Kunstenaars

Carl Fredrik Reuterswärd was born in Stockholm in 1934. His artistic career started already at the age of fourteen, and a few years later he set out for Paris and the Art School of Fernand Legér. He held his first exhibition in Paris in 1952. He returned to Sweden and studied from 1952 to 1955 at the Art Academy of Stockholm. A long period of study tours all over Europe then followed. For a few years Reuterswärd held a chair at the Stockholm Arts Academy, which he finally left to settle down in Bussigny in Switzerland in 1969.

The project entitled "Horizon. No Horizon" seeks to understand the connection between the visual and auditory, both synesthetic and graphical, and to discover the Wittgensteinian theory of isomorphic relations between the idea and the world. Formalisticly it looks upon how movement can be materialized in 2D, on paper. Drawn symbols throughout history such as letters, numbers, notational scores for music, typography, choreographic notations and cartography are all examples of the humanity's need to systematize and describe the world and our surroundings. Linked to surrealist automatic writing, the drawings are produced from YouTube clips all from the same category: documenting voyages in rough seas, always from the bridge's point of view. We witness how the sea makes the ship rise and fall in large waves. The horizon appears and disappears. The drawing of a boat's repetitive vertical movement at sea seeks to be a score of movement; that also carries the possibilitiy to be reproduced in sound.

Jörg Piringer works in many forms, including visual, digital, and sound poetry, as well as music.

Piringer combines a visual sensibility with computer programming skills to tumble text from the English translation of The Communist Manifesto into a pile at the bottom of the page. The result is a mass of letters stripped of their original meaning and representing the failure of an idea.

This historically important, though slight, chapbook
represents some of the earliest self -recognized concrete poetry written by a woman in Canada and was originally published with full-colour letterpressed display-face covers by London, Ontario's alphabet books in 1965.
The work inside does not exhibit influence of the early manifestos of concrete poetry, nor an obvious exchange with other visual poets of the time, but retains a historical interest as a germinal example.

Bob Cobbing, who has died aged 82, was the major exponent of concrete, visual and sound poetry in Britain.

Long after its international heyday in the 1960s, he continued to produce visual texts that were also scores for performance, many of them published as booklets by his Writers' Forum press, and launched at its associated workshop, which has been meeting in private houses and rooms above pubs since 1954. His work appears in many anthologies.

DE WOORDEN

EN DE BEELDEN

Lazar

Markovitsj

Lisitski

Filippo

Tomasso

Marinetti

Hij groeide op in Alexandrië (Egypte) en Parijs, maar ging daarna in Italië wonen, het land waar zijn beide ouders vandaan kwamen. Hij was opgeleid door jezuïeten en had een voorliefde voor Afrika. Zij vader stuurde hem naar Parijs om zijn bacculaureat te halen, wat hij in 1893 deed. Vervolgens ging hij terug naar Pavia waar hij bij de rechtenfaculteit aan de universiteit in 1899 afstudeerde.

Lissitzky was een van de toonaangevende kunstenaars in de Russische avant-garde van het begin van de 20e eeuw. Samen met zijn vriend en mentor Malevitsj ontwikkelde hij vanuit het kubisme en het futurisme het suprematisme. Zijn werk heeft grote invloed gehad op het constructivisme, Bauhaus en De Stijl.

There is no agreement about the real name and dates of Pietro Saga (sometimes Pietro de Saga). Her real name is usually stated to be Stefi Kiesler, but her first name sometimes appears as Stefani, Stefanie, Stephani, Steffi, etc. Her original surname was Fritsch or Frischer. Her dates are given as 1896-1965, 1897-1963 or 1900-1965.
In 1920 she married the Austrian architect and designer Frederick Kiesler (1890-1965), and they were involved in European avant-garde art movements, such as De Stijl. In 1926 they emigrated to the USA, and lived thereafter in New York, where they were part of the modern art scene. She was also a librarian in the New York Public Library.

