For more information, see here
Curator: Jean-Hubert Martin
The exhibition Ilya and Emilia Kabakov: The Dream City is the largest installation by the famous Russian artist couple to date.
Ilya and Emilia Kabakov: The Dream City, a long-term art project by Ilya and Emilia Kabakov, is the summary of their life-time philosophy of art. PSA will present the following works: Manas, Fallen Angel, Dark Chapel, the Gates, 20 ways to get an apple listening the music of Mozart and Empty Museum. Combining various art forms such as architecture, lighting, sound, painting, urban planning, etc., the artworks of the Kabakovs invite the audiences to enter the maze of an imaginary world and lose themselves to the strength of art.
Commenting on the installation, Emilia Kabakov said: “Some years ago, someone asked us if we thought that art could influence politics. We answered no. Our opinion has not changed, but during all these years, we have worked with ideas based around the imaginary and utopia. We sincerely believe that art, which occupies an important place in our culture, can change the way we think, dream and act. It can change the way we live. This time, we would like to create more than an installation; we would like to conceive something very different. Constructing The Dream City is to insist on the experience rather than on the form of a project; it is to ask you to slow down in your real life, to call on your emotions, your senses and your memories. We invite you to come to the Power Station of Art to enter The Dream City, a fantastic space born of a collective imagination, and to think and reflect about art, culture, the daily life and our present and our future.”
Jean-Hubert Martin, the curator of the exhibition, explains: “With spectacular and mysterious atmospheres, the journey through The Dream City is like a great, epic tale. We are invited to address men’s aspirations, their pursuit of transcendence and philosophy. The metaphor for life and its mystery is communicated through the senses.” Ilya and Emilia Kabakov evoke images of progress, science and man’s evolution that have had disastrous consequences. Through spectacular installations permeated with humor and poetry, they have set up a catalogue of ideas over the years, showing how mankind has tenaciously pursued achievements that are more or less useless.
Beijing, September 15 - 22, 2016
Deadline: Jun 30, 2015
Call for proposals, Session 14 of the 34TH Congress of CIHA (Beijing, 15-22 Sept 16): The Other and the Foreign: Contact, Curiosity, and Creative Exchange
Respondent: Jennifer MILAM, Sydney University
This session is concerned with the representation of the ‘other’ and the ‘foreign’ in art as well as with the reception of ‘other’ and ‘foreign’ art forms. It acknowledges that, in a global world, the notion of ‘othering’ is not restricted to the geographically or ethnically distant (‘foreign’), but occurs within one’s own (geographically defined) culture between different social classes, genders, age groups, and religious affiliations. More generally, the session focuses on the phenomenon of artistic encounter and exchange.
While its parameters are worldwide, papers on all topics related to the ‘other’/’foreign’ are solicited in as far as they pertain to the creation and reception of art and/or the transmission of creative ideas. Papers on the contacts between specific regions or the role and place of individual artists in the process of artistic exchange are welcomed.
Questions to be addressed may include but are not limited to the following:
- Can we distinguish universal paradigms for the ways in which ‘the other’ is represented in art, globally?
- In the global history of art, how have animals been used as devices for ‘othering’, not solely as subject matter, but as a means through which artists and their audiences engage with the nature of self-/other relationships?
- How can we improve our theoretical models of the reception of foreign and, more generally, ‘other’ art?
- Are there degrees of ‘otherness,’ and if so, can we measure them? Can a work produced within one’s own (geographically defined) culture be just as ‘other’ as, or more so than, a work produced in a ‘foreign’ culture?
- How can we theorize ‘artistic exchange?’
- How do we define ‘hybridity’ in art? Is more than one definition possible?
- What is the relation/difference between exchanges between cultural centers and those that happen at peripheries, specifically in connection with ‘hybrid’ art forms?
- To what extent can artistic differences and sameness be accounted for through geography?
Please submit a one-page (max 400 word) abstract of your paper for this session to the chairs, together with a one-page resume, by June 30, 2015.