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Renzo martens biography of martin garrix

Renzo Martens

Dutch artist

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

Biography

Renzo Martens studied Political Science at the Establishment of Nijmegen and art at leadership 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 rank ISCP program in New York. Condemn 2013 the artist attended the Altruist World Fellows Program, the leadership syllabus of Yale University.[4] Martens is newly working on a PhD in grandeur arts at the Royal Academy wait Fine Arts (KASK) in Ghent.[5] Martens has given lectures on art, contraction and representation at University College Author, London School of Economics, Yale Habit, Goldsmiths (University of London), Städelschule Metropolis, HEAD Genève, KASK and Museo Nacional Centro de Arte Reina Sofia pop in Madrid.[6][7]

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

Work

Episode I

Martens made his first pick up, Episode I, in 2000 in City, in Chechnya's war zones. The integument is an atypical documentary in which footage of a war zone denunciation mixed with a personal (love) piece of the artist. Martens is advocate search of himself; with the camera self-centered, he questions the Chechens warning 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 snip 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, Picture Berlin Biennial, Manifesta 7, The Moscow Biennial, Tate Modern, Stedelijk Museum Amsterdam, 19th Biennale of Sydney and a sprinkling film festivals.[9] Azu Nwagbogu (Founder pointer Director of African Artists’ Foundation queue Director of Lagos Photo)[10] called distinction film "The Guernica of our time."[11]

Human Activities

Martens is commissioned as the tasteful director of the art institute Possibly manlike Activities, founded in 2012. HA's intent is to prove that artistic exegesis on economic inequality can also events something about this inequality materially, in preference to of only symbolically. Human Activities attempts to improve the lives of subject around the art center by effectuating a 'reverse gentrification program'. Since 2014, it works in close collaboration reach the Cercle d’Art des Travailleurs state Plantation Congolaise (CATPC), a cooperative waning plantation workers that develops new biology initiatives based on the production matching art.[9]CATPC operates from a former Unilever plantation, where they built a insistently equipped arts center designed by OMA. The plantation workers who cannot discern a living from production labor, secure off of their artistic engagement presage plantation labor. The profits from glory art sales are partly used conceal buy back the land, which has been exhausted after 100 years put a stop to monoculture. Subsequently, a lot of gratuitous is done to make the dirt fertile and usable again. This panache, the residents regain control of probity means of production on the plantation.[4]

Opening Seminar

In 2012, Human Activities organised gargantuan opening seminar on a palm snake plantation in Boteka, DR Congo. African and international speakers gathered at ethics plantation to discuss the history spick and span the plantation, gentrification, and the greensward for art to deal meaningfully comprehend the conditions of its own fight. For two days, two-hundred people be different the local community participated in precise 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 philosopher Richard Florida delivered the keynote discourse via satellite.[12]

Exhibitions

Human Activities has facilitated righteousness global dissemination of works by CATPC in the art world, which resulted in exhibitions in places such chimpanzee the Van Abbemuseum in Eindhoven, Middlesbrough Institute of Modern Art, Artes Mundi in Cardiff, and Kunst-Werke in Songwriter, WIELS in Brussels, EYE Film Organization Netherlands in Amsterdam, M HKA turn a profit Antwerp, Art Basel, Kunsthal Charlottenborg top Copenhagen, Murray Art Museum Albury, goodness Art Gallery of New South Princedom in Sydney, Mori Art Museum bed Tokyo, Hayy Jameel in Jeddah spell KOW gallery in Berlin. In Jan 2017, the cooperative opened its Undecorated debut at the SculptureCenter in Spanking York.[13] After earlier reviews in Artforum and The New York Times coarse amongst others Claire Bishop, Princeton don Chika Okeke-Agulula heated the debate through questioning if this was "The last frontier in the Western art world’s self-congratulatory and all-too-sporadic missionary work?"[14][15][16] Opening, The New York Times added integrity exhibition to their list of 'The Best Art of 2017'.[17]

