Disclosures -

Disclosures seeks to scrutinise the notion of openness across fields of cultural production at large. A first reading of openness refers to situations in which the viewer, reader, listener or internet user becomes emancipated through egalitarian participation, collaborative authorship and/or the breaking down of hierarchical and social boundaries. Such scenarios have recurred in the writing and practice of numerous avant-gardists throughout the 20th Century whose legacy, perhaps more so now than ever before, largely informs contemporary practitioners: from Bertolt Brecht’s early claims over media as a two-way communication apparatus (1932) (1), to Walter Benjamin’s The Author as Producer (1934); from Roland Barthes’ The Death of The Author (1967), to the Italian Autonomists’ use of the airwaves as a space for self-organisation and vehicle for popular participation (Radio Alice, 1976-1977 being one example); or from Peter Watkins’ participatory film-documentary La Commune (Paris, 1871) (2000) to the televised re-enactment of the Battle of Orgreave orchestrated by Jeremy Deller (2001), to cite but a few.

Zanny Begg & Oliver Ressler, What Would It Mean To Win?, 2008, 40min, Film still

Disclosures is part of NODE.London Spring ’08. NODE.L: (Networked, Open, Distributed, Events. London) is a voluntary gathering of people, organisations and projects that want to share and develop the infrastructure for media arts and related activities in London and beyond. Node.London Spring '08 has brought together many artists and organisers in an open, participatory season of media arts that aims to support and stimulate media arts in London, budding with fresh exhibitions, discussions, musical events and participatory projects.

Gasworks - Disclosures -

MONOLOGS

MONOLOGS /
Laboratorio Global de Monologos y Video /
convocatoria abierta de video

Parable of the Garden: New Media Art from Iran & Central Asia

TCNJ Art Gallery:

"February 20 - March 30
Parable of the Garden: New Media Art from Iran & Central Asia
Curated by Leeza Ahmady, Sarah Cunningham & Deborah Hutton
Gallery Talk with the Curators: February 20, 4 p.m.

Geographically focusing on former Persia and its cultural legacy, this exhibit will present recent media works by artists from Iran and Central Asia . The exhibit thematically explores not only the traditional garden and the contemporary sense of place, but also notions of paradise lost and found, lessons learned and forgotten, and traditions cherished and rejected."

Parable of the Garden: New Media Art from Iran & Central Asia
Curated by Leeza Ahmady, Sarah Cunningham and Deborah Hutton. Focusing on former Persia and its cultural legacy. Not only the traditional garden and the contemporary sense of place, but also notions of paradise lost and found, lessons learned and forgotten, and traditions cherished and rejected. Lida Abdul, Vyacheslav Akhunov, Muratbek Djoumaliev, Gulnara Kasmalieva, Shahram Entekhabi, Simin Keramati, Khosro Khosravi, Almagul Menlibayeva, Rahraw Omarzad, Karan Reshad and Alexander Ugay.

http://www.acaw.net/ACAW2008

Shahram Entekhabi

"'Dead Satellites' is an expression defined by Shahram Entekhabi for a certain culture within the migrant scene.
In an astro-scientifical context, the term 'dead satellites' stands for satelittes that are out of service, but still circling around the earth without destination. The title refers to those people, who left their home countries and practice certain cultural traditions in an exaggerated way. By this, the traditions lose their origins and are unveiled in a way of total hypertrophy. This exaggeration mixes up with a deep feeling of discomfort and mistrust against the 'host country'. As result there are 'dead satellites', rootless, in two ways: they are without any context to their home countries and live in a partly self-decided, partly forced isolation additionally to their situation in the new country."

Archibald Prize 2008

Archibald Prize 2008

The Archibald Prize is one of Australia's oldest and most prestigious art awards.

