberg Prize for Art and Social Change is made possible by the generous support of the Annenberg Foundation.

Creative Time is funded through the generous support of corporations, foundations, government agencies, and individuals. Major programming support for 2010–11 has been provided by the Andy Warhol Foundation for the Visual Arts and the Lambent Foundation, a project of The Tides Center. We also gratefully acknowledge public funding from the New York City Department of Cultural Affairs, in partnership with the City Council; and the New York State Council on the Arts, celebrating 50 years of building strong, creative communities in New York State’s 62 counties.

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The Watchmen, the Liars, the Dreams (Paris)

(Concrete Erudition 3)

curated by Guillaume Désanges

Works by Agence, Mathieu K. Abonnenc, Jean Amblard, Éric Baudelaire, Luis Camnitzer, Julius Eastman, Mario Garcia Torres, Jean-Luc Godard, Les Groupes Medvedkine, Tamar Guimaraes, Chris Moukarbel, Boris Taslitzky, Walid Raad & Monument to Transformation (Vit Havránek, Zbynek Baladrán + Vyacheslav Akhunov, Babi Badalov, Chto Delat, Hafiz, Lise Harlev, Ivan Moudov, Boris Ondreicka, Anatoly Osmolovsky, Haegue Yang)

This exhibition will take place at Le Plateau Art Center in Paris from september 16 to november 14 2010

opening : 15 September 2010

The Watchmen, the Liars, the Dreamers is the third part of the “Concrete Erudition” programme devised by curator Guillaume Désanges, who has been invited to come up with a cycle of exhibitions at Le Plateau. As part and parcel of the continuity created by “The Planet of Signs” and “Prisoners of the Sun”, this exhibition in its turn questions the way in which certain contemporary artists are renewing the relationship between art and knowledge, by showing, this time around, the work of artists who are observers— watchmen of the present and of the past. Even if their activities are, on the face of it, very diversified, they all appear to derive from a documentary principle, in the broad sense of the term. While the classic relationship between the document and reality must generally be gauged by criteria of objectivity, exhaustiveness, caution and rigour, these artists shatter these references. They thus develop alternative methods of reproduction which may use the paths of translation, reconstruction, transfer and fiction. It is not a matter of playing with and deceiving, but of affecting the other by sharing awareness and knowledge and accepting, if this is necessary, to contradict the ethical and formal rules of the scientist, the historian, and the chronicler. Be they artists, researchers, middlemen, or jurists, their forms are subject to the necessity and urgency of a message to be got across rather than any stylistic determination. Nor is it a matter of denying the effectiveness of the form ; what is involved on the contrary is the assertion of “functions” not to say missions. Echoing the idea of profound erudition, turning into hybrid forms, the exhibition thus unfolds different strategies for writing facts, which, based on practical reason and a political and militant will, sometimes end up tending towards the poetic and the lyrical. All these artists, who are extremely diverse in terms of subjects broached, share the outcome of their research, not shrinking from creating their own documents when this is necessary, and sometimes playing on ambiguities between fiction and reality, historical objectivity and creation, archive and personal collection. These artists, who are subject to obligatory means rather than results, operate in the end of the day like inventors and middlemen, contesting the stance of the author as demiurge. By using information sharing, inventories and intelligence as weapons, these watchmen propose indirect ways of criticizing specific situations, which they have elected to investigate. A moveable knowledge, to do with surfaces and connections, which contrasts the quality of the relationship between facts with blind expertise.

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