Memory Lane

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Source and more: Nymag.com

The Youth of Today ::: Schirn Kunsthalle

ANUSCHKA BLOMMERS / NIELS SCHUMM: RUTH PAPWORTH@SELECT MODELS, 1998
AUS DER SERIE “CLASS OF 1998”, 1998
Credit: Schirn.de


ANUSCHKA BLOMMERS / NIELS SCHUMM: SUSAN CROZIER@SELECT MODELS, 1998
AUS DER SERIE “CLASS OF 1998”, 1998
Credit: Schirn.de

I've been to this exhibition yesterday and I'm not quite sure what to think about it. On the one hand it was very interesting to see so many new and young artists I've never heard of before, on the other hand I felt quite old. There were so many under 20 visitors, people you usually won't meet in art exhibitions at all. What exactly is the intention of this exhibition? To reach as many people as possible? Especially to get a younger audience? The Schirn is famous for its mass compatible exhibitions, without loosing their reputation as a very good working exhibition hall. I ♥ the Schirn! But I'm not sure about this one. It seems as if Max Hollein (director) is trying a bit to hard this time. The diversity of the youth scene was a big issue during my youth days. Maybe the gap is to big now - I'm 25 - but where exactly are these scenes? Every boy and girl is dressed the same - at least in Germany. No diversity at all. No Punks, no Girlies, no Grunge, no Fruits, no anything at all. H&M's the uniform and some sad exceptions suffering from beeing the odd ones out. The exhibitions seems to be a dream about a more interessting world. What do you think?

You'll find the pictures I've taken of this exhibition in my Livejournal.



Credit: Schirn.de


Credit: Schirn.de


:::


e-flux:

THE YOUTH OF TODAY
7 April - 25 June 2006

A growing emphasis on the media, individuality, and commercialism is producing a constantly increasing diversity of youth scenes. Girlies, greasers, hooligans, rappers, ravers, streetballers, train surfers, traceurs, and yamakasis are just some of these disparate "artificial tribes" to which today's young people feel they belong. Whereas during the cold war of youth cultures one still had to decide between clear alternatives like punk or pop, young people today, as a rule, pass through a whole series of scenes. This exhibition shows how contemporary art confronts the various life worlds of teens, twens, and postadolescent thirty-somethings whose experience of youth culture often extends into their family lives and careers. This presentation of the 160 works of 50 international artists such as the Young British Artist Tracey Emin, the American photographer Philip-Lorca diCorcia, and a large number of newcomers will outline the influences of youth culture on society's aesth etic and political realms.


L. A. RAEVEN: TEST ROOM, 2000
Credit: Schirn.de

ALEX TENNIGKEIT: YOU’RE LOOKING GOOD IN THAT GUCCI BIKINI, 2004

Credit: Schirn.de

The enormous variety of youth scenarios, styles, and genres mirror a chaotic and ambivalent field of young people's cultural production. The adolescent generation's universe is accompanied by a multi-media flood of information which clings to it like its second nature and resolves contradictions, or so it seems. There is no generation conflict, and the thirty-somethings apparently are into the same codes as the teens and twens - in terms of language, music, and clothes. The unisex label not only deterritorializes different bodies and sexes. It also brings forth different strategies of identity formation allowing new social contexts: communities and urban spaces. So what about today's re-constitution of the (sexual, socio-cultural, urban) subject? What follows from the autonomy of the sexes and the destruction of traditional role models?

ALEX MORRISON: HOMEWRECKER, 2001

Credit: Schirn.de


RITA ACKERMANN: GET A JOB, 1993
Credit: Schirn.de

The rebellion - against parents, adults, prevailing values, and the state - so frequently associated with youth also manifests itself in the multi-optional character of an open society. Skaters vs. hippies, punks vs. eager beavers, ravers against the night, and all together against war. The once desirable and timeless ideals have been reduced to human scale and human time. The loss reveals a re-formation of the individual as a post-modern, fragmentized subject. And it is the collage and the assemblage again that - as artistic means refined by computer-based sampling, animation, and digital imaging - permit the creation of a heterogeneous "new" world. Proliferating environments and installations, such as the artist Laura Kikauka's studio "Funny Farm", reflect these complex contexts and are the basis for unique possible worlds generating themselves in which comics and psychedelic holography, punk and sexual desire coexist.

