El Ciclo de Charlas que auspicia la Trienal Poli/Gráfica de San Juan: América Latina y el Caribe del Instituto de Cultura Puertorriqueña (ICP) inicia el lunes 13 de abril en el Anfiteatro de la Escuela de Artes Plásticas en el Antiguo Hospital de la Concepción el Grande localizado frente al Cuartel de Ballajá en el Viejo San Juan.
Artes Plasticas - Instituto de Cultura Puertorriquena
El Ciclo de Charlas que auspicia la Trienal Poli/Gráfica de San Juan: América Latina y el Caribe del Instituto de Cultura Puertorriqueña (ICP) inicia el lunes 13 de abril en el Anfiteatro de la Escuela de Artes Plásticas en el Antiguo Hospital de la Concepción el Grande localizado frente al Cuartel de Ballajá en el Viejo San Juan.
AEROPLASTICS Contemporary is pleased to announce the return to the city of his birth of that most Belgian of French artists, Olivier Blanckart.
Like Alice stepping through the looking-glass, Olivier Blanckart traverses the border to return the insult of Baudelaire's pamphlet Pauvre Belgique some 150 years later on. As if, in these times of Bling Bling, it is only beyond Parisian frontiers that work of this kind may be mounted.
For the image, and in particular the photographic image, is the centre of gravity of his oeuvre - the photographic reproduction as such (like in the series Me as...), or the interpretation of a photographic image re-worked in three dimensions as in his various sculptures. Blanckart takes as starting point these images that have become popular icons. Icons whose original content has been lost for the viewer and that the artist then (a)mends, as it were. To accomplish this, he uses recuperated materials: kraft paper, adhesive tape, cardboard, etc. All these worthless materials, generally serving just to wrap and protect things, here are fashioned and sculpted to become themselves the true and valued oeuvre. And it is the very ambivalence of this materials, at once playing the cards of realism and the grotesque, that allows the innate story of the image - now in 3D volumes - to re-emerge.
Olivier Blanckart - Coming Home (pauvre France), from April 25th to June 6th 2009
Portugal Arte 09, on view from September 19 - October 31, 2009, is a focused survey of art and urbanism throughout downtown Lisbon.
Portugal Arte 09 will utilize major public and private areas as well as interstitial urban spaces to showcase provocative contemporary works, ascending from the Baixa business district along Avenue da Libardade to the Parque Eduardo VII. This critical endeavor will include curated group exhibitions, site specific installations, and commissioned public sculpture projects addressing themes related to contemporary life and urban social conditions.
The architecture practice of Johnston Marklee have been commissioned to curate solo projects in public spaces. Curators Garth Weiser and Johannes Vanderbeek will organize group exhibitions exploring the festival’s theme in depth.
THE NEW YORKERS
V1 Gallery proudly presents
THE NEW YORKERS
Jenny Holzer, KAWS, Francine Spiegel, Rammellzee, Dash Snow, Barbara Kruger, Joe Bradley, Jose Parla, Katherine Bernhardt, Futura, John Copeland, Ryan McGinness, Stephen Powers, Erik Foss, Doug James, Brian DeGraw, Agathe Snow, Peter Saul, Kostas Seremetis, Ryan Wallace, Takeshi Murata, Peter Sutherland, Daze, Erik Parker Timothy Walkiewicz, Bill McMullen, Sue Kwon, Andy Dolan, Noah McDonough, Greg Lamarche, Devin Flynn, Aurel Schmidt, Peter Beste, Richard Kern, Sarah Braman, Todd James, Brian Montuori
Exhibition period: May 1 2009 – June 22. 2009.
New York is difficult to fence in. It’s offensively arrogant and perplexingly tolerant. Erotically alluring and nauseating repulsive. An oxygen tank for thoughts, and quicksand for illusions. Sentimental Samaritan and merciless lyncher. Empty talk at predictable receptions, and genuine interest in unlikely situations. Voluptuous muse, and flat canvas. Cool business card, target oriented CV, brief acquaintance, entertaining fuck, miserable marriage, harmonic partnership and lifelong friendship.
The exhibition The New Yorkers at V1 Gallery is equally difficult to map out. Quirky installations mixed with classical painting. Sprouts shoot up next to legends. Aesthetes hang out with rebels. The refined photograph with the crude posca pen. And surreal systems runs along coordinated chaos.
Veterans Jenny Holzer and Barbara Kruger brand the city with sharp words while young kid KAWS with his tongue in cheek and pen in hand creates fluffy havoc and death. The remarkably talented John Copeland’s paintings, that at a glance resembles works from the 50s, reveal a world in which cynical competition, sexual frustrations, strategic warfare and suppressed feelings lurk under the decorative surface. Shooting star Francine Spiegel lets her feverish nightmares run amok over the canvas with a death, rot and destruction trailing rights behind. Peter Sutherland’s poetic lens highlights sensitive nuances and tender colours in stark contrast to both Peter Beste’s razor sharp portraits of musical identities and Dash Snow’s slippery polaroids that clasp onto self-serving decadence and intriguing irony.
Sarah Braman’s strange sculptures balance on the ground and at the knife’s edge between genius and vexing, while they’re throwing pebbles in Joe Bradley’s minimal and provocative shoe, which in return kicks prejudiced hipsters in their hypocritical behinds. Hyped Agathe Snow from the 2000s empties a dustpan of art, shit and filth over traditions and superstition, while 80s cult hero Rammelzee unleashes his army of complex and gruff superheroes in a hierarchical world of catastrophes and doubtful redemption.
A common denominator for the city, the artists and the works is defiance against generalizations and predictability. And they are tangled together by connections that in some instances are straight as Broadway and in others are twisted as the alleys of Brooklyn. It races through time and dwells in the moment. Skips generation gaps and swoops under genre definitions. Pisses on narrow minds and gallantly opens the door for curiosity.
The New Yorkers is an ode to the thoughts that dare stand alone in both shade and sun, and at the same time also has the courage to open up and let inspiration flow freely. The exhibition is also a unique chance to experience a rare and sublime piece of New York in Copenhagen. The New Yorkers is curated by Mikkel Grønnebæk and Todd James.
V1 GALLERY - Copenhagen V / Denmark - current exhibition
MEDIA CITY is an international festival of experimental film and video art presented annually since 1994.
Each year Media City screens approximately fifty new films and videos in its international programs.
The festival also hosts retrospective screenings and discussions with featured artists, and exhibits installations in the Art Gallery of Windsor and other venues.
Home - MEDIA CITY - Ontario - Canada
Mountain Fold is pleased to announce the exhibition of work by David Aron and Shawn Thornton, entitled “Upward Streams in a Fathom-Long Body”. The show consists of paintings, sculpture and installations that draw upon geometry and archetypal symbolism to consider the association and disentanglement of physical and abstract things.
