Sunday, 20 November 2011
Wednesday, 9 November 2011
12/11/2011 - 02/12/2011
|The tripartite exhibition at Gallery D.O.R. has its starting point in the novel The Readymades written by John Holten (Broken Dimanche Press, 2011) which tells the story – through a unique use of montage of found historical and contemporary documents – of The LGB Group. In order to execute the fiction of this book a collaboration with Serbian artist Darko Dragicevic resulted in the realm of the novel being extended into the world of contemporary art through the creation of a body of work corresponding to The LGB Group. Seminal works from the oeuvre of the group will be presented at D.O.R. through supporting structures such as the LGB art collection of Galerie Gojkovic, performative public interpretations of The Readymadesand relational social happenings over the course of the exhibition.|
New General Opening Hours:
Monday, Tuesday, Wednesday
15.00 - 18.00
or by appointment
Thursday, 13 October 2011
Violence as a gift
By Anna Aslanyan
The Readymades, John Holten, Broken Dimanche Press 2011
Last July Birkbeck College held “the first” symposium on Tom McCarthy’s work (quotes are not mine – McCarthy’s). It comes as no surprise that so many people now are not only reading Remainder, Men in Space, C, but also researching them – that his novels should find an audience was only a question of time. Young writers could do worse than take a leaf from McCarthy’s book; John Holten, for one, whose debut The Readymadescontinues the European tradition without trying to pass itself as a book by a Continental author. To say that McCarthy’s shadow is hanging over it would be unfair – rather, his themes are played anew, at times convincingly, at times tentatively, but for the most part boldly and with an honesty bordering on desperation.
Thursday, 22 September 2011
Found within the pages of The Readymades is the seminal text on The LGB Group (1995-2007) by one of the group's leading stars: Djordje Bojić. Extending the world of the book, BDP in conjunction with Galerie Gojković, are pleased to transform Motto's courtyard vitrines with some of the group's more renowned works.
The liminal space of Motto's courtyard will play host to work from The Readymades by:
Aleksandar Gojković (SR)
Miloš Lubarda (SR)
Elaine Pettifer (US/SZ)
Ivan Veselin (HU)
Matthias Nagry (HU)
Serbian artist and filmmaker Darko Dragičević has created the artwork.
The exhibition is presented in conjunction between BDP, Galerie Gojković and FUK Laboratories Berlin (www.fuklab.org)
Monday, 12 September 2011
I have an essay in this Hugh Lane Gallery publication about artist Brian Duggan which I'm very excited about. My sister Katie is also in it, so that's nice!
Friday, 15 July 2011
By Adam Green, Thierry Decottignies, John Holten – The AADK Press (Bilingual English and French).
"'A painting is not a construction of colours and lines, but an animal, a night, a cry, a man, or all of this at the same time'
(CoBrA, in 'Connaissance des arts' n° 666)
'It was only then that I noticed the position of her hand. In the course of what could only be described as some kind of fit, all be it a seemingly happy one, her dress had ridden up and revealed, bunched up above a pair of near translucent legs, the white shocking mass of her undergarments, and completely inexplicably her hand nestled inside. She was looking straight at me....'
-The Private Notes of Philip M. Dearne, a collaborative literary project by Adam Green, Thierry Decottignies and John Holten, will be presented as part of the 4-day event AADKunexpected at Galerie161 - featuring a live installation with performance artist Vania Rovisco.“
Saturday 16th July, 4 pm-6 pm, Galerie161 (Torstr. 161), U8 Rosenthaler Platz, Bus 142// www.torstrasse161.de
Monday, 4 July 2011
My novel The Readymades, which tells the story of the neo-avant-garde group I created, The LGB Group, is off to the printer next week.
Wednesday, 11 May 2011
María-Ángeles Alcántara-Sánchez (1975, Murcia)
Monday, 2 May 2011
Saturday, 19 February 2011
 Questions and answers that would later appear in Issue 23, Volume 5 of Art Monthly
Wednesday, 2 February 2011
I have a short text on LGB artist Zoran Živković's meetings with John Holten in Paris. In a lovely publication State of Motion edited by the Collectivo Piso and designed by Bolos Quentes.
Saturday, 29 January 2011
A selection of purloined "works" from the private collections of Francisco Queimadela, Lorenzo Sandoval, Mariana Caló and Pedro Serrano.
These collections consist of several unsuspected "art-leftovers" or diverted "works" from various international artists. An “acervo” as we want to present it, suggests something beyond the mere act of collecting, a creative act in itself.
This is the third presentation of Acervos, the previous ones having taken place in Sala Josep Renau (Valência) and Espaço JUP (Porto) with works from other private collections and curated, both times, by Forma Cita.
Wednesday, 26 January 2011
In a foray into curating, I ended up with something opposed to how many video art exhibitions work. A real eclectic mix, issue 3 of the Kakofonie is truer in spirit to a journal or a revue than a highly thematised gallery show in which the hand of the curator is clearly seen. In a way, the chaotic madness of the Internet and Youtube is given a frame here. Below is the issue's editorial essay.
I wouldn’t for the life of me be able to say why history is full of men who hate women. Even if one were to try to answer such a conundrum, they would be left facing the question: why so much hate in history tout court? Let us look at history as a long line of emotions, a scale of feelings, good or bad, disgust or attraction, and we can add here hate and love as two more markers, with the coordinates of events and their repetitions gravitating more toward the former than the later. As soon as you start to plot emotions on a graph you have backed into a dead end.
The curious thing about the circus is that one of its features is always to engage the audience; at some point in the evening’s show the ringleader will enter into the tiers and much to the delight of the half-worried, half-self-conscious parents, pick some child already losing the memory of being brought down into the ring to ride the back of some caged horse let loose in a 0 that never ends. The circus is for children but overseen by adults. The circus is an allusion of a trick performed well for an audience adrift in the throes of forced amnesia.
…when the event happens people don’t notice, they don’t notice the State intervening and watching (think of Althusser’s Ideological State Apparatuses) and then well no, it’s just people walking along the street, the city, the Everyday as profane fairyground. WD walked home slowly, thinking to himself about the graffiti, the marks that he respected but somehow feared…
‘I always say that not only film, but books too, are like ski jumps. They have to be built in such a way that people can jump properly. But the film is the ski jump and it’s up to the spectator to jump.’ Let’s have love as a ski jump, too. Perhaps.
Self Perception/External Perception
We see ourselves when other people see us. Sartre bends down and puts his unblinking, ruined eye next to the keyhole and looks on with his breath held. Watching. Behind him on the non-creaking stairs another, the Other, creeps up and watches the philosophe watching and being arises on the dark stairwell like rubbish left on the streets after the carnival.
The beast. Let us not say disability instead of aggression. Revolutionary perception is akin to reasons why Big Brother would carry out an archeological dig.
And preserve the dignity of our people. And preserve the dignity of our people. And because you have killed innocent people and destroyed our homes. And because you have besieged this oppressed people. But the result is the same.
It is death.
This cacophony in our ears then is full of death and love and misunderstanding. The circus shows us how to interpret death: cage it and then forget about it until it next rides into town. Occasionally laugh in its face.