Theo van Doesburg

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Theo van Doesburg

Theo van Doesburg (Utrecht, 30 de agosto de 1883-Davos, 7 de marzo de 1931) fue un pintor, teórico, poeta y arquitecto neerlandés. Theo van Doesburg escribiría también bajo los pseudónimos I.K. Bonset y Aldo Camini.

En 1908 realizó su primera exposición de pintura en La Haya, encuadrando su arte en el naturalismo hasta 1915-16, en la que su obra empezaría un proceso de abstracción y geometrización coincidiendo con los contactos con los primeros miembros del grupo, entre los que se encontraba Piet Mondrian, junto a quien fundaría en Leiden la revista De Stijl, órgano de prensa del movimiento neoplasticista, cuyo primer número saldría en octubre de 1917.

Entre 1921 y 1923 seguiría editando la revista desde Weimar, donde organizaría unos cursos paralelos a los que se impartían en la Bauhaus sobre el nuevo estilo a los que asistirían muchos de los estudiantes y profesores de la Bauhaus.

Durante su estancia en Weimar, Van Doesburg también había entablado amistad con los constructivistas, especialmente con László Moholy-Nagy, El Lissitzky y Hans Richter, entre otros, con quienes participaría en Düsseldorf en el Congreso Internacional de Artistas Progresistas en 1922, del que posteriormente saldría la Fracción Internacional Constructivista. Ambos movimientos tenían un objetivo común: proponer la reconstrucción material y espiritual del mundo. Van Doesburg y otros miembros de De Stijl entrarían a formar parte de la Revista G, órgano del constructivismo alemán cuya redacción estaba formada por Hans Richter, El Lissitzky y Gräff y contando, además, con Ludwig Mies van der Rohe como colaborador. Para Banham, Theo van Doesburg fue el primer artista abstracto que contribuiría a modificar la visión de la Bauhaus, pero sólo fue el primero. El verdadero mérito de este cambio se lo otorga a László Moholy-Nagy. La relación entre van Doesburg y la Bauhaus de Weimar ha sido objeto de gran controversia y discusión. Según Overy, el impacto que causaron aproximadamente al mismo tiempo la influencia de la vanguardia rusa, representada por El Lissitzky, y la holandesa, de la mano de van Doesburg, sería decisivo para lograr el cambio de un método de enseñanza y una actitud basada en el artesanado al de la estética de la máquina y la producción en masa, que tendría lugar en 1923.

En 1924, tras la ruptura con Mondrian, publicaría en la revista un manifiesto en el que explicaba el arte elementarista. El elementarismo suponía una relación ambigua de ruptura y continuidad y, según van Doesburg, constituía el punto más alto de la evolución pictórica, que había pasado de la composición clásica simétrica a la composición concéntrica cubista y, de ahí, a la composición periférica neoplástica. La contracomposición elemental añadía una nueva dimensión a la anterior concepción neoplástica: diagonales, planos inclinados y colores disonantes que destruían el equilibrio de la horizontal y vertical introduciendo el dinamismo y la tensión. En el cambio que experimentó la obra pictórica de van Doesburg desde 1923 a 1924, para Crego, tuvieron una importancia clave sus exploraciones sobre la cuarta dimensión, sus proyectos arquitectónicos y el intercambio de ideas con El Lissitzky. En Hacia una construcción colectiva, de 1924, escrito junto a Cornelis van Eesteren, parecía poner de manifiesto su actitud ambivalente hacia la pintura abstracta: «Hemos establecido el verdadero lugar del color en la arquitectura, y así declaramos que la pintura carente de una construcción arquitectónica (es decir, la pintura de caballete) no tiene razón de existir».

Esta es una parte del artículo de Wikipedia utilizado bajo la licencia CC-BY-SA. El texto completo del artículo está aquí → https://es.wikipedia.org/wiki/Theo_van_Doesburg

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Venice Biennale 2024: Can Adriano Pedrosa save the event? No pressure.

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Foreigners Everywhere

Venice Biennale 2024: Can Adriano Pedrosa save the event? No pressure.

Balancing diplomacy and geopolitics is nothing new for Adriano Pedrosa, the first Latin American curator of a Venice Biennale. This challenge does not intimidate him; he is used to making blunt statements about contemporary art. According to Pedrosa, only workaholics and delusional optimists should embark on the task of organizing a Venice Biennale. This statement is not superficial, as the Brazilian curator has experienced firsthand the intensity of the countless flights and midnight meetings that have filled his calendar over the past two years.

In a video interview, Pedrosa commented that “this probably would have taken five years and a team of intense researchers” had he not spent more than a decade mulling over the Biennial’s possibilities, most recently in his role as the influential artistic director of the São Paulo Museum of Art. Pedrosa’s preparation and experience will be tested on April 16, when the press previews of the 60th international exhibition begin. At that time, the world will judge whether the 58-year-old curator has captured the zeitgeist of contemporary art with his double show, “Foreigners Everywhere,” presented in the expansive spaces of the Giardini and the Arsenale.

The exhibition’s title is provocative, particularly relevant in the context of growing anti-immigration agendas in countries such as Italy and Hungary. However, Pedrosa approaches the subject from a celebratory perspective, highlighting the foreigner and the historical waves of migration across the globe. He offers a catalog of synonyms-“immigrant, emigrant, expatriate”-and expands the concept to include figures such as the queer, the outsider and the indigenous. “I take this image of the foreigner and unfold it into the queer, the outsider, the indigenous,” Pedrosa says.