David Aron’s pieces express an amorphous, transparent, and minimalist blueprint of coming undone. Using a geometric language, whose structure is akin to musical free-form, Aron’s integrated compositions present the phenomenon of arising and passing away, a cycle that reflects multi-layered verses of nature. An ovular painting, “plum”, iterates a shape that is at once architectural and figurative against a muted magenta background, while ornamental details populate the foreground. The shape appears thematically throughout Aron’s work; it intimates structural support and human gesture. This piece, as well as his other paintings and sculpture, Aron developed by improvising towards a working constellation.
Shawn Thornton began his body of work as a means of demystifying the mechanisms of illness, and in order to both comprehend and reveal the visionary current that ran through his experience of brain cancer in his pineal gland, and its effects. His paintings, which foreshadowed the discovery of a tumor at the center of his brain, are intricate webs with spatial and visual abstractions, pre-historic and pre-modern art, eastern philosophy, and computer aesthetics woven together.
“Black Pyramid Meditation” connotes both a caricatured factory, wherein every person and thing has its necessary place and function, and also a chart of Yogic transcendence through visionary introspection, reverence, and a universal symbolism.
Aron and Thornton construct ephemeral designs that suggest alternately a cosmic plan, and a condition of unraveling. Vivid patterns, quotidian shapes, common symbols and figures form an architectural pastiche that map or monumentalize the circuitous ebb and flow of natural processes.
mountain fold gallery
Von Lintel Gallery is pleased to announce a solo exhibition of new photographs by Marco Breuer, inaugurating our new ground floor location at 520 W. 23rd Street.
Part __ of __ Parts is comprised of five distinct bodies of work, ranging from motion studies to recordings of early light sources. Breuer raises questions about time, materiality, and visual perception—themes that have been central to his long-time investigations in photography. The series play off each other and loop back conceptually and visually.
For this exhibition, Breuer subjected photographic paper to a 12-gauge shotgun, one-time flashbulbs, and a modified turntable, among other tools. The resulting images are as raw as they are exquisite. Light itself is the subject of many of the works. For Early Light, Breuer created paper negatives using a self-made 20 x 24 camera (what he refers to as a “light trap”), exposing both b&w and color paper to a range of photographic light sources. In another series, Breuer shot at boxes of photo paper, in effect turning them into cameras themselves.
The exhibition’s impact is accumulative. Part __ of __ Parts is circular and self-reflexive in approach, but full of distortions, continually collapsing past and present: a complex meditation on the origins and the future of the medium. Breuer’s brand of iconoclasm is understated and offbeat, yet razor-sharp in challenging and subverting the accepted conventions of photography.
Marco Breuer has exhibited extensively in the United States and Europe since 1993. His work is in numerous public collections, including the Museum of Modern Art in New York, the San Francisco Museum of Modern Art, the George Eastman House, and the New York Public Library. He received a Guggenheim fellowship in 2006. In 2007 Aperture published Early Recordings, a monograph of Breuer’s work. He recently curated The Innerworld of the Outerworld of the Innerworld at Von Lintel Gallery.
VON LINTEL GALLERY - NEW YORK
Daß dieser Mai nie ende
Hildebrandt’s art is defined by the use of cassette and video tape. He is not interested merely in the specific texture of this material, but in the nature of the cassette tape as a storage medium.
The title ‘Daß dieser Mai nie ende’ (If only this May would never end), a line from Konstantin Wecker’s song ‘Nur dafür lasst uns leben’ (Let us only live for that) refers to the basic theme and mood of the exhibition. The beginning of May stands for the anticipation of summer, so the start of the weekend on Friday evening – the date of the opening – is its counterpart.
A square cassette tape picture, with a deep frame where various empty bottles are casually placed, is reminiscent of a typical private party where, as it gets later and the more alcohol is consumed, the guests take over the furnishings. The continuation as a bottle frame, while simultaneously ignoring the laws of gravity, makes gentle fun of this habitus and takes it to its absurd extreme.
The main work of the exhibition is a monumental cassette case which is loaded with countless empty boxes and booklets of tapes that have been used in other works. A massive archive and testimonial of Hildebrandt’s work so far – its weight, however, is lightened by a painterly gesture, making the work a panoramic picture covering a whole wall.
In addition to these two works, there is also a display case inserted into the wall of the gallery. Hildebrandt will place the butt and ash of a cigarette he has smoked himself in it, refering to Piero Manzoni’s Fiato d’artista (1960), which consisted of balloons filled with the artist’s breath, and thus raising questions of authorship and value.
If the contemplation of his art incorporates the heterogeneous cosmos of Gregor Hildebrandt’s references to music, film, literature and, last but not least, art history, his works turn out to be complex montages, in which pictorial associations from different spheres combine and interpenetrate. Hildebrandt employs the material of his every-day environment without aesthetic or theoretical inhibition and playfully links aspects of conceptual art and minimal art with his personal life and experience of pop culture.
Since his first gallery exhibition with Wentrup in 2005, Hildebrandt’s work has found considerable attention. His work has been shown in various exhibitions, including the Contemporary Art Museum St. Louis, Kunstverein Ludwigshafen, Kunstverein Schwerte, Galerie Almine Rech, Grimm Fine Art, Bortolami Gallery and Galerie Yvon Lambert, NY. In June 2009 Hildebrandt will have a solo exhibition at Berlinische Galerie.
Iñigo MANGLANO - OVALLE
April 25 - June 20, 2009
As part of the Gallery Weekend Berlin 2009, Galerie Thomas Schulte presents Iñigo Manglano-Ovalle’s first solo show in Berlin. The centerpieces of the exhibition are the installation Untitled (Bomb) and the new video Juggernaut. The opening reception will be held from 7 to 9 pm on Friday, April 24, the artist will be present.
Untitled (Bomb) is a full-scale reproduction of Fat Man, the second atomic bomb used in history, detonated by the United States over Nagasaki in 1945. Unlike the original, the reproduction is painted with white car varnish and splattered with mud.
Just as a sullied sports car forfeits some of its precious appearance, the bomb here almost loses its threatening aspect. A humorous reflection of the artist’s strategy for the installation exhibited at Documenta XII, Phantom Truck, an accurate reproduction of the mobile laboratory for biological weapons presented in a Power Point presentation by former US Secretary of State Colin Powell before the UN Security Council as evidence of the Iraqi government’s possession and production of weapons of mass destruction, Untitled (Bomb) now turns reality relations upside down: unlike Phantom Truck, which never really existed but was just an invention to justify the US attack of Iraq, Untitled (Bomb) is a copy of a weapon of mass destruction that was actually developed and used.
But now, in a version that makes clear the interest of the artist in the ethical dilemma of aesthetics: "What’s beautiful and what’s monstrous, or are they so intertwined you can’t locate either one of them? When I make a beautiful cloud, I still want people to think of a nuclear explosion."
