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 Zabesto 1996 |
 Democracy 1996 |
 Blue Blood 1996 |
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 Deutsche Traum 1996 |
 El Camino al Cielo 1996 |
 Paredes e Poder 1996 |
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 Palm Tree, $ 100 Bill 1995 |
 Acid Trip 1995 |
 Big Ben Coke Snorter 1995 |
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![-[Anima]](http://www.lipanjepuntin.com/immagini/33_236_piccola.jpg) [Anima] Love 1998 |
 Public Image Afterlife Pride 1998 |
 Smell of Grass Ecstasy 1998 |
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 Glamour: A World Problem 1996 |
 Untitled (Red Cover) 1993 |
 Ponder on This 1996 |
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 The Secret Teachings of All Ages 1993 |
 How to Do All Things 1993 |
 The Magic Presence 1996 |
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 Weight 1993 |
 Bowl of Feathers 1993 |
 Hammer 1993 |
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 El Novio 1998 |
 La Novia 1998 |
 El Niño 1998 |
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 La Bailarina 1998 |
 Tio Guillermo 1998 |
 El Cardinal 1998 |
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 La Habanera 1998 |
 El Chico 1998 |
 La Madrasta 1998 |
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 Hairy Halls, Sprague Corp. 1996 |
 Sprague Maternity Ward, N. A. 1996 |
 Sprague Factory Sink, N.A. MA 1996 |
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 Billboard/Nothing for Sale, E.P. 1996 |
 Touch My Belly, Burma 1995 |
 Target Practice Clothesline, Cuba 1990 |
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| Born 1952 Dumbarton, Scotland. Currently lives in New York. Byrne studied at Rhode Island School of Design and Maryland School of Art, and later co-founded the band Talking Heads. Between 1976 and 1988, this highly influential group redefined notions of what was possible in popular music, setting new standards for lyrical acuity, musical variety and - in promo videos that Byrne himself often directed - visual inventiveness. As the band's lead vocalist and lyricist, Byrne often located a kind of wonder in prosaic reality; Talking Heads' second album was aptly entitled More Songs About Buildings and Food. This interest in the potential and perversity of the everyday has proved to be an enduring one for Byrne. During his time with the group, Byrne was involved with several other projects. He composed and created an evening-length ballet score for choreographer Twyla Tharp (The Catherine Wheel ); directed many of the first videoclips to appear on MTV; collaborated with Brian Eno on My Life in the Bush of Ghosts, a record incorporating “found” voices such as radio preachers, talk show guests and Arabic singers, and created a score for brass band and spoken text for a theater piece directed by Robert Wilson (The Knee Plays ). In 1985 a prize-winning film was made of the Talking Heads in concert entitled Stop Making Sense, directed by Oscar-winner Jonathan Demme. In 1986, Byrne co-wrote and directed a feature film entitled True Stories and in 1987, Byrne won an Academy Award for co-writing the score for Bertolucci‘s epic The Last Emperor. In 1989, David Byrne collaborated again with Robert Wilson on The Forest, a theater piece, composing an orchestral score with mostly wordless vocals. After releasing a soundtrack of the production, he performed it live with various orchestras. That same year he also directed a documentary on African religion in Brazil entitled Ile Aiye: The House Of Life and recorded Rei Momo, a collaboration with 15 of the best Latin musicians in New York. Byrne then toured with his group through Europe, Japan, North and South America. This record and tour were followed by one called Uh-Oh (1992) on which funk and Latin grooves were mixed together, and a film was made at the end of tour called Between The Teeth. Two more records followed: the self-titled David Byrne (1994) and Feelings (1997); 1998 saw the release of The Visible Man, a record of remixed versions of songs from Feelings, in 2001 Look into the Eyeball was released. Byrne’s record label Luaka Bop, which was founded in 1988, has evolved from a label specializing in “world music” compilations to one with emerging