Pedrosa’s vision for the Venice Biennale 2024 is ambitious and inclusive. It reflects a profound meditation on issues of identity and belonging in a globalized world. With his innovative approach and vast experience, he has the potential to redefine the Biennale and leave an indelible mark on the contemporary art landscape. The coming months will reveal whether his proposal resonates with the audience and sets a new standard for future cultural events of this magnitude.

VENICE ART BIENNALE 2024(18 articles)the venice art biennale 2024 – the 60th international art exhibition of la biennale di venezia – takes place from april 20 to november 24, 2024. the 2024 edition, is curated by adriano pedrosa under the theme foreigners everywhere.

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Arte. Exuberancia en todos a todos los niveles

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En el arte, el sentido de la exuberancia en todos los niveles se refiere a una expresión artística que desborda vitalidad, riqueza y abundancia en múltiples dimensiones:

Exuberancia visual:
- Uso de colores vibrantes y saturados.
- Formas dinámicas y orgánicas.
- Texturas ricas y variadas.
- Detalles abundantes y minuciosos.
- Composición compleja y llena de elementos.
Exuberancia temática:
- Representación de temas grandiosos y trascendentales.
- Exploración de emociones intensas y apasionadas.
- Celebración de la vida en todas sus formas.
- Exaltación de la belleza y la sensualidad.
- Reflexión sobre la espiritualidad y lo divino.
Exuberancia técnica:
- Dominio de diversas técnicas y materiales.
- Experimentación con nuevas formas de expresión.
- Virtuosismo en la ejecución de la obra.
- Innovación y originalidad en el enfoque artístico.
- Capacidad para sorprender y desafiar al espectador.
Exuberancia emocional:
- Capacidad para transmitir emociones intensas y profundas.
- Provocación de reacciones viscerales y apasionadas en el espectador.
- Creación de una experiencia estética envolvente y conmovedora.
- Invitación a la reflexión y al diálogo sobre temas universales.
- Capacidad para inspirar y transformar al espectador.

Ejemplos de obras de arte que expresan este sentido de exuberancia en todos los niveles son:

Pintura: Las obras de Gustav Klimt, llenas de colores dorados, formas orgánicas y temas sensuales.
Escultura: El David de Miguel Ángel, una representación monumental y perfecta del cuerpo humano.
Arquitectura: El Palacio de Versalles, un edificio majestuoso y lleno de detalles ornamentales.
Música: Las sinfonías de Gustav Mahler, composiciones grandiosas y llenas de emoción.
Literatura: Cien años de soledad de Gabriel García Márquez, una novela épica y llena de realismo mágico.

Algunos ejemplos de cómo se puede manifestar este sentido de exuberancia en diferentes niveles son:

Nivel material: Abundancia de recursos, posesiones, comodidades y experiencias placenteras.
Nivel físico: Salud vibrante, energía desbordante, vitalidad y bienestar general.
Nivel emocional: Felicidad, alegría, amor, pasión, entusiasmo y satisfacción en las relaciones personales.
Nivel intelectual: Creatividad, curiosidad, aprendizaje continuo, expansión del conocimiento y habilidades.
Nivel espiritual: Conexión profunda con uno mismo, con los demás y con algo más grande que uno mismo, ya sea la naturaleza, el universo o una fuerza divina.

El sentido de la exuberancia en todos los niveles en el arte se manifiesta como una expresión artística desbordante de vida, belleza y emoción, que busca conmover y transformar al espectador a través de una experiencia estética completa y enriquecedora.

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WE BELONG TO EACH OTHER

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WE BELONG TO EACH OTHER

One of the most amazing traits of art –and the virtue of artists—is giving space in love. Loving as the act of creating “a moving sea between the shores of our souls” as poet Kahlil Gibran once wrote. These are hard times to be naïf, and yet the need to stay humble, sincere and open as the conditions to safeguard freedom and possibility. We are constantly trapped in our paradoxical longing for intimacy and independence. This is a diamagnetic force — it pulls us toward togetherness and simultaneously repels us from it with a mighty magnet that can rupture a relationship and break a heart. That is why now, exactly now, exhausted and a little bit scared but mostly only anxious it is crucial to give space in love, to be generous, to stay openhearted. It becomes an act of superhuman strength and self-transcendence. Can we do this? We cannot, or not alone. But art can.

A group exhibition is like a family reunion. An opportunity to gather works and individual ways from very different generations, with very different experiences of life, of hardship and of the hope life demands. Why the title? We Belong To Each Other? The highest task of a bond between people is to stand guard over the solitude of each other. To defy antagonism and indifference is probably the biggest task of our social futures. Continually providing opportunities to each other; rhythmically interrupt each other’s periods of feeling sad or lonely or irrelevant. The artists presented in this exhibition do not know each other, or ever worked together and yet they all believe that our need for togetherness exists alongside our need for separateness and it is art the force that helps to find happiness in union. Human beings infinite distances continue to exist and yet art creates ways where living side by side can grow. Learning how to neighbor; learning to better understand cheerfulness and joy. That’s what this exhibition is all about.

Artists: Saelia Aparicio / Charles Benjamin / Asta Gröting / Andrés Izquierdo / Peter Klein / Maria Lira / Lin May Saeed / Maria Taniguchi / Marianna Uutinen / Ming Wong

We Belong To Each Other
17.09.2022 – 19.11.2022

carlier | gebauer, Berlin
www.carliergebauer.com
Berlin, Germany

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Tapicería Martinucci LLC, muy mal trabajo.

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Tapicería Martinucci LLC, +13059272809 5161 NW 79th Ave UNIT 15, Doral, FL 33166

Tapicería Martinucci LLC, muy mal trabajo.