Iñigo Manglano-Ovalle was born in Madrid in 1961, and lives and works in Chicago. His work is included in many museum collections around the world, such as Museum für Moderne Kunst, Frankfurt, New York’s Solomon R. Guggenheim Museum and Whitney Museum of American Art, the Library of Congress, Washington DC, Fundació La Caixa, Barcelona, and Fundación Cicneros, Caracas.
In 2001 Manglano-Ovalle was given the prestigious MacArthur "Genius Award."
Manglano-Ovalle’s projects in 2009 include his participation with Phantom Truck in the exhibition Bilderschlachten in the German city of Osnabrück (April 22-June 10), an individual show at the Massachusetts Museum of Contemporary Art, his participation in the group exhibition Human/Nature: Artists Respond to a Changing Planet at Berkeley Museum of Art (April 1-September 27), and Ecomedia at Sala Parpalló in Valencia (February 10-April 26).
GALERIE THOMAS SCHULTE
"tank.tv is extremely pleased to announce our 2009 programme / An ambitious series of solo shows.
New exhibitions will open online every two weeks before being made available in our growing archive. This programme of solo shows represents an opportunity to examine a plethora of approaches to the moving image whilst allowing in-depth insight into each individual artist’s practice. The exhibitions will be complemented by a range of intriguing on and off-line events including screenings, Q&As and interviews with the artists.
tank.tv solo shows 2009: John Latham, John Bock, Christoph Rütimann, Claire Hope, Alexander Heim, Lisa Oppenheim, Alice Anderson, Mounir Fatmi, Sebastian Buerkner, Thomas Hirschhorn, Jacco Olivier, Jean-Charles Hue, Michael Robinson, Mark Aerial Waller, Aurelien Froment, Rosalind Nashashibi, Paul McCarthy and more."
tank.tv / A year of solo shows
"Degrees of Stillness" is the theme of Kicken Berlin's spring exhibition, which opens in the first weekend of May to coincide with Gallery Weekend Berlin. It brings together five contemporary artists whose pictures address the central paradigm of photography: captured time. The works of Dieter Appelt, Jitka , Hanzlová, Ryuji Miyamoto, Hans-Christian Schink and Alfred Seiland project different levels of stillness, from calm concentration to the patient, precise measurement of reality. The works reveal that modern photography's way of seeing the world allows the emergence of the aesthetic hidden within nature, architecture, cityscapes, and everyday objects.
KICKEN BERLIN - photography works on paper
May 7th – June 21st, 2009
Opening on May 7th from 7 pm
»I once painted for 36 hours straight. My paintings got really strange. I came up with the best and weirdest feet I ever painted. Also one night at about 4:00 a.m., I was painting and standing on top of a plastic milk crate with a crack in it. It broke and my leg got stuck like in a bear trap. I had to crawl around on the floor whimpering and looking for the carpet cutter. Painting is dangerous.« (Sue Williams)
The title of the exhibiton is derived from the word »revolve«: »to circle, to spin around«. The basic idea is to show the world(s) an artwork creates, includes or evokes. What revolves around a work of art? In »Revolver« we would like to present a layer of description usually left to commentators (critics, curators), the observer, or in the case of the artist, to the artist's statement or anecdotes. These descriptions are often quite casual: remarks at an opening, conversations, short tales that envelop the works like dust. They are often heterogenous, mixing very different aspects of a work and the biography of the artist. With »Revolver« we are trying to show an artwork's universe on its own level, its everyday life, its affinities and distances - portraits of artworks, not of artists.
There is a strong feminist tradition in dealing with issues of representation and anecdote in the past 40 years and we are deliberately trying to make a link with this tradition. We believe this approach makes apparent aspects that are crucial to the actual experience of an artwork, but are rarely represented.
Artists: Nina Beier, Anne Collier, Ruth Ewan, Adriana Lara, Lorna Macintyre, Flora Neuwirth, Mai-Thu Perret, Lili Reynaud-Dewar, Anne Schneider, Betty Tompkins, Rita Vitorelli
Curated by Severin Dünser and Christian Kobald.
The Good Life Exhibition
Fri 10 Apr - Sun 7 Jun
Katleen Vermeir & Ronny Heiremans in Collaboration with 51n4e-Office for Architecture, Justin Bennett, Amir Borenstein, Mieja Hollevoet, Pierre Huyghebaert, Eric Jooris & Carly Wijs
Arnolfini have invited the Belgian artists Katleen Vermeir & Ronny Heiremans to develop a new project especially for our building. Their proposal has been unequivocal: turn the former warehouse into luxury residential units and sell them off. They have developed a unique collaboration between Arnolfini and a renowned office for architecture to create a new design and use for the Arnolfini building that is striking and ambitious.
The artists have branded their proposal THE GOOD LIFE, and have collaborated on this project with a creative team brought together for the exhibition. Come and visit to have a look at the proposed plans and get a full tour - get a taste for ‘The Good Life'. Having been pioneering in kick-starting the regeneration of Bristol's Harbourside area after being the first cultural enterprise to move there in the mid 1970s, Arnolfini is using the opportunity to consider its cultural value at large.
THE GOOD LIFE is the first in a new series of exhibitions for 2009 called Futurology - investigating envisionings of the future.
Arnolfini | The Good Life Exhibition
TIME AFTER TIME
KATE DAVIS, ANNETTE KISLING, SIMON DYBBROE MØLLER, BERND RIBBECK, ALBRECHT SCHÄFER
EXHIBITION MAY 2 – JUNE 13, 2009, TUE – SAT 11AM – 6PM
The artists featured in the exhibition “Time after Time” do not conceive of time as proceeding in a strictly linear fashion allowing for easy distinctions between past, present and future. For them, time cycles rather in the form of dissolves and deferrals, in the simultaneous presence of the disjunctive. This exhibition launches its viewer into an indeterminate time dominated by montage, layering and the interplay of both moving and static images.
In their films, Kate Davis, Simon Dybbroe Møller and Albrecht Schäfer forgo conventional narrative structure. Through the use of repetition, duration, rhythm and stillness, the images become unhinged from their contextual history and waver between demonstration and poetry.
In Albert Schäfer’s video installation “Swing”, the movements of a flying bird caught on film are layered with the mobile projection, which similarly “flies” throughout the space. Triggered by the air current of a ventilator, the hanging projector sways on a thin wire like a pendulum. Through the superimposition of these movements, the two temporalities can no longer be perceived as separate.
Simon Dybbroe Møller’s 16mm film “Oh Spirit Duplicator, Oh Moving Image (no more dry writing)” is made with the aid of the moving light source within a photocopier. In an abstract progression of colors and forms, light and shadow, letters formed with tinted paper and crystals appear on the glass surface of the machine and gradually spell out the statement “no more dry writing”.
