August 12, 2010
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The main exhibition SCREEN IT takes place on the Corda Campus, currently one of the fast growing tech incubators in Europe. But also the former basecamp of Philips where technologic innovations as audio and videocassettes or Laservision were invented that help spreading the western visual culture over the world. The dominance of this culture, linked to the omnipresence of screens is the starting point of the exhibition. Artist as Nam June Paik or Wolf Vostell already tackled the possibilities of screens in art and culture in the ’60. Paik’s famous quote “Television tortured the intellectuals for a long time… it is about time that the intellectuals torture television” clearly presents this generation ambiguous positions towards screens. This approach can easily be transferred towards our current society filled with buzz words as big data, social media, VR or augmented reality. The exhibition thus will tackle the current status of the arts towards the cultural impact of the screen fueled culture we live in.
Sometimes as a source of inspiration, as a canvas or as starting point for debate, the current and future generation of artists is touching the limits of technology or the impact on contemporary art esthetics, news gathering, politics, social commitment and more. The generation of digital natives, born with their fingers clued on a screen, is investigating a world with or without screens, questioning virtual worlds and augmented realities in an intriguing way.
Nam June Paik
Émilie Brout & Maxime Marion
Dries de Poorter
Jeroen Van Loon
The highly anticipated second Coventry Biennial will unfold across the city from the 4th October to the 24th November 2019 and we invite people to learn, look, make, talk, think and walk with us.
The biennial’s title this year is The Twin and it comprises a series of exhibitions, events and activities about relationships.
We are an international city; Coventry and Volgograd, Russia, were the first modern twin cities in the world and this year marks the 75th anniversary of that historic bond of friendship.
The core programme of The Twin will unfold across the city in medieval and modernist buildings as well as in artist studios, galleries and museums. We will be exhibiting new and existing artworks by individual artists, duos and groups from Coventry, across the UK and from many of our international twin cities as well as other international locations. We are delighted to be exhibiting the artists listed below and will be announcing a small number of additional practitioners over the coming weeks and months:
Isobel Adderley & Jazz Moreton, Tully Arnot, Art & Language, Jonny Bark, Aram Bartholl, Jordan Baseman, James Birkin, Simon & Tom Bloor, James Bridle, Lorsen Camps, Paul Chan & Badlands Unlimited, David Cheeseman, James Clarkson, Anna Columbine, Maud Cotter, Paul Crook, Matthew Darbyshire, Joseph DeLappe, Lisa Denyer, Jacqueline Donachie, Caitriona Dunnett, EVOL, Anne Forgan, Dylan Fox, Darryl Georgiou & Rebekah Tolley, Zuza Golinska, Noémie Goudal, Lawrence Abu Hamdan, Mona Hatoum, Corey Hayman, Nicky Hirst, Clare Holdstock, Fred Hubble, Andrew Jackson, Juneau Projects, Navi Kaur, Smirna Kulenović, Liz Lake, Ollie Ma, Ioana Marinescu, Tony McClure, Lorna Mills, Anna Molska, MTAA, Alexandra Muller, Edie Jo Murray, Uriel Orlow, OUTLINE & Smirna Kulenović, Paper Rad, Bharti Parmar, Parmar & Piper, Partisan Social Club, Mathew Parkin, Matthew Picton, Duncan Poulton, Adele Mary Reed, Lis Rhodes, Rafaël Rozendaal, Ana Rutter, Richard Scott, Shirana Shahbazi, Larissa Shaw, Thomson & Craighead, Leonid Toprover, Chidera Ugada, Mhairi Vari, Nilupa Yasmin
The Ural Industrial Biennial is the largest regional art project with international participation among those existing on the territory of the Russian Federation. The Biennial takes place at former industrial and non-exhibition spaces in Ekaterinburg and other cities of the Ural region.
In its 5th edition, the Ural Biennial explores concepts behind the Immortality, both secular and sacred; it is seen as a powerful utopist idea, as technocratic obscurity, as a symbolic tool and as a condition which might cause evident ethical schisms.
Zarouhie Abdalian & Joseph Rosenzweig | Agency of Singular Investigations (Stanislav Shuripa, Anna Titova) | Carlos Amorales | Petr Antonov | Evgeny Antufiev & Lyubov Nalogina | Elena Artemenko | Aram Bartholl | Yin‑Ju Chen | Anya Cherepanova & Vitalik Cherepanov | Ali Cherri | Bruce Conner | Danilo Correale | Vladislav Efimov | Ilya Fedotov-Fedorov | Cyprien Gaillard | Claudia Martínez Garay | Felix Gonzalez-Torres | Gorod Ustinov | Ivan Gorshkov | Ilya Grishaev | He Xiangyu | Francisco Camacho Herrera | James T. Hong | Chia-Wei Hsu | Geumhyung Jeong | Tarik Kiswanson | Egor Kraft | Gabriel Lester | Liu Chuang | Liu Qingyuan | Qinmin Liu, Pan Lu & Bo Wang | Cristina Lucas | Tala Madani | Jill Magid | Ksenia Markelova | Chris Marker & Alain Resnais | Sara Modiano | Yuko Mohri | Christian Nyampeta | Adrian Piper | Pavel Pepperstein | Ivan Petrokovich | Gala Porras-Kim | Charlotte Posenenske | Diana Fonseca Quiñones | Araya Rasdjarmrearnsook | The Recycle Group | Ana Roldán | Roee Rosen | Maria Safronova | Aki Sasamoto | Kirill Savchenkov | Masha Sedyaeva | Lieko Shiga | Shimabuku | Alexander Shishkin-Hokusai | Timur Si-Qin | Nikolay Smirnov | Maria Taniguchi | Diana Thater | Anastasiya Tsayder | Franco Vaccari | Stan VanDerBeek | Anton Vidokle | Peter Watkins | Wong Ping | Ustina Yakovleva | Yan Xing | Arseny Zhilyaev
The exhibition Playmode offers a reflection on these aspects and on the era of gamification that contemporary societies are now experiencing, bringing together pieces by several artists, such as Brad Downey, Gabriel Orozco and Ana Vieira, who incorporate the theme while exploring new ways of seeing, participating and transforming the world, using gaming in a critical light. Picture: House of Cards #3. Brad Downey, 2007. Photo: Brad Downey