Japan - Takahiro Iwasaki - Turned Upside Down It's a Forest - Venice Biennale 2017

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ArtLike

Japanese Pavilion at the 2017 Venice Art Biennale

Viva Arte Viva Turned Upside Down It's a Forest Artist: Takahiro Iwasaki Curator: Meruro Washida Commissioner: The Japan Foundation From issues of nuclear energy and the development of resources, to chemical plants that despite supporting the high growth of the postwar economy had been a serious cause for pollution, Iwasaki’s works shed light on the various challenges and situations confronted by Japan’s rural regions, and through them present an image of Japan from a different and distinguished perspective....his work is made expertly and delicately with thread and wood. Filmed and Edited By: Mickey Mayer Extra photos from Instagram uploaders (onscreen credit given to uploaders) #venicebiennale​ #takahiroiwasaki​ #turnedupsidedownitsaforest​

Joep van Lieshout: SlaveCity at Zuecca Project Space, Venice (Italy)

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Vernissage TV

On the occasion of the Venice Architecture Biennial 2016, Zuecca Project Space presents Joep van Lieshout’s SlaveCity. Curated by Natalie Kovacs, the exhibition features models and sculptures of SlaveCity. In this video we have a look the show, and the director of Zuecca Project Space, Alessandro Possati, talks about the exhibition as well as the Zuecca Project Space.

“Conceived and built for a brave new world, SlaveCity is a functional city state populated by workers whose every function is calculated to maximize profits and minimize waste. Inspired by our increasingly technocratic society designed by bureaucrats with malevolent accounting software, van Lieshout has proffered this sardonic ultimate solution for neoliberal states and corporations looking to colonize our eco-future.” Natalie Kovacs, Curator Joep van Lieshout: SlaveCity curated by Natalie Kovacs at Zuecca Project Space, Venice (Italy). Interview with Alessandro Possati (Director, Zuecca Project Space). Venice (Italy), June 29, 2016. More videos on contemporary art, design, architecture

Tom Sachs "How to Succeed as an Artist in Spite of Your Own Creativity"

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The following summary is provided to TED by TEDxPortland

Tom delivers an honest, vulnerable Talk on how to succeed as an artist in spite of your own creativity. He explains how to define your own internal standards of excellence by sharing his concept of sympathetic magic - how to make things real, like a Chanel Guillotine. By being honest and transparent with your methods and intentions, success will follow. He shares three core maxims that define his life: authenticity, intuition and transparency. With special thanks to core the TEDxPortland organizing team, 70+ volunteers and cherished partners - without you this experience would not be possible. Our event history can be found TEDxPortland.com In the spirit of ideas worth spreading, TEDx is a program of local, self-organized events that bring people together to share a TED-like experience. At a TEDx event, TEDTalks video and live speakers combine to spark deep discussion and connection in a small group. These local, self-organized events are branded TEDx, where x = independently organized TED event. The TED Conference provides general guidance for the TEDx program, but individual TEDx events are self-organized.

This talk was presented to a local audience at TEDxPortland, an independent event.

Bombing/Rain of Poems- Warsaw - casagrande

 

casagrande video here

Bombing of Poems is an art project in which cities that have experienced aerial bombing in the past are now bombed with poems. Bombing of Poems over Warsaw consisted of dropping one hundred thousand poems printed in bookmarks from a helicopter over a symbolic location in the city. The poems were printed in two languages and they are by Chilean and Polish contemporary poets more info www.loscasagrande.org

MIL M2

MIL M2 website here and video here

2020 has changed our ways of being together and of being part of a community. It has forced the performing arts to reinvent its relationship with its audiences, adapting them to protective restrictions. As part of this reinvention, the 25th version of Homo Novus, one of the main theater festivals in the Baltic region, conceived its program using the city as a stage.

WHO HAS THE POWER TO CHANGE THINGS? The Question Project moves through Riga, a city in the middle of elections, where citizens’ voting participation increases, while orbiting between frustrations and organizations.

HOW DO WE LEARN TO LIVE TOGETHER? Because of its mobility, the project develops in neighborhoods which seem contradicting, confusing and beautiful; The image of a city with a challenging past that manifests in different scales of public space. With a population divided between Latvians and Russians, the tensions between the Eastern and Western Blocs still affect the lives of their inhabitants.

