Showing posts with label The Readymades. Show all posts
Showing posts with label The Readymades. Show all posts
Saturday, 18 August 2012
Monday, 2 May 2011
Galerie Gojković Relaunching www.johnholten.com
Please check out www.johnholten.com which is now hosted by Galerie Gojković in collaboration with BDP. I'm really excited to get to have the endlessly talented, general Renaissance man and great friend Darko Dragicevic and his work on my webpage.
This is just the beginning: The Readymades are coming!
Please continue to check back and stay in touch, more artwork from Dragicevic and news of a touring LGB exhibition this autumn will be posted online in the coming weeks.
Wednesday, 2 February 2011
State of Motion
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. Monday, 5 July 2010
Talking about The Readymades and other tidbits
Displacement Series: Open Talks
In July PISO continues the series of open conversations with invited collaborators integrated in the Displacement Project.
These working tables will be documented to create an archive that will be integrated in the upcoming exhibitions of Piso Collective and it will be available in our webpage.
Our guests for this month are:
John Holten
John Holten has spent the last two years writing the novel The Readymades, which tells the story of a group of artists that move between Belgrade, Budapest, Vienna and Paris. The novel uses a mise-en-abyme between a thriller novel and a translation of a found academic text in order to tell these artists' story. In presenting the practice that formed the writing of The Readymades, ideas of displacement, translation and transcoding fiction will be discussed, branching out to look at the art of research, recent debates in contemporary art (and their possible use for fiction), a writer's audience in today's Europe and the impact travel and living abroad have on the fiction under discussion.
Presentation will include short readings from the novel.
Bio:
John Holten (b.1984) is a novelist and poet from Ireland. Since 2004 he has moved across Europe between the cities of Paris, Berlin, Oslo and Dublin. His fictional work has often taken the figure of the contemporary artist as its main subject matter, investigating the liminal existence of the nomad and the networked individual. His work as an associate editor with Broken Dimanche Press has also seen him involved in numerous trans-national translation projects.
Further reading:
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Nina Bendzko
Bio:
Nina Bendzko studied Applied Cultural Sciences and a Masters in Creative Documentary Filming. During the past years she has worked and lived in Spain, France and Colombia, collaborating in various film projects. The most recent are the documentaries “Cuchillo de Palo” (http://www.cuchillodepalo.
Entry is free.
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How to find us:
Altes Finanzamt
Schönstedtstraße 7, access through the yard
U7, Rathaus Neukölln
www.altesfinanzamt.blogspot.
Monday, 17 May 2010
Rue Danielle Casanova
When I first went to rue Danielle Casanova I was homeless. But life was good and the swing of things went from very bad to very good via New York and back again. In the middle of listing all the places I'm sleeping this year, I think Danielle Casanova will remain hard to beat in terms of connotations, memoriesm setting. I think that's why I put it in The Readymades so much: I wanted to write about it the only way I could. Anyway, doing some half baked research I came across the above text. It's wonderful that Picabia - of all people! - lived just down the road, in I think the same building I went many a morning to buy tobacco. It was Picabia's work that started off my writing in my first story, Germania. He is, of course, big inspiration for Djordje Bojic and other LGB artists.Tada!
Friday, 5 February 2010
This Exhibition is Not the Result of a Thesis, Bit It's Starting Point...
This qoute came from the exhibition catalogue of The Death of The Audience in Vienna's Secession which Line was lucky enough to see last summer. And the on-going 'transgressions' of the thesis in question is under discussion in the latest issue of the e-flux journal, no. 13. Meanwhile our own 'thesis' is set to continue with around half of issue 002 of The Kakofonie sourced. It's set to be an extremely interesting and mobile collection of propaganda and art. Send in anything you may have!
The conversation between Elisabeth Leibovici and the exhibition's curator Pierre Pal-Blanc is well worth checking out.
I found it fascinating because it's in the general space of the novel I've just finished writing and the avantgarde group LGB whom I've created and who lie at its centre. I could almost substitute my own creation, Djordje Bojic, into their conversation so similiar is it to what I've been working hard to create.
Take Djordje Bojić [André du Colombier] for instance, a Serbian [French] artist who is even less well-known than those named above, an incredible character who embodied a kind of late version of Dada from the '90s and early 2000s [‘60s to the ‘80s], but with a very precise and concentrated radicality. He constantly worked with common people, less showing work than giving it, a bit like a neighborhood poet, exchanging a piece of work for a pack of cigarettes, generally using the thread of the rumor, the web of the conversation. He used to call up artists or museum curators and make a work from the conversation. Bojić [Colombier] managed to represent a way of being marginal, of staying on the border of exhibitions even while being well-known by the whole art scene...
.... Of course it’s a bit too easy to hide behind the domination and exploitation of artists in authoritarian events such as biennials, but at the same time we can clearly see that the figure of the artist-hero is no longer current, but is rather a historicist view that tries to cling to the branches of the avant-garde. Similarly, in the context of the over-institutionalized Tate Triennial, “Altermodern” works like a parody of the work of the great critics of the twentieth century, up to Pierre Restany or Germano Celant, trying to create a movement. It’s still about trying to create a party, a power position, an adhesion, contrary even to how artists themselves work. Rather than oversimplify the role of the artist, it might make more sense to look outside this figure to a form of organization to be presented or prolonged, one in which the community is involved, where not only the artist but the audience provides a disseminated, deterritorialized experience for the exhibition.
- Pierre Pal-Blanc
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