Edward Hirsch

Edward Hirsch, a MacArthur Fellow, has published nine books of poems, including The Living Fire: New and Selected Poems (2010), which brings together thirty-five years of work.

His book-length elegy, Gabriel: A Poem (2014), which The New Yorker calls “a masterpiece of sorrow,” won the National Jewish Book Award for poetry.

He has also published five books of prose, among them, How to Read a Poem and Fall in Love with Poetry (1999), a
national bestseller, and A Poet’s Glossary (2014), a full compendium of poetic terms.

He is president of the John Simon Guggenheim Memorial Foundation.

Bill Arning

Bill Arning is the director of the Contemporary Arts Museum Houston. After arriving in Texas in 2009, Arning organized solo exhibitions of Marc Swanson, Melanie Smith, Matthew Day Jackson, and the late Stan VanDerBeek. Jackson and VanDerBeek were jointly organized with the MIT List Visual Arts Center where Arning was curator from 2000-2009.

At MIT he organized shows of AA Bronson, Cerith Wyn Evans, and a retrospective of the work of Kate Ericson and Mel Ziegler. From 1985 to 1996, Arning was director of White Columns in New York City where he organized groundbreaking first solo shows for many of the best known artists of his generation including John Currin, Marilyn Minter, Andres Serrano, Richard Phillips, Cady Noland, and Jim Hodges, among many others.  In 1993, Arning organized the first exhibition about gender and sexuality in South America, Maricas at the Center Cultural Ricardo Rojas at the University of Buenos Aires. He has written about the work of Keith Haring and organized, Powerful Babies-the Impact of Keith Haring on Art Today, at the Spritsmuseum, Stockholm.  

Arning co-organzied with curator Elissa Auther and the Museum of Contemporary Art Denver a survey exhibition Marilyn Minter: Pretty/Dirty. In 2016 he curated the first large-scale museum exhibition of Mark Flood, entitled Gratest Hits in 2016.  Arning has written on art for journals such as Artforum, Art in America, Out, and Parkett, and multitudes of international museum publications, including texts for retrospectives of Jim Hodges, Keith Haring, Christian Jankowski, and Donald Moffett as well as other writing for books by Elmgreen and Dragset and Lawrence Rinder. He also contributed an essay on the art market and AIDS for ArtAIDSAmerica organized by the Tacoma Art Museum. Arning’s next project is a career survey of the painter Mary Weatherford, which will be presented in 2019.

Installation view of Angel Otero: Everything and Nothing at Contemporary Arts Museum Houston, 2016. Courtesy of the artist, Kavi Gupta Gallery, Chicago, and Lehmann Maupin, New York. Photo: Tom Dubrock

Installation view of Mark Flood: Greatest Hits at Contemporary Arts Museum Houston, 2016. Courtesy the artist, Peres Projects, Berlin, and Stuart Shave/Modern Art, London. Photo: Max Fields.

Sam Durant

Sam Durant, photograph by Yvonne Venegas

Sam Durant is a multimedia artist whose works engage a variety of social, political, and cultural issues. Often referencing American history, his work explores the varying relationships between culture and politics, engaging subjects as diverse as the civil rights movement, southern rock music, and modernism. His work has been widely exhibited internationally and in the United States. He has had solo museum exhibitions at the Los Angeles Contemporary Museum of Art. Los Angeles, Museum of Contemporary Art, Los Angeles, Kunstverein für die Rheinlande und Westfalen, Dusseldorf, S.M.A.K., Ghent, Belgium and the Govett-Brewster Art Gallery in New Zealand. His work has been included in the Panamá, Sydney, Venice and Whitney Biennales. Durant shows with several galleries including Blum and Poe in Los Angeles, Paula Cooper Gallery in New York, Praz-Delavallade in Paris and Sadie Coles Gallery in London. His work has been extensively written about including seven monographic catalogs and books. In 2006 he compiled and edited a comprehensive monograph of Black Panther artist Emory Douglas’ work. His recent curatorial credits include Eat the Market at the Los Angeles County Museum of Art and Black Panther: the Revolutionary Art of Emory Douglas at The Museum of Contemporary Art in Los Angeles and the New Museum in New York. He has co-organized numerous group shows and artists benefits and is a co-founder of Transforma, a cultural rebuilding collective project that began in New Orleans. He was a finalist for the 2008 Hugo Boss Prize and has received a United States Artists Broad Fellowship and a City of Los Angeles Individual Artist Grant. His work can be found in many public collections including The Art Gallery of Western Australia in Perth, Tate Modern in London, Project Row Houses in Houston and the Museum of Modern Art in New York. Durant teaches art at the California Institute of the Arts in Valencia, California.

