Asyaaf (Asian Students and Young Artists Art festival)

photo 1photo 1 asyaf4asyaf1

Park, Sun young, Self-defense, 45.5cmx75.8cm, mixed media, 2013

Park, Soohwan, Fractal of greed1, 48.5cmx72.5cm, digital color print, 2014

Bae, Dan bi, Flower that is simliar to hand, Hand that is similar to flower, 130.3cmx162.2cm, ink, watercolor on Korean paper, 2013

photo 5 photo 4 photo 3photo 2

Hyun, Lyung jun, Strange village1&2, 60.96cmx60.96cm, Inkjet print, 2014

Lee, Ye seul, Forest for rest, 91cmx116.8cm, ink on Korean paper, 2013

An, Seon Young, Dreaming(1), 66cmx66cmx13cm, Mixed media, 2014



Lee Ufan Versailles – Palace of Versailles

From 17 June to 2 November 2014,the Palace of Versailles welcomes the Korean artist Lee Ufan for a major contemporary art exhibition in the gardens.

Relatum-The Arch of Versailles

Relatum- The Arch of Versailles

Relatum – The Shadow of the Stars

Relatum-Dialogue ZRelatum - The Tomb, a Tribute to André le Nôtre Fermer

Relatum-Dialogue Z (Left),

Relatum – The Tomb, a Tribute to André le Nôtre Fermer

“The intense and silent works of this artist will be placed in the palace and in the gardens, at the foot of the Gabriel stairs, in the great perspective designed by Le Nôtre and around the corner of walks or in the mysterious groves, completing and modifying the atmosphere for a time.

In Versailles, the artist will install ten works, all entirely new, some of them of unusual size to correspond to the spaces in the gardens. Behind their very restricted formal vocabulary, true diversity will emerge; some configurations will be completely new to his work. This exhibition will create a major landmark in Lee Ufan’s sculptural work with its confrontation to the exceptional site.”

Alfred Pacquement
Curator of the Lee Ufan Versailles exhibition

Sverre Fehn’s Venice pavilion drawings to be shown for the first time

Sverre Fehn’s original drawings for the Nordic Pavilion in Venice will be presented alongside Ferruzzi’s gorgeous black-and-white photographs of the building. The exhibition Venice: Fehn’s Nordic Pavilion will be on display 20 June–31 December 2014 at the National Museum – Architecture.

In 1958 the Norwegian architect Sverre Fehn, at the age of thirty-four, won the competition to design the Nordic Pavilion for the Venice Biennale. The building was completed in 1962 and earned Fehn international acclaim.

The exhibition presents original material related to the pavilion, such as sketches, competition drafts, and preparatory drawings. The exhibited drawings and the photos by Ferruzzi have been culled from Fehn’s personal archives, which were incorporated in the National Museum’s collections in 2008.

The exhibition also features publications that write about the pavilion, as well as information about the architecture competition in 1958 and the pavilion’s usage since 1962.

The exhibition’s curator is Eva Madshus.


The world’s premier exhibition of architecture
The exhibition takes place simultaneously with the Architecture Biennale in Venice, which is regarded as the most important showing of international architecture.

In 2014 the National Museum will serve as curator and project manager for the Nordic Pavilion, a responsibility that alternates between Finland, Sweden, and Norway. This year’s exhibition has been given the title FORMS OF FREEDOM: African Independence and Nordic Models. The exhibition will investigate and document how modern Nordic architecture became an integral part of Nordic aid to East Africa during the 1960s and 1970s, and presents architectural projects that were developed during these brief, hectic years and that have been largely overlooked ever since.

nfad 9.tif

Thursday 19 June, 17:00, at the National Museum – Architecture.

FORMS OF FREEDOM: African Independence and Nordic Models

In 2014 the National Museum in Norway will be in charge of curating and organizing the Nordic Pavilion at la Biennale di Venezia, in collaboration with the Museum of Finnish Architecture and the Swedish Centre for Architecture and Design in Stockholm. The Nordic Pavilion at the “Biennale Architettura 2014” is co-owned by Sweden, Finland, and Norway. La Biennale di Venezia, regarded as the world’s premier architecture exhibition, takes place this year from 7 June to 23 November.


Architecture in Nordic development aid
The exhibition at the Nordic Pavilion has been titled “FORMS OF FREEDOM: African Independence and Nordic Models”. The exhibition will explore and document how modern Nordic architecture was an integral part of Nordic aid to East Africa in the 1960s and 1970s. The resulting architecture is of a scope and quality that has not previously been comprehensively studied or exhibited.

Mutual belief in progress
The liberation of Tanzania, Kenya, and Zambia in the 1960s coincided with the founding of development aid in the Nordic countries, where there was widespread belief that the social democratic model could be exported, translated, and used for economic growth and welfare. The leaders of the new African states, for their part, wanted partners without a murky colonial past and looked to emulate the progressive results achieved by the Nordic welfare states after WWII. The Nordic social democracies and the new African states established solid bonds built on a mutual belief in progress.

