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Pal Frenak V roku 1989 založil  tanečnú skupinu  s rovnomenným názvom  „Compagnie Pal Frenak“ . V roku 1990 sa vracia do Maďarska, aby vyučoval moderný tanec.  Tiež udržiava kontakt s Francúzskom kde   pracuje na vývoji pohybovej terapie pre telesne postihnutých a autistické  deti vo fakultnej nemocnici v  Amiens.

via c: http://www.cultcode.com/index.php/artreview/390-intime

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Pussy Riot - Make America Great Again (zdroj: www.highsnobiety.com)

[

čítaj viac](/index.php/artreview/388-pussy-riot-make-america-great-again)

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Comics strip by MARTIN LUKAC

MARTIN LUKAC

Born -1989  Studies:2009-  Faculty of fine arts  Technical University  Košice    doc.akad.mal.Adam Szentpétery    2013-  Academy of Arts Architecture and Design Prague-  MgA.Jiří Černický. MgA. Marek Meduna 

A boy  (how to draw cartoon comics strip) 2013 by Martin Lukac, pencil on paper (A4)

"untitled" (how to draw cartoon comics strip) 2013 by Martin Lukac, pencil on paper (A4)

"untitled" (how to draw cartoon comics strip) by Martin Lukac, pencil on paper (A4) 2013

"young marmots" (how to draw cartoon comics strip) 2013 by Martin Lukac, pencil on paper (A4)

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Museum of Sex

Museum of Sex

  Don't let the racy moniker put you off; the Museum of Sex offers a glossy, high-minded take on an eternally fascinating subject. Fewer nudes than the Met, but arguably more bang for your buck.

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Eva Herzigova by Jean Baptiste Mondino

Eva Herzigova by Jean Baptiste Mondino for Citizen K (Fall 2002)

Images via PendvNYC

EVA.

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Rita Minissi

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Joyce Polance

Joyce Polance. Prodigy, 2011.

Joyce Polance. Petition, 2009–2010.

Joyce Polance. Triage, 2009.

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Sex and Design at the Triennale Design Museum

KAMA: Sex and Design at the Triennale Design Museum

A titillating journey of sexuality in art and architecture from antiquity through contemporary times. Butt plugs, silicone toys, and plaster-cast vaginas galore. Sex and Design  will be on view until March 10, 2013 @ the Triennale Design Museum, Viale Alemagna, 6, Milan, Italy. Text & photography by Yanyan Huang (see more after the jump) [CLICK HERE...}

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Rosemarie Trockel

Rosemarie Trockel (Installation View), via Gladstone Gallery - See more at: http://artobserved.com/2013/12/new-york-rosemarie-trockel-at-gladstone-gallery-through-december-21st-2013/#sthash.Jg89o1T1.dpuf

Rosemarie Trockel, Copy Me (2013), via Gladstone Gallery - See more at: http://artobserved.com/2013/12/new-york-rosemarie-trockel-at-gladstone-gallery-through-december-21st-2013/#sthash.Jg89o1T1.dpuf

Rosemarie Trockel (Installation View), via Gladstone Gallery - See more at: http://artobserved.com/2013/12/new-york-rosemarie-trockel-at-gladstone-gallery-through-december-21st-2013/#sthash.Jg89o1T1.dpuf

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Ellsworth Kelly VS Adam Szentpétery

Ellsworth Kelly (born May 31, 1923) is an American painter, sculptor, and printmaker associated with hard-edge painting, Color Field painting and the minimalist school. His works demonstrate unassuming techniques emphasizing simplicity of form, similar to the work of John McLaughlin and Kenneth Noland. Kelly often employs bright colors. He lives and works in Spencertown, New York.