The books discussed in the interview were Human Acts and Do Not Say We Have Nothing

Transcendental (Wheatley’s Desk/Emerson’s Chair), 2016 painted wood 53-3/4” x 34-1/4” x 34-1/2” Fabricator: Dyson & Womack Courtesy the artist and Blum & Poe, Los Angeles/New York/ Tokyo Photo by: Josh White

“Every spirit builds itself a house, and beyond its house a world…Build therefore your own world”, 2017 wood, vinyl text 167-1/2” x 539-3/4” x 377” Fabricators: Ross Caliendo, Michael Dodge, Aaron Freeman, Norm Laich, Josh Rubens, Sam Scarf, Ben Carlton Turner, and Lowell Wilson Courtesy the artist and Blum & Poe, Los Angeles/New York/ Tokyo Photo by: Josh White

Ben Evans

Ben Evans is the Director of the London Design Festival, which he co-founded with Sir John Sorrell in 2003. The Festival celebrates and promotes London as the design capital of the world and has inspired similar events in many international cities. It is an annual event involving 300 partner organisations and attracts over 600,000 individual visits. As well as managing the Festival Ben initiates, commissions and curates projects for the event including an annual residency in the V&A museum. In 2016 he added a new activity – The London Design Biennale – where 37 countries presented design installations to a theme.

Since 2008 he has been a governor of the University of the Arts London and is passionate about art & design education. He is also a member of the Mayor’s Cultural Strategy Advisory Group. In 2010 he was awarded an honorary degree from the Royal College of Art and graduated there in 1989.

Textile Field by the Bouroullec Brothers and shown in the Victoria and Albert Museum.

David Chipperfield ‘Two Lines’ outside the Royal Festival Hall

Mitch Altman

Mitch Altman

Mitch Altman is a San Francisco-based hacker and inventor, best known for inventing TV-B-Gone remote controls, a keychain that turns off TVs in public places.  He was also co-founder of 3ware, a successful Silicon Valley startup in the late 1990s, and did pioneering work in Virtual Reality in the mid-1980s.  He has contributed to MAKE Magazine and other magazines, and wrote a chapter for “Maker Pro”, a book about making a living from projects one loves.  For the last several years Mitch has been giving talks, and leading workshops around the world, teaching people to make cool things with microcontrollers and teaching everyone to solder.  He promotes hackerspaces and open source hardware, and mentors others wherever he goes. He is a co-founder of Noisebridge hackerspace in San Francisco, and is President and CEO of Cornfield Electronics.

The book mentioned in the interview is:  “Life Inc.:  How the World Became a Corporation and How to Take It Back“, by Douglas Rushkoff.

Kal at work on our Split Brain Robotics project — a brainwave controlled pair of robots, where participants try to make them kiss each other.

Rocío Aranda-Alvarado

Rocío Aranda-Alvarado

Rocío Aranda-Alvarado was born in Santiago de Chile. She received her Ph.D. in Art History from the City University of New York Graduate Center.  Her dissertation was a study of modernist movements in Harlem and Havana between 1925 and 1945.  She is currently Senior Curator at El Museo del Barrio in New York City, where she is working on A Brief History of (Some) Things, an exhibition exploring the persistence of Mesoamerican and Indigenous Caribbean imagery in contemporary art. She recently organized Presente! The Young Lords in New York, and Antonio Lopez: Future Funk Fashion, both of which were nominated among the best exhibitions for 2015 and 2016 by numerous publications. Ms. Aranda-Alvarado is currently working on the museum’s upcoming La Bienal 2018 El Museo’s biennial of emerging artists.

