Ten years ago, we did No Soul for Sale at Tate Modern, the London powerhouse museum that turned 20 this year. On that occasion, artist Adam Avikainen celebrated the nuptials between two paintings of his and two paintings he chose from the Tate Collection, in the galleries where they were hung with a group of us as witnesses1. Adam has been sending each year for 10 years an e-mail in May to the participants to these nuptials, he promised a forever and he is keeping his word. The e-mail addresses he gathered in 2010 though, have been bouncing, each year less people receive his message on behalf of the paintings. In 2020, we are scattered in different parts of the world, and in different phases of lockdown induced by Covid. Continue reading
ti scrivo dalla Lombardia in quarta settimana di quarantena, forse i pensieri non sono molto lucidi ma provo lo stesso a porti delle questioni che vorrei discutere con te. Innanzitutto grazie della traduzione in italiano dell’intervista che ho fatto all’artista Lawrence Lek tra il 2017 (quando ancora vivevo a Singapore) e l’inizio di quest’anno funesto, rientrata in Italia prima degli inizi del contagio da Covid-19. […]
Anchored in the real space of the LaSalle campus, Surface Creep is a walking tour that works between worlds. It uses the bleed between narration and diagetic and recorded sound to disrupt the spaces between truth and fiction, present and future.
Set partly in a future where Singapore has reclaimed so much land from the ocean that the world has become a giant dust bowl, the work uses fictive inquiry to bring ecological disaster into the present. (Sarah Walker, 2019).
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Curating at the time of COVID19 is a series of short, homemade videos, by our fellow independent women curators, discussing curating practices during the lockdown.😷 . We are pleased to introduce our guest for the 10thepisode, Caterina Riva, an independent woman curator from Northern Italy. She co-founded the curatorial project space FormContent in London (2007-11), was director of Artspace in Auckland, New Zealand (2011-14), and curator at ICA Singapore (2017-19). After 8 weeks of lockdown, she can now go for walks with a mask. 🎊🎉🎊 @cateriva . We are committed to continuing our mission to create community and to support the work of independent women curators by sharing our stories, our work, and our inspiration in these challenging times. We invite you to enjoy our new online content created by our community of awesome women! Topics include; What does an independent curator do? What do curators think of online exhibitions? What artists, artworks, and exhibitions are curators working on or inspired by? . Bio: Caterina Riva is a curator from Italy: she co-founded the curatorial project space FormContent in London (2007-11), was director of Artspace in Auckland, New Zealand (2011-14) and curator at ICA Singapore (2017-19). Pre Covid, Riva has been working on a research on how digital technologies are changing the way in which artists and curators are approaching artworks, shaping exhibitions and dealing with audiences. caterinariva.com . More to come. Stay tuned!📡📡📡 . #assemblyroomnyc #curatingatthetimeofcovid19 #video #igtv #igtvseries #opencall #5minutes #diy #homemadevideo #lowfi #temporarilyclosed #independent #women #curator #independentwomencurators #lowereastside #lowerestsidegallery #newyork #nyc #besafe #togetherathome #resister #nycgallerieslive #newartdealers #artkeepsongoing #viaggidacamera #luigighirri #miaoying @miaoyingmiao @mplusmuseum
Continue reading my interview with Lawrence Lek on so-far.online
I am not sure where your IP address is located as you read this article. I am in now Italy trying to question the reach of digital technologies in our lives, interactions and flailing democracies. I started becoming more aware of the role of technology in society while living in Singapore, noticing how interfaces were shaping the city and its inhabitants.
Continue reading on so-far.online
I move to the edge of the wall, touch the surface which is cold and chalky. What house system are you using? Yours is a new house, one you designed yourself. You open the window. I talk about what was on my mind that night. An image of two habits short-circuiting. One stimulated by the other, something being distilled, boiled down. That it was meant to be. You reposition my chair, wipe down the table. That it’s still a region of tissue, strata of flesh and nerves and muscle. I go through my list, I mention resistance training, flexibility, geophysical processes. You pour liquid into a glass. I steady the glass with my hand. I use the other to push the image across and let it drip, discharge onto the wooden surface like some form of glandular secretion.