In the film “Disgrace”, Kate Davis uses a 1972 catalogue of drawings by Amedeo Modigliani as the point of departure for a performance. In this process, the artist draws her own body over the image of a female figure drawn by Modigliani. In Davis’ version, however, the body is a fragmented, obscure trace. The film shows a frame-by-frame account of this newly appended figure, yet the performance itself remains invisible. The film merely shows frozen, momentary glimpses of a movement within the image.
The handling of nonlinear conceptions of time in painting and photography is central to the works of Bernd Ribbeck and Annette Kisling. Through layering they create images that exist in an indefinable temporal dimension. Bernd Ribbeck’s small format drawings recall the formal language of early 20th century abstraction, yet dissolve these forms from their historical context and transport them into an image-space out of which Ribbeck develops representations devoid of time and object. Annette Kisling circumvents photography’s inscription of a single fixed point in time by representing layers that are impossible to conceptualize without movement. In this way, photographs emerge that reflect on the medium’s relationship to time, pushing things into a new order that allows us to see more and comprehend less.
Opening reception: May 1, 2009, 7–9 pm
Exhibition duration: May 1–July, 2009
The tradition of the Need-Fire (or Wild-Fire, such as the Midsummer’s Eve bonfire) dates back to the 8th century. In this custom the beginning of spring or summer is marked by building a great bonfire to clear the air of contaminating spirits.
With “The Need-fire” Matthew Ritchie will be presenting four large paintings, a collection of drawings as well as a multimedia installation and sculpture.
The four paintings in the series “The Four Forces” not only form a unity through the mythical tradition of numerology ; they are also thematically linked. They embody the four fundamental energies of the universe: “the light force, the heavy force (gravity), the strong force & the weak force”.
The four energies reveal a parallel to the various states in the antique theory of four humors, in which the health of the human relies on the four bodily fluids being in harmonic balance. If one of the substances is unbalanced, it results in a shift of humor, which in turn also influences the state of mind. However there remains the possibility to restore the ideal balance of humors in the body – in theory at least – by, for example, building a cleansing spring fire.
The theme of cleansing and rediscovery is also taken up in the multimedia installation in the small gallery space, which alters the architecture of the place. A sculptural screen creates the opening towards the front, on which and through which a video work is projected showing the cyclical birth, construction and collapse of a civilization, accompanied by spoken narrative and music composed by Bryce Dessner and Evan Ziporyn.
Matthew Ritchie says about his work: "In other words, for me, the original idea that any sufficiently complex system would acquire its own internal meaning [...] has mutated into an omnivorous visualization system constantly generating multiple meanings. This system is not really being generated by me; it is a story by, for, and about everyone and everything. And so [...] my project has taken on an internal life. It has escaped." (The artist in an interview with Thyrza Nichols Goodeve).
Since the 1990s Matthew Ritchie has been creating his own fictitious world order in both his artistic and literary work. The artist's work is concerned with the unfathomable breadth of the universe and our various attempts to understand the things that are beyond our grasp. At the core of his work is "information" as a kind of raw data, from which the works develop, and are later charted and measured in diagrams according to their own systems of colour, lines, material and light.
Ritchie takes recourse to science, history, philosophy, economy, the great mythologies from across the globe, religious traditions as well as gleaning from popular culture. His works and installations can be seen as part of his cosmology, as part of a Gesamtkunstwerk, spanning the limits of any particular medium, becoming trans-medial due to its sheer complexity.
Matthew Ritchie was born in 1964 in England and currently lives and works in New York City. This is his fourth solo exhibition with Atle Gerhardsen and Nicolai Gerner-Mathisen.
Further exhibitions and projects in 2009:
The Morning Line, CAAC, Sevilla (solo)
International Biennial of Contemporary Art of Seville, Sevilla (October 2–January 11, 2009; group)
The Kaleidoscopic Eye, Mori Art Museum, Tokyo (April 5–June 26, 2009; group)
Compass in Hand: Selections from The Judith Rothschild Foundation Contemporary Drawings Collection, MoMA, New York (April 22, 2009–July 27, 2009; group)
Between Art and Life, SFMoMA, San Francisco (May 10, 2009–January 3, 2010; group)
Hypermusic Prologue; Centre Pompidou, Paris, in collaboration with Harvard physicist Lisa Randall and composer Hector Parra (opening June 14, 2009; performance)
The Last Scattering, Arup AGU, London (June 2009; solo)
Automatic Cities: The Architectural Imaginary in Contemporary Art, Museum of Contemporary Art San Diego, San Diego (October 10, 2009–January 31, 2010; group)
The Long Count, Brooklyn Academy of Music, Brooklyn (October 28–31, 2009; performance)
Andrea Rosen Gallery, New York (forthcoming; solo)
Confines, IVAM, Valencia (forthcoming 2009)
c/o - Gerhardsen Gerner
CENTRAL NERVOUS SYSTEM / FORGOTTEN BAR PROJECT
(initiated by GALERIE IM REGIERUNGSVIERTEL)
Nevin Aladag, Julieta Aranda, Tjorg Douglas Beer, Tobias Bernstrup, Marc Bijl, Mauro Bonacina, Monica Bonvicini, Ulla von Brandenburg, Eli Cortinas, Carola Dertnig, Stephan Dillemuth / Nils Norman, Antje Ehmann, Harun Farocki, Anna-Catharina Gebbers, Andreas Golder, Alex Heim, Gregor Hildebrandt, Christian Jankowski, Daniel Jensen, Oskar Korsár, Alicja Kwade, April Elizabeth Lamm, Annika Larsson, Joep van Liefland, Mark Lombardi, Klaus Mettig, Olaf Metzel, Eric B. Mitchell, Christopher Miner, Stephan Moersch, Laurent Montaron, Deborah Schamoni, Christoph Schlingensief, Katharina Sieverding, Franz Stauffenberg, RothStauffenberg, Polina Stroganova, Alexandros Tzannis, Malte Urbschat, Costa Vece, Sebastian Zarius
Galerie im Regierungsviertel
Circus Gallery is pleased to present the new work by Los Angeles-based artist Jason Starr. For this exhibition, Starr confronts the vulnerability of his intentions with the responsibility of their effect, showing baby-like canvases painted in oil.
Starr produced the babies in what came to be an expression of his own exuberance and desire to make. Simultaneously, his sense of participating, as an artist and a person in a community, makes clear that the work is dependent on a context. The process of making becomes inseparable from the anticipation of presenting his brood, doubling the force of his commitment and his anxiety, in an attempt to be accountable for the language his actions produce.
“ ‘Doc, I’ve got butterflies.’
My immediate response is, “Great!”
I say that because I don’t think butterflies, or nervous tension, that sense in your stomach that you’re in uncharted waters, are to be feared. I think they’re to be welcomed. You don’t get butterflies on the Saturday night if you’re in 62nd place and the only thing at stake on Sunday is the few thousand extra dollars they’d pay you if you shot 66 and moved up to 43rd. You get butterflies when you put yourself in position to realize a dream.
