Here we are again, this time, rounding out our second year with 2,000 Articles and Profiles in our growing archive and nearly a million visits strong. A very exciting two years it has been, indeed. With our second year anniversary Prescription, we continue to move forward.
From its initial conception, ARTPIL strove to profile artists, museums and galleries, along with other entities in the art world, and put forth articles and interviews, reviews and exhibition guides, as well as general musings related to all that is modern and contemporary in the world of art. We have succeeded in building a network of individuals and organizations helping to deliver our mission. We have since covered some remarkable subjects.
In our first year we followed festivals and art fairs, from Frieze to Basel, and Biennales from Venice to Berlin; We have since revisited them and added to the itinerary Expo Chicago, Busan Biennale, Design Shanghai, and Bienal São Paulo. We had descended on Design in Milan, Les Rencontres in Arles, and The Armory in New York; we continue with DESIGNART in Tokyo, the Sydney Festival, along with The Other Art Fair. We followed everything from FIAC to Art Paris, ARCO to Volta, and mirrored the movable feasts of Documenta in Kassel and Manifestain Palermo. We had sprung for La Nuit Blanche, and now we run with MOMENTUM and RIBOCA.
We pushed forward the emerging, from Foam Talent to Circulation(s), from Art Next to Next Wave and Voies Off, along with Film festivals from Aesthetica to Locarno, DOCfield to Artecinema, as well as the premiers and the avant premières of Pure Hearts, and Wonderstruck. We added to this reviews of RaMell Ross’s Hale County This Morning, This Evening and brought new hope with Ryuichi Sakamoto’s sublime Coda.
Again we celebrated International Women’s Day, expressing support of #MeToo, and bringing on a new survey of The Female Gaze in cinema. We continue to elevate our own 30 Under 30 Women Photographers to new heights for its 10th Edition, today with a collective of 300 artists, looking further into the future.
We opened discussions, old and new, with Dialogues with Solitudes by Dave Heath and Imogen Stidworthy’s Dialogues with People. We peered through the lens of Gail Albert Halaban Out of My Window and into the intense Bright Black World of Todd Hido. We saw The City (And a Few Lonely People).
We revisited the award winners of Sony World Photography and National Geographic’s Travel Photographer of the Year, along with Wallpaper’s Design Awards, and we updated the roster for the Turner Prize. We will continue to share opportunities like the LensCulture Awards and the W. Eugene Smith Photography Grant, as well as the Luis Valtueña Humanitarian Photo Competition.
We were present at BAM’s Winter/Spring Season and we danced, side by side, with Emma Portner’s mesmerizing performance Femme Debout, fearless in the face of Francis Bacon and Alberto Giacometti at Fondation Beyeler. We had gone literary with Invisible Cities inspired by Italo Calvino, The Whiteness of the Whale, and Journeys with the Waste Land with T.S. Eliot. We add now to the library Poetic Techniques, with writers such as Borges, Wallace Stevens, Kafka, and Hart Crane.
We entered into fashion with Photo Vogue Festival, Tina Berning & Di Battista’s Confluence, Rei Kawakubo / Comme des Garçonsat The Met, scoped out Fashionclash after parties and strutted the catwalks of Tbilisi Fashion Week. We preview now the mysterious creations of Maurizio Amadei and bow to the Icons of Style. We crossed time zones into Futures Past & Present, Framing Time, Past Forward for Architecture & Design with Post-Soviet Visions and, relived the Future Now Symposium.
While in the West, the U.S. and Brazil suffered cutbacks in the arts and humanities, thwarting progress and rewriting history, we considered Art & Politics of the White House, dove into Video Art in Latin America, and examined the Soul of a Nation. While in Europe and elsewhere gave rise to the sentiment of wanting to isolate and disband and politicians were becoming forgetful we called upon the Anatomy of Political Melancholy.
While elected officials were debating weather or not to uphold promised reparations for historic atrocities, we recognized the Native American presence with Let Us Now Give Thanks, surveyed Haitian Art, supported the movement of #WhileBlack. We honored the birthday of Dr. Martin Luther King, Jr. and the Civil Rights Movement with legendary photographers such as Bruce Davidson and Gordon Parks, and remembered the passing of David Goldblatt and John Morris.
While Princes were being gifted gold-plated automatic weapons and nuclear secrets, and leaders were making real-estate deals, moving embassies for political positioning or building settlements on contested lands christening them after demagogues, we presented Matthias Bruggmann’s An Act of Unspeakable Violence and became witness to the Human Rights Watch Film Festivals at TIFF & Lincoln Center. We espoused The Defense of Our Freedoms.
With the rise of global issues of migration and race tensions, we traced Claude Iverné’s passage through Bilad es Sudan, Luca Sola’s Stimela Project, as well as place into the spotlight such artists as Ai Weiwei and John Akomfrah and their epic works of Human Flow and Signs of Empire. We showcased Richard Avedon and James Baldwin’s poignant collaboration, Nothing Personal, and with the help of Banu Cennetoğlu we gave audience to The List of fallen migrants.
Where previously we took a knee for the NGOs in A Moment of Silence, we then stood with the artists in celebration of the 70 years of Universal Declaration of Human Rights. Still today, while Brexit talks enter another chapter awaiting their newest champion, we featured Thomas Ralph’s Darkest Hour.
We covered 30 Years of World Press Photo, 70 Years of Magnum, 100 Years of Bauhaus, and 140 Years of Hochschule Luzern, spanning everything from Aspects of German Art to Camera Austria International, The Art Of The Novembergruppe to The American Document + American Document Part II. From Gesture To Form to the First Lingering Mist of Spring. We were Being Modern, Being Infrastructural. Being Human. Adding to this the other landmark exhibitions: Andreas Gursky’s Retrospective, The Color Work of Vivian Maier, Magnum’s Robert Capa In Color, Aperture Photographs, The Spreads of Robert Rauschenberg, The Young Picasso’s Blue & Rose Periods, Retrospektive of Saul Leiter, Sally Mann’s unforgettable A Thousand Crossings, Irving Penn at the Grand Palais, Lessons of Modernism with the great Le Corbusier. And with such poetic titles as Alec Soth’s I Know How Furiously Your Heart Is Beating taken from Wallace Stevens, how could we resist?
Many things. Many things… Though often feeling against the current, still we persist. We have you to thank, each and every one of you, for being here with us as we move forward. Welcome to your world.
Create. Engage. Inspire.