An unexplored field in architecture history
The Nordic architecture in East Africa has yet to be studied and documented by historians of Nordic and international architecture. The exhibition, which the National Museum in Norway is developing in collaboration with the architectural firm Space Group, revolves around two concepts. “Building Freedom” denotes the architectural nation-building where master plans were used to build cities and regions, prototypes and prefabricated systems were used to build education and health centres, and so on. “Finding Freedom”, conversely, denotes the experimental free area that emerged from this encounter between Nordic aid and African nation-building, where progressive ideas could be developed as architectural solutions on a par with the international avant-garde.


Kenya: Karl Henrik Nøstvik
Karl Henrik Nøstvik, one of the few architects of the era whose archives remain intact, was among the first group of experts sent to Kenya in 1965 as part of the Norwegian aid package. Employed by the Kenyan government, Nøstvik was commissioned to design the country’s first government building. The Kenyatta International Conference Centre (1966–73), which adorns the Kenyan 100 shilling note, was East Africa’s tallest building until the 1990s and remains a national icon of independent, modern Kenya.

The world’s foremost architecture exhibition
The International Architecture Exhibition of la Biennale di Venezia is considered to be the world’s foremost architecture exhibition. The appointed curator for Biennale Architettura 2014 is the renowned Dutch architect Rem Koolhaas. The biennale’s overarching title is Fundamentals, while the exhibitions at the national pavilions will address the theme “Absorbing Modernity 1914–2014”. Koolhaas’s idea is that each nation shall narrate its history of modernization over the past century in various ways, using their own approaches and hopefully presenting unofficial and hitherto untold stories. The biennale takes place in two larger areas in Venice: Arsenale and Giardini. The Nordic Pavilion, situated in Giardini, was designed by Sverre Fehn and built in 1962.


About the curators
The National Museum in Oslo is the Commissioner for the Nordic exhibition 2014, and Dr. Nina Berre, Director of Architecture at the National Museum, is the main curator. Gro Bonesmo, partner in the architectural firm Space Group, was appointed co-curator and exhibition architect. Space Group has its headquarters in Oslo, with local offices in São Paulo and New York. The three partners Gro Bonesmo (NOR), Gary Bates (US), and Adam Kurdahl (DEN) worked for several years with Rem Koolhaas at OMA in Rotterdam, before the three of them teamed up to found their own firm in Oslo in 1999. Gro Bonesmos is a Professor at the Oslo School of Architecture and Design, and has also taught at Columbia University, Harvard, and the Royal Danish Academy of Fine Arts in Copenhagen.

Conference Tour 14th International Architecture Exhibition – la Biennale di Venezia
The official programme for la Biennale di Venezia was presented to international architectural communities and media on Monday, 10 March, in Venice. The Conference Tour in its entirety is as follows:
Venice, March 10th– 12.30 p.m. (Ca’Giustinian)
London, March 11th – 11.30 a.m. (Italian Cultural Institute)
Berlin, March 12th – 11.30 a.m. (Italian Embassy)
Paris, March 13th – 11.30 a.m. (Italian Cultural Institute)

Italian Futurism

First Comprehensive Overview of the Influential Movement to Be Shown in the U.S.
Featuring Over 360 Works, Including Several Never Before Seen Outside of Italy

Exhibition: Italian Futurism, 1909–1944: Reconstructing the Universe
Venue: Solomon R. Guggenheim Museum, 1071 Fifth Avenue, New York
Location: Full rotunda and ramps, High Gallery, Annex Levels 5 and 7
Dates: February 21–September 1, 2014

Exhibition Overview


Italian Futurism unfolds chronologically, juxtaposing works in different mediums as it traces the myriad artistic languages the Futurists employed as their practice evolved over a 35-year period. The exhibition begins with an exploration of the manifesto as an art form, and proceeds to the Futurists’ catalytic encounter with Cubism in 1911, their exploration of near-abstract compositions, and their early efforts in photography. Ascending the rotunda levels of the museum, visitors follow the movement’s progression as it expanded to include architecture, clothing, design, dinnerware, experimental poetry, and toys. Along the way, it gained new practitioners and underwent several stylistic evolutions—shifting from the fractured spaces of the 1910s to the machine aesthetics (or arte meccanica) of the ’20s, and then to the softer, lyrical forms of the ’30s. Aviation’s popularity and nationalist significance in 1930s Italy led to the swirling, often abstracted, aerial imagery of Futurism’s final incarnation, aeropittura. This novel painting approach united the Futurist interest in nationalism, speed, technology, and war with new and dizzying visual perspectives. The fascination with the aerial spread to other mediums, including ceramics, dance, and experimental aerial photography.

The exhibition is enlivened by three films commissioned from documentary filmmaker Jen Sachs, which use archival film footage, documentary photographs, printed matter, writings, recorded declamations, and musical compositions to represent the Futurists’ more ephemeral work and to bring to life their words-in-freedom poems. One film addresses the Futurists’ evening performances and events, called serate, which merged “high” and “low” culture in radical ways and broke down barriers between spectator and performer. Mise-en-scène installations evoke the Futurists’ opera d’arte totale interior ensembles, from those executed for the private sphere to those realized under Fascism.