Como soy una persona pacífica, respetuosa y cordial.

Tapicería Martinucci LLC

+13059272809

5161 NW 79th Ave UNIT 15, Doral, FL 33166

Como soy una persona pacífica, respetuosa y cordial.

Estimado Sr. Nino de la Tapicería Martinucci LLC, +13059272809 5161 NW 79th Ave UNIT 15, Doral, FL 33166

Le escribo para expresarle mi descontento con el trabajo de tapicería que realizó en mi forro. Lamentablemente, el resultado final no cumplió con mis expectativas y presenta varios defectos.

Me gustaría darle la oportunidad de corregir estos problemas y dejar el trabajo en perfectas condiciones. Entiendo que todos podemos cometer errores, y confío en que usted está dispuesto a solucionar esta situación.

Soy artista visual radicado en Miami desde el año 2000. Habitualmente, el 20% de mis obras las encargó a especialistas.

Recientemente, necesitaba crear un forro para un cubo y busqué un tapicero en Doral. La mayoría de los que contacté rechazaron el trabajo por inseguridad. Finalmente, visité la Tapicería Martinucci LLC, donde me atendió el Sr. Nino. El trato fue amable, tomaron las medidas y me dieron un presupuesto bastante elevado y sólo aceptaban efectivo, pero acepté debido a la urgencia.

Lamentablemente, no cumplieron con la fecha de entrega acordada. Al recibir el forro y colocarlo con la ayuda de mi amigo Eduardo, notamos varios problemas: las aristas tenían medidas diferentes y el cierre mágico estaba mal pegado.

Llamé al Sr. Mino para explicarle la situación y me dijo que se lo llevara para corregirlo. Sin embargo, al regresar, la amabilidad inicial había desaparecido. Reconocieron el mal trabajo, pero me dijeron que si quería que lo arreglaran, debía pagar nuevamente. Les recordé que habían cometido un error y que era su responsabilidad corregirlo, pero insistieron en su postura.

Ante la mala actitud, decidí no discutir, tomé mi material y me fui, pensando que no ganaba nada con disgustarse.

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MIAMI BEACH CLASSICAL MUSIC FESTIVAL UNVEILS SUMMER SERIES

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MIAMI BEACH CLASSICAL MUSIC FESTIVAL UNVEILS SUMMER SERIES

Local Nonprofit Dedicated to the Arts Returns June 27 to July 28 with Immersive Musical Performances, Operas and Live Concerts by Talented South Florida Artists and Next-Generation Musicians

Miami Beach Classical Music Festival (MMF), a nonprofit dedicated to providing affordable, world-class musical instruction and groundbreaking performance experiences to young artists and the South Florida community, returns for its highly anticipated 2024 summer series. From June 27 to July 28, MMF will welcome over 200 classical musicians to Miami Beach to showcase their talents in various free public performances and ticketed events, including three full opera productions and three symphonic concerts. After last year’s sold-out performances of its groundbreaking new fusion of live symphony and immersive projections, MMF’s Immersive Space Symphony will also return with six performances at the Faena Forum.

Building on the overwhelming success of last year’s immersive performances, MMF is excited to continue pushing the boundaries of live music, theater and technology through projection mapping. Its musical experiences will feature the return of its popular Fourth of July orchestra and fireworks show at Lummus Park, an immersive symphony concert at Faena Forum, live renditions of Jake Heggie’s Dead Man Walking and Richard Wagner’s Die Walküre, and an immersive performance of Mozart’s The Magic Flute.

The full summer program includes:

Opera Aria Night: The Magic Flute Cast – Thursday, June 27, at 8 p.m. at The Betsy Hotel

MMF brings South Florida audiences the best classical music experiences and offers regular opportunities to hear opera’s next generation of singers perform the genre’s greatest hits.

Address: The Betsy Hotel Art Gallery, 1440 Ocean Drive, Miami Beach, FL 33139

Annual Independence Day Fireworks & Patriotic Concert – Thursday, July 4, at 8:30 p.m. at Lummus Park

The annual fireworks show and concert presented by the Ocean Drive Association and the City of Miami Beach will feature a performance at 8:30 p.m. by the MMF Symphony Orchestra and Alumni Division singers conducted by MMF founder and artistic director Michael Rossi. Celebrate the holiday listening to Broadway favorites and patriotic music, including Tchaikovsky’s bombastic 1812 Overture, the Armed Forces Salute, “The Stars and Stripes Forever” and more. The performance will be accompanied by fireworks at 9 p.m. Attendees are encouraged to make reservations at one of the many alfresco ocean-view restaurants or bring beach chairs, blankets and picnics.

Address: Lummus Park, Ocean Drive and 12th Street, Miami Beach, FL

Immersive The Magic Flute Opera – Saturday, July 6, at 8 p.m. and Sunday, July 7, at 2 p.m. at Temple Emanu-El

Experience Mozart’s The Magic Flute like never before! Join MMF for a captivating evening of music, magic and adventure in a unique immersive theater setting. As the performance unfolds, projections will dance around the room, transporting the audience to the opera’s magical world. Follow the journey of a heroic prince and a determined princess as they encounter enchanted creatures, an evil queen and, ultimately, each other – all with the help of a magic flute. Part of MMF’s popular Family Opera series, this production is created specifically for young children and will be performed with English dialogue. Mozart’s classic “Singspiel” includes both spoken and sung dialogue, with familiar melodies the audience can sing along to.