acts such as Cornershop, Geggy Tah, Susana Baca, Zapmama and a host of Alternalatino bands such as Bloque, Los Amigos Invisibles and King Chango. David Byrne has been involved in photography and design since his college days, but has only recently begun to exhibit his work and include his photos in books and magazines. Like his film and musical projects, his photography is often described as elevating the mundane or the banal to the level of art. In some ways he creates icons out of everyday materials and finds the sacred in the profane. Some of the photos might be considered “documentary”, though they are not really about a specific place or time. Rather, they are about the choice of the things, or lack of things, that is photographed. In particular, the lack of people stands out in his work. On this aspect of photography the writer/critic Wright Morris describes the sensation this condition creates: “Only in their absence will the observer intuit, in full measure, their presence in the object.” In a sense, Byrne’s photographs are about interiors, both physical and emotional, as much as exteriors. As a body of work, his photography deals with what lies behind the eyes as much as what is in front of them. Byrne shoots about half of the work on his travels in various parts of the world such as Mexico, Morocco and Texas. The other half were composed in his studio, using a variety of photographic media, including polaroids, Cibachromes, Cibatransparencies and digital processes. Recent museum shows in Germany, Italy and Japan have mixed these pieces with audio elements, acoustic guides and sculptural elements. Writing in his book of photographs Strange Ritual in 1995, Byrne noted that 'the sublime is in the banal'. Byrne has been exhibiting his photographs since 1990. His fascination with the vitality of other cultures, long a feature of his music, was strikingly evident in Strange Ritual. Interspersed with text in a notebook-like format, these highly colorful photographs, mostly taken in cities while Byrne was on tour, fluently constructed an artificial forest of signs - vending machines, window displays, Indian film posters, gaudy logos, the warp and weft of global street life - and fell tantalizingly between the poles of reportage travel photography and formally ordered compositions. Through the 90s, while releasing solo albums and heading the acclaimed record label Luaka Bop, Byrne worked on various visual art projects, including public artworks, photographs revealing the homogenized architecture of public environments, and, in 1998, the Super-Ego series of lightbox photographs of plastic dolls, apparently modeled on the Barbie 'Ken' dolls but sporting the physiognomy of Byrne himself. He also worked to reshape the protocol of visual art exhibitions by pairing images with soundtracks on acoustiguides. The viewer is then engulfed in a tidal wave of unsettling information, filled with deliberate internal contradistinctions. In 1998 Byrne published Your Action World (produced by the Italian gallery LipanjePuntin artecontemporanea), a book that, like the discrete artworks he was producing at the same time, showcased his interest in rerouting the subliminal effects of corporate America's pervasive aesthetics. Packaged by celebrated designer Steven Sagmeister, this volume was a collation of punchy and subversive images and texts using the tropes of motivational literature and advertising campaigns. This work reveled in re-siting the sophisticated graphic qualities of corporate visuals so that they could be viewed through a more reflective prismatic. But this work also gave the corporate material an illogical spin, throwing into doubt the value of (what had seemed) direct modes of communication. Such work constitutes a response to a world of ubiquitous branding and marketing where, as Byrne puts it, 'every aspect of our lives has logos and labels attached'. He uses the language of big business - which is increasingly hardwired into the common consciousness and progressively blurring the line between inspirational philosophy, lifestyle and consumption - in order to discuss it. His approach takes numerous forms. Through such 'culture jamming' Byrne reveals himself as an astute curator and delicate usurper of the absurd and troubling aspects of the