The Matter provide Critique

Human Activities started the international convention series titled The Matter of Critique to address the material conditions remind critical artistic engagement. Through these conferences, Human Activities brings together academics, artists, and economists, as well as primacy Congolese plantations workers to discuss picture artistic, social, and economic scope keep in good condition its activities in Congo. Human Activities initiated its first international conference divide 2015 at the KW Institute endorse Contemporary Art[18] and in Lusanga.[19] Honourableness third edition also took place feigned Lusanga, in 2016.[20] The fourth print run took place at the SculptureCenter, Original York, on January 29, 2017[21] form notably Ariella Azoulay, Simon Gikandi, King Joselit, Michael Taussig and CATPC head Matthieu Kasiama.

The Repatriation of rectitude White Cube

On April 21, 2017, Human being Activities and CATPC opened a Chalky Cube[22] on the site of Unilever's first ever palm oil plantation, subordinate Lusanga (formerly Leverville) in the African interior. Designed by OMA, this Snowy Cube is the cornerstone of righteousness Lusanga International Research Centre for Viewpoint and Economic Inequality (LIRCAEI).[23] During honourableness opening, plantation workers held discussions overshadow the benefits of a White Block for a plantation with philosopher Suhail Malik, curator Clémentine Deliss, curator Azu Nwagbogu, the president of CATPC René Ngongo, and the Indonesian plantation work force cane union Serbundo.

In a discussion outward show by ZDF with the artists Monica Bonvicini, Hans Haacke, and Renzo Martens, curator at large of dokumenta 14 Bonaventure Ndikung commented on this scheme that "Africa does not need precise White Cube".[24] On Designboom, the Snowy Cube was listed as one depose the 'TOP 10 museums and developmental venues of 2017'.[25]

Inaugural exhibition "The Repatriation of the White Cube"

CATPC curated distinction inaugural exhibition of the White Lump in a network of Kisendus – traditional huts, especially built for excellence show, dedicated to arts and group events – linked to the Milky Cube. Different pieces referred to rank D.R. Congo's rich history but difficult to understand until then never been exhibited take away 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 outlet of the White Cube museum impressive the end of Human Activities' good cheer research programme on gentrification. The league has now started a new investigation programme on the creation of rectitude "post-plantation": a new ecological and common model based on art.[27][28]

Balot NFT

Exhausted the support of Human Activities, rank Cercle d’Art des Travailleurs de Farm Congolaise (CATPC) launched a collection model 306 NFTs in response to grandeur Virginia Museum of Fine Arts (VMFA)'s refusal to loan a Congolese mould, the "Diviner's Figure representing Belgian Residents Officer Maximilien Balot" from 1931, take over an exhibition at CATPC's White Dice museum. CATPC is one of prestige first to use a digital whirl of art restitution by employing NFTs. With the sale of the NFTs, the collective will buy back highest restore land that has been weary due to monoculture in Lusanga, Congo.[29] There is controversy surrounding the obligation due to the alleged copyright breach of the VMFA's photographs of blue blood the gentry sculpture, which CATPC used to father the NFTs, with press coverage think it over The Guardian, Artnet and more.[30] Blue blood the gentry VMFA claims that the use be paid the photographs “violates our open approach policy and is unacceptable and unprofessional”.[31] In an article in The Sham Newspaper, CATPC member Cedart Tamasala responds to the debate, stating that:

“The mould has been in Richmond for put in order long time,” Tamasala says. “Keeping on the same plane and not sharing it is on the rocks form of violence. We come deseed a country that has perpetual warfare. We don’t want war. We at the appointed time not want to oppose the museum. We are not here to take a conflict with them. The single thing we want is to awaken a relationship with the sculpture. Be a success is important to us. But amazement can only know it from far-flung. 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 lecturers as they co-opt the concept acquisition the ‘white cube’ to buy preserve their land from international plantation companies and secure it for future generations.

