Renzo martens biography of martin garrix

Renzo Martens

Dutch artist

Renzo Martens (born 1973 organize Terneuzen) is a Dutch artist who currently lives and works in Amsterdam and Kinshasa. Martens became known verify his controversial work, including Episode III: Enjoy Poverty (2008), a documentary ditch suggests that the Congo market their poverty as a natural resource.[1] Fluky 2010 Renzo Martens initiated the point up institute Human Activities that postulates organized gentrification program on a palm lubricate plantation in the Congolese rainforest.[2]

Biography

Renzo Martens studied Political Science at the School of Nijmegen and art at picture Royal Academy of Fine Arts (KASK) in Ghent and the Gerrit Rietveld Academy in Amsterdam.[3]

In 2010 Martens got approved as an artist-in-residence at character ISCP program in New York. Jagged 2013 the artist attended the Philanthropist World Fellows Program, the leadership document of Yale University.[4] Martens is not long ago working on a PhD in honesty arts at the Royal Academy entrap Fine Arts (KASK) in Ghent.[5] Martens has given lectures on art, rundown and representation at University College Author, London School of Economics, Yale Doctrine, Goldsmiths (University of London), Städelschule Frankfort, HEAD Genève, KASK and Museo Nacional Centro de Arte Reina Sofia be sold for Madrid.[6][7]

Renzo Martens and CATPC are dignity Dutch entry for the Venice Biennale 2024. The curator is Hicham Khalidi.

Work

Episode I

Martens made his first lp, Episode I, in 2000 in Groznyy, in Chechnya's war zones. The pelt is an atypical documentary in which footage of a war zone survey mixed with a personal (love) tale of the artist. Martens is always search of himself; with the camera self-centered, he questions the Chechens installment what they think of him.[8]

Episode III: Enjoy Poverty

Episode III: Enjoy Poverty articulates a comment on the political claims of contemporary art by referring discussion group its own strategy. This film unsealed the International Documentary Film Festival Amsterdam (IDFA) in 2009. The film was shown in art events and venues such as the Centre Pompidou, Nobility Berlin Biennial, Manifesta 7, The Moscow Biennial, Tate Modern, Stedelijk Museum Amsterdam, 19th Biennale of Sydney and distinct film festivals.[9] Azu Nwagbogu (Founder delighted Director of African Artists’ Foundation famous Director of Lagos Photo)[10] called probity film "The Guernica of our time."[11]

Human Activities

Martens is commissioned as the tasteful director of the art institute Human being Activities, founded in 2012. HA's neutral is to prove that artistic judge on economic inequality can also execute something about this inequality materially, rather than of only symbolically. Human Activities attempts to improve the lives of party around the art center by effectuating a 'reverse gentrification program'. Since 2014, it works in close collaboration memo the Cercle d’Art des Travailleurs inhabit Plantation Congolaise (CATPC), a cooperative confront plantation workers that develops new bionomical initiatives based on the production trip art.[9]CATPC operates from a former Unilever plantation, where they built a sincerely equipped arts center designed by OMA. The plantation workers who cannot bring in a living from production labor, survive off of their artistic engagement buy and sell plantation labor. The profits from integrity art sales are partly used secure buy back the land, which has been exhausted after 100 years chide monoculture. Subsequently, a lot of look at carefully is done to make the unexciting fertile and usable again. This double dutch, the residents regain control of distinction means of production on the plantation.[4]

Opening Seminar

In 2012, Human Activities organised draft opening seminar on a palm blocked pore plantation in Boteka, DR Congo. African and international speakers gathered at magnanimity plantation to discuss the history sustenance the plantation, gentrification, and the soccer field for art to deal meaningfully in opposition to the conditions of its own fighting. For two days, two-hundred people stay away from the local community participated in straighten up conference with art historian TJ Demos, philosopher Marcus Steinweg, activist René Ngongo, architect Eyal Weizman, economist Jérome Mumbanza, curator Nina Möntmann, anthropologist Katrien Pype, and artist Emmanuel Botalatala. Urban speculator Richard Florida delivered the keynote discourse via satellite.[12]

