Stacie Go Eun Baek: Knitting Her Heart Out
From her artist statement: “Using the labor intensive technique of double-cloth weaving.. (Stacie) commemorates (her) disappearing (‘hastily typed’) thoughts and feelings” of the digital age.
Warning: The words in these pieces pack a wallop. Her pain is palpable but so is her discipline, artistry, skill, and most of all, courage.
This is an exhibit I attended back in January but it sat in my iphoto until I finally dredged it out to post this.
“Going to therapy in New York is about as expensive as dinner at Cipriani. I think I’ll start wearing a cocktail dress to my sessions.”
“Time went on I started noticing the weight loss then I had to ask him was he riding th white horse at first he said no then he said yes.”
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Before the Thaw – Women Bursting Into Spring 1
What do these incredible critically acclaimed major visual artists or our time have in common? It’s (in order of appearance followed by image of their work) Phyllida Barlow, Nathalie Djurberg, Tacita Dean, Klara Lidén, and they make up the spring line-up at New York’s New Museum, an all-female line-up. Most importantly, it has not been overtly publicized as such.
- Tipped off by Art Info and my friend Amy Mendizabal.
Links – New Museum Upcoming Exhibits (New York)
0 CommentsFriday Diary: Jenny Saville NYC
Hard to believe this is her 1st exhibition in New York since 2003 but go see it this weekend before it goes (last day is tomorrow!):
“Young British Artist (YBA)” Jenny Saville
Continuum
Gagosian
980 Madison Ave # 6
New York
Hours: Tue-Sat 10–6
This is before her first solo museum show at this strange venue (strange to me as a venue for her first US solo show):
Norton Museum of Art
West Palm Beach, Florida
as part of a Recognition of Art by Women series.
(image via @ artobserved.com)
(read more here on the Gagosian site)
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China’s Art World: Seven Female Stand-Outs
Contemporary art in China is a man’s world…yet the art is there, and it is some of the most innovative work around. – New York Times
I started to write a piece off this NYT article in 2008 but the resulting post was not worth keeping. As I try to make What Women Make a more robust resource, I decided to dig back into it and look up all of the female artists mentioned for myself and find pictures to share with you of them and/or their work. Here’s a list of notable female artists from China. I’m sure the list is longer and hopefully will grow as the world changes. Enjoy!
Artists:
Lin Tianmiao
Yin Xuizhen
Lu Qing
(wife of Ai Weiwei)
image via Sodablog
Xing Danwen
Cui Xiuwen
Xiong Wenyun
image via Design Boom
Li Shurui
END
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Tech Tuesday: Lauren Cornell (of Rhizome) primer
Lauren Cornell has been the Executive Director of Rhizome since 2005. Rhizome is “dedicated to the creation, presentation, preservation, and critique of emerging artistic practices that engage technology.”
Cornell On Why The Art World Is Slow to Embrace Technology
Thoughts from her 2011 article *In the Nostalgia District (recommended read)
- Art stands outside the economic pressures the Internet wrought on other culture industries. ‘You can’t download a torrent of a sculpture’
- “Objecthood” of art makes art world resistant to embracing the ephemeral nature of the Internet.
- “Physical exhibitions still remain the way that art is (most commonly) named, seen, reviewed and converted into a saleable asset.” Rhyzome’s apparent raison d’être.
- Art is vertical (elite, exclusive). The horizontal nature and opportunities of digital is its most dominant asset.
Great simple actionable point: “Institutions could amplify their educational and social role by publishing – daily and online – a great deal more history, opinion, context and anecdote around their activities, rather than just issuing press releases and visitor information.” This is precisely the way we feel and we feel.
*Frieze
Our Rhizome Pick – By artist Myriam Thyes:
WATCH the EU flag morphing into all EU member flags, then possible future EU countries’ member flags. Concept and realisation by Myriam Thyes of Dusseldorf, Germany with contributions from several artists around the world.
….”While the EU expands eastwards, the wolves return to the west.”…. (from artists statement)
Endquote
“What would happen, say, if Bloomberg were to erect–-or allegedly erect–a Nike Swoosh monument in Central Park? I think there’s a possibility it might have been given a much warmer welcome than the Gates ever were. Or what about in the Tuileries? Total upheaval perhaps?” -Lauren Cornell, Gothamist 2005
Cornell is also adjunct curator at the New Museum. Find Rhizome here
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Friday Diary: 6 Female Curators Take The Helm at South Korean Biennale Gwangju 2012
Gwangju Biennale 2012 Artistic Directors, all women.
