Sean Borland’s Post

Koyo Kouoh’s appointment as the Director of the Visual Arts Department for the 61st International Art Exhibition of La Biennale di Venezia is a significant milestone, not only for Cape Town and women in the arts industry, but also for the ongoing reconfiguration of power and representation in the global art world. As Executive Director and Chief Curator of Zeitz MOCAA, Kouoh has consistently demonstrated how art can serve as both a mirror and a tool for societal change, blending curatorial excellence with bold political activism. Through her leadership at Zeitz MOCAA, she has redefined what it means to center African and diaspora voices in the global arts landscape, carving out spaces for stories that challenge, provoke, and inspire. This appointment reflects a growing recognition of the intellectual and political frameworks African leaders bring to global cultural institutions. Kouoh’s trajectory exemplifies how female leadership can reshape institutions—not through adaptation to established norms, but by challenging and redefining them. Her career reminds us that art is not just a medium of beauty but a weapon of resistance and transformation, capable of shaping the narratives of history and the futures we imagine. Her role at La Biennale will undoubtedly extend this impact, positioning art as a site of both reflection and action in an increasingly polarized world. #ArtAndSociety #LeadershipInTheArts #ZeitzMOCAA #KoyoKouoh #LaBiennaleDiVenezia

[The Role of Art Collectives in Canada's Art Scene] In this blog post, we will explore the definition and purpose of art collectives, the importance and relevance they hold in . . . https://lnkd.in/d4fHEQKw

Art is a powerful lens through which we can discover the beautiful tapestry of multiculturalism. 🌍 Each artistic medium tells a unique story, sharing the nuances of diverse cultural identities with the world. Have you ever thought about the strengths and weaknesses of different artistic expressions in conveying these stories? Traditional art forms like painting and sculpture allow for deep cultural representation and preservation of legacies. Their strengths lie in their ability to connect people with ancestral narratives and foster a sense of pride. However, relying solely on these techniques can sometimes limit the dynamic interplay of contemporary voices, leaving less room for modern interpretations and expressions. On the other hand, contemporary art forms, including performance and digital art, breathe new life into cultural narratives, pushing boundaries and sparking conversations. Their advantage lies in their innovative nature, reflecting today's societal changes and challenges. Yet, these forms may risk obscuring the essence of established traditions if not anchored in their cultural roots. A mixed approach could offer the best of both worlds—merging traditional artistry with contemporary creativity. This collaboration can create a vibrant dialogue that respects heritage while embracing innovation. 🎨✨ To find harmony between these methods, actively participate in both traditional and contemporary art spaces. Attend cultural festivals, engage with local artists, and embrace the stories told through each brushstroke, rhythm, and word. By doing so, we can enrich our understanding of cultural identities and pave the way for a more inclusive future. #ArtAndCulture #Multiculturalism #CulturalHeritage #ArtisticJourney #CreativityUnleashed

MUST READ: "The Biennale at the End of Globalisation" - ArtReview Fondazione La Biennale di Venezia What’s next for the contemporary art biennial, now that the era of neoliberal globalisation that shaped it starts to unravel? This year marks the 60th edition of the Venice Biennale (Fondazione La Biennale di Venezia) . "The politics in which largescale exhibitions of the Western artworld operate is changing fast. As the Biennale’s 2024 edition gets ready to open, it already finds itself faced with the conflicting aspects of the shifting culture of globalisation. Perhaps unsurprisingly, that conflict lies in the reemerging tensions between nationalist and internationalist agendas. In this, the Venice Biennale’s peculiar hybrid identity, as at once a showcase for the reality and the idea of the nation-state, and also a platform for a different supranationalism, has come to the fore. That hybrid identity, meanwhile, pulls into focus the particular character of largescale exhibitions: that of the global curator. Whichever side one takes, or whether one takes sides at all, it’s evident that the tensions emerging in world politics are starting to fracture the benign, if vacuous, internationalism that has underwritten not only the Venice Biennale but the wider model of the biennial during the era of globalisation. Arguably, that model was always only really credible when ‘globalisation’ meant the kind of world order governed by an unchallenged West, dominated by a hegemonic US. But that unipolar world order is now a more fractious and unstable multipolar world. And one of the cultural aspects of that unravelling is the growing challenge of the Global South to Western-centric perspectives in the biennials organised outside the West, but also the arrival of those perspectives within the global biennials of the West. Today, largescale exhibitions are again becoming sites of political contestation and conflict, shaped by the ending of the era of neoliberal globalisation once led by the West. But as the controversies over Documenta15 highlighted, these conflicts are arising because while curatorial agendas have globalised and internationalised, at the level of national politics electorates are turning away from the globalist perspective, as evidenced by the rise of populist political movements and governments in Europe and the US. As contemporary curators advocate, through biennials, for a postnational view of the future, they are starting to encounter the turn away from the globalist view taking place across the West. The biennial of contemporary art, born of neoliberal globalisation, may not survive that contradiction. The only question is – what comes next?" #venicebiennale #biennale #biennial #venice #curator #contemporaryart https://lnkd.in/eagKAa5k