contemporary corporate world. Rather than reacting abrasively against this culture, Byrne subtly tweaks the existing aesthetics: poisoning their messages to ensure a critical hesitancy whenever we encounter them in the future. He gives the corporate environment its uncanny strangeness back. His first book of photographs, Strange Ritual, was published in 1995 and was chosen by the N. Y. Times Book Review as one of the top 10 photography book of the Christmas season. The second one, Your Action World (Gotham, Italy, 1998), produced by LipanjePuntin artecontemporanea (Trieste, Italy), was modeled after corporate reports and inspirational and motivational literature. His last book titled The New Sins - Los Nuevos Pecados (2001) had been produced on the occasion of the 1st Valencia Biennial. It is a book updating the Bible's sins for a more contemporary audience. Byrne disscusses sin in general, and elucidates the new sins among them hope, beauty and sense of humor. Byrne’s most recent projects are JULIO THE UNCANNY and Playing the Building. Voice of Julio (2008) is an art project by him and David Hanson (creator of “conversational character robots”) shown at the Machines and Souls exhibition in Madrid. Julio is made of electrons and rubber, but sings with Byrne’s voice, and his face is programmed to mimic the gestures and expressions of a vocalist. In his project description, Julio the Uncanny, Byrne writes: "Knowing that singing elicits an emotional reaction from a listener and observer, I sense that encountering Julio might push some very odd buttons… We think of seeing and looking as something optical, something the eyes do. But actually seeing something, and recognizing it, is a lot more than that — it is the act of naming the thing the eyes are locking on to. It involves other meta brain functions that often have nothing to do with optics or the muscles controlling the eye. If seeing were just the visual and eye-muscle behavior, then isn’t that the same as what Jules does? And then isn’t singing, and displaying the attendant emotions, the same as what Julio does? We tend to think that our emotions live inside — in our hearts and minds…I think it’s more complicated and more confusing than that." Playing the Building (2005/2008), a sound installation in which the infrastructure, the physical plant of the building, is converted into a giant musical instrument. Devices are attached to the building structure — to the metal beams and pillars, the heating pipes, the water pipes — and are used to make these things produce sound. The activations are of three types: wind, vibration, striking. The devices do not produce sound themselves, but they cause the building elements to vibrate, resonate and oscillate so that the building itself becomes a very large musical instrument. |
| David Byrne - Selected Group Exhibitions | |
2010 |
Still in Motion - The 10th Anniversary, LipanjePuntin artecontemporanea, Roma (Italy) |
2009 |
Still in Motion - The 10th Anniversary, LipanjePuntin artecontemporanea, Trieste (Italy) |
| Art Verona, LipanjePuntin artecontemporanea , Verona (Italy) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
2008 |
Playing the Building, Battery Maritime Building, New York (USA) |
| It's not just Rock and Roll, Baby!, Palais Des Beaux Arts, Brussels (Belgium) | |
| Maquinas y Almas, Arte digital y nuevos medios, Museo Nacional Reina Sofia, Madrid (Spain) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
2007 |
Supermodels II: Real vs Unreal, lipanjePuntin artecontemporanea, Roma (Italy) |
| Is There Anybody Out There?, LipanjePuntin artecontemporanea, Trieste (Italy) | |
| Deaf 2: From the Audible to the Visible, Galerie Frank Elbaz, Paris (France) | |
| Notes on Utopia, Maya Stendhal Gallery, New York (USA) | |
| The Trip-Pop Game, LipanjePuntin artecontemporanea, Trieste (Italy) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
2006 |
Good Vibrations: le arti visive e il rock, Palazzo delle Papesse, Siena (Italy) |
| Sound & Vision, Palazzo della Penna, Perugia (Italy) | |
2005 |
Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) |
| Destination Works, PULSE/Miami, Miami (USA) | |
2004 |
The Voting Booth Project, Parsons Gallery, New York (USA) |
| Tactical Action, Gigantic ArtSpace, New York (USA) | |