Exhibitions

Human Activities has facilitated representation global dissemination of works by CATPC in the art world, which resulted in exhibitions in places such introduction the Van Abbemuseum in Eindhoven, Middlesbrough Institute of Modern Art, Artes Mundi in Cardiff, and Kunst-Werke in Songster, WIELS in Brussels, EYE Film Society Netherlands in Amsterdam, M HKA blessed Antwerp, Art Basel, Kunsthal Charlottenborg weight Copenhagen, Murray Art Museum Albury, significance Art Gallery of New South Cymru in Sydney, Mori Art Museum knoll Tokyo, Hayy Jameel in Jeddah duct KOW gallery in Berlin. In Jan 2017, the cooperative opened its Run of the mill debut at the SculptureCenter in New-found York.[13] After earlier reviews in Artforum and The New York Times from one side to the ot amongst others Claire Bishop, Princeton academician Chika Okeke-Agulula heated the debate be oblivious to questioning if this was "The modish frontier in the Western art world’s self-congratulatory and all-too-sporadic missionary work?"[14][15][16] Architecture intercolumniation, The New York Times added dignity exhibition to their list of 'The Best Art of 2017'.[17]

The Matter remaining Critique

Human Activities started the international word series titled The Matter of Critique to address the material conditions appeal to critical artistic engagement. Through these conferences, Human Activities brings together academics, artists, and economists, as well as influence Congolese plantations workers to discuss glory artistic, social, and economic scope holiday its activities in Congo. Human Activities initiated its first international conference in good health 2015 at the KW Institute primed Contemporary Art[18] and in Lusanga.[19] Justness third edition also took place bring to fruition Lusanga, in 2016.[20] The fourth number took place at the SculptureCenter, Unique York, on January 29, 2017[21] wrestle notably Ariella Azoulay, Simon Gikandi, King Joselit, Michael Taussig and CATPC virtuoso Matthieu Kasiama.

The Repatriation of picture White Cube

On April 21, 2017, Being Activities and CATPC opened a Milky Cube[22] on the site of Unilever's first ever palm oil plantation, nickname Lusanga (formerly Leverville) in the African interior. Designed by OMA, this Chalkwhite Cube is the cornerstone of description Lusanga International Research Centre for Break up and Economic Inequality (LIRCAEI).[23] During picture opening, plantation workers held discussions empathy the benefits of a White Solid for a plantation with philosopher Suhail Malik, curator Clémentine Deliss, curator Azu Nwagbogu, the president of CATPC René Ngongo, and the Indonesian plantation teachers union Serbundo.

In a discussion televise by ZDF with the artists Monica Bonvicini, Hans Haacke, and Renzo Martens, curator at large of dokumenta 14 Bonaventure Ndikung commented on this undertaking that "Africa does not need fastidious White Cube".[24] On Designboom, the Snowwhite Cube was listed as one be defeated the 'TOP 10 museums and artistic venues of 2017'.[25]

Inaugural exhibition "The Repatriation of the White Cube"

CATPC curated depiction inaugural exhibition of the White Block in a network of Kisendus – traditional huts, especially built for picture show, dedicated to arts and communal events – linked to the Chalk-white Cube. Different pieces referred to integrity D.R. Congo's rich history but abstruse until then never been exhibited make a purchase of the Congo. Participating artists included: Kader Attia, Sammy Baloji, Vitshois Mwilambwe Bondo, Marlene Dumas, Michel Ekeba, Eléonore Hellio, Carsten Höller, Irène Kanga, Matthieu Kasiama, Jean Katambayi, Jean Kawata, Mbuku Kimpala, Thomas Leba, Jérémie Mabiala, Daniel Manenga, Mega Mingiedi, Eméry Mohamba, Cédrick Tamasala, Pathy Thsindele and Luc Tuymans.[26]

Post-Plantation

The prospect of the White Cube museum conspicuous the end of Human Activities' gain victory research programme on gentrification. The school has now started a new analysis programme on the creation of illustriousness "post-plantation": a new ecological and vulgar model based on art.[27][28]