Ms. Aranda-Alvarado is currently on the faculty of the Art and Art History Department at The City College of New York, where she is teaching a course on Contemporary U.S. Latinx Art and has taught courses in Modern and Contemporary Latin American art. Ms. Aranda-Alvarado has been invited to speak at the Smithsonian Institution, the Whitney Museum of American Art’s Initial Public Offerings program, the Americas Society and at various colleges and universities both here and abroad. Her writing has appeared in several publications including catalogue essays for the Museum of Modern Art, the Center for Advanced Study in the Visual Arts (National Gallery of Art, Washington DC), and El Museo del Barrio, Nka: Journal of Contemporary African Art, Art Nexus, Review, the journal of the Americas Society, NYFA Quarterly, BOMB and American Art.

Also discussed during the interview was the Beatriz Santiago Munoz exhibition.

Exhibition at El Museo del Barrio Presente! The Young Lords in New York July 2015 Works from El Museo’s permanent collection

Exhibition at El Museo del Barrio Antonio Lopez: Future Funk Fashion August 2016

Joshua Schwebel

Joshua Schwebel is a conceptual artist interested in the relationship between value and visibility. His work reveals the concept of value as a cultural construct borne through hidden ties to morality and privilege, by exposing the cultural and social techniques employed in value construction. In his work he devises strategies to reveal the politics of exclusion, expropriation, and competition that both mandate and conceal the conditions of valuation in late Capitalism. Through strategic interventions, displacements, and withdrawals, he attempts to unbalance and open up these seemingly impartial processes.

His practice can be located within the lineage of dematerialized and anti-commercial practices that emerged from the avant-garde such as conceptual art and Institutional Critique. 

Schwebel received an MFA from NSCAD University (2008) and a BFA in Interdisciplinary Fine Arts from Concordia University (2006). Recent exhibitions and projects include Linings, a private installation in Tadeusz Kantor’s forest house (Gdow, Poland, 2016); No, No, No, After You, KNULP (Sydney, Australia, 2016); Working Conditions, TPW (Toronto, 2016); as well numerous projects in other Canadian and international venues. He is the recipient of a Research/Creation grant from the Conseil des Arts et des Lettres de Québec and the Laureate of the Résidence Croisées France/Québec, supported by the Quartier Éphémère/ Fonderie Darling, Montréal/Paris. He was artist in residence at the Québec Studio in Berlin at the Künstlerhaus Bethanien, for the year of 2015.

Privation 2016 | contractually de ned extraction, Kienzle Art Foundation, Berlin In this work I developed a contract between myself and art collector Jochen Kienzle which permitted me 20 minutes unsupervised and alone in his Berlin home and established that while I was alone in the flat I would remove a single object. The identity of this extracted object – one that is so banal that its disappearance is unnoticeable – is to perpetually remain a secret, unknown to Herr Kienzle and withheld from public knowledge. The extraction introduces an undetermined absence into the collector’s domestic space. The Kienzle art collection also acquires this intervention, in the form of a signified but empty ‘unknown’, as an artwork within its holdings. image: Jochen Kienzle posed in his living room, 2016

Subsidy 2015 | intervention using exhibition budget, unpaid interns, o ce furniture and o ce supplies An intervention enacted during a year-long residency at the Künstlerhaus Bethanien. I used my exhibition budget (€3.000) to compensate the normally unpaid interns who work in the institution’s administrative offices. A total of seven interns were paid for their work in the KB office.  

Paul McDevitt

Paul McDevitt in his project space, Farbvision, standing next to a work by Tamina Amadyar. Photo: Tamás Kende.

Paul McDevitt is a British artist living in Berlin. Paul graduated with an MA from Chelsea College of Art and Design, London, in 2000. He has exhibited extensively since then, published several books, and co-curated a series of projects with Declan Clarke. 

McDevitt’s studio practice is centered around drawing, painting, and print. He recently opened his own project space, Farbvision, which operates as part of his studio. He also runs the Infinite Greyscale label with artist Cornelius Quabeck.  Paul is represented by Stephen Friedman Gallery, London, and Martin Asbæk Gallery, Copenhagen.

