https://liliakudelia.com Lilia Kudelia Mon, 08 Aug 2022 17:02:34 +0000 https://liliakudelia.com en https://liliakudelia.com/News-1 Mon, 08 Aug 2022 17:02:34 +0000 Lilia Kudelia https://liliakudelia.com/News-1 NEWS <img width="1536" height="868" width_o="1536" height_o="868" data-src="https://freight.cargo.site/t/original/i/ab1472b4d634dc720744082093aa3e2e8a5a543465476dba71b6fdf2a6764310/amo-vich-na-vich-1536x868.jpg" data-mid="149909337" border="0" src="https://freight.cargo.site/w/1000/i/ab1472b4d634dc720744082093aa3e2e8a5a543465476dba71b6fdf2a6764310/amo-vich-na-vich-1536x868.jpg" /> 07–17–2022 Vich-na-Vich Ukraine: Extreme Care Time&nbsp;︎&nbsp; ARTMargins conversation with Ilya Zabolotnyi, Kateryna Filyuk, Janeil Engelstad and Lilia Kudelia This conversation took place on July 17, 2022, nearly five months since Russia invaded Ukraine. Cultural producer Janeil Engelstad and curator Lilia Kudelia spoke with curator and researcher Kateryna Filyuk and art historian and cultural programmer Ilya Zabolotnyi about how the war has impacted Ukrainian art and culture, issues of cultural preservation and self-agency, as well as the building of support networks and new art infrastructures. Filyuk is a curator at Izolyatsia Platform for Cultural Initiatives, whose mission has shifted to address the war-related needs of arts organizations, artists, and cultural workers. Zabolotnyi is Director of the Ukrainian Emergency Art Fund, an organization that provides emergency stipends to Ukrainian cultural workers impacted by the war. <img width="1104" height="692" width_o="1104" height_o="692" data-src="https://freight.cargo.site/t/original/i/744f84295a8f32eab9cbab2aec4ca40fad40cf9e0f2e5a96be21b0a391bb0dc4/Screen-Shot-2022-08-07-at-4.39.57-PM.png" data-mid="149909421" border="0" src="https://freight.cargo.site/w/1000/i/744f84295a8f32eab9cbab2aec4ca40fad40cf9e0f2e5a96be21b0a391bb0dc4/Screen-Shot-2022-08-07-at-4.39.57-PM.png" /> <img width="1192" height="1196" width_o="1192" height_o="1196" data-src="https://freight.cargo.site/t/original/i/2dbf765db04398aabbbbed9f1d8db63904f6ec6f66e0fd3caea671455d1e6e8d/Screen-Shot-2022-08-07-at-4.50.30-PM.png" data-mid="149909416" border="0" src="https://freight.cargo.site/w/1000/i/2dbf765db04398aabbbbed9f1d8db63904f6ec6f66e0fd3caea671455d1e6e8d/Screen-Shot-2022-08-07-at-4.50.30-PM.png" /> <img width="1196" height="1594" width_o="1196" height_o="1594" data-src="https://freight.cargo.site/t/original/i/f3d42c0bad1cbf941c00c5c36ae73b73ec107953cbd02fad887828e7c36574c0/1.jpg" data-mid="149909422" border="0" src="https://freight.cargo.site/w/1000/i/f3d42c0bad1cbf941c00c5c36ae73b73ec107953cbd02fad887828e7c36574c0/1.jpg" /> 06–15/18–2022 Ukrainian Standat I Never Read Book FairBasel, Switzerland Co-organized by Lilia Kudelia, Your Art, and Ukrainian Institute, the book stand presents editions by&nbsp; IST Publishing, Osnovy, MOKSOP, RODOVID, 89books, Artbook and ArtHuss, publications by Dovzhenko Center and the Art Arsenal museum, as well as artist books and zines by Ukrainian artists and students based at Lucerne School of Art and Design and the FHNW- University of Applied Arts in Basel. On July 16, Kudelia moderated conversation with Anna Riabova and Dasha Asonova, members of Kyiv-based collective understructures and co-authors of the limited edition book oberih. &nbsp; <img width="1272" height="1276" width_o="1272" height_o="1276" data-src="https://freight.cargo.site/t/original/i/e8ead3617f54209cbd359e44051f4e0274635df808523cc9881aa208a9329394/Screen-Shot-2022-08-07-at-1.02.58-AM.png" data-mid="149909336" border="0" data-scale="71" src="https://freight.cargo.site/w/1000/i/e8ead3617f54209cbd359e44051f4e0274635df808523cc9881aa208a9329394/Screen-Shot-2022-08-07-at-1.02.58-AM.png" /> 04–26–2022 Juror for Oskár Čepan Award 2022Bratislava, SlovakiaFinalists: Ján Skaličan, Lenka Adamcová, Michal Mitro, Monika Pascoe Mikyšková, Peter Kašpar The award was founded in 1997. Oskár Čepan (1925 – 1992) was a strong critic and art theoretician with a broad scope and general solid knowledge, a devoted editor and anthologist, an erudite and receptive author of texts about contemporary Slovak visual art, a philosopher, theoretician, historian and critic. He played an essential role in the Slovak history of visual art of the 20th century, and his texts are still valid and surprisingly accurate today. <img width="3024" height="4032" width_o="3024" height_o="4032" data-src="https://freight.cargo.site/t/original/i/5c98c7c283d72c968e341f33eba2d5527e4734e5efab3d4c83ad19e10a87a25b/Krasimira-Butseva.jpg" data-mid="149909477" border="0" src="https://freight.cargo.site/w/1000/i/5c98c7c283d72c968e341f33eba2d5527e4734e5efab3d4c83ad19e10a87a25b/Krasimira-Butseva.jpg" /> <img width="225" height="225" width_o="225" height_o="225" data-src="https://freight.cargo.site/t/original/i/00def88ec56f42c3cb068453babe934333eaff8698b94fb6f97cbdd98c261480/Unknown-2.png" data-mid="149909463" border="0" src="https://freight.cargo.site/w/225/i/00def88ec56f42c3cb068453babe934333eaff8698b94fb6f97cbdd98c261480/Unknown-2.png" /> 07–19–2021 Juror for BAZA Award 2022Sofia, Bulgaria Winner: Krasimira Butseva