Address: Temple Emanu-El Ballroom, 1701 Washington Ave., Miami Beach, FL 33139

Chamber Music Concert – Monday, July 8, at 8 p.m. at The Betsy Hotel

Every season, MMF’s Orchestral Institute draws a remarkable pool of talent from around the globe. This Chamber Concert will be composed of student musicians who select their own programs and are coached by MMF’s distinguished faculty and artists-in-residence.

Address: The Betsy Hotel Art Gallery, 1440 Ocean Drive, Miami Beach, FL 33139

Conductor’s Symphony Concert – Thursday, July 11, at 8 p.m. at Temple Emanu-El

The next generation of symphonic conductors trains at MMF’s Conducting Institute. These emerging artists study all aspects of the art of conducting with acclaimed faculty and gain valuable experience leading a full orchestra while being coached. Institute fellows then have an opportunity to show off their artistry in a public concert. See MMF Institute fellows perform for the first time in Miami Beach as they play pieces by Mozart, Haydn and Beethoven.

Address: Temple Emanu-El Sanctuary, 1701 Washington Ave., Miami Beach, FL 33139

Jake Heggie Tribute Concert – Friday, July 12, at 8 p.m. at The Betsy Hotel

Join MMF for a special tribute concert honoring composer Jake Heggie, featuring select scenes from his acclaimed operas performed by singers from MMF’s Opera Apprentice Program. Experience the emotional depth and exquisite melodies of Dead Man Walking, Facing Forward/Looking Back and Three Decembers while celebrating Heggie’s remarkable contributions to opera. Don’t miss this unique opportunity to enjoy these masterpieces in the presence of the composer himself!

Address: The Betsy Hotel Art Gallery, 1440 Ocean Drive, Miami Beach, FL 33139

Dead Man Walking Opera – Saturday, July 13, at 8 p.m. and Sunday, July 14, at 2 p.m. at Temple Emanu-El

Based on the impactful book and film interpretation of the same name, acclaimed composer Jake Heggie takes on the true story that forever influenced the modern debate on the death penalty in America. When a New Orleans-based Catholic nun agrees to become pen pals with an inmate convicted of murder on death row, her entire worldview on life, death, forgiveness and capital punishment is challenged forever. Heggie is personally working with MMF’s Opera Institute cast to guarantee this production will be a poignant retelling of the modern setting, featuring libretto by Tony Award-winning playwright Terrence McNally of Master Class and Ragtime.

Address: Temple Emanu-El Ballroom, 1701 Washington Ave., Miami Beach, FL 33139

Immersive Die Walküre (Act 3) – Saturday, July 20, at 8 p.m. at Faena Forum

Experience the thrilling climax of Richard Wagner’s epic masterpiece, Die Walküre, as Act 3 comes to life in a mesmerizing immersive performance that will leave you on the edge of your seat. Join MMF for an evening of drama, passion and unforgettable music as it delves into the heart of this legendary opera. In Act 3, the stakes are higher than ever as the fate of gods and mortals hangs in the balance. Witness the intense confrontation between Wotan and his beloved daughter, Brünnhilde, as their destinies collide amidst a storm of betrayal and redemption. From the iconic “Ride of the Valkyries” to the poignant final moments of sacrifice and transcendence, every note resonates with power and emotion. The performance will be presented in MMF’s unique immersive theater setting, using state-of-the-art 360-degree projection-mapping technology to place the audience within the scenes of the opera.

Address: Faena Forum, 3300-3398 Collins Ave., Miami Beach, FL 33140

Immersive Space Symphony – July 18 & 19 at 7 p.m. and July 21 at 1:30 p.m. at Faena Forum

Be transported to a world beyond imagination with MMF’s Immersive Space Symphony, a one-of-a-kind theatrical experience designed by artistic director Michael Rossi that combines cutting-edge projection-mapping technology with the power of a full orchestra. Through Gustav Holst’s The Planets, Richard Strauss’ Also sprach Zarathustra opening music from 2001: A Space Odyssey, and selections from Hans Zimmer’s epic soundtrack for Interstellar, MMF will take you on a musical journey to the outer reaches of the galaxy – all without leaving your seat! From Jupiter’s explosive energy to Saturn’s mesmerizing rings, The Planets captures the essence of each planet’s unique character, revealing the majesty and wonder of our universe in a way that will leave you breathless. This is a ticketed event. For tickets, click here.

Address: Faena Forum, 3300-3398 Collins Ave., Miami Beach, FL 33140

Miami Beach Classical Music Festival will also continue its summer promenade concerts in Miami Beach, hosted every Sunday in July at 6 p.m. Concerts include:

Arias at Sunset – July 7

Join MMF for an enchanting evening as the cast of Dead Man Walking presents a special opera aria concert. This event features the performers’ favorite opera selections, offering a diverse and captivating repertoire. Ahead of the performances on July 13 and 14, this concert provides a unique opportunity to experience the cast’s exceptional talent and emotional depth.

Arias at Sunset – July 14

Experience the powerful voices of the MMF cast of Die Walküre in a special opera aria concert. In anticipation of their July 20 performance, the cast will present a selection of their favorite arias from the vast opera repertoire. This concert promises to showcase the remarkable talent and dramatic intensity of these exceptional performers.

Bridges to Panama featuring Sound Impact – July 21

This captivating chamber music concert features MMF and Sound Impact in a unique cultural collaboration with Panamanian artists and MMF musicians. Through this cultural partnership, the concert aims to bridge the artistic landscapes of both countries, creating an evening of shared heritage and musical excellence.

