LAST CHANCE: 'Provenances', Umberto di Marino, Naples & 'Sequelism Part 3: Possible, Probable or Preferable Futures', Arnolfini, Bristol, UK
Mon, Sep 7 2009
Jordi Mitjà 'Floating Lines' (2009). Photo: Danilo Donzelli.
Simon Fujiwara, 'The Museum of Incest', 2008-ongoing, hexagonal table, chairs, projection screen, wood veneer paneling, vinyl mural, map, framed portraits, six framed book pages (“The Incest Museum Cast of Actors”), slide projection loop, Museum orientation video (25 min.), Museum guidebooks, various objects, and artifacts. Photo: Danilo Donzelli.
'Provenances'
Erick Beltrán, Jordi Mitjà and Simon Fujiwara
Umberto di Marino Arte Contemporanea, Naples, Italy
until 14 September 2009
EXHIBITION PHOTO TOUR HERE.
'Provenances' reflects on the heritage industry and the museumification of history, as well as the creation, transmission, and fidelity of cultural worth. The artists share an aesthetic and pragmatic concern with the principle of the personal archive or the pre-museal wunderkammer – the categorization and veracity of objects, images, and words are always provisional. + info...
Erick Beltrán presents four works each focussed around a relic-like artifact made of a particular natural substance. Each object is accompanied by a text diagram, and together they elicit a dense proliferation of references, narratives, contexts, and interconnections. In 'Floating Lines' (2009) Jordi Mitjà reflects on practices of information retrieval, falsification, and accumulation. In his seemingly sparse installation, clusters of photocollages are hidden from immediate view by a string curtain which protects them from light while necessitating the visitor’s gesture to reveal them. Simon Fujiwara's 'The Museum of Incest' (2009) is a multipart project that unearths an implicit myth of human origins and an explicit sexual archeology. Fujiwara realised the performance-lecture 'The Museum of Incest. A Guided Tour' during the opening night.
A guide of the museum has been published by Archive Books (Softcover / 21 x 15cm / 52pp / ISBN 978-88-95702-09-4).
Press links here.
UMBERTO DI MARINO
Via Alabardieri 1, Piazza dei Martiri
80121 Napoli, ITALIA
Opening hours: Mon-Sat 15–20h
Opening hours: Mon-Sat 15–20h
'Provenances' has been kindly supported by the Institut Ramon Llull.
(Above and below) Haegue Yang, 'Holiday for Tomorrow', 2007. Painted wooden screens with metal feet (Yes-I-Know-Screen); PVC, shells (Shell Sculpture); 10 coloured Venetian blinds, steel cable (Blind Department); wooden platform with monitor showing 13 min DVD (Holiday Story). Courtesy of the artist and Barbara Wien, Berlin. Photo: Carl Newland.
Arnolfini, Bristol, United Kingdom
until 20 September 2009
Free admission
EXHIBITION PHOTO TOUR HERE.
Artists: Mariana Castillo Deball (1975, Mexico City. Lives in Berlin/Amsterdam), Heman Chong (1977, Malaysia. Lives in Berlin/Singapore), Graham Gussin (1960, London. Lives in London), Victor Man (1974, Cluj–Napoca. Lives in Cluj), Francesc Ruiz (1971 Barcelona. Lives in Barcelona/Berlin), Jordan Wolfson (1980, New York. Lives New York/Berlin) and Haegue Yang (1977, Malaysia. Lives in Berlin/Singapore), (1971 Seoul. Lives in Berlin/Seoul)
Curated by: Nav Haq (Curator, Arnolfini) and Latitudes
'Sequelism...' is an exhibition reflecting on the future and that which is yet to happen. It looks at the political, social, and ecological implications of the inexact arena of futurology: the science and interdisciplinary practice of postulating possible, probable, and preferable futures from the present. This is the first in a trilogy of Sequelism exhibitions, with Part 2 in 2010. + info...
More on the public programme related to the exhibition on http://futurologyprogramme.org
Arnolfini 16 Narrow Quay
Bristol BS1 4QA
UNITED KINGDOM
Opens: 10am-6pm Tues-Sun & Bank Holiday Mondays. Closed Mondays. Free entrance
'Sequelism' is generously supported by the Institut Ramon Llull and the Sociedad Estatal para la Acción Cultural en el Exterior (SEACEX), IFA, the National Arts Council Singapore and The Ratiu Family.
2024 update: Images of Victor Man's works have been removed at the request of the artist.
(Above and below) Francesc Ruiz, 'Untitled' (Bristol) (2009). Self-adhesive digital prints. Courtesy of the artist, Maribel López Gallery, Berlin, and Galeria Estrany-De la Mota, Barcelona. Photo: Carl Newland.