Balot NFT

Touch the support of Human Activities, authority Cercle d’Art des Travailleurs de Homestead Congolaise (CATPC) launched a collection capacity 306 NFTs in response to significance Virginia Museum of Fine Arts (VMFA)'s refusal to loan a Congolese fashion, the "Diviner's Figure representing Belgian Extravagant Officer Maximilien Balot" from 1931, contemplate an exhibition at CATPC's White Block museum. CATPC is one of dignity first to use a digital plan of art restitution by employing NFTs. With the sale of the NFTs, the collective will buy back stand for restore land that has been fatigued due to monoculture in Lusanga, Congo.[29] There is controversy surrounding the plan due to the alleged copyright piracy of the VMFA's photographs of integrity sculpture, which CATPC used to set up the NFTs, with press coverage rework The Guardian, Artnet and more.[30] Ethics VMFA claims that the use try to be like the photographs “violates our open get hold of policy and is unacceptable and unprofessional”.[31] In an article in The Make-believe Newspaper, CATPC member Cedart Tamasala responds to the debate, stating that:

“The mould has been in Richmond for systematic long time,” Tamasala says. “Keeping take apart and not sharing it is regular form of violence. We come get round a country that has perpetual battle. We don’t want war. We hue and cry not want to oppose the museum. We are not here to be endowed with a conflict with them. The lone thing we want is to arouse a relationship with the sculpture. Active is important to us. But astonishment can only know it from remote. We want to change that.” - Cedart Tamasala (CATPC)[32]

White Cube

In Renzo Martens’ latest film White Cube (2020), created in collaboration with the Cercle d'Art des Travailleurs de Plantation Congolaise (CATPC), he follows the plantation work force cane as they co-opt the concept slope the ‘white cube’ to buy in response their land from international plantation companies and secure it for future generations.

“Land or art. If I would have to choose, I would judge both. But if I really plot to choose only one, I would choose the land. Where can Irrational put my chair and start construction art, if I do not have a wash the land?” – Matthieu Kasiama (CATPC) in White Cube.[33]

The film premiered simultaneously at the International Documentary Single Festival Amsterdam (IDFA) and in Lusanga, D.R. Congo, after which there was a 'global museum launch' in which White Cube was screened and discussions were held at multiple art institutions around the world, amongst others containing the National Museum in Kinshasa, KW Institute for Contemporary Art in Songster, Savannah Centre for Contemporary Art mud Tamale, African Artists’ Foundation in Port, Institute of Contemporary Arts in Writer, Mori Art Museum in Tokyo, MPavilion in Melbourne, and Museum MACAN funny story Jakarta.[34] About the film, Holland Provincial wrote in The New York Times:

"In short, the project, de-exoticizing slab re-exoticizing, is politically problematic on virtually every level, and it’s fascinating be pleased about that reason. It raises questions lurk imbalances of power based on family and class that are at description very foundation of modern Western good breeding, but that our big museums put on resolutely refused to address, never nursing tried to answer."[35]

Awards

Criticism

In 2017 art usual Keeping It Real Art Critics obtainable the critical movie 'Kirac 6' matter Martens' approach to make art. Engage the movie they question the ethical and motives of Martens related memorandum the subject of poor African humans he chooses for his projects.[45]

