25:10 minutes
Yoshinori Niwa’s investigation into the monetary system and material goods is witnessed across a range of his works. As the title of this work indicates, Niwa visits several currency exchanges in the market in Istanbul and proceeds to continually exchange from one currency into another until he has no money left, going against the grain of the economy. The laborious act of exchanging the currency back and forth does not create any profit. Instead, only time itself disappears – time is arguable to actual common factor between all our existences, and it is monetised accordingly within our society. As a result the staff at the currency exchange offices get increasingly confused and angry, frustrated, perhaps, that the laborious act no longer makes any sense in their business context.
Yoshinori Niwa’s practice takes the form of social interventions, executed through performance, video and installation. Through the construction of absurd scenarios, Niwa deploys a nonsensical vernacular to examine systems of exchange that drive contemporary society, as well as disjunctures in collective conceptions of history, ideology and value —an artistic strategy whose roots can be traced to the post-war Japanese avant-garde. Niwa graduated Tama Art University’s Department of Moving Images and Performing Arts in 2005. Niwa’s work has been exhibited internationally. His latest exhibitions in 2016 include: solo exhibitions at Minatomachi Art Table (Nagoya, Japan) and 1335MABINI (Manila, Philippines); and group shows at Marugame Genichiro-Inokuma Museum of Contemporary Art (Marugame, Japan) and Setouchi Triennale 2016 (Naoshima Island, Japan).Niwa was selected as one of ArtReview’s Future Greats in 2014.
Caring for the Carers: How Malaysian artists working with communities hold space | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints Courtesy of Syarifah Nadhirah August 12, 2021 By Rahmah Pauzi (1,300 words, 5-minute read) I had forgotten how loaded the words “how are you,” or “apa khabar,” can be...
Antoine Grumbach — Les Yeux du Ciel — Jeanne Bucher Jaeger | Paris, Marais Gallery — Exhibition — Slash Paris Login Newsletter Twitter Facebook Antoine Grumbach — Les Yeux du Ciel — Jeanne Bucher Jaeger | Paris, Marais Gallery — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Antoine Grumbach — Les Yeux du Ciel Exhibition Architecture, urban art, drawing, installation.....
Rossella Biscotti’s “10×10” series investigates the relationship between demographics, data processing, textile manufacturing and social structure...
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L’exigence de la saudade Curated by Zasha Colah and Sumesh Sharma, Clark House Initiative, Bombay With: Padmini Chettur, Prajakta Potnis and Zamthingla Ruivah And the participation of: Nalini Malani, Krishna Reddy, Jean Bhownagary, Maarten Visser Intervention in the public space by: Justin Ponmany, Prabhakar Pachpute The exhibition brings together three artists from distant geographies within India – Padmini Chettur, a contemporary dancer, Prajakta Potnis, a visual artist, and Zamthingla Ruivah, a master weaver, whose works are conceptually engaged with remnant cultural forms, not as endangered traditions, rather to reinvent them in the present...
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In conversation with Nataša Petrešin-Bachelez Together they will talk about Marwa Arsanios’ last video “ Falling is not collapsing, falling is extending “, 2016, presented recently at the Hammer Museum (Los Angeles), that looks into the garbage crisis in Beirut and the city’s recent real estate boom...
With the war-torn Beirut cityscape as its backdrop—urban alleys, glistening beaches, abandoned buildings—Eric Baudelaire’s complex film, The Ugly One , unfolds in a time and place that vacillates among revolutionary narratives of the past, the fragile and ever-changing political situation of the present, and attempts to piece together the memories of those that live, or once lived, in the city...
For The Reverse Sessions , the artist reversed the order in which instruments are usually created, taking the sounds of a collection of ethnic musical instruments from The Dahlem Museum as the starting point...
‘I didn't know when it was going to stop’: Inside the machine of motherhood - 1854 Photography Subscribe latest Agenda Bookshelf Projects Industry Insights magazine Explore ANY ANSWERS FINE ART IN THE STUDIO PARENTHOOD ART & ACTIVISM FOR THE RECORD LANDSCAPE PICTURE THIS CREATIVE BRIEF GENDER & SEXUALITY MIXED MEDIA POWER & EMPOWERMENT DOCUMENTARY HOME & BELONGING ON LOCATION PORTRAITURE DECADE OF CHANGE HUMANITY & TECHNOLOGY OPINION THEN & NOW Explore Stories latest agenda bookshelf projects theme in focus industry insights magazine ANY ANSWERS FINE ART IN THE STUDIO PARENTHOOD ART & ACTIVISM FOR THE RECORD LANDSCAPE PICTURE THIS CREATIVE BRIEF GENDER & SEXUALITY MIXED MEDIA POWER & EMPOWERMENT DOCUMENTARY HOME & BELONGING ON LOCATION PORTRAITURE DECADE OF CHANGE HUMANITY & TECHNOLOGY OPINION THEN & NOW All images © Pauline Rowan In Between the Gates , new mother Pauline Rowan navigates an often-obscured side of parenthood Pauline Rowan was wholly prepared for the realities of motherhood – or so she thought...
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Untitled exemplifies the format that Anna Bella-Papp most commonly works in, using her hands to create delicate tablet-like reliefs within a rectangular form made out of clay...
For this series, Philip-Lorca diCorcia walked along Santa Monica Boulevard in Los Angeles in search of models who would be prepared to pose in hotel rooms according to pre- planned scenarios...