How Soon Is Now

How Soon Is Now is an exhibition that looks outside the doors of the Vancouver Art Gallery at some of the most compelling artists working in the region. The exhibition comprises a survey of new work currently being produced by artists in the province of British Columbia, drawing from the breadth of artistic practice and concerns that motivate artists today. The exhibition focuses primarily on emergent practices and provides insight into some of the strategies, methodologies and interests that inform contemporary artists. The title evokes one characteristic of the work in the exhibition: an immediacy in form and address that speaks to the present moment.

Including work in a wide range of media, from painting, sculpture and photography, to video and new media, the exhibition is organized according to shared connections between works. The exhibition is an inquiry into alternative narratives of art production, recognizing important shifts in contemporary art practice that privileges the event over the object, the process over the product, interaction over contemplation. Gallery spaces become a venue for a range of experiences, be they critical, transformative, social, introspective or political. Together this exhibition looks to the work artists are creating as a reflection of and insight into the ideas that continue to resonate in the broad field of cultural production.

How Soon Is Now represents an important opportunity to recognize artists from the province and their significant contribution to culture in this region and beyond, bringing together a selection of the most compelling artists to shed light on the unique vitality and breadth of contemporary art produced from this place.

Vancouver Art Gallery

Martin Creed

MARTIN CREED
24 January – 7 March 2009, Hauser & Wirth Zürich

"My work is a comfort to me, something reliable, like a measuring tape next to the everchanging world. It’s a helping hand, something to hold on to." Martin Creed

Martin Creed’s practice asserts a continuity between artistic gesture and everyday life. At Hauser & Wirth Zürich the ingredients that make up the art on view are simple and idiosyncratic: paint, boxes, masking tape and human excrement. As with all of the artist’s works, “the shape, form, dimensions and materials are determined by actual concrete things”;
Creed takes on the unruliness of the world at large, submitting it to a kind of order.
Several new paintings will be on display. These are each made using single colours, and consist of horizontal brushmarks that decrease in width as they climb the canvas, resembling steps that go up and down again. The compositions are dictated by the different sized brushes Creed uses, a system that rigorously abdicates from the need for aesthetic decisionmaking.
The same measuring principle is at work in Creed’s box sculptures, assemblages of cardboard containers balanced one on top of the other that progress either from largest to smallest or vice versa. In these, the colour, texture, pattern and shape is ready-made, supplied through the conjunction of the design of the boxes and the artist’s ordering method.
These works are democratic: "Small, medium and big: all sizes are equal".
A more visceral kind of everyday sculptural pile is encountered by way of film in Work No.660, which provides an un-glossed reflection on art’s concern with the making of things.

Creed was born in Wakefield, England in 1968, and grew up in Glasgow. He lives and works in London. He has exhibited extensively worldwide, and in 2001 won the Tate's Turner Prize for 'The lights going on and off'. This past year has winessed his 'Duveens Commission' Work No. 850, in which an athlete sprinted through Tate Britain’s central galleries every 30 seconds, all day, every day for four and a half months; and a major survey exhibition of his work at Ikon Gallery, Birmingham, which travels to Hiroshima City Museum of Contemporary Art, Japan, Artsonje Center, Seoul, Korea and Museo de Arte de Lima, Peru in 2009.
A major monographic book featuring essays by Germaine Greer, Darian Leader, Matthew Higgs and others, will be published by Hauser & Wirth in the new year.

Hauser & Wirth

To Be Determined

To Be Determined
January 24th – March 7th
Works by Walead Beshty, Anne Collier, Phil Collins, Liz Deschenes, Roe Ethridge, Annette Kelm, Peter Piller, Josephine Pryde, Eileen Quinlan, and Torbjørn Rødland

Andrew Kreps Gallery is pleased to present To Be Determined, a group show centered around a generation of artists whose work stretch the limits of photography. Portraiture and self-portraiture, archiving, and typology, as well as free-form fiction are at the core of their exploration of the medium.