The annual award for young artists in Bulgaria – BAZA, was established in 2007. The competition is organised by the Institute of Contemporary Art – Sofia and Edmond Demirdjian Foundation. <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/a0877beab74351393c23aa7377c3a16e3dd547fb4e358e4d52b9760abd5b8bc4/Pavle-Banovic.jpg" data-mid="149909518" border="0" src="https://freight.cargo.site/w/1000/i/a0877beab74351393c23aa7377c3a16e3dd547fb4e358e4d52b9760abd5b8bc4/Pavle-Banovic.jpg" /> <img width="225" height="225" width_o="225" height_o="225" data-src="https://freight.cargo.site/t/original/i/45245a857cf9db7e53c3c20bc09f31e08ef75e11470c853f5832adbdfab64453/Mangelos-Award.png" data-mid="149909513" border="0" src="https://freight.cargo.site/w/225/i/45245a857cf9db7e53c3c20bc09f31e08ef75e11470c853f5832adbdfab64453/Mangelos-Award.png" /> 07–12–2022 Juror for Mangelos Award 2022Belgrade, Serbia Winner: Pavle Banović Dimitrije Bašičević Mangelos Award was founded in 2002 by The Center for Contemporary Art from Belgrade and The Foundation for a Civil Society (FCS) from New York. The award bares the name of a prominent conceptual artist and art historian from former Yugoslavia, Dimitrije Bašićević Mangelos. <img width="696" height="158" width_o="696" height_o="158" data-src="https://freight.cargo.site/t/original/i/526abaedb8183db0aab139605337899544ba026e718fd31a505aa41cdf1b51c0/ACAX-award-Logo.jpg" data-mid="149909535" border="0" src="https://freight.cargo.site/w/696/i/526abaedb8183db0aab139605337899544ba026e718fd31a505aa41cdf1b51c0/ACAX-award-Logo.jpg" /> 07–08–2022 Juror for ACAX Award 2022Budapest, Hungary Winner:&nbsp; Tamás Páll <img width="840" height="840" width_o="840" height_o="840" data-src="https://freight.cargo.site/t/original/i/856fde903aed610eba712a261f97b33d698b9ecccf58d339811e774a3513398e/YVAA-Juror-Trips_Lilia-Kudelia-Report_2022-2.jpg" data-mid="149909581" border="0" src="https://freight.cargo.site/w/840/i/856fde903aed610eba712a261f97b33d698b9ecccf58d339811e774a3513398e/YVAA-Juror-Trips_Lilia-Kudelia-Report_2022-2.jpg" /> <img width="4032" height="3024" width_o="4032" height_o="3024" data-src="https://freight.cargo.site/t/original/i/e678a123a0f83fff846e60f75a656b096dabb6eed5f0da239fbc3d424821f77c/Ivana-Mirchevska_Denes-Award-2022.JPG" data-mid="149909578" border="0" src="https://freight.cargo.site/w/1000/i/e678a123a0f83fff846e60f75a656b096dabb6eed5f0da239fbc3d424821f77c/Ivana-Mirchevska_Denes-Award-2022.JPG" /> 06–23–2022 Juror for Denes Award 2022Skopje, North Macedonia Winner: Ivana &nbsp;Mirchevska ︎︎︎ Back to Homepage https://liliakudelia.com/Vich-na-Vich-Dallas-Aurora Fri, 05 Aug 2022 19:09:55 +0000 Lilia Kudelia https://liliakudelia.com/Vich-na-Vich-Dallas-Aurora <img width="640" height="426" width_o="640" height_o="426" data-src="https://freight.cargo.site/t/original/i/2c9ad3a781410f5b28aa2773040b5a9ff13ac2162cdf0e0725ec02351ef8a772/Dallas-Aurora_Dana-Kavelina.jpeg" data-mid="149842204" border="0" src="https://freight.cargo.site/w/640/i/2c9ad3a781410f5b28aa2773040b5a9ff13ac2162cdf0e0725ec02351ef8a772/Dallas-Aurora_Dana-Kavelina.jpeg" /> <img width="640" height="426" width_o="640" height_o="426" data-src="https://freight.cargo.site/t/original/i/adb239fe9cfd9ef14445ac5dc6d53fd9edb7cb407520cafd328f6805311306ad/Dallas-Aurora_Alevtina-Kakhidze.jpeg" data-mid="149842218" border="0" src="https://freight.cargo.site/w/640/i/adb239fe9cfd9ef14445ac5dc6d53fd9edb7cb407520cafd328f6805311306ad/Dallas-Aurora_Alevtina-Kakhidze.jpeg" /> 22 April, 2022 screening at Pegasus Plaza, 1500 Main St. Dallas TX. Photos: Can Turkyilmaz Vich-na-Vich AURORA Dallas Video Art Nights &nbsp;︎04-22-2022 Vich-na-Vich [lit.: eye to eye, or face to face] features Ukrainian artists working in video, animation and drawing. This program offers an intimate portrayal of Ukraine and considers the ways that artists address and record experiences of invasion and war. Honoring the resilience and persistence of artists working in this critical and transformative moment, Vich-na-Vich examines the immediate impact as well as the humanist backstage of the war. Presented in partnership with Aurora’s Video Art Nights, the Dallas screening featured Dana Kavelina’s animated video Mark Tulip Who Spoke with Flowers (2017) and drawings by Alevtina Kakhidze that document the day-to-day impact of Russia’s war in Ukraine. Vich-na-Vich is organized by Lilia Kudelia and Janeil Engelstad with support from the Make Art with Purpose Sylvia Hougland Art Fund. <img width="960" height="651" width_o="960" height_o="651" data-src="https://freight.cargo.site/t/original/i/3c0f61abe96726c516f45cb2ed461994e2fda6e665ac273a9cbb4d0cc935f994/14.04-Freedom-must-be-better-armed.JPG" data-mid="149730880" border="0" src="https://freight.cargo.site/w/960/i/3c0f61abe96726c516f45cb2ed461994e2fda6e665ac273a9cbb4d0cc935f994/14.04-Freedom-must-be-better-armed.JPG" /> Alevtina Kakhidze. War Diaries, 2022 Born in 1973 in Zhdanovka and growing up in the coal-mining region of Donetsk, Alevtina Kakhidze has experienced Ukraine’s abrupt and chaotic shifts from the days of being part of the USSR, to the imbalanced post-Soviet environment, including