About Space Walk from Michele Rizzo with Emma Daniel & Valerio Sirna.
By Clara Amaral
I was thinking about the difference between adding a word before or after Space. For example: open space, closed space, middle space vs. Space walk. Obviously, it is possible to talk about walking a Space, but we never really say: —That Space there is really calling for a walk, I will go and walk it. Maybe the Space that is a field asks for a walk, or the Space that is a beautiful avenue asks for a walk; an anonymous space doesn’t ask for a walk. But if you ask me, that looks like the best space for going for a walk. To Space walk. And that would be the moment before the Space becomes something, before the Space becomes the highway, the beach, the football field or even the theatre space. The Space that shows and talks the invisible, the imagination, the potential.
While watching Space Walk from Michele Rizzo, I had to think, “how is it that a closed circuit becomes an open space?”
Collective Exhibition for a Single Body
, Pierre Bal-Blanc, Kostas Tsioukas, Myrto Kontoni, Tassos Koukoutas, Images, Geli Kalampaka, Documenta 14, Athens
Visceral but lifeless: violence + the value of the image in Venice Biennale winner Anne Imhof’s Faust
by Hadden Manhattan
Anne Imhof the artist emerged in the libidinal shadows of the European financial project in Frankfurt. Before entering the city’s famed Städelschule art academy, her first improvised work happened in its red light district — a boxing match in a strip club. A band played. Noses were bloodied and broken.
Those Ghels, Buhlebezwe Siwani and Chuma Sepotela, 2016
Anne Imhof “Faust” at German Pavilion, Venice Biennale
Susanne Pfeffer interviewed by Noemi Smolik
Noemi Smolik: Could you say a little about what informed your decision to pick Anne Imhof for the German pavilion?
Susanne Pfeffer: I spent a lot of time doing research. As part of this process, I also discovered several new artists. The question of what constitutes the now—our contemporary reality—was of crucial importance to me. Today, we are confronted with the far-reaching effects of technological change. A new subject arises that is both hormonal and extremely networked across media. Our perception and our movements increasingly take place in virtual space. The effective mechanisms of power and control are inscribed in the body. I find the extent to which we cede to the capitalization of our bodies, while simultaneously bridling at this process, remarkable. This is a fundamental transformation requiring reactions and responses. Consequently, finding an artistic position that tackles these issues in contemporary language seemed imperative to me.
Faust, Anne Imhof, Images: Nadine Fraczkowski, Venice, 2017