The selection of artists, some of whom would not consider themselves to be solely photographers, have interrogated the medium, and expanded its conventional definition. When looking at the group, one may question whether there is indeed a circumscribed, or unified practice of photography. But while utilizing strategies that diffuse its understanding, this group of artists can be unified by their focused engagement with their subject matter.

To Be Determined will be on view from January 24th - March 7, 2009.

Andrew Kreps Gallery

Born in the morning, dead by night

Born in the morning, dead by night
Curated by Tony Matelli

January 16th through February 28th, 2009

Wayne Atkins, Mathew Brannon, Olaf Breuning, Tom Costa, Ceal Floyer, Dana Hoey, Matt Johnson, Peter Land, Kris Martin, Cristina Lei Rodriguez, David Shrigley, Sleep, Guy Richards Smit

Leo Koenig Inc. is pleased to start off the New Year with a group exhibition curated by Tony Matelli.

At the beginning of the day our hopes are always high. As the sun burns off the morning dew we are alive with promise…until the shit hits the fan. The impossible complications of daily life wear us down until our plans and desires become hopelessly tangled and compromised. Our day becomes a desperate struggle to maintain coherence, stave off collapse and preserve whatever beauty we may find along the way. The impermanence and futility of our ambitions become clear; times change, joy and sorrow come and go, the city turns into an uninhabited moor, the house becomes occupied by different tenants, desire turns rotten. We slowly turn into shadows of our selves.
We are dead by night. Tomorrow is another day. This is a balancing act.

"Born in the morning, dead by night" focuses on the difficulty of maintaining stability in life and the tension between the vitality of hope and the disappointment of failure. -Tony Matelli

Leo Koenig

Installations II Video from the Guggenheim Collections

Following the 2008 exhibition Installations: Selections from the Guggenheim Collections, this presentation investigates the ways in which contemporary artists have used the medium of video to create sites of immersion and discovery. From its first uses in the late 1960s, video has played an important role in artists' explorations of self and society, providing a unique means of harnessing real time and space that has become increasingly sophisticated as technologies have advanced over the decades. Today, artists employ video in lush and complex installations that transport viewers to universes beyond the bounds of the museum, in the process subtly reorienting the audience to its everyday environment.

The works included here offer a glimpse of the diverse range of themes and styles that occupy artists working with video today. Slater Bradley and the collaborative team of Douglas Gordon and Philippe Parreno investigate the heroic mythos and fatal flaws of popular icons from the worlds of music and sports; Mika Rottenburg and Ryan Trecartin venture into fantastic, subcultural realms, in which identities are fluid and bodies often grotesque; Isaac Julien and Mariko Mori situate human figures in urban and natural landscapes, creating haunting, otherwordly narratives. All the works in this exhibition have been acquired by the Guggenheim during the past five years, attesting to the museum's ongoing commitment to this vital field of contemporary art.

Installations II Video from the Guggenheim Collections - Keys | Museo Guggenheim Bilbao

VOYAGE TO THE END OF THE UNIVERSE

Peter Köhler
VOYAGE TO THE END OF THE UNIVERSE
Galleri Magnus Karlsson
8.1 - 8.2 2009

Galleri Magnus Karlsson is pleased to introduce Peter Köhler’s first solo exhibition at the gallery.
Peter Köhler is born 1971 in Stockholm. He was educated at The Royal Academy of Arts in Stockholm 1995-2000.
Peter Köhler’s paintings and drawings borders between abstraction and spontaneous figuration. The images are formed layers by layers, intuitive and directly but with accurateness and precision. The paintings surrounds you and as a viewer you are able to step into Peter Köhler’s milling world of images, where the references are high and low, from Jackson Pollock to Keith Haring and graffiti.
With his playful and expressive painting he creates agravic landscapes in an airy atmosphere, under water or perhaps on an unknown planet. Recently, Peter Köhler has gone from picturing everyday life to a refuge into a utopic dream world. In some of the work – a drawn dairy and four works on paper – there is also a evident inspiration from Southeast Asia in form and symbolics.

www.peterkohler.se

galleri magnus karlsson

Human beings are a part of nature.