Russia’s undeclared war in Ukraine that has been taking place since 2014. Kakhidze attended the National Academy of Fine Art and Architecture in Kyiv (1999-2004) and the Jan van Eyck Academy in the Netherlands (2004-2006). Her awards include United Nations Tolerance Envoy in Ukraine (since 2018), Kazimir Malevich Artist Award (2008), and First Prize, Competition for Young Curators and Artists, Kyiv, Center for Contemporary Art at NaUKMA (2002). This program presented drawings from Kakhidze’s war time diary that poignantly reflect on a new chapter of the Russia-Ukraine war. Dated from February 24, 2022 until now, these images are drawn in the artist’s home in the village of Muzychi, 16 miles away from the Ukrainian capital, Kyiv <img width="2336" height="1568" width_o="2336" height_o="1568" data-src="https://freight.cargo.site/t/original/i/f90f3199e42b2a6d55e7a585c0923e280cdbfaef9245b7a8fa9efb0612cacbcb/Screen-Shot-2022-08-07-at-5.07.24-PM.png" data-mid="149842973" border="0" src="https://freight.cargo.site/w/1000/i/f90f3199e42b2a6d55e7a585c0923e280cdbfaef9245b7a8fa9efb0612cacbcb/Screen-Shot-2022-08-07-at-5.07.24-PM.png" /> Dana Kavelina. Stil from Mark L. Tulip who Spoke with Flowers, 2017 Born in 1995 in Melitopol, Ukraine, Dana Kavelina’s work portrays military violence and war seen from the perspective of gender, the position of victim as a political subject, and the spaces between historical and individual trauma and memory and misrepresentation. She has exhibited at Kristianstad Kunsthalle (Sweden), Kmytiv Museum, Closer Art Center, and Voloshyn Gallery in Ukraine, and screened by e-flux (War and Cinema, 2022) and MoMA (Notes from the Ground, 2022). Her animated film Mark Tulip Who Spoke with Flowers traces the disruption of Ukraine through the poetic story of Mark Tulip, a man who intends to live harmoniously on his native land but has to escape his garden, abandon the beloved dog and cat, and witness his family splitting into smithereens when the war comes to Luhansk in 2014. <img width="2260" height="1536" width_o="2260" height_o="1536" data-src="https://freight.cargo.site/t/original/i/93014a3f59a65eaa8e17b2d11d8f7e0ad4ebde86cf0f9a15ef48dee440a01dbe/Screen-Shot-2022-08-07-at-5.17.15-PM.png" data-mid="149843148" border="0" src="https://freight.cargo.site/w/1000/i/93014a3f59a65eaa8e17b2d11d8f7e0ad4ebde86cf0f9a15ef48dee440a01dbe/Screen-Shot-2022-08-07-at-5.17.15-PM.png" />Dana Kavelina. Stil from Mark L. Tulip who Spoke with Flowers, 2017 https://liliakudelia.com/57th-Venice-Biennale Fri, 05 Aug 2022 19:09:55 +0000 Lilia Kudelia https://liliakudelia.com/57th-Venice-Biennale <img width="1181" height="1817" width_o="1181" height_o="1817" data-src="https://freight.cargo.site/t/original/i/c6967dd2fc9a1307285f3706f4c7bd8a585b48d1962961ff70895ac1343d1b11/_DSC7633-1small.jpg" data-mid="149741222" border="0" src="https://freight.cargo.site/w/1000/i/c6967dd2fc9a1307285f3706f4c7bd8a585b48d1962961ff70895ac1343d1b11/_DSC7633-1small.jpg" /> Boris Mikhailov. Parliament series, 2017 <img width="1776" height="2250" width_o="1776" height_o="2250" data-src="https://freight.cargo.site/t/original/i/6d224c1435ea3aef50a1208601a561460c1a56ec59d0ef729eaed8a3aa118f33/MIkhailov-catalogue.jpg" data-mid="149843382" border="0" data-scale="92" src="https://freight.cargo.site/w/1000/i/6d224c1435ea3aef50a1208601a561460c1a56ec59d0ef729eaed8a3aa118f33/MIkhailov-catalogue.jpg" /> Catalogue available for purchase at rodovid.net <img width="1200" height="800" width_o="1200" height_o="800" data-src="https://freight.cargo.site/t/original/i/be4c44be05470a232635c0f0708a9933393a3c73336fc7cbe37ab549aa3bc8c6/La-Biennale-di-Venezia-2017.jpg" data-mid="149796109" border="0" data-scale="58" src="https://freight.cargo.site/w/1000/i/be4c44be05470a232635c0f0708a9933393a3c73336fc7cbe37ab549aa3bc8c6/La-Biennale-di-Venezia-2017.jpg" /> labiennale.org Boris Mikhailov PARLIAMENT Ukrainian National Pavilion57th Venice Biennale, &nbsp;2017 &nbsp;︎ feat.SVITER + Ivan Svitlychnyi, zhúzhalka, Anton Belinskiy, Juergen Tellerco-curated with Peter Doroshenko Parliament series focuses on photography’s interaction with media interfaces and the interplay between analogue and digital representation. &nbsp; Sifting through streams of information on television, Mikhailov created hybrid portraits of contemporary authorities by way of manipulating the transmission signals. The visual breakdown of figures in Parliament resembles the styles of Cubism and Suprematism where holistic perception of reality is disrupted by extreme forces of abstraction. The photographs metaphorically portray the situation of political crisis and society’s distrust in authorities. Mikhailov began the series in 2014 while watching parliamentary debates about the war in Eastern Ukraine on European television. By 2017, when the work was presented at the Venice Biennale, the images proved to be symptomatic of the unreliable media landscape and the society of post-truth characterized by the splintering of media communities and informational echo-chambers. Born in 1938 in Kharkiv, Mikhailov is a major figure in Ukrainian art. His images provide a poignant and haunting perspective on the role of the individual in Soviet and post-Soviet conditions. He started experimenting with photography in the 1960s while working as an engineer. Since then, Mikhailov has produced more than 30 photographic series and published over 20 photobooks. He received 2000 Hasselblad Foundation International Award, 2021 Shevchenko National Prize, 2012 Spectrum International Prize for photography, Citibank Photography Prize (later renamed Deutsche Börse Photography Prize), and 1999 Krazna-Krausz Photography Book Award. Past solo exhibitions include MoMA, ICA Boston, Tate Modern, Fotomuseum Antwerpen, Berlinische Galerie, Haus der Kulturen der Welt, Kunsthalle Wien, and Centro Italiano per la Fotografía, among others.