2011

Magic Lantern: Recent Acquisitions in Contemporary Art @ The Israel Museum, Jerusalem. Israel

8. 11. 2011 – 13. 04. 2012
Location: Bella and Harry Wexner Gallery

Curators: Suzanne Landau, Yulla and Jacques Lipchitz Chief Curator of the Fine Arts and Landeau Family Curator of Contemporary Art, Amitai Mendelsohn, Curator of the David Orgler Department of Israel Art, and Talia Amar, Associate Curator, Contemporary Art

 

Artists:

 

Vahram Aghasyan, Julien AudebertIlit Azoulay, Ulla von Brandenburg, Luis Camnitzer, Tacita Dean, Nicolai Howalt and Trine Søndergaard, Isaac Julien, Dana Levy, Tony Matelli, Jonathan Monk, Adrian Paci, Anila Rubiku, Yehudit Sasportas, Hiraki Sawa, Nedko Solakov, Jan Tichy, Maya Zack


The Israel Museum’s collection of contemporary art is constantly growing, with the help of many friends whose generosity enables us to focus our new acquisitions on particular directions, subjects, and mediums. Thus the present exhibition is devoted to works that are all being displayed for the first time and are interconnected by a shared theme: enchantment.

Magic Lantern embraces a range of mediums – installation, photography, video, film – and even hearkens back to the earliest way in which images were projected onto a screen, seemingly miraculously, as intangible specters. Whether landscapes or interior scenes, the works seen here invoke the world of legend, daydream, fantasy, and illusion: imaginary journeys, blurred silhouettes in the mist, flickering flames, dark forest shadows. What we think we know about the real world assumes the diffuse contours of something magical. Poetic reflections on a fragile butterfly-wing beauty that shows itself and then vanishes; an intimate twilight voyage guided by light and shadow.

 

The Israel Museum, Jerusalem
POB 71117
Jerusalem, 91710
Israel
Tel: 972-2-670-8811
Fax: 972-2-677-1332

http://www.youtube.com/watch?v=zPOKxZ3NwnM

 http://www.imj.org.il/exhibitions/2011/Magic_Lantern/index-E.html

 http://www.artdaily.org/index.asp?int_sec=2&int_new=51736

 

_________________________________________________________________

54th Venice Biennale “ILLUMInations”

“Other Countries. Other Citizenships” presented in the exhibition “Geopathies” @ the Albanian Pavilion

Albanian Pavilion, Spazio Rolak, Giudecca 211/b,  30133 Venezia

(Area Consorzio Cantieristica Minore)

Vaporetto stop: Redentore, (Lines2; 41/42)

From Vaporetto stop to Spazio Rolak: 2′


Anila Rubiku

With the installation “Other countries, other citizenships”, a work presented for the first time in the Biennale, Anila Rubiku (b. 1970) goes straight to the heart of those delicate questions that touch upon the problems of people who leave their country, and what this means when they encounter other cultures and customs. Of behaviour and habitus speaks the great writing that is offered and spread on dozens of hangers, on each of them engraved a single letter, part of the whole sentence. The object is an explicit reference to the dress, what to wear to be part of the society in which we live in. Hanging the clothes we wear is a daily, concrete gesture of stripping off the identity we wear in public. It refers to the private dimension of one being at home, but also to the thin, delicate line that separates what we are and what we outwardly represent. People who leave their country of origin pushed by circumstance and necessity are forced to wear another dress, that is to comply with a new condition, in some way to conform. So the push to integrate is the loss of the individual story, a difficult and often disappointing process of transformation, especially for the so-called first-generation immigrants. Here, as in other works, the question Anila Rubiku deals with in reality is more subtle: it is not only to consider the origin and the starting point of the journey as if they represented something more authentic than the end point. There is no nostalgia for Heimat in her work. The adaptation process changes not only the understanding of the place of arrival but also of the original point of departure. The problematic nature of assuming a uniform one does not own, such as the citizenship of the new nation, does not allow one to simply look back and imagine a possible return to ‘the roots’. The public identity, our interface with the others, the uniform we wear where we were born and raised, is no less illusory than the new one we take in another country. Indeed, the process of adaptation it is likely to change the way we perceive even our home country. The dynamics of the power relations between people and gender – in its complexity the work of Rubiku is also an intense interrogation of the fact that every human relationship contains the ghost of a projection of power – can be altered following a change of latitude, but nonetheless they never become lesser. As a result, identity and disappointment are two aspects closely related. The adaptation process those who leave their country have to go through, while preparing to take on more clothes and habits, redefines the realm of sensibilities no less than the public projection of oneself to the others. As a result, between what we communicate and what we actually think and imagine opens up subtle fracture lines. This is beautifully illustrated in the second key component of Rubiku’s installation, made of drawings and phrases that appear on the top surface of a number of men’s hats, carefully embroidered by hand. Here too an element of clothing becomes the subject of particularly intense reading. The men’s hats symbolize a certain idea of masculinity, decor and representation to the others. The hat is part of the apparel eminently wearable in public, put on to protect and draw attention to the head. But what lies under the hat, that is, under its public performance? What if for a moment on the outside of the hat, this par excellent accessory of man’s fashion, crop up thoughts and imaginations of the person wearing it, emerging like mold on a surface? The reflection on the condition of belonging (our country may be considered so), and on the question of citizenship moves now from the ethical and political to the existential and symbolic.

Text by  Riccardo Caldura

http://www.fondazioneborsalino.com/it/activity/anila-rubiku-hats-protect-ideas/

http://www.toscaninisumisura.it/de/biennale_en.swf

The 7th Triennale of Tournai, Belgium

www.triennaletournai.be

 

NACH STRICH UND FADEN


Michaela Melián, Tracey Emin, Anila Rubiku, Motoko Dobashi, Matthias Männer,
Carola Bark, Fred Sandback, Jeongmoon Choi, Christof Zwiener


Eröffnung: Freitag, 14. Januar 2011, 18 – 22 Uhr
Abendöffnung: Freitag, 28. Januar 2011, 18 – 22 Uhr
Ausstellungsdauer: 15. Januar – 31. Januar 2011
Öffnungszeiten: Di – Fr, 11 – 18 Uhr
Location: Studio above Gallery


Fruehsorge contemporary drawings
Heidestrasse 46-52
10557 Berlin

T+49 30 280 95282
F+49 30 70245702
M+49 175 275 1210
http://www.fruehsorge.com


Leave a Reply

Your email address will not be published. Required fields are marked *