Katastrophenalarm

"Katastrophenalarm

29. März – 18. Mai 2008,

Künstler/innen: Dave Hullfish Bailey (USA), Margit Czenki / Christoph Schäfer (D), Christoph Draeger (USA/CH), Marjolijn Dijkman (NL), Azin Feizabadi / Kianoosh Vahabi (D/IR), Cornelia Hesse-Honegger (CH), Renè Lück (D), Eva Meyer Keller (D), Claudia Mucha (D), Lisi Raskin (USA), Lise Skou / Nis Rømer (DK), spector cut paste (Markus Dreßen / Anne König / Jan Wenzel) (D), Andrei Ujica (D/RO), Ingo Vetter (SE/D)

Ein dramatisches Wetterereignis folgt auf das nächste: Überschwemmungen, Dürren und Stürme werden weltweit gemeldet; die Konjunktur der Diskussion um ökologische Gefährdungen und Krisen wird angekurbelt. Mediale Argumente einer Klimakatastrophe versetzen die Öffentlichkeit in eine ständige Alarmbereitschaft, um so eine Atmosphäre der Angst zu erzeugen und herrschende Machtverhältnisse zu stärken. Eine Bedrohung wird wiederholt, als real präsentiert und erzeugt einen Ausnahmezustand. Bleibt es allerdings bei ihrer Prognose, entsteht ein postkatastrophisches Bewusstsein; politisches Handeln erscheint als aussichtslos. Wer steckt hinter dem gegenwärtigen ‚Katastrophenalarm’ und wer profitiert davon?

NGBK - Berlin

Eylem Aladogan

"The Kröller-Müller Museum has a dynamic programme of temporary exhibitions. These range from major surveys of artists or movements represented in the permanent collection to shows focusing on current developments in contemporary art.

Eylem Aladogan
February 21st, 2008 - June 8th, 2008

Eylem Aladogan (1975) makes monumental installations characterised by an intelligent interplay between architectural and more organic elements. She condenses the spatiality to create a concentrated dynamic that seems to hide deeper levels of meaning. The conceptual power of Aladogan’s pieces is matched by the extraordinary and sophisticated sensitivity with which she employs her materials."

Exhibitions - Kröller-Müller Museum

Bianca Hester

Bianca Hester approaches art as a 'proliferating event'; a fragmentary, multi-layered and unfolding process that is context specific. For projectprojects she has plugged into the local knowledge and practices in Bethnal Green and as the project has developed, the installation has functioned as a setting for a series of events ranging from the planning of a raft to navigate Regent's Canal to the recording of experimental performances on home-made musical instruments.

THE SHOWROOM - Art - London

von dem was dann noch bleibt

Von dem was dann noch bleibt

James Aldridge / Holmer Feldmann / Rachel Goodyear / Falk Haberkorn / Jeon Joonho / Elena Loukianova / David A. Parker / Kei Takemura / Rebecca Wilton / Haegue Yang
2. März – 20. April 2008

Eröffnung: 1. März 17 bis 20 Uhr
kuratiert von Elke Gruhn und Katharina Klara Jung

Was bleibt, wenn etwas verschwunden ist? Ein Gedächtnis weiß mehr als wir selbst, es ist kreativ, beschränkt sich nicht auf einfache Reize und Daten, sondern verarbeitet und speichert Informationen und deren Bedeutung, die durch Kommunikation mit allen Sinnen entsteht und von uns mit Gefühlen bewertet wird. Nicht immer gehen Erinnerungen auf Erlebnisse zurück, sie können entstehen aus Büchern, Filmen, den Erzählungen Anderer... Was dann noch bleibt? Geschichten, Spuren, Anklänge, Schatten, manchmal auch Neues…

nassauischen kunstverein wiesbaden

Die Ausstellung? Sie sind die Ausstellung!

Die Ausstellung? Sie sind die Ausstellung!
Olivier Bardin
12. bis 30. März 2008

Die zweiteilige Ausstellung von Olivier Bardin (*1969 in St. Etienne, lebt in Paris) besteht aus den Besuchern der Ausstellung selbst und ihrer Definition von Subjekt und Objekt, von Betrachter und Betrachtetem. Es wird eine offene Erzählstruktur und es bleibt abzuwarten, welche Form diese soziale und interaktive Plastik annehmen wird. Der Künstler knüpft hiermit an eine Serie von Ausstellungen an, die er jüngst in dieser Form durchgeführt hat (u.a. im Centre d’Art von Vassivière und im Centre d’Edition Contemporaine in Genf). Die Ausstellung beginnt immer in einem leeren Ausstellungsraum, es werden immer Teilnehmer eingeladen, alles weitere variiert.

