Indechs is very happy to announce the latetst collabortion with Independent Collectors:
// FOTO FRIDAY //
Every Friday Indechs will give you a sneak peak of what becomes a journey about different segments of the art world: We will take you on a tour from studio visits, to museum shows, gallery exhibitions, corporate collections or public sculpture parks around Germany and the World. The full article will be available on independentcollectors.com.https://independent-collectors.com/on-site
Click here to see what you have missed so far.
"East-West/West-East" is a new permanent art installation created for Qatar by Richard Serra. The work, consisting out of four steel plates that are about 15 m tall is located about 60km outside of Doha in the Qatari Desert at the Brouq Nature Reserve near Zekreet. The massive plates span 1km of the area, and “is set in a natural corridor formed by gypsum plateaus,” the Qatar Museums Authority said in a statement. Chairperson Sheikha Al Mayassa unveiled the artwork during a press event on Tuesday afternoon. Serra was quoted as saying the area “has sea in the East and sea in the West. The pieces connect the two seas and the two parts of this ancient landscape.” He added: “The placement (of the pieces) is not geometrical, it’s topological; they can only be placed where they are to achieve the curvature of the land. If one walks through the pieces; he will understand not only the rhythm of himself in relationship to the landscape but also the rhythm of himself in relationship to the height and the length of the pieces.” The new installation follows in the footsteps of Serra’s other works, which tend to revolve around the concepts of space, weight, mass and gravity, and are comprised of steel, his material of choice. The artist is known for constructing enormous site-specific installations, including 7, a 24m (80-foot) high sculpture composed of seven steel sheets, which was erected at the MIA Park in 2011.
“East-West/West-East” is a departure from some of the other pieces that the QMA has recently commissioned, including a series of giant babies (Damien Hirst‘s “Miraculous journey” outside of the Sidra Medical and Research Center) and a statue of head-butting athletes (Adel Abdessemed’s “Coup de Tête”).
|Juliana Huxtable, Untitled in the Rage (Nibiru Cataclysm) from the“UNIVERSAL CROP TOPS FOR ALL THE SELF CANONIZED SAINTS OF BECOMING” series, 2015. Inkjet print. Courtesy the artist|
Casey Jane Ellison, IT’S SO IMPORTANT TO SEEM WONDERFUL, 2015 (still).
|Avery Singer, Untitled, 2015. Courtesy the artist.|
The exhibition everyone is talking about - be it good or bad - it seems quite an easy one to have an opinion about. Unfortunately, we can´t make it to New York currently, so this is just an information. If you are around, go, have a look and decide for yourself:
"The Triennial’s predictive, rather than retrospective, model embodies the institution’s thirty-seven-year commitment to exploring the future of culture through the art of today. This third iteration of the Triennial is titled “Surround Audience” and is co-curated by New Museum Curator Lauren Cornell and artist Ryan Trecartin.
“Surround Audience” explores the effects of an increasingly connected world both on our sense of self and identity as well as on art’s form and larger social role. The exhibition looks at our immediate present, a time when culture has become more porous and encompassing and new considerations about art’s role and potential are surfacing. Artists are responding to these evolving conditions in a number of ways, from calculated appropriations to critical interrogations to surreal or poetic statements.
Featuring fifty-one artists [http://www.newmuseum.org/exhibitions/view/the-generational-triennial] from over twenty-five countries, “Surround Audience” pursues numerous lines of inquiry, including: What are the new visual metaphors for the self and subjecthood when our ability to see and be seen is expanding, as is our desire to manage our self-image and privacy? Is it possible to opt out of, bypass, or retool commercial interests that potentially collude with national and international policy? How are artists striving to embed their works in the world around them through incursions into media and activism? A number of artists in the exhibition are poets, and many more use words in ways that connect the current mobility in language with a mutability in form. The exhibition also gives weight to artists whose practices operate outside of the gallery—such as performance and dance—and to those who test the forums of marketing, comedy, and social media as platforms for art. The building-wide exhibition encompasses a variety of artistic practices, including sound, dance, comedy, poetry, installation, sculpture, painting, video, one online talk show, and an ad campaign.