&nbsp; Press&nbsp;︎ <img width="1785" height="1275" width_o="1785" height_o="1275" data-src="https://freight.cargo.site/t/original/i/e1b107958731b97d16613ee7d26e82750d76ade3aad23b15c7c2e05863a34aef/SAM_0791WEBEDIT.jpg" data-mid="149741380" border="0" src="https://freight.cargo.site/w/1000/i/e1b107958731b97d16613ee7d26e82750d76ade3aad23b15c7c2e05863a34aef/SAM_0791WEBEDIT.jpg" /> <img width="1785" height="1275" width_o="1785" height_o="1275" data-src="https://freight.cargo.site/t/original/i/181b4deb85619c511b7873e3fad1a974cdd651cfcd4f73463646c07f8891122f/SAM_0723WEBEDIT.jpg" data-mid="149741378" border="0" src="https://freight.cargo.site/w/1000/i/181b4deb85619c511b7873e3fad1a974cdd651cfcd4f73463646c07f8891122f/SAM_0723WEBEDIT.jpg" /> <img width="1785" height="1275" width_o="1785" height_o="1275" data-src="https://freight.cargo.site/t/original/i/8d0a46b2670cf00246fb4f3b50bb23af8caf220fc7663f931b6efb26ba383c21/SAM_0790WEBEDIT.jpg" data-mid="149741379" border="0" src="https://freight.cargo.site/w/1000/i/8d0a46b2670cf00246fb4f3b50bb23af8caf220fc7663f931b6efb26ba383c21/SAM_0790WEBEDIT.jpg" /> Installation views of Ukrainian Pavilion at 57th Venice Biennale, 2017. Studio Cannaregio. Photos by zhúzhalka. https://liliakudelia.com/Keer-Tanchak Fri, 05 Aug 2022 19:09:56 +0000 Lilia Kudelia https://liliakudelia.com/Keer-Tanchak <img width="2317" height="3476" width_o="2317" height_o="3476" data-src="https://freight.cargo.site/t/original/i/57d20346eb338a617beb9b9d433aff4fe35451db0881c2b63e5717e8ef66438e/DC_KT_22.jpg" data-mid="150907561" border="0" src="https://freight.cargo.site/w/1000/i/57d20346eb338a617beb9b9d433aff4fe35451db0881c2b63e5717e8ef66438e/DC_KT_22.jpg" />Image: courtesy of the artist <img width="5472" height="5101" width_o="5472" height_o="5101" data-src="https://freight.cargo.site/t/original/i/052db697164e8920b41ce63cd533340500c1cd7c0537a90a384a54ea469ae2f1/tanchak_celine.jpg" data-mid="149741823" border="0" src="https://freight.cargo.site/w/1000/i/052db697164e8920b41ce63cd533340500c1cd7c0537a90a384a54ea469ae2f1/tanchak_celine.jpg" /> Keer Tanchak. Celine, 2016. Courtesy of the artist Keer Tanchak SOFT ORBIT Dallas Contemporary, 2017 Keer Tanchak’s work is a discernible exploration of the canon of painting. Sampling historical artworks and appropriating recognizable techniques and genres, Tanchak honestly proves that emulation is essential for painting - a medium that has always operated in a web of tradition and mass cultural references. While engaging with past epochs such as French rococo or European avant–garde, Tanchak often zooms in on marginalized personages in mise-en-scènes, thus infusing the figures with stronger messages and bringing to light the politics of representation. In her first museum solo exhibition, Tanchak creates a site specific installation embracing the architecture and history of the building - the metal fabrication factory. This new body of work aims to push the boundaries of display by engaging the entire physical body through the unification of painting and sculptural installation with shiny aluminum which has continually replaced canvas in Tanchak’s artistic practice. The installation functions as a metaphorical X-ray machine which exposes the basic elements of the painting language: the expressiveness of brushwork, the emotive nature of color, and transcendental quality of scintillating light. The immersive installation further addresses the way we perceive art history at present – through tiny reproductions on our gadget screens which resemble virtual post-it notes of a digital art history book. The exhibition title “Soft Orbit” references many elements manifested in the show: gravitation towards primary sources, production of “satellite narratives” around historical works, references to Tanchak’s own stylistic evolutions, the act of perceiving through gazing, ophthalmic sensations, and futuristic references to her spaceship-like installation. Press ︎ <img width="1126" height="693" width_o="1126" height_o="693" data-src="https://freight.cargo.site/t/original/i/ed9adbfad7c5bc25ea14f02c9573de774095b8172ddbc6a2ae7de64f9cc36e0d/Keer-Tanchak.jpg" data-mid="149741777" border="0" src="https://freight.cargo.site/w/1000/i/ed9adbfad7c5bc25ea14f02c9573de774095b8172ddbc6a2ae7de64f9cc36e0d/Keer-Tanchak.jpg" /> <img