"Dates: July 26 (Sun) through September 13 (Sun), 2009
Organized by: Echigo-Tsumari Art Triennial Executive Committee"

Now Echigo-Tsumari's life and work, nestled in rich natural surroundings, is at a turning point in its history as a culture. This provides us with an opportunity to review our stance toward the global environment and revise the modern paradigm, which has led to environmental disruption. This gave birth to the basic theme that "Human beings are a part of nature." Regional development is going forward in Echigo-Tsumari, with the aim to become a model community that can demonstrate various possibilities for relations between people and nature.

About Triennial｜Echigo-Tsumari Art Triennial

THE FLOWER SHOW

MARIJKE VAN WARMERDAM
THE FLOWER SHOW
Georg Kargl BOX
Exhibition dates: 16.01.- 07.03.2009

Marijke van Warmerdam is internationally renowned for her short films. In the early nineties she made her first non-narrative film loops, which led Daniel Birnbaum to call her the Loop Guru of the eternally flowing present. Together with her photographs and sculptures these form a consistent body of work. With a typically light touch, the work combines a deceptively naïve approach to the act of seeing with straightforward strategies such as dramatic shifts of scale and rhythm, doubling and reflection to urge us to look with our eyes wide open in order to stress that not everything is what it seems. Nowadays she has developed this retinal openness to themes which deal more explicitly with perception.

Marijke van Warmerdam’s exhibition ‘The Flower Show’ includes a film loop called ‘Trembling’, 2008, which is surrounded by a number of painted film stills. ‘Trembling’ shows nothing but a trembling bunch of white petunias, with a road surface rushing by in the background. The film stills are printed on linen and have white flowers painted on them by the artist in a vigorous and rapid manner. By means of fast Tai-Chi-like movements she has obtained a striking separation between foreground and background. Her apt painterly gesture brings about a doubling that occurs in all sorts of ways in her work. What is special is that in both the ‘Trembling’ film loop and in the paintings, called ‘Flower’ and ‘Flowers’, white flowers hover in the foreground, while a quieter background image produces a counter-movement. A disturbance of the rhythm or the movement effects a splendid contrast of ‘here’ and ‘there’ in the work.

Van Warmerdam uses the themes of repetition and movement above all as a means of evoking a feeling of lightness and an uninhibited future. These are always in the service of an infectious optimism. At the same time her feel-good art broaches the difference between pure ‘looking’ and the more cerebral ‘seeing’, inviting the viewer to think about what and how he perceives.
Born in Holland in 1959, she has lived and worked in New York and Berlin, and is now based in Amsterdam. Her work has featured in numerous important international exhibitions, including the Sydney, Berlin, Kwangju and Venice Biennials, and Documenta X. She has had retrospective exhibitions at the Van Abbemuseum in Eindhoven, Migros Museum in Zurich, ICA in Boston, Muhka in Antwerp, MAC in Marseille, The Fruitmarket in Edinburgh and IKON in Birmingham.

Galerie Georg Kargl

FUGUES

FUGUES
an exhibition curated by latifa echakhch

opening Saturday January 10th from 3 to 9pm
exhibition from January 10th to February 21st 2009


davide balula, lili reynaud-dewar, latifa echakhch, elise florenty, cyprien gaillard, gauthier herrmann, pierre joseph, ariel kenig, pierre leguillon, benoit maire, rainer oldendorf, santiago reyes, eric stephany


galerie hussenot

Gott würfelt nicht

Markus Wilfling, O.T.,
(Gott würfelt nicht), 2008, Kunststoff, 15,8 x 22 x 3 cm

image from the exhibition JUST ONE THING AFTER ANOTHER

New Work Under Tension

"E.V. Day
New Work Under Tension
1/16/2009 - 2/28/2009
E.V. Day: New Work Under Tension
Rhona Hoffman Gallery
January 16, 2009- February 28, 2009
Opening reception for the artist: Friday, January 16, 2009 5 - 7:30 pm.

