Tarot tilly daily focus november 10 2019

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source url In twin rooms, Hito Steyerl and Ryan Gander investigate the potential of their own images as material for the creation of their works. The works by Ulay and Lutz Bacher deal respectively with stolen paintings and appropriated photographs, lending new meaning to icons of art history and mass culture.

On the sixth floor, works by Douglas Gordon and Cyprien Gaillard are screened in a kind of diptych, referring to the landscape of corporate architecture around the building and revisiting the narcissistic role of images in the construction of urban icons. Manipulation of time is one of the features used by the artists to deal with images, from recording to screening, including, naturally, editing.

The curator who exhibits these works enjoys the same prerogative when positioning them in space — and in time. The exhibition constituted the largest presentation of time-based media works in Israel. As a whole, the collection centers contemporaneity as an active engagement with the here and now. True to this emphasis, this exhibition focuses on the contemporary part of the collection.

The works featured in TURN ON were created in the last decade, in which technology-based media have developed at a dizzying speed. This is reflected in an astonishing variety of media-based art, showcased in the exhibition via 22 works by 17 artists. These range from performative and theatrical elements in the works to different means of narration. More than half of the artists featured in the exhibition are women. This female presence introduces into the exhibition aspects concerning gender, sexuality, and female identity, while accentuating the existential questions underlying the works in the exhibition as a whole.

Implicit subtexts of power struggles — between the sexes, between the individual and society, and between different creative traditions — are present throughout, resulting in an exhibition that is contemplative, seductive and reflective. The works were displayed as installations that relate to the museum space as a sculptural sphere, presenting the video projections as distinct artistic experiences composed of image, movement, sound, space, and time.

They present and reflect incommensurability and simultaneity as characteristics of our time, as well as revealing a museum space that accommodates itself to the unique qualities of the projected medium. It is to date the most extensive presentation of time-based art in Israel. The exhibition title derives from TURN ON, an artwork by Adrian Paci made in , and allows countless different levels of association: switch on, trigger, provoke, and a physical turn-on. It also gives a glimpse of some imagined scenarios of our future. The work presented in the project has been produced since the turn of the last millennium and spans from seminal contemporary classics to very recent productions.

A further chapter will thereafter be presented at Moderna Museet in Stockholm There will be works that explore the growing xenophobia, extremism and religious fundamentalism of our time, and others that remind us of the colonial past and how it continues to affect the way we live together as humans today.

A number of works in this chapter seem to point towards a shift—perhaps a devolution of mankind, or a transformation into something new. We here enter worlds in which the semantic order seems to implode and we find that language no longer connects to what we see. Known categories dissolve and disparate objects and materials seem to fuse and melt into one another. New amalgamations are being formed and a future human existence appears fundamentally uncertain.

With large-format video works and films as well as multi-channel installations, the exhibition demonstrates conclusively how video art as an artistic medium has lost none of its power in the 50 years of its existence. Clouds of smoke that rise up from the friction slowly blur the scene. In this creative, high-powered performance a destructive act melds with creative violence to form a threatening contradiction, with man and machine coming up against their limits to the point of complete disappearance.

Painting, sculpture and sound are quite radically manifested in this admixture of roaring high speed and groaning standstill. With this extraordinary exhibition, the ZKM is continuing its tradition of major panoramic shows on video art. As this book demonstrates, video art, which first emerged five decades ago, has lost none of its vitality. By focusing on engagement with the contemporary world, the collection seeks to create a panorama of social and cultural tendencies. The conceptual structure of the exhibition concentrates on media art from the beginning of the s to the present.

As of 16 April across a total space of over 2, sq. The exhibition will focus on pieces on film and video, as is the case for the entire Julia Stoschek Collection. They are rounded out by sculptures e. The exhibition takes up the Deichtorhallen tradition of presenting major collections. In this case, the collection is one of the most important sets of media-influenced art in Germany, something no doubt related to the age of the collector At the same time, the show links back to the Fire, Earth, Water, Air exhibition, organized at the Deichtorhallen in as part of the Mediale and the first display of media-influenced art at the Deichtorhallen.

Edited by Dirk Luckow. Foreword by Dirk Luckow. Interview with Julia Stoschek by Dirk Luckow. From 16 April till 25 July , works by over 50 artists from this very young private collection will be on display in the Deichtorhallen in Hamburg on a total space of over 2, sq. Andreas Gursky is known across the globe for his monumental photography in which he reconstructs reality using digitally manipulated images. Christiane Fochtmann, Andreas Bunte, Manuel Graf, Andreas Korte, Bianca Voss and Jan Wagner develop artistic positions that address the history of art and culture, everyday events and poetry in the media of film and music.