Here’s what one of the six chosen, Carol Yinghua Lu, says on her Frieze blog. “My Asian colleagues (and I).. realized how little we actually knew about each other – much less … our Western counterparts. In an attempt to find out about our own relevance in the world, it’s also equally necessary to learn more about our immediate neighbours and our interrelationships. This issue is probably what makes the choice of six Asian curators for the next Gwangju Biennale timely and necessary. ”
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The Gwangju Biennale Foundation is delighted to announce the appointment of Sunjung Kim, Mami Kataoka, Carol Yinghua Lu, Nancy Adajania, Wassan Al-Khudhairi, and Alia Swastika as Joint Artistic Directors of the 9th Gwangju Biennale 2012. For the first time, the Biennale has appointed a group of six young Asian women curators to co-direct the exhibition and program. The Gwangju Biennale Foundation has not selected Asian female curators in order to display the political, cultural, or geopolitical hegemony of Asia. Instead, through their appointment, we seek to build a platform that can embrace layers of diverse and engaging discussions in visual culture. As the oldest and most prestigious biennale of Asia, we hope to provide an opportunity to rethink and reexamine the anthropological and aesthetic positioning of Asia. Breaking away from past regional and global conflicts and the constant collision between truth and information, we propose to discover a new grammar of communication unique to the Biennale.
The Artistic Directors of 9th Gwangju Biennale are young and internationally renowned curators in Korea, China, Japan, India, South-East Asia, and the Middle East. Rather than driven by political ideology or systemic concerns, these curators will engage both the autonomous language of art and the active communication networks of civil society to produce the exhibition and audience participation programs. The Gwangju Biennale will maintain a commitment to the democratic values of social consensus and human rights long supported by the Foundation, as well as create a space for aesthetic discourse.
• Sunjung Kim is a Seoul-based independent curator and Professor at the Korea National University of Arts. From 1993 to 2004, Kim was the Chief Curator at Artsonje Center in Seoul. In 2005, she was the commissioner of the Korean Pavilion at the 51st Venice Biennale. The first festival, titled “Somewhere in Time,” was followed by “Tomorrow” (2007), “I have nothing to say and I am saying it” (2008), “Platform in KIMUSA: Void of Memory” (2009) and “Projected Image” (2010). Most recently, Kim was the Artistic Director of the 6th Seoul International Media Art Biennale – Media City Seoul 2010.
• Mami Kataoka is a curator and writer and has been the Chief Curator of the Mori Art Museum, Tokyo, Japan, since 2003. From 2007–2009, Kataoka joined the curatorial team at the Hayward Gallery in London as the first international curator. During her tenure at the Mori Art Museum, Kataoka has curated a number of exhibitions, including “Ozawa Tsuyoshi: Answer with Yes and No!” (2004), “All About Laughter: Humor in Contemporary Art” (2006), “Ai Weiwei: According to What?” (2009) and most recently “Sensing Nature: Perception of Nature in Japan” (2010).
• Carol Yinghua Lu is a curator and writer who lives and works in Beijing. She is a contributing editor for Frieze and co-founder and co-editor of Contemporary Art & Investment magazine. She writes frequently for international art journals and magazines including e-flux journal, The Exhibitionist, Yishu, and Tate. Her texts on contemporary art have also appeared in many art catalogues, books, publications, and critical readers. From 2005–2007, she was the China researcher for Asia Art Archive. From 2009–2010, she was the founder and Art Director of SUITCASE ART PROJECTS, a project space of Today Art Museum
• Nancy Adajania is a cultural theorist, art critic and independent curator, based in Bombay. She was educated in Politics, Social Communications Media, and Film. She has written and lectured extensively on extended sculpture, new media, public art and transcultural art practice (including at Documenta 11, Kassel; ZKM, Karlsruhe; Transmediale, Berlin; Lottringer 13, Munich; Neuer Berliner Kunstverein, Berlin; Kuenstlerhaus Wien, Vienna; Kunsthalle Wien, Vienna; Gulbenkian Foundation, Lisbon; Soma Museum, Korea; Wuerttembergische Kunstverein, Stuttgart; The Danish Contemporary Art Foundation, Copenhagen; and BAK, Utrecht). Adajania was Editor-in-Chief of Art India magazine.