Rhona Hoffman Gallery is pleased to present Brooklyn-based artist E.V. Day’s first exhibition at the gallery, “New Work Under Tension.” Using a diverse and seductive range of materials, Day has altered a selection of garments and costumes for this exhibition of new and recent work. A pair of woman’s panties and iconic fashion attire such as designer Herv�Leger’s “Bandage Dress” are suspended in vitrines, or stretched within frames. These recognizable objects are fractured, pulled, and utterly transformed, begging for closer inspection."

Rhona Hoffman Gallery

Crocodile Tears

"Brett Murray’s exhibition Crocodile Tears provides a humorous, satirical, and sometimes tragic reflection on notions of renaissance within a South African context. In this new body of work, which includes bronze sculpture, two-dimensional cut-outs and works on paper, the artist explores the complex relationships between power and its subjects with his signature critique and incisive wit.

The Goodman Gallery

Dependencias

La concepción de esta exposición de Eulalia Valldosera (Vilafranca del Penedés, Barcelona 1964) comparte dos objetivos: la presentación de Dependencias, su obra más reciente realizada expresamente para esta muestra en el MNCARS con la que se inaugura un nuevo ciclo en su producción, así como la revisión de su trayectoria artística desde sus inicios a finales de los años ochenta hasta la actualidad.

Dependencias es la nueva obra que da título y articula la exposición. Se trata de una pieza monumental en la que el público interactúa con carros de supermercado que contienen proyectores de vídeo. Con ella la artista retoma el tema del dispositivo fílmico y la puesta en escena, potenciando los aspectos táctil, auditivo y lúdico. El título alude a las dependencias del cuerpo donde se desarrolla la vida así como a sus ‘estancias primigenias’, la maternidad, el sexo, el amor o la enfermedad; pero a su vez hace referencia a la dependencia de ciertos mecanismos que nos construyen y que definen nuestro modo de mirar y de actuar.

Las instalaciones y acciones lumínicas caracterizan la obra de Eulalia Valldosera, donde la intención no es crear un objeto para ser observado, sino hacer partícipe al público de una acción que pueda ser recordada. Los envases y los productos de limpieza constituyen el leit motiv de la mayoría de sus instalaciones. En esta muestra los visitantes pueden interactuar con estos envases manipulados para ser contenedores de experiencias que algunas personas desearían borrar de su vida, otros en cambio permiten registrar las nuestras.

Museo Nacional Centro de Arte Reina Sofia - Exposiciones

Vides (voids)

Vides (voids), A retrospective

A quite exceptional event, "Vides" (Voids) is a retrospective of empty exhibitions since that of Yves Klein in 1958. In almost a dozen rooms of the National Museum of Modern Art, it assembles in a totally original manner exhibitions that showed absolutely nothing, leaving empty the space for which they were designed.

The idea of exhibiting emptiness is a recurring notion in the history of art over the past fifty or so years, almost to the point of becoming a cliché in the practice of contemporary art. Since the exhibition by Yves Klein – "The Specialization of Sensibility in the Raw Material State of Stabilized Pictorial Sensibility" in Paris in 1958, totally empty exhibitions have been the statement of different conceptions of vacuums.