Butterflies, when you think about it, are among Nature’s most beautiful creations. When they approach a flower, the flower opens itself up to them. They’re integral to the process of pollination.
Like the flower, golfers welcome the butterflies. They recognize that butterflies are a sign that their hard work is paying off, that they’re in the position they’ve wanted to be in. They recognize that they had to be playing well just to get there.”
—Dr. Bob Rotella, The Golfer’s Mind
Jason Starr was born in Los Angeles in 1975. He received an MFA from USC in 2007 and a BFA from California Institute of the Arts in 2005. He has shown his work internationally in Germany, Denmark, and Sweden. Locally his work has been shown at China Art Objects, The Roy and Edna Disney Theater, and High Energy Constructs.
Circus Gallery - Jason Starr
L.E.V. Festival or the Laboratorio de Electrónica Visual [Laboratory of Visual Electronics] is a space in which electronic music and the visual and scenic arts are combined to form a new mode of artistic expression, bringing to the public a selection of the most interesting projects by young talent as well as by already experienced artists from the local and international art scene. The Festival, designed and conceived by the Asturian collective
Datatrón 0x3F, coproduced by the Laboral Theatre with LABoral Centro de Arte y Creación Industrial as its main sponsor, will be held on May 1st and 2nd. The performances will be held at LABoral Centro de Arte, the Laboral Theatre, the Church and la Escuela Superior de Arte Dramático de Asturias, all of them part of La Ciudad de la Cultura.
L.E.V.’s third edition will feature remarkable performances such as the latest music by Aphex Twin, one of the most important and brilliant figures in electronic music of the last 25 years, or the live audiovisuals of Moderat, a joint project between Modeselektor, Apparat and the visual artists Pfadfinderei that, after the release of their highly anticipated album in March on BPtich Control, have been performing a select number of shows at special events. Further, the L.E.V. programme will feature performances by Tulse Luper, Vj performances by Peter Greenaway and the live audiovisual shows of Alva Noto and Byetone. This year’s edition will also feature the latest choreographic work of the Portuguese Rui Horta together with the group Micro Audio Waves, with live performances by Daedelus, AGF, Isolée and the Dutch musician ettel, the Loss Layers performance, a creation of Fabrice Planquette together with the Japanese choreographers Yoko Higashinoy and Yum as well as João Samões’s Blackout and the new project by the Greek Apostolia Papadamaki, Electric Girl, with live music by Blaine Reininger (a member of Tuxedomoon).
In addition, collaboration with other festivals dedicated to video creation and electronic music have been established, leading to the projection of selected video series that can be seen during the Festival at the Centro de Arte that will extend its opening hours until 11:00 pm for the occasion.
17. Mai 2009 bis 12. Juli 2009Marco Schuler (Jahrgang 1972) geht in seiner Kunst an die Grenzen des Möglichen. Ausgangspunkt ist dabei oft sein eigener Körper, den er – per Video dokumentiert – zur Bewältigung absurdester Aufgaben zwingt oder als Passform für skulpturale Arbeiten, in denen sich Witz, Wahnsinn und Bedrohung in einem prekären Gleichgewicht halten, nutzt. Schulers unbändige Lust am Experiment mit nicht kalkulierbarem Ausgang zeigt sich beispielsweise an seinem Selbstporträt Treffer. Es zeigt das zerknautschte Gesicht des Künstlers in dem Moment, als sein Kopf gegen eine Wand prallt. Schuler interessiert sich für das kreative Potenzial von Kontrollverlust, Selbstüberwindung und Zufall, die Möglichkeit des Scheiterns ist dabei immer mitgedacht. Seine krude konstruierten Figuren und Objektinstallationen wirken oft slapstickartig – sie verharren zwischen Intimität, Aggression und Lächerlichkeit und weigern sich konsequent, die Maßstäbe anzuerkennen, die der kunsthistorische Diskurs zur Bemessung künstlerischer Größe bestimmt hat.
In den Monaten Mai und Juni ist Marco Schuler Stipendiat von AIR artist-in-residence Krems und entwickelt für die Factory eine Ausstellung mit Installationen, Skulpturen, Videos und Zeichnungen."
Factory - Kunsthalle Krems — Marco Schuler
Esposizione Universale – L'arte alla prova del tempo
A cura di: Giacinto Di Pietrantonio
3 aprile - 26 luglio 2009
Inaugurazione: giovedì 2 aprile 2009; h. 18:30
Inaugura il 2 aprile Esposizione Universale – L'arte alla prova del tempo: otto mostre racchiuse in un unico percorso espositivo che si snoda nelle sale di GAMeC – Galleria d'Arte Moderna e Contemporanea di Bergamo. Non è una mostra universale per l'esuberante quantità dei Paesi ospitati, o per la varietà delle discipline rappresentate, non presenta le ultime novità della scienza della tecnica e dell'arte come accadeva e accade nelle Esposizioni Universali del XIX, XX e XXI secolo, ma rappresenta le novità di sempre perché "Tutta l'arte è contemporanea" (Gino De Dominicis).
Attraverso 100 opere circa, che vanno dal XV al XXI secolo, le otto sezioni della mostra affrontano alcune tematiche universali trattate nei secoli da artisti antichi, moderni e contemporanei. Periodi diversi si confrontano per mettere alla prova i metodi di rappresentazione e presentazione di argomenti eterni e sempre diversamente affrontati.
Il patrimonio dall'Accademia di Carrara di Bergamo è il punto di partenza del dedalo espositivo, un viaggio che arriva sino alle ultime tendenze artistiche.
In Esposizione Universale del Potere, Esposizione Universale del Quotidiano, Esposizione Universale della Vita, Esposizione Universale della Morte, Esposizione Universale della Mente, Esposizione Universale del Corpo, Esposizione Universale dell'Odio, Esposizione Universale dell'Amore, le opere di Giovanni Bellini, Bergognone, Sandro Botticelli, Vittore Carpaccio, Vincenzo Foppa, Pisanello, Tiziano, si specchiano con quelle di Christo, Francesco Clemente, Felice Casorati, Marcel Duchamp, Giorgio De Chirico, Filippo De Pisis, Gino De Dominicis, Jimmie Durham, Gilbert & George, Ilya Kabakov, Joseph Kosuth, Maria Lai, Marisa Merz, Pino Pascali, Luigi Ontani, Ettore Spalletti, Jeff Wall, Gilberto Zorio, Mario Airò, Stefano Arienti, Simone Berti, Roberto Cuoghi, Meschac Gaba, Margherita Manzelli, Diego Perrone, Pietro Roccasalva, fra gli altri.