WHY DO YOU ALWAYS START SINGING AT MIDNIGHT? By working alongside a population that perceives itself as calm and timid, the project was developed in a manner that emphasized empathy. To gather discarded materials instead of buying them, to ask for favors and help, became a practical exercise which explored sustainable ways of consuming and working as a community.

Working together with local collaborators was a crucial aspect for the project. They allowed us to open up dialogues, identifying relevant points of view, and to accelerate connection in order to propose a series of interventions throughout the city, or directly on their bodies, and in spaces of commercial exchange.

The project generated interventions in the Central Market (the largest in Europe), the Civic Center, the Āgenskalns Market (located at an old neighborhood in the process of gentrification), and Bolderaja neighborhood (one of the last districts to be included as part of Riga, and one which possesses a majority of Russian speaking inhabitants). The project surfaced in these neighborhoods and produced different visual and poetic messages, dealing with language and aesthetic challenges, in specific political and affective circumstances.

Dan Perjovschi, WHAT HAPPENED TO US?, at Museum of Modern Art

 

Dan Perjovschi, WHAT HAPPENED TO US?, at MoMA video here and here

In his first solo museum show in the United States, contemporary artist Dan Perjovschi creates site-specific wall drawings at The Museum of Modern Art, New York. Perjovschi, who lives and works in Bucharest, Romania, makes witty and incisive social and political images in response to current events. His work has been featured in Biennials from Venice to Istanbul to Moscow. Projects 85: Dan Perjovschi, WHAT HAPPENED TO US?, is on view at The Museum of Modern Art from May 2 through August 27, 2007.

Glenn Ligon National Gallery of Art

 

Glenn Ligon speaks with the National Gallery of Art about his work here

On March 15, 2013, Glenn Ligon discussed the layers of history, meaning, and physical material of three of his works in the permanent collection of the National Gallery of Art. The painting Untitled (I Am a Man), acquired in 2012 through the Patrons' Permanent Fund and as a gift of the artist, and a pair of prints given by the artist entitled Condition Report (2000) served as the backdrop for this interview. The painted neon sculpture Double America (2012), gift of Agnes Gund, is also featured. The interview followed Ligon’s presentation of the 20th annual Elson Lecture, A Conversation with Glenn Ligon.

Santiago Sierra "Destroyed Word" and "NO"

Read about Sierra's Destroyed Word on Bruce E. Phillips website here

Video here

"No Global Tour videos here and here

Te Tuhi is proud to present Destroyed Word, by internationally renowned Spanish artist Santiago Sierra. Throughout his practice, Sierra has investigated systems of social, political and economic power that assert their dominance through exploitation and marginalisation. He is most famously known for his works of the late 1990s where he paid underprivileged people to undertake mundane or humiliating tasks. Sierra based these works on the logic of business practices that employ the poor for menial labour with little remuneration. In doing so, he re-enacted the logic of such exploitative economies within an art gallery context - a powerful but intentionally problematic artistic gesture that resisted the simplistic morals of activism and implicates the subject, audience and the artist himself.

Sierra's current body of work continues this line of enquiry but through the creation of  monumental words. Works such as Submission (2006-7), NO Global Tour (2009-12) and Burned Word (2012) feature singular giant words constructed or positioned in specific locations that resonate with the harsh economic realities of capitalism. Destroyed Word is the most recent and ambitious work from this series. The work consists of a 10 channel video installation that features the spectacular destruction of the word KAPITALISM. Te Tuhi was one of 9 commissioning partners around the world that contributed to Destroyed Word by erecting and destroying a giant three metre high letter. Each letter was constructed out of a primary product or material significant to the economy of each location. The letters were destroyed in Australia, Austria, Germany, France, Iceland, India, Papua New Guinea, Holland, New Zealand and Sweden. Each letter stands in reference to specific local contexts of economic and political power relations. As a whole, Sierra's outsourced KAPITALISM draws on the far reaching implications of the global financial crisis. Te Tuhi is the second in the world and the only New Zealand venue for Destroyed Word on its international tour.

