Tragic Press Kit: Documenta 13

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    Tragic Press Kit: Documenta 13

    Canadian bloggers Nadja Sayej says she got a Documenta 13 press kit:

    "The CDR features three images by the artist Giuseppe Penone. There are nine jpegs featuring the work of Jimmie Durham. But the DOCUMENTA (13) camera-friendly curator Carolyn Christov-Bakargiev has 19 images featuring various glamour shots of her in a forest, lounging on a lounge chair, wearing business blazers, working hard, hardly working, throning it and more"

    Tragic or hilarious?

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    Quote Originally Posted by gondol2 View Post
    Tragic or hilarious?
    Logical.

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    Hilarious Press Kitt...

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    ARTFORUM - DIARY...
    http://artforum.com/diary/id=31197

    "The front page of the latest issue of has a photo of Christov-Bakargiev in a hardhat, emerging from a manhole. On May 31, a photo was posted to Documenta’s web site of Christov-Bakargiev and her dog Darcy. “Die ‘Lady Gaga’ der Kunst” crowed a headline in Wednesday’s Hessiche Allgemeine"

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    Last edited by gondol2; June 12th, 2012 at 07:07 AM.
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    Italian blogger gets creative with dOCUMENTA (13) press pics of curator Carolyn Christov-Bakargiev.

    http://artstarstv.com/post/246837928...h-documenta-13

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    I would like to explain to you the reason of all my criticisms to C.C.B.
    The point is that Bakargiev was active for years in one of the richest institutions of contemporary art in Italy, the Castello di Rivoli – in Turin – as chief curator and director. I can assure you that, regards to Bakargiev’s story as curator, Documenta 13 is not, at all, an innovative exhibition. All that theoretical confusion has been useful to give out opinions on any matter – of which she lacks synthesizing skill - and to give a lot of space to one of the artists who had already exhibited at the Rivoli: an artist of Arte Povera, a current not conceived by her, but mainly referable to Turin, the city of the Rivoli museum. The caos of Documenta 13 is useful to hide some oddities: we see the presence of Bakargiev’s husband – a performer and lecturer. And yet they say that, as an artist, he hasn’t been invited… What could be more conservative than this?

    Bakargiev’s “style” bears all the features of many Italian critics of the last decades that have made this country a very difficult place for an independent creative artist: unrestrained narcissism and self-promotion that put the role of the artist in the background; absence of taste and aesthetic sense that have been replaced with exhausting intellectualism administered in such doses as to daze the observer; incapacity of starting from the work of art to understand and interpret the art: it is instead used as an illustration and a visual appendix by Mr. So-and-so abstract, academic critic. Actually, Documenta 13 could well be a congress of criticism of art.
    But, the cunning conjurer on the one hand puts on a show and confuses the spectator whilst on the other hand she puts into practice the same old tricks. During the b-years, the Rivoli was part of a chain called “Museo senza centro”, seemingly a project to promote “young art”, but actually a chain of museums aimed to give space, in the Italian art institutes, to a list of artists called “Italian Area” chosen by 4 critics: Angela Vettese (a journalist who works together with Bakargiev for the daily newspaper "IL SOLE 24 ORE" and who has been severely criticized in Italy for her conflict of interests and her absurd articles), Bertola, Farronato, Scardi. Some of the Italian artists invited to Documenta in fact belong to the Italian Area database list.

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    Caricature of Angela Vettese (as Pinocchia) who has been severely criticized in Italy for her conflict of interests and her absurd articles

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    "Italian Area" & "Museo Senza Centro" page: 1 real shame

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    Looking around the forums, I realize that few people know anything about CCB, Castello di Rivoli Museum, the daily newspaper "Il Sole 24 Ore", "Italian Area", Italian art-lobbies, "Museo Senza Centro" affaire, etc...
    After graduation, Christov-Bakargiev moved to Rome and began to write as an art critic for daily newspaper "Il Sole 24 Ore". It's important to learn how to read between the lines so that you can avoid being tricked by manipulated contemporary-art articles published in "Il Sole 24 Ore".
    A recent controversial article by Angela Vettese: she wrote 1 very offending piece against Paparoni and Kapoor in the Italian newspaper.
    Here Paparoni reaffirms his freedom of thought and action:


    "The conflict of interests of Angela Vettese, who reads the sublime in the coffee grounds". Article by Demetrio Paparoni.

    Full translation of the article below (with bad Google Translate). You get the idea.