Youth Program Spectacular – July 28

Join MMF for the Youth Program Showcase, featuring the incredible talents of local Miami-Dade high school students. After a summer of dedicated training in various genres, including opera, musical theater and jazz, these young performers are ready to shine on stage! Come support and celebrate the next generation of vocal talent in an inspiring evening of music and performances.

Produced by Michael Rossi, MMF founder and artistic director, with the support of the Miami Beach Visitor and Convention Authority and the City of Miami Beach, MMF’s summer season will span a diverse range of genres, promising to captivate audiences of all ages.

Celebrating its 11th anniversary, MMF is South Florida’s first immersive symphony and opera experience and the first theater company to implement 360-degree projection-mapping technology in a live performance. Previous state-of-the-art project-mapping performances include the Miami Beach Holiday Festival of Lights, a Valentine’s Day performance at the Betsy Hotel, and several summertime performances at Faena Forum as part of MMF’s annual summer festival.

For tickets and more information about Miami Beach Classical Music Festival, visit miamimusicfestival.com.

About Miami Beach Classical Music Festival

Founded in 2013, Miami Beach Classical Music Festival (MMF) is a local nonprofit providing affordable, world-class musical instruction and groundbreaking performance experiences to young artists and the South Florida community. Since its inception, the organization has helped establish Miami as a premier destination for elite young classical musicians to train and perform. While the next generation of classical artists comes to Miami to receive instruction from an assembly of world-class faculty, the community benefits from accessible public concerts featuring top talent alongside many of classical music’s greatest living performers rarely heard in South Florida. Recently, MMF became the first nonprofit organization to utilize innovative projection-mapping technology, transforming its already-stellar performances into immersive, awe-inspiring productions of music and light. For more information, visit miamimusicfestival.com.

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Social fabrics: On the rise of textile and woven art

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Social fabrics: On the rise of textile and woven art

Artists from around the world and across generations are engaging new and traditional techniques to illuminate the craft’s community roots

By Jareh Das

According to art historian and textile artist Ferren Gipson, there has been a noticeable shift in the conversation surrounding textile-based art in recent years. ‘The fact that there have been multiple major international exhibitions featuring textile art, and that Cecilia Vicuña received a Golden Lion at the 2022 Venice Biennale, is a clear indication of the growing embrace of mediums historically otherized in the art world,’ Gipson says. ‘It is now the responsibility of institutions to take decisive action and champion these works by adding them to their permanent collections in a thoughtful and meaningful way,’ she adds.

At Art Basel Hong Kong in 2024, galleries are echoing Gipson’s call by illuminating the growing importance of textiles and weaving practices in contemporary art by presenting artists from across generations and geographies, who utilize techniques such as felting, knotting, weaving, and dyeing to create unique and diverse artworks. Renowned artists showing at the fair, such as Kyungah Ham (Kukje Gallery), Aluaiy Kaumakan (Liang Gallery), Sheila Hicks (Alison Jacques), and El Anatsui (Axel Vervoordt Gallery), have gained recognition in recent years for their abilities to push the boundaries of textile and woven art by creating three-dimensional, tactile, and monumental installations.

Yoko Daihara, Pass That Way, 2023. ©︎ Yoko Daihara. Courtesy of the artist and Take Ninagawa.

Yoko Daihara, Clouds, 2022. ©︎ Yoko Daihara. Courtesy of the artist and Take Ninagawa.

Younger artists like Klára Hosnedlová (Kraupa-Tuskany Zeidler) and Sivan Zeffertt (SMAC Gallery) are continuing the tradition by turning to their Eastern European and South African roots respectively to reimagine textile and woven art in imaginative new ways. Yoko Daihara’s colorful map-like works highlight the overlaps between digital and analog technologies by converting digital images into textiles made from wool that resemble paintings. Presented by Take Ninagawa, these intricate and colorful abstract landscapes draw on references from the artist’s life, including video games, plants, her studio, and her imagination. While Vivian Caccuri showing with Hua International creates tapestries of dancing figures based on people who have attended parties in the artist’s studio, which are often accompanied with sound installations that comment on sound’s ability to break down social barriers between individuals. Made using a combination of acrylic, resin, mosquito netting, and cotton, Chahal Colosso (2023) and Chahal Altar (2023) depict clothed and unclothed figures surrounded by a border of embroidered subwoofers and speakers.

Vivian Caccuri, Chahal Colosso, 2023. Courtesy of the artist and Hua International.

Vivian Caccuri, Chahal Altar, 2023. Courtesy of the artist and Hua International.

Showing for the first time in Asia with Lehmann Maupin are Billie Zangewa’s silk collages illustrating daily life in South Africa from a perspective that challenges the stereotyping, exploitation, and objectification of Black women in domestic spaces. Each work is made from hand-stitched strips of raw silk that are embroidered into scenes of family life, such as the artist walking with her child, lying in bed alone or with her partner, or at gatherings with family and friends. Zangewa has said that her focus on such scenes stems from her interest in ‘unsung heroines’ operating within the domestic front. At the same time, working in embroidery expands the possibilities for textiles as a painterly language and dispels its relegation as women’s work or domestic craft.

Billie Zangewa, Loving Eyes, 2021. Courtesy of the artist and Lehmann Maupin.

Billie Zangewa, Sweetest Devotion, 2021. Courtesy of the artist and Lehmann Maupin.

Presented by Rossi & Rossi, new carpet works by Tsherin Sherpa, who represented Nepal in its debut at the Venice Biennale in 2022, likewise seek to open up textile traditions to contemporary ideas and approaches, in order to resist the relegation of skilled craftsmanship to the periphery or the past. Entangled Threads, 2024, continues an ongoing collaboration between the artist and Mt. Refuge, a Nepalese design studio founded by Jigme Wangchuk Lama, a third-generation rug maker who brings contemporary artists together with craftspeople with an intergenerational knowledge of Himalayan art and heritage.