Produced by:  Baltic Arts Center, Visby, Sweden; CAC, Brétigny, France; Greenaway Art Gallery, Adelaide, Australia ; INCUBATE Festival, Tilburg, Netherlands; KOW, Berlin, Germany; Kunstverein Medienturm, Graz, Austria; Melbourne Arts Festival, Australia; Te Tuhi, Auckland, New Zealand; Reykjavik Art Museum, Iceland. Courtesy of Greenaway Art Gallery, Adelaide. Supported by NGV. Production Coordinators: Bruce E. Phillips & James McCarthy, Te Tuhi Centre for the Arts; Paul Greenaway, Greenaway Art Gallery & GAGProjects; Alexander Koch, KOW Berlin.

Te Tuhi would like to acknowledge the technical expertise of Regan Gentry, camera work of Ian Powell, audio editing by Guy Nicoll, and all of the shooters who shall remain anonymous.

Paul Ramirez Jonas' "Public Trust"

 

Paul Ramirez Jonas' "Public Trust" in Boston video here

Arts reporter Joyce Kulhawik visits Dudley Square in Boston, so see promises being made in public at "Public Trust." (http://wbur.fm/2cYjjFX​) Walk up, make a promise, and it will be displayed on a 16 foot billboard created by artist Paul Ramirez Jonas. Reporter - Joyce Kulhawik Video - Robin Lubbock Artist video - courtesy of Now + There

Robert Rauschenberg Discusses Erased De Kooning Drawing

 

San Francisco Museum of Modern Art video in which Robert Rauschenberg describes the story and process behind "Erased de Kooning" (1953), a piece based on a work originally created by artist Willem de Kooning. Video here

On Kawara: Date Paintings and Jenny Holzer's Truisms

 

Guggenheim Museum video about On Kawara's Date Paintings here

Guggenheim curator Jeffrey Weiss and curator Kasper König discuss On Kawara’s Today (1966–2013), an extended series of paintings of dates produced according to a strict set of rules.

SFMOMA website features video short, "Artist Jenny Holzer discusses the project she designed for the Spectacolor light board in Times Square, created in 1982 as part of her ongoing |Truisms| series here

Lawrence Weiner

 

Art Should Fuck Up Your Life: The Zen of Lawrence Weiner video here

At 19, Lawrence Weiner created Cratering Piece by detonating four explosions in a field in California, which set him on an international art career. He is known for his contribution to conceptual art through text-based sculpture, in which the statement describing a work is indistinguishable from the work itself. A week before being honored at New York's The Kitchen Gala, Lawrence sat down with Creators to discuss how Cratering Piece launched him as an artist, how his perspective on the work has changed, and the role he envisions for art in our culture.

JACK PIERSON | A Town Not This One | Galerie Thaddaeus Ropac | Salzburg | 2014

 

View Jack Pierson discussing his work and A Town Not This One here

From 30 August 2014 Galerie Thaddaeus Ropac Salzburg presents a solo exhibition entitled "A Town Not This One" by Jack Pierson – Pierson's ninth solo show in the gallery since 2000. In A Town Not This One, the works shown are mainly Word Pieces – large-scale wall sculptures comprising letters of different sizes and materials which, with their clear outlines, are diametrically opposed to the hazy, soft-focus effect of Pierson's photographs. The sculptures are composed of found objects which the artist has collected over many years. They might be termed the American variant of concrete poetry, where language itself is represented in the shape of the work. Whereas during the 1990s Pierson worked primarily with slogans that were often a somewhat melancholy reminder of a long outdated, glamorous Hollywood age, today he is more interested in philosophical topics. The word compositions, skilful combinations of word and material, use classical references, literature and quotations from the Bible, evoking subtle associations for the viewer. His Word Pieces are concise, sometimes laconic, but the echo of his word creations sends our thoughts roaming far and wide. Thus the poetry in Pierson's work assumes a spiritual dimension. He attempts to explore the reverse side of the concept "American Dream", to express what he calls "the inherent tragedy of the pursuit of glamour". In these works, Pierson often plays with subconscious, collective knowledge of proverbs, fairy-tales, song texts and literary clichés. For more information about the exhibition please visit http://ropac.net/exhibition/a-town-no...