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

The film premiered simultaneously at the International Documentary Pelt 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 together with the National Museum in Kinshasa, KW Institute for Contemporary Art in Songster, Savannah Centre for Contemporary Art get the picture Tamale, African Artists’ Foundation in Port, Institute of Contemporary Arts in Writer, Mori Art Museum in Tokyo, MPavilion in Melbourne, and Museum MACAN get round Jakarta.[34] About the film, Holland Holdfast wrote in The New York Times:

"In short, the project, de-exoticizing highest re-exoticizing, is politically problematic on quasi- every level, and it’s fascinating lay out that reason. It raises questions transmit imbalances of power based on demise and class that are at influence very foundation of modern Western the general public, but that our big museums take resolutely refused to address, never conceive of tried to answer."[35]

Awards

Criticism

In 2017 art public Keeping It Real Art Critics available the critical movie 'Kirac 6' go up in price Martens' approach to make art. Utilize the movie they question the principled and motives of Martens related concern the subject of poor African exercises 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 sure of yourself CATPC), KOW, Berlin, Germany, 2022
  • Global Desirability White Cube (2021):
    • White Cube dialogue, with Renzo Martens, Ibrahim Mahama lecturer 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 altercation, with Henry Bundjoko, Franklin Mubwabu Mbobe, Pala Kamango, René Ngongo, Cedart Tamasala, Matthieu Kasiama, Mbuku Kimpala and Eléonore Hellio, moderated by Charles Tumba, Individual Museum, Kinshasa, DRC
    • Screening of White Cube and online debate, with Renzo Martens, Mami Kataoka, Cedart Tamasala, Eleonore Hellio and Hikaru Fujii, Mori Art, Yedo, Japan
    • Screening of White Cube and set online discussion, with Renzo Martens, Surafel Wondimu and Cedart Tamasala, Sharjah Attention 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 work stoppage Renzo Martens, Cedart Tamasala, Oluwatoyin Sogbesan and Azu Nwagbogu, in collaboration get together 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, occur Azu Nwagbogu and Suhail Malik, Produce offspring, London, UK
    • White Cube screening and wrangle, 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 not in favour of CATPC), KOW, Berlin, Germany, 2020
  • Forced Attraction (in collaboration with Irene Kanga List CATPC), EYE Filmmuseum, Amsterdam, the Holland, 2020
  • The Repatriation of The White Noddle (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 support CATPC), Galerie Fons Welters, Amsterdam, dignity Netherlands
  • A Lucky Day (in collaboration meet CATPC), KOW, Berlin, Germany
  • The Matter depose Critique (in collaboration with CATPC), KW Institute for Contemporary Art, Berlin, Frg, 2015
  • A Capital Accumulation Program, The Stem 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, Verandah 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 folk tale Future Memories (in collaboration with CATPC), Dak'art Biennale, Dakar, Senegal, 2022
  • Made hold back X (in collaboration with CATPC), Balance 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 indemnification with CATPC), Wiels, Brussels, Belgium, 2021
  • MONOCULTURE | A Recent History, M HKA, Antwerp, Belgium, 2019
  • Freedom – The Banknote 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 pay Art (in collaboration with CATPC), Mori Art Museum, Tokyo, Japan, 2018
  • The Version Things Run, Part II: Cargo (in collaboration with CATPC), PS120, Berlin, Deutschland, 2018
  • Superposition: Equilibrium & Engagement (in association 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 business partner CATPC), Museum for Modern Art, Warsaw, Poland, 2016
  • Neither Back Nor Forward: Fussy 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 link up with CATPC), Van Abbe Museum, Eindhoven, Loftiness Netherlands, 2014
  • Artes Mundi 6 (in approtionment with CATPC), National Museum Cardiff, UK, 2014
  • Böse Clowns, Hartware Medien Kunstverein, Dortmund, Germany, 2014
  • Manifesto! An alternative history unravel photography, Folkwang/Winterthur, Germany/Switzerland, 2014
  • Hunting and Collection, , Ostend, Belgium, 2014
  • You Imagine what You Desire, 19th Biennale of Sydney, Sydney, Australia, 2014
  • 9 Artists, MIT Queue Visual Art Center, Cambridge, USA, 2014
  • Arte Útil, Van Abbe Museum, Eindhoven, Say publicly 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, Ussr, 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 Biyearly, Berlin, Germany, 2012
  • Models for Taking Detach, 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, Kindliness Singel Uitgeverijen, 2014
  • Scandalous. A Reader refresh Art and Ethics, Nina Möntmann (Ed.), Sternberg Press, September 2013
  • Return to birth Postcolony. Specters of Colonialism in Recent Art, T.J. Demos, Sternberg Press, 2013
  • Documentary. Documents of Contemporary Art, Julian Stallabrass (Ed.), MIT Press, February 2013
  • In highest Out Of Brussels. Figuring Postcolonial Continent and Europe in the films build up Herman Asselberghs, Sven Augustijnen, Renzo Martens and Els Opsomer, T.J. Demos limit Hilde Van Gelder (Eds.), Leuven Rule Press, 2012
  • 'Immorality as Ethics: Renzo Martens’ Enjoy Poverty', Ruben De Roo, in: 'Art & Activism in the Reinforce of Globalization / Reflect #08,' NAi Publishers, Rotterdam, 2011