‘My interest in collaborating with Mt. Refuge for the carpets was to revisit the very idea of Himalayan carpets as a rich art form rather than a commercial craft product,’ Sherpa explains. ‘I wanted to put a spotlight on the roots of this art form, which are enmeshed in the daily life of the community here. Hence, I wanted to collaborate with a studio that is socially conscious about the well-being and sustenance of artisans involved in all stages of rug making. I feel that is the only way to push forward the carpet community and sustain the next generation of innovative artisans.’ Sherpa sees potential and possibility in this bridging of traditional and contemporary artistic practices. ‘I think that revisiting tradition through a contemporary lens allows the modern audience to enter into a dialogue with the community and allows us to bridge local concerns with the broader world.’

Making of Tsherin Sherpa, Entangled Threads, 2024. Courtesy of the artist and Rossi & Rossi.

Yee I-Lann, showing with Silverlens, is another artist working collaboratively with communities of weavers. Yee, who will join artists Qualeasha Wood and Yuki Kihara to discuss weaving as an art form as part of Art Basel Hong Kong’s Conversations program, works with weavers from the nomadic Sama-Bajau communities of the Philippines, Malaysia, Indonesia, and Brunei, as well as the inland-based Dusun and Murut weavers of Keninga, to create tikar (woven mats). The tikar feature a variety of motifs that explore stories, visual languages, philosophies, economies, geographies, and art histories related to the South Asian context. The striking colorful mats also serve as a form of social architecture; they are flat and modular and bring people together to collectively weave them, demonstrating the power of community, storytelling, and ritual.

Textiles and woven art have increasingly been utilized as a subversive medium by artists to demonstrate ancestral knowledge, Indigenous skills, and collaborative, matrilineal, activist, and communal ways of making in the contemporary art world. The Gee’s Bend quiltmakers, for example, who were shown at the Royal Academy in London in 2023, are celebrated for their experimental quilts that have been passed down through generations – from grandmothers to mothers to daughters. That sense of transmission comes through in the works of artists from across the world who are amplifying textile and woven art as a potent form of expression rooted in communal life.

Credits and Captions

Kyungah Ham is represented by Kukje Gallery (Seoul, Busan) and carlier gebauer (Berlin, Madrid).
Aluaiy Kaumakan is represented by Liang Gallery (Taipei).
Sheila Hicks is represented by Alison Jacques (London), Galerie nächst St. Stephan Rosemarie Schwarzwälder (Vienna), Meyer Riegger (Berlin, Karlsruhe), Francesca Minini (Milan), galerie frank elbaz (Paris), Sikkema Jenkins & Co. (New York) and Galleria Massimo Minini (Brescia).
El Anatsui is represented by Axel Vervoordt Gallery (Antwerp, Hong Kong), Goodman Gallery (Johannesburg, Cape Town, London), Mnuchin Gallery (New York), Kewenig (Berlin, Palma de Mallorca) and Jack Shainman Gallery (New York).
Klára Hosnedlová is represented by Kraupa-Tuskany Zeidler (Berlin), White Cube (London, Hong Kong, New York, Seoul) and hunt kastner (Prague).
Sivan Zeffertt is represented by Smac Art Gallery (Cape Town, Johannesburg, Stellenbosch). Yoko Daihara is represented by Take Ninagawa (Tokyo).
Vivian Caccuri is represented by Hua International (Berlin, Beijing), A Gentil Carioca (Rio de Janeiro, São Paulo) and Millan (São Paulo).
Billie Zangewa is represented by Lehmann Maupin (New York, London).
Tsherin Sherpa is represented by Rossi & Rossi (Honk Kong).
Yee I-Lann is represented by Silverlens (Manila, New York) and Tyler Rollins Fine Art (New York).
Qualeasha Wood is represented by Pippy Houldsworth Gallery (London).
Yuki Kihara is represented by Milford Galleries Dunedin (Dunedin).

All artists, except for Yuki Kihara, will be on view at Art Basel Hong Kong 2024. Works by Kihara will be presented at Centre for Heritage Arts & Textile (CHAT) in Hong Kong as part of the group show, Factory of Tomorrow (16 March–14 July, 2024).

Jareh Das is an independent curator, writer, researcher, and occasional florist based between West Africa and the UK.

Caption for the full-bleed image: Yee I-Lann, Untitled (detail), 2024. Courtesy of the artist and Silverlens.

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Holly Wong, solo exhibition ‘She’

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Holly Wong, solo exhibition ‘She’

The solo exhibition “Holly Wong: Mending Body / Mending Mind” was held in the Schaefer International Gallery at the Maui Arts & Cultural Center from September 12 to October 28, 2023. Holly Wong, who is based in San Francisco, creates installations using fiber and drawn materials that balance fragility and strength. Her work explores memory, myth, and trauma, seeking to find beauty in brokenness.