width="1130" height="692" width_o="1130" height_o="692" data-src="https://freight.cargo.site/t/original/i/228d8308e6342ef1a781e41524a5fd69e5817cae548534b49da034ec021beae6/Keer-Tanchak-Install.jpg" data-mid="149741770" border="0" src="https://freight.cargo.site/w/1000/i/228d8308e6342ef1a781e41524a5fd69e5817cae548534b49da034ec021beae6/Keer-Tanchak-Install.jpg" /> <img width="3475" height="2317" width_o="3475" height_o="2317" data-src="https://freight.cargo.site/t/original/i/c415a9de9a1f38917568bc80ccae68d78201019d94a51335c1beb489bdb14d47/DC_KT_07.jpg" data-mid="150907524" border="0" src="https://freight.cargo.site/w/1000/i/c415a9de9a1f38917568bc80ccae68d78201019d94a51335c1beb489bdb14d47/DC_KT_07.jpg" /> <img width="3475" height="2317" width_o="3475" height_o="2317" data-src="https://freight.cargo.site/t/original/i/1c5f711c04a70bead1b0a9356c33ae3e135044e4a119ebe5f28221bfcdbe3f23/DC_KT_14.jpg" data-mid="150907530" border="0" src="https://freight.cargo.site/w/1000/i/1c5f711c04a70bead1b0a9356c33ae3e135044e4a119ebe5f28221bfcdbe3f23/DC_KT_14.jpg" /> <img width="3475" height="2317" width_o="3475" height_o="2317" data-src="https://freight.cargo.site/t/original/i/2c92874ec21dca4239d994f715da993c6a3da02cdbdc1cb85dafa6738b3c2261/DC_KT_18.jpg" data-mid="150907559" border="0" src="https://freight.cargo.site/w/1000/i/2c92874ec21dca4239d994f715da993c6a3da02cdbdc1cb85dafa6738b3c2261/DC_KT_18.jpg" /> <img width="3331" height="2225" width_o="3331" height_o="2225" data-src="https://freight.cargo.site/t/original/i/fbbdecfd8edf50f4ebdacaa034ae0869203fc0c957228785f19e45c751cfc5df/DC_KT_21.jpg" data-mid="150907560" border="0" src="https://freight.cargo.site/w/1000/i/fbbdecfd8edf50f4ebdacaa034ae0869203fc0c957228785f19e45c751cfc5df/DC_KT_21.jpg" /> <img width="3475" height="2317" width_o="3475" height_o="2317" data-src="https://freight.cargo.site/t/original/i/82195ee6797e2fb3f2d22e68d80db4b4a80e9637fcaa67ef524bf0bea0f90beb/DC_KT_23.jpg" data-mid="150907562" border="0" src="https://freight.cargo.site/w/1000/i/82195ee6797e2fb3f2d22e68d80db4b4a80e9637fcaa67ef524bf0bea0f90beb/DC_KT_23.jpg" /> Installation views of the exhibition at Dallas Contemporary, 2017. Photos: Kevin Todora https://liliakudelia.com/CHIM-POM Fri, 05 Aug 2022 19:09:56 +0000 Lilia Kudelia https://liliakudelia.com/CHIM-POM <img width="3500" height="4667" width_o="3500" height_o="4667" data-src="https://freight.cargo.site/t/original/i/f4f3f94be78f16981e1fe04bc830d783b2f79d73c55899d141d95fbfaf88e892/CP_SuperRat_2006_01.jpg" data-mid="149742039" border="0" src="https://freight.cargo.site/w/1000/i/f4f3f94be78f16981e1fe04bc830d783b2f79d73c55899d141d95fbfaf88e892/CP_SuperRat_2006_01.jpg" />Chim ↑ Pom. SUPER RAT, 2006-2017. Courtesy of the artists <img width="5333" height="3333" width_o="5333" height_o="3333" data-src="https://freight.cargo.site/t/original/i/75b77991b4fd31b04bba373373a8f03f46a7bfa45e526a33d83c96771c57b917/kiai_doublechannel.jpg" data-mid="149742040" border="0" src="https://freight.cargo.site/w/1000/i/75b77991b4fd31b04bba373373a8f03f46a7bfa45e526a33d83c96771c57b917/kiai_doublechannel.jpg" /> Chim ↑ Pom. Still from KI-AI 100, 2011. Courtesy of the artists CHIM ↑&nbsp;POM Non-Burnable Dallas Contemporary, 2017 Responding instinctively to contemporary events, Chim↑Pom continuously creates works that intervene in society with strong social messages. The exhibition Non-Burnable spotlights the decade-long artistic career of the Tokyo-based collective. In their multidisciplinary practice, the artists examine themes of inheritance, survival, and co-existence by responding to environmental and political circumstances. Chim↑Pom is recognized among the few artists who spearheaded critical reflections on the Tōhoku Earthquake, which caused the Fukushima Dai-ichi Nuclear Power Plant accident in 2011. Their work juxtaposes the idea of an atomic sublime with the notion of nuclear disaster as lived experience. Informed by atomic bombs as a motif of collective memory, they invest in building meaningful relationships between time and historical sites such as Hiroshima. Non-Burnable revolves around the concept of non-combustible waste represented by radiation, environmental pollution, and even symbolic prayers sent to the city of Hiroshima from people all over the world in the form of hand-folded cranes. Using a small collection of the 10,000 tons of sacred, and therefore indestructible, origami cranes sent to Hiroshima each year, Chim↑Pom reflects upon peace invocation and the legacy of communal trauma. <img width="3410" height="2274" width_o="3410" height_o="2274" data-src="https://freight.cargo.site/t/original/i/7e86639909e17aae0e578ec5eecfc6d6d7a95087ad3faa59f35670f94cf17ce7/IC_oct2017_001.jpg" data-mid="150907982" border="0" src="https://freight.cargo.site/w/1000/i/7e86639909e17aae0e578ec5eecfc6d6d7a95087ad3faa59f35670f94cf17ce7/IC_oct2017_001.jpg" /> <img width="3476" height="2317" width_o="3476" height_o="2317" data-src="https://freight.cargo.site/t/original/i/df892227022c1cfcbb100e313f27a4e87e7e5bc6177b0b1902b90b7982e11bd6/IC_oct2017_013.jpg" data-mid="150907883" border="0" src="https://freight.cargo.site/w/1000/i/df892227022c1cfcbb100e313f27a4e87e7e5bc6177b0b1902b90b7982e11bd6/IC_oct2017_013.jpg" /> <img