Next Vintage: "Rinnovo del guardaroba autunno/inverno con la moda e gli accessori d’epoca dal 16 al 19 ottobre al Castello di Belgioioso con Next Vintage.
Riconosciuto come il salone del Vintage piu' grande e importante d'Europa, vi partecipano circa cinquanta espositori, selezionati di diverse regioni italiane, con le loro migliori proposte moda e accessori dal ‘700 agli anni ’80."
Next Vintage: "Rinnovo del guardaroba autunno/inverno con la moda e gli accessori d’epoca dal 16 al 19 ottobre al Castello di Belgioioso con Next Vintage.
PETER FISCHLI & DAVID WEISS
October 30 through January 16, 2010
Opening: Thursday, October 29, 6:00–8:00 P.M.
Matthew Marks is pleased to announce a special exhibition of work by Peter Fischli and David Weiss at his three galleries. The exhibition includes the new monumental installation, Sun, Moon and Stars at 522 West 22nd Street. Clay and Rubber at 523 West 24th Street features their iconic sculptures from the past two decades in these materials, while their newest sculpture, Sleeping Puppets, will be installed at 526 West 22nd Street.
Sun, Moon and Stars is an encyclopedic accumulation of 800 magazine advertisements culled from hundreds of international periodicals. Begun as a project commissioned by a Swiss corporation for its annual report, the finished project is displayed in thirty-eight wood and glass tables, totaling 330 feet in length. A dizzying redaction of late capitalism in various chromatic and themed groupings, the ads are shown in a specific order that exploits the formal, narrative and color similarities between advertisements. Among the hundreds of paired ads, the viewer will discover the curious association between the color schemes in an ad for private airplanes and another for cat food. These juxtapositions guide the viewer towards many interpretations, following a loose narrative.
Clay and Rubber includes sculptures of everyday objects—a dog dish, a drawer, a hiking boot, an ottoman—cast in black rubber or modeled in clay. The rubber sculptures were made between 1986 and 2009. The clay sculptures, in which the hands of the artists are easily visible, are more recent and are oversized. The sensuality of unfired clay and jet-black rubber provoke the viewer to consider the aesthetic beauty in everyday objects.
In the gallery at 526 West 22nd Street, the artists’ avatars, Rat and Bear, can be seen sleeping soundly on a pile of blankets, exhausted from their labors. These figures are stand-ins for their progenitors, first seen in Fischli and Weiss’s films The Least Resistance (1981) and The Right Way (1983). Here we find Rat and Bear, almost thirty years later, lost in their dreams.
Matthew Marks Gallery
Pencil This In: Zombies at Book Soup, A Sonic Forest at USC - LAist: "The Sacred Fools Theatre Company presents Ten Tops! An Eclectic Open Performance Event tonight at 8 pm. Hosted by Pogo Saito and Carla Jo Bailey, 10 performers get seven minutes apiece to do anything they want—from sketch comedy to dramatic readings, playing music to interpretive dance, spoken word poetry to apocryphal mime-ery."
Hyperconcret (ccnoa, Brussels)
16.10– 15.11. 2009
Opening show : Thursday 15.10.2009 at 6.30 pm
This exhibition takes place within the framework of the exchange between the CCNOA (Brussels) and the CAN. The CAN will welcome an exhibition organized by the team of the CCNOA at the beginning of 2010 in Neuchâtel.
Support : Pro helvetia, Canton de Neuchâtel
Artistes: Massimiliano Baldassarri, Fred Fischer, Andreas Golinski,Francisco da Mata, Martin Widmer.
Project space : Francisco da Mata
Multimedia space : Massimiliano Baldassarri
www.can.ch - \ CENTRE D'ART NEUCHATEL
The New Improvement Scheme
23rd October 2009, 7pm
After show drinks at Mono, 12 Kings Court, Glasgow, 9pm- late
11th December 2009
Hammond presents a series of new paintings in his second solo show at Sorcha Dallas.
Hammond was born in Aylesbury in 1979, and graduated from the painting department at Glasgow School of Art in 2002. Selected group shows include: ‘If Not Now’ (Broadway 1602, NY); ‘Keep Passing the Open Windows’ (Galerie Gisela Capitain, Cologne); ‘You will be re-materialised through your secrets’ (Michael Benevento, LA); ‘Expanded Painting 2’ (3rd Prague Biennale), and ‘Dogtooth and Tessellate’ (The Approach, London). He has presented solo shows at Sorcha Dallas, Glasgow (2007), Anton Kern Gallery, New York (2008) and Michael Benevento, Los Angeles (2008). 2009 projects include group shows at Timothy Taylor, London, Galerie Keinzle & Gmeiner, Berlin and White Columns, New York. For 2010 he will have a solo show ay Layr Wuestenhagen, Vienna and a two-person project with Michael Bauer at Linn Luhn, Cologne. Hammond lives and works in Glasgow.
Sorcha Dallas Contemporary Art
Morgan Lehman is pleased to present Maxwell's Lair, new paintings and installation by New York based artist Emilie Clark. This is Clark's second solo show with the gallery. Clark has long been interested in 19th Century women naturalists who defied dominant social expectations of their time. She has used their lives and practices as a point of departure in two previous series based on Mary Treat (1830-1923) and Mary Ward (1827-1869), resulting in shows based on several years of research, accumulation and creation of specimens, paintings, drawings, and sculpture.
Morgan Lehman Gallery Contemporary Art
Contemporary and Modern Works
10/01/2009 - 31