“The artwork, titled ‘She,’ is a unique exploration of primordial female energy. It’s not just about the natural, aquatic quality that many people find intriguing, but also about the positive female energy and the empowerment of body positivity. In a culture that often shames our bodies, this piece stands out with its intentional largeness, boundlessness, and vibrant colors, symbolizing the freedom and acceptance that women should feel about their bodies.
Sculpture is a proxy for the body itself. The work in the exhibition has a narrative component in the sense that my mother suffered from domestic violence and alcoholism. Still, it’s also about the notion of healing and transcending. She died when I was very young when I was 15 years old, and while this did happen a long time ago, I see her life as a metaphor for the things that many women suffer today. I’m trying to work on how women can transcend their conditions.
The deconstructed quilts in the exhibition are deeply influenced by my adopted Chinese culture. They symbolize the funeral blanket and the mourning of death, reflecting the profound reverence for the dead and the honoring of family members in Chinese culture. This aspect of my work is a tribute to my husband’s heritage and my deep appreciation for it.
The audio track in the exhibition was created by a New York-based poet, Ya Karpinska, who made the poem and the actual sound composition. The poem is my mother’s words to me, telling me the story that she could not tell me about what she had lived through when she was alive.
There’s a lightness and joyfulness in the work that comes from feeling alive, probably for the first time in my life, feeling present in myself. So, the joy comes through color. It comes through the rich color of “She,” the rich fabric selection of the deconstructed quilts where I’m using reds, golds, and oranges, or even the more monochromatic “Mending Body Mending Mind” where I’m using these almost iridescent fabrics and golds that reflect a lightness of spirit.
Many women artists use sewing as a form of joining and repairing, and many fiber artists generally use the metaphor of sewing, weaving, or knitting as rejoining, reconnecting, and rebuilding. That is why many women, culturally, have been fiber art was our space to be in. But we are reclaiming it as an act of healing and empowerment.

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Why I collect: Amélie Huynh

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Why I collect: Amélie Huynh

The Paris-based jewelry designer on her entrepreneurial endeavors and approach to collecting

By Florence Derieux

‘I started collecting by chance about 10 years ago, when my then partner, an art and design collector, took me to the Grand Palais to attend the FIAC art fair. At the time, I was entirely unfamiliar with the world of contemporary art and, although my background was in jewelry, which itself can be hugely impressive, entering a gallery was still quite an overwhelming experience. That day, I fell in love with a lightbox by Mohamed Bourouissa on display at Mennour. It was thanks to the gallery’s director, Jessy Mansuy, who accompanied me around the stand explaining everything, that I was able to take the plunge and make my first acquisition. Since then, she’s been helping me to build up my collection – whether with artists from Mennour or from other galleries – to ensure it has coherence.

‘I always buy from galleries. I can purchase design at auction, but not art. I need to see and experience firsthand the works that go into my collection. Art is timeless, and there is a seemingly infinite number of artists, both living and deceased, so the decision-making process can feel complicated. You don’t necessarily know what to buy, or at what price, and nobody wants to make a mistake, so I think it’s better to be accompanied. I’ve noticed that, over time, my eye has formed and my taste has evolved. Initially, I wasn’t interested in figuration; I was more inclined towards abstraction and minimalism. I was attracted by pure, radical pieces. Since then, I’ve done a lot of research: I’ve visited numerous exhibitions, fairs, and studios, and I’ve developed relationships with other galleries. Lately, I’ve become aware that I’m sometimes seduced by colorful, soft works that I certainly wouldn’t have looked at before: recently, I acquired a piece by Ugo Rondinone.

‘I love the work of Lee Ufan and François Morellet, and I just bought a painting by Jean Degottex. I’m also very interested in photography. I’m a big fan of Wolfgang Tillmans, and I continue to follow Bourouissa’s career. Currently, I find myself drawn to the work of a generation of young artists from North Africa, particularly Algeria and Morocco. I recently acquired a piece by Latifa Echakhch, and I dream of doing the same with Hicham Berrada and Dhewadi Hadjab. My collection also includes sculptures by Camille Henrot and Alicja Kwade, as well as ceramic pieces by Yuji Ueda, Otani Workshop, and Takuro Kuwata.

‘My family history has enabled me to develop my relationship with art even further. Together with my father – a Cambodian in love with France, where he immigrated to at the age of 15, who has lived in Hong Kong for almost 30 years – and my sister, Mélanie, we manage the group we co-founded, Æra Nova. This includes Holidermie, the cosmetics brand Mélanie created, as well as D’Orsay perfumes and the Statement jewelry line, which I launched myself. Æra Nova regularly collaborates with artists: I recently worked with the young Franco-Japanese artist Tiffany Bouelle, for instance, to produce a jewelry line for Statement. Projects like these enable me to introduce the work of young artists to a different audience.

‘In 2013, we acquired Château Toulouse-Lautrec Malromé, near Bordeaux, which was Henri de Toulouse-Lautrec’s family home. It belonged to his mother, Adèle. My sister and I set out to purchase works by the painter, with the aim of creating an intimate collection linked to his family life. We succeeded in bringing together sketches, sketchbooks, photographs, and lithographs produced during the artist’s lifetime. We have also presented exhibitions at the château by Jeremy Demester, Tadashi Kawamata, Daidō Moriyama, and Prune Nourry.

‘I collect in order to surround myself, both in my home and in my workplace, with art that I can admire every day. I find it extraordinary to be able to own even a tiny fraction of an artist’s body of work. Everyone has their own unique aesthetic sensibility, their own definition of beauty, and some might see my collection as modest, in as much as I don’t own any monumental works. However, coming from the world of jewelry, I think I have a special appreciation for owning something “small” yet priceless, because that’s the very definition of a diamond!’

Credits and Captions

Florence Derieux is an art historian and curator.

English translation: Art Basel.

Published on May 06, 2024.

Photographs by Bettina Pittaluga for Art Basel.

