Archivi tag: Alison Knowles

a milano: “fluxus, arte per tutti” (dalla collezione luigi bonotto)

da ArteMagazine:

https://artemagazine.it/2022/11/22/museo-novecento-di-milano-fluxus-arte-per-tutti-edizioni-italiane-dalla-collezione-luigi-bonotto/

In mostra sono esposte edizioni di: Eric Andersen, Ay-O, Joseph Beuys, George Brecht, John Cage, Giuseppe Chiari, Philip Corner, Willem De Ridder, Jean Dupuy, Robert Filliou, Albert M. Fine, Henry Flynt, Ken Friedman, Al Hansen, Geoffrey Hendricks, Dick Higgins, Joe Jones, Allan Kaprow, Milan Knizak, Alison Knowles, Jackson Mac Low, George Maciunas, Walter Marchetti, Jonas Mekas, Larry Miller, Charlotte Moorman, Claes Oldenburg, Yoko Ono, Nam June Paik, Ben Patterson, Dieter Roth, Takako Saito, Tomas Schmit, Carolee Schneemann, Mieko Shiomi, Gianni-Emilio Simonetti, Daniel Spoerri, Ben Vautier, Wolf Vostell, Robert Watts, Emmett Williams e altri.

articolo completo e informazioni qui: https://artemagazine.it/2022/11/22/museo-novecento-di-milano-fluxus-arte-per-tutti-edizioni-italiane-dalla-collezione-luigi-bonotto/

“collaborations”: art exhibit @ mumok vienna

COLLABORATIONS
Mumok Vienna
July 2–November 6, 2022

Departing from the focuses of the Mumok collections on the avant-garde of the 1960s and 1970s as well as conceptual and socio-analytic approaches in contemporary art, the exhibition Collaborations examines diverse strategies of collective authorship. The exhibition builds a bridge spanning from the smallest to the largest unit of togetherness: from the internal ties of the collective to a particular constellation of the connective, from the artist duo to society—and last but not least, from the love affair to the interconnectedness of life.

The exhibition investigates how artistic models of a “we” can be cultivated for life together as a society: What does collaboration mean in the twenty-first century when fundamental social structures continue to dissolve? How have artists responded to such social and political developments over the decades and what is their position today? How thin is the line between the critique and affirmation of neoliberal structures when building relationships is at risk of becoming an efficiency and profit-driven measure in the artistic realm, too? How can collectivity in thoroughly heterogeneous contexts serve as a social and artistic model of thought and action, when not by accepting the simultaneity of disparate or even contrary elements?

In times of networked connectivity, a look back into art history might advance the current discussion about collaborative action—beyond conventional, social, and national borders. As a movement that not only fundamentally revolutionized artistic production, distribution, and reception paradigms but also originated numerous strategies that represent, as it were, predigital antecedents to algorithms, interconnected networks, and associated models of communitization, the Fluxus movement founded in the 1960s forms the nucleus of the presentation. In addition to the expansion of the typologies of works, image and object traditions, and artistic and participative methods, which were formative for the neo-avant-garde of the mid-twentieth century, the emphasis is placed specifically on the will and ability of artists to go beyond their personal scope in experimental collaborations with colleagues, to allow for change along with the shift in perspective on their own practice.

Collaborations highlights key aspects of the Mumok collection by exhibiting works that operate primarily on a meta-reflexive level. What these works, which often emerged in collective processes, have in common is that they all reflect on ways of living and working together. While the curatorial approach examines artist collectives and their underlying mechanisms and logics, it also frames acting itself as a form of collectivity—a form of acting that equally acknowledges the artistic expressions of individuals as well as those of groups or other models conceived as affiliations and alliances of the participants. The utopian potential of collaborations to transcend Western patriarchal power relations and art market logics of originality and solitary authorship and thereby provoke social change seems to be unwavering.

