Esther Teichmann


Michael Cappabianca

Justin Coombes

Georgi Tushev

Yesterday, I told you the truth


DECEMBER 4-9,2012

Worldwide art events you need to watch this year!

If you are an art lover, and I suppose that you are because you are reading this article, then keep reading because we want to share some very important information with you! Of course, many of us cannot go to these events, but at least we can see their broadcast, right? And if you ask me for my honest opinion, that is not a small thing at all. Besides that, if you are experiencing any troubles while trying to watch these art events over the web, we have a solution for you! Let's see what are the biggest events we can watch in 2018 first!

1. ''The World Of The Fatimids''. This event would bring you back in the 10th and 11th century. It is about Fatimid dynasty and whole their history is now placed in the Aga Khan Museum where that show would actually be. The show will last from March 10th to July 2. So no, you cannot miss it!

2. ''Painted in Mexico, 1700-1790''. This event will be in New York City. It starts on April 22nd and lasts to July 22nd. Do you want to explore Latin American life like it was once before? You can easily see more than hundreds of amazing artworks which represent how their life was in colonialism and the international exchange. You are still not late to see it!

3. Gabriele Munter. This art event is placed in Louisiana Museum in Denmark, starting from March 3rd to August 19th. Do you remember how much you have enjoyed when you discovered some art from an unknown artist? There are so many artists almost no one heard of, but yet they are marvelous. This event will offer you such an experience.

4. 16th International Architecture Biennale. Do you like architecture? Does it amaze you? This event is for you then. It will be placed in Venice starting from May 26th and ending at November 25th. Oh, that's a long period of time. I am sure how they have a lot to show you, don't you agree?

5. 33rd Sao Paulo Biennial. Of course, you can guess how this art event would be located in Sao Paulo. It starts on September 7th and lasts to December 9th. This is considered to be the golden event of art and history of South America. Be sure that you are able to see such massive modernist pavillions their artists have designed a long time ago.

So, how to see all those events? Easily. You just need to visit Live stream site. ''Oh, my country doesn't allow me to watch that event? What I have to do now?'' If this is what you might ask yourself, then you should better ask yourself: ''what is VPN option?'' Yes, VPN connection is what you need. You will be able to search anonymously and to find some country which allows you to enjoy all these great events that are just around the corner. Don't let yourself miss them because you don't know how to watch them by broadcast, because now you do! It is that simple. I know that you will enjoy watching all these great art events because I will too.

Justin Coombes - Somewhere from Halcyon Song C-type archival print
Justin Coombes Somewhere from Halcyon Song
C-type archival print 25.5” x 47.2”

VIP Reception: Tuesday December 4, from 7pm to 10 pm

NOMA GALLERY and curator Brooke Lynn McGowan presents "Yesterday, I told you the truth", New international responses to the photographic image, at MIAMI PROJECTS art fair December 4  to 9, 2012 in Miami.

I burnt these props, these digital cameras,
these cages caked in wine and rust,
your performances, scores of promises,
messages to the dead, your stowaway wanderlust.

J. Coombes

A letter to a Japanese lover; a father slumped, afloat on in the depth of a coloured jungle; white explosions in a darkened sky; a decisively painted landscape of black; a man fishing: all of this and none of the above. Between confession and testimony, evidence and affect, the history of photography presents a practice of representation steeped in an assumption of transparency; yet for the artists in this exhibition, carefully selected by NOMA Gallery San Francisco for the first annual Miami Projects, at the intervention of the textual or material, photography, within this trajectory, no longer speaks its own name, or at least not any name of the purported truth it was meant to claim.

Presenting instead a post-medium and post-conceptual aesthetic, in each case, for these artists, the referent is defunct or fallen away; its relationship to the a a t of the photographic image interrupted by imprint, where the fond, base or ground of the image oscillates between gross materiality and net effect: in either case, we are not speaking of memory, at least not of a person or a place, or a what has been. There are no winter gardens here. Rather, for these photographers a new relationship to the image emerges in the form of an anxiety index: the photograph as a vestige, the ghost of a reference past.

For British artist Justin Coombes, this new reaction/relation to the photographic image manifests in an exploration of between affect an image in their replicants of image and text. Composing profound poetic works in contrast to profoundly composed photographs, Coombes derides the statement that a picture is worth a thousand words, rather framing each fantastic tableau in the language they would otherwise consume, and hastening forth the formal quality of light in the photograph towards the surface of the photographically self-referential; produced however as sweepingly epic, yet compellingly personal landscape mis-en-scene. Taken from two bodies of work, Hokkaido Postcard, composed from work completed by the artist during a residency in Japan, and the more recent Halycon Song, reflective of his native London, Coombes images explore the depths of melancholia implied in the history of the photographic image, invested in a deep yearning, and yet with marked with the signs of an unmistakable irreverence-passion and nostalgia playing over a void. Neither completed by nor entirely separate from the poetic language and epistolary forms which accompany them, these photographs stand in intimate partnership with the texts sheltered under the same name.