Kunstverein Nürnberg

when dogs eat Beuys

Die Ausstellung "ArtBrands" zeigt Produkte mit Künstlernamen, die der Freiburger Künstler und Kunsthistoriker Michael Klant seit Jahren auf Reisen und zuhause sucht und sammelt. Die etwa 70 Objekte, die in der Ausstellung gezeigt werden, reichen von kleinen Büroartikeln bis zu großen Maschinen und berücksichtigen die ganze Kunstgeschichte. Sie stammen von Herstellern mit zufälliger Namensgleichheit oder sind, wie Raffaello-Konfekt, aus Verkaufsgründen mit klangvollen Namen versehen worden – Originale und Fälschungen.

Städtische Museen Freiburg

Erwin Wurm

1. März – 12. Mai 2008

Erwin Wurm
The artist who swallowed the world

Outdoor sculpture, Appenzell, 1998

Der 1954 geborene Erwin Wurm zählt zweifellos zu den erfolgreichsten Gegenwartskünstlern. Mit einer umfassenden Werkschau ermöglicht das Kunstmuseum St.Gallen einen einmaligen Einblick in ein vielschichtiges Werk, das den Skupturbegriff radikal erweitert hat, zugleich in der Kunst die Unzulänglichkeiten des alltäglichen Seins spiegelt.

Kunstmuseum St.Gallen

Bard College Press Releases

This spring CCS Bard presents a series of nine exhibitions at the CCS Galleries, curated by second-year students in its graduate program in curatorial studies, including work by 44 internationally known contemporary artists. These exhibitions are the culmination of the students’ work for the master’s degree. Concurrently on view with these exhibitions in the CCS Bard Hessel Museum of Art is Second Thoughts, a response to Matthew Higgs’s Exhibitionism: An Exhibition of Exhibitions of Works from the Marieluise Hessel Collection, featuring works by more than 70 artists.


The first series of three exhibitions opens on Sunday, March 16, with a reception from 1:00 to 4:00 p.m., and is on view through Sunday, March 30. The exhibitions are: Countdown, including work by Urs Fischer, Jamie Isenstein, Kris Martin, Roman Signer, and Jordan Wolfson, curated by Vincenzo de Bellis; Grounds for Progress, including work by Gemma Pardo, Aura Rosenberg, and Lisa Sanditz, curated by Lauren Wolk; and Recasting Site: Robert de Saint Phalle, Roe Ethridge, Mary Lucier, and Robert Smithson, curated by Terri C. Smith.

The second series of three exhibitions opens on Sunday, April 13, with a reception from 1:00 to 4:00 p.m., and is on view through Sunday, April 27. The exhibitions are: Another Time, including work by Chen Chieh-jen, Tacita Dean, and Peter Hutton, curated by Milena Hoegsberg; (loverboy), sleep, shatter, handheld bird, including works by Felix Gonzalez-Torres, Rodney Graham, Barry Le Va, and Charles Ray, curated by Daniel Byers; and Under the Influence, including work by John Baldessari, Jen DeNike, Nancy Holt, Joan Jonas, Jill Magid, Rachel Mason, Michele O’Marah, and Robert Smithson, curated by Anat Ebgi.

The final series of three exhibitions opens on Sunday, May 11, with a reception from 1:00 to 4:00 p.m., and is on view through Sunday, May 25. The exhibitions are: Modernism: On and Off the Grid, with works by Martin Beck, VALIE EXPORT, Dan Graham, Dorit Margreiter, and Superstudio, curated by Niko Vicario; Act Out, including work by Vito Acconci, Cheryl Donegan, Mike Kelley, Paul McCarthy, Sturtevant, and Hannah Wilke, curated by Tyler Emerson-Dorsch; and Degrees North: Six Artists and the Icelandic Landscape, including work by Birgir Andrésson, Douwe Jan Bakker, Hreinn Friðfinnsson, Kristján Guðmundsson, Sigurður Guðmundsson, and Magnús Pálsson, curated by Nicole Pollentier.