Italian Futurism concludes with the five monumental canvases that compose the Syntheses of Communications (1933–34) by Benedetta (Benedetta Cappa Marinetti), which are being shown for the
first time outside of their original location. One of few public commissions awarded to a Futurist in the 1930s, the series of paintings was created for the Palazzo delle Poste (Post Office) in Palermo, Sicily. The paintings celebrate multiple modes of communication, many enabled by technological innovations, and correspond with the themes of modernity and the “total work of art” concept that underpinned the Futurist ethos.


Aujourd’hui, le monde est mort

« Imagining the worst conceivable tomorrows gives me tremendous pleasure at the artistic level. The darkness of the future lights up my present, and foreknowledge of a coming end guarantees my happiness in living today. In this exhibition you will find the worst scenarios created by my imagination regarding the future of humankind. It is up to the younger generations to take every possible step to prevent them from becoming a reality. Where I am concerned, I choose to give completely free rein to my intuitions as an artist. That does not mean that we should not continue to hope for the future. I leave it to the last survivor to record the actual course of the end of the world, and to preserve the genetic information of the human species, either by metamorphosing into a mummy, by preserving his genes in a test tube, or else by handing on a DNA map of his genome. » Hiroshi Sugimoto


Via a body of work in which technical virtuosity is backed by a sound conceptual framework, Hiroshi Sugimoto (b. 1948, lives and works between New York and Tokyo) explores the nature of time and perception, and the origins of consciousness. Among his most famous photographic series, mention may be made of Dioramas (1976-), taken in natural history museums, these photographs depict stuffed animals displayed in artificial habitats, Theaters (1978-), photographed by exposing the photographic film throughout the entire projection of a film, and Seascapes (1980-), which capture the essence of marine landscapes throughout the world, retaining only their crucial elements, air and water.


“Aujourd’hui le monde est mort [Lost Human Genetic Archive]” is a new facet of a series of exhibitions Hiroshi Sugimoto has been elaborating for about ten years, juxtaposing his collections of objects, coming from a range of periods and cultures, and his photographic works. The objects in his collection are his “doubles,” and are indispensable to the artist as sources of lessons
that enable him to renew his art. Drawing on references to Albert Camus’s novel L’Étranger [The Stranger] and Marcel Duchamp’s ready-mades, the artist has staged a world after human beings have ceased to exist: a personal vision of history, seen from the future. The exhibition consists of around thirty scenarios, narrated by different fictitious characters: a bee-keeper, a specialist
in comparative religion, and a politician, who choose to preserve (or not to preserve) their individual genetic information for the future.

Devised as a kind of ruin, resonating with the atypical architecture of the Palais de Tokyo, the exhibition is not only the largest the artist has ever staged in Europe, but also a unique project that bears witness to his wide field of activity, ranging from literature to architecture. It is in the image of his attempt to understand art and human history according to a vast
time scale that goes well beyond that of the human species, at the same time including science, religion, economics, etc. Where is this human race heading, incapable of preventing itself from being destroyed in the name of unchecked growth? Guided by this question, Hiroshi Sugimoto lets his imagination and his creativity drift to meet up with both the past and the future.

Curator: Akiko Miki


Non Basta Ricordare

Christian Boltansky, Elisabetta Benassi, Maurizio Cattelan, Alberto Campo Baeza, Teddy Cruz, Giancarlo De Carlo, Gilbert&George, Alfredo Jaar, Ilya ed Emilia kabakov, Paul Mccarthy, Nobuyoshi Araki, Tony Oursler, Adrian Paci, Michelangelo Pistoletto, Gerhard Richter, Aldo Rossi, Doris Salcedo, Carlo Scarpa, Superstudio, Lara Favaretto, Toyo Ito, Vedovamazzei, Kara Walker, Lawrence Wiener, Cino Zucchi. Just some of the over 70 artists and architects featuring in the exhibition Remembering is not enought.

The exhibition of MAXXI collection emphasizes the necessity to embrace a more open vision and dynamic approach to develop and manifest the collection of the museum: not only conserving and presenting some excellent works from history and contemporary times, but moreover activating a living process in which the memories of history are continuously reconstructed in order to provide new vitality that keeps the work alive so that it continues to produce meaningful inspiration for us to understand our own time. Bringing art and architecture collections together, the current project intends to put forward the dialogues and interactions between both fields in order to create a new cultural context for innovative debates and exchanges about the significance of contemporary creation and democracy. Eventually, it seeks to open further discussions on the reinvention of art museums in our time.


Important issues related to urbanity, public space, political history and reality, body, soul, spirituality, as well as environmental future have been raised from the rich and multifaceted ensemble of the collections, revealing the great potential of their public interests. The project is also one that evolves in time and open up public interactions.

The artworks are not just put in critical dialogue with the specific architectural context. More remarkably, they are also triggers for further activities of research, public engagement and expansions, including diverse models of supporting the institution, with civic passions and participatory actions. On this perspective depends the rich program of related learning activities and initiatives for the audiences you are welcome to join.