Artists: Marina Abramović & Ulay, Ant Farm, Art & Language, Martin Beck, Bernadette Corporation, Anna & Bernhard Blume, George Brecht, Günter Brus, John Cage, Merce Cunningham, Chto Delat, Leidy Churchman, Clegg & Guttmann, Phil Collins, Bruce Conner, DIE DAMEN, Jean Dupuy, VALIE EXPORT, Peter Faecke and Wolf Vostell, Robert Filliou, Rimma Gerlovina & Valeriy Gerlovin, Gilbert & George, Manfred Grübl, Andreas Gursky, Richard Hamilton and Dieter Roth, Haus-Rucker-Co., Christine & Irene Hohenbüchler, IRWIN, Ray Johnson and Berty Skuber, On Kawara, Friedrich Kiesler, Alison Knowles, Brigitte Kowanz and Franz Graf, Louise Lawler, Lucy R. Lippard, Sharon Lockhart, George Maciunas, Larry Miller, Ree Morton, Otto Muehl, museum in progress, Moriz Nähr, Natalia L.L., Otto Neurath, Yoko Ono, Nam June Paik, Stephen Prina, Jörg Schlick, Hubert Schmalix, Secession, Seth Siegelaub, Christian Skrein, Daniel Spoerri, Petr Štembera and Tom Marioni, Thomas Struth, Timm Ulrichs, VBKÖ, Kerstin von Gabain and Nino Sakandelidze, Franz Erhard Walther, Robert Watts, Franz West, Wiener Gruppe, Oswald Wiener, Heimo Zobernig and others; with the video series lumbung calling from documenta fifteen, curated by ruangrupa.

Curated by Heike Eipeldauer and Franz Thalmair. Exhibition design by Anetta Mona Chişa & Lucia Tkáčová

Image: Ulay, Marina Abramovć, Breathing In / Breathing Out, 1977

https://www.mumok.at/en/events/collaborations

(da un post di Sandro Ricaldone)

untitled / alison knowles. 1986

Alison Knowles, Untitled, 1986

ca. 9 x 6 x 1 cm / vitrine 12 x 11 x 11 cm

white bean embedded in papier maché
signed, numbered
edition 100

published by Edition Hundertmark, Düsseldorf, Germany

Collezione S. Oriente – E. Piscolla

fortune / alison knowles. 1980

Alison Knowles, Fortune, 1980
ca 4 x 5 x 4 cm

fortune cookie, print and handwriting on paper, machine typed label.
published by Armin Hundertmark, Cologne, Germany

Collezione S. Oriente – E. Piscolla

alison knowles interview on the history of fluxus (2002)

Fluxus cofounder Alison Knowles discusses the history of the movement and her work with Philip Blackburn in 2002 at Cave Paper in Minneapolis. Alison performs on the Bean Turner; flax paper containing red kidney beans

13 nov.: re-enacting five alison knowles’ event scores

Alison Knowles “Happy Birthday” 1993 Galleria Unimedia Genova – Foto Fabrizio Boggiano.jpg

Sabato 13 novembre dalle ore 16:00
@ UnimediaModern Contemporary art- Palazzo Squarciafico
P.za Invrea 5b, Genova
Alison Knowles – Event Scores – The Golden age of Fluxus

Gli studenti del Liceo Artistico G. Bruno di Albenga, coordinati da Mauro Panichella interpreteranno cinque storici event score di Alison Knowles.

sabato 13 novembre 2021

ore 16:00
“5 event score”
la classe 5Ba del Liceo Artistico Giordano Bruno di Albenga
coordinata da Mauro Panichella

ore 18:30
Fuori dalla tua Cage, John
Philip Corner e Phoebe Neville

Le performance di Alison Knowles appartengono essenzialmente alla categoria degli Events, quella forma minimale di performance inventata da George Brecht  nella storica classe di John Cage alla New School for Social Research a New York nel 1958. Esse prevedono sovente il coinvolgimento del pubblico e sono composte da attimi di grande intensità, tra immagine e suono, mentre un sottile senso di humour e di surrealtà le pervade ondivago. Molte volte l’artista usa oggetti del quotidiano, come capi d’abbigliamento (Shoes of your choice, 1963) o elementi appartenenti alla cultura del sostentamento, soprattutto fagioli e semi in generale (Onion Skin Song, 1971). Continua a leggere

alison knowles: a genova dal 7 ottobre

ALISON KNOWLES
Not Only Beans
@ UnimediaModern | Piazza Invrea, 5/b – 16121 – Genova
7 ottobre – 30 novembre 2021

https://www.unimediamodern.it/
https://www.facebook.com/Unimediamodern-Genova-514013988958525/

Il 7 ottobre 2021 si inaugura la cinquantunesima stagione di UnimediaModern, con una mostra personale di Alison Knowles, dal titolo “Not only beans”, nell’ambito della rassegna START che vede coinvolte tutte le gallerie d’arte genovesi.

