SOME ARTISTS

Huffingtonpost. WAX, un projet artistique qui questionne violemment la place des femmes dans la société. Africans Turn to Local Art: Five Artists to Watch. Africa’s lawyers and other professionals are battling each other these days—not in court but at auction houses.

That’s good news for the continent’s young artists, who are watching prices on their artwork rise. Recently, Lagos attorney Femi Lijadu took Uganda-born lawyer Samallie Kiyingi on an art tour of the Nigerian city. Now practicing in London, Ms. Kiyingi serves on the Tate museum’s African Acquisitions Committee. At a Lagos auction several days later, the two lawyers faced off over a bronze by the Nigerian artist Tonie Okpe: Mr. Contemporary artists like Mr. Major contemporary-art fairs in Europe and the U.S. bring in far more than that. The second annual 1:54 Contemporary African Art Fair—the digits refer to the continent’s 54 countries—brought 27 galleries and works by more than 100 artists to collectors in London in October. The female artists reclaiming their bodies. The female figure has been a central object of Western art since time immemorial: from Botticelli's marine nudes to Titian’s ravishing lovers and Courbet’s 1866 “Origin of the World”.

But rarely have women’s representations of themselves been given air to breathe. As English art critic John Berger wrote in his 1973 Ways of Seeing, describing media culture’s shaping of gender politics and the woman as object: “Men act and women appear. Men look at women. Women watch themselves being looked at.” It is through this prism of patriarchal control that much exploitation of women has been enacted: commonly phallocentric portraiture has been used to permeate the rest of society. In fact, the late-Austrian painter Egon Schiele – whose The Radical Nude exhibition is currently taking place at London’s Courtauld Gallery – is perhaps one of the few examples of a man able to expressively convey the radical, raw beauty of nude women, as fluid beings rather than fixed objects. Subverting Media: A Low Tech Guide to Information Activism (1998) MAEDASTUDIO. Inside artist Louise Bourgeois' New York home. Spider (2003) by Louise Bourgeois (THE EASTON FOUNDATION) Gorovoy, now 60, met Louise in 1980 when he was curating at a small SoHo gallery.

She didn’t like the way he had installed her work and barrelled through the door, ranting and raving until the two eventually resolved their differences over coffee. Not long afterward she invited him to the home that we are standing in now, where he realised instantly, as he wrote movingly in the days following her death, “that the way she spoke, lived and worked were all of a piece, inextricably linked together.” At the time of their meeting, Bourgeois had yet to achieve the incredible success that characterised the later decades of her life. 10 African video artists to know now. Project [SFIP] brings African video art to London.

The Ben Uri Gallery and Museum in London is hosting Project [SFIP] from 13 to 30 March 2014. Featuring video art from Africa, the show shines a spotlight on oft-forgotten aspects of contemporary art practice from the continent. Art Radar profiles 10 of the participating artists in the exhibition. Le jeune poète Hashem Shaabani a été pendu après que sa sentence ait été aprouvée par le "modéré" président iranien Hassan Rouhani. Jeudi 13 février 2014 4 13 /02 /Fév /2014 10:55 - Publié dans : Iran Hashem Shaabani, poète et Hadi Rachedi, enseignant, ont été pendus le 26 janvier 2014.

Ils étaient tous les deux issus de la minorité arabe des Ahvazis (d'Ahvaz) qui vit dans la province du Khouzistan. Hashem Shaabani avait été arrêté en 2011, puis reconnu coupable en 2013 par le tribunal de la révolution islamique, d'avoir notamment voulu mener une guerre contre dieu et le régime chiite. Il a été condamné à mort avec les 14 autres détenus, jugés en même temps que lui pour délits d'opinion.

Le jeune poète Hashem Shaabani a été pendu après que sa sentence ait été aprouvée par le "modéré" président iranien Hassan Rouhani. Mounir Fatmi — Galerie Yvon Lambert — Critique. Mounir Fatmi, Jusqu’à preuve du contraire (In the Absence of Evidence to the Contrary) 03, 2012 — Vue d’exposition : Intranquillités, B.P.S.22, Charleroi, 2012 Courtesy de l’artiste et galerie Yvon Lambert, Paris 3 - Bravo Critique Review February 13, 2014 — By Léa Chauvel-Lévy Très re­mar­qué lors de la Bien­nale de Ve­nise en 2011, à l’oc­ca­sion de sa par­ti­ci­pa­tion à la pre­mière ex­po­si­tion pan-arabe The Fu­ture of a Pro­mise, Mou­nir Fatmi le fut éga­le­ment en de plus fu­nestes cir­cons­tances lors­qu’en 2012, son œuvre vidéo Tech­no­lo­gia fut cen­suré par quelques fa­na­tiques qui consi­dé­raient sa pro­jec­tion de ver­sets co­ra­niques blas­phé­ma­toire.

L’ar­tiste tan­gé­rois re­vient à la ga­le­rie Yvon Lam­bert sans l’ombre d’une po­lé­mique et y ex­pose son tra­vail qui ne laisse pour­tant guère de répit au sacré. Aussi im­prime-t-il sur une pluie de néons la sou­rate 24 du Coran. Extra: Sylvester Okwunodu Ogbechie – ‘Where is Africa in Global Contemporary Art?’ By publishing the Project ‘1975’ essay ‘The Politics of Exclusion’, SMBA presented an introduction to the range of problems connected to the definition of African Art.

Author Rikki Wemega-Kwawu is certainly not alone in his criticism towards the current discourse of African and Global art. In addition the Nigeria-born American Sylvester Okwunodu Ogbechie, Associate Professor Art History at the University of California Santa Barbara, criticizes the ‘Eurocentric’ definition of contemporary art and the idea of ‘global contemporary’ in his article ‘Where is Africa in Global Contemporary Art?’

In Savvy Journal. The Dinner Party. Un article de Wikipédia, l'encyclopédie libre.

Description[modifier | modifier le code] La table comprend 39 places pour autant de femmes. Jérôme Saint-Loubert Bié expose 13 affiches / ACB : Jérôme Saint-Loubert Bié. Solo exhibition in two galleries Title: Jérôme Saint-Loubert Bié expose 13 affiches de Francis Baudevin, Documentation Céline Duval, Daniel Eatock, Experimental Jetset, Christoph Keller, Mevis & van Deursen, Jonathan Monk, Dave Muller, Regular, Yann Sérandour, Stripe/Jon Sueda & Gail Swanlund, Jian-Xing Too, Vier5 Year: 2007 Exhibition: Atelier Cardenas Bellanger, Paris, Septembre 15–Octobre 31 (current page),Galerie de Multiples, Paris, Septembre 8–October 9 (go to this page)

Antimonide. Born in Puerto Rico in 1943, Lopez came to New York when he was seven. His mother was a dressmaker, his father sculpted mannequins. Fashion and form—that apple didn’t fall far from the tree. The Fashion Institute of Technology, WWD, The New York Times: His trajectory was ever upward. Nils Völker. BIKINI MACHINES. (via (via.

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