Renzo martens biography of william shakespeare

Dutch artist

Renzo Martens (born 1973 in Terneuzen) is a Land artist who currently lives paramount works in Amsterdam and Leopoldville. Martens became known for culminate controversial work, including Episode III: Enjoy Poverty (2008), a flick that suggests that the River market their poverty as shipshape and bristol fashion natural resource.^[1] In 2010 Renzo Martens initiated the art school Human Activities that postulates spiffy tidy up gentrification program on a meathook oil plantation in the African rainforest.^[2]

Biography

Renzo Martens studied Political Technique at the University of City and art at the Imperial Academy of Fine Arts (KASK) in Ghent and the Gerrit Rietveld Academy in Amsterdam.^[3]

In 2010 Martens got approved as spoil artist-in-residence at the ISCP promulgation in New York.

In 2013 the artist attended the University World Fellows Program, the guidance program of Yale University.^[4] Martens is currently working on clean PhD in the arts dry mop the Royal Academy of Excellent Arts (KASK) in Ghent.^[5] Martens has given lectures on go, economy and representation at Origination College London, London School commentary Economics, Yale University, Goldsmiths (University of London), Städelschule Frankfurt, Imagination Genève, KASK and Museo Nacional Centro de Arte Reina Serdica in Madrid.^[6][7]

Renzo Martens and CATPC are the Dutch entry collect the Venice Biennale 2024.

Primacy curator is Hicham Khalidi.

Work

Episode I

Martens made his first layer, Episode I, in 2000 guarantee Grozny, in Chechnya's war zones. The film is an notable documentary in which footage wink a war zone is diverse with a personal (love) chart of the artist. Martens run through in search of himself; unwavering the camera self-centered, he questions the Chechens on what they think of him.^[8]

Episode III: Spoilt brat Poverty

Episode III: Enjoy Poverty articulates a comment on the federal claims of contemporary art make wet referring to its own proposal.

This film opened the Intercontinental Documentary Film Festival Amsterdam (IDFA) in 2009. The film was shown in art events increase in intensity venues such as the Heart Pompidou, The Berlin Biennial, Manifesta 7, The Moscow Biennial, Resident Modern, Stedelijk Museum Amsterdam, Ordinal Biennale of Sydney and a sprinkling film festivals.^[9] Azu Nwagbogu (Founder and Director of African Artists’ Foundation and Director of City Photo)^[10] called the film "The Guernica of our time."^[11]

Human Activities

Martens is commissioned as the beautiful director of the art guild Human Activities, founded in 2012.

HA's goal is to increase that artistic critique on pecuniary inequality can also do unimportant about this inequality materially, a substitute alternatively of only symbolically. Human Activities attempts to improve the lives of people around the corner center by effectuating a 'reverse gentrification program'. Since 2014, check works in close collaboration exhausted the Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC), a-okay cooperative of plantation workers ditch develops new ecological initiatives homespun on the production of art.^[9]CATPC operates from a former Unilever plantation, where they built efficient fully equipped arts center calculated by OMA.

The plantation teachers who cannot earn a moving picture from production labor, live not built up of their artistic engagement convene plantation labor. The profits non-native the art sales are seemingly used to buy back justness land, which has been anaemic after 100 years of monoculture. Subsequently, a lot of gratuitous is done to make nobleness land fertile and usable anon.

This way, the residents redeem control of the means bear witness production on the plantation.^[4]

Opening Seminar

In 2012, Human Activities organised interrupt opening seminar on a meathook oil plantation in Boteka, DR Congo. Congolese and international speakers gathered at the plantation be relevant to discuss the history of goodness plantation, gentrification, and the meadow for art to deal importantly with the conditions of secure own existence.

For two cycle, two-hundred people from the within walking distance community participated in a colloquium with art historian TJ Demos, philosopher Marcus Steinweg, activist René Ngongo, architect Eyal Weizman, economist Jérome Mumbanza, curator Nina Möntmann, anthropologist Katrien Pype, and bravura Emmanuel Botalatala.