Second Thoughts, curated by 14 first-year graduate students at the Center for Curatorial Studies, presents exhibition as revision. It is a direct response to Exhibitionism (October 20, 2007 – February 3, 2008), a series of autonomous and idiosyncratic micro-exhibitions curated by Matthew Higgs for each of the 16 galleries in the Hessel Museum. Second Thoughts, organized in three phases, is on view concurrently with the master’s degree thesis exhibitions (March 16–30, April 13–27, and May 11–25).

Bard College Press Releases - Full Story
ANNANDALE-ON-HUDSON, N.Y.—

Joanna Frueh

Lifetime Achievement Awards

"Joanna Frueh is an art critic and art historian, a writer, an actress, a singer, and a multidisciplinary and performance artist. Her most recent book is Swooning Beauty: A Memoir of Pleasure (2006). There her trailblazing consciousness continues the exploration of love, eros, sex, beauty, the body, and human relations that appear in her previous books, Monster/Beauty: Building the Body of Love (2001) and Erotic Faculties (1996). Clairvoyance (For Those In The Desert): Performance Pieces 1979-2004, a collection of her essential performance texts, will be published by Duke University Press in December 2007. Other groundbreaking projects include co-curating Picturing the Modern Amazon (New Museum of Contemporary Art, 2000) and being principal co-editor of the book, having the same title, which accompanied the exhibition. Frueh has written extensively on contemporary art and women artists since 1976. Recognized as a powerful performance artist, she has presented performances—as well as lectures—at museums, galleries, universities, and conferences in the United States, Canada, Australia, and the UK. Frueh is Distinguished Professor in the School of Art at the University of Arizona and Professor Emerita of Art History at the University of Nevada, Reno." http://www.joannafrueh.com/

Plugged Art Collective

Plugged Art Collective

Plugged Art Collective is testament that small people can make big things happen.
Founded in 2004, Plugged was built upon the desire to support, promote, and exhibit art that is free, stimulating, and unsettling.

700IS EXPERIMENTAL FILM&VIDEO FESTIVAL

700IS EXPERIMENTAL FILM&VIDEO FESTIVAL

The festival’s prize went to Angela Ellsworth from the USA for her film ´HOT AIR´, very personal piece that touched the selection panel deeply. She was invited to Iceland as well as receiving a money prize.

The prize for the best Icelandic film went to Helena Stefansdottir for her film ´Anna´.

Atsushi Kaga

Atsushi Kaga
Consolations for Bunny


from 07 march 2008 until 26 april 2008
nicolas krupp gmbh

I’m Short Your House

Stephan Dillemuth & Nils Norman
I’m Short Your House, 2007
DVD, 25 Min., Farbe, Ton
Stephan Dillemuth und Nils Norman arbeiten seit den frühen 1990er Jahren immer wieder gemeinsam an Ausstellungen und Rechercheprojekten. I’m Short Your House bringt ihre parallelen Recherchierstränge zur Boheme zusammen mit der anhaltenden Vergeld-lichung der Stadt und der Rolle des Künstlers im florierenden internationalen Kunst-markt. Das Video entstand anlässlich ihrer gemeinsamen Ausstellung A Mysterious Thing in der Vilma Gold Gallery, London.
Kostenloser Download auf: www.societyofcontrol.com/imshortyourhouse.htm

via Kunsthalle Zürich

Glasgow Art Fair

Glasgow Art Fair 27 - 30 March 2008

"Presenting artwork from across all media from over 50 galleries and arts organisations representing more than 1000 artists, the Glasgow Art Fair remains the place to buy, sell and view art with the widest range of contemporary work outwith London."

nonstarvingartists.com

Languages & The Media 2008

Languages and The Media 2008

The 7th International conference and exhibition on Language transfer in audiovisual media will be held in Berlin 29-31 October 2008.

All information including the call for papers to be found on the web site: www.languages-media.com

blood for oil

www.BloodForOil.org
free peace posters, anti-war posters, anti-bush posters:

"Blood For Oil?
A growing collection of free anti-war posters, anti-occupation posters, anti-empire posters, peace posters, bumper stickers, buttons and artwork by artists worldwide against war. Stop the insanity. Think of the consequences. Speak your will, because it's not over. Download any of these free digital images and publish as you see fit."

