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Off-Biennale Budapest: Art Beyond Government Funding? Print E-mail
Exhibition Reviews
Written by Dasha Filippova (Budapest)   
Sunday, 13 September 2015 17:47

Roee Rosen, “The Buried Alive Group Videos: Historical Joke # 3,” 2013, (still). Image courtesy Galleria Riccardo Crespi, Milan, and the artist.OFF-Biennale was the inaugural edition of an art event that mobilized seemingly all of Budapest's nongovernmental art, semi-art and entirely nonart spaces on both sides of the Danube, to present diverse works by some 200 local and international contemporary artists. Running a month-long marathon of daily exhibition openings and one-time performances in galleries, bars, a hair salon, an electricity factory and numerous outdoor public spaces (April 24 -May 31), the majority of the biennale took place in the Hungarian capital – its contextual home and a city that uniquely merges both socialist and imperial ruin aesthetics – but some sister events were scattered as far as São Paulo and New York.

Specters of Communism: Contemporary Russian Art, The James Gallery and e-flux, New York Print E-mail
Exhibition Reviews
Written by Ksenia Nouril (New York)   
Thursday, 04 June 2015 19:22

Arseny Zhilyaev, "RCC YHV Resurrecting Museum at Home," 2014. The James Gallery, The Graduate Center, CUNY. Photo by Julia Sherman.In 1961, Nikita Khrushchev famously announced that communism would be achieved in the Soviet Union by 1980. As a result, the nation lived in a perpetual state of the future-perfect tense, aiming for an expected or planned event that was to happen before a certain point in time. Unfortunately, Khrushchev never lived to see that day—nor did anyone else. The realization of true communism was a failure, and because it was abandoned as incomplete, its potentiality still remains, thus making it a tempting subject for artists today.

The 14th International Architecture Exhibition of the Venice Biennale Print E-mail
Exhibition Reviews
Written by Ana Mitrovici (Los Angeles)   
Tuesday, 07 April 2015 00:00

Inside the Giardini’s National Pavilions, general view. Photo by the author.Fundamentals, the title of the 14th International Architecture Exhibition of the Venice Biennale (June 7 - November 23, 2014), experimented with new approaches. First, it ran longer than past exhibitions, for almost six months instead of three. Secondly, it was organized according to a tripartite formula, with the first section, Monditalia, highlighting Italy, and occupying one third of the conceptual component of the exhibition that also included other media, such as dance and theater. The second, Absorbing Modernity 1914-2014, was held in the Giardini's permanent pavilions, featuring additional national exhibitions located throughout the labyrinthine space of the Arsenale and throughout the city itself. For this section of the exhibit, participating nations were asked to present their pavilions in consideration of how they had been impacted by modernity over the last 100 years. More accurately, the theme explicitly asked participants to consider: "How has modernity been "absorbed," a phenomenon that, at least within the context of the exhibit, was understood as the gradual effacement of national styles and the encroachment of a more universal language of architecture.

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New In ARTMargins Print

ARTMargins Print has released its new issue, 4.2. (June 2015)!

ArticlesBill Roberts (Warwick/UK) on postmodernism's contemporaneity. Sven Spieker (Los Angeles/Berlin) considers the figure of the Vertreter in the work of Martin Kippenberger.

Essay: Walid Sadek (Beirut): When Next We Meet: On the Figure of the Nonposthumous Survivor

 Online supplement: A Conversation with Walid Sadek. FREE ACCESS.

In the Document section, we present, for the first time an early conversation between Hsieh Tehching, Ai Weiwei, and Xu Bing (introduction and translation, Lee Ambrozy). FREE ACCESS.

Artist ProjectRobert Zhao Renhui (Singapore): As We Walk on Water. FREE ACCESS.

Review Article: Christopher T. Green (New York City), Artists, of the Great Lakes? Problematizing the Exhibition of Place in Native American Art."

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Two independent outlets, in separate media, of one and the same publication.

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PRINT: Contemporary art in a global context

Published triquarterly by the MIT Press, ARTMargins provides a forum for the discussion of postmodernism and post-colonialism, and their critiques; art and politics in transitional countries and regions; post-socialism and neo-liberalism; and the problem of global art and global art history.

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Founded in 1999, ARTMargins Online publishes articles, interviews, essays, and reviews devoted to contemporary art. Unlike ARTMargins (print), ARTMargins Online has traditionally had a regional focus, central and Eastern Europe.

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