Many of the works in the Triennial have been commissioned specifically for the show. In the two years leading up to the exhibition, the New Museum has hosted research and production residences for both international and local artists: niv Acosta, Aslı Çavuşoğlu, Juliana Huxtable, Geumhyung Jeong, Eduardo Navarro, Daniel Steegmann Mangrané, and Luke Willis Thompson. Additional new works by Nadim Abbas, Sophia Al-Maria, Ketuta Alexi-Meskhishvili, Olga Balema, Frank Benson, Sascha Braunig, José León Cerrillo, Onejoon CHE, Tania Pérez Córdova,DIS, Aleksandra Domanović, Casey Jane Ellison, Exterritory, Shadi Habib Allah, Lena Henke, Josh Kline, Eva Koťátková, Oliver Laric, Rachel Lord, Ashland Mines, Avery K. Singer, Martine Syms, and Lisa Tan have also been commissioned or produced for the exhibition.
In addition to works featured in the galleries, the curators selected artists to mobilize sites outside of the Museum, including the means of dispersing information about the exhibition itself. Such projects include the Triennial ad campaignExtended Release (2015), which was conceived and designed by New York artist collective K-HOLE and serves as the group’s contribution to the exhibition. Filmed at the Museum, episodes of Ovation’s “Touching the Art” (2014–15)—a web series by Casey Jane Ellison—focus on themes broached by “Surround Audience” and will temporarily become an artwork in the exhibition."
Click here for the list of all participating artists.
The New Museum Triennial was initiated in 2009. The first edition, “Younger Than Jesus,” was organized by Massimiliano Gioni, Laura Hoptman, and Lauren Cornell. The second Triennial, “The Ungovernables,” was organized by Eungie Joo in 2012. The 2015 Triennial is organized by Lauren Cornell, Curator, 2015 Triennial, Museum as Hub, and Digital Projects, and artist Ryan Trecartin, with Sara O’Keeffe and Helga Christoffersen, Assistant Curators. The catalogue was overseen by Helga Christoffersen.
|Photography by Arne Espeland|
|Photography by Arne Espeland|
|Photography by Arne Espeland|
|Photography by Arne Espeland|
The Tourist Route Department of the Norwegian Public Roads Administration may not sound like the greatest place to work, but its name belies its creative dynamism. In recent years, the Tourist Route Department of the Norwegian Public Roads Administration has engaged more than 50 architects, artists, designers and landscape architects to create a series of interventions along Norway’s tourist trails. Those commissioned – some new talents, some established names – are briefed to come up with designs that “facilitate the experience of nature,” the department states, “while also appearing as an attraction in its own right.” Most recently, the celebrated Swiss architect Peter Zumthor is finishing up already his second project, The Zinc Mine Museum in Allmannajuvet, in Norway's Ryfylke region. These mines were only in operation during the last two decades of the nineteenth century, but they provided 168 jobs to local villages, and were a precursor to the area’s important hydropower industry. Zumthor was tasked with highlighting this history and improving access to the old mines. Three low-key, buildings at Allmannajuvet are now going up: a museum in the nearby town of Sauda, a café, and a service building attached to an old stone wall. The plain but spectacular buildings have been designed in the tradition of industrial architecture, and blend well into the landscape,” says the Tourist Route Department. Hence keeping the structural framework exposed and giving them corrugated roofs. The buildings will get their official opening in the summer of 2016. The Tourist Route Department will follow four years later, with a new visitors’ centre at the Vøringsfossen waterfall by the architect Carl-Viggo Hølmebakk.His first commission for the department, the Steilneset Memorial, was completed in 2011 in collaboration with the artist Louise Bourgeois.
We are very excited to feature Atlantic - A journey - composed by the one and only MAXIMILIAN PETER:
Atlantic - A Journey - Original Score - Track 8: A New Adventure The Atlantic. The sea beyond the Atlas Mountains – with all its water, with all its waves. Against it: a woman in a small boat. A journey across the world´s second largest ocean begins. With it a fight between human and nature.
The documentary project Atlantic – A Journey described the adventurous journey across the gigantic ocean; the fight between human and nature. The music reflects the main components of the story: the ocean as well the adventuress and her boat. For the ocean the music is rhythmically inspired, underlines the ocean´s restlessness, also his whole, unforeseeable power. Surrounded by the body of water, the woman seems like the boat more breakable, more lost on the ´endless´ sea, so the music sounds more breakable, more lyrical than the material for the ocean. The flute, the solo viola or violin underline melodically the fragility of the boat and its occupant. The music is more lyrical, but serves also as a mirror for the inner feelings and thoughts of the protagonist. ´The Journey Begins´ and ´A New Adventure´ – cues, which include the main thematic material – stand also for the grandeur and beauty of the deep blue sea.