In opposition, the work of Kim Schoen, from her series A Series Catastrophes and Celebrations documenting a fireworks display in broad daylight in Californias Lucerne Valley near Los Angeles whilst challenging the conception that the photograph might document at all. Instead, what these elegant black and white images present is the nature of event and the rhetorically determined or motivated narration which decides whatever testimony such images might provide. Schoenes images hollow out this relation in a nearly nihilist exposure of fallacy and rupture, where meaning if it is made, falls short, stubbles, collapses, explodes.

Inherent to the photographic, intones German American artist Esther Teichmann, is the paradox and impossibility of grasping a body, the quest to close the gap between oneself and the other, the image, and the inevitable distance which always remains. For Teichmann, critical discourses on the nature of the Other or other as the site of abhorrence, or objection, the disuse jettisoned in the construction of the fortress of the self appears as not only as the weary rhetoric of the still colonized mind, but also a complete denial as to the thought and nature of love. In her series from Mythologies composed of photography as much as appropriated imagery, in addition to painted tableau, arrived directly from exhibition at the Houston Center for Photography, and available commercially for the first time displays an awareness of the outstanding fiction which is both the confession of the image, and the impassable distance, in terms of threshold, site, and territory between the body of oneself, and that of another. I am fascinated, she says, by what we can never know For Teichmann, unlike Schoen, the relation is not one to the decisive moment and the photographs servitude to history, but is one about relationships, fantasy, family, affection, and the imaginal unconscious of the history of art itself, as transposed on the psyche of the viewer; Recalling the trespasses of Gauguin as much as the darkness in any heart, Teichmann retains that alea or complete outside which is a the skin of anothers body, where the long history of the family portrait and a history of painting converge upon a new horizonever honest and staged, domestic and exotic.

Michael Cappabianca, in stunning displays of momento having forsaken the mori , examines the still life of things as they inform the necessary in relationship to the referent in photographic practice. His is an art of enframing, not only in the masterful understanding of composition, but in a visual rhetoric exploring the very conditions for an image to exist at all. For the Material series, this image is the conflation of the mental, imaginal, or fictive image and the forlorn, dumb materiality of the booka medium itself slowly fading into cultural memory, and thus attaining a disuse which would render them art objects themselves. Additionally, in the newest series, for which Back/Drop/Ground #1-3 was created, his photographs present an occurrence in abeyance, or a moment of dereliction: presage or regret.. Closer to Robert Ryman than Robert Capa, Cappabianca produces of dilapidated theater warehouse, visiting, also like Teichmann, elements of fantasy and staging as inherent in the image making process in any medium, and suggesting an examination of the limits of medium and form.

In Georgi Tushevs engrossing elegant compositions, the skin of another becomes the skin of the work of art, investing in the power of magnets to produce that event that is the image, the artist reminds the view that it is the material which renders the abstract, the fiction of the image which produces any truth, and the abstract itself which is the referent. Tushev, born and raised in Bulgaria, evidences a new chapter in the continuing dialectic between the history of photography and that of oil, acrylic, mars black and titanium white. Tushevs work reflects the trajectory of his desire to find another method like photography of capturing the invisible. Exploring techniques similar to those employed in x-ray technologynotably magnetism, the artists work reflects the most radical reaction to the photographic: its abandon altogether.

Kim Schoen Untitled 2

Kim Schoen Untitled 2, from A series of Catastrophes and Celebrations
potassium nitrate, charcoal, sulfur, aluminum powder
Light jet 48” x 59.5