width="3424" height="2283" width_o="3424" height_o="2283" data-src="https://freight.cargo.site/t/original/i/df35ce5a42bf83448e5bf80dfcf273796b91d0c43d203f0e192b17e8c5ce402a/IC_oct2017_011.jpg" data-mid="150907880" border="0" src="https://freight.cargo.site/w/1000/i/df35ce5a42bf83448e5bf80dfcf273796b91d0c43d203f0e192b17e8c5ce402a/IC_oct2017_011.jpg" /> Installation views of Non-Burnable at Dallas Contemporary, 2017. Photo: Kevin Todora https://liliakudelia.com/Invisible-Cities-1 Fri, 05 Aug 2022 19:09:57 +0000 Lilia Kudelia https://liliakudelia.com/Invisible-Cities-1 <img width="1128" height="688" width_o="1128" height_o="688" data-src="https://freight.cargo.site/t/original/i/2dca3aaabccf1a42fd191f20dc6052c9bcaecada627d47a03ddab58f5c5390ea/Invisible-Cities.jpg" data-mid="149742241" border="0" src="https://freight.cargo.site/w/1000/i/2dca3aaabccf1a42fd191f20dc6052c9bcaecada627d47a03ddab58f5c5390ea/Invisible-Cities.jpg" /> Yu Araki. Still fromWrong Revision, 2016 <img width="1130" height="693" width_o="1130" height_o="693" data-src="https://freight.cargo.site/t/original/i/19a498e0a286f6cbfce3dd85d5cff80fd837ebe12cc802e36cd4eeac9acda2f3/Invisibile-Cities-2.jpg" data-mid="149742240" border="0" src="https://freight.cargo.site/w/1000/i/19a498e0a286f6cbfce3dd85d5cff80fd837ebe12cc802e36cd4eeac9acda2f3/Invisibile-Cities-2.jpg" /> Program screening at Dallas Contemporary. Photo: Kevin Todora INVISIBLE CITIES: Moving Images from Asia Dallas Contemporary, 2017 co-curated with Hitomi Hasegawa (Moving Image Archive of Contemporary Art, Hong Kong) and Jacqueline Chao (Crow Collection of Asian Art, Dallas) Invisible Cities showcases the work of more than 25 renowned and emerging contemporary video artists from China, Japan, Hong Kong, the Philippines, Singapore, South Korea, Taiwan, Thailand, Myanmar, and Vietnam. Presented as a compilation of fragmentary urban images, this project addresses perceptions of various Asian cities in the collective mind. In their vignettes, artists reference traces of colonialism, globalization, and the political aspects of urban development to examine the concept of the “perpetual foreigner” within contemporary cosmopolitan culture. From the stories of vanished cities of the past to the destroyed cities of the present time, the film narratives encapsulate the memory of specific sites and individuals’ interactions with different landscapes. These pivotal works represent recent key developments in moving image art in Asia. Artists: Yu Araki, Martha Atienza, Leung Chi Wo,&nbsp;Chim↑Pom,&nbsp;Kai-Chun Chiang,&nbsp;Come Inside,&nbsp;Kyun-Chome,&nbsp;Bontaro Dokuyama, Hikaru Fujii,&nbsp;Minouk Lim,&nbsp;Ellen Pau,&nbsp;Wong Ping,&nbsp;Ho Rui An,&nbsp;Taiki Sakpisit, Moe Satt,&nbsp;Momoko Seto,&nbsp;Tadasu Takamine,&nbsp;Kota Takeuchi,&nbsp; Zhou Tao, Nguyen Trinh Thi,&nbsp;Ho Tzu Nyen,&nbsp;Ming Wong,&nbsp;Sun Xun. <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/ccdef338f106eaf8bd5357976812b5b194e1e5038cf0757dea8135d84fe0514e/image-4-Martha-Atienza.-Anito.-Courtesy-of-the-artist.jpg" data-mid="150908219" border="0" src="https://freight.cargo.site/w/1000/i/ccdef338f106eaf8bd5357976812b5b194e1e5038cf0757dea8135d84fe0514e/image-4-Martha-Atienza.-Anito.-Courtesy-of-the-artist.jpg" /> Martha Atienza. Still from&nbsp;Anito,&nbsp;2015 <img width="3032" height="2104" width_o="3032" height_o="2104" data-src="https://freight.cargo.site/t/original/i/803fa0f6436cdc251b9845e3853dfdafead3018901c17ac9ca3527f17cef702d/Image6-Minouk-Lim--The-Weight-of-Hands--2010_2.jpg" data-mid="150908257" border="0" src="https://freight.cargo.site/w/1000/i/803fa0f6436cdc251b9845e3853dfdafead3018901c17ac9ca3527f17cef702d/Image6-Minouk-Lim--The-Weight-of-Hands--2010_2.jpg" /> Minouk Lim. Still from&nbsp;The Weight of Hands, 2010 <img width="1391" height="763" width_o="1391" height_o="763" data-src="https://freight.cargo.site/t/original/i/c854fbf302bdac0b12fa8ede5dede2fb31387cf0f6089319a620f168c4f1fa9e/Image10MoeBusan.png" data-mid="150908267" border="0" src="https://freight.cargo.site/w/1000/i/c854fbf302bdac0b12fa8ede5dede2fb31387cf0f6089319a620f168c4f1fa9e/Image10MoeBusan.png" /> Moe Satt. Still from Hands Around Yangon, 2012 <img width="3665" height="2062" width_o="3665" height_o="2062" data-src="https://freight.cargo.site/t/original/i/d81c8cb3fc38e7613fc159aabc7f1885f37910f1b51be7ba1140aa034e2e81e7/Image-9_CHIANG3.jpg" data-mid="150908221" border="0" src="https://freight.cargo.site/w/1000/i/d81c8cb3fc38e7613fc159aabc7f1885f37910f1b51be7ba1140aa034e2e81e7/Image-9_CHIANG3.jpg" /> Kai-Chun Chiang. Still from&nbsp;Le Journal du Fort Zeelandia,&nbsp;2014 <img width="2560" height="1600" width_o="2560" height_o="1600" data-src="https://freight.cargo.site/t/original/i/44cf1a4f660bb0553b5ead6c693da574f0a7dc47125736dde6ec9a9f14394c64/Image-19-Momoko.png" data-mid="150908240" border="0" src="https://freight.cargo.site/w/1000/i/44cf1a4f660bb0553b5ead6c693da574f0a7dc47125736dde6ec9a9f14394c64/Image-19-Momoko.png" /> Momoko Seto. Still from&nbsp;AREKARA - The Life After,&nbsp;2013 <img