The records discussed in the interview can be seen and bought from the Farbvision shop, otherwise the label website gives PayPal details. 

The books discussed in the interview are , Sebastian Barry  The Secret ScriptureSebastian Barry  Days Without End, and Luc Tuymans James Ensor (exhibition catalogue).

Ja Ja 183.5x149cm (72×59”) charcoal, pastel, acrylic on paper

Voll Rath 2016 224x149cm (88×59″) charcoal, pastel on paper

Brian Bress

Brian Bress, a Los Angeles based artist and filmmaker, creates absurd, circularly narrative films driven by the circumstances of a bizarre cast of ridiculously costumed characters, more often than not played by Bress himself. Though they rely predominantly on homemade props and costumes, Bress’s videos are visually innovative and their inherent silliness and rambling pace only serve to intensify the examination of assumptions about the nature of reality. He is also known for his collage-like portraits that feature costumed actors wearing strange masks that obscure their faces. By disguising the identities of the sitters, Bress heightens the level of uncertainty in the work to humorous levels.

Brian Bress received a BFA from Rhode Island School of Design and a MFA from University of California, Los Angeles. His collages, photographs, videos and paintings have been exhibited in various group shows and film festivals in Los Angeles, Chicago and New York, including Spike and Mike’s Festival of Animation, Black Maria Film Festival, New York Director’s Club Biennial and The LA Weekly Biennial. Current and upcoming solo exhibitions include a ten year retrospective at the Utah Museum of Fine Arts, Salt Lake City and the Museum of Contemporary Art Denver in 2016. Bress has recently had solo exhibitions and projects at the Los Angeles County Museum of Art, CA; Museo d’arte contemporanea, Rome, Italy; Santa Barbara Museum of Art, CA; and New Museum, New York, NY. Brian is represented by Cherry and Martin, Los Angeles and Josh Lilley Gallery, London.

The books mentioned in the interview are The Life-Changing Magic of Tidying Up: The Japanese Art of Decluttering and Organizing and Alien Phenomenology, or What It’s Like to Be a Thing.

Chefs #2 (on green, blue, green waves) 2016, High definition three-channel video (color), high definition monitors and players, wall mounts, framed , 38 x 75 inches, TRT 31 minutes, 08 seconds, loop. Video Clip Courtesy of Brian Bress and Cherry and Martin, Los Angeles

On view at Baltimore Museum of Art Feb 12th: The Imperfect Tense (for Josef Albers), 2017, High definition three-channel video (color), high definition monitors and players, wall mounts, framed, 120 x 22.75 x 7 inches, TRT 13 minutes, 00 seconds, loop, Video Clip Courtesy of Brian Bress and Cherry and Martin, Los Angeles

On View in as part of Public Art Fund Commercial Break Exhibition /  Times Square Tuesdays thru March 5th: Brian Bress, Consonance and Dissonance in Four Parts for Times Square, 2017, three part video, 13 seconds each, Video Clip Courtesy of Brian Bress and Cherry and Martin, Los Angeles

Karl Haendel

Karl Haendel is an artist who makes drawings, installations, films, and public projects. He received a BA from Brown University in 1998 and a MFA from the University of California, Los Angeles in 2003.

He also studied at the Whitney Museum Independent Study Program and the Skowhegan School of Painting and Sculpture. Articles and reviews on his work have been featured in The New York Times, The Los Angeles Times, and The Guardian, as well as in magazines including The New Yorker, Artforum, Frieze, Art and America and Modern Painters.  He has been included in the Biennial of the Americas (2015), the Whitney Biennial (2014), Biennale de Lyon (2013), Prospect (2011), and the California Biennial (2004, 2008).  His work is in the collection of The Museum of Modern Art, NY; The Whitney Museum of American Art, NY; The Guggenheim Museum, NY; The Museum of Contemporary Art, Los Angeles; the Hammer Museum, Los Angeles; The Fogg Art Museum, Harvard University, MA, and and La Colección Jumex, Mexico City. He has been the recipient of grants from the Pollock Krasner Foundation and the California Community Foundation. He is represented by Susanne Vielmetter Los Angeles Projects, Mitchell-Innes & Nash, NY and Wentrup, Berlin. He lives and works in Los Angeles.