Brian Dettmer

 

Brian Dettmer Ted Talk here

What do you do with an outdated encyclopedia in the information age? With X-Acto knives and an eye for a good remix, artist Brian Dettmer makes beautiful, unexpected sculptures that breathe new life into old books. TEDTalks is a daily video podcast of the best talks and performances from the TED Conference, where the world's leading thinkers and doers give the talk of their lives in 18 minutes (or less). Look for talks on Technology, Entertainment and Design -- plus science, business, global issues, the arts and much more. Find closed captions and translated subtitles in many languages at http://www.ted.com/talks/brian_dettme...​

Ann Hamilton's Human Carriage and Other Works

 

View and read about these Ann Hamilton projects and this conversation:

Everywhere and Nowhere Robert Ayers in Conversation with Ann Hamilton here

A two-minute informal video on human carriage piece for the Guggenheim's Third Mind exhibition here

Ann Hamilton, book blocks, 2003-present here

Ann Hamilton, near away, 2013 here 

Ann Hamilton, book weights (human carriage), 2010 here

Ann Hamilton, carriage, 2009 here

The Misfits - 30 Years of Fluxus (1993)

 

The Misfits - 30 Years of Fluxus (1993) video here

The film portrays a group of artists who since the early 1960s have completely disrupted our ideas of what art can be. In large part filmed in Venice in 1990, when many of the original Fluxus artists met to hold a large exhibition almost 30 years after the first highly untraditional Fluxus' performances. Features Eric Andersen, Philip Corner, Dick Higgins, Yoko Ono, Nam June Paik, Ben Vautier, and many others. 12:28​ Dick Higgins 13:19​ Eric Anderson 13:26​ Emmett Williams 13:46​ Ben Patterson 14:03​ Philip Corner 14:27​ Ben Vautier 14:42​ Henry Flynt 14:54​ Ken Friedman 15:03​ Henry Flynt 15:14​ Jackson Mac Low 15:28​ yoko ono 15:59​ Yasunao Tone, smooth event, 1983 16:40​ Robert Watts, "F/H Trace" or "solo for wind instrument", 1993 17:05​ Ben Vautier talks about George Maciunas 18:31​ George Maciunas 19:01​ Dick Higgins on Maciunas 19:12​ other artists on Maciunas 21:45​ George Maciunas interviewed by Larry Miller, 1978 26:45​ "In memoriam George Maciunas" by Nam June Paik and Joseph Beuys, Düsseldorf, 1978 27:21​ Nam June Paik 28:03​ John Cage performing 4'33" NY, 1970 30:16​ Yoko Ono 33:39​ Arthur Kopcke in "music while you work" from "En cigarets tid" by Anders Hauch 34:03​ Ben Vautier on Fluxus 39:50​ "566 to Henry Flynt" by La Monte Young 40:04​ La Mont Young 40:40​ Henry Flynt 48:09​ Lick by Ben Patterson, wiesbaden, 1982 1:06:26​ Philip Corner, piano activities, 1962

Ann Hamilton and Kathryn Clark Palimpsest

 

Ann Hamilton and Kathryn Clark palimpsest exhibition images and texts here and here

Ann Hamilton and Kathryn Clark’s palimpsest, an installation in two parts, was a thoughtful meditation on the seemingly random way in which memories are processed and eventually lost. palimpsest was a special part of the larger exhibition “Strange Attractors: Signs of Chaos." Part of palimpsest took place in a room connected to the main "Strange Attractors: Signs of Chaos” exhibition space, while another part was installed at the Window on Broadway. Inspired by the story of an elderly man who, to combat his failing memory, put note card reminders on the walls of his home, the artist pinned hundreds of small sheets of yellowed paper to the walls of a room within the exhibition. These unidentified fragments of memories, thoughts and bits of conversation fluttered in the breeze generated by and antique fan. A large glass vitrine, containing two heads of cabbage being systematically devoured by countless snails, made poignant reference to the physical deterioration of the brain’s capacity. 

Barbara Kruger

 Barbara Kruger "Who Owns What" at Tate video here

How can art reflect the power of branding and advertising in the everyday? Barbara Kruger’s Who Own’s What?, 2012, blurs the boundaries between art and commerce. Watch Jessye from Tate Collective London presents her perspective on this bold artwork. Tate Collective London run free event for young people aged 15–25 to experiment, create and innovate through art and ideas at Tate Modern and Tate Britain, and is a part of Circuit, led by Tate and funded by the Paul Hamlyn Foundation. 'Who Owns What?' is currently on display at Tate Modern: https://goo.gl/2qn5sC​

Mark Bradford Art21

 

Mark Bradford Art 21 video here

Mark Bradford transforms materials scavenged from the street into wall-size collages and installations that respond to the impromptu networks—underground economies, migrant communities, or popular appropriation of abandoned public space—that emerge within a city. Drawing from the diverse cultural and geographic makeup of his southern Californian community, Bradford’s work is as informed by his personal background as a third-generation merchant there as it is by the tradition of abstract painting developed worldwide in the twentieth century. Bradford’s videos and map-like, multilayered paper collages refer not only to the organization of streets and buildings in downtown Los Angeles, but also to images of crowds, ranging from civil rights demonstrations of the 1960s to contemporary protests concerning immigration issues.