Adam Szentpétery (born 24 February 1956) is a Slovakian artist of Hungarian origin and the department Head/Professor of the Studio of Contemporary Image at the Faculty of Arts at the Technical University of Košice, Slovakia. He is known primarily for his abstract painting with strong geometrically organised canvases in a highly original manner with a very intense but at the same time refined colorism

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Monday CULT dictionary: CODE : Candida Hofer

Höfer began taking color photographs of interiors of public buildings, such as offices, banks, and waiting rooms, in 1979 while studying in Düsseldorf.[ Her breakthrough to fame came with a series of photographs showing guest workers in Germany, after which she concentrated on the subjects "Interiors", "Rooms" and "Zoological Gardens". Höfer specialises in large-format photographs of empty interiors and social spaces that capture the "psychology of social architecture". Her photographs are taken from a classic straight-on frontal angle or seek a diagonal in the composition] She tends to shoot each actionless room from an elevated vantage point near one wall so that the far wall is centered within the resulting image. From her earliest creations, she has been interested in representing public spaces such as museums, libraries, national archives, or opera houses devoid of all human presence. Höfer’s imagery has consistently focused on these depopulated interiors since the 1980s. Höfer groups her photographs into series that have institutional themes as well as geographical ones, but the formal similarity among her images is their dominant organizing principle.

In her Zoologische Gärten series (1991), Höfer shifts her focus away from interiors to of zoos in Germany, Spain, England, France, and the Netherlands. Implementing her typically descriptive style, Höfer’s images again seek to deconstruct the role institutions play in defining the viewer’s gaze by documenting animals in their caged environments

In 2001, for Douze-Twelve, commissioned by the Musée des Beaux-Arts et de la Dentelle in Calais[ and later shown at Documenta 11, Höfer photographed all 12 casts of Auguste Rodin’s The Burghers of Calais in their installations in various museums and sculpture gardens. From 2004 to 2007, she traveled the world to photograph conceptual artist On Kawara's iconic Date Paintings in the homes of private collectors. In 2005, Höfer embarked upon a project at the Musée du Louvre, documenting its various galleries, examining not only the sacred art they exhibit but also their individual design, arches, tiles and embellishments, with spectators and tourists entirely absent.

Candida Höfer on June 29 2013

Born 1944 Eberswalde, Province of Brandenburg, Germany Field Photography Training Kunstakademie Düsseldorf

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Peter Marino and Marc Jacobs at the Architecture Foundation’s John Edwards Lecture Series at Tate Modern

Peter Marino and Marc Jacobs at the Architecture Foundation’s John Edwards Lecture Series at Tate Modern

Marc Jacobs and architect Peter Marino discuss their art collections as part of the Tate Modern's John Edwards Lecture Series, and Jacobs opens up about his Louis Vuitton successor, Nicolas Ghesquière

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Paul Thek

 Paul Thek, Warrior’s Arm, 1967, from the series Technological Reliquaries

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Giampaolo Bertozzi and Stefano Dal Monte

A view of the installation "Composizione non finita - infinita" by Giampaolo Bertozzi and Stefano Dal Monte at the Italian pavilion during the vernissage of the 53rd Biennale International Art Exhibition in Venice, Italy, Thursday, June 4, 2009. (AP Photo/Alberto Pellaschiar) #

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Michelangelo Pistoletto

From 1947 until 1958, Pistoletto worked in his father’s restoration workshop in Turin. In the 1950s, he started painting figurative works and self-portraits. In 1959, he participated in the Biennale di San Marino. In the following year, he had his first solo exhibition in the Galleria Galatea in Turin. In the beginning of the 1960s, Pistoletto started painting figurative works and self-portraits which he painted on a monochrome, metallic background. Later on, he combined painting with photography using collage techniques on reflective backgrounds. Eventually, he switched over to printing photorealistic scenes on steel plates polished to a high finish. He did that using the screen-printing method which made the observer almost completely melt in with what was depicted.[1] In the mid-1960s, gallery owner Ileana Sonnabend brought him into contact with an international audience. In 1965/1966, he produced the series of works Oggetti in meno (Minus Objects), which belongs to Pistoletto’s early sculptural works. In 1966, Pistoletto had his first solo exhibition in the USA, at the Walker Art Center in Minneapolis. In 1967, his work was awarded first prize in the Biennale de São Paolo. In the same year, Pistoletto started focusing on performance, video art and theatre. He founded an action art group, called "Zoo Group", which gave several performances between 1968 and 1970. These took place in the studio, public buildings or on the streets of Turin or other large cities. As was already the case with Pistoletto’s 2-dimensional and sculptural works, the aim was to display the unity of art and everyday life.[2] Pistoletto is represented by the Simon Lee Gallery in London and the Luhring Augustine Gallery in New York.