Proud to have BOTH Leo Valledor and Carlos Villa work as part of this important exhibition up now through December 20, 2024 at 80WSE, 80 Washington Square East, NYU. *** Legacies: Asian American Art Movements in New York City (1969-2001) is an expansive survey of rarely-seen artwork and archival material by artists that constitute and exceed “Asian American,” a label denoting a cultural and national identity invented in 1968. Utilizing an interdisciplinary and research-driven praxis, Legacies uncovers how artists of Asian descent have historically negotiated identity in America as a set of situated practices and institutional structures amidst transnational diasporas, racial phantasms, and political imaginaries. Presenting over 90 artists and collectives, Legacies is the first institutional survey exhibition focusing on artists of Asian descent who were based in New York City. Legacies features works – paintings, drawings, sculpture, and new media, among other mediums – that serve to complicate the idea of defining “Asian American art” as singular and static through the lens of art history, cultural studies, and sociology.

📚Book review “Contemporary Art” by Natalie Rudd Since the 1960s, contemporary art has overturned the accepted historical categorizations of what constitutes art, who creates it, and how it is represented and validated. This guide brings the subject up to date, exploring the notion of “contemporary” and what it means in the present as well as how it came about. ✍️Curator and writer Natalie Rudd explains the many aspects of contemporary art, from its backstory to today, including different approaches, media, and recurring themes. Each chapter addresses a core question, explored via an accessible narrative and supported by an analysis of relevant works. Rudd also looks at the role of the art market and its structures, including art fairs and biennales, and how these have developed since the millennium. Offering a multinarrative and international perspective, #ContemporaryArt discusses what motivates artists as they try to make sense of the world and their place within it. This guide promises to reduce your feelings of intimidation when engaging with contemporary art, offering useful knowledge about diverse artists📖 #hauteart #hauteart_books #natalierudd #artbooks

I am happy to announce my participation as an artist and professor expert of contemporary art, for the edition: "Discovering Contemporary Art: Theories, Practices and Languages" by "Uni Auser Genova". My lecture will deal with the theme of the value of vandalism in post urban contemporary art.Thursday 21 November 2024 from 3.00 pm to 5.00 pm in the Conference Room of Villa Croce, Contemporary Art Museum. The History of Urban Art, a form of expression, that has origins that trace back to early human civilization. The practice began with prehistoric petroglyphs—symbolic carvings and images etched onto rock surfaces, serving as humanity’s first ventures into visual communication. These rudimentary forms of expression laid the groundwork for an expansive evolution of the language. In contemporary discourse, the significance of post-urban art continues to evolve, particularly in a digital age where art is often consumed online and shaped by popular consensus. Questions arise regarding the authenticity and value of art when colored by trends and algorithms. How do we measure an artist's worth in a society that sometimes reduces their narrative to mere digital presence, diluted over time and interaction? As we transitioned into the 21st century, a new phenomenon emerged: post-vandalism. This movement stands out for the use of a visual and narrative language of rupture, the subjects are often inspired by the charm of urban aesthetics, the periphery, the degradation, factors that reflect the state of health of contemporary society, at the same time, this current winks at Dadaism and pop art sharing a territory already explored in the official artistic context, but which remains in the society that oozes it from the pores of capitalism, these themes addressed by the new generations have been in the last 20 years the authentic reflection of the innovation of contemporary urban art, which has nothing to do with the redevelopment processes that many artists / decorators enhance and advertise as art, because if we talk about urban art then we talk about that labile border between activism and vandalism, but above the history of the artists that have created new languages, compared to what is known and exists.