Artur Zmijewski

"Blindly"

AUDIOVISUEEL

Camille Henrot

"Grosse Fatigue"

AUDIOVISUEEL

Ed Atkins

"The Trick Brain"

AUDIOVISUEEL

Anri Sala

"Ravel Ravel Unravel"

AUDIOVISUEEL

On two screens – one on top of the other but slightly displaced – we see two videos, each showing the hands (active lefts, idle rights) of two performing pianists, Louis Lortie and Jean-Efflam Bavouzet. Both virtuosi are fully limbed and francophone, unlike Paul Wittgenstein, the one-armed Austrian for whom ravel wrote the work. Wittgenstein, a fabulously wealthy concert pianist who lost his right arm in the First World War, maintained an active recital career by commissioning works for his left hand from Europe’s best-known composers: Prokofiev, Hindemith, Korngold, Britten and Strauss among them. Some he never played, nor allowed others to play – he considered them his intellectual property and not the composers’, mere mercenaries who only penned them for the cash. Hindemith’s, for example, he sealed away in his studio. It was only found upon the death of his widow a decade ago.

The first pieces one sees in the exhibition are hung from the ceiling in a brightly lit area running alongside the five gallery spaces, each dedicated to a separate project. These vast expanses of paper covered in paint splotches, child-like scribbles and finger marks were made by blind people in the course of workshops that Z˙mijewski initiated and filmed for Blindly (2010). The film makes for painful yet fascinating viewing. Tasked with painting a self-portrait, a landscape or an animal, the participants in Z˙mijewski’s assignment gradually reveal their stories as they comment on their creations. One woman, who lost her sight following an accident, confides that it felt as though someone had locked her in a coffin. A man conjures the memory of how a dead fly felt between his fingers, as he struggles to depict it. Z˙mijewski has a long-standing interest in maimed, disabled or paralytic bodies, which are seldom portrayed in contemporary visual culture.

Camille Henrot won the Silver Lion for best young promising artist at this year's Venice Biennial for her heady "encyclopedic" video Grosse Fatigue, which perfectly encapsulates our anxious, knowledge-thirsty contemporary moment. Windows upon windows open on a computer screen, like a succession of Russian dolls, revealing a dizzying array of taxonomic information. Slam poetry-style narration, written in collaboration with poet Jacob Bromberg and percussively scored by acclaimed DJ Joakim Bouaziz, describes an increasingly breathless excursion through the history of the universe. "In the beginning there was...."

An exceedingly prolific, multi-disciplinary artist, whose work ranges from sculpture and drawing to film and video, Henrot demonstrates a fervent fascination with the collection and circulation of objects, as well as symbols of the past and their estranged, present-day applications. Grosse Fatigue emerged from the artist's fellowship at the Smithsonian Institution, where she dove into creationist myths from a vast array of cultures, exhuming artifacts and their legends. The video paradoxically partakes in the desire for totalizing cosmological knowledge and in the state of saturation, indeed exhaustion, that results from that subjective quest — one that, of course, extends to art-making itself and its interpretations. An addictive mix of beats and anthropology, Grosse Fatigue is video art as exhilarating nervous breakdown.

Ed Atkins' works in video, sound, drawing and writing develop a discourse around High Definition. His practice particularly explores digital media's apparent immateriality in relation to its possibilities for precise representations of the physical and corporeal world. Cadavers often appear in his work as a surrogate for this dialogue and its implicit subject. The process of making is tangible in Atkins' work, creating an awareness in the viewer of the surface of the image and the presence of the apparatuses used to produce it.

Atkins graduated with an MA from the Slade School of Art in 2009. He was selected for New Contemporaries in 2010. In 2011 he was included in the group exhibition 'Time Again' at Sculpture Center, NY; co-organised 'A Dying Artist' at The ICA, London; was shortlisted for the Jarman Award, and had a solo show at Cabinet Gallery, London. He has been commissioned by Frieze Film and Channel 4 and had a solo presentation for Art Now at Tate Britain. In 2012 he won the inaugural Jerwood/Film and Video Umbrella Awards: 'Tomorrow Never Knows' by Film and Video Umbrella and Jerwood Visual Arts, London and produced solo projects at Chisenhale Gallery, London and Bonn Kunstverein.