The books mentioned in the interview are Here I Am, Jonathan Safran Foer, The Underground Railroad, Colson Whitehead,  Hillbilly Elegy, JD Vance, and  Strangers in their Own Land, Arlie Hochschild.

Installation view, Karl Haendel, BY AND BY, Susanne Vielmetter Los Angeles Projects, Jan 7-Feb 11th, 2017

Installation view, Karl Haendel, BY AND BY, Susanne Vielmetter Los Angeles Projects, Jan 7-Feb 11th, 2017

Installation view, Karl Haendel, BY AND BY, Susanne Vielmetter Los Angeles Projects, Jan 7-Feb 11th, 2017

Barbara Clausen

Barbara Clausen is an independent curator and professor for performance theory and history at the art history department of the Université du Québec in Montreal. Since 2000 she has written extensively on the documentation of performance art (After the Act: The (Re)presentation of Performance Art, 2006) and performative curatorial practices and has curated numerous exhibitions and performance series in Europe as well as North America, including the series After the Act, Again and Against and Push and Pull (2005-2011) at the Museum of Modern art (MUMOK) in Vienna and TATE Modern in London.

In 2013 she curated the first retrospective of Babette Mangolte at VOX, Centre d’image contemporaine, and in 2014, the exhibition and performance series STAGE SET STAGE: On Identity and Institutionalism at SBC Gallery for contemporary art. Since 2014 she is the director of the long term University research project An Annotated Bibliography : performance art in Quebec and Canada presented as a research exhibition at ARTEXTE in Montreal in 2015. In 2016 she curated the first major exhibition of Joan Jonas’ work in Canada at DHC/ Art in Montreal.

Joan Jonas, They Come to Us without a Word, 2015. Video still, courtesy of the artist.

Kim Schoen

Kim Schoen in her Chinatown studio, Los Angeles

Kim Schoen’s work in photography, video installation, and text experiments with the rhetoric of display. She takes existing representations—ones intended to persuade and convince—as her starting point, and through the process of making reframes how the objects and language we take for granted may affect us. In Schoen’s work, the blank repetition of consumer culture often collides with literary influences, exploring the malleability of speech, its translation into texts and images and back again.

Current and recent exhibitions include Hawaii (Moskowitz Bayse, Los Angeles (solo)) Ours Is A City of Writers (Barnsdall Art Park, Los Angeles), Have You Never Let Someone Else Be Strong, (MMoCA, (solo), duh? Art & Stupidity (Focal Point Gallery, UK), Komma (Kunstverein Springhornhof, DE), Objective Considerations of Contemporary Phenomena (MOTInternational Projects, London), Stupidious (South London Gallery, London), and Unsparing Quality (Diane Rosenstein Gallery, Los Angeles). Kim has also curated international symposia on photography and repetition such as Remembering Forward at LAXART in Los Angeles, and Returning to Berlin at Motto Books in Berlin.

Kim Schoen’s work is included in private and public collections, including LACMA, and has been written about in the Los Angeles Times, ArtForum, and Art in America. She has published her own writing on repetition and photography (“The Serial Attitude Redux”, “The Expansion of the Instant: Photography, Anxiety and Infinity”) in X-TRA Quarterly for Contemporary Art and her most recent photographic essay appeared in Issue VII of E.R.O.S. Press, London. Kim is also the co-founder, co-publisher and co-editor of MATERIAL, a journal of writing by artists. She received her MFA from CalArts in 2003 and a Masters in Philosophy from The Royal College of Art in London in 2008. She lives and works in Berlin and Los Angeles.

See more on MATERIAL here.

The books she mentioned in the interview are, Between Past and Future and The Logic of Sense.

Kim Schoen, HTCYTYU (How Tightly Can You Tie Yourself Up), Light-jet print, 2016, © Kim Schoen, courtesy of the artist

Kim Schoen, HTIYRTTSDIGTH (Hoping That If You Replace The Trap Something Different Is Going To Happen), Light-Jet print, 2009, Los Angeles County Museum of Art, purchased with funds provided by LENS: Photography Council, 2016, © Kim Schoen, courtesy of the artist

Is It The Opera Or Is It Something Political? from Kim Schoen on Vimeo.