Da sottolineare come l'artista Ben Vautier ricorra in tutte le sale, in quanto si è scelta una serie di opere testo tipiche dell'artista francese come "motti" guida, quasi una "didascalia" visiva a introduzione di ogni tematica e sala.
Ieri e oggi, il prima e l'ora, il classico e il moderno si fronteggiano per sottolineare le influenze e le relazioni esercitate dal passato sul presente e viceversa, perché se è vero che la nostra eredità produce contemporaneità, è altresì vero che anche la contemporaneità produce, rileggendolo, il nostro passato.
Il dualismo espositivo mette in discussione i presupposti stessi dell'universalità in favore della località warholiana: "Solo il locale può aspirare all'universale". (Andy Warhol)
Esposizione Universale – L'arte alla prova del tempo si inserisce nella tradizione indicata da Francis Haskell che, ne La nascita delle Mostre, individua l'origine delle grandi mostre nelle grandi Esposizioni Universali ottocentesche.
Importante è segnalare come il catalogo, e quindi il sapere-pensiero della mostra, sia costruito utilizzando le moderne tecnologie affidando la raccolta dei pensieri dei relativi temi alla rete e al cellulare in modo da costruire un sapere-pensiero collettivo non dimentichi del fatto che, come diceva Mac Luhan, "Il mezzo è il messaggio".
Ecco allora che Giacinto Di Pietrantonio ha posto domande sui temi della mostra via mail, chat, facebook, SMS. Il curatore, utilizzando il suo indirizzario mail, ha chiesto cosa sono la Vita e la Morte, oppure la rubrica del cellulare è servita per mandare messaggi in cui chiedeva cosa sono l'Amore e l'Odio; a facebook non poteva non affidare le questioni relative al Potere e al Quotidiano, visto l'uso che di questo ne hanno fatto e ne fanno oggi i politici a partire da Obama, mentre tramite chat ha dialogato su Corpo e Mente. Naturalmente i messaggi ricevuti non spiegano direttamente le opere in mostra, ma vi si affiancano nel tentativo di creare un ipertesto verbo-visivo collettivo.
Perciò via SMS per Enrica Pagella, Direttore Palazzo Madama Museo Civico d'Arte Antica, Torino: "l'Amore è cura dell'altro e l'Odio è demolizione dell'altro", mentre per la gallerista Gea Politi di Milano è: "Odi et amo, una poesia di Catullo".
D'altro canto via mail all'artista Stefania Galegati (email@example.com) la vita appare come "Quella cosa che scalcia dentro la mia pancia", mentre della Morte dice: "Non lo so ancora, il limite dell'immaginazione". Oppure c'è l'architetto Beppe Finessi (firstname.lastname@example.org) che preferisce affidarsi all'ironia di Ennio Flaiano che dice: "Per la vita non sono ancora pronto. Per la morte non sarò mai pronto. Intanto "io muoio alla giornata".
La traduttrice Nathalie Mikolajczyk via facebook su Potere e Quotidiano scrive che: "Per me il potere è la possibilità che qualcuno ha di farti fare e di farti pensare ciò che vuole. Ma più forte del potere, c'è il contropotere, cioè la resistenza. Per me, il quotidiano è qualcosa che rassicura, sì, ma ogni tanto è bello anche riuscire a vincere tutte le piccole certezze che ti dà per fare qualcosa di grande". Al contrario il gallerista Francesco Annarumma si chiede: "Che cos'è il Potere? Una tentazione. Cos'è il Quotidiano? Il tempo che mi è dato per riuscire a definirmi".
Infine per la Mente e il Corpo, sintetizzando la lunga chat per gli artisti vedovamazzei: "… la mente è il futuro, il corpo il presente…", oppure per il curatore Alessandro Rabottini: "… il corpo è qualcosa di cui mi sono a lungo dimenticato, pensando che dovevo curare la mente, da ragazzino diciamo che ero molto platonico poi ho iniziato a capire che il mio corpo creava negli altri una certa disposizione nei miei confronti e che questo determinava un certo mio modo di relazionarmi, diciamo che ho ancora il vizio di pensare più che di sentire, ma che ci sto lavorando su, probabilmente crescere significa questo: sentire di più e pensare di meno".
In occasione della mostra Esposizione Universale – l'arte alla prova del tempo, la collezione di medaglie contemporanee, conservata presso la GAMeC, si arricchisce di un cospicuo numero di esemplari provenienti da raccolte private.
Circa 240 medaglie, per la maggior parte coniate, talvolta fuse, che testimoniano quanto la medaglia rappresenti un segno, un simbolo, un sigillo dei tempi, che pur nella pluralità odierna dei media conserva una indubbia e singolare capacità di documentazione, unitamente a una non minore validità estetica.
In visione fino al 26 luglio 2009.
Zum Gallery Weekend Berlin freut sich Mehdi Chouakri, mit Varieté die erste Einzelausstellung von Saâdane Afif in der Galerie zu eröffnen. Grundthema von Afifs Schaffen ist die Wandelbarkeit von Formen und Systemen. Eigene und fremde Werke setzt er einem ständigen Transformationsprozess aus. In Zusammenarbeit mit Autoren und Musikern werden bei diesem Vorgang Gattungen und Medien immer wieder gegeneinander ausgespielt. Afif überträgt Skulpturen und Installationen in Gedichte.
Diese Texte lässt er wiederum vertonen, so dass zu jeder Ausstellung ein eigenes Album entsteht. Das offene Werk von Saâdane Afif zeigt auf diese Weise das Variationspotential von eigentlich festen Strukturen auf.
Afifs Debüt bei Mehdi Chouakri ist inhaltlich zweigeteilt. In der vorderen Hälfte nimmt eine dunkle Bühne nahezu die Hälfte der Fläche ein. Auf ihr befinden sich neue Versionen von bestehenden Objekten, deren Titel sich aus den technischen Beschreibungen der ursprünglichen Stücke zusammensetzen. Im zweiten Teil präsentiert Afif die Edition Vice de Forme, Formfehler, von der ein Exemplar auf einem Sockel in der Mitte des Raums steht. Die Skulptur besteht aus drei geometrischen Carrara-Marmorkörpern, einer Kugel, einem Würfel und einem Zylinder. Ausgangspunkt der Arbeit waren zwei Fundstücke mit einer formalen Ähnlichkeit, die Afif hier verbindet: Man Rays Werk Presse-Papier à Priape (1920) und die schematisierte Darstellung eines Atomkraftwerks aus einem Comic des französischen Zeichners Reiser. Auch zu Vice de Forme hat Afif lyrische Interpretationen verfassen lassen und als Wandtexte über den Raum verteilt.
Quasi den umgekehrten Weg beschreitet Afif in seiner Einzelausstellung Feedback, die ab dem 24.