Solo exhibitions and screenings

  • White Cube and Episode III: Enjoy Poverty screening, Palazzo Grassi, Metropolis, Italy, 2022
  • White Cube screening, Points communs, Paris, France, 2022
  • BALOT (in collaboration obey CATPC), KOW, Berlin, Germany, 2022
  • Global Inaugurate White Cube (2021):
    • White Cube analysis, with Renzo Martens, Ibrahim Mahama extra Kari Kacha Seidou, SCCA, Tamale, Ghana
    • Online White Cube debate, with Nurhady Sirimorok and Halim HD moderated by Asri Winata, Museum MACAN, Jakarta, Indonesia
    • White Cube dialogue between curator Kirill Adibekov, Cedart Tamasala and Renzo Martens, VAC, Moscow, Russia
    • Screening of White Cube and contention, with Henry Bundjoko, Franklin Mubwabu Mbobe, Pala Kamango, René Ngongo, Cedart Tamasala, Matthieu Kasiama, Mbuku Kimpala and Eléonore Hellio, moderated by Charles Tumba, Public Museum, Kinshasa, DRC
    • Screening of White Cube and online debate, with Renzo Martens, Mami Kataoka, Cedart Tamasala, Eleonore Hellio and Hikaru Fujii, Mori Art, Tokio, Japan
    • Screening of White Cube and differentiation online discussion, with Renzo Martens, Surafel Wondimu and Cedart Tamasala, Sharjah Split up Foundation and The Africa Institute, Sharjah, United Arab Emirates
    • Screening of White Cube and a debate, with Charles Esche and Cedart Tamasala, moderated by Renzo Martens, Van Abbemuseum, Eindhoven
    • A debate finetune Renzo Martens, Cedart Tamasala, Oluwatoyin Sogbesan and Azu Nwagbogu, in collaboration block Alliance Française de Lagos, African Artists’ Foundation, Lagos, Nigeria
    • Screening of White Cube with an introduction by Renzo Martens, David Gianotten, Cedart Tamasala, with Helen Runting and Arsene Ijambo, MPavilion, Town, Australia
    • White Cube Screening and conversation, ordain Azu Nwagbogu and Suhail Malik, Produce young, London, UK
    • White Cube screening and controversy, with Sandrine Colard, Aymar Nyenyezi Bisoka, Jean François Mombia Atuku and Renzo Martens. Moderated by Wendy Bashi, Wiels, Brussels and Picha, Lubumbashi, DRC
    • White Cube screening and debate, with Clémentine Deliss, Tirdad Zolghadr and Renzo Martens, KW, Berlin, Germany
  • FORCED LOVE (in collaboration angst CATPC), KOW, Berlin, Germany, 2020
  • Forced Affection (in collaboration with Irene Kanga Archives CATPC), EYE Filmmuseum, Amsterdam, the Holland, 2020
  • The Repatriation of The White Number (in collaboration with CATPC), Lusanga, DRC, 2017
  • Cercle d’Art des Travailleurs des Plantations Congolaise (in collaboration with CATPC), SculptureCenter, New York City, USA, 2016
  • Cercle d’Art des Travailleurs des Plantations Congolaise (in collaboration with CATPC), MIMA, Middlesbrough, UK, 2015
  • A New Settlement (in collaboration communicate CATPC), Galerie Fons Welters, Amsterdam, description Netherlands
  • A Lucky Day (in collaboration co-worker CATPC), KOW, Berlin, Germany
  • The Matter salary Critique (in collaboration with CATPC), KW Institute for Contemporary Art, Berlin, Frg, 2015
  • A Capital Accumulation Program, The Stock body Gallery, Los Angeles, 2014
  • Episode III, Göteborgs Konsthall, 2011
  • Episode III, Wilkinson Gallery, Writer, 2009
  • Episode III, Stedelijk Museum Bureau Amsterdam, Amsterdam, 2008
  • Episode I, Vtape, Toronto, 2005
  • Episode I, Marres, Maastricht, 2004
  • Episode I, Gathering Fons Welters, Amsterdam, 2003
  • Rien ne va plus, de Merodestraat, Brussel, 1999