    The exhibition of Anish Kapoor at the Fabbrica del Vapore and the Rotonda della Besana in Milan has created some concern. Not of course for the 14,000 visitors recorded in less than twenty days after opening. Rather, those critics who never miss a chance to promote themselves as curators of major events.
    After the joke by Francesco Bonami, who decries the first artist and the exhibition ("Vanity Fair" of 01.06.2011) and then turns around ("Gazzetta dello Sport" of 06.09.2011), now is the time of Angela Vettese ("Sole24Ore" of 19.6.2011). Her article contains false information, perhaps Vettese becomes strong that the "Sole24Ore" does not permit denials or corrections (as shown below). According Vettese, Kapoor's works at the fair in Basel "reveal the mechanisms that govern promotion also shows non-commercial". She adds: "For some it may be grossly explicit, for others it is now clear: for example, because at the moment in Italy there are three exhibitions dedicated to Anglo-Indian artist Anish Kapoor, artist for years but always impressive not the most innovative, whose work always pulls the consent of those who do not even know anything about contemporary art for his play on the phenomena of perception? Clear. The galleries that sell works they are doing an operation of growth in prices, and in fact fill their booth of his works." So Gianni Mercurio and I would have organized these exhibitions, being built with public money, on the recommendation of the galleries, to further their market interests.

    The article expressed falsehoods demand a response which I hope will open a debate over the Web. Kapoor exhibitions in Milan have been proposed by me and Gianni Mercurio to Madeinart, which in turn, assuming strong economic risks, asked the City of Milan intestarsele to grant space and funding, not from private galleries have been proposed, on whose role it is said later. The interests of private galleries and the market are foreign to our way of working.
    But while accusing Vettese (though without naming) the exhibition's curators have made a commercial to promote the interests of the galleries, what she is doing?
    Signing a script for a famous brand of coffee, in order to promote the cups designed by Kapoor who are being placed on the market. Read a little 'what she writes:
    "Just a cup, like all works by Kapoor, passing from art to life and summarizes, in a painful form of mental situations which doubt, ambivalence, but the error was as happy as the mystery, surprise, the desire to understand what I observe and find out who we are ". In short, the second cup of Vettese Kapoor allows "to understand what I observe and find out who we are." Stuff of creepy. As this text may have been well paid - always Vettese not have written for free as a tribute to the artist or the quality of coffee (that we tell her) - is not it a bit 'too?
    Maybe he had some kind of shock Vettese contemplating cup Kapoor, but do not think that these statements touch on the ridiculous?
    Do you realize that Vettese gives certainly the interest of galleries in a show that revolves around a high steel sculpture of 9 meters long and 62 but is normal to sign a text that presents masterpieces as coffee cups, cups advertised in the context a public exhibition in Venice sponsored by a famous brand of coffee and avowedly assembled and edited by a private gallery?
    Kapoor's exhibition at the Steam Factory in Milan revolves around Dirty Corner, a sculptural huge and not easy to sell. At the request of the artist, his private galleries have financed the work. As happens regularly all over the world in such exhibitions. It could not have been otherwise, since it is unthinkable that a public administration from funding the production of a work that later someone can sell. Such a practice would be illegal. Imagine the delight of the gallery that you see from their own artist invited to shell out money for the building of a mammoth. Usually the galleries can not help to satisfy him, because they want to maintain a relationship with him, but they sure do not like doing. According Vettese you do not know these things?

    In her agitation, Vettese lets go to the construction of false information. It is fake that this year Kapoor is present in the stands as the Basel Fair in previous years. The Galleria Continua, for example, this year has presented works by Kapoor, contrary to last year. As for the Lisson gallery, Gladstone and Minini, have always presented works by Kapoor in their booth at Basel. It is fake that Kapoor is not proposing a groundbreaking work for years: he never ceased to risk, featuring several works every tim, experimenting with new forms
    and materials, as anyone who follows the facts calmly art.
    It is fake that the consent Kapoor tears for his works based on perceptual phenomena, as demonstrated by the interest aroused by her wax sculptures and metal or concrete ones.

    The wind is changing the entire country, and hopefully in the art world.
    Is changing to the point that for some time now, may even happen that critics and independent curators like Gianni Mercurio and myself - with no protections of any kind - come to realize one of the most important exhibitions of recent years in Italy. Denigrating is part of an old strategy. Vettese, moreover, is not new to some concerns: last year when Gianni Mercurio has cared for the Milan Triennale exhibition of Roy Lichtenstein, who would later show hosted by Ludwig in Cologne, wrote an article full of news untrue later denied by the Gianni Mercurio to the "Sole 24 Ore". In defiance of the principles of fairness that every newspaper should be the guarantor, the request for correction was ignored. Just to understand the boldness of character, read the letter published by the "Sole 24." Now, to be ignored my polite request was made to Armando Massarenti replication: I had
    been assured that I would be attracted by the newspaper, but it did not happen.
    In the U.S., those who viewed the shows on the major newspapers (this is not true of course for the magazines) is not himself the curator of exhibitions in order to avoid a conflict of interest. In such a case, moreover, is the legitimate suspicion of lack of objectivity.
    Thanks to the Internet, who does not access the media of large circulation can
    defend themselves from the barons of the critics. And you can reply to those who are also protected by the printed press: the king is naked. Passate parola.

