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You Have Requested : Tokyo.Revengers.EP20.MP4.D... [EXCLUSIVE]

The conference combines academic lectures with contributions from international collectors and donors who will discuss their various institutional and funding models. In addition to a review of the historical development of private collecting, the conference will present recent research results on the current significance of private art funding. For example, what influence do transnational collector networks have on art market developments, artist biographies and the programmes of public institutions? Where do private institutions complement public offerings, expand the cultural infrastructure and enable social participation? What opportunities and responsibilities arise from these considerations for the future? The conference will examine these and other questions from different perspectives and explore possibilities for creative cooperation and future-oriented synergies.

You have requested : Tokyo.Revengers.EP20.MP4.D...

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WORLDBUILDING will bring together pioneers of artistic processes such as JODI, Peggy Ahwesh, Cory Arcangel, and Sturtevant, who have modified existing video and computer games for their own works since the 1990s, and more specifically interactive works by pioneers Suzanne Treister and Rebecca Allen, who has a special bond with the city of Düsseldorf due to her collaboration with the band Kraftwerk. Large-scale, game-based installations will immerse the visitors in the work of younger generation artists such as Danielle Brathwaite-Shirley, Keiken, LuYang, Lawrence Lek, Gabriel Massan, and the Institute of Queer Ecology, who critically reflect on socio-identitarian issues with utopian visions and future worlds, while others point to a direct interaction where the boundaries between artwork and social dimension of video games or the metaverse merge, as in the work of Lual Mayen, Cao Fei, Frances Stark, Angela Washko, and LaTurbo Avedon, who is both an avatar and an anonymous artist. Aesthetic components that come directly from the world of game programming, including 3-D and VR, will find a special place in the time-based media art works of Ed Atkins, Meriem Bennani, Ed Fornieles, Rindon Johnson, and Jakob Kudsk Steensen, while video works with a distinctly more narrative emphasis by Harun Farocki, Larry Achiampong & David Blandy, and Sondra Perry will offer insight into other aspects of the games industry.

The selected works not only look back thematically at past, political, and historical locations but also socially relevant events in the present age, which is characterized by political instability and violent conflicts. They also document current forms of territorial mechanisms of power and individual political resistance. Individuals and groups who are confronted with exclusion and separation take center stage in these works and are empowered through their diversity and differences. The works also present alternatives and unconventional havens for grappling with the political and social uncertainties of our time.

ANNA ZETT is a Berlin-based artist, writer, maker of films and radio plays. Their films have been screened at Serpentine Cinema, London; Whitney Museum, New York; Contemporary Art Center, Vilnius; Sonic Acts Festival, Amsterdam;; Human Resources, Los Angeles; SALT, Istanbul among others.

JSC ON VIEW is the title of a new series of exhibitions focusing explicitly on the inventory of works in the JULIA STOSCHEK COLLECTION. The series is being introduced by a tribute to three female artists who have recently passed away: Lutz Bacher, Barbara Hammer, and Carolee Schneemann.

In the contemporary photographs and video pieces by Lutz Bacher, Jen DeNike, Trisha Donnelly, Marie-Jo Lafontaine and Klara Lidén one can discern a change in the quality of contents perceived and how these are formulated artistically. These works have emancipated themselves from direct self-observation. From a more distanced viewpoint, femininity and masculinity are renegotiated in the media lifeworld, in filmic archetypes and in performance-based activities.

In the age of the digital revolution, she first of all noticeably acts at one remove from the original. She feels the idea of handmade repetition is outdated. The inclusion of images from the mass media and her own filmed material have given rise to an increasing number of time-based works since 2000. With the aesthetic and formal possibilities offered by the World Wide Web she analyzes the origins of knowledge, art and culture, and addresses the question how they can be produced and shared. Presently the work is considered crucial and dynamic towards our present cybernetics world with its digital implications and the question of what constitutes the original in a cyber-reality characterized by simulacra.

The show features 44 works by 35 artists in all, including many that have never been shown before, works acquired in the past few years and site-specific spatial interventions. Each work is presented in its own, carefully elaborated setting.

The JULIA STOSCHEK COLLECTION has invited 28 contemporary performance artists to contribute to the 10-month programme: dancers, choreographers, visual artists and musicians will be performing their pieces in solo or group shows. Some of the works have been developed especially for the programme.

Over 15 million users have signed up for this 3-D internet-based world since 2003 and each user has an avatar, a computer-animated digital alter ego that they can style and control, enabling them to visit existing environments in Second Life, talk with other users, earn virtual money and even start up a virtual business.

Since 2019, they have been the directors of the Ballet National de Marseille, where they have worked with various choreographers including Lucinda Childs, Cecilia Bengolea, and Oona Doherty. Their productions have been shown across Europe at the Théâtre de la Ville, Paris, the 15th International Festival of Contemporary Dance in Venice, and De Singel in Antwerp, among others. In August of 2023, (LA)HORDE will premiere a new choreography in Berlin as part of Tanz im August, which will travel to Kampnagel in Hamburg in the fall. They have also collaborated with musicians such as Rone and Sam Smith; brands such as Burberry and Isabel Marant; director Spike Jonze or the science fiction writer Alain Damasio.

Piña, Why is the Sky Blue? features footage shot in the Philippines and Ecuador, where Comilang and Speiser, respectively, have family histories. Its video component includes interviews with activists and healers from local organizations such as the Indigenous feminist collective Cyber Amazonas in Puyo, and Las Martinas de Piedras Negras in Quito, both in Ecuador; as well as with a shaman or Babaylan, in Palawan, Philippines. These are interspersed with footage of agricultural landscapes, abandoned buildings amid lush forests, and documentation of ritual activities carried out by the interviewees. Through an emphasis on matriarchal lineages and their modes of knowledge transmission, the artists consider how precolonial ways of being have survived into the present in spite of their ongoing violent oppression.

In addition to the installation, the exhibition features textile collages made of woven pineapple-cloth swatches sewn together by hand. One of the first commodities from the so-called New World, pineapple (piña) was introduced to the Philippines by Spanish colonialists, where it was grown for the European luxury market as well as used locally as food and fiber. On the individual squares, Comilang and Speiser have 3D-printed an amalgamation of traditional Ecuadorian and Filipino patterns along with new designs generated either by the artists or by a self-learning algorithm. Via the resulting amalgam of various patterns, techniques, and traditions, the material becomes a carrier of information, one that connects the physical and virtual worlds as well as the past and present.

Since 2017, they have collaborated with artists including Marina Abramović, Olafur Eliasson, Jeff Koons, Anish Kapoor, Nathalie Djurberg & Hans Berg, Christo & Jeanne-Claude and Antony Gormley, as well as other talented and award-winning artists. Available through their website and app, the works can also be downloaded via the App Store or Google Play, as well as Steam and HTC Viveport.

Name and address of the institution submitting the loan request; name, function, telephone number, postal address and e-mail address of the contact person; exact name of the requested work; period, name of the exhibiting institution and location of the exhibition; detailed exhibition or project description in which the work is to be presented; a current facility report of the institution.

Please note that works that have a reference to Electronic Arts Intermix in the Courtesy line may not be lend through the JULIA STOSCHEK COLLECTION. Please contact Electronic Arts Intermix, New York directly.

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