Now that I am less occupied with the works of art I created for the Venice Architecture Biennale, I have the time to write a post that I wanted to publish for a rather long time. It is about the economics of art and the role that buyers, collectors, commissioners [1], and patrons play in my life. Since I look at this relationship both
"Even if you encounter opposition, have conviction and finish what you start. People in the end will understand." Kotoko Wamura Living After the Apocalypse is a curatorial proposal I conceived and developed when I was invited to submit a conceptual framework for an art and architectural biennial in 2011. While I was writing and preparing the proposal an earthquake happened in Japan and the
Remainders at the End of a Summer Bliss, by Lanfranco Aceti, is a curatorial essay that surveys Bill Balaskas’s exhibition, Remains of a Summer Bliss, at the Kalfayan Galleries, Athens and Thessaloniki. Featured on their new platform, Contemporary Arts and Cultures (CAC), the essay is published by the Leonardo Electronic Almanac (LEA), MIT Press. In a globalized context of ruthless capitalism, this curatorial essay
The Museum of Contemporary Cuts presents a painterly and sculptural text work by Dutch artist, Willem Jan Smit. At the Sculpture Garden pavilion on the New Sea Waterfront of Thessaloniki, Smit marries the two media with the complexity of the positive and negative architectural space. “The Sculpture Garden pavilion presents and shines a light on a fissure in the homogeneous representation of the community,”
To ‘celebrate’ the forthcoming conflict between Rocket Man of North Korea and Dotard of the United States of America the artist Mischa Kuball (DE) has been commissioned to create an installation and music score to be placed on The Fifth Column of the White House. Named Curator Of The United States (COTUS) by the Museum of Contemporary Cuts, Lanfranco Aceti announced this new video and
In a contemporary world of suppositions presented as a healthy suppository of systemically administered fact, the current exchange and special relationship between the United Kingdom and the United States of America is providing exciting new prospects. The UK has proposed to offer Oboddaddy 1, by Sarah Lucas, as an instrument of justice to beat down efforts of fake news and propaganda alike. Oboddaddy 1, a
As part of its worldwide interventions and art engagements, the Museum of Contemporary Cuts presents ad nauseam at documenta 14 by international artist and activist Willem Jan Smit (NL, ES, DE). Ad nauseam is Willem Jan Smit’s redux from an exhibition of documentary sculpture in Athens titled THEY WERE SHOWN THE DOOR IN A MATTER OF MINUTES, which was received with great critical acclaim and
What is a protest? And what does it mean to picket, to resist, to respond, and to give voice to one’s social and political concerns? In the wake of growing political uncertainty and the news of the United States withdrawal from the global Paris climate accords, a protest will occur from dawn to dawn, starting on June 3 at 5:12 am to June 4
As part of its ‘FEATURED’ artist series for the Platforms Project in Athens, the Museum of Contemporary Cuts presents the international artist and activist, Willem Jan Smit. “The choice fell on Mr. Smit,” explained the curator Lanfranco Aceti and the artistic director Artemis Potamianou, “since his practice has been dealing for many years now with issues of rejection, remainder, and reminder. Through a contradictory embrace
Affirmative Re-Action, curated by Lanfranco Aceti and Candice Bancheri for the Museum of Contemporary Cuts, is the latest art project by American conceptual artist, Jay Critchley. Rooted in the long tradition of twentieth-century art, the artwork is a recycling and re-hanging of Provincetown’s historical street banners. These large plasticized banners announcing cultural events and/or displaying advertisements are a staple of contemporary society and towns the