Milovan Destil Markovic

Milovan Destil Markovic at 56th October Salon Biennial Belgrade, October 2016, Belgrade

Milovan Destil Markovic studied painting at the Faculty of Fine Arts at the University of Arts, Belgrade, where he graduated in 1983. Since 1986 he lives and works in Berlin.

His work was featured at 42nd Venice Biennial Aperto, 4th Istanbul Biennial, 46th Venice Biennial, 6th Triennial New Delhi, 5th Biennial Cetinje, 19th Sao Paulo Biennial, 56th October Salon Belgrade, Hamburger Bahnhof – Museum für Gegenwart Berlin, Contemporary Art Museum Kumamoto, P.S.1 Contemporary Art Center New York, Moderna Museet Stockholm, Ludwig Museum for Contemporary Art Budapest, Saarland Museum Saarbrücken, The Artists’ Museum Lodz, National Museum Prague, Museum of Contemporary Art Belgrade, Landesmuseum Graz, Kunstmuseum Duesseldorf, Art Museum Foundation – Military Museum Istanbul, Kunst-Werke Institute for Contemporary Art Berlin, Kunstverein Hamburg, Kunstvoreningen Bergen, Galleri F15 Oslo, Nishido Contemporary Art Tokyo, Fei Contemporary Art Center Shanghai and many others.

Markovic’s series of so called Transfigurative Paintings are the result of intensive research and the attempt to develop and expand the idea of the portrait beyond the concepts known from all previous ages. In one series of his Transfigurative Paintings, he portrayed some of the most renowned women of the world with lipsticks (over 100 lipsticks are evenly applied onto a velvet surface that can even be touched). These faces are familiar to the public because they have been reproduced thousands of times in the media: in newspapers, television, on the internet, etc. The painting material used is the most common substance for women’s daily make-up, for making or reinventing the face. Markovic indeed holds make-up as a symbol for women’s portraiture. In this way he is creating through the lipstick portraits a deeply colourful, sensual and erotic hymn to the female gender.

Another series of Transfigurative Paintings, unveils a completely different setting: unemployment, homelessness and social – that is: public invisibility. Here Markovic’s portraits homeless men, who – in contrast to the lipstick portraits – are anonymous to the spectator. These text portraits are based upon interviews Markovic performed with homeless men in various world capitals. They represent the men’s identities through their life stories; the real person is transfigured via an autobiographical text that is fixed onto canvas with pigments.

The artist newest series of Barcoded Paintings develops the topic of referencing to a reality in a different pictorial way: the work is abstract and/but readable. The colourful and bright stripes on canvases signify written words. Every text can be translated into a barcode that is the product of a systematic process of codification, at the end of which only a rhythmic series of vertical lines remains. Markovic’s bar codes veil their political content, hiding it behind a normalized form. This could be understood as a critique of the intransparant structures of markets that similarly conceal global deficiencies and injustices.

On 23 February at Dirk Halverscheid Galerie in Munich, Germany, Milovan Destil Markovic has an exhibition opening of these works.

“BANK ME NOW!” (Barcode: The Abduction of Europe), pigment, spray and gold leaf on canvas, 86 cm x 250 cm, 2014

“IN BANK WE TRUST” (Barcode: The Abduction of Europe), pigment, spray and gold leaf on canvas, 86 cm x 250 cm, 2015

A K Dolven

A K  Dolven (b. 1953, Oslo) Lives and works in London and Lofoten, Norway. Dolven’s practice involves a variety of media; painting, photography, performance, installation, film and sound. Recurring themes in her extensive production are the representation of natural forces and their deep resonance with human sensibilities. Her work alternates between the monumental and the minimal, the universal and the intimate, resonating with concepts and structures beyond the confines of any particular piece. Interpersonal relations and interactions are central to her practice, and many of her performance-based works involve collaborations with other artists. 

