miartalks / curated by Fionn Meade, writer and curator, New York and Alessandro Rabottini, Curator at Large, GAMeC, Bergamo

Saturday 6 April 

13:30 – 14:00 / Book Launch: La Collezione come forma di Elio Grazioli, Johan & Levi Editore, Milano, 2012 

Speakers:  Elio Grazioli, Art Critic, Milano / Luca Lo Pinto, Curator, Roma

Cara Elena, nel momento esatto in cui mi hai chiamato per chiedermi una breve anticipazione su quello che sarà il mio intervento per i talks di MiArt mi trovavo di fronte all’ingresso della casa museo di Mario Praz. Dovendo intervenire alla presentazione di un libro dal titolo “Collezione come forma d’arte” mi è sembrata una bellissima coincidenza. Ho fatto uno scatto in tempo reale per celebrare l’accadimento. Nulla più della collezione dello storico dal cognome innominabile mi sembra in tema dell’incontro che farò con Grazioli.  Un saluto Luca Lo Pinto 

Casa museo di Mario Praz,   Roma - Luca Lo Pinto

Casa museo di Mario Praz, Roma – Luca Lo Pinto

17:15 – 18:15 / Re-assembling Editorial Space: From Event to Reception

Event-based presentations such as  lectures, screenings and performance are playing an increasingly prominent role in contemporary art: is the pacing of public and discursive programming developing or dispersing audiences?

Speakers:
Richard Birkett, Curator, Artists Space, New York / Mihnea Mircan, Artistic Director, Extra City Kunsthal, Antwerp / Marta Kuzma, Director, Office for Contemporary Art Norway, Oslo
Moderator: Fionn Meade

Mihnea Mircan,  Artistic Director, Extra City Kunsthal, Antwerp

“Revisiting recently one of quirkiest police procedural of the last decade, China Miéville’s The City and The City, its premise – both unthinkable and splendidly elaborated – began to ramify, allegorically, beyond the scope of the noir and beyond its implications for the contemporary construction of subjectivity. Miéville describes two cities that are superposed in almost quantic fashion: sharing the same topography, they are separated by maddeningly complex protocols of unseeing and disassociation, and advance towards distinct futures. While this points towards a specifically contemporary experience of the subject as the divergence of systems that administer life, of ‘identity’ as the articulation where distinct worlds pivot away from each other,  we might misread Miéville’s topocritical experiment as a map of our own visual regime, as a new partitioning between what is seen and what is unseen or overlooked, between what it to be done, thought and imagined.”

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18:30 – 19:30 Experiencing Display 

The panel explores recent developments in both exhibition making and artistic practices, and investigates the notion of display the way it is experienced

Speakers: Annie Fletcher, Curator, Van Abbemuseum, Eindhoven / Pavel S. Py?, Exhibitions and Displays Curator, Henry Moore Foundation, Leeds / Nicolas Trembley, Art Critic and Curator Syz Collection, Paris – Geneve / Moderator: Ana Teixeira Pinto, Art Critic, Berlin

Ana Teixeira Pinto

“To experiencing art is always equivalent to experiencing the way art is displayed. Modern Art emerges simultaneously with its own space and strategies of display. These spaces and strategies are correlated with the rise of the modern state and its institutions, such as the university, the museum, and the parliament, constitutive of what one usually calls “public domain”, or simply the “public.” Over the course of recent history it became however apparent that the public was not fully represented in the institutions which meant to represent it. Since the 70s artists have pointed to the political implications of the display monopoly held by galleries and museums, and set forth to counter it with a plethora of exhibitions and events which reinvented the notion of display. In the last decades however, the distinction between counter-culture and mainstream lost its precision, and artists have altogether failed to harness the new possibilities of display that technology made available, such as the internet. Under the conditions of austerity and rampant privatization however, the space of the “public” is rapidly receding, making it all the more urgent to rethink the notion of display and to discuss the way it is experienced.”

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Nicolas Trembley / Art Critic and Curator Syz Collection, Paris – Geneve

Imagine the meeting of an artist, often linked to the neo-geo movement of the 1980s, with a decorator who voluntarily defines himself as one of the last upholders of “great taste. This improbable collaboration between John Armleder and Jacques Garcia gave birth to one amazing exhibition which was conceived as an appartment curated by Nicolas Trembley.

John Armleder- Jacques Garcia

John Armleder- Jacques Garcia

John Armleder- Jacques Garcia

John Armleder- Jacques Garcia

John Armleder- Jacques Garcia

John Armleder- Jacques Garcia

John Armleder- Jacques Garcia

John Armleder- Jacques Garcia

Whether it is a question of Sgrafo vases, of Raymond Loewy’s “Form 2000″ for Rosenthal (1954), or of the improbable “Fat Lava”glacis of the 1970s, postwar German ceramics attest to a surprising stylistic inventiveness and diversity. Sgrafo vs.Fat Lava is an exhibition which questions taste, dispaly and collection and was curated by Nicolas Trembley.

Sgrafo vs. Fat Lava

Sgrafo vs. Fat Lava

Sgrafo vs. Fat Lava

Sgrafo vs. Fat Lava

Sgrafo vs. Fat Lava

Sgrafo vs. Fat Lava

Sgrafo vs. Fat Lava

Sgrafo vs. Fat Lava