The International Prize for Live Art will be awarded for the first time during ANTI Contemporary Art Festival in Kuopio in September 2014. The six nominees for the award have now been announced: Franko B (UK/IT), Heather Cassils (CA/US), Frog King/Kwok Mang-ho (HK), May Say production (FI), Gwendoline Robin (BE) and Joshua Sofaer (UK).
The artistic directors of ANTI Contemporary Art Festival, Johanna Tuukkanen and Gregg Whelan, say:
"A total of 40 artist nominations were put forward by 10 trusted colleagues working across Europe, Scandinavia, North America, Asia and Australia. The process of reading each nomination, and hearing many of the artists' work for the first time, was an absolutely fascinating and exciting process, highlighting the variety of mediums, forms and methods of artists working under the umbrella of Live Art. After some weeks of research and discussion, we have narrowed down the long list of 40 artists to a short-list of six exceptional artists whose work is outstanding in its investigation of art and the everyday, collaboration and encounter and the body, endurance and sociability."
The winner of the ANTI Festival International Prize for Live Art will be chosen by three judges: artist Anssi Kasitonni (FI), architect Juhani Pallasmaa (FI) and director Ruth Mackenzie(UK) as the chair. This judging panel, comprising three top specialists, provides a wide view of contemporary art's diversity and its current manifestations.
The world's first ever International Prize for Live Art will be presented at the ANTI Contemporary Art Festival in Kuopio in September 2014. The prize is 30,000 euros, with the winning artist receiving a cash prize of 15,000 euros and the same amount in the form of a production grant for bringing their new work to the ANTI Festival in 2015. The prize is funded by the Saastamoinen Foundation.
DEAR friends , as BECAUSE OF LOVE VOLUME ONE performance tour is coming to a closure [ last performance will be in Munster ,Germany on the 7 and 8 of November 2014 . more info near the time . but now this is MOTHER FUCKERS OF THE WORLD UNITE AGAINST OPPRESSION a project that i started early this year ( 2014 ) and really it come from my collaboration that i started around 4 years a go with drummer Jacob Cob under the name AT NIGHT WE CRY . ( then a student of mine at the academia of visual arts in Macerata , Marche , Italy, where i teach in the school of sculpture )
Now I'm looking forward to develop MFOTWU [ against oppression ] not just as a band but as a visual and sound performance work and to take it to visual art and performance spaces around the world and not exclusively to music only venues
if you are interested in any way and want to know more about this development in my practice ask to be come friend with mfotwu here on face book and we will keep you informed with what we are doing . https://www.facebook.com/mfotwu.mfotwu
Japanese rock band Melt-Banana have been making experimental, noise pop since 1992. They’ve released ten albums and toured worldwide extensively.
‘Some people say they are noise band, some people say they are so-called no wave band, some people say they are hardcore band, some people say their music is like roller coaster in an amusement park… It is hard to categorize their music, but basically they are rock band with a spice of punk taste. The easiest way to find out is to listen to their music and you will find out.’
MFOTWU [ against oppression ] is a post punk post, spoken word, post improvisation collective between drummer Jacob Cob and artist Franko B previously of the post punk group AT NIGHT WE CRY.
An Essay by Franko B inspired by the Marina Abramović performance, The Artist is Present (2010).
I Was (Not) Present
artist (as a construct/persona) was present, but the person was not.
the artist be present?
what does performance have to do with it?
it performance, or merely spectacle?
one teach presence?
how to make a performance?
was a Sunday morning in London on an August day in 2013, and I kept thinking
about Marina Abramović’s performance, The Artist is Present. On and off,
this event has being following me. Maybe, in my mind there are obvious reasons
work has met a strong media interest (reviews, documentaries, etc.), and after
three years it still apparently inspires artists like Jay Z and Lady Gaga. What
follows here is my understanding and personal critique of the concept/idea of being
present, expanding on my personal thoughts regarding the performance, The
artist is present, which Marina Abramović originally performed at MOMA (Museum
Of Modern Art) in New York in 2010.
Exhibiting artists include Edward Allington, Franko B, Ivor Beddoes, Giuseppe Belli, James Casebere, Julian Crouch, Richard Deacon, Thomas Demand, Hein Hecktroth, Christopher Hobbs, Howard Hodgkin, Derek Jarman, Philip Lee, Davy and Kristin Mcguire, Bruce McLean, Louise Ann Wilson, Edwin Zwakman. Curators: Jeremy Webster, Naomi Law
Art is about illusion, about taking people on a journey to places, situations and emotions they may not have the access or the imagination to visit. This exhibition looks at set design and considers the artistic design process and the underpinning collaboration between artistic disciplines necessary for success, in short the art of Creating a Scene.
