Rirkrit Tiravanija: Cooking Up an Art Experience In 1992, Rirkrit Tiravanija created an exhibition entitled Untitled (Free) at 303 Gallery in New York. This landmark piece, in which the artist converted a gallery into a kitchen where he served rice and Thai curry for free, has been recreated at MoMA as part of the installation Contemporary Galleries: 1980–Now on view on the second floor. This back office curry kitchen has been replicated to scale, and the artist worked with MoMA to recreate the experience, with curry prepared and served by the Museum’s restaurant staff daily from noon—3:00 p.m. In this deceptively simple conceptual piece, the artist invites the visitor to interact with contemporary art in a more sociable way, and blurs the distance between artist and viewer. In the video above, Laura Hoptman, curator in the Museum’s Department of Painting and Sculpture, discusses the work, and visitors share their reactions.
Home | Institute of Contemporary Arts New York Fashion Week Goes Digital Fashion Week used to be a ultra-exclusive event reserved for the fashion elite. The public had to wait for the print publications before they could see the coverage, images and commentary related to the year’s premier fashion event. However, with the arrival of the digital age, the fashion industry as a whole, and Fashion Week, has been democratized. Fashion bloggers now have front row seats at the the top shows, and fashion lovers around the country consume every moment of Fashion Week via live streaming, Twitter, blogs, Instagram, Vine, Pinterest and more. The Fashion industry has a whole has always been on cutting edge of new technologies – with the top brands frequently becoming the firsts to embrace social and digital platforms and trends. Social Hubs, Hashtags and Curation at Fashion Week Hashtags have come a long way since Chris Messina invented them in 2007 as a way to improve the Twitter communication experience. >>See it live Tresemme Cole Haan Rebecca Minkoff Elie Tahari Tumblr
Rirkrit Tiravanija — Collections Rirkrit Tiravanija was born into a diplomat’s family in Buenos Aires, raised in different parts of the world, and settled in Bangkok to attend high school. Upon graduation, he continued his studies in Canada and the United States, and now divides his time between New York, Berlin, Bangkok, and everywhere in between. Peregrination—touted as the defining condition of our “global” age in which inhabitants lead “nomadic” lives—comes naturally for the artist. It is only to be expected, then, that “convivial” is an adjective that appears so frequently in writings about Tiravanija’s art. If a new kind of aesthetics is in fact expressed in Tiravanija’s art, it did not come out of a vacuum. In that Tiravanija engages in a sort of social catalysis, an even more pertinent historical model for his art would be German artist’s Joseph Beuys, whose concept of “social sculpture” redefined art as various activities geared toward positive social change.
Soane Museum, London - Sir John Soane, R.A., Architect Isabella Blow: Fashion Galore! 20 November 2013 – 2 March 2014 Embankment Galleries, South Wing Somerset House, in partnership with the Isabella Blow Foundation and Central Saint Martins, presented Isabella Blow: Fashion Galore!, a major fashion exhibition celebrating the extraordinary life and wardrobe of the late British patron of fashion and art. Born into the rarefied world of British aristocracy, Isabella’s thirty year career began in the early 80s as Anna Wintour’s assistant at US Vogue. On her return to London in 1986 she worked at Tatler followed by British Vogue. The exhibition showcased over a hundred pieces from her incredibly rich collection, one of the most important private collections of late 20th Century/early 21st Century British fashion design, now owned by Daphne Guinness. Flamboyant Flock of Flurry
"No hay que confundir memoria con historia", dijo Pierre Nora - 15.03.2006 PARIS.- Además de inventar una nueva forma de narrar la historia, Pierre Nora consiguió establecer una línea demarcatoria entre dos conceptos cercanos y con frecuencia contradictorios: "No hay que confundir memoria con historia", dice. De una curiosidad sin límites, Nora siempre pensó que, en un mundo presa de la inmediatez, la mejor forma de transmitir la historia de una nación es a partir del presente. De esa convicción nacieron, entre 1984 y 1993, una obra monumental y un concepto: les lieux de mémoire (sitios de la memoria). En esa obra, reunida en tres tomos, se combinan libros, hombres, parajes y conceptos: la catedral de Reims, la batalla de Waterloo, el libro de Proust "En busca del tiempo perdido", Vichy, Versalles, Juana de Arco, Víctor Hugo, "La Marsellesa", la República, el Tour de Francia, la Torre Eiffel y las Galerías Lafayette. Una mitología francesa sobre la cual su autor dice: "Lo novedoso de esta manera de escribir la historia es que rompe con el hábito cronológico.
John Jones Framers London | Museum Standard Fine Art Framing & More the gallerist: Diagrams from "Art Rules; Pierre Bourdieu and the Visual Arts" by Michael Grenfell and Cheryl Hardy. 2007. Berg Press. New York. So here are models that can be used to map out a cultural field. These are good starting points for our project but I think that we can develop a more sophisticated system. The maps provide: institutional positioning (eg. Máster en Museografía Interactiva y Didáctica - Barcelona - IL3 - Cursosycarreras.es 1. DEFINICIÓN Y FUNDAMENTOS DE LA MUSEOGRAFIA INTERACTIVA. 1.1. Museografia interactiva: concepto y límites. 1.2. 2. 3. 4. 5. MÓDULOS OBLIGATORIOS 1. 2. 3. 4. 5.