I recently came across the slogan on the Pérez Art Museum's website: “Por favor, don’t touch the art.” 🖼️🚫 🧤🛡️ And I'm sure you've seen it yourself in many art institutions—specially designated people next to artworks, sometimes with gloves and uniforms, manicured frames, fences, frightening signs… 🎨 Is art something we should admire from a distance? I don’t think so. Art is not a static or passive object; it is meant to be engaging, for our own sake as well: it helps us understand what it means to be human and what it means to live in this world. When we place art behind barriers and treat it as a high-priced commodity, we lose the experience of interacting with it holistically.✨ 💭 Yes, I understand the need to protect delicate pieces but the overarching message of “don’t touch” seems to perpetuate the idea that art is too precious for direct interaction. This reinforces the institutionalization of art, turning it into a mere product of capitalism rather than a living, breathing experience.💡 🤔 What are your thoughts on this approach to art? *** #artengagement #museumculture #artaccessibility #interactiveart #culturalinstitutions #artinpublicspaces #artandsociety #artcritique #artandcapitalism #artexperience #museumcritique #artdialogue #culturalcommentary #arteducation #artforall #miamiart #artinmiami #floridarts

Why do art museums seem to hold such a powerful attraction? 🖼️🤔 From my observations, there are several compelling reasons that draw individuals into these cultural havens: 1. **Cultural Enrichment** 🌍: Art museums offer a profound sense of cultural and historical understanding. Gazing at centuries-old paintings or contemporary installations can enlighten us about different eras, societies, and perspectives. 2. **Inspiration and Creativity** 💡: For many, art museums are a wellspring of inspiration. Whether you're an artist, writer, or simply someone who appreciates beauty, museums ignite creative sparks that linger long after the visit. 3. **Emotional Connection** ❤️: Art evokes emotions and tells stories. People often find themselves moved by the visual narratives, connecting deeply with pieces that resonate on a personal level. 4. **Educational Value** 📚: Art museums serve as educational spaces where visitors can learn about various art forms, techniques, and artists. They often provide context that deepens our understanding of the pieces displayed. 5. **Escapism** ✨: Museums offer a tranquil, contemplative escape from our hectic lives. The quiet, reflective atmosphere allows visitors to immerse fully in the world of art. So, the next time you pass by an art museum, consider stepping in. You might discover a new favorite artist, gain fresh insights, or simply enjoy a peaceful moment away from the daily grind. What about you? Why do you visit art museums? Share your thoughts with us! And if you found these insights valuable, don't forget to Follow Us for more engaging content. 📲 #art #newspapers #gallery #design #colors

Title, to be announced is a new exhibition by Irish artist Frank Wasser. Frank Wasser’s PhD exhibition asks pertinent questions about the unstated conventions and regulations of art education, exhibition making and what constitutes artistic research through a durational performance which takes the form of an exhibition. Wasser will inhabit and be present in the gallery for the duration of the exhibition, engaging directly with the visitor. The exhibition takes the form of a thesis. This thesis consists of an entangled array of different working and broken parts, examples, namely a body, and fragments of objects, published books, sound and images, some static and some moving. The exhibition proposes an unfinished, incomplete object which in turn might critique the institutions of contemporary art practice and academia. Annotation is used as a tool to necessarily question, undermine and develop the production of the research, making visible aspects of the making of a body of work often erased or not visible in a traditional academic thesis. This research accumulates within an inhabitation of the stressed neoliberal structures of contemporary art education, the university and contemporary art institutions. This research might determine a rationale for unfinished work or an incomplete object. The research has previously been conducted across an array of institutions, Ruskin School of Art, University of Oxford, Goldsmiths, University of London, London Metropolitan University, Tate Modern, and the Ruskin Wing of Kings College Hospital, London. Exhibition open till April 11th at Steam Works Gallery.