The exhibition views set design in its broadest sense, aiming to capture something of the variety of disciplines in which set design is employed. Creating a Scene includes work by leading international artists and designers working in theatre, opera, dance, film, photography, the visual arts, performance art, and work by emerging new talent. Throughout the exhibition you can see examples of the design process including sketches, working models, finished designs and theatre sets.
Hopkinson Gallery, in collaboration with The Creative Quarter company and Nottingham City Council, is proud to present a unique show 'Mercury & Electric Shocks', as part of the 'Seen This?' project, two new exhibitions which the Nottingham public can look forward to over the next three months.
Featuring neon-based works by Franko B. Stefan Bruggeman, Tracey Emin, Gilbert & George, Sarah Lucas, Kerry Ryan and Gavin Turk.
'Mercury & Electric Shocks' is an exclusive collection of remarkable neon artworks by acclaimed artists, to be shown at Hopkinson Gallery. What makes this exhibition extraordinary is that these works have been in private collections and have never before seen together by the public outside London.
Curated by Andy Collishaw (Independent) and Izzy Watts (who manages Hopkinson Gallery), this exhibition features the cream of British and international contemporary artists, who are bringing their work to Nottingham which opened for the city's Light Night event on Friday 28 February.
See the BBC East Midlands feature of this show here.
Selected artists show their work for this year’s exhibition during
Frieze week in the East End of London.
Joseph Kosuth Mark Croxford
Declan McMullan Peter Aston Jones
Mat Collishaw Mike Andreae
DNA Factory Kerry Ryan
Nicholas Jones Floyd Varey
Dan Coombs Pete Lamb
Tracey Emin John Tiney
Gavin Turk Tamsin Casswell
Katrina Blannin Julien Brown
John Close Covadonga Valdes
Chris Daniels Giorgio Soddotti
Gillian Westgate Paul Hosking
Franko B Jessica Wilson
Roland Fairburn Stefan Brüggemann
Dan Coombs Polly Morgan
Hester Finch Damien Good
Lucie O’Mara Daniel Crews-Cubb
Exhibition runs from 18th October to 1st November 2013
at The Mayor’s Parlour
153–159 Bow Road
London E3 2SE
A departure from his body-based work, Franko B's Because of Love delves from the political down to the personal, exploring memory and interrogating its narrative processes. As such, its own methods of recall become the subject of the performance itself.
Video catapults the performance into archival memory with iconic images of war, political unrest, injustice and commodity culture, drawing the intersection of collective trauma, history's meta-narratives and the individual. Franko's body superimposes itself on the projected images as he runs along the stage-length screen. His actions are anonymous and depersonalized, unnervingly repetitious against the background of mass trauma. This is a piece about scale and distance. A small figure against a huge backdrop and the collective experience of hierarchies, power, dominance and aggression. The duality of this dynamic of oppressor and oppressed will be systematically broken down by the layering of Franko's gestures, movements, symbols, signs and eventually spoken narrative. Like lines criss-crossing between two points in time, a present and a past, these actions break the linearity and continuity of any promise of a coherent self.
Moving to a blackboard, Franko draws signs and words, gesturing to himself, the audience, the sign, but these gestures and symbols are disruptive rather than coherent. Franko's piercing yet silent engagement with the audience is both darkly humorous and tragically poignant. The combination of the writing and the silent communicating is elusive; we are being asked to order something, to piece it together, and yet it is intangible, just out of reach, another question of distance from the subject. Layers of gesture and action reflect the layering of meaning, as we are both piecing together an individual's narrative as well as observing a piece about the nature of communication itself. Just as the actions of the past are incomprehensible to a childlike figure trying to distinguish between wrong and right, justice and injustice, so the signs and actions throughout the piece fail to add up; this discrepancy is so prolonged and still it is almost dreamlike. But these black holes in communication are what the piece systematically works through, by ritual repetition that eventually unravels a thread of movement and a freedom of sorts.
Franko constructs a world in which the individual's voice is silenced. The words 'See Say Something' seemingly directed to the audience highlight this silence, as we are unaware of what it is exactly we have seen, thus rendered voiceless like the performer himself. The implications are isolating, and Franko's performing self is acutely isolated within the framework of the stage, the distance (although penetrable) between audience and performer. Franko is both charismatically present, and also inaccessible, like the memories that are ever so slowly teased out of obscurity. The piece teeters on the edge of irony and humour, creating an uncanniness - particularly in the childish voice-overs - that avoids the realms of self-indulgence or sentimentality, thereby giving the performance a precision that is dynamic in its stillness. With the unravelling of dialogue comes the movement we have been longing, and the repetition is worked through until the regimented world of the performance is punctuated. The piece de resistance – a waltz with a polar bear – is the reward for this journey down into memory. The childlike interaction is both liberating and compellingly vulnerable; the combination of music and visuals paints a illusory world of the imagination, and we know that ultimately the freedom exists there and there only. A piece of clarity and subtlety that continues unravelling in the mind long after its physical enactment.