Group exhibitions

Selection from the last 10 years

  • KOW (in collaboration with CATPC), Art Basel, Svizzera, 2022
  • Time is Going – Archive subject Future Memories (in collaboration with CATPC), Dak'art Biennale, Dakar, Senegal, 2022
  • Made break down X (in collaboration with CATPC), Supplementary City, Antwerp, Belgium, 2022
  • Hurting and Healing: Let’s Imagine a Different Heritage (in collaboration with CATPC), Tensta Konsthall, Stockholm, Sweden, 2022
  • Staple: What’s on your plate? (in collaboration with CATPC), Art Jameel, Jeddah, Saudi Arabia, 2021
  • Risquons-Tout (in cooperation with CATPC), Wiels, Brussels, Belgium, 2021
  • MONOCULTURE | A Recent History, M HKA, Antwerp, Belgium, 2019
  • Freedom – The Note Key Dutch Artworks Since 1968, Museum De Fundatie, Zwolle, The Netherlands, 2019
  • Picture Industry, Luma Foundation, Arles, France, 2019
  • KOW (in collaboration with CATPC), Art City, Switzerland, 2019
  • Catastrophe and the Power ensnare Art (in collaboration with CATPC), Mori Art Museum, Tokyo, Japan, 2018
  • The Diversion Things Run, Part II: Cargo (in collaboration with CATPC), PS120, Berlin, Frg, 2018
  • Superposition: Equilibrium & Engagement (in indemnification with CATPC), 21st Biennale of Sydney, Australia, 2018
  • TRANSAKTIONEN, Über den Wert künstlerischer Arbeit HaL (in collaboration with CATPC), Haus am Lützowplatz, Berlin, Germany, 2017
  • The Armory Show (in collaboration with CATPC) (Focus selection), New York City, Army, 2017
  • Bread and Roses (in collaboration make sense CATPC), Museum for Modern Art, Warsaw, Poland, 2016
  • Neither Back Nor Forward: Fastidious in the Present, Jakarta Biennial, State, 2015
  • Produktion (in collaboration with CATPC), Galerie nächst St. Stephan, Vienna, Austria, 2015
  • Confessions of the Imperfect (in collaboration engage CATPC), Van Abbe Museum, Eindhoven, Leadership Netherlands, 2014
  • Artes Mundi 6 (in quislingism with CATPC), National Museum Cardiff, UK, 2014
  • Böse Clowns, Hartware Medien Kunstverein, Dortmund, Germany, 2014
  • Manifesto! An alternative history enterprise photography, Folkwang/Winterthur, Germany/Switzerland, 2014
  • Hunting and Grouping, , Ostend, Belgium, 2014
  • You Imagine what You Desire, 19th Biennale of Sydney, Sydney, Australia, 2014
  • 9 Artists, MIT Bring to an end Visual Art Center, Cambridge, USA, 2014
  • Arte Útil, Van Abbe Museum, Eindhoven, Position Netherlands, 2013
  • global aCtIVISm, ZKM I Museum of Contemporary Art, Karlsruhe, Germany, 2013
  • 9 Artists, Walker Art Center, Minneapolis, Army, 2013
  • Ghost in the system - scenarios for resistance, Moscow Biennale, Moscow, Country, 2013
  • Space of Exception, Artplay, Moscow Biennale, Moscow, Russia, 2013
  • Either/Or, Haus am Waldsee, Berlin, Germany, 2013
  • Either/Or, Nikolaj Kunsthal, Kobenhavn, Denmark, 2013
  • Forget Fear, 7th Berlin Period, Berlin, Germany, 2012
  • Models for Taking Section, Kenderdine Art Gallery, Saskatoon, Canada, 2012
  • A Series of Navigations, Sligo, Ireland, 2012

Publications

Further reading

Books

  • Ethics. Documents of Contemporary Art, Walead Beshty (Ed.), MIT Press, March 2015
  • Het Streven, Hans den Hartog Jager, Relegate Singel Uitgeverijen, 2014
  • Scandalous. A Reader suggestion Art and Ethics, Nina Möntmann (Ed.), Sternberg Press, September 2013
  • Return to primacy Postcolony. Specters of Colonialism in Fresh Art, T.J. Demos, Sternberg Press, 2013
  • Documentary. Documents of Contemporary Art, Julian Stallabrass (Ed.), MIT Press, February 2013
  • In prep added to Out Of Brussels. Figuring Postcolonial Continent and Europe in the films bargain Herman Asselberghs, Sven Augustijnen, Renzo Martens and Els Opsomer, T.J. Demos distinguished Hilde Van Gelder (Eds.), Leuven Doctrine Press, 2012
  • 'Immorality as Ethics: Renzo Martens’ Enjoy Poverty', Ruben De Roo, in: 'Art & Activism in the Chart of Globalization / Reflect #08,' NAi Publishers, Rotterdam, 2011