• Wassan Al-Khudhairi is the director of Mathaf: Arab Museum of Modern Art, since 2010, responsible for developing the newly established institution and managing the development of its new building. She also oversees policy development, acquisitions and collections registration. As a curator, she specializes in modern and contemporary art from the Arab world, with a particular emphasis on Iraq. She is of Iraqi origin and has lived in Kuwait, Saudi Arabia, Egypt, the U.K. and the U.S., where she worked at the High Museum of Art in Atlanta and the Brooklyn Museum of Art in New York.
• Alia Swasticka is a curator, project manager, and writer based in Jakarta. From 2002–2004, Swasktika worked as Associate Editor for SURAT newsletter, published by the Cemeti Art Foundation, which led to her curatorial debut at the Cemeti Art House, where she worked as an Artistic Manager from 2004–2009. In the meantime, she joined staff exchange programme in UfaFabrik, Berlin, Germany with a grant from Asia Europe Foundation (ASEF), and the same program funded by Kelola Foundation and Asian Cultural Council. Since 2008, she has been working for Ark Galerie in Jakarta and has recently been appointed as a curator of the upcoming Jogja Biennale XI in November.
100% via e-flux
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Topical Thursday: Saudi Arabian Women, Drivers in the Dark
Introducing Sarah Cheverton, guest blogger and contributor to Women’s Views on News
It’s a great honour and a real privilege to be invited to feature here on WWM, a site in which I frequently finding myself losing many hours whenever I visit! Spaces that celebrate the contributions of women are vital to the ongoing success of the many international campaigns for women’s rights and for those of us committed to creating a world based on concepts of freedom and social justice for all. In this struggle, I believe that the personal freedom for women to express themselves creatively is equally as important as the achievement of broader social, political and economic freedoms. Moreover, it is often from the creative realms of art, design, photography or poetry, for example, that women share the experiences of oppression and their hopes for a fairer tomorrow.
As a writer, I am part of the fight for women’s rights particularly through my writing for Women’s Views on News, a global portal for news about, by and for women. I am delighted to be representing WVoN and women writers more generally here on What Women Make. This week, What Women Make shares an extract from a recent feature of mine on Wajeha Al-Huwaider, the writer, journalist and women’s rights activist who started the Saudi Women2Drive campaign. In the international women’s rights movement, Saudi is often referred to as ‘the world’s largest prison for women’, and not without reason. Women’s freedoms are significantly curtailed, as my article shows, not only in their inability to drive, but also to participate freely in employment or education.
However one thing that over 20 years in the women’s movement has revealed to me is that women often shine the brightest when forced to live in the dark, and the women of Saudi are no exception. I am delighted to have this opportunity to share with you not only some of my writing on one of Saudi’s most inspiring women writers and activists, but also the work of Saudi photographers and artists.
Favorite Saudi Arabian Female Artists
(I asked Sarah to give us her picks of favorite artists and photographers from Saudia Arabia. Here they are:)
self portrait by Saudi photographer Hind Masour Talal
“I find the stiletto heel as powerful a symbol of women’s oppression as others find the burqa”
photograph by Ranya Hani Jamjoom
“The over-sized eyes of the women in Tagreed Al-Bagshi’s paintings and the consistent themes of sadness and yearning for peace inspire and haunt me, in equal measure”
Painter Tagreed Al-Bagshi
article:
Wajeha Al-Huwaider, In the Drivers Seat
by Sarah ChevertonIt’s 2011 and I find myself writing a post supporting the right for women to drive in Saudi Arabia.
I write a lot of fiction in my spare time, but seriously, even I couldn’t make this shit up.
Nor would I want to.
My editor sent me a video interview with the inspiring Saudi women’s rights campaigner Wajeha Al-Huwaider.
The interview comes courtesy of the fantastic YouTube campaign, Honk for Saudi Women, which is encouraging men and women drivers from all over the world to post videos of themselves in their cars honking their support for the ban against women driving in Saudi.
Watching the interview, once again I find myself wandering amongst the many misshapen forms of contemporary global misogyny, feeling the familiar desire to twist each ugly little feature into something recognizable as sanity.
The only thing that rescues me from melting into an incoherent puddle of sailor-shaming curses is the calm, gentle and smiling certainty of Al-Huwaider as she smiles out from YouTube at me – silently beaming the message, don’t panic liberal England, we got this.