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TOLEDO MUSEUM OF ART ANNOUNCES YATREDA ያጥሬዳ

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TOLEDO MUSEUM OF ART ANNOUNCES YATREDA ያጥሬዳ
AS 2024 DIGITAL ARTIST IN RESIDENCE

YATREDA WILL PARTNER WITH OHIO-BASED ARTIST, JORDAN BUSCHUR, AS PART OF THE RESIDENCY

THE ETHIOPIAN ART COLLECTIVE WILL ALSO OPEN HOUSE OF YATREDA IN ETHIOPIA AT THE CROSSROADS, ON VIEW IN TOLEDO FROM AUGUST 17 – NOVEMBER 10, 2024

The Toledo Museum of Art (TMA) announces House of Yatreda, an immersive, multi-sensory exhibition by Yatreda ያጥሬዳ, the digital artist collective based between Ethiopia, Kenya, and the United States, and the recently appointed TMA Labs’ 2024 Digital Artist in Residence. House of Yatreda will be open to the public at the Toledo Museum of Art from August 17 through November 10, 2024.

Building on the success of last year’s inaugural Digital Artist Residency Program, the Toledo Museum of Art (TMA) and its digital arts-focused ventureI, TMA Labs, has invited Yatreda ያጥሬዳ, an Ethiopian family art collective, to participate in the 2024 residency. Kiya Tadele leads Yatreda with assistance from her partner, Joey Lawrence. Tadele describes Yatreda as a family of artists in Ethiopia that makes art in the style of tizita—nostalgia and longing for the past.

Originating in Ethiopia, New York, the Yatreda ያጥሬዳ team is spending time in Toledo to develop and realize an immersive digital art installation, House of Yatreda, as part of TMA’s upcoming exhibition Ethiopia at the Crossroads. The exhibition celebrates 1,700 years of Ethiopia’s rich history, culture, and artistic traditions. It will be open August 17 through November 10, 2024, at the Toledo Museum of Art.

The House of Yatreda blends the ancient traditions and legends of Ethiopian culture with 21st-century blockchain technology. The immersive digital art experience will premiere Yatreda’s latest series, Abyssinian Queen, which animates the life and travels of an imagined Ethiopian queen and her loyal followers into four black-and-white slow-motion digital artworks (NFTs). The immersive experience will be accompanied by other drops developed during the residency that integrate the rich tapestry of Ethiopian culture with local artistic narratives, fostering community engagement and promoting cross-cultural understanding.

An integral accompaniement to the House of Yatreda is an immersive coffee ceremony that will be performed live several times during the run of the exhibition. Ethipia is the birthplace of coffee, and the rituals surrounding coffee are a core facet of community-building and conversation-starting in Ethiopian culture. Being invited to share coffee in Ethiopia is considered a symbol of friendship, respect, and great hospitality. Accompanied by a masinquo player and coffee muse, Tadele will play the role of the storyteller and narrate various customs and steps of the Ethiopian coffee ceremony in relationship to Yatreda’s art.

TMA also has invited Ohio-based painter Jordan Buschur to participate in the digital residency as the Community Digital Artist in Residence. Buschur’s work is rooted in a system of value based on mystery, sentimentality, and a matriarchal connection; she is a co-founder of Co-Worker Gallery and has curated exhibitions at Cuchifritos Gallery (NYC), Spring/Break Art Show (NYC), and the Neon Heater (Findlay, OH). Yatreda will mentor Buschur in digital art and the Web3 environment. As the culmination of their work with TMA Labs, both Yatreda and Buschur will create a one-of-one NFT that will be sold at a Christie’s sale in the second half of the year. Bidding opportunities for these NFTs will be announced later this fall.

House of Yatreda  will be open to the public at the Toledo Museum of Art from August 17 through November 10, 2024. Bidding opportunities for the unique 1-of-1 NFTs created by Yatreda and Jordan Buschur will be announced in the coming weeks.

About the Toledo Museum of Art
Established in 1901, the Toledo Museum of Art is a beloved cultural institution in Toledo, Ohio, and a global leader in the museum field. We believe that art transforms people’s lives and invites them to see differently.

Admission to the Museum is always free and is open Wednesdays, Thursdays and Sundays from 11 a.m. – 5 p.m. and 11 a.m. – 8 p.m. Fridays and Saturdays. The Museum is closed on Mondays and Tuesdays and on certain holidays.

The Museum is located at 2445 Monroe St., one block off I-75 with exit designations posted. More information available at 419-255-8000 and toledomuseum.org.

About TMA Labs
The development of TMA Labs was inspired by the Toledo Museum of Art’s desire to become the lead museum innovator in the web3 and digital art space. TMA Labs is commited to engaging both local and global communities through the utilization of technology to support the musuem’s mission to integrate art into the lives of people.

Toledomuseum.org
IG  @ToledoMuseum | FB Toledo Museum |  X  @ToledoMuseum

Visitor Information
The Toledo Museum of Art is a nonprofit arts institution funded through individual donations, foundation grants, corporate sponsorships, and investments. Admission to the Museum is always free. For general information, visitors can call 419-255-8000 or 800-644-6862 or visit toledomuseum.org.

Hours
Wednesday, Thursday, Sunday, 11AM–5PM
Friday, Saturday, 11AM – 8PM
TMA is closed on Mondays and Tuesdays

Holiday Hours:
Please note that TMA is closed all day on December 25th

Press Inquiries
Elizabeth McNamara / FITZ & CO / [email protected] / 646.589.0926
Sabrina Hall / FITZ & CO / [email protected] / 929.219.0405

Press Visits
Reservations are requested for all accredited members of the media. Please contact FITZ & CO to request a reservation.

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