April im EACC, Castelló d‘Empúries (Katalonien), zu sehen ist. Wie der Titel andeutet, ist die Schau mit einer Rückkopplung vergleichbar. Diesmal geht Afif von den beauftragten Texten und Liedern aus, die er wieder in Kunstwerke übersetzt.
Für die Begleitausstellung zum Kunstpreis der Böttcherstraße, die vom 19. April bis 26. Juli im Neuen Museum Weserburg, Bremen, stattfindet, hat Afif hingegen eine Radioinstallation konzipiert.
Aus seinen Liedern hat er ein rund neunzigminütiges Programm zusammengestellt, das während der Ausstellungszeit im Rundfunk auf der Frequenz 97,2 FM als Tonschleife ausgestrahlt wird. In der Schau selbst sind dagegen nur ein Radio sowie Schilder mit den Daten der Arbeiten zu sehen, auf denen die Sendung basiert. Neben dieser Auszeichnung ist Afif ebenfalls für den diesjährigen, französischen Prix Marcel Duchamp nominiert.
Mehdi Chouakri — Aktuell
Rosa Barba | Western Round Table 2027
May 2nd - June 13th, 2009
Opening May 1st 2009, 4-9 pm
Rosa Barba’s films construct utopias, possible worlds, which evolve from a craving to take action, which is produced by the voids and displacements of our everyday reality. Those displacements are what Barba’s films often start from; their characteristics lead her to filmic interweavings of realities and potentialities. In her use of film formats, celluloid and projectors, Barba is assembling an installative set up for an artistic production in which film is employed to register asynchronicities and breachings in past and present. Barba’s films follow those traces, but not to dissolve into nostalgia, but rather to destille images of an inhomogeneous reality, in which utopia is always already subsisting. In her reconstructions of reality, fictionalty turns into the lever of a politicizing gaze.
From the 1st of May 2009 carlier | gebauer will present Barba’s film installation “Western Round Table 2027” (2007) in the project space. The installation is part of a trilogy of film works, the two others of which, „They Shine“ and „Waiting Grounds“, were both shown at the Torino Triennale and at the Kunsthalle Basel. All three share a geographical starting point, the Mojave desert in California, which is where Barba recorded the sceneries of “They Shine” and “Waiting Grounds”. Both films show images of abanonned or only mechanically inhabited places, which are crossfaded with audio material, adding a suggestive second layer to the filmed material. “Western Round Table 2027” relates to those places in memorizing a conversation on the situation of modern art, which the California School of Fine Arts had initiated there in 1949, and in which, amongst others, Marcel Duchamp and Frank Lloyd Wright took part. There are group photos of this meeting but its exact location remains unknown. Rosa Barba imagined to have found it and translated this anticipation into a montage of situated memories. “Western Round Table 2027” is the most abstract and yet the most sculptural of the three works. In a darkened space two 16mm projectors are directed towards one another projecting each other’s shadows on the walls. Mechanically rattling they seem like monuments of an industrial past. Their shadows are tracing the mechanical movements, while the sound of their motors is complemented with another element of vague memory, fragments of a soundtrack which Enrico Morricone once composed for Federico Fellini, rearranged by Rosa Barba together with Jan St. Werner.
Barba’s “Western Round Table 2027” presents a sculpture of fragmentary knowledge, which is constantly rearranged but never completed. Named after a conversation, which, just after the break down of modernist utopianism searched for the future of modern art, the work itself is a conversation between different layers of time. Like the abandoned military architecture in „Waiting Ground“ and the seemingly endless lines of reflectors in „Waiting Grounds“, „Western Round Table“ evokes the idea of a displaced monument of modernism after its end. This monumental character, the asynchonicity, which Barba forges with her use of the filmic devices, is guiding the gaze onto the always brittle images and machines, which stand in for a reconstructed praxis, also approximated in the second work shown at carlier | gebauer. The large format silscreen print „Time Machine“ (2007) meticulously phrases the script of a feature length movie that was never filmed. Rosa Barba wrote its script in reference to H.G. Wells novel „Time Machine“ (1895). The scenes, the dialogues and narrations are displayed in endless rows of black letters on whitened canvas. The silkscreen print here replaces the projection of images, the work itself becomes a ‚still’. In Barba’s works traces of the past are breaking into the present, demonstrating its permeability. The „Time Machine“ seems to be Barba’s continuous mode of artistic production, in which she follows up modernities in themes, places and machines, opening up the utopian perspective of another reality.
This year, works of Rosa Barba will be shown at the Venice Biennale as well as at the Bonniers Konsthall in Stockholm. At the End of 2009 the exhibition „Italics“ curated by Francesco Bonami for the Palazzo Grassi in Venice, will tour to the Museum of Contemporary Art in Chicago and in May Barba will be showing in a show curated by Cecilia Alemani for Gió Marconi in Milan. In Autumn 2009 works of Barba will be presented in a large group show at carlier | gebauer and in Spring 2010 a solo exhibition will follow.
carlier | gebauer ::Western Round Table 2027
For his first show at Johnen Galerie, Mircea Cantor has decided to present recent new works as well as an updated version of an installation originally produced three years ago.
An artist’s struggle to present the politics of power in a new and meaningful way is a raison d’être of contemporary art. Cantor embarked on this journey since his first presentation and has beautifully communicated the tension in piece after piece. It is strong without crushing one under the weight of electuary politics. It is respectful of our own individual ideals, allowing viewers freedom to stand along the political fault line accordingly. Cantor’s work makes sense of the politically turbulent world in which we live by juxtaposing gentle, poetic imagery with modern and established symbols of power. His attention to how globalization has changed the meaning of objects, colors, and mediums is an ever-present facet of his work. The growing webs of global connectedness are ever-present in Cantor’s work, while his commentary on power-driven politics is an inescapable, though subtle, facet of his art.
Johnen Galerie Berlin
For this year's Gallery Weekend Berlin, Esther Schipper shows new works by Carsten Höller in the artist!s fifth solo exhibition at the gallery.
A large, matt-grey mobile hangs from the ceiling of the anterior exhibition space.
Seven round cages hang from the mobile, each of which contains a live canary. The room is painted magenta. The individual elements of the mobile are arranged according to the spatial transposition of a simple mathematical formula: the continual halving of the geometric form of the square, from which it begins. In 2007, Carsten Höller realised The Belgian Problem in Shawinigan, Quebec – large aviaries full of live starlings upon which he experimented using acoustics and communication. In the current exhibition, visitors are confronted with the varying dialects of different kinds of canaries. The concept of “floating” is realised formally by the mobile, and further strengthened through the birds sitting in the cages. It is an arrangement “for
measuring the dimension of song”.
The mathematical formula of doubling and halving is also taken up by Höller in the gallery!s adjoining room, where a series of mushroom vitrines are on view. These are Doppelpilze (Double mushrooms) – halved and newly put together moulds of different kinds of mushrooms, always combined with one half of a toadstool. Some of the mushrooms are edible, others not.
