SWE 3 Sharp Tongues

055688ADVANCED LANDSCAPE DESIGN

REFLECTIONS ON ART, EARTH, AND HUMANITY

03_SWE

Art is a powerful tool.

We rarely get to describe its power really well. It’s like fire. It’s not powerful, necessarily, for the good. It can be quite powerful and quite dangerous as well.

BRIAN ENO

NINA CAMILLE PILAPIL

001

055688ADVANCED LANDSCAPE DESIGN

03_SWE

Goshka Macuga Archival research informs Macuga’s installations, which engage with the historical and social contexts of the host institutions: each project begins with a period of comprehensive research in their collections and archives.

Macuga also examines the practices of art institutions and disregarded systems of knowledge as she takes on the roles of archivist and curator. She remarks,

“

The process of learning and the accumulation of information and knowledge is the main focus of my work, before the actual process of making.

NINA CAMILLE PILAPIL

”

002

055688ADVANCED LANDSCAPE DESIGN

03_SWE

The history of Western art includes a great number of works that have become famous throughout the world.

The subjects of many of these works involve classical mythology, biblical stories, or notable people and events.

This exhibition is a contemporary take on iconic works and stories from art history. Famous paintings and sculptures have served as inspiration for contemporary artists whose viewpoints range from veneration of old masters to critical contemplation of power structures.

Works by Leonardo da Vinci, Raphael, Rembrandt and other masters continue to inspire contemporary artists to this day. The artists featured in the exhibition include Marina Abramović, Jake and Dinos Chapman, Mat Collishaw, Nancy Fouts, Mark Karasick, Jeff Koons, Joseph Kosuth, Wolfe von Lenkiewicz, Heikki Marila, Sara Masüger, Jarmo Mäkilä, Aurora Reinhard, Jenny Saville, Yinka Shonibare CBE, Gavin Turk and Koen Vanmechelen.

NINA CAMILLE PILAPIL

003

055688ADVANCED LANDSCAPE DESIGN

03_SWE

Emoji-nation

by Nastya Nudnik It became quite common to express our feelings with little Emoji’s, telling if we’re happy, sad, bored or hungry. Playing with this truth, Ukrainian artist Nastya Nudnik created the series ‘Emoji-nation’, putting computer elements which represent the modern life and historical fine arts in correlation.

Nastya Nudnik sates: “I adore playing on contrasts and try to put dualism in every work, no matter it is an illustration, a painting or a collage. Emojination is big a complex of different projects united by one idea. And I don’t know whether it is already done, because the further development of Emojination depends on my mood and some ‘sudden clarity’.”

Words by

CAROLINE KURZE

NINA CAMILLE PILAPIL

004

055688ADVANCED LANDSCAPE DESIGN

03_SWE

ILARIA BOMBELLI: The first work of yours I saw was Denkmal 2 (2004), at Manifesta 5, in the Ondartxo shipyard in San Sebastian: I found it anonymous, neutral, impersonal. I was most struck by the abandoned ship-wreck and the green natural setting of the bay of Pasajes...

JAN DE COCK: When I saw my first Brancusi I was not

Denkmal 4, Casa del Fascio, Brescia (2006)

able to understand it. I had to see more of Brancusi’s works to recognize the existence of a language, and the more I studied it the more I understood it. When you came to San Sebastian you saw the work of an artist who has his own language, I have been doing the same thing for 15 years. I make sculptures. You think they are anonymous, neutral and impersonal: well, I see these as three qualities of my work. Because there is a big difference between me and all the other artists: I don’t work with ideas but with something concrete, which does not need any explanation.

TODAY, CONTEMPORARY ART IS TRADITIONAL time of breaking with tradition is over, now that the break itself has become a tradition

ILARIA BOMBELLI: From 1999 to 2003 your works

are all entitled Randschade (Collateral Damage) .

The term - collateral damage - came into use at the time of the Vietnam War by the American military to indicate damage whose essential characteristic is non-intentionality. Is your “damage” intentional?

JAN DE COCK: Art is always about money. The consequence of my way of working is that, commercially speaking, my work does not exist only as such, and in this sense, not wanting to compromise with the capitalist art system, I trigger a sort of collateral damage, doing in so that it becomes the work itself. Working in a museum means allowing people to see the same things differently. And even then you cause collateral damage. Because if you don’t question the museum, you can’t have a good exhibition.

NINA CAMILLE PILAPIL

Denkmal 53, Tate Modern (2005)

005

055688ADVANCED LANDSCAPE DESIGN

03_SWE

$120,000.00?

Buyers of Maurizio Cattelan’s $120,000 Banana Defend the Work as ‘the Unicorn of the Art World,’ Comparing It to Warhol’s Soup Cans

NINA CAMILLE PILAPIL

Maurizio Cattelan’s $120k Fruit Art Has Sparked an Uprising Among Miami’s Underpaid Janitors

Popeyes Is Now Selling $120,003.99 USD Duct-Taped Chicken Sandwich at Art Basel Miami

The question is: Where does value come from? What is valuable?

How do we protect it?

How do we nurture it?

BRIAN ENO, Reflections on Art, Earth, and Humanity

006