Al-Huwaider is a writer and journalist, a seasoned women’s rights campaigner, the co-founder of the Society for Defending Women’s Rights in Saudi Arabia – which, among other things, campaigns against child marriage - and the winner of the 2004 PEN/NOVIB Free Expression Award. That’s just for starters.
If you don’t know what PEN is, first go and stand in the corner until I tell you to come out – take your laptop with you, I don’t want to lose my audience here.
Second, feel the enlightenment take root as I tell you that they are a society that exists to promote international writing and solidarity amongst writers from all over the world.
No, you can’t come out of the corner yet. Ok, you can, but don’t do it again.
According to her biography on the PEN website, Al Huwaider was “first banned from publishing in 2003″ (please note that ‘first banned‘ from publishing), having been a prolific Saudi journalist writing for the Arabic language daily Al-Watan and the English language daily Arab News.
On International Women’s Day 2008, Al Huwaider was arrested for uploading onto YouTube that video of herself driving, and a few days later, so was her friend and fellow activist, Manal Al Sharif, for the same reason.
And once again, spurred on by the free space that is still a small and well-loved enclave of the internet, an innovative human rights campaign was born, supporting women’s right to basic freedom in Saudi Arabia.
Saudi women, says Al-Huwaider are “treated like children…..they cannot take any decisions on their own.”
Instead, women’s freedoms come only through the involvement of a male guardian who grants permissions for all freedoms exercised, including the right to drive.
Flashback to Stepford anyone?
Without this written permission from a man, Saudi women cannot work, cannot study, cannot marry of their own free will – and they certainly cannot drive. The guardian can be any male, even the woman’s son.
“It’s totally humiliating.”
So with so many freedoms restricted, why have the campaigners chosen to focus on driving?
Simple. The right to drive underpins and I think, symbolizes the freedom of movement of Saudi women.
“Many women in Saudi Arabia don’t work,” Al-Huwaider says and one of the reasons is that they cannot drive themselves.
“If we are not allowed to drive, it affects the whole family, not just women.”
Al-Huwaider has faced many accusations that the driving force (I can’t help it) behind the campaign is coming from outside Saudi, but believes that this is just an opposition tactic – in part fuelled by those wishing to create a secular/Islamic divide.
“It has nothing to do with Islam,” she says of the tradition against women driving, “It’s not against the law…it’s just tradition.”
Despite this, women are frequently arrested for driving without permissions. Although not usually charged, in late July a 35 year old woman was reported to be preparing to face trial for the unforgivable crime of attempting to drive herself to hospital for medical treatment.
Of her critics, she says, “It’s so funny…we’ve been demanding that right [to drive] for more than 20 years…”
“Any woman who believes in women’s rights , especially Saudi women, please support us. We need you.”
Asked whether she will be able to drive freely in Saudi in her lifetime, Al-Huwaider smiles.
“I think so, yes. It’s going to happen soon.”
Insha’allah to that.
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Designer / Artist: EDYTA CIELOCH
Edyta Cieloch’s raw material in this collection is the industrial porcelain of Polish manufacturer Cmielow. She manipulates the everyday traditional shapes of their “Rococo” collection, challenging the original intent and utility of the pieces. Her work, in addition to creating exquisite, line, shape, and shadow – is a reflection on middle-class aesthetic values and decorative tradition. She transforms industrial mass produced forms into a one of a kind expression, offering the viewer a kind of new artistic language.
EDYTA’S STORE-Y
Ceramicist Edyta Cieloch prepares her collection in Poland to present at “What Women Make ~ Women in Design 1st ed.”, showing during the London Design Festival 2010 at Designersblock, Oxo Tower Wharf, London.
Her work takes traditional Polish motifs and recontextualizes them to create these new striking and elegant forms.
This video was made by the artist for What Women Make LLC. Curator: Chauncey Zalkin. Please go to www.whatwomenmake.com for more info.
MORE FROM EDYTA
- Sweet Things
Sweet Things
designed by: Edyta Cieloch
Material: Porcelain and decor
Description of item: Altered industrial forms provides change in monotony of mass production.
For Inquiries, contact us.- Polonez
Polonez
designed by: Edyta Cieloch
Material: Porcelain and decor
Description of item: Altered industrial forms provides change in monotony of mass production.For Inquiries, contact us
- Polonez (more images)
Polonez
designed by: Edyta Cieloch
Material: Porcelain and decor
Description of item: Altered industrial forms provides change in monotony of mass production.For Inquiries, contact us
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