Anni Albers on Materials

Writings by Anni Albers from the Joseph and Anni Albers Foundation:

Material As Metaphor here

Work With Material here

Tomás Saraceno Museo Aero Solar

 

Tomás Saraceno Museo Aero Solar video here

Artist Tomás Saraceno's works often defy optical logic: they seem to hover or hang impossibly in the air, sometimes creating a space for people to walk in, other times floating above them in a gallery or museum. Saraceno is a collaborator, working with scientists, the local community and other participants to enact his mindbending installations.

This summer, one of his works hovered over a Mississauga site, daily, for 10 days during the The Work of Wind: Air, Land, Sea (written about by our senior writer Leah Collins a few days ago). Called Museo Aero Solar, the work was made from plastic bags, collected at various sites in the city and laboriously taped together by community members with instructions provided by the artist, before the show opened. The piece, as curator Christine Shaw points out in this video by filmmakers Istoica, provokes "thinking about plastic pollution, something that we absolutely have to address worldwide." It might make you think of magic, too — or the American Beauty-esque mystery of a windswept plastic bag. Museo Aero Solar has already drifted away from Mississauga, but if you happen to be in Paris, France before January 6, 2019, you can catch Carte Blanche to Tomás Saraceno while it's taking over the Palais de Tokyo with the biggest spiderweb you've likely ever seen.

Chun Kwang Young

 

Chun Kwang Young video here

In this video, Chun Kwang Young talks about his inspirations and the use of hanji, a traditional Korean mulberry paper, in his works. Chun’s work Aggregation10- SE032Red is part of the Korean collection at the Victoria and Albert Museum,

Doris Salecedo

 

Doris Salcedo, A Flor de Piel

Link to article here and video here

To create A Flor de Piel, Doris Salcedo sutured together hundreds of rose petals into a delicate shroud that undulates softly on the floor. Suspended in a state of transformation, the petals linger between life and death and are so vulnerable that they tear if touched. For Salcedo, fragility becomes the essence of the work as she sought to create an “image that is immaterial.” The title is a Spanish idiomatic expression used to describe an overt display of emotions. While that meaning is lost when literally translated, the phrase a flor de piel links flowers and skin, suggesting a sensation so overwhelming that it is expressed physically through a coloring of the body’s surface.

Salcedo’s installations and sculptures often employ minimal forms that subtly evoke the fragility of human life. Viewed in light of the brutal civil war in Salcedo’s native Colombia, this aesthetic sensibility takes on specific political resonances. Salcedo conceived the work A Flor de Piel while she was researching the events surrounding a female nurse who was tortured to death in Colombia and whose dismembered body has never been found. The artist has described the work as a floral offering to this victim of torture, as well as all of those who have been affected by violence. “Suturing the petals is very important because it was a way to bring together all these parts,” Salcedo has said. “Violence destroys everything. Torture destroys bodies. The idea is to bring them together and unite them and recover the force that they had.”¹

Lauren Hinkson

1. Doris Salcedo and Tim Marlow, “Doris Salcedo on A Flor De Piel and Plegaria Muda,” White Cube, May 25, 2012, accessed June 6, 2013.

