0 Reviews. Body politics: four up-and-coming artists exploring feminism and gender to look out for at the Affordable Art Fair Catch these hot young artists, fresh from art school, before they hit the big time at this autumn's Affordable Art Fair. Art Practical’s third thematic issue, “Performance: The Body Politic,” examines more than four decades of the marriage between politics and performance art in the Bay Area. Courtesy of Galerie Thaddaeus Ropac. From 1995/96 to 2005 she was professor for Multimedia and Performance at the Media Art Academy in Cologne. Brian Andrews and Duncan MacKenzie of B@S, in particular, take an inquisitive and informed approach that combines an evident respect for their subject with self-depreciating…, December 20, 2010. A ghost demands to be accounted for as part of current cultural formation. [...] It requires a prodigious amount of work and the cruellest dependency. It is unsurprising that early western feminists should have regardedembodiment with suspicion, choosing instead to stress the rationalpowers of the female mind; for as François Poullain de la Barrefamously claimed in 1673, “the mind has no sex” (1673[1990: 87]). For my generation and the one coming up, the NEA is little more than a castrated, sacrificial animal that the Republican Party trots out to the altar anytime the national budget comes under review. All rights reserved. We in the western world live on bread; our existence depends on this drug, the principal element of which is putrefaction, which we are obliged to modify with a poison to render it less unwholesome. Locke’s works are the antithesis of messy, sensationalized spectacles. 15 Dec 2107 — 15 Apr 2018 at MAK in Vienna, 6 Nov 2020 — 14 Feb 2021 at Belvedere 21 in Vienna, 22 Oct 2020 — 9 Jan 2021 at KOENIG2 in Vienna, 9 Oct 2020 — 9 Jan 2021 at Christine König Galerie in Vienna, Get updates on the Wall Street International Magazine. Reading Time: 1 minute “DRAG: Self-portraits and Body Politics” exhibition, at SouthBank Centre‘s Hayward Gallery (London), features the work of more than 30 artists who have used drag to explore or question identity, gender, class and politics, from the 1960s to the present day. By using the body as an instrument of artistic expression and political protest, Jocson challenges the reduction of the migrant labourer’s body to the status of an object. The San Francisco Bay Area is known as a region of transplanted natives—individuals who spent their formative years elsewhere, but who feel the inexorable influence of this place. It is also a prime example of what Hou Hanru describes in his letter to Hans Ulrich…, June 16, 2011. With the purchase of Valie Export's premature legacy, the Valie Export Archive was founded in Linz in 2015. Size is 22.4 H x 28 W x 1.2 in. What I get out of burlesque is being able to unabashedly perform sexuality and race. This special edition of Issue 2.7 is in response to the removal of David Wojnarowicz's 1987 film A Fire in My Belly from the Hide/Seek: Difference and Desire in American Portraiture exhibition at the National Portrait Gallery, in Washington, D.C. We are excited to launch the start of our issue year with our second annual Shotgun Round. Galerie Thaddaeus Ropac has specialised in international, contemporary art representing around 60 artists and a number of renowned estates. She has gone beyond representing identity to producing identities. She starts from the assumption that the language of images is different from that of words: what the photographs express contradicts the significance accorded to bread in our spoken language. »The filmic, actionist, photographic representations of the 1960s and 70s emphasise particularly that a body may belong to diverse systems of representation«, said Valie Export in a recent interview. The forthcoming exhibition in Salzburg will focus on works from her series of Körperkonfigurationen [Body Configurations] (1972-82), the three-part photographic work Identitätstransfer 1-3 [Identity Transfer 1-3] (1968), documentations of the performances HOMOMETER (1973) and HOMO METER II (1976), two showcases on the theme of Hand Figurations and Body Configurations (1972-82), the photo collage EXTREM / ITÄTEN DES VERHALTENS [EXTREM / ITIES OF BEHAVIOUR] (1972), the video installation Body Tape (1970), as well as the videos/films Body Politics (1974), Syntagma (1983) and Bewegte Bilder über sich bewegende Personen [Moving Pictures about Moving People] (1973). For those who are denied access to, or for those who voluntarily eschew, traditional political outlets, their own bodies can become a sites of political transformation or contestation. and Half Truths and Outright Lies, From Tokyo: Pipilotti Rist and Phantom Limb, Selected Paintings and A Wall of Paintings, EcoArchive: Meditations on Time and Nature, Exposed: Voyeurism, Surveillance and the Camera Since 1870, In Defense of Food: Recent Explorations in Contemporary Art, Serving, Cooking, Giving It Away: Food, Art, and the Places in Between, Farm Fresh Art: Food, Art, Politics, and the Blossoming of Social Practice, From Los Angeles: Eva Hesse: Spectres 1960, KHU, Act 2 of Ancient Evenings, by Matthew Barney and Jonathan Bepler, From the Collection of Randi and Bob Fisher. But are the two concepts—minimalism and spirituality—so opposed? Body Politics. When Life is invoked in art practice, it is often equated pretty quickly with associations like “freedom,” “spontaneity,” and “disruption,” and I thought it was worth thinking about some other elements, especially the elements of the world that make Life possible. But, as Matthew Rana points out in his feature in this issue (and echoing questions raised by the Shadowshop exhibition), concerns about support for artistic activity are…, December 16, 2010. Pavlensky practises actionism, an art form with a rich history in Russia. Body Politic: Political Metaphor and Political Violence 5 Greece was oral rather than written – drama of course was presented on the stage, poetry whether epic or lyric was recited from memory, even Herodotos’s history may have been partly published in readings before In the current issue, Shannon Jackson quotes Tenderloin Economic Development Project director Elvin Padilla expressing her desired goal that individual artists “invite someone else along.” Jackson uses that phrase to evaluate the social dynamics underlying aesthetic decisions in storefront art, but it could also be understood as a litmus test that other writers apply in assessing the push and pull of the mostly digitally produced work reviewed here. The thirty-four shotguns included here are only a…. Dread Scott Dread Scott makes revolutionary art to propel history forward. Hands are a frequently recurring motif she uses as a means of expression: hands and their condition can reveal much about a person. 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