Rivane Neuenschwander, b 1967 (Brazil/UK) As part of an ongoing project, 89plus produces poetryon-demand and has specially invited everyone born 1989 or later to invade the tower with their newlywritten texts, readings and discussions. The tower uses this nebulous yet fantastic body of ideas, spanning from the year of rebellion 1968 to the next auspicious year, 1989, when the World Wide Web was established in full – and the Berlin Wall fell, the apartheid regime was abolished, and Tiananmen Square was bathed in blood – and onwards into our own era of complex networks of relations, information and commerce. Their structure embodies the ideas from the exhibition Poetry Must Be Made By All! Transform the World!, which was shown at Moderna Museet in 1969 and included elements of political and linguistic utopias. His ongoing theme is information, how it is shared, its visual presentation, what it feels like and its consequences in global culture.įor After Babel Simon Denny and the architect Alessandro Bava have created a Babylonian tower in the exhibition room. “An artist is also a business,” says Simon Denny, who seeks to emulate corporate jargon in his monumental installations and video works. Simon Denny, b 1982 (New Zealand/Germany) Adnan regards her images as receptacles for her own thoughts and those of the beholder. Her abstract paintings in bright, clear colours are apparently simple in their composition and radiate a form of timeless energy. She alternates between languages as easily as between the media of painting, poetry and philosophy, so that the languages enrich one another mutually.Īdnan paints from memory, landscapes she has lived in for many years, such as the Beirut of her childhood and the California of her adult years, and impressions from her travels to different continents. Poetry and the written word have been Adnan’s main media since the 1960s when she made her debut in English, which seemed to be the most appropriate language in the wake of the Vietnam War. Adéagbo then arranged the material into a unique and sprawling narrative that gives rise to new meanings. The artist bought books, magazines, album covers and clothes from flea markets in Stockholmn and sent pictures of some of them to Cotonou, where local craftsmen replicated them as wood reliefs and paintings. La naissance de Stockholm.! (2014) is one such comprehensive work. Since the mid-1990s, Adéagbo has exhibited all over the world, incorporating both the location of the venue and his homeland Benin in his work to achieve a meeting of cultures. Like a cultural anthropologist, Georges Adéagbo arranges his objects into assemblages and installations that often draw attention to complex relationships.
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