The presentation of their works is in interesting contrast to the architecture of the KIT. With reference to the exterior of the KIT, it shows the seagulls that swarm past on the banks of the Rhine, plummeting greedily to earth to snap up the food the artist has strewn. Christiane Fochtmann plays with a humorous interaction between image and sound.

The work Flower Power , for example, shows flower buds opening and closing in fast motion to the sound of snoring. The Driver by Andreas Korte plays inside a parking building. A person facing away from the viewer is moving towards the exit. Camerawork and distorted sounds create an atmosphere of primeval fear, turning the viewer into an involuntary pursuer.

The 16mm, black-and-white film has the aesthetic quality of the silent films from the beginnings of cinematic history. Persistent ideas and the universality of the language of architecture are the themes in the work of Manuel Graf. A wild, colourful pictorial history of architecture begins to the rhythm of the music. In addition, small lines of text irritate the eye. Andreas Korte and Christiane Fochtmann will also each be presenting a new work, and five further artists are showing their works in a film programme in the KIT Blackbox. How to find us. Advance registration for the visit during the opening hours is not required.

Public guided tours in German through the current exhibitions take place twice a month on Sundays, noon and p. Free of charge for children and young people under eighteen, as well as school children, students and trainees. If you are interested in booking a guided tour in English, please send us an e-mail to visit. If you would like to use the lift to travel between the floors of the exhibition space, just ask our service staff and they will be happy to assist you.

The distinctive nature of the collection carries over into the space in which it is exhibited. Between the cinema room in the basement and the roof terrace above the new attic floor, a whole series of spatial experiences unfolds — from the closed to the open, from the dark to the light. A media museum is no black box.

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On the contrary, the spatiotemporal works here challenge the architecture as an opponent that lends form and support as explicitly as it does discretely, that facilitates a range of spatial experiences and that never becomes conspicuous in its surfaces and materiality. The openings in the inner shell can be altered in their relation to the windows in the outer shell. On one occasion this became the setting for an artistic intervention by Olafur Eliasson.

The building, which dates to , is a shining example of modern industrial architecture, combining as it does a reinforced concrete skeleton and roof structure of Polonceau trusses with large-scale elements such as the symmetrical towers flanking the main section of the building. Having served many different purposes over the course of its year existence, the building reflects how industry evolved during the 20th century. Before it was used first as a theatre workshop, then as an engine and lamp factory, a production facility for corsets and mattresses, and by the metal and wood industries for — among other things — military purposes.

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G Conzen. Renovation work in strengthened the generic, flexible character of the building, while making a clear typological intervention to reflect its contemporary use as an art repository and exhibition space. The spatial characteristics were revealed by removing small fixtures, exposing the skeleton structure and retaining the original staircases and steel windows. At the same time a modern roof extension where the company lettering used to stand updated the building in a way that clearly expresses its new use while also creating a connection to the city: from the ground the building is visible from far off, from the roof terrace visitors can look out over the urban landscape.

Kuehn Malvezzi, founded in Berlin in by the architects Simona Malvezzi and Johannes and Wilfried Kuehn, has become a leader in exhibition and museum space design. The work of Kuehn Malvezzi architects has been shown in solo and group exhibitions around the world, including at the German pavilion at the 10th International Architecture Exhibition in Venice.

Kuehn Malvezzi was awarded the Deutscher Kritikerpreis in Celebrate exclusively in the rooms of an internationally renowned art collection. Entrance is free of charge for children and young people under eighteen, school pupils, students, trainees, the disabled, pensioners, the unemployed and those on social security on presentation of a relevant valid ID as well as members of ICOM and AICA.

Public guided tours in English through the current exhibitions on Saturdays, p. Registration online through our calendar. Free of charge for children and young people under eighteen, school pupils, students and trainees. Barrier-free access to the ground floor of JSC Berlin. The first floor is not suitable for visitors in wheelchairs or for baby strollers access only via the staircase; no lift. In this spirit, it is appropriate that the collection has found a home in the former Czechoslovakian Cultural Institute, a structure that was built in the s and united various functions such as a library, a movie theatre, showrooms, and administration spaces under one roof.