Square paintings display the formula!s starting point, from which the mobile was developed. In this context, the room!s colourful environs intervene powerfully in the experience.
The artist has also turned the gallery!s office into an exhibition room. A nine-part print series with golden canary motifs is shown on one of the office walls, which has been painted in pale mint. This work was realised by Carsten Höller together with Niels Borch Jensen and can now be seen for the first time in the context of an exhibition.
Carsten Höller lives and works in Stockholm. Most recently, he realised the now legendary The Double Club (with Fondazione Prada) in the London borough of Islington. This year, alongside other projects, he is taking part in Daniel Birnbaum's exhibition “Making Worlds” as part of the 53rd Venice Biennale.
Gallery Weekend Berlin takes place from 1–3 May. The gallery will be open on Saturday 2 May and Sunday 3 May 2009 from 10 am – 7 pm. Further information can be found at www.gallery-weekend-berlin.de.
ESTHER SCHIPPER - BERLIN
La Fondazione Bevilacqua la Masa è lieta di ospitare l’esposizione personale Anton’s Memory di Yoko Ono, che il 6 giugno riceverà il Leone d’Oro alla Carriera dalla Biennale di Venezia. L’artista, nota dalla prima metà degli anni sessanta come performer d’avanguardia e una delle fondatrici di Fluxus, ha costruito una esposizione che vuole essere un vasto affresco della sua pratica artistica.
Il titolo della mostra, ANTON’S MEMORY, rimanda “alla vita di una donna vista attraverso gli occhi del figlio, e della sua debole memoria”, come dice Yoko Ono stessa.
La mostra è pensata appositamente per gli ambienti di Palazzetto Tito e comprende un continuo bilanciamento tra lavori vecchi e nuove opere: film, composizioni sonore, sculture, disegni e dipinti, oltre ad alcune installazioni interattive che coinvolgeranno il pubblico stesso. Saranno presenti, tra l’altro, molti accenni alla materia del corpo e al senso del tatto: per esempio la scultura Touch me III a conterrà, come stipati in cassetti preziosi, dei frammenti di corpo femminile.
Al centro dell’allestimento compariranno due versioni, una recente e quella originale, della performance Cut Piece, del 1965 e del 2003. In questa performance, l’artista concede al pubblico di tagliare progressivamente parti del suo abito.
Nella prima versione Yoko Ono ha 32 anni, nella seconda ne ha 70 questa differenza da cosi’ modo di vedere la consistenza delle tracce lasciate su di noi dal passare del tempo.
Elmetti militari della seconda guerra mondiale contenenti pezzi di cielo; il video di un tentativo inutile di strapparsi il reggiseno e respirare liberamente (una metafora questa di liberazione femminile); un suono insistente di tosse; tavoli, carte e penne perché chiunque possa scrivere il proprio pensiero e lasciarne una traccia; il libro di “ricette per azioni artistiche” Grapefruit (1964) lasciato in giro come un elemento generativo per tutto il resto; nella sala maggiore del palazzetto veneziano tra finestre ogivali aperte sulla natura o chiuse da vetri colorati tavoli per giocare a scacchi in tutta calma,... tutto cio’ ed altro ancora, accanto ad una colonna sonora commovente, completeranno il percorso della mostra punteggiato anche dalla mano dell’artista che scriverà sui muri, di suo pugno, parole e poesie.
L’intero allestimento negli ambienti di Palazzetto Tito formerà un insieme unitario che evoca la memoria di Anton. Qualcosa che possiamo vedere come una storia codificata, cioè la vicenda di un figlio adulto che ripensa, attraverso segni e reperti, alla vicenda esistenziale di sua madre.
Fondazione Bevilacqua La Masa
April 18 - July 2009
303 Gallery is proud to present our second exhibition of new work by Ceal Floyer, in which she continues to break down the semiotics of everyday signals, particularly as they are expressed through the ambiguities of language. Often suffused with a distinctly wry sense of humor, Floyer’s works are one step left of centre, with the dialectical tension inherent in commonplace representation being teased into revelatory notional compositions.
In “Scale,” Floyer exploits the dual meanings of the title itself, verb and noun, as speakers serially mounted to conjure escalating steps play the sound of footsteps ascending and descending. The footsteps scale the speakers, while the speakers play back a new kind of “scale” - liminal rather than musical. The unclad simplicity of the installation, with the speakers acting as cold, perfect channels of delivery physically turned on their sides, typifies the figurative turning, re-examining and combining of the heretofore unremarkable stimuli with which the world bombards us.
Polemically similar is “Ink on Paper”, in which various pens and markers are held to individual sheets of paper until their ink runs dry. The ink traces perfect circles with varying densities and temperatures of color as each pen purges its contents. The perfectly synthesized utility of two everyday objects is rerouted through a new pragmatic system, resulting in a different kind of purity - one that was implied by the figure of speech referenced in the piece’s title. In this way, Floyer’s practice continues to reveal the mystical potential that is always already present in the objects that surround us.
Ceal Floyer has currently a solo exhibition at Paris’ Palais de Tokyo as part of the project “Gakona.” Later this year, she will have a solo retrospective at the Museum of Contemporary Art, Miami. She has recently had solo exhibitions at Musei dArte Contemporanea Donna Regina, Naples; Centre d’Art Santa Monica, Barcelona; and the Swiss Institute, New York. She will be included in the 53rd International Venice Biennale this summer, and has participated in group shows in the past year at Museum für Gegenwartskunst, Basel,; De Ateliers, Amsterdam; Aspen Art Museum, Aspen, CO; Statens Museum, Copenhagen, Denmark; and the Turin Triennial. Floyer lives and works in Berlin.
303 Gallery -
VizMining 2009 - Home Page: "The goal of this workshop is to bring together researchers and application experts interested in solving data analysis problems using combinations of data mining and visualization techniques. Given the many algorithms, data structures, models, and architectures being applied to problems in data mining and information visualization, we are at a point where interaction between these communities can be of significant mutual benefit. We believe that discussion by experts in these areas will stimulate many worthwhile and interesting new ideas."
# Jeff Baumes, Kitware, Inc. (USA)
# Christopher Collins, University of Toronto (Canada)
# Steve Eick, SSS Research/University of Illinois at Chicago (USA)
# Jean-Daniel Fekete, INRIA (France)
# Jeffrey Heer, University of California at Berkeley (USA)
# Eamonn Keogh, University of California at Riverside (USA)
# Robert Kosara, University of North Carolina at Charlotte (USA)
# Guy Lebanon, Georgia Institute of Technology (USA)
# Kwan-Liu Ma, University of California at Davis (USA)
# Claudio Silva University of Utah (USA)
# Martin Theus, University of Augsburg (Germany)
# Matthew Ward, Worchester Polytechnic Institute (USA)