Originally published in ‘City Weekend’, Shanghai, Art Affairs section by HUNTER BRAITHWAITE 6/5/2010

“Double Infinity” engages the Expo’s utopia complex with a solid lineup of artists, performances and lectures.

Shanghai-based art collective Arthub reinterprets pieces from the Van Abbemuseum in Eindhoven, The Netherlands, a modern art museum renowned for its collection of El Lissitzky, the Russian designer, architect and photographer. This show poses questions about whether the meaning of work changes once it enters transnational space. (more…)

CLARE BUTCHER

My text is a working draft for the upcoming Your-space newspaper - I apologise for self-plagarism here but felt the content was an appropriate update for Kitchen readers!

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A lot seems to have happened between the last issue of the Your-space newspaper and this one. With the launch of Your-space’s Free Vrij Film programme with the Van Abbemuseum; a ‘Demonstration Aesthetics’ workshop and installation by the Swedish artist, Erik Krikortz with invited participants from Eindhoven, Breda and Tilburg; and volcanic irruptions in Iceland shutting down travel in and out of Europe - there’s a lot to take stock of.

While these events don’t seem to have much in common, in fact, they couldn’t be more alike. Each, in its way, stages a disruption in the regular rhythm of everyday life which we so easily become complacently complicit with. Let me explain what I mean by way of an example, an example that finds me writing this editorial note on a very long train ride from Bratislava to Eindhoven. The fact that all flights between the two locations have been cancelled is perhaps of secondary importance. But trains are good. They give you time to think and look out the window. Also to look at your neighbour. Who may or may not be a young German man in military gear on weekend sabbatical from his national service. (more…)

If anyone thought that the name, The Kitchen, was merely a happy coincidence - the politics of food is something, though I’m almost loathed to admit, with which Jamie Oliver’s Food Revolution USA seems to have hit a nerve.Please see the food flash mob

By Clare Butcher

The museum blog of the 21st century? For anyone wondering:

Twitter is a free social networking and micro-blogging service that allows users to send “updates” (or “tweets”; text-based posts, up to 140 characters long) to the Twitter web site, via the Twitter web site, short message service (SMS), instant messaging, or a third-party application such as Twitterrific or Facebook.

Updates are displayed on the user’s profile page and instantly delivered to other users who have signed up to receive them.

- Source Wikipedia

By Clare Butcher

“Taking responsibility for being open” - these were the key words of Angela Plohman’s workshop held at the museum on 20 January, as part of the Transparency series we’re putting together. It was the very term “Transparency” that Angela first ploughed into (no pun intended) regarding the dangerous duality of being open while also generating a set of ethics for oneself in how and when and why information is communicated and feedback is invited. (more…)

By Clare Butcher

Below is an introduction for an upcoming show I’m working on at the Aarhus Art Building in Denmark, The Good Old Days. It showcases the work of four artists from my own generation and while that’s perhaps not the most original way to build a show, for me, it’s revealed some urgent matters for contemporary practice, which seeks a relevant political action based on situated, re-constituting of recent history.

Lara Baladi, Lucia Nimcova, Nandipha Mtambo and Agnieszka Polska

6 February to 17 March 2010

Day by day

Introduction

The Who wrote a song in 1965 that entered Rock ‘n’ Roll history and influenced the development of Punk Rock in the UK. My Generation is almost a self-fulfilling prophecy: as it names and gives voice to the young, mobile, irreverent g-g-g-generation of Western Europe and the United States.
(more…)

By Clare Butcher

With the development of Web 2.0, and I’ve been told now, 3.0, culture there comes a need to reevaluate, or indeed, truly evaluate for the first time, how a museum of the 21st century might actually integrate the culture of the Online into its daily, and perhaps minute by minute affairs. We are holding a number of internal seminars, entitled the Transparency series, at the museum to unpack the issues of publicity, discretion and experimentalism in our hyper-reality. The first will be led by Angela Plohman, director of Baltan Laboratories, Eindhoven. Following are some links to a few relevant readings in connection with the content of the workshop.

Virtueel Platform

Through the Looking Glass - Museums and Internet-based Transparency

Fingers Crossed!

By Gemma Medina Estupinan

With projects come challenges. Each one different and attractive…but, no way. Sometimes, the things happen just to make your life difficult and difficult!!

2 weeks ago, I live in a Soap Opera, the Choir’s Soap Opera and I am wondering to myself what will be next!!!…

Gemma Medina narrates her experiences coordinating the Choir’s recording and performance as part of the Chto Delat work, Song of the Museum Guards for the People of Eindhoven (2009). The first part is a series of fragments from Gemma’s correspondence with the Head of Collections, Christiane Berndes; and in the second part, Gemma stews a little. (more…)

Some sharp words from Robert Smithson:

Cultural Confinement

Cultural confinement takes place when a curator imposes his own limits on an art exhibition , rather than asking an artist to set his limits. Artists are expected to fit into fraudulent categories. Some artists imagine they’ve got a hold on this apparatus, which in fact has got a hold of them. As a result, they end up supporting a cultural prison that is out of their control. Artists themselves are not confined, but their output is. Museums, like asylums and jails, have wards and cells- in other words, neutral rooms called “galleries.” A work of art when placed in a gallery loses its charge, and becomes a portable object or surface disengaged from the outside world. A vacant white room with lights is still a submission to the neutral. Works of art seen in such spaces seem to be going through a kind of esthetic convalescence. They are looked upon as so many inanimate invalids, waiting for critics to pronounce them curable or incurable. The function of the warden-curator is to separate art from the rest of society. Next comes integration. Once the work of art is totally neutralized, ineffective, abstracted, safe, and politically lobotomized it is ready to be consumed by society. All is reduced to visual fodder and transportable merchandise. Innovations are allowed only if they support this kind of confinement. (more…)

Posted by Clare Butcher

An interesting article I recently came across in the last edition of the Open cahier published by SKOR and the NAi - by Pascal Gielen: “The Art Scene. A Clever Working Model for Economic Exploitation”