    Last edited by gondol2; September 4th, 2013 at 02:10 PM.
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    ...

    Carolyn Christov-Bakargiev and the scandal "Italian Area - Museo Senza Centro” (in Rivoli Museum)
    (Full translation of the article below with bad Google Translate – You get the idea)

    Reading the site-database "Italian Area" (index of artists chosen by a committee composed of the critics Bertola, Farronato, Scardi, Vettese) we find, in the presentation of the project, the following statement:

    "Artists are selected from those promoted by leading Italian and international institutions, as well as among those who have contributed to the current art scene"
    Which "important Italian institutions"? Italian Area does not tell us: the site refers to a web page that does not exist (and it is a long time - certainly a few years - that does not match the one written no link.

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    Under the tag "museum without a center" there is a chessboard with acronyms and photographs of the cultural centers of Italian art. The words accompanying the image:
"The artists of Italian Area are supported by some active Italian institutions". 
The picture is very clear this time. The list brings together under the banner of “Italian Area” many exhibition spaces across the country.

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    Please note: the "museum without a center" web page does not tell us that "artists are selected" - by Italian Area - "among those supported by the ..." but that "artists in Italian Area are supported by a number some active institutions".
    You don't need to be a specialist of contemporary art to understand that between the two "supported" there is a passage that does not appear: the committee of four critics who decides who raise throughout the circuit. 
Who promotes the entire list is the same person who chooses the first pass.

    The "major institutions" promote the artists or "Italian Area" itself?
    
And is "Italian Area" to choose the artists "supported by" or are "major institutions" to promote Italian Area (including critics and artists)?

    Are the four critics of the committee to choose or they are part of a unique chessboard which "supports"?

    Why a website of similar influence has so many inconsistencies?
    
Why private foundations are placed in the same list of public institutions that have a completely different mission, the duty to give back to the public a greater objectivity in information about contemporary art?

    The "major institutions" support artists in what way?
    What is the difference between “supporting” an artist and “exhibit” some of his works?
    
The artists not present in the Italian Area, being excluded from this scheme ambiguous (in which it is unclear whether the "major institutions" are actually part of Italian Area - Museum without center) find more difficult access to public spaces for contemporary art?

    To date, we do not find a clear area with dates of inclusion of new artists. Without a precise chronology is not possible for the reader of the site, rebuild what are the changes that the database it has gained over time, how he interacted with the new trends and the evolution of taste.

    Web pages "not found", baffling statements, public confused with private foundations, photos of the works in stamp format: amazing the amount of errors and ambiguities in the few pages of web site submission Italian Area. I should mention that the committee of the database can rely on the advice of the most experienced specialists in the field. The incredible inconsistencies of the site "Italian Area", therefore, can not be an error, but rather the result of a deliberate strategy. The plank "museum without a center" is nothing more than a peacock's tail open on purpose to impress the naive, the ill-informed, to intimidate, while denying the centrality of the figure of the artist.

    The chessboard: Castello of Rivoli (Carolyn Christov-Bakargiev), Castel Sant 'Elmo, Luigi Pecci Centre Lawn, Gam Turin, Galleria Civica Trento Contemporary Art, Galleria Civica Modena, Gnam Rome, Macro, Rome, Trento Rovereto Mart, MAXXI Rome, Museion, Bolzano, Pac Milan, Space Subzero Exhibition Palace Rome, Palazzo delle Papesse Siena, Fondazione Bevilacqua la Masa Venice, Fondazione Adriano Olivetti Rome, Fondazione Antonio Ratti in Como, Fondazione Querini Stampalia Venice, Fondazione Sandretto Re Rebaudengo Turin, Teseco Foundation Lawn, Trevi Flash Art Museum , Future Rome, Careof Milan, Via Farini

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    Last edited by gondol2; September 6th, 2013 at 05:26 AM.
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    ...

    Looking around the forums, I realize that few people know anything about C-C-Bakargiev, Castello di Rivoli Museum, the daily newspaper "Il Sole 24 Ore", "Italian Area", "Museo Senza Centro" affaire, etc...
    After graduation, Christov-Bakargiev moved to Rome and began to write as an art critic for daily newspaper "Il Sole 24 Ore". It's important to learn how to read between the lines so that you can avoid being tricked by manipulated contemporary-art articles published in "Il Sole 24 Ore".


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    Scandal "Italian Area" - "Museo senza centro": the entire list of artists.
    C. Pietroiusti is Bakargiev's husband.

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    The page in English:

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    Last edited by gondol2; October 21st, 2013 at 05:46 AM.
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