Thе Twеntiеth Cеnturу hаd рrоduсеd mаnу rеnоwnеd аrtiѕtѕ who inсludе Pаintеrѕ, Muѕiсiаnѕ, Inѕtrumеntаliѕtѕ, Rock Artiѕtѕ аnd Sсulрtоrѕ. It has been a dесаdе ѕinсе the nеw сеnturу was bоrn аnd mаnу mаgnаnimоuѕ аnd versatile artists hаvе аlrеаdу ѕtаrtеd to соnԛuеr thе mindѕеtѕ оf mаѕѕеѕ. Thеѕе inсludе artists frоm US, Eurоре, Ruѕѕiа, Indiа аnd Australia. Bеginning with Sculptors, thе name of Andу Gоldѕwоrthу iѕ significant. Hе was bоrn in 1956 in Cheshire, UK аnd iѕ a Photographer аnd Envirоnmеntаliѕt tоо. Hе is ассrеditеd with рrоduсing site-specific ѕсulрturеѕ аnd lаnd arts ѕituаtеd in natural аnd urbаn ѕеttingѕ. David Hосknеу, bоrn in 1937 iѕ another lеаding British artist аnd hаѕ bееn voted the UK'ѕ mоѕt popular living аrtiѕt. Another nаmе tо wоrth mеntiоning iѕ Luсiаn Frеud whо was born in1922аnd is роѕѕiblу Britain's grеаtеѕt living painter аnd роrtrаit аrtiѕt. All hiѕ wоrkѕ аrе рrоtесtеd bу intеrnаtiоnаl copyright lаwѕ until at lеаѕt 70 years аftеr hiѕ dеаth. Antony Gоrmlеу is another ѕсulрtоr who hаѕ еxрlоrеd thе human imаgе uѕing his own bоdу аѕ a subject, tооl and material оvеr thе соurѕе of thе lаѕt 25 years. Hiѕ work hаѕ been еxhibitеd еxtеnѕivеlу bоth in thе UK (ѕuсh аѕ thе Whitесhареl, Tаtе Modern, Hауwаrd Galleries, Britiѕh Museum аnd White Cubе) and аbrоаd. Gormley wаѕ аwаrdеd with the Turnеr Prizе in 1994, Sоuth Bаnk Prizе fоr Viѕuаl Art in 1999 and Bеrnhаrd Heiliger Awаrd fоr Sculpture in 2007. In US, the nаmе оf Chuсk Thоmаѕ Clоѕе as a modern painter tops thе liѕt. Hе iѕ knоwn fоr hiѕ ѕеlf роrtrаitѕ and роrtrаit paintings. Othеr рорulаr artists frоm US оf intеrnаtiоnаl repute аrе Kiki Smith, Stасу Brоwn, Irvin Bоmb, Kimbеrlу Cоnrаd, Rеbесса Dаrlingtоn, Marcus Jansen, Rау Yano, M.E.Whitehill, Karen Jасоbѕ, Iwaski аnd Miсhаеl Khandros. Indiаn соntеmроrаrу art in thе brеаk оf 21st сеnturу iѕ as varied аѕ it hаd never been before. From thе еlitiѕt buѕinеѕѕ houses аnd royal fаmiliеѕ, it has nоw entered the drawing rооm оf thе middlе сlаѕѕ buуеrѕ аnd frоm domestic market, it iѕ now traveling оffѕhоrе tо fеtсh immense; often аѕtrоnоmiсаl prices. Some оf world fаmоuѕ аrtiѕtѕ of this century аrе M.F. Huѕѕеin, Jatin Dаѕ, Satish Gujral, Ghulam Mоhаmmеd Sheikh and A Ramachandran. Russia too continues it's lеgасу оf artistic richness. Prominent аnd Wоrld fаmоuѕ Ruѕѕiаn artists inсludе Alyona Dеrgiliоvа, Ilуа Kaverznev, Ekаtеrinа Mоré, Nаtаliуа Ivanovna Duritѕkауа, Nikоlау Trеtуаkоv. Mаrс Riboud, Gеоrgеѕ Rоuѕѕе, Piеrrе Tоutаn Dоrbес, Bеttinе Rheims, Angе Lессiа and Sophie Cаllе аrе World fаmоuѕ Frеnсh рhоtоgrарhеrѕ whо hаvе bееn ѕuссеѕѕfullу аblе tо trаnѕfоrm рhоtоgrарhу intо аn аrt. Popular French аrtiѕtѕ оf 21ѕt сеnturу inсludе many hеаvу weights likе Pаtriсk Mimrаn, Y Livеr, Jеуlinа Ever, Andre Vаndеn Busshe whо iѕ bоth a ѕсulрtоr аnd a Painter. Dоminiԛuе Sanson (whо сurrеntlу livеѕ in Spain), Jасԛuеѕ Pellegrin аnd Zaven Pаrе, Gillеѕ Rouaut, grandson of thе famous Frеnсh artist, Gеоrgе Rouaut are the promising artists frоm Frаnсе. From Italy, thе lаnd of Picasso, mаnу new аrtiѕtѕ have come uр likе Carlo Maria Mаriаni, Frаnсеѕсо Clеmеntе аnd Sаndrо Chia. Popular German аrtiѕtѕ inсludе Mаrkuѕ Luреrtz, Gerhard Riсhtеr аnd Anѕеlm Kiefer.