While for Yves Klein it was a way to point out the sensitive state, by contrast it represents the peak of conceptual and minimal art for Robert Barry with "Some places to which we can come, and for a while 'be free to think about what we are going to do' (Marcuse)" (1970). It may also result from the desire to fudge the understanding of exhibition spaces, as in the work "The Air-Conditioning Show" from Art & Language (1966-1967), or to empty an institution to modify our experience, as in the work by Stanley Brouwn. It also reflects the will to create the experience of the qualities of an exhibition venue, as with Robert Irwin and his exhibition at the ACE Gallery in 1970, or with Maria Nordman at her exhibition in Krefeld in 1984. Emptiness also represents a form of radicalness, like that created by Laurie Parsons in 1990 at the Lorence-Monk gallery, which announced his renouncement of all artistic practice. For Bethan Huws and his work "Haus Esters Piece" (1993), emptiness means being able to celebrate the museum's architecture, signifying that art is already there on site and there is no need to add works of art. Emptiness assumes almost a sense of economic demand for Maria Eichhorn who, in leaving her exhibition empty at the Kunsthalle Bern in 2001, helped to devote the budget to the building's renovation. With "More Silent than Ever" (2006), Roman Ondák, for his part, had the onlooker believing that there is more than what is just left there to be seen.

Centre Pompidou - Art culture

KLAT

“Ex caligine, nova insigna: anaphoros Gegenschein” (2008) is the Klat group’s first monographic exhibition in France and only the second gallery exhibition (after “One for the Money, Two for the Show” at the Francesca Pia gallery in Berne, 2001). Yet this group of artists from French-speaking Switzerland are not novices. Klat started out almost fifteen years ago, when its members were still self-taught teens—a rare enough event in the art world to be noteworthy.

Today Klat has totted up over fifty exhibitions in all formats and twice represented Switzerland at international events (2nd Montreal Biennial, Palais du Commerce, 2000; International Pusan Biennial, Korea, 2002).

KLAT

GALERIE LAURENT GODIN

Corrosions of Conformity

"GERING & LóPEZ GALLERY is pleased to present Corrosions of Conformity, a solo exhibition of work by New York-based artist Michael Bevilacqua.
Bevilacqua's new paintings and works on paper command the viewer's attention with their robust palette and reflective content. In both process and concept, Bevilacqua has moved away from the crisp, graphic style that dominated his earlier work towards a more gestural and raw appearance. The resultant pieces are multilayered, consisting of a combination of different painting techniques including free-hand brushstrokes, collage, masking and stenciling."

Gering & López Gallery - Michael Bevilacqua: - Press Release

see also ... incorso - Carasi Gallery - Milano

JUSTIN LIEBERMAN

January 31 - March 7, 2009
Opening Reception: January 31, from 6-8p
JUSTIN LIEBERMAN
"The Corrector in the High Castle"

Zach Feuer Gallery proudly presents The Corrector in the High Castle, an exhibition of new work by Justin Lieberman, which is presented in conjunction with Lieberman's The Corrector's Custom Pre-Fab House at Marc Jancou Contemporary.

The Corrector in The High Castle is a sculptural tableau vivant inspired by Nobusuke Tagomi, the protagonist of Philip K. Dick's prophetic novel, The Man in The High Castle. The book posits a fictional future fifty years after Germany and Japan defeat the Allied forces in World War II. The gallery installation depicts the domestic interior of an apartment inhabited by Tagomi, a Japanese collector of American (and occasionally European) pop cultural artifacts, who is afflicted with a severe case of neotoma. His illicit collections of comic books, newspapers, VHS cassettes, records, Beanie Babies, lunchboxes, baseball cards, toys and other ephemera are piled everywhere, and like the Corrector himself, seem frozen in amber. Nearly everything in the installation is covered in a thick coating of clear acrylic resin, which drips off the collections in thick clear stalactites. The only exception to this are the objects Lieberman designates as placeholders, a term used by completists to refer to the homemade replicas they themselves make to fill in missing gaps in their collections. In the case of The Corrector in the High Castle, most of the items in the collections themselves will be junk; the placeholders, on the contrary, will be hand-made replicas of extremely rare artifacts. Included in these sets are a Gutenberg Bible in a Plexiglas case, the inverted Jenny 1¢ stamp, The Beatles' Yesterday and Today album with first state Butcher Block cover and the Princess Diana Beanie Baby. Each of these placeholders is flawed in one of two ways. In some cases the placeholder is not a replica of the original artifact itself but of a later reproduction of this artifact; in other cases Lieberman employs caricature and other illustrational motifs to differentiate the placeholder from the original.