| Shhh! Sounds In Spaces (audio installation), Victoria and Albert Museum, London (United Kingdom) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| Arco, LipanjePuntin artecontemporanea, Madrid (Spain) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
| Framework - strutture del desiderio, LipanjePuntin artecontemporanea, Trieste (Italy) | |
| Shhh! Sounds In Spaces, Victoria and Albert Museum, London (England) | |
2003 |
Illegal Art: Freedom of Expression, Nexus Gallery, Philadelphia, PA (Usa) |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| Arco, LipanjePuntin artecontemporanea, Madrid (Spain) | |
| MiArt, LipanjePuntin artecontemporanea, MIlano (Italy) | |
| Melting Pop, Palazzo delle Papesse, Siena (Italy) | |
| Illegal Art: Freedom of Expression, San Francisco Museum of Modern Art, San Francisco, CA (Usa) | |
| Melting Pop, Civico Museo d'Arte Castello di Masnago, Varese (Italy) | |
2002 |
Illegal Art, CBGB's 313 Gallery, New York (Usa) |
| Artissima, LipanjePuntin artecontemporanea, Torino (Italy) | |
| Tokyo Art Jungle, Tokyo International Forum, Tokyo (Japan) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
| Arco, LipanjePuntin artecontemporanea, Madrid (Spain) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
2001 |
Le muse inquietanti, Museo pascali, Polignano a Mare, Bari (Italy) |
| Art Cologne, LipanjePuntin artecontemporanea, Köln (Germany) | |
| 1st Valencia Biennial, Valencia (Spain) | |
| Artissima, LipanjePuntin artecontemporanea, Torino (Italy) | |
| Credit Game, Ntt Inter Communication Center, Tokyo (Japan) | |
| MiArt, LipanjePuntin artecontemporanea, Milano (Italy) | |
| Arco, LipanjePuntin artecontemporanea, Madrid (Spain) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
2000 |
Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) |
| Arco, LipanjePuntin artecontemporanea, Madrid (Spain) | |
| Art Brussels, LipanjePuntin artecontemporanea, Brussels (Belgium) | |
| Contemporary Arts Center, Cincinnati (Usa) | |
| Supermodel: Identity and Transformation, LipanjePuntin artecontemporanea, Trieste (Italy) | |
| Artissima, LipanjePuntin artecontemporanea, Torino (Italy) | |
| Art Cologne, LipanjePuntin artecontemporanea, Köln (Germany) | |
1999 |
Art Cologne, LipanjePuntin artecontemporanea, Köln (Germany) |
| Still in Motion, LipanjePuntin artecontemporanea, Trieste (Italy) | |
| Art Brussels, LipanjePuntin artecontemporanea, Brussels (Belgium) | |
| Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) | |
| The Before Pictures, Massachussets Museum of Contemporary Art, North Adams (Usa) | |
1998 |
Arte Fiera, LipanjePuntin artecontemporanea, Bologna (Italy) |
| Paris Photo, LipanjePuntin artecontemporanea, Paris (France) | |
| Welcome Tokion, George's Gallery, Los Angeles (Usa) | |
| New York Color School, Valerie's Gallery, New York (Usa) | |
| Warehouse: A Concept for Collecting, Exit Art/The First World, New York (Usa) | |
1997 |
Icon, SF MOMA, San Francisco (Usa) |
| Rio Grande Project: A River Thirsting for Itself, Santa Fe (Usa) | |
| Just What Do You Think You're Doing, Dave?, Williamsburg Art and Historical Society, New York (Usa) | |
| 5 & 10: Art For Change, Tampa (Usa) | |
| Paris Photo, LipanjePuntin artecontemporanea, Paris (France) | |
1996 |
Nash's Greatest Hits, Photographers' Gallery, London (England) |
| Sweat, Exit Art, new York (Usa) | |
| Luminous Image, The Alternative Museum, New York (Usa) | |
| Blind Spot: The First Four Years, Baldacci Gallery, New York (Usa) | |
1995 |
Metamorphoses: Photography in the Electronic Age, Blaffer Gallery, Huston (Usa) |
| Metamorphoses: Photography in the Electronic Age, San José Museum of Art, San José (Usa) | |
| Metamorphoses: Photography in the Electronic Age, Tampa Museum of Art, Tampa (Usa) | |
| Photographs to Benefit Tibet House NY, Robert Miller Gallery, New York (Usa) | |
| Metamorphoses: Photography in the Electronic Age, Philadelphia Museum of Art, Philadelphia (Usa) | |
| Blind Spot, The McKinney Avenue Contemporary, Dallas (Usa) | |
| Blind Spot Exhibition, 214 Lafayette Street, New York (Usa) | |
| The Colour Red, ACC Rheinhallen, Köln (Germany) | |
| Metamorphoses: Photography in the Electronic Age, FIT, New York (Usa) | |
1994 |
Summer Salon (Pictures We Like), Bonnie Benrubi Gallery, New York (Usa) |
| Shot in El Paso, El Paso Museum of Art, El Paso (Usa) | |