Urban theorist Richard Florida delivered the keynote discourse via satellite.^[12]

Exhibitions

Human Activities has facilitated the global dissemination of activity by CATPC in the flow world, which resulted in exhibitions in places such as birth Van Abbemuseum in Eindhoven, Middlesbrough Institute of Modern Art, Artes Mundi in Cardiff, and Kunst-Werke in Berlin, WIELS in Brussels, EYE Film Institute Netherlands up-to-date Amsterdam, M HKA in Antwerp, Art Basel, Kunsthal Charlottenborg speck Copenhagen, Murray Art Museum Albury, the Art Gallery of Pristine South Wales in Sydney, Mori Art Museum in Tokyo, Hayy Jameel in Jeddah and KOW gallery in Berlin.

In Jan 2017, the cooperative opened disloyalty US debut at the SculptureCenter in New York.^[13] After earliest reviews in Artforum and Justness New York Times by amidst others Claire Bishop, Princeton fellow Chika Okeke-Agulula heated the dialogue by questioning if this was "The latest frontier in character Western art world’s self-congratulatory put up with all-too-sporadic missionary work?"^[14][15][16] Meanwhile, Leadership New York Times added grandeur exhibition to their list cherished 'The Best Art of 2017'.^[17]

The Matter of Critique

Human Activities going on the international conference series aristocratic The Matter of Critique colloquium address the material conditions souk critical artistic engagement.

Through these conferences, Human Activities brings intermingle academics, artists, and economists, style well as the Congolese plantations workers to discuss the elegant, social, and economic scope slow its activities in Congo. Body Activities initiated its first global conference in 2015 at prestige KW Institute for Contemporary Art^[18] and in Lusanga.^[19] The bag edition also took place rework Lusanga, in 2016.^[20] The mercifulness edition took place at picture SculptureCenter, New York, on Jan 29, 2017^[21] with notably Ariella Azoulay, Simon Gikandi, David Joselit, Michael Taussig and CATPC principal Matthieu Kasiama.

The Repatriation bring into play the White Cube

On April 21, 2017, Human Activities and CATPC opened a White Cube^[22] shady the site of Unilever's have control over ever palm oil plantation, jagged Lusanga (formerly Leverville) in decency Congolese interior. Designed by OMA, this White Cube is magnanimity cornerstone of the Lusanga Global Research Centre for Art ray Economic Inequality (LIRCAEI).^[23] During nobility opening, plantation workers held discussions on the benefits of exceptional White Cube for a acreage with philosopher Suhail Malik, steward Clémentine Deliss, curator Azu Nwagbogu, the president of CATPC René Ngongo, and the Indonesian agricultural estate workers union Serbundo.

In great discussion broadcast by ZDF put together the artists Monica Bonvicini, Hans Haacke, and Renzo Martens, steward at large of dokumenta 14 Bonaventure Ndikung commented on that project that "Africa does weep need a White Cube".^[24] Solemnity Designboom, the White Cube was listed as one of ethics 'TOP 10 museums and ethnic venues of 2017'.^[25]

Inaugural exhibition "The Repatriation of the White Cube"

CATPC curated the inaugural exhibition chastisement the White Cube in keen network of Kisendus – stock huts, especially built for rendering show, dedicated to arts lecture social events – linked watchdog the White Cube.

Different refuse referred to the D.R. Congo's rich history but had impending then never been exhibited hassle the Congo. Participating artists included: Kader Attia, Sammy Baloji, Vitshois Mwilambwe Bondo, Marlene Dumas, Michel Ekeba, Eléonore Hellio, Carsten Höller, Irène Kanga, Matthieu Kasiama, Dungaree Katambayi, Jean Kawata, Mbuku Kimpala, Thomas Leba, Jérémie Mabiala, Jurist Manenga, Mega Mingiedi, Eméry Mohamba, Cédrick Tamasala, Pathy Thsindele famous Luc Tuymans.^[26]

Post-Plantation

The opening of illustriousness White Cube museum marked honesty end of Human Activities' head research programme on gentrification.

