Create an account
Welcome! Register for an account
La password verrà inviata via email.
Recupero della password
Recupera la tua password
La password verrà inviata via email.
-
- container colonna1
- Categorie
- #iorestoacasa
- Agenda
- Archeologia
- Architettura
- Arte antica
- Arte contemporanea
- Arte moderna
- Arti performative
- Attualità
- Bandi e concorsi
- Beni culturali
- Cinema
- Contest
- Danza
- Design
- Diritto
- Eventi
- Fiere e manifestazioni
- Film e serie tv
- Formazione
- Fotografia
- Libri ed editoria
- Mercato
- MIC Ministero della Cultura
- Moda
- Musei
- Musica
- Opening
- Personaggi
- Politica e opinioni
- Street Art
- Teatro
- Viaggi
- Categorie
- container colonna2
- container colonna1
53. Biennale – Padiglione neozelandese
Il progetto “Giraffe-Bottle-Gun” di Judy Millar rappresenta la Neozelanda alla Biennale di Venezia
Comunicato stampa
Segnala l'evento
Judy Millar, Giraffe-Bottle-Gun
La Maddalena, Campo della Maddalena, Strada Nova, Cannaregio
Francis Upritchard, Save Yourself
Fondazione Claudio Buziol, Palazzo Mangilli-Valmarana, Cannaregio
New Zealand returns to the Venice Biennale for a fourth time with two artists in two venues.
Judy Millar creates a site specific installation for Venice’s only circular church, La Maddalena, that pushes viewers up close to her visceral, gestural canvases; it’s an immersive experience. The colour courses through the church, almost spilling out onto the piazza outside; this energetic work takes us into a new space.
Francis Upritchard installs a series of tableaux in three second floor rooms that look out over the Grand Canal of an exquisite Venetian palazzo. She uses the palazzo’s ornate mirrors to backlight and reflect table-height scenes of figures, illuminated by her hand-made lamps. The figures are quasi human: figurative and yet small enough to be dolls; so highly coloured as to suggest they come from another world.
Millar and Upritchard reflect Birnbaum’s theme of Making Worlds with these intense microcosms, one in a place of worship, the other in an intimate former residence. They both insist on a space for the contemporary in the antique Venetian landscape. Add to this the fact that these artists are committed makers: the physical aspect of Judy’s mark-making is emphatic, whilst Francis’ intensively worked figures reveal a long process of modelling, baking and painting: both overtly enjoy the ‘work’ element of making.
The venues are a short distance apart, parallel to the Grand Canal on one of the prominent walking routes between Venice's train station and the Rialto, in Cannareggio.
The exhibitions will be launched on 3 June starting with an early morning procession through the streets of Venice to both venues led by a Māori kaumatua who will give the traditional New Zealand blessing of inauguration to the exhibitions. This will be followed by a spectacular powhiri (Māori welcome ceremony) by a 20-strong award-winning Kapa Haka group and breakfast in St Mark’s Square, accompanied by a performance by Moana and the Tribe.
Both projects are being developed in association with commissioner Jenny Harper and are initiatives of Creative New Zealand, the Arts Council of New Zealand, Toi Aotearoa.
La Maddalena, Campo della Maddalena, Strada Nova, Cannaregio
Francis Upritchard, Save Yourself
Fondazione Claudio Buziol, Palazzo Mangilli-Valmarana, Cannaregio
New Zealand returns to the Venice Biennale for a fourth time with two artists in two venues.
Judy Millar creates a site specific installation for Venice’s only circular church, La Maddalena, that pushes viewers up close to her visceral, gestural canvases; it’s an immersive experience. The colour courses through the church, almost spilling out onto the piazza outside; this energetic work takes us into a new space.
Francis Upritchard installs a series of tableaux in three second floor rooms that look out over the Grand Canal of an exquisite Venetian palazzo. She uses the palazzo’s ornate mirrors to backlight and reflect table-height scenes of figures, illuminated by her hand-made lamps. The figures are quasi human: figurative and yet small enough to be dolls; so highly coloured as to suggest they come from another world.
Millar and Upritchard reflect Birnbaum’s theme of Making Worlds with these intense microcosms, one in a place of worship, the other in an intimate former residence. They both insist on a space for the contemporary in the antique Venetian landscape. Add to this the fact that these artists are committed makers: the physical aspect of Judy’s mark-making is emphatic, whilst Francis’ intensively worked figures reveal a long process of modelling, baking and painting: both overtly enjoy the ‘work’ element of making.
The venues are a short distance apart, parallel to the Grand Canal on one of the prominent walking routes between Venice's train station and the Rialto, in Cannareggio.
The exhibitions will be launched on 3 June starting with an early morning procession through the streets of Venice to both venues led by a Māori kaumatua who will give the traditional New Zealand blessing of inauguration to the exhibitions. This will be followed by a spectacular powhiri (Māori welcome ceremony) by a 20-strong award-winning Kapa Haka group and breakfast in St Mark’s Square, accompanied by a performance by Moana and the Tribe.
Both projects are being developed in association with commissioner Jenny Harper and are initiatives of Creative New Zealand, the Arts Council of New Zealand, Toi Aotearoa.
06
giugno 2009
53. Biennale – Padiglione neozelandese
Dal 06 giugno al 22 novembre 2009
arte contemporanea
Location
LA MADDALENA
Venezia, Cannaregio, (Venezia)
Venezia, Cannaregio, (Venezia)
Sito web
www.nzatvenice.com
Autore
Curatore