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Das Hotel FRESH 2010 - ARTISTSSantiago SierraSantiago Sierra was born 1966 in Madrid. He studied in Madrid and Hamburg. The artist lived and worked in Mexico 1995 to 2007. Now he lives and works in Madrid and Lucca. Santiago Sierras works t into a set of critical operation of the twentieth century doubting the believe that art is an autonomic, sublime and seless act. Many of his countless participation at Biennales such in Sao Paulo and Venice or exhibitions at museums and art institutions like PS1, Kunsthalle Wien, Tate Modern, Palais de Tokyo, IKON Gallery and the Kestner Gesellschaft are prove for his exceptional strong artistic presents and unique position in the contemporary art world. NO, GLOBAL TOUR On July 18th, 2009 and without a calendar nor dened route, appear in the Napoleonic stables of Lucca the NO, Global Tour, as an sculptural NO in black marine plywood Arial font, of dimensions of 3.20 meters of height and 4 meters of wide, and a weight by letter of 250 kilograms. After two months in exhibition, the NO departs from Lucca towards Berlin in a truck with the legal dimensions, necessary to circulate without restrictions. It appears in Milan and there visits the industrial area. With base in Bernburg, it makes a route by the ex-German Democratic Republic, visiting residential, industry and mining areas. In Berlin during Kunstforum, it escalates the roof of the studio of conceptual painter Jir Georg Dokoupil, located in front of a centric subway station. In October, a second NO is constructed in Toronto and displayed during the Night in White in the nancial district, soon travels to the U.S.A., appearing in Hamilton, Buffalo, Detroit, Cleveland and Pitsburgh; always in industrial zones and districts of workers. That same month, the NO starts off again from Berlin and it is displayed briey in the Museum of Contemporary Art of Dortmund, having also visited its industrial belt: the Ruhrgebiet. Later it travels to Rotterdam and it is parked in Coolsingel, the city's main street. Also the petroleum reneries and the port were visited. After visiting the ofcial buildings of Maastricht, it travels to Brussels, seat of NATO, European Parliament and others, crosses the English Channel and it arrives at London where it visits works of the Olympic Games, the Death Counter in the nancial district and Greenwich. From London it is sent to New York. In New York it comprises of the festival Performa 09. The NO visits the building of United Nations, Wall Street, Rockefeller Center and other tourist destinies. Then the NO departs towards Miami to participate in the section of public sculpture of the fair Art Basel Miami Beach. The organization solicits to us not to leave Miami Beach reason why we visited only Miami Beach. During the fair the sculpture is exhibited in the park next to the Bass Museum. A third NO sculpture is constructed in Lucca and moves to Livorno, soon in Genoa visits the seaport. It arrives at Monte Carlo and the neighboring Saint-Jean-Cap-Ferrat. From there the NO travels to Marseilles, visiting its reneries and factories. It travels soon to Lourdes and to Madrid. In Madrid and its province the NO visits diverse places of interest and it comprises of the ofcial programming of the ARCO fair. During the accomplishment of the Tour a lm directed by Santiago Sierra and lmed by Diego Santom is rolled. The running will nalize in Washington where tour will travel from May 8th, 2010. Next the NO will return to Spain and Italy and it will continue towards Japan and Poland. -

NO Global Tour - Photograph on Fuji Cristal - 94 x 163 cm - 2009

Rob Scholteborn 1958 in Amsterdam, Holland / Lives and works in Bergen, Holland Rob Scholte represented Netherlands as artist at the Biennale Venice in 1990. His works were also shown at the Documenta 8 in Kassel and are in several public and private collections such as Museum Ludwig in Cologne, Huis Ten Bosch Palace in Nagasaki or the Stedelijk Museum in Amsterdam. As an neo-conceptual artist Rob Scholte reveals the connections between the image and its recipient. He draws no difference between Art and Kitsch. In a world surrounded permanently by images Rob Scholtes focus is pointed on the raw material - the image as itself. He questions appearance, investigates their esthetics and places them in new contexts to discover aspects of reading and the inuences they have on us.

Les cadavres exquis des annes des quatre-vingt, 2010, acrylic on canvas, each 100 x 40 cm.