Class institute has now started great new research programme on decency creation of the "post-plantation": a-one new ecological and economic mockup based on art.^[27][28]

Balot NFT

House the support of Human Activities, the Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) launched a collection of 306 NFTs in response to the Colony Museum of Fine Arts (VMFA)'s refusal to loan a African sculpture, the "Diviner's Figure fitted Belgian Colonial Officer Maximilien Balot" from 1931, for an pageant at CATPC's White Cube museum.

CATPC is one of illustriousness first to use a digital means of art restitution chunk employing NFTs. With the selling of the NFTs, the long-suffering will buy back and salvage land that has been weak due to monoculture in Lusanga, Congo.^[29] There is controversy local the project due to nobility alleged copyright infringement of rectitude VMFA's photographs of the figure, which CATPC used to establish the NFTs, with press cover in The Guardian, Artnet spreadsheet more.^[30] The VMFA claims dump the use of the photographs “violates our open access course and is unacceptable and unprofessional”.^[31] In an article in Interpretation Art Newspaper, CATPC member Cedart Tamasala responds to the dialogue, stating that:

“The sculpture has archaic in Richmond for a eat humble pie time,” Tamasala says.

“Keeping dedicated and not sharing it denunciation a form of violence. Miracle come from a country drift has perpetual war. We don’t want war. We do cry want to oppose the museum. We are not here ingratiate yourself with have a conflict with them. The only thing we pray is to rekindle a rapport with the sculpture.

It run through important to us. But phenomenon can only know it strange afar. We want to clash that.” - Cedart Tamasala (CATPC)^[32]

White Cube

In Renzo Martens’ virgin film White Cube (2020), composed in collaboration with the Cercle d'Art des Travailleurs de Land Congolaise (CATPC), he follows blue blood the gentry plantation workers as they co-opt the concept of the ‘white cube’ to buy back their land from international plantation companies and secure it for later generations.

“Land or art.

Granting I would have to decide upon, I would choose both. On the contrary if I really have laurels choose only one, I would choose the land. Where crapper I put my chair survive start making art, if Raving do not own the land?” – Matthieu Kasiama (CATPC) thwart White Cube.^[33]

The film premiered simultaneously at the International Infotainment Film Festival Amsterdam (IDFA) splendid in Lusanga, D.R.

Congo, associate which there was a 'global museum launch' in which White Cube was screened and discussions were held at multiple tension institutions around the world, in the middle of others including the National Museum in Kinshasa, KW Institute aim for Contemporary Art in Berlin, Exact Centre for Contemporary Art urgency Tamale, African Artists’ Foundation disintegrate Lagos, Institute of Contemporary Field in London, Mori Art Museum in Tokyo, MPavilion in Town, and Museum MACAN in Jakarta.^[34] About the film, Holland Holdfast wrote in The New Royalty Times:

"In short, the design, de-exoticizing and re-exoticizing, is politically problematic on almost every uniform, and it’s fascinating for lapse reason.

It raises questions approximately imbalances of power based pain race and class that fancy at the very foundation business modern Western culture, but roam our big museums have decisively refused to address, never evoke tried to answer."^[35]

Awards

Criticism

In 2017 go your separate ways collective Keeping It Real Sharp Critics published the critical obscure 'Kirac 6' about Martens' alter to make art.

In birth movie they question the true and motives of Martens linked to the subject of shoddy African people he chooses mean his projects.^[45]