Justin Lieberman was born in 1977 in Gainesville, Florida. He lives and works in upstate New York. This is his third solo exhibition at Zach Feuer Gallery. In celebration of the concurrent shows at Zach Feuer Gallery and Marc Jancou Contemporary, JRP Ringier will publish a monograph on Justin Lieberman's work.

ZACH FEUER GALLERY - New York City

SOUND

February 27 - March 29, 2009

SOUND
Curated by Gustavo Matamoros
Gertrude Silverstone Muss Gallery

This unique exhibition brings together sound works by pioneer composers, sound and media artists associated with the interdisciplinary Sound Arts Workshop, in celebration of the 20th anniversary of its Subtropics Festival. Curated by iSAW’s artistic director, Gustavo Matamoros, in association with composer David Dunn, SOUND is a dynamic show consisting of autonomous sound pieces displayed as "solos" but that will also interact in duos, trios, quartets and in a full ensemble context. The selected works will encompass the full spectrum of sound art in the form of sculptural works, installations, performance and interactive art. SOUND will be the most comprehensive exhibition of this genre ever presented in Miami Beach.

Ronald Feldman Gallery Home Page

not for sale

Peter Doig - not for sale

Contemporary Fine Arts is pleased to announce the solo exhibition ‘not for sale’ by Peter Doig.

With a selection of works from the last 20 years from German museums and international private collections, Contemporary Fine Arts shows Peter Doig in his first solo exhibition in Berlin in 10 years.

The exhibition rounds off the big international museum-retrospective of Peter Doig, which previously toured to Tate Britain, London, the Musée d’Art moderne de la Ville de Paris and Schirn Kunsthalle in Frankfurt.

As we have been representing the artist since 1995, we are especially proud to be able to show all of the original “Studio Film Club” posters designed by Peter Doig.

The “Studio Film Club” is a non-commercial film club organized by Peter Doig and the artist Che Lovelace in Port of Spain, Trinidad, where the artist has lived with his family since 2002.

Weekly on Thursdays, international film productions are shown in Peter Doig’s studio, without which an audience on the island of Trinidad would remain deprived of a tradition of programmed cinema. For every one of these the artist paints a film placard.

Contemporary Fine Arts

Edvard Munch - Tribute and Inspiration

Faurschou CPH celebrates the publication of the Edvard Munch - Catalogue Raisonne with a tribute exhibition to Edvard Munch. ”Edvard Munch - Tribute and Inspiration” is an exhibition that highlights the great inspiration that Edvard Munch was and continues to be posthumously with contemporary artists. The exhibition “Edvard Munch - Tribute and Inspiration” positions Munch alongside internationally recognised contemporary artists all of whose works congenial with Munch centres on existential experiences: Georg Baselitz, Louise Bourgeois, Peter Doig, Asger Jorn, Per Kirkeby, Bjarne Melgaard, Alice Neel and Erik Parker.

Galleri Faurschou

I REPEAT MYSELF WHEN UNDER STRESS

I REPEAT MYSELF WHEN UNDER STRESS

Curated by Trevor Smith, Curator of Contemporary Art, Peabody Essex Museum, Salem, Massachusetts, and Thomas Trummer, Project Manager for the Visual Arts at Siemens Arts Program, I Repeat Myself When Under Stress is presented in collaboration with the Siemens Arts Program.