LAUREN GREENFIELD: SHEENA TRIES ON CLOTHES WITH HER FRIEND AMBER, 14, IN A DEPARTMENT STORE DRESSING ROOM, SAN JOSE (“COVER”), 2002
Credit: Schirn.de

The exhibition also explores the relationship between individual and group and the place young people assign themselves in society - issues prevailing in different youth cultures and their lifeworlds. In this regard, the club forms a multi-layered field of forces where young people search for a language of their own - for speechlessness as a different, a physical language - and hope to find an autonomous, exempt space which unites the political, sexual, and aesthetic utopias. The importance of hedonism as a model of the nineties club culture lies in its rejection of intellectual dominance and the subversive role of the body. The body suggests itself as a writable and rewritable surface on which signs freely form units and personal identities constitute themselves. Many of the shown works explore this changed body and present it in surroundings that strike us as claustrophobic. This contrast between bodily and spatial topology is not only a main concern of Pierre Huyghe's and Collier Schorr's work but also at the core of Mike Paré's "Teenage Geography" and Bjarne Melgaard's reactionary anthropoid apes.

GAVIN TURK: CHE, 1999

Credit: Schirn.de

Pose and transformation count among the traditional exercises when it comes to internalizing adult models or rebelling against them. They may also support the personality's reconstitution and the young people's individualization when employed as strategies of differentiation between themselves and adult persons. Thus, the significance of pose and transformation is equally undermined though - turning into a "shifter", as Rosalind Krauss has called it, i.e. a semantic shell that can be moved in all directions without ever taking root. Today's youth lives in more than just one youth culture, they go through several scenes, one after another or sometimes different ones at the same time. Growing up - whether in a positive or in a negative sense - cannot be seen as an absolute value providing a point of orientation from which today's youth might derive current forms of meaning. They develop autonomous systems that are complex enough to find no sympathy and flexible enough to combin e with other systems. Complexity primarily describes the end of universal aims and the possibility of singularization. Matt Greene's Gothic post-hippie dreamscapes reminiscent of de Sade, and Rita Ackermann's girl paradises full of tough Lolita vamps all strike us as equally closed and untouchable microcosms.

LIST OF ARTISTS: Abetz/Drescher (DE), Rita Ackermann (HU), Joe Andoe (US), Marc Bijl (NL), Anuschka Blommers / Niels Schumm (NL), Slater Bradley (US), Daniele Buetti (CH), Ian Cooper (US), Annelise Coste (CH), Sue de Beer (US), Amie Dicke (NL), Philip-Lorca diCorcia (US), Iris van Dongen (NL), Tracey Emin (GB), Luis Gispert (US), Anthony Goicolea (US), Janine Gordon (US), Matthew Greene (US), Lauren Greenfield (US), Kevin Hanley (US), Esther Harris (GB), Rachel Howe (US), Pierre Huyghe (FR), Laura Kikauka (CA), Clemens Krauss (AT), Hendrik Krawen (DE), Liisa Lounila (FI), Marlene McCarty (US), Ryan McGinley (US), Alex McQuilkin (US), Martin Maloney (GB), Bjarne Melgaard (NL), Alex Morrison (CA), João Onofre (PT), Lea Asja Pagenkemper (DE), Mike Paré (US), Frédéric Post (CH), Bettina Pousttchi (DE), L. A. Raeven (NL), Julika Rudelius (DE), Collier Schorr (US), Kiki Seror (US), Ulrike Siecaup (DE), Hannah Starkey (IE), Tomoaki Suzuki (JP), Alex Tennigkeit (DE), Sue Tompk ins (GB), Gavin Turk (GB), Alejandro Vidal (ES), Banks Violette (US).

SCHIRN KUNSTHALLE FRANKFURT
Römerberg
60311 Frankfurt, Germany
phone: (+49-69) 29 98 82-0
fax: (+49-69) 29 98 82-240,
welcome@schirn.de
www.schirn.de

Elena Mirò ::: For Plus Size Fashionistas...

Dear plus sized "fashionistas" (sorry F.A.D.) this is something for you. Elena Miro showed her collection at this seasons milan fashion week for the first time. No need to pull on leggins and XXXXL-Shirts. Show your sexy curves and check these sexy ladies out:






Credits all @: Elena Miro

Week #14 Artist ::: Esra Ersen

This weeks artist ist Esra Ersen. The Turkey born artist is currently exhibited at the Frankfurter Kunstverein.
Read more...




all photos taken by maret

"I want to be loved by me" ::: Part II

Credit: Sleek

At first it’s comical to watch a middle-aged woman imitate the most famous blonde bombshell of the twentieth century. But the mixture between self-portrayal and idol worship in
TINA BARA’s photographs is also disconcerting: an unpretentious woman exposes the tragedy of an icon who could never be herself...
Read the whole text on Sleek