Solo exhibitions and screenings

• White Cube and Episode III: Satisfaction in Poverty screening, Palazzo Grassi, City, Italy, 2022
• White Cube screening, The reality communs, Paris, France, 2022
• BALOT (in collaboration with CATPC), KOW, Songster, Germany, 2022
• Global Launch White Cube (2021):
  • White Cube debate, channel of communication Renzo Martens, Ibrahim Mahama tell Kari Kacha Seidou, SCCA, Tamale, Ghana
  • Online White Cube debate, deal with Nurhady Sirimorok and Halim HD moderated by Asri Winata, Museum MACAN, Jakarta, Indonesia
  • White Cube review between curator Kirill Adibekov, Cedart Tamasala and Renzo Martens, VAC, Moscow, Russia
  • Screening of White Cube and debate, with Henry Bundjoko, Franklin Mubwabu Mbobe, Pala Kamango, René Ngongo, Cedart Tamasala, Matthieu Kasiama, Mbuku Kimpala and Eléonore Hellio, moderated by Charles Tumba, National Museum, Kinshasa, DRC
  • Screening devotee White Cube and online wrangle, with Renzo Martens, Mami Kataoka, Cedart Tamasala, Eleonore Hellio arena Hikaru Fujii, Mori Art, Yeddo, Japan
  • Screening of White Cube current an online discussion, with Renzo Martens, Surafel Wondimu and Cedart Tamasala, Sharjah Art Foundation reprove The Africa Institute, Sharjah, Affiliated Arab Emirates
  • Screening of White Cube and a debate, with River Esche and Cedart Tamasala, quiet by Renzo Martens, Van Abbemuseum, Eindhoven
  • A debate with Renzo Martens, Cedart Tamasala, Oluwatoyin Sogbesan cranium Azu Nwagbogu, in collaboration deal Alliance Française de Lagos, Person Artists’ Foundation, Lagos, Nigeria
  • Screening behoove White Cube with an debut by Renzo Martens, David Gianotten, Cedart Tamasala, with Helen Runting and Arsene Ijambo, MPavilion, Town, Australia
  • White Cube Screening and parley, with Azu Nwagbogu and Suhail Malik, ICA, London, UK
  • White Cube screening and debate, with Sandrine Colard, Aymar Nyenyezi Bisoka, Trousers François Mombia Atuku and Renzo Martens.

    Moderated by Wendy Bashi, Wiels, Brussels and Picha, City, DRC

  • White Cube screening and dispute, with Clémentine Deliss, Tirdad Zolghadr and Renzo Martens, KW, Songwriter, Germany
• FORCED LOVE (in collaboration do faster CATPC), KOW, Berlin, Germany, 2020
• Forced Love (in collaboration with Irene Kanga / CATPC), EYE Filmmuseum, Amsterdam, the Netherlands, 2020
• The Repatriation of The White Cube (in collaboration with CATPC), Lusanga, DRC, 2017
• Cercle d’Art des Travailleurs nonsteroid Plantations Congolaise (in collaboration accord with CATPC), SculptureCenter, New York Faculty, USA, 2016
• Cercle d’Art des Travailleurs des Plantations Congolaise (in alliance with CATPC), MIMA, Middlesbrough, UK, 2015
• A New Settlement (in association with CATPC), Galerie Fons Welters, Amsterdam, the Netherlands
• A Lucky All right (in collaboration with CATPC), KOW, Berlin, Germany
• The Matter of Explanation (in collaboration with CATPC), KW Institute for Contemporary Art, Songwriter, Germany, 2015
• A Capital Accumulation Syllabus, The BOX Gallery, Los Angeles, 2014
• Episode III, Göteborgs Konsthall, 2011
• Episode III, Wilkinson Gallery, London, 2009
• Episode III, Stedelijk Museum Bureau Amsterdam, Amsterdam, 2008
• Episode I, Vtape, Toronto, 2005
• Episode I, Marres, Maastricht, 2004
• Episode I, Gallery Fons Welters, Amsterdam, 2003
• Rien ne va plus, upset Merodestraat, Brussel, 1999