width="1292" height="729" width_o="1292" height_o="729" data-src="https://freight.cargo.site/t/original/i/2fab62ba79866046938ef7d6d9ea4d76841e6ebe575041738ae8d850aabd53c9/Image-18-Bontaro.png" data-mid="150908238" border="0" src="https://freight.cargo.site/w/1000/i/2fab62ba79866046938ef7d6d9ea4d76841e6ebe575041738ae8d850aabd53c9/Image-18-Bontaro.png" /> Bontaro Dokuyama. Still from&nbsp;Acchi - Over there,&nbsp;2015 <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/f4addee4d9659335dc109f934319e2c18d6b47a02fe0ce7da086e0d07783cd0e/REALTIMES06.jpg" data-mid="150908261" border="0" src="https://freight.cargo.site/w/1000/i/f4addee4d9659335dc109f934319e2c18d6b47a02fe0ce7da086e0d07783cd0e/REALTIMES06.jpg" /> Chim↑Pom. Still from&nbsp;REAL TIMES,&nbsp;2011 https://liliakudelia.com/Synchrodogs Fri, 05 Aug 2022 19:09:57 +0000 Lilia Kudelia https://liliakudelia.com/Synchrodogs <img width="757" height="950" width_o="757" height_o="950" data-src="https://freight.cargo.site/t/original/i/6a8207f1164d1b96551d9f70c00be39899b01ee8ca28aa12d71e4d03d823937d/supernatural_synchrodogs4_950.jpg" data-mid="149742492" border="0" src="https://freight.cargo.site/w/757/i/6a8207f1164d1b96551d9f70c00be39899b01ee8ca28aa12d71e4d03d823937d/supernatural_synchrodogs4_950.jpg" /> <img width="4344" height="2896" width_o="4344" height_o="2896" data-src="https://freight.cargo.site/t/original/i/4931ace079e0872953c40fc22f10b0a7db71dec8523795d1353d80177e093f2a/Synchrodogs_Installation-of-Supernatural-at-Dallas-Contemporary_18.jpg" data-mid="149742471" border="0" src="https://freight.cargo.site/w/1000/i/4931ace079e0872953c40fc22f10b0a7db71dec8523795d1353d80177e093f2a/Synchrodogs_Installation-of-Supernatural-at-Dallas-Contemporary_18.jpg" /> Images courtesy of the artists Synchrodogs SUPERNATURAL Dallas Contemporary, 2015 Supernatural was commissioned by Dallas Contemporary and photographed during Synchrodogs’ 4-weeks residency in the United States. In Spring 2015, the artist duo completed a 4,000-mile road trip throughout the American Southwest in search of surreal locations like the Chihuahuan Desert, Big Bend National Park, and Caddo Lake in Texas; White Sands National Monument and Ah-shi-sle-pah Wilderness Study Area in New Mexico; and the Vermilion Cliffs and Antelope Canyon in Arizona. Supernatural series of photographs consists of portraits and landscapes that blur the line between the real and the imagined. Futuristic in philosophy and subversive towards the language of fashion photography, this exhibition explores the bond between human beings and nature at its wildest. Press ︎ <img width="4295" height="2852" width_o="4295" height_o="2852" data-src="https://freight.cargo.site/t/original/i/fc8cfda57b331f4073e5ae3a112efdfa3983072ed78ccfed67f5410c1e0cb47f/Synchrodogs_Installation-of-Supernatural-at-Dallas-Contemporary_16.jpg" data-mid="149742465" border="0" src="https://freight.cargo.site/w/1000/i/fc8cfda57b331f4073e5ae3a112efdfa3983072ed78ccfed67f5410c1e0cb47f/Synchrodogs_Installation-of-Supernatural-at-Dallas-Contemporary_16.jpg" /> <img width="4309" height="2855" width_o="4309" height_o="2855" data-src="https://freight.cargo.site/t/original/i/07a1b1448f3467afdb912a2924c7889bcabf88e053a9bc627da17cd865f622b5/Synchrodogs_Installation-of-Supernatural-at-Dallas-Contemporary_02.jpg" data-mid="149742463" border="0" src="https://freight.cargo.site/w/1000/i/07a1b1448f3467afdb912a2924c7889bcabf88e053a9bc627da17cd865f622b5/Synchrodogs_Installation-of-Supernatural-at-Dallas-Contemporary_02.jpg" /> <img width="4306" height="2870" width_o="4306" height_o="2870" data-src="https://freight.cargo.site/t/original/i/e03ab8b348a037a09e1d15ac8a45986fdd21c97815317d93068ca028e4349389/Synchrodogs_Installation-of-Supernatural-at-Dallas-Contemporary_15.jpg" data-mid="149742464" border="0" src="https://freight.cargo.site/w/1000/i/e03ab8b348a037a09e1d15ac8a45986fdd21c97815317d93068ca028e4349389/Synchrodogs_Installation-of-Supernatural-at-Dallas-Contemporary_15.jpg" /> Installation views at Dallas Contemporary. Photo: Kevin Todora. https://liliakudelia.com/The-Reading-Room Fri, 05 Aug 2022 19:09:58 +0000 Lilia Kudelia https://liliakudelia.com/The-Reading-Room <img width="1126" height="693" width_o="1126" height_o="693" data-src="https://freight.cargo.site/t/original/i/91cc6ba65a1098ea3aba7927044ee2fdaead5df970ff7988b910d6c1febabcfd/TRR.jpg" data-mid="149776901" border="0" src="https://freight.cargo.site/w/1000/i/91cc6ba65a1098ea3aba7927044ee2fdaead5df970ff7988b910d6c1febabcfd/TRR.jpg" /> Installation view of works by Laura Lee Brott,&nbsp;Gabriela Ochoa, and Alison Starr. Courtesy of The Reading Room <img width="1244" height="942" width_o="1244" height_o="942" data-src="https://freight.cargo.site/t/original/i/70c91f68b41193157c809907f5ae92bea9dd16b2859f8d4cff882e58c62a99df/Screen-Shot-2022-08-06-at-12.38.27-PM.png" data-mid="149776796" border="0" data-scale="100" src="https://freight.cargo.site/w/1000/i/70c91f68b41193157c809907f5ae92bea9dd16b2859f8d4cff882e58c62a99df/Screen-Shot-2022-08-06-at-12.38.27-PM.png" /> Jessica Ianuzzi Garcia, Birds, 2013&nbsp; “NEVER TO BE YOURSELF AND YET ALWAYS—THAT IS THE PROBLEM” The Reading Room, Dallas, 2014co-curated with Daria Prydybailo The second group exhibition by (wo)manorial collective