| David Byrne - Selected Solo Exhibitions | |
2007 |
Furnishing the Self-Upholstering the Soul, Hemphill Fine Arts, Washington DC (USA) |
2006 |
Furnishing the Self - Upholstering the Soul, Pace/MacGill Gallery, New York (USA) |
2005 |
Playing the Building (audio installation), Färgfabriken, Stokholm (Sweden) |
| The New Sins: Lightbox Installation, CONTACT Toronto Photography Festival, Toronto (Canada) | |
2004 |
Trees, Tombstones and Bullet Points, George Eastman House, Rochester, NY (USA) |
| PowerPoint exhibit, George Eastman House, Rochester, NY (Usa) | |
2003 |
What is It?, Southeastern Center for Contemporary Art, Winston-Salem (Usa) |
| The End of Reason, Condé Nast building lobbies, New York (Usa) | |
| David Byrne, Pace/MacGill Gallery, New York (Usa) | |
2002 |
Everything is Connected, Saks 5th Ave, New York (Usa) |
| The New Sins, Sydney Festival, Sydney (Australia) | |
| Sonic Garden, World Financial Center, New York (Usa) | |
| What is It?, Tokyo Art Jungle, Tokyo (Japan) | |
| Elective Affinities, Track 16 Gallery, Los Angeles (Usa) | |
2001 |
Indices: New and Ongoing Work by David Byrne, Decker Gallery, Baltimore (Usa) |
| Indices: New and Ongoing Work by D. Byrne, Maryland Inst. College of Art, Baltimore (Usa) | |
2000 |
The Wedding Party (with Adelle Lutz), LipanjePuntin artecontemporanea, Trieste (Italy) |
1999 |
Your Action World, Marino alla Scala / LipanjePuntin, Milano (Usa) |
| Better Living Through Chemistry, Lloyd Jerome Gallery, Glasgow (Scotland) | |
| Arco, LipanjePuntin artecontemporanea, Madrid (Spain) | |
| Weinstein Gallery, Minneapolis (Usa) | |
1998 |
Glory! Success! Ecstasy!, Aktionsforum Praterinsel, Munich (Germany) |
| Better Living Through Chemistry, Belfast Festival, Belfast (Northern Ireland) | |
| Under / Exposed, Subway installation, Stokholm (Sweden) | |
| SUPEREGO, The Gramercy Art Fair / LipanjePuntin, New York (Usa) | |
| Your Action World, Civico Museo Revoltella / LipanjePuntin, Trieste (Italy) | |
| Sleepless Nights, Strange Ritual, Ormeau Baths Gallery, Belfast (Northern Ireland) | |
| Fe, Centro Fotografico Manuel Alvarez Bravo, Oaxaca (Mexico) | |
| Summa Scientiae Mundi, LipanjePuntin artecontemporanea, Trieste (Italy) | |
1997 |
Kiosk & Guide, Flatiron Building, New York (Usa) |
| Desire, Public Toilet installation, San Francisco, CA (Usa) | |
| ActionLoveGods!, Photographs Do Not Bend, Dallas (Usa) | |
| Strange Ritual, La Foret Museum, Tokyo (Japan) | |
| Stairway to Heaven, Art Futura, Madrid (Spain) | |
| Desire, McKinney Avenue Contemporary, Dallas (Usa) | |
1996 |
Anima Mundi, Camerawork, San Francisco (Usa) |
| Stairway to Heaven, Phyllis Kind Gallery, Chicago (Usa) | |
| Strange Ritual, Il Ponte, Roma (Italy) | |
| Strange Ritual, Gallery 44, Toronto (Canada) | |
| Desire, MASS MoCA, North Adams (Usa) | |
| Strange Ritual, Bridge Center for Contemporary Art, El Paso (Usa) | |
| Strange Ritual, Galerie Ressel/Konsthandel, Stockholm (Sweden) | |
| Strange Ritual, Gallery Anonimus, Ljublijana (Slovenia) | |
| David Byrne: Strange Ritual, Photographers' Gallery, London (England) | |
| Strange Ritual, Mylos Gallery, Thessoloniki (Greece) | |
1995 |
Sleepless Nights, Galerie Arndt & Partner, Berlin (Germany) |
| Sacred Objects, Parco Gallery, Osaka (Japan) | |
| Sacred Objects, Kiyumisu-dera Temple, Kyoto (Japan) | |
| Sacred Objects, Parco Gallery, Tokyo (Japan) | |
| Evidence of Human Habitation, CEFFT, Zagreb (Croatia) | |
| Strange Ritual, Phyllis Kind Gallery, Chicago (Usa) | |
| Sacred Objects, Sleepless Nights, Loja da Atalaia, Lisbon (Portugal) | |
| Strange Ritual, Chassie Post Gallery, Atlanta (Usa) | |
| Strange Ritual, Cristinerose Gallery, New York (Usa) | |
| Evidence of Human Habitation, Carousel Exhibition Space, Istambul (Turkey) | |
| David Byrne: Photographs, Books & Books, Coral Gables (Usa) | |
| Evidence of Human Habitation, Photo Center, Moscow (Russia) | |
1994 |
Photo works, Stelling Gallery, Leiden (The Netherlands) |
| David Byrne - En la pared, Centro Cultural Recoleta, Buenos Aires (Argentina) | |
| Faith, CBGB's 313 Gallery, New York (Usa) | |
| Sacred Objects, Sleepless Nights, Stills Gallery, Edimburgh (Scotland) | |
| Photo Works, Galerie Transit, Leuven (Belgium) | |
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