Seamus Farrellborn 1965, lives and works in Paris, Saint-Ouen and Cadiz Seamus Farrells work collapses the boundaries between artist and worker while simultaneously addressing questions of globalism, ecology, and art education. Farrell has had solo exhibitions such as at Espace 150 x 295 cm (Martil) and Lappartement 22 (Rabat) and has participated in group exhibitions including the 7th Gwangju Biennale and OPEN/ INVITED ev+a (Limerick).

"U.N. Circle Gwangju-Marrakech" is an elaboration on the work produced by Seamus Farrell for Expedition 7 (Relative Homelands), part of the 7th Gwangju Biennale in 2008. The work at AiM was produced in Fez in collaboration with young artists and workers. Car doors form an unclosed circle evoking the United Nations Security Council table, with engravings on each window in multiple languages and scripts about the political dimensions of water and other vital issues. Farrells work revolves around citations, including of sentences taken from the press, as on the car doors, and of architecture and mass-media. Installed at ESAV (lm School in Marrakech),"EarTubes," the second work by Seamus Farrell in this exhibition is a sound installation using plastic and radio transistors, produced at Lappartement 22, as a response to the conicting voices that emerged from the political protests, heard both in the mass-media and at the doors of government halls and international summits, on what has become of the world. Both works are dealing with multipart expressions and a physical tension if the exhibition places.

"RETROVISIONS" motorbike mirrors engraved with diamond tip 2010

Thomas Bachler

born 1961 in Detmold, invites us through his conceptual works to a deep reection upon the analyses of esthetic processes, upon social and historical coherence but also upon mental processes that guide human behavior. He is creating scenes of presence and absence, of questions without resolution, lled with an irony that according to the action itself is alwaysassigned by a photographic fact. Apart from the pinhole camera, Bachler uses processes of decontextualization of images. Devaluated banknotes, photos from the GDRs state security service (STASI), idealistic socialist literature diversify upon perception. Thomas Bachlers works invite us, throughout its conceptual mechanisms, to experience an intellectual autonomy that is difcult to imagine in the absence of its submitted esthetic phenomenona.

Deutsche Autos - 60 x 80 cm - Fuji Cristal - 2008 - Edition of 3

Kristoffer ArdeaPhilippines, 1976, lives and works in Paris has been working during the last years on several artistic projects conceptualizing human behavior. For that purpose he conceives an epistemological procedure that performs cultural traditions within a concrete cultural frame, but relating the whole mechanism to another bigger one: our globalized world. Thus meaning related to conventional situations that is based on conventional cognitive structures, becomes newly dened. Consequently, new answers arise and at their turn cognitive structures expand. The sphere of consideration when thinking about the dual and dynamic phenomena life/art offers the viewer/participant a chance to look outward to an art practice that is able to exist in between diverse topographic conceptualizations.

The workTwas aUniform, ndingit was important because there are many military uniforms to choose from. I was looking for something special. I wanted to convert the personal story embedded in the uniform into a fetish, a requisite for wanting it. I nally found what I wanted in a store specializing in German military memorabilia. The one who sold it to me told me that the uniform was an American tent during WWII, then because during the postwar it was difcult to nd rst-grade material, the tent was made into a military uniform of the Freiwillige Polizei Reserve of the former East Germany. Inside one of the pockets you can nd the seal of the company who ofcially made it. It has undergone changes over time. It has been patched up several times leaving traces of pieces of cloth not matching the original fabric. While I un-sewed it, I found a nametag Mller on it, must have belonged to this person. In the exhibition I am offering the strips of cloth to be made into another garment. (artist statment)

Photograph of a uniform on aludibond (120 x 84 cm) & transformed uniform 25 x 60 cm rolled - 2010

Melissa SteckbauerBorn 1980 Tucson, Arizona, lives and works in Berlin Steckbauer creates portraits and self-portraits that address dynamic and underrepresented sexual scenes. In order to study the delicate and nuanced nature of physical intimacy and interpersonal contact, she paints and photographs people in emotionally transformative situations. Her sources range from handpicked images from the Kinsey Institute, to work with close friends, appropriated photographs, and Internet pornography.

Left: To be held and Understood, 2010, acrylic on paper, 30cm x 40cm Right: Little boy, little boooooy, 2010, acrylic on paper, 30cm x 40cm

J.M. Pozoborn Cuba 1967, lives and works in Berlin and Madrid SOCIALISM BEGIN