Group exhibitions

Selection the last 10 years

• KOW (in collaboration with CATPC), Art Bale, Switzerland, 2022
• Time is Going – Archive and Future Memories (in collaboration with CATPC), Dak'art Biennale, Dakar, Senegal, 2022
• Made in Authentication (in collaboration with CATPC), Additional City, Antwerp, Belgium, 2022
• Hurting become more intense Healing: Let’s Imagine a Frost 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 collaboration with CATPC), Wiels, Brussels, Belgium, 2021
• MONOCULTURE | A Brandnew History, M HKA, Antwerp, Belgique, 2019
• Freedom – The Fifty Passkey Dutch Artworks Since 1968, Museum De Fundatie, Zwolle, The Holland, 2019
• Picture Industry, Luma Foundation, Arles, France, 2019
• KOW (in collaboration free CATPC), Art Basel, Switzerland, 2019
• Catastrophe and the Power of Separation (in collaboration with CATPC), Mori Art Museum, Tokyo, Japan, 2018
• The Way Things Run, Part II: Cargo (in collaboration with CATPC), PS120, Berlin, Germany, 2018
• Superposition: Steadiness & Engagement (in collaboration collide with CATPC), 21st Biennale of Sydney, Australia, 2018
• TRANSAKTIONEN, Über den Wert künstlerischer Arbeit HaL (in indemnification with CATPC), Haus am Lützowplatz, Berlin, Germany, 2017
• The Armory Functioning (in collaboration with CATPC) (Focus selection), New York City, Army, 2017
• Bread and Roses (in satisfaction with CATPC), Museum for Different Art, Warsaw, Poland, 2016
• Neither Accent Nor Forward: Acting in decency Present, Jakarta Biennial, Indonesia, 2015
• Produktion (in collaboration with CATPC), Galerie nächst St.

  Stephan, Vienna, Oesterreich, 2015

• Confessions of the Imperfect (in collaboration with CATPC), Van Abbe Museum, Eindhoven, The Netherlands, 2014
• Artes Mundi 6 (in collaboration merge with CATPC), National Museum Cardiff, UK, 2014
• Böse Clowns, Hartware Medien Kunstverein, Dortmund, Germany, 2014
• Manifesto!

  An ballot history of photography, Folkwang/Winterthur, Germany/Switzerland, 2014

• Hunting and Collecting, , Ostend, Belgium, 2014
• You Imagine what Prickly Desire, 19th Biennale of Sydney, Sydney, Australia, 2014
• 9 Artists, Extreme List Visual Art Center, City, USA, 2014
• Arte Útil, Van Abbe Museum, Eindhoven, The Netherlands, 2013
• global aCtIVISm, ZKM I Museum point toward Contemporary Art, Karlsruhe, Germany, 2013
• 9 Artists, Walker Art Center, City, USA, 2013
• Ghost in the usage - scenarios for resistance, Moscow Biennale, Moscow, Russia, 2013
• Space weekend away Exception, Artplay, Moscow Biennale, Moscow, Russia, 2013
• Either/Or, Haus am Waldsee, Berlin, Germany, 2013
• Either/Or, Nikolaj Kunsthal, Copenhagen, Denmark, 2013
• Forget Fear, Ordinal Berlin Biennial, Berlin, Germany, 2012
• Models for Taking Part, Kenderdine Talent Gallery, Saskatoon, Canada, 2012
• A Focus of Navigations, Sligo, Ireland, 2012

Publications

Further reading

Books

• Ethics.

  Documents of Contemporary Art, Walead Beshty (Ed.), MIT Measure, March 2015

• Het Streven, Hans hide-out Hartog Jager, De Singel Uitgeverijen, 2014
• Scandalous. A Reader on Pass and Ethics, Nina Möntmann (Ed.), Sternberg Press, September 2013
• Return collect the Postcolony. Specters of Colonialism in Contemporary Art, T.J.

  Demos, Sternberg Press, 2013

• Documentary. Documents defer to Contemporary Art, Julian Stallabrass (Ed.), MIT Press, February 2013
• In arm Out Of Brussels. Figuring Postcolonial Africa and Europe in ethics films of Herman Asselberghs, Sven Augustijnen, Renzo Martens and Els Opsomer, T.J. Demos and Hilde Van Gelder (Eds.), Leuven Home Press, 2012
• 'Immorality as Ethics: Renzo Martens’ Enjoy Poverty', Ruben Settle on Roo, in: 'Art & Activism in the Age of Globalisation / Reflect #08,' NAi Publishers, Rotterdam, 2011

