Previously at the ICA - Films

Still from: Michael Robinson, These Hammers Don’t Hurt Us, 2010, digital video. Courtesy the artist.

This Obscure Object of Desire or, “No ideas except in things” curated by Elena Filipovic

26 May 201227 May 2012

Michel Auder, Talking Head, 1981-2009, video, 2 min 27 sec
Danai Anesiadou, I Kiss Your Ectoplasm Like I Would a Shark V, video, 13 min
Michael Robinson, These Hammers Don’t Hurt Us, 2010, digital video, 12 min 50 sec
Anna Molska, Tanagram, 2006/2007, video, 5 min 10 sec
Erkka Nissinen, Night School, 2007, video, 12 min 49 sec
Willehad Eilers aka Wayne Horse, The White Suit, 2002, format, 3 min
Harald Thys and Jos de Gruyter, Die Fregatte (The Frigate), 2008, video, 19 min
Tamar Guimarães, Tropical blow up, 2009, video, 4 min 45 sec
Rosalind Nashashibi and Lucy Skaer, Flash in the Metropolitan, 2006, 16mm, 3 min

Approx. running time: 75 min
Followed by curator Q&A on Sunday 27.

———-

Biography:

Elena Filipovic is a writer, art historian, and curator at WIELS Contemporary Art Centre, Brussels. She co-curated the 5th Berlin Biennial (2008) with Adam Szymczyk, and co-edited The Biennial Reader: Anthology on Large-Scale Perennial Exhibitions of Contemporary Art (2010) with Marieke van Hal and Solveig Øvstebø. She has curated a number of historic retrospectives, including Marcel Duchamp: A Work that is not a Work of ‘Art’ (2008-09), Felix Gonzalez-Torres: Specific Objects without Specific Form (2010-11) and Alina Szapocznikow: Sculpture Undone, 1955-1972 (2011-12), co-curated with Joanna Mytkowska.

She has also organised numerous solo exhibitions with artists such as Klara Lidén, Lorna Macintyre, Melvin Moti, Tomo Savic-Gecan, and Tris Vonna-Michell, in addition to group shows including The Other Tradition (2010), Anachronism (2007), and Let Everything Be Temporary (2007). She is guest curator for the Prix Ricard, Paris (2012), and was guest curator of the Satellite Program at the Jeu de Paume, Paris in 2010. Since 2007, she has been a tutor of exhibition history and theory on De Appel’s postgraduate curatorial training programme, and an advisor at the Rijksakademie in Amsterdam. Her writings have appeared in numerous artists’ catalogues, as well as Afterall, frieze, Kaleidoscope, and Mousse.

www.biennialofmovingimages.org.uk

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