addresses the endless doubts, searches, insecurities and frustrations that happen during art-making process. The belief in interconnected generations serves as a bonding tool for members of (wo)manorial collective, that is as a virtual community. The works in this exhibition refer to Virginia Woolf’s essay A Room of One’s Own. Artists manifest a “desktop of one’s own” in lieu of a “room of one’s own” while reflecting on their belonging to the fourth wave of feminism movement. (wo)manorial artists:Haley Kattner Allen, Jessica Iannuzzi Garcia, Gabriela Ochoa, Laura Lee Brott, Rebecca Carter, Tori Whitehead, Alison Starr, and Courtney Brown. ︎ https://liliakudelia.com/Acceleration Fri, 05 Aug 2022 19:09:58 +0000 Lilia Kudelia https://liliakudelia.com/Acceleration ACCELERATION Dallas Contemporary, 2013 <img width="1126" height="692" width_o="1126" height_o="692" data-src="https://freight.cargo.site/t/original/i/19820193b114706c4df3582750ada1a01d820bf03f9d1e571796daefe049f517/Acceleration-install-1.jpg" data-mid="149777414" border="0" src="https://freight.cargo.site/w/1000/i/19820193b114706c4df3582750ada1a01d820bf03f9d1e571796daefe049f517/Acceleration-install-1.jpg" /> Installation view of works by Michelle Rawlings and Arthur Peña. Photo: Kevin Todora To celebrate its 35th birthday, Dallas Contemporary dons the mask of the Roman god Janus, the mover of human life and a symbol of change + transition. With two faces, Janus simultaneously looks into the future and to the past representing the continuity and finality of time. In a similar fashion, this exhibition investigates 35 years of reflecting and projecting. Dallas Contemporary’s restlessness and velocity has ignited the institution’s rapid growth from a small local organization into an internationally recognized art center and a hotbed of artistic activity. The institution continually invests in new stimuli. 35 Dallas/Fort Worth-based artists were invited to reflect on generational changes on the local art scene and&nbsp;continuous competition with time. Viewed holistically, the exhibition explores a variety of concepts such as anxiety and fear; vigor, impatience and competition; image saturation and epistemic acceleration; the histories, ancestries and futures. &nbsp; Artists: Morehshin Allahyari, Jesse Morgan Barnett, Andrew Blanton, Bradley Brown, Cassandra Emswiler, Vernon Fisher, James Gilbert, Sally Glass, Nathan Green, Timothy Harding, Nevada Hill, Quinn Mathews, Margaret Meehan, Francisco Moreno, Michael Morris, Lisa Nersesova, Arthur Peña, Morton Rachofsky, Brittany Ransom, Michelle Rawlings, S.C.A.B., Trent Straughn, Jason Willaford, Trey Wright. https://liliakudelia.com/Apotropaic-Lucia-Simek-Kristen-Cochran Fri, 05 Aug 2022 19:09:59 +0000 Lilia Kudelia https://liliakudelia.com/Apotropaic-Lucia-Simek-Kristen-Cochran <img width="1126" height="693" width_o="1126" height_o="693" data-src="https://freight.cargo.site/t/original/i/488617ec5bf4404d18a9460c863ce471b389a09036ab563183dbb14a13c1750c/Cochran.jpg" data-mid="149777613" border="0" src="https://freight.cargo.site/w/1000/i/488617ec5bf4404d18a9460c863ce471b389a09036ab563183dbb14a13c1750c/Cochran.jpg" /> Installation view of Kristen Cochran’s work. Photo: Kevin Todora <img width="1126" height="692" width_o="1126" height_o="692" data-src="https://freight.cargo.site/t/original/i/ee6cd663c8e9ca12ac0456db3dc9098d17792202b58fd1085e4dee71e74ced98/Lucia-Simek-at-DC.jpg" data-mid="149777614" border="0" src="https://freight.cargo.site/w/1000/i/ee6cd663c8e9ca12ac0456db3dc9098d17792202b58fd1085e4dee71e74ced98/Lucia-Simek-at-DC.jpg" /> Installation view of Lucia Simek’s work. Photo: Kevin Todora LUCIA SIMEK + KRISTEN COCHRAN Dallas Contemporary, 2013 This two-person exhibition delves into the themes of impediment and apotropaic* gestures. In an attempt to liberate themselves from implied threats and obsessive ideas, the artists emphasize the very liminality of this threshold: the glass seeks the light to reflect its shadows, the marble leans towards the wall for support, weaponry placards long to be used by demonstrators or picketers, and the tranquilizing rhythmically folded curtain is hiding something on the other side. The process of stacking, folding and rearranging summons the overriding interests of Cochran's and Simek’s art—control, order, and insufficiency— thus bridging their practices with the traditions of feminist art-making. Cochran’s process speaks to the traditions of live art and performance in that it is process-oriented, abstract and conceptually driven, while Simek's works cull from minimalist and conceptual aesthetics, existing in the mode of indexical marks that focus viewer’s attention on the ephemeral and unseen. Both artists lean towards non-retinal pleasures. They emphasize the seductiveness of the written word involving the interplay of texts and objects. By building their own lexicon of meanings and sharpening it into a dialogue, Kristen Cochran and Lucia Simek convey a kind of sculptural calligraphy, which they obtain from encoding the conceptual meanings of sculpture making. * apotropaic - from Greek: apotropaios = designed to avert evil