Credit all @: Sleek


TINA BARA
Born 1962 in Kleinmachnow, East Germany. Lives and works in Berlin and Leipzig, Germany, and Bonisdorf, Austria

EXHIBITIONS
Kunstwerke 36, Art Project, Große Bergstraße, Hamburg, Germany, 3 May – 26 May, 2006
marilyn, Kunsthaus, Hamburg, Germany,
25 March – 1 May 2006
marilyn, Women’s Museum Dallas, Texas, USA,
20 September – 22 October, 2006, travelling exhibition; further venues: Boca Raton Museum of Art, Florida, and others

GALLERY
Galerie Christa Burger, Munich,
tel. +49 89 28996550,
www.galerieburger.de

COURTESY
All images the artist and Galerie Christa Burger, Munich

:::

"I want to be loved by me" ::: Part I

All girls ♥ ballet...

...don't they? Actually I really do.
2005 World Press Photos.


Arts and Entertainment Stories. Åsa Sjöström, Sweden, Ballet school, Moldova. Credit: bdzv.de


Arts and Entertainment. Shayne Robinson, South Africa, Ballet class, Alexandra Township. Credit: english.sina.com

But my shoes never looked like that ;-)

Frankfurter Kunstverein ::: ReOpening

My beloved Frankfurter Kunstverein is reopening under a new (female) direction. See you there on tuesday night 7pm. ♥



e-flux:

On April 4 the Frankfurter Kunstverein re-opens its doors under a new direction and after a three month period of renovation.

Today, few promises can be made by an art institution, apart from those of persisting in the difficult exercises of thinking ahead, sharpening our capacity for mediation and avoiding one-way communication.


Frankfurter Kunstverein. Credit: frankfurt.city-map.de

This year, the Frankfurter Kunstverein offers several meeting points:

10 Reasons To Be a Member is an open invitation to take part in the life of the Frankfurter Kunstverein. It is a space where the visitor is offered valuable insight into our goals. In this way, 10 Reasons To Be a Member aims to revisit the idea of the institution as a social project, as well as to present arguments for being an active part of such an enterprise.

Café im Kunstverein. In the process of re-thinking the Frankfurter Kunstverein as a public forum, it was decided to give new form to the café. This task was given to the artists Gorka Eizagirre (*1971) and Xavier Salaberría (*1969). Working collaboratively, Eizagirre and Salaberría have developed a project aimed at improving our public domain: by emphasising the connections between contemporary artistic practice and everyday life, they have created an environment that goes beyond the artistic gesture and functions as a café.


That's how the café used to look. Credit: Magazin-Frankfurt.de

Ist das Leben nicht schön? is a group exhibition in four chapters that will run throughout 2006:

Esra Ersen (April 5 - June 5, 2006)
*1970, lives and works in Istanbul and London
Wilhelm Sasnal (June 21 - September 3, 2006)
*1972, lives and works in Warsaw
Arturas Raila (September 20 - November 19, 2006)
*1962, lives and works in Lithuania
Tommy Støckel (December 6, 2006 - January, 2007)
*1972, lives and works in Berlin

Using very different methodologies, all of the four artists explore artistic practice and the role of the artist in order to expand our "cultural condition". The four projects represent very contemporary concerns:

Esra Ersen invites us to become foreign, revisiting notions of subjectivity and cultural territory. Wilhelm Sasnal inundates the present with his painterly research into ways of re-articulating the relationship between high and low culture. Arturas Raila addresses our desire for improving life, of travelling beyond the realm of pragmatic reality; and Tommy Støckel will present a new installation where we can examine our curiosity towards beauty and available images of happiness.

Speaking of Others is a platform for discussion that will open later in the year. Informed by the spirit of the open public forum, the Frankfurter Kunstverein is going to invite private and collective initiatives dedicated to explore our near future. With presentations, conferences, screenings and debates, Speaking of Others will be a space to listen, to meet, to talk and to articulate agreement and disagreement.

The Residency Program is still under construction. However, we will already now inaugurate it in anticipation of the future program for residents. The Residency Program is a new function at the Frankfurter Kunstverein: It is a place to produce, present and reflect on artistic work, and to engage in intense working relations with art professionals belonging to different cultural contexts and generations. Our first guest to The Residency will be the artist Francesc Ruiz, who will develop a project in and for our particular space.




Credit: estrohmeier.com

The Esra Ersen exhibition in the "Ist das Leben nicht schön?" series takes place in co-operation with the O.K Centrum für Gegenwartskunst, Linz and will subsequently travel to the Kunsthaus Baselland, Muttenz. The Wilhelm Sasnal exhibition takes place in co-operation with the Van Abbemuseum, Eindhoven.