TAGGED ► Plot +++ Obit Toche +++ New Franziska Becher +++ Exhibitions
PLOT: We remember Boris Lurie's Stuetzpunkt Foundatio in his Last Will, where he manifested the ► Stuetzpunkt Foundation.
1. The foundation is cultural and political. The foundation is allowed to interfere in cultural and social affairs.
2. In some instances the foundation can support left-wing radical projects in literature and film.
3. Absolutely no support may be given to careerists solely in pursuit of art world recognition. The support and initiation of revolutionary art and revolutionary culture is at the core of the foundations mission. (This core mission does not exclude the possibility of support for the work of particularly gifted artists in rare individual cases although these works are not deemed radical or revolutionary.)
WE MOURN FOR THE LOSS OF JEAN TOCHE
GENE FRANKEL THEATRE SUPPORT REQUESTED
NEW INVOLVED NO!art FIGHTER: FRANZISKA BECHER
Money is a means of exchange that, on account of its general acceptance for further trade for goods, can be traded for a product. The power of money has an effect on the behavior and thinking of social groups or people. It can be oppressive or also addictive, an incitement to jealousy or envy. Money is a thing with symbolic value that can nevertheless be an incendiary bomb generating devastation and violence, along with all types of firearms, nuclear weapons and the new dimension of cyber weaponry like "Stuxnet". For the work Kaliber 50 Cent, 150 pieces of 50-€-cent coins will be taken out of the economic cycle and melted into 50 brass bullets for small arms, producing a limited edition of cartridges. Each bullet weighs about 8.3 grams. ►more
ATTENTION: The open-air exhibition must be canceled
Flashes of the Future | The Art of the ’68ers or The Power of the Powerless
Artists in the show: Georg Baselitz, Joseph Beuys, Bazon Brock, Günter Brus, Carlfriedrich Claus, Guy Ernest Debord, Niki de Saint Phalle, Erró, Valie Export, Hans-Peter Feldmann, Sam Goodman, Hans Haacke, Dieter Hacker, Richard Hamilton, Lynn Hershman Leeson, Edward Kienholz, Milan Knizak,, Yayoi Kusama, Maria Lassnig, Jean-Jacques Lebel, Boris Lurie (NO!art), George Macunias, Gustav Metzger, Yoko Ono, Nam June Paik, A.R. Penck, Sigmar Polke, Heimrad Prem, Martha Rosler, Eugen Schönebeck, Daniel Spoerri, Aldo Tambellini, Jean Tinguely, Günther Uecker, Wolf Vostell, Franz Erhard Walther, Peter Weibel, Vladimir Yankilevsky, HP Zimmer u.a.
1968 – No other year in the 20th century is given such a symbolic and iconic status, no other year is studded with myths, evokes associations, viewed with bias, and kindles emotions. A year in which protests, upheavals, and even revolutions took place in numerous countries around the globe: May 1968 stands for international youth and protest cultures in 56 countries, 22 European ones amongst them, but also for an art breaking out of its elitist ivory tower – parallel to this, masses of individuals in the Western world begin to strive for autonomy. It is first through the interaction between students, intellectuals, and artists that a cultural revolution capable of disrupting the authoritarian structures of societies in both East and West could take place. Above all, artists, declaring the artwork to be obsolete while in part working massively against the art market and a commercially utilizable commodity ‘art’, contributed significantly to the desires and the imaginative visions of the student movement finding expression in provocative and pithy signs and images and exerting power over reality (“all power to the imagination!”).
From the distance of half a century, 2018 is the perfect opportunity to take a comprehensive and transdisciplinary look at this key year of the twentieth century (and its place as the midpoint of a decade). The exhibition will show and analyze for the first time the ideas, actions, myths, and self-interpretations of this generation by concurrently looking at them through the mirror of artistic productions and practices. Ultimately, the aim is to provide a new and critical perspective on the years around 1968.
With generous support from the Ministry for Culture and Science of the State of North Rhine-Westphalia, the Peter and Irene Ludwig Foundation, the Kulturstiftung der Länder, and the LVR – Quality for People.
■ NO!comment: It's curious how the curators change the human art history for sponsoring by money makers and governement support. By the way they don't also care about correct research. For example: They wrote "No Art" in the catalog instead of NO!art, which spelling is well known in the publicatioons since 1960.
FREE STUDIO SPACE
Artist Residency in Zurich | Deadline for applications: 31 May 2018 | The Artist Residency "Freiraum" provides rent-free living in a furnished, small attic room in the heart of Zurich, as well as the opportunity to network and discuss projects and ideas with the artists of the authors's collective index. If desired, our collective will also help organize a public event (e.g. exhibition, concert, panel discussion) for which we provide a small budget. Today, more than 40 artists from all over the world have profited from the program.
The Residency is open to artists of various disciplines and experience. However, priority for the space will be given to artists from abroad who have had little or no support from other sponsors.
The Residency lasts over the course of 8 weeks. In cooperation with the artist-run space Dienstgebäude http://www.dienstgebaeude.ch/, we will also provide a workspace in a shared studio. Although the residency provides rent-free living, please note that guest artists are expected to bear the travel costs and the day-to-day costs during their residency themselves.
LOVE CITY | New York Times Magazine, June 6, 2018
►►► Delicatessen +++ NO!art will never die +++ FREIRAUM grant +++ Black Panther Party
ARTIST MATERIAL | April 4, 2018: Alice Torbush, an ACKER recipient, a past resident of #9 Bleecker, the past Yippie Headquarters, has boxes of complete sets of Overthrow and Yipster Times she has to find a home for. They are sitting, in a shed, on a roof, with no climate or temperature control. If anyone knows of an archive or special collection who would be interested in this material let us know. ►more