Number of shares:4
CKA Index:6.637
Price per share: 4.03 CKAK's
Price of certificate (CKA Koins): 16,14 CKAK's
Price of certificate (Ethereum): 0,001614 Eth
Price of certificate (Euros): 3,75 €
Certificate available to acquire

Text on certificate:
Beijing, Buenos Aires, Bombay (today’s Mumbai), Casablanca, Khartoum, Kyoto, Lahore, Łódź, Nsukka, São Paulo, Tokyo: in the twentieth century, artists all over the world banded together in collectives. The tendency of like-minded individuals to work in groups and support each other is universal; yet the concerns pursued by these groups, their aesthetic methods, political objectives, and utopian visions, express themselves in widely diverse ways depending on the time and place. The exhibition “Group Dynamics—Collectives of the Modernist Period” examines selected examples to shed a light on the emergence and evolution of collectives and their engagement with the societies and cultures around them. The period under consideration in the presentation—from around 1910 to the 1980s—spans international modernization movements and anticolonial struggles for independence. Groups are propelled by steadfast loyalties and irreconcilable ruptures. Their dynamic is unpredictable: collaboration, discussion, conviviality, rivalry, friendship, open-mindedness, inclusion, dissociation, weariness, controversy, love, polemics, and enthusiasm are characteristic features of the lives of groups. They provide us with one possible model for an understanding of art that is not grounded in the individual: art does not come into being in a vacuum, it grows out of exchanges of ideas and social interactions. At the dawn of the twentieth century, many people enjoyed unprecedented mobility: artists struck up relationships with colleagues beyond the bounds of their cities and countries, groups sharpened their programs in solidarity with international developments—and, often, in opposition to traditional art academies and adversaries in their immediate vicinity. The founding of new art schools and collectives, the publication of programmatic writings or magazines were concomitants, but also engines of this phenomenon. The modern era brought sustained changes of social structure: the world took on a more cosmopolitical cast, while class distinctions became entrenched. The modernist period marks a late culmination of European colonial rule, but also its demise in the form of struggles for liberation in many colonized parts of the world. In art and culture, the concept of modernism encompasses antithetical yet reinforcing tendencies such as the belief in progress and esotericism, a fetishistic embrace of technology and nature cults. Many artists and groups framed their own modernity as a radical program, a newfound resolve also reflected in numerous manifestos. The manifold resonances between the artists and works gathered in the exhibition yield a panoramic portrayal of dynamic synergy and antagonism, a complex international world in which art serves as a compass and a cause that sparks lively and boisterous exchanges of ideas.Collectives represented in the exhibition: Action, Tokyo; Artistas del Pueblo, Buenos Aires; Bombay Progressive Artists‘ Group, Bombay (today‘s Mumbai); Casablanca School, Casablanca; Crystalists, Khartoum; Grupa “a.r.”, Łódź; Grupo dos Cinco, São Paulo; Khartoum School, Khartoum; Kokuga Sosaku Kyokai, Kyoto; Lahore Art Circle, Lahore; Martín Fierro, Buenos Aires; Mavo, Tokyo; Nsukka School, Nsukka; Wuming Huahui / No Name Group, Beijing.Curatored by Karin Althaus, Susanne Böller, Sarah Louisa Henn, Dierk Höhne, Eva Huttenlauch, Matthias Mühling, Tanja Schomaker, Stephanie Weber.At Lenbachhaus, Munichuntil June 12, 2022Galleria Castiglioni is pleased to present “La legge del Menga”, the first solo exhibition in Italy by American artist Cassidy Toner (Baltimore,1992).For the exhibition, Cassidy presents for the first time works designed specifically for the gallery spaces.The exhibition is a succession of more or less obvious quotations that leave the viewer’s gaze free. As within a scenic board game, attention travels in a bounce of confounding cross-references that allow us to move among strange, playful, familiar objects, recognizable only in part and with anthropomorphic features that make us lose ourselves in the possible stories that surround them.The work series No Dice#1, flirting with abstraction and minimalism, reproduces 4 colored resin installations in which two dice are fused together and made to appear two-dimensional. The resins and colors are the same as those used to produce the actual dice. The title No Dice, comes from an English expression meaning “no chance,” without hope and referring to the time when gambling was prohibited in the U.S.; during police raids, players in order not to be able to be charged, swallowed or made the dice disappear so as to eliminate any evidence. The dice also unveil all their faces at the same time, thus revealing all possibilities at once.On the main wall, a framed print recalls a famous American board game “The Checkered Game of Life”(1860) by Milton Bradly’s. The game encapsulates the Puritan spirit of the time and seeks to give rules to form “the good citizen” from youth to old age. In this case, Cassidy Toner modifies the boxes, inserting pictures that depict the artist at various times in his life, from birth to his thirtieth birthday; turning it into a game that encapsulates the stages of her existence.As characters within this board game expanded into the gallery space, two small statues of four-leaf clovers – smilingly crossing the viewers’ gazes – tacitly endure a reality that conceals physical pitfalls and suffering.