Following the demise of the German Democratic Republic, when the cultural institute was closed, it was used for temporary, mostly cultural programs, yet it was never remodeled, thus making it a rare example of an unadulterated location in Berlin-Mitte which remains true to its original state. Many rooms of various sizes are connected in nested sequences, offering ideal conditions for mounting exhibitions of time-based art, but also required a new system to provide orientation.

These spaces accommodate receptions and circulation. They encourage visitors to linger, to pause during their visit, leaf through the catalogue and orient themselves in the collection before they focus on individual work. This is also where openings and public events are held. The furniture, most of which was designed especially for this site, supports these activities. The white curtain dims and softens the light without darkening the rooms.

Instead of making comprehensive structural changes, an additional layer was merely added, thus responding to the requirements of lighting, clear orientation and exterior visibility using one single element. The curtain gives the building a new identity, without eliminating the original one, rather like a new dress that can be taken off at any time — leaving the building open to change respectively to the collection and for subsequent use.

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In dialogue with its clients, it strives to develop new convictions. With a variety of projects, ranging from buildings in the art and exhibition sector to living spaces, office buildings and furniture design, the office examines the possibilities of creating new forms of living together and generating new identities. The collection is thus a complex archive of temporalities, storing passed moments and layers of time that can be technically repeated, in principle an infinite number of times.

At present, over artworks by more than contemporary artists and artist groups across genres and generations offer an overview of time-based art from the s to today with a strong focus on works made after The term time-based art or time-based media describes works of art that unfold in time. Time-based art therefore encompasses all artworks in which duration is a dimension and comprises film, video, single- and multi-channel video installation, slide installations, multimedia environments, sound, performance, computer and software-based artworks such as virtual and augmented reality, and other forms of technology-based art.

These works are often allographic, meaning they are only visible when installed or projected. Bringing these fields together, the collection is unique in its heterogeneity, but certain themes still manifest across the collection, in works that address sociopolitical questions; identity politics; forms of narrative, fiction, and documentary; the body and representation; performativity and performance; the gaze; and the relationship between our built environment and the natural world.

The first large-scale group exhibition at the collection, Number One: Destroy, She Said —08 , was named after a video installation by artist Monica Bonvicini and loosely explored the relationship between interior and exterior, construction and destruction. Number Two: Fragile —09 focused on the body and corporality, bringing together video, performance, and body art. Number Three: Here and Now —10 was dedicated solely to performance and the ephemeral, with performances and concerts by some of the most prominent contemporary artists working today scheduled all year long.

Almost ten years later, Number Thirteen: Hello Boys —16 revisited performance and feminist video, questioning the representation of female identity and the performance document. The title refers to the process of quality deterioration as data carriers are copied successively and, at the same time, to the social upheavals from one generation to the next. The inaugural exhibition in Berlin, Welt am Draht , addressed the influences and shifts in our social reality, identities, and environment effected by processes of digitalization.

Another group show, Jaguars and Electric Eels , explored notions of indigeneity, of hybrids and synthetic forms of life, the migration of the species, and our constantly changing perceptions of reality. Large-scale solo presentations supplement the collection exhibition program. In addition to exhibitions, smaller projects, talks, and ongoing screenings regularly accompany the program.

Loan requests must be made at least 6 months before the desired start of the loan period. The request must contain the following information and documents:. Name and address of the institution submitting the loan request; name, function, telephone number, postal address and e-mail address of the contact person; exact name of the requested work; period, name of the exhibiting institution and location of the exhibition; detailed exhibition or project description in which the work is to be presented; a current facility report of the institution.

The conservation requirements for time-based media TBM have changed drastically over the last ten years. Initially the medium—specifically videotapes and DVDs—was the main focus of conservational attention. Just like any other materials, media are also susceptible to aging processes that in the long run can lead to damage or even the loss of works. Yet aging is only one aspect of the problem. There are also file formats and complex technical installations that are based on computer technologies or other hardware. All of these components can age: not only the media themselves are affected by the processes of decay, but even the content can become unreadable over of the years due to incompatibilities.

Technological evolution constantly results in new file formats and software codecs that are adapted in the production process of video artists. This is why in addition to the material-related risks, careful observation is necessary to ascertain which technologies have a promising future—and which digital platforms and formats are on their way to becoming obsolete. To this end all new acquisitions must be thoroughly evaluated and documented to determine the exact type of digital format. The files are then transferred to a digital repository.

This noticeably reduces the conservation effort since only a manageable number of formats need to be regularly checked and monitored to safeguard against formats that are becoming obsolete. This is flanked by individual solutions for artworks that do not support a standardized procedure. On a digital level, multiple backups that are independent and redundant give additional security, thus ensuring that the collection is preserved. The media art-depository is the heart of the collection. Since fluctuating temperatures and humidity factors cause damage to videotapes and film, this was one of the most important factors during the planning.

