Скачать или смотреть Performance by Motoko Ishibashi at the Michel Majerus Symposium at Mudam

what looks good today may not look good tomorrow: The Legacy of Michel Majerus
Symposium
09 Nov 2022
@ Mudam Luxembourg

Through a series of talks and lecture-performances followed by a panel discussion, the symposium investigates the influence of Michel Majerus’s (b. 1967, Esch-sur-Alzette – d. 2002, Niederanven) work on the practice of the ‘digital-native’ generation of artists, curators and researchers.

International speakers working in and researching the field of visual arts will address the relevance of Majerus’s reflections today, while discussing different aspects of his legacy.
In the span of a short yet exceptionally prolific career, Majerus has captured his time, decades marked by the expansion of globalised consumer culture and digital technology. His large-scale paintings and installations, characterised by the ‘sampling’ and collaging of an eclectic repertoire of imagery and text borrowed from art history, video games, commercials or electronic music resonate with the image and information frenzy of the Internet 2.0 pervading contemporary society. In his work, Majerus transgressed the well-worn rules of painting and created unmistakable interpretations of the pop culture of the 1990s and early 2000s that remain of unfailing relevance today.
The symposium what looks good today may not look good tomorrow: The Legacy of Michel Majerus is the first chapter of a programme dedicated to the work of Michel Majerus and will be followed in Spring 2023 by an exhibition at Mudam and a publication gathering the contributions to the symposium.

Motoko Ishibashi (b. 1987 Nagasaki, Japan) received her MA in Painting at the Royal College of Art, London in 2015, her BFA in Painting at Slade School of Fine Art, London in 2013 (with First Class Honours) and a BA in Aesthetics and Science of Arts: Philosophy at Keio University, Tokyo in 2010. Focused predominantly on painting, Ishibashi’s practice amalgamates Western and Japanese visual languages through painting, performance, installation, video, photography and printmaking. Engaging with mass consumer culture as well as digital cultures, her work considers relations of power, gender, the body and selfhood within technologically-mediated society. Ishibashi’s work has appeared in the following recent exhibitions, some of which she was also involved in curating: COPE, no gallery, New York (2022); Beginning of the end, Schwabinggrad, Munich (2021); Assholes, V.O curations, London (2021); Agitations: stirred portraits at Courtyard Hiroo, Tokyo (2020); The Sound of Rhubarb, Lady Helen, London (2019), Rachel Is at Pact, Paris (2019), Seraphîta, Polansky Gallery, Prague (2018), and 2:00, Fig., Tokyo (2018).