Atlantic – A Journey picks the fight between nature and human out as a central theme. The music tries to reflect that in an almost archaic way. The piano with its rhythmic pattern underlines the wild, rough sea – the waves, the storm, the danger –, but the piano seems also the last sounding connection to the human civilization.
Let the journey begin!
|Antoine Catala, New Feelings, 2014, Courtesy the artist and 47 Canal, New York|
|Meggy Rustamova, L'invitation au voyage (Filmstill), 2014, Courtesy die Künstlerin|
On February 3, the exhibition "The future of memory" opened at Kunsthalle Vienna. The exhibition addresses omnipresent questions: how does digital communication change the individual and collective memory? what are the phenomenas generated through knowledge that is available digital and has been generated collectively? How does the current production of images work?
From the press release:
"The ease with which anyone can produce, manipulate and distribute images today creates an impression of their ubiquity. The manufactured image is a figure for our age. Inundated by this effect of the digital, how we understand what constitutes our personal experience changes irrevocably. Whereas “real” memory is understood as consistent with the classic model for truth: that which we have experienced personally and for the veracity of which we can vouch: we saw it with our own eyes... the virtual image realm is rapidly expanding and altering what we can remember and how we remember it. Transactive formats for recording things for the purpose of memorializing them are as old as cave paintings and the written word, but this tendency is accelerated today to such a degree that the circumstance seems novel – and due to limits of individual human capacity to process, almost untenable. At the same time, however, the images we are inundated with today do not correlate with our actual experience. The future of memory would seem to be at risk. More adapted to than understood, more lived-through than reflected upon, when investigated by artists the complexity of today’s visual culture becomes less of a blur, or a problem to be endured, and more a refracted realm of insight, solace and imaginative possibility. Dani Gal’s As from Afar (2014) constructs a fictional account of the unlikely real life friendship of Nazi hunter, Simon Wiesenthal and the Third Reich’s chief architect, Albert Speer. In the extended online performance Excellences and Perfections (2014), Amalia Ulman crafts her self-image into the version of womanhood the Internet holds to be most ideal. Deimantas Narkevičius’ Books on Shelves and Without Letters (2013) explores the structural similarity between images and memories, which the artist shows to be equally shotthrough with the subjectivity of personal projection. Daniel Keller creates a legally registered shell company Absolute Vitality Inc.; Offshore subsidiary (2014) inviting collectors to participate in an entity that is at the same time a low risk, high reward, legal investment and conceptual art tool. Aleksandra Domanović’s film Turbo Sculpture (2010-2013) documents the Serbo-Croatian enthusiasm for elevating pop culture figures like Rocky Balboa and Tupac Shakur to the pedestals of new public monuments in the region. In Unfall am Mittelpunkt Deutschlands (2013) Julius von Bismarck stages a car accident that goes on to be logged by police as a real incident, which of course it is and isn’t depending on whether an art or non-art perspective is applied to its cognitive processing."
The Future of Memory expands on the concept of the 55th October Salon in Belgrade (20/9 – 2/11 2014) curated by Vanessa Joan Müller and Nicolaus Schafhausen. Entitled Disappearing Things, the exhibition investigated the role of collective and individual remembrance in the digital age.
Go and see the exhibition until 29.3.2015 and download the accompanying e-catalogue here.
Saturday Soundtrack - The Best in Film Music 1997 - The First Wives Club (Marc Shaiman) One Fine Day (James Newton Howard) Mars Attacks! (Danny Elfman) Independence Day (David Arnold) The Ghost and the Darkness (Jerry Goldsmith)
1997 was the year of James Cameron´s epic disaster movie Titanic, one of the most successful films of all time. It won eleven Oscars, including Best Picture, Best Director and Best Original Score. Only the movie Ben Hur (1959) managed to win eleven Oscar several decades before.