Loop 2008 - The Place for Videoart Lovers

Loop 2008 - The Place for Videoart Lovers:

"LOOP'08, el sexto Festival de videoarte, se celebrara' del 6 al 18 de mayo de 2008 con nuevas propuestas y nuevos proyectos. Este año, LOOP apuesta por programas comisariados, colecciones de videoarte, escuelas y universidades, y presentaciones de festivales internacionales, impulsando los vìnculos entre los distintos agentes y en especial, fomentando las relaciones entre los agentes locales y extranjeros"

Golden Eyes

Golden Eyes, a mural by Petra Mrzyk and Jean-François Moriceau, is the second project of the cycle Euphoria. Cases of Extreme Optimism (La euforia. Casos de optimismo extremo), on display at the CaixaForum Barcelona.

http://www.fundacio.lacaixa.es/

ART FORUM BERLIN

The thirteenth ART FORUM BERLIN - The International Fair for Contemporary Art - will take place at the Berlin Exhibi-tion Grounds from 31 October to 03 November 2008. Organized by Messe Berlin GmbH in cooperation with its international Galler-ies’ Advisory Board, ART FORUM BERLIN has established itself as one of the most innovative world-class showcase for contemporary art.

ART BRUSSELS 2008

ART BRUSSELS 2008

The 26th edition of the contemporary art fair artbrussels takes place from Thursday 17 to Monday 21 April 2008. 180 galleries from 24 countries and works by more than 2000 artists offer an insight of the current international contemporary art scene. Combined with an exciting VIP OFF programme, panel discussions, guided tours and many links with private and public cultural institutions, artbrussels welcomes more than 30.000 professionals, collectors and art lovers from Belgium and abroad!

Entrelíneas

"Between the lines - Muntadas, Antoni"

Between the Lines [Entrelíneas] es un proyecto creado en 1979 que consiste en una instalación y un vídeo monocanal, en el que ambos pueden funcionar juntos o por separado.

La instalación, conectada a una antena de televisión y, concretamente, a un canal de noticias 24 horas, consiste en una caja, dentro de la cual se sitúan un monitor en color y, frente a él, cuatro videocámaras que filman los cuatro ángulos de su imagen. Del otro lado, en el frontal de la caja, cuatro monitores más forman un mosaico y reciben las imágenes fragmentarias de las cámaras, que emiten en blanco y negro. Así, los espectadores pueden comparar la visión entera y en color del monitor aislado, con las cuatro visiones fragmentadas en blanco y negro del frontal.

Museo Nacional Reina Sofìa
Colección Permanente

XIII Canariasmediafest

XIII Canariasmediafest 13ª Edición del Festival Canariasmediafest.

Festival Internacional de Artes y Culturas Digitales de Gran Canaria
Celebración del 4 al 8 de noviembre de 2008 en Gran Canaria Espacio Digital en Las Palmas de Gran Canaria.

Convocatoria sección a concurso - Call for entries competition section
Páginas web relacionadas www.grancanariadigital.com, www.canariasmediafest.org

THE 8.1 DISTORSIONS. DOCUMENTS. NOTHINGS AND TALES EXHIBITION

THE CAAM PRESENTS THE 8.1 DISTORSIONS. DOCUMENTS. NOTHINGS AND TALES EXHIBITION

From January 25th to March 30th, a group of forty artists of an intergenerational nature, either solo, in couples or groups, consisting of Canary Island-born creators who live and work here or decided to move to other climes and accidental visitors or foreigners now settled in the Islands, participate in the 8. 1. Distortions. Documents. Nothings and Tale exhibition project presented by the Centro Atlántico de Arte Moderno (CAAM) in Las Palmas de Gran Canaria.
8.1 Distorsiones. Documentos. Naderías y Relatos

The first chapter of 7.1 Distortions. Documents. Nothings and Tale took place exactly one year ago. The project now culminates with 8.1, with the aim of mapping artistic production today in the Canary Islands, enhanced by the participation of a series of renowned artists of different geographical origins whose work has at some time been focused on the Islands.