Alison Knowles, nata a New York nel 1933, è nota per le sue installazioni, performance, soundworks e pubblicazioni. Negli anni ’60, ha partecipato attivamente alla scena artistica newyorkese collaborando con artisti come John Cage e Marcel Duchamp. Nel 1962 era presente a Wiesbaden al primo Festival Fluxus, la rete internazionale di artisti che viene considerata l’ultima avanguardia, i cui membri aspirano a fondere diversi media e discipline artistiche.
In un suo prezioso testo Henry Martin parla di Ars Gratia Artis (principio della ricerca libidinale) a proposito di Fluxus, “…Impariamo a lasciar libero nelle nostre vite uno spazio per eventi, esperienze, emozioni e sensibilità che alimentino un senso di integrità a di pienezza e che altrimenti, e erroneamente, potremmo ritenere gratuiti…” Questo invito, valido per qualsiasi evento artistico, è particolarmente utile a chi si avvicina al lavoro di Alison Knowles, sia nelle opere visive sia negli eventi e nelle performance, che prevedono sovente un coinvolgimento del pubblico, tra immagine e suono, mentre un sottile senso di humour e di surrealtà le pervade ondivago.
Alison Knowles con il suo lavoro riesce a farci vedere cose che prima non eravamo in grado di vedere (come ha scritto sul suo Note-book) e questo è il mistero della poesia.
La mostra è accompagnata da un flyer con testi di Alessandra Gagliano Candela, Caterina Gualco e Henry Martin.

Nella project room sarà presentata una selezione di opere di artisti Fluxus, in attesa di festeggiarne il sessantesimo compleanno nel 2022.

_

a bologna: una mostra dedicata a rosanna chiessi

Istituzione Bologna Musei | MAMbo Museo d’Arte Moderna di Bologna,
Comune di Reggio Emilia Biblioteca Panizzi e l’Archivio Pari&Dispari
invitano alla mostra

Rosanna Chiessi. Pari&Dispari
A cura di Lorenzo Balbi

Il MAMbo – Museo d’Arte Moderna di Bologna prosegue nella programmazione espositiva dello spazio Project Room, dedicato a una ricognizione di protagonisti e vicende tra le più significative per la storia artistica del territorio, presentando un focus dedicato a Rosanna Chiessi, a cura di Lorenzo Balbi e organizzato in collaborazione con l’ Archivio Storico Pari&Dispari – Rosanna Chiessi e Comune di Reggio EmiliaBiblioteca Panizzi.

Object Poems (November 4 – 26, 2011)

Object Poems

November 4 – 26, 2011

23 Sandy Gallery
623 NE 23rd Avenue
Portland, Oregon
23sandy.com

Opening Reception: Friday, Nov. 4, 5:00-8:00 pm
Reading/Performance : Saturday, Nov. 5, 4:00 pm

Object Poems brings together striking and varied works
by more than thirty contemporary artist-poets and poet-artists:
poems in three dimensions
found poems
sculptural and utilitarian poems
conceptual poems
poems that depart in myriad ways from the familiar form of the printed page.

Participating Artists:
Drew Kunz, Alison Knowles, Joseph Keppler, Nico Vassilakis, Harriet Bart,
Michael Basinski, Bill Berkson, Jen Bervin, Kristin Prevallet, Clemente Padin,
James Yeary, Alec Finlay, Steve McCaffery, Eric Magrane, Jim Clinefelter,
Norma Cole, J. A. Lee, Leo & Anna Daedalus, Marilyn R. Rosenberg, Geof Huth,
Mary Ann Hayden, Alan Halsey, Buzz Spector, Kyle Schlesinger, Kaia Sand,
Curtis Steiner, Mark Owens, David Abel, Andrew Topel, K. S. Ernst