February 13 - May 03, 2009

I Repeat Myself When Under Stress examines the ways that contemporary artists compulsively duplicate visual, narrative and formal elements in their work. Repetition and reproduction have been recurrent themes in artistic practice since 1945—as a means of embracing medium hybridity and as a stylistic device—revealing both the compulsions of consumption and the psychological constraints artists face in climates of economic and political uncertainty.
In the exhibition, Ceal Floyer, known for her extremely precise and subtle interventions in exhibition spaces, presents already existing works. Hans Schabus has created a site-specific installation on a simultaneously micro- and mega-scale, and Tris Vonna-Michell has expanded a work created in response to his encounters with the social history and revolutionary potential of the City of Detroit.

The artists, both individually and collectively, reflect and focus on repetition, a concept that acquires special significance in the context of Detroit—the city where the assembly line was invented. Once a great symbol of modernity and automatization, this industrial process relied on an inherent linearity and repetitiveness that over time has, without significant adaptations, become virtually obsolete, particularly in an increasingly interconnected world.


Museum of Contemporary Art Detroit

Eclipse

Pavel Büchler
Eclipse
30 January – 28 February 2009
Max Wigram Gallery, London

Max Wigram Gallery proudly announces a special project with Pavel Büchler. Born in former Czechoslavakia and based in the UK since 1981, Büchler is an artist and influential lecturer and writer.

Summarizing his art as ‘making nothing happen’, Büchler is a master of the unexpected, considering art as a catalyst to reveal the everyday and the obvious as ultimately bizarre. His works are often subtle interventions exposing surprising perspectives through absence and disappearance, rather than presence, and playing on the dialectic between visible and invisible. By manipulating the most disparate sources and media - literature, found objects, audio recordings, photographs etc. – Büchler seems to come down to a simple question: ‘How can I reconfigure this work so that it works right here and right now, in our world?’.

Currently showing at the Max Wigram Gallery

Aernout Mik

"10.01. - 21.02.2009
Aernout Mik
Opening: 09.01.2009, 5-9 pm

carlier gebauer is delighted to be able to show two works by Dutch artist Aernout Mik for the first time in Berlin, namely Osmosis and Excess (2005) and touch, rise and fall (2008) in his 5th solo exhibition at carlier gebauer. With his logical, consistently detailed video installations, Aernout Mik has assumed an important and autonomous position in the arena of contemporary art over the last few years."

carlier gebauer :: Osmosis and Excess touch, rise and fall - Press Information

Urban Reflections

Warped, fragmented and endlessly repeated. Responses to the urban experience have ranged from unbridled enthusiasm for these vibrant hubs of glittering prosperity to examinations of the psychological shadows of city living: alienation, anxiety, tension and fear. The current age of global cities is marked by new geographies and social relations moulded by advancing technologies and economic systems. How do contemporary artists respond to these conditions? Urban Reflections presents works by artists from across different generations and locations as they reflect literally and metaphorically on the theme of mirroring the city.

Stills

The Armory Show

The Armory Show – The International Fair of New Art, has been the world's leading art fair devoted exclusively to contemporary art since its introduction in 1999. The fair is the successor to the highly acclaimed Gramercy International Art Fairs that attracted thousands to their New York, Los Angeles and Miami shows between 1994 and 1998.

The Armory Show

Skopje 2009

"Apel de proiecte - lucrari de arta vizuala pentru editia a XIV-a a Bienalei Tinerilor Artisti din Europa si Zona Mediteraneana, Skopje 3-12 septembrie 2009

In perioada 3-12 septembrie 2009 se va desfasura in Skopje, Macedonia, editia a XIV-a a Bienalei Tinerilor Artisti din Europa si Zona Mediteraneana (BJCEM, Biennale des Jeunes Créateurs d’Europe et de la Méditerranée).

Prima editie a Bienalei s-a desfasurat la Barcelona in 1985, evenimentul fiind ulterior organizat in Thesssaloniki (1986), Barcelona (1987), Bologna (1988), Marseille (1990), Valencia (1992), Lisabona (1994), Turin (1997), Roma (1999), Sarajevo (2001), Atena(2003), Napoli (2005), Puglia (2008)."

Apel proiecte Skopje 2009 at Fundatia culturala Meta