Temperatures of around 15 degrees Celsius 59 degrees Fahrenheit and 35 percent relative humidity RF are considered optimal for storing magnetic tapes and was therefore chosen for the repository. These conditions are also appropriate for film and slides.

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They can acclimatize slowly in the airlock before they are moved to special mobile shelving for storage. The mobile shelving system, which is equipped with ball-bearing mountings, ensures that the space is used optimally.

The floor has a stove-enamel finish and was checked for leftover magnetic charge to eliminate all risks for the stored videotapes. In addition, the shelves are grounded to prevent any static electricity. Since dust and air pollution represent a serious danger for media artworks, the air is filtered multiple times before and after the conditioning process.

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Smoke and water detectors as well as an alarm system simultaneously offer comprehensive hazard protection. The elaborate technical amenities in combination with the custom mobile shelving make the media-art repository unique in Europe. Menu Stroke 48 Created with Sketch. Close up — work of the month.

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We look forward to your participation and your visit! Artboard Created with Sketch. Cordial invitation! Group Created with Sketch. Artboard Copy Created with Sketch. Language: English April Edited by Julia Stoschek Foundation e. Size: 20,5 x 28,5 cm. Softcover with flaps. Language: German. Size: Hardback with colour plastic dust jacket. Sundays, a. During opening hours: Sunday, a. Outside opening hours: Cost: EUR You are looking for a special location for a celebration or a corporate event? We would be pleased to submit you an individual offer.

Photo: Simon Vogel, Cologne. JSC Berlin. Photo: Robert Hamacher, Berlin. JSC Berlin, foyer, ground floor. Cost: EUR 5. Contact: Christian Nickolai nickolai jsc. Group 3 Created with Sketch. The Dusseldorf School of Photography. Andreas Weisser Time-based media conservator. Jacolby Satterwhite. Katharina Sieverding.

Manuel Graf. Christian Jankowski. Christoph Schlingensief. Roxy Paine. Jeppe Hein. Charles Richardson. Wu Tsang. Relation in Space , Talking about Similarity , Breathing in, Breathing out , Imponderabilia , Expansion in Space , Relation in Movement , Relation in Time , Balance Proof , Incision , Kaiserschnitt , Charged Space , Three , There is a Criminal Touch to Art , Art must be beautiful, Artist must be beautiful , Freeing the Voice , Freeing the Memory , Freeing the Body , Helen Benigson. Hannah Perry. Leo Gabin. Pipilotti Rist. Peter Weibel. Lutz Mommartz. David Claerbout.

Matthew Buckingham. Matt Copson. Jen DeNike. Jacky Connolly. Ana Mendieta. Arthur Jafa. Vito Acconci. Colin Montgomery. Bruce Nauman. Art Make-Up, No. Cyprien Gaillard. Natascha Sadr Haghighian. Elizabeth Price. John Baldessari. Christoph Westermeier. Sigalit Landau. Ed Fornieles. Thomas Demand. Jeremy Shaw.

Jon Rafman. Still Life Betamale , Mainsqueeze , Erysichthon , Clemens von Wedemeyer. Big Business , The Making of Big Business , Mary Lucier. Paul McCarthy. Ma Bell , Painting Face Down — White Line , Spit — Not Looking at the Camera , Spinning, Short segment of minute Tape , — Whipping the Wall with Paint , Up Down Penis Show , Zippedy Doo Dance , Icicle Slobber , Pipe Shadow , Upside Down Spitting — Bat , Drawing — Semen Drawing , Spitting on the Camera Lens , Upside Down Pipe , Jesper Just.

Doug Aitken. Hannah Black. Adam Putnam. Nam June Paik. Joseph Beuys. Taryn Simon. Robin Rhode. Karl Wilhelm Diefenbach. Till Gerhard. Julius Shulman. Andreas Gursky. Richard Artschwager. Mika Rottenberg. House , Cheese , Hairwash , Milk , Concert , Chicken Soup , Brock Enright. Mark Leckey. Catherine Opie. City of Angels , Terra Degla Dea Madre , Terminal Garden , China Ring, unedited video notebook , Michael Snow. Lucy Raven. Klaus vom Bruch. Carol Bove. Ed Atkins. Jessica Mein.

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Your Daily Focus for September 20, 2019 - Tarot - Astrology - Numerology

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