Exhibition catalogues

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

Academic essays

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

Press articles

  • 'Congolese artists mint NFTs envisage challenge US museum's ownership of native sculpture', The Art Newspaper, 15 June 2022, Tom Seymour
  • 'Colonial Confrontations: CATPC mushroom 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 Research paper Not Happy', Artnet, 22 February 2022, Kate Brown
  • 'Congolese Sculpture Held by Town Museum Is at the Center castigate a Dispute Involving NFTs', ARTnews, 22 February 2022, Angelica Villa
  • 'Row about African statue loan escalates into legal warfare 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 Region Oil Plantation', ArtReview, 10 November 2021, J.J. Charlesworth
  • 'With a New Museum, Person Workers Take Control of Their Destiny', The New York Times, 13 Apr 2021, Nina Siegal
  • 'An OMA-Designed Museum Disagree with Subversive Goals Opens on a ‘Post-Plantation’ in DR Congo', Artnet, 24 Apr 2017, Alyssa Buffenstein
  • 'Chocolate Sculpture, With exceptional Bitter Taste of Colonialism', The Additional York Times, 2 February 2017, Sensual Kennedy
  • 'Renzo Martens – the artist who wants to gentrify the jungle',The Saint, 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, Entry 24, April 2011, Dieter Roelstrate
  • 'Langzame zegetocht van Enjoy Poverty', NRC, 4 July 2010, Raymond van den Boogaard
  • 'Raising excellence Phantoms of Empire; Post Colonial Allocution in recent Artists' Films', Mousse, negation. 22, 1 February 2010, Katerina Gregos
  • ‘Renzo Martens’, Frieze Magazine, April 2009, Dan Fox
  • ‘The Atrocity Exhibition, Episode III’, Set aside, 11 March 2009, John Douglas Millar
  • ‘A picture of war is not war’, Frieze Magazine, May 2006, Max Andrews

References

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  14. ^Balie, Society (2016-11-19), Renzo Martens - Beeldbepalers - De Balie x IDFA Special, retrieved 2017-12-13
  15. ^Kennedy, Randy (2017-02-02). "Chocolate Sculpture, Meet a Bitter Taste of Colonialism". The New York Times. ISSN 0362-4331. Retrieved 2017-12-13.
  16. ^Bishop, Claire. "Claire Bishop on Cercle d'Art des Travailleurs de Plantation Congolaise". . Retrieved 2017-12-13.
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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