The selection criterion followed by the exhibition’s three curators, Alicia Murría, Gopi Sadarangani and Néstor Torrens, besides scanning the artistic panorama, combined two formulas in 8.1: on the one hand, a direct invitation to creators whose production seemed interesting and who, for different reasons, had not participated in 7.1. Together with these invitations, an open call was made for projects, providing them with access to other authors who, for different factors (not having participated in significant exhibits, having only a brief history either because of age, a presence in alternative or less visible channels), were unknown or, in the curators’ words “we had involuntarily passed over – nobody is perfect and us less than anyone –; we are aware that many artists, in spite of their rigour, suffer from a shortage of effective platforms on which to display their production”.

As for the contents of 8.1., the idea was to continue along the lines of 7.1, with themes and means reflecting – and constructing – the present, and with the curators using as few filters as possible, so that the artists and their work were what built the fabric of the map, this one reading (among other possibilities) which the exhibit aimed to provide. On both occasions, then, the aspects that the works invite to consider range from macro to micro; from the social concerns affecting everyone to others, just as important, affecting privacy, as both of them are an essential part of our daily lives. According to the curators, “these works approach reality from different positions, either the socio-political context of the Islands, how leisure and culture is understood, the function of art or museums, or others such as, for instance, the representation of nature, the idea of landscape and its re-interpretation from current perspectives, or a look at the city and its architecture”.

The forms of narrative adopted today by creators and their usual media, whatever their origin, are all reflected here; from practices which can be described as traditional, such as painting, sculpture or drawing to those using what are known as new media, such as photography (from analogic to digital), video, installations, animation and also performance, graffiti or work in which sound is the protagonist. It was also decided to explore less usual territories, such as radio, with specific interventions which will be broadcast daily on Radio Guiniguada as part of the exhibition, for as long as it remains open.

“One of the outstanding aspects of this project”, say the curators, “and also one of our main objectives, was to emphasise the idea that culture is found in multiple manifestations, phenomena and conduct, many of which are not always understood and analysed with the care, and broadness of mind, that they deserve. These attitudes are probably the reason for the growing distance between the museum, as a paradigm of high culture, and the young public; a possible solution of the problem does not consist of making culture spectacular but of accepting its diversity and admitting its multiple hybrid forms”.

LIST OF ARTISTS:
Samuel Aguilar Pereyra
Julio Blancas
El Caso
Alberto García Domínguez
Griffi
Andreas Gursky
Concha Jerez y José Iges
Martin & Sicilia
Jorge Ortega Rodríguez
Santiago Palenzuela
Rayco Pulido
Taller de la incertidumbre
Jorge Yeregui Tejedor
Juan Carlos Batista
Inés Bonet
Olmo Cuña Carracelas
Laura González Cabrera
Paco Guillén
Axel Hütte
Ralph Kistler
Wansy Navarro
Aitor Ortíz Viota
Lena Peñate y Juan José Valencia
Cecilia Sosa Santana
Gregorio Viera

As with 7.1, a newspaper is published which analyses, together with audio art and the producing of computer-generated images, media such as comics and territories such as the hip hop culture (in which graffiti, rap or DJ music provides a healthy creative environment) where humour, irony or an incisive lack of inhibition are often highly effective critical tools. They are supplemented by fifteen authors who, in both editions, have provided a glance at both the singular aspects of this territory and the course of current artistic production.

This plurality of attitudes and analyses, all these ways of seeing and thinking, are behind Distortions. Documents. Nothings and Tale 7.1 and 8.1; the map does not refer to “Canary Island art” but to different views of the present by relativising the concepts of centre and periphery, assuming what is local and global as intercommunicated and complementary mental spaces.

On occasion of this exhibition, the CAAM has programmed a series of parallel activities, including an Open Evening, Guided Visits, a course on art centres and contemporary art museums in relation to the modernisation process and the application of good practice criteria directed by Juan Antonio Álvarez Reyes (12th and 13th March), and a debate about the crossroads of art in the Canary Islands, with the involvement of artists, critics, associations, journalists, writers, centre managers...

The exhibition blog, ( http://ochopuntouno.blogspot.com ) provides information about all the parallel activities.

http://www.caam.net
via http://www.laprovincia.es