“We must cultivate our garden” (After Candid) sits and observes the knife that has been stabbed into his back. “It’s cool, I’m good” (After Stanya Kahn) depicts a clover walking forward even though his back leg is wrapped in a cartoonish cast (signed by the artist).In a play of references to pop culture, the personal sphere, and art history; everything seems to want to draw attention to a superficial, textural tone of the works. The colors, materials, and shapes are sensual and familiar, allowing one to be able to approach the works with the same ease and attraction that a game possesses. Each work insists on aspects of the human soul and psyche that highlight its contradictions, frailties, and attempts to escape from reality. A short circuit, true or false, where the superficial is dense and the profound becomes amusing, where what is studied is mixed with what is superstition or invention, where there are invented rules that become true laws of the world….like La Legge del Menga.At Castiglioni, Milanuntil June 11, 2022The Giacometti Institute welcomes the artist Douglas Gordon, a major figure in the contemporary art scene who has conceived an entirely original exhibition, the result of his vis-à-vis with Alberto Giacometti.Born in Glasgow, Scotland, in 1966, Douglas Gordon lives and works in Berlin, Glasgow and Paris.As a multidisciplinary artist, his practice includes making video and film, drawing, sculpture and installation. His work on the distortion of time, the tension between opposite forces and dualities like life and death, good and evil, concur with Giacometti’s questioning on the human condition.For this exhibition, Gordon Douglas made a series of original pieces in connection with littleknown or rarely exhibited sculptures and drawings by Alberto Giacometti. These new works mark a new phase in Gordon’s work, and shed another light on Giacometti’s oeuvre.“When I think of sculpture and of Giacometti, he is unique. Most sculptures I see today, or that I’ve seen, have a presence that is new in a world created by mythology, gods or a god, science or the man of science. And all refuse to be responsible for it, but claim its paternity.However, Giacometti’s things, and the word I want to use is ‘stuff’, are full, huddled together, stuffed, covered in the fingerprints of the person responsible for the thing that stands in front of us. In the penal justice system, one would say that this man wants to be caught (or found out).”— Douglas GordonAt Institut Giacometti, Parisuntil June 12, 2022“Picture the Others” is Angharad Williams’ first solo presentation in Wales and first institutional exhibition comprising new work which includes a series of large-scale paintings, glass sculptures and film composed within a site responsive installation. As both an artist and writer from Ynys Môn (Anglesey), Wales, Williams’ practice spans a decade, spent between the UK, the Netherlands and Germany.“Picture the Others” is an introspective search and subsequently a process of connecting to the outside. It is also a call for imagination when we choose to leave home, to hesitation when we turn back, and to the impulsive decision to go forth. The eyes are a mechanism of exterior projection – a projector itself perhaps – framing what we see and marking these objects of your vision with a light, with a glow, even.Speaking ahead of the exhibition artist Angharad Williams said: “Our ideas of the ‘Other’ are also informed predominantly by guess work and the hegemonic institutions of history. To picture the others therefore, is to feel and see something familiar. If we return home, we may feel we have become more familiar with the outside world.The world, however, has ceased to present itself in the old terms. Our experiences of it—our multiple encounters with it— have profoundly changed. We are witnessing the birth of a new form of these subject-object relationships, as well as the emergence of new laws of conceiving space.We see less and less of what we are given to see, and more and more of what we desperately want to see, even if what we desperately want to see does not correspond to any given reality. Instead we are presented with a cleverly orchestrated and excessively violent political fiction under the guise of all kinds of different but very real wars.”“Picture the Others” is an unsentimental study of being in the material form of this reality, explored in different yet consistent ways. Using quotidian examples, albeit at times confrontational or out of the ordinary, Williams invites the audience to a direct and immediate observation of oneself by oneself. Through painting, sculpture, installation and film, Williams materialises and warps the habits and preconditions we have all developed to move through the world. Chief among these habits, and central to Williams’ work, is the topic of security – a condition born of the confusion between freedom and its confines.The demand for an imaginary surplus necessary for everyday life has not only accelerated, it has become irrepressible. This imaginary surplus, or an image of others, which Williams asks us to both produce and face, is not simply a lens through which to understand the self, nor is it a means to become more real, more in line with being and its essence. It is experienced as the actual motor of reality, the very condition of its fullness and glow.The exhibition connects to a group project presented in MOSTYN’s first floor entitled The Wig which acts as an extension, both physically and conceptually, of Williams’ research interests and collaborative practice.Presented in MOSTYN’s Gallery 6 is The Wig; an ongoing, accumulative project between Gianmaria Andreetta, Jason Hirata, Laura Langer, Megan Plunkett, Richard Sides and Angharad Williams.At MOSTYN, Llandudnountil June 12, 2022

Capital Knowledge in Art (CapitalKA)

by DHAdmann