36th Ljubljana Biennial of Graphic Arts: Oracle
“Imagine a society that can eliminate all suffering… a society that can predict everything… in which we all love each other… Imagine a society in which humans give up power over other beings.” This...
“Imagine a society that can eliminate all suffering… a society that can predict everything… in which we all love each other… Imagine a society in which humans give up power over other beings.” This...
In February this year, Polish-born art critic Małgorzata Kaźmierczak was appointed the new president of the International Association of Art Critics (AICA). Małgorzata Kaźmierczak is an Assistant Professor at the Faculty of Art of the Pedagogical University of Kraków, Poland and a Head of the Board of the Art Studies Discipline since 2022. She has curated numerous solo and group curated works, among them “Anarchy and New Art. 100 years of Dadaism” (Centre for Polish Sculpture, Orońsko, 2016), “Flowers of Evil” (with Arti Grabowski; National Gallery of Art, Sopot, 2015), “Ephemeral fixed. Ephemeral art – history documented” (Galeria Wschodnia, Łódź, 2012). Her articles on contemporary art and culture have appeared in Gazeta Wyborcza, Art and Documentation, livinggallery, which she co-edits since 2011. After the news of the president’s appointment was published, art critic Valeriy Ledenev called Kaźmierczak and together they discussed how to understand art criticism today and why it is not limited to texts about art, what challenges it faces, and what opportunities it offers in dark times.
How does collaboration shape artistic praxis? In our second part of the talk with Yornel Martínez the artist expands upon the different potentials of collaboration: as an act of political resistance as well as an artistic tool. In his work the artist reveals the interferences between the two.
What is Cuban Art? The artist Yornel Martínez reflects on Cuban art and evaluates its potential to transcend national borders. Reflecting on the diaspora from a global perspective, he reveals ambivalent relationships between artistic practices, cultural identity as well as the international art market.
In the second part of the interview Andrea Giunta talks about La Menesunda as an immersive experience and why art that cannot be collected, involves certain politics.
In her interview with Andrea Giunta, Lena Geuer talks about the international discourse on Argentinian art under the scope of postcolonial theories, exploring both the problems and potentials that ‘arte argentino’ encompasses.
How do curatorial practice and artworks influence how we perceive what we see? Can they work together to form new ways of exhibiting? The group exhibition “side by side”, which took place in the fffriedrich gallery in Frankfurt explores this notion of collaboration.
Damien Ajavon is a contemporary and conceptual textile artist currently living and working in Montreal who describes himself as a creative mind, TV-nerd and Dollarstore-Queen. For a long time, he did not consider himself an artist because he could not draw – a skill, he believed, a good artist should have. Now, he knows better: Creativity and the ability to share visions and expressions are his paper and pen.
Fire has the potential to destroy and create: Carlos Runcie Tanakas clay sculptures wouldn’t exist without this amivalent element. Why he sees such beauty in fire and plans to start working with his mother will be revealed in the final part of the conversation.
In the second part of the interview artist Carlos Runcie Tanaka talks about his journey in becoming an artist, who influenced him and why he feels connected to Cat Stevens and crabs.
The Peruvian artist Carlos Runcie Tanaka speaks about his life in Lima, the experience to be touched by art, the tactile experience of literally touching art – and why he is thankful to his father.