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Cutting of a penis was simulated

Rudolf Schwarzkogler (13 November 1940 in Vienna – 20 June 1969) was an Austrian performance artist closely associated with the Viennese Actionism group that included artists Günter Brus, Otto Mühl, and Hermann Nitsch.

He is best known today for photographs depicting his series of closely controlled "Aktionen" featuring such iconography as a dead fish, a dead chicken, bare light bulbs, colored liquids, bound objects, and a man wrapped in gauze. The enduring themes of Schwarzkogler's works involved experience of pain and mutilation, often in an incongruous clinical context, such as 3rd Aktion (1965) in which a patient's head swathed in bandages is being pierced by what appears to be a corkscrew, producing a bloodstain under the bandages. They reflect a message of despair at the disappointments and hurtfulness of the world.

Chris Burden once remarked that a 1970s Newsweek Magazine article, which had mentioned himself and Schwarzkogler, had embarrassingly misreported that Schwarzkogler had died by slicing off his penis during a performance.[1] A scene in Schwarzkogler's foto-performances had been starry-eyed misinterpreted. The castration theme in some of them — for example, in Aktion 2 he posed with a sliced open fish covering his groin — have additionally fueled this myth. Ironically, the protagonist of the Aktion in which the cutting of a penis was simulated, was not Schwarzkogler himself, but a friend and model, the renowned photographer Hans Cibulka. When Schwarzkogler died, the series of performances had been finished long ago. He was found without any evidence for more than an accident, under the window from which he fell. It generated speculations and further myths.

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Monday CULT dictionary: CODE :Maurizio Cattelan

maurizio cattelan 'untitled' (2009)

taxidermied horse, steel and felt-tip pen on wood, 55 x 201 x 189 cm

installation view photo: zeno zotti, courtesy maurizio cattelan's archive

Maurizio Cattelan (b. 1960) 

La Nona Ora (The Ninth Hour) 

wax, clothing, polyester resin with metallic powder, volcanic rock, carpet, glass

dimensions variable.

Cattelan started his career in Forlì (Italy) making wooden furniture in the 1980s where he came to know some designers like Ettore Sottsass.

He made a catalogue of his work which he sent to galleries. This promotion gave him an opening in design and contemporary art. He created a sculpture of an ostrich with its head buried in the ground, wore a costume of a figurine with a giant head of Picasso, and affixed a Milanese gallerist to a wall with tape. During this period, he also created the Oblomov Foundation.

Cattelan’s personal art practice has led to him gaining a reputation as an art scene’s joker.[1] In 1995 he began his line of taxidermied horses, donkeys, mice and dogs; in 1999 he started making life-size wax effigies of various people, including himself.[2] One of his best known sculptures, ‘La Nona Ora’ consists of an effigy of Pope John Paul II in full ceremonial dress being crushed by a meteor and is a good example of his typically humorous approach to work. Another of Cattelan’s quirks is his use of a ‘stand-in’ in media interviews equipped with a stock of evasive answers and non-sensical explanations.

Between 2005 and 2010 his work has largely centered on publishing and curating. Earlier projects in these fields have included the founding of “The Wrong Gallery”, a store window in New York City [1], in 2002 and its subsequent display within the collection of the Tate Modern from 2005 to 2007; collaborations on the publications Permanent Food, 1996–2007- with Dominique Gonzalez Foerster and Paola Manfrin- and the slightly satirical arts journal "Charley", 2002–present (the former an occasional journal comprising a pastiche of pages torn from other magazines, the latter a series on contemporary artists); and the curating of the Caribbean Biennial in 1999.[3] Along with long-term collaborators Ali Subotnick and Massimiliano Gioni, Cattelan also curated the 2006 Berlin Biennale. He frequently submitted articles to international publications such as Flash Art [2].

Cattelan’s art makes fun of various systems of order – be it social niceties or his regular digs at the art world – and he often utilises themes and motifs from art of the past and other cultural sectors in order to get his point across. Cattelan saw no reason why contemporary art should be excluded from the critical spotlight it shines on other areas of life and his work seeks to highlight the incongruous nature of the world and our interventions within it no matter where they may lie. His work was often based on simple puns or subverts clichéd situations by, for example, substituting animals for people in sculptural tableaux. Frequently morbidly fascinating, Cattelan’s dark humour sets his work above the simple pleasures of well-made visual one-liners.