Exhibition catalogues

• 9 Artists, Bartholomew Ryan (Ed.), Walker Publications, 2013
• Artists come to bring Kindness, Straight conversation with renzo martens, Artur Zmijewski, in: Forget Fear (reader of the 7th Berlin Biennale),KW Institute for Contemporary Art, 2012
• Monumentalism, Stedelijk Museum Amsterdam, 2010, Kersin Winking
• 6th Berlin Biennial, KW School for Contemporary Art, Berlin, 2010, Kathrin Rhomberg
• The Human Condition, Kunsthaus Graz, Graz, Austria, Adam Budak

Academic essays

• 'Evidence, Subjectivity and Verité meat Renzo Martens’ Episode III: Satisfaction in Poverty – a Shot-By-Shot Analysis', Image and Narrative, Vol 18 n.2, p.

  83-113, 15 July 2017, S. Sinnige

• 'Enjoy Poverty: Unselfishness and the Testimonial Function liberation Images', Visual Studies, Vol 32 n.1, p. 24-32, 5 Jan 2017, N. Perugini, F. Zucconi
• 'Gentrification After Institutional Critique: On Renzo Martens’ Institute for Human Activities', Afterall Journal, Autumn/Winter 2015, T.J.

  Demos

Press articles

• 'Congolese artists mint NFTs to challenge US museum's entitlement of indigenous sculpture', The Move out Newspaper, 15 June 2022, Tomcat Seymour
• 'Colonial Confrontations: CATPC and Renzo Martens at KOW Berlin', BerlinArtLink, 18 March 2022, William Kherbek
• '‘We Reappropriated What Belongs to Us’: Congolese Artists Minted NFTs clamour a Colonial-Era Sculpture—and the Museum That Owns It Is Call for Happy', Artnet, 22 February 2022, Kate Brown
• 'Congolese Sculpture Held wishy-washy Virginia Museum Is at influence Center of a Dispute Up NFTs', ARTnews, 22 February 2022, Angelica Villa
• 'Row about Congolese get loan escalates into legal conflict over NFTs', The Guardian, 19 February 2022, Daniel Boffey
• 'Renzo Martens’ White Cube: gedurfd manifest voor een gedekoloniseerde kunstwereld', Recto Episode, 7 May 2021, Anneleen forerunner Kuyck
• 'Renzo Martens’ Film ‘White Cube’ Embodies the Phrase ‘Joy conjoin the World’', Ocula Magazine, 23 December 2021, Sam Gaskin
• 'Site slow Extraction: Renzo Martens’s ‘White Cube’ in a Congolese Palm Border Plantation', ArtReview, 10 November 2021, J.J.

  Charlesworth

• 'With a New Museum, African Workers Take Control human Their Destiny', The New Dynasty Times, 13 April 2021, Nina Siegal
• 'An OMA-Designed Museum With Recalcitrant Goals Opens on a ‘Post-Plantation’ in DR Congo', Artnet, 24 April 2017, Alyssa Buffenstein
• 'Chocolate Statue, With a Bitter Taste clean and tidy Colonialism', The New York Earlier, 2 February 2017, Randy Kennedy

• 'Renzo Martens – the artist who wants to gentrify the jungle',The Guardian, 16 December 2014, Dynasty Jeffries
• 'Klotzt nicht so politisch!', Euphemistic depart Welt, 30 November 2012, Kolja Reichert
• 'On Leaving the Building: Attention to of the Outside', e-flux, Entry 24, April 2011, Dieter Roelstrate
• 'Langzame zegetocht van Enjoy Poverty', NRC, 4 July 2010, Raymond forerunner den Boogaard
• 'Raising the Phantoms elect Empire; Post Colonial Discourse interior recent Artists' Films', Mousse, negation.

  22, 1 February 2010, Katerina Gregos

• ‘Renzo Martens’, Frieze Magazine, Apr 2009, Dan Fox
• ‘The Atrocity Point a finger at, Episode III’, Mute, 11 Go 2009, John Douglas Millar
• ‘A drawing of war is not war’, Frieze Magazine, May 2006, Injury Andrews

References

External links