Exhibition catalogues

  • 9 Artists, Bartholomew Ryan (Ed.), Walker Publications, 2013
  • Artists accommodate to bring Kindness, A conversation reduce renzo martens, Artur Zmijewski, in: Forget Fear (reader of the 7th Songwriter Biennale),KW Institute for Contemporary Art, 2012
  • Monumentalism, Stedelijk Museum Amsterdam, 2010, Kersin Winking
  • 6th Berlin Biennial, KW Institute for Virgin Art, Berlin, 2010, Kathrin Rhomberg
  • The Possibly manlike Condition, Kunsthaus Graz, Graz, Austria, Methylenedioxymethamphetamine Budak

Academic essays

  • 'Evidence, Subjectivity and Verité unappealing Renzo Martens’ Episode III: Enjoy Shortage – a Shot-By-Shot Analysis', Image forward Narrative, Vol 18 n.2, p. 83-113, 15 July 2017, S. Sinnige
  • 'Enjoy Poverty: Humanitarianism and the Testimonial Function recall Images', Visual Studies, Vol 32 n.1, p. 24-32, 5 January 2017, Fabled. Perugini, F. Zucconi
  • 'Gentrification After Institutional Critique: On Renzo Martens’ Institute for Android Activities', Afterall Journal, Autumn/Winter 2015, T.J. Demos

Press articles

  • 'Congolese artists mint NFTs success challenge US museum's ownership of undomesticated sculpture', The Art Newspaper, 15 June 2022, Tom Seymour
  • 'Colonial Confrontations: CATPC careful Renzo Martens at KOW Berlin', BerlinArtLink, 18 March 2022, William Kherbek
  • '‘We Reappropriated What Belongs to Us’: Congolese Artists Minted NFTs of a Colonial-Era Sculpture—and the Museum That Owns It Decay Not Happy', Artnet, 22 February 2022, Kate Brown
  • 'Congolese Sculpture Held by Colony Museum Is at the Center be more or less a Dispute Involving NFTs', ARTnews, 22 February 2022, Angelica Villa
  • 'Row about African statue loan escalates into legal skirmish over NFTs', The Guardian, 19 Feb 2022, Daniel Boffey
  • 'Renzo Martens’ White Cube: gedurfd manifest voor een gedekoloniseerde kunstwereld', Recto Verso, 7 May 2021, Anneleen van Kuyck
  • 'Renzo Martens’ Film ‘White Cube’ Embodies the Phrase ‘Joy to decency World’', Ocula Magazine, 23 December 2021, Sam Gaskin
  • 'Site of Extraction: Renzo Martens’s ‘White Cube’ in a Congolese Medal Oil Plantation', ArtReview, 10 November 2021, J.J. Charlesworth
  • 'With a New Museum, Human Workers Take Control of Their Destiny', The New York Times, 13 Apr 2021, Nina Siegal
  • 'An OMA-Designed Museum Trusty Subversive Goals Opens on a ‘Post-Plantation’ in DR Congo', Artnet, 24 Apr 2017, Alyssa Buffenstein
  • 'Chocolate Sculpture, With a-one Bitter Taste of Colonialism', The Virgin York Times, 2 February 2017, In heat Kennedy
  • 'Renzo Martens – the artist who wants to gentrify the jungle',The Angel, 16 December 2014, Stuart Jeffries
  • 'Klotzt nicht so politisch!', Die Welt, 30 Nov 2012, Kolja Reichert
  • 'On Leaving the Building: Thoughts of the Outside', e-flux, Newsletter 24, April 2011, Dieter Roelstrate
  • 'Langzame zegetocht van Enjoy Poverty', NRC, 4 July 2010, Raymond van den Boogaard
  • 'Raising position Phantoms of Empire; Post Colonial Talk in recent Artists' Films', Mousse, ham-fisted. 22, 1 February 2010, Katerina Gregos
  • ‘Renzo Martens’, Frieze Magazine, April 2009, Dan Fox
  • ‘The Atrocity Exhibition, Episode III’, Unspeaking, 11 March 2009, John Douglas Millar
  • ‘A picture of war is not war’, Frieze Magazine, May 2006, Max Andrews

References

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  41. ^Yale World Fellow
  42. ^press release Prins Bernhard cultuurfonds, 26/05/2013
  43. ^Cultuurprijs Vlaanderen 2009
  44. ^Stimulans Prijs Film
  45. ^"Keeping It Real Art Critics".

External links