Tara Donovan

 

Tara Donovan video here and reading here

Everyday materials like drinking straws, tooth pics and needle pins are elements used by American artist Tara Donovan, when she creates her amazing sculptural works: "Inspiration is a joke, real artists sit down and work" Donovan says. Tara Donovan (b. 1969) is fascinated by everyday materials, which she turns into sculptures. She regards herself as a kind of scientist, investigating the potential of different materials, transforming and shaping them, making them transcend themselves and turning them into holistic Gestalten of their own. The element of light plays an important role in Donovan's artworks, as her materials take light in and reflect it different ways. “My sculptures become activated by the movement of the observer” Donovan says. Her works vary in size, depending on the surrounding architecture and the size of the room, they are shown in. She goes on to explain how the magic happens within the sculptures, underlining that her sculptures are artworks rather than critical comments. “I feel like my work is mimicking the ways of nature, not necessarily mimicking nature per ce.” Donovan states. In the video we hear the voice of Tara Donovan, who doesn't like to be filmed. Her works are exhibited for the first time in Europe in February 2013 at the Louisiana Museum of Modern Art. Tara Donovan was interviewed by Marc-Christoph Wagner at the Louisiana Museum of Modern Art. Camera: Mathias Nyholm Produced by: Mathias Nyholm and Marc-Christoph Wagner Music by: Trentemøller. Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2013

Robert Rauschenberg Mud Muse

 

View Mud Muse video here and part 2 here

The installation of Robert Rauschenberg's "Mud Muse" begins at The Museum of Modern Art with engineer/technician Gunnar Marklund from Moderna Museet at the helm. Rauschenberg's "Mud Muse" (1968-1971) consists of a large metal tank that contains nearly 1000 gallons of bentonite clay mixed with water. Sound-activated pneumatic tubes installed in its base pump air through the mud in response to a tape recording of the sounds of the burbling clay itself.

In 1966 Robert Rauschenberg and the engineer Billy Klüver staged “9 Evenings: Theater and Engineering”, a work that brought the worlds of art and technology together. After the success of “9 Evenings”, Rauschenberg, Klüver, the artist Robert Whitman and the engineer Fred Waldhauer set up “Experiments in Art and Technology” (E.A.T.). E.A.T. was a non-profit foundation that promoted interaction between engineers, artists and industry. Rauschenberg continued to experiment with technology. With the work “Mud Muse” he intended to imitate the blowholes that appear spontaneously along the shore. “Mud Muse” consists of a large metal tank that contains around 1000 gallons of bentonite clay mixed with water, which bubbles and spurts as air is released in response to the sound levels created by the mud bubbling. The work is part of Tate Modern's Robert Rauschenberg retrospective (until April 2, 2017.)

Robert Rauschenberg: Mud Muse (1968-71). Tate Modern, London (UK),.

Olafur Eliasson Ice Watch on Designboom

 

During COP21 (21st conference of the parties), artist olafur eliasson and geologist minik rosing transported twelve immense blocks of ice, harvested as free-floating icebergs from a fjord in greenland, to paris’ place du panthéon. named ‘ice watch paris’ the project is a continuation of the same public artwork installed in copenhagen back in 2014. both were arranged in clock formation, where they melted away.

Read more and watch video here

El Anatsui art21

 

Watch El Anatsui "Change" video on art21 17 min. here

In addition, watch watch El Anatsui "Studio Process" on art21 here

El Anatsui was born in Anyanko, Ghana in 1944. Many of Anatsui’s sculptures are mutable in form, conceived to be so free and flexible that they can be shaped in any way and altered in appearance for each installation. Working with wood, clay, metal, and—most recently—the discarded metal caps of liquor bottles, Anatsui breaks with sculpture’s traditional adherence to forms of fixed shape while visually referencing the history of abstraction in African and European art.

The colorful and densely patterned fields of the works assembled from discarded liquor-bottle caps also trace a broader story of colonial and postcolonial economic and cultural exchange in Africa, told in the history of cast-off materials. The sculptures in wood and ceramics introduce ideas about the function of objects (their destruction, transformation, and regeneration) in everyday life, and the role of language in deciphering visual symbols.

El Anatsui received a BA from the College of Art, University of Science and Technology, Kumasi, Ghana (1969) and since 1975 has taught at the University of Nigeria, Nsukka. His works are in the public collections of the Metropolitan Museum of Art, New York; Museum of Modern Art, New York; Los Angeles County Museum of Art; Indianapolis Museum of Art; British Museum, London; and Centre Pompidou, Paris, among many others. Major exhibitions of his work have appeared at the Sterling and Francine Clark Art Institute, Williamstown (2011); Royal Ontario Museum, Toronto (2010); National Museum of Ethnology, Osaka (2010); Rice University Art Gallery, Houston (2010); Venice Biennale (2007); and the Biennale of African Art, Senegal (2006). El Anatsui lives and works in Nsukka, Nigeria.