A K Dolven has exhibited extensively internationally at a wide range of institutions and galleries including:  Kunsthalle Bern; Philadephia Museum of Art; Hamburger Bahnhof, Berlin; IKON Gallery, Birmingham; Platform China, Beijing; The National Museum of Art, Oslo; KIASMA, Helsinki; Nordnorsk Kunstmuseum, Tromsø; CCC Tours, France and Louisiana Museum of Modern Art. Her work is included in central international private and public collections, among others Art Institute of Chicago, Louisiana Museum of Modern Art, Hoffmann Collection and Sammlung Goetz in Germany. Recent solo exhibitions include Kunsthall Svalbard, Longyearbyen, OSL contemporary, Oslo, (2016) and IKON Gallery, Birmingham, (2015).  Recent group exhibitions include the Louisiana Museum of Modern Art, Denmark and 21st Century Minsheng Art Museum, Shanghai. 

The books she mentions at the end of the interview are by Clarice Lispector, many of which can be seen here. And here is the link to her book,  please return – 2015 book

ahead (detail), 2008, HD video projected on 6-8m tilted screen, 18 mins 43 s, SD video on monitor, 3 mins looped 2-channel audio, Rescue blankets on floor. Courtesy Wilkinson Gallery London and OSL Contemporary Oslo

this is a political painting (detail) 2013 Oil on aluminium 125 x 250 cm. Courtesy Wilkinson Gallery London and OSL Contemporary Oslo

Pilar Millán

Pilar Millán resides in Berlin. Her multi-disciplinary projects tend towards the cultural, social, and political borders and their consequences in our society. In most of these projects, Millan pursues her ongoing creative explorations into fundamental concepts of diverse myths, as an archaeology of transcendental ideas of the human being and their actual manifestations. And as a European artist she tries to reflect on canonized western positions from a transcultural perspective.

Millan’s work takes form in projects, most of them participatory-based. They are presented as installations that may combine photography, video, drawing and painting, objects and audios. In these installations she creates spaces that lead deep into layers of rich historical narratives in a contemporary form.

In 2003 Pilar Millan graduated from the University of Seville in Arts and continued her studies with diverse courses at the MACBA, Barcelona. Her work has been presented in solo and collective exhibitions in institutions, galleries and fairs like ARCO Madrid in 2007/08; CCCB, Barcelona; Sala Santa Inés, Seville; or the University of Barcelona (UB). Images for stage setting for CAT-CDG, Círculo de BBAA, Madrid. She has also been invited by the Foundation Pilar Citoler-Alliance Française to PhotoEspaña, Madrid; by the Forum Eugenio de Almeida (curated by Claudia Giannetti) Evora; Video-Festival MM, Casa Encendida, Madrid; and Berlinerpool, Berlin, in 2014. Rivadavia and Neilson Chapman Gallery (curated by Alicia Chillida) Grazalema, in Cádiz 2015. She participated in ARTifariti at the Saharawian Refugees Camps of Tindouf, Algeria, in the context of a cooperation with Federico Guzmán with an audio piece in the Palacio de Cristal, Museo Nacional Centro de Arte Reina Sofia (MNCARS) Madrid 2015.

Seminars and conferences at the University of Barcelona, Barcelona 2014, and in 2015 at Arts Club Berlin (ACB), Berlin (Art as a strategy to change the sociopolitical borders, curated by Andrzej Raszyk).

The books that Pilar Millan is reading: El futuro de la nostalgia (The future of nostalgia), Svetlana Boym. Antonio Machado Libros Edt., Madrid 2015.

The stage play (CAT-CDG).

Negative Revelation 2016, Photographic celluloid and cartoon on plastic frames filled with materials from the chapter East-Germany of the Shopping in Occupied Territories project (2015-work in progress). Variable dimensions.

Silencis-Dona (Silenced Women) 2010/2015, Installation: Two digital videos and 21 sound insulating polyurethane foam elements (video 1. on screen with the images of the hand loom weavers and no audio; video 2. on the tridimensional elements with the images of the movement of the mechanical looms and audio of the rythmical noise of the reed combs of this loom). Variable dimensions. Textum project 2015.