Titanic was a film phenomenon. It was not only one of the most financially successful films of all time, it also sparked new interest in the sinking of the ship Titanic. The film´s success was surely the main reason for the success of James Horner´s emotional soundtrack. His music for the film became one of the most famous film scores of the digital era – a romantic, dramatic and Oscar-winning score that sets the emotional tone for the film. But was Titanic really the best film score of the year? 1997 had a lot of great scores of dramatic power: John Williams´ music for Amistad, the score for Good Will Hunting composed by Danny Elfman, Philip Glass´ soundtrack for Kundun and Jerry Goldsmith´s composition for L.A. Confidential. All of these scores, plus Horner´s Titanic were Oscar-nominated for Best Original Dramatic Score in 1997. A strong list in a strong film music year. And each score deserved the nomination in the category.
John Williams´ opening choral composition for Amistad has a great catchy tune, African rhythms and memorable melodic stuff, and beats the pants off the rest of his score. Danny Elfman´s music for director Gus Van Sant´s Good Will Hunting belongs to his most important works he contributed to the drama genre, but his score for Men in Black (also 1997) is even more effective and has the typical ´black comedy´-music-style we love and know from his scores for Tim Burton-movies like Beetlejuice and Mars Attacks!. By the way, Elfman´s cool and rhythmic music for Men in Black was also nominated for an Academy Award, but in the category Best Original Musical or Comedy Score. However, the strongest score and competitor to Horner´s dramatic music for Titanic in the Best Original Dramatic Score category was Jerry Goldsmith´s L.A. Confidential. Goldsmith, who wrote the masterful music for Roland Polanski´s classic film Chinatown in 1974, was a logical choice to compose the music for Curtis Hanson´s extraordinary neo-noir crime film since Hanson and Goldsmith worked together on the adventure thriller The River Wild in 1994. L.A. Confidential based on James Ellroy´s fabulous novel of the same title from 1990 and Hanson did an excellent job in directing the film adaptation of the book. Los Angeles-born composer Goldsmith created a score that underlines the complex story and the visuals in a perfect musical way. Without question, it is the most dramatic score for a film in the Oscar-competition of 1997 – a dark, thunderous one. The best cue is called ´Bloody Christmas´. It shows the dramatic and ´´masculine´´ structure and style Goldsmith chose for the masterful film. In the same year, the artist wrote two further outstanding scores: the adventurous soundtrack for the survival thriller The Edge and the one for Wolfgang Petersen´s action hit Air Force One. Both compositions have majestic main themes and satisfy because of the unique action music. Air Force One´s cue ´The Hijacking´ is a masterpiece in action scoring and belongs to the very best action material Goldsmith has ever written.
Carter Burwell´s work for Richard Donner´s thriller Conspiracy Theory was also one of the top scores of the thriller genre, although, the composer ´´integrated´´ some kind of comedy in his music (the film is more a thriller with comedy-elements than a thriller in the style of L.A. Confidential or The Edge, with wonderful performances by Julia Roberts, Patrick Stewart and Mel Gibson, who played the protagonist Jerry Fletcher). Carter Burwell´s score for the movie is one of his liveliest works, including a jazzy main theme that shows all of the composer´s quality in one single cue. Great! By the way: the screenplay for Conspiracy Theory was written by Brian Helgeland, the same guy, who wrote the Oscar-winning Adapted Screenplay for L.A. Confidential in the same year.
Another great score (pure comedy this time!) is Alan Silvestri´s one for MouseHunt. It was almost a shame that his funny score didn´t get recognition at the following award season. Perhaps the competitors were to strong: Anastacia, As Good As It Gets, The Full Monty, Men In Black and My Best Friend´s Wedding. All of these scores were nomanted for Oscars in the category Best Original Comedy or Musical Score. Anastacia (composed by David Newman) and My Best Friend´s Wedding (written by James Newton Howard, again with the wonderful Julia Roberts in the leading role) are soundtracks written for big orchestra, with strong themes and emotional melodic lines. The scores for The Full Monty (by composer Anne Dudley) and As Good As It Gets (created by Hans Zimmer) have smaller ensembles and go the more intimate musical way. Anne Dudley´s work won the Oscar. So she and James Horner won awards in the music categories at the Oscars. Horner even won a second award at the Academy Award ceremony – in the category Best Original Song –, of course for his song ´My Heart Will Go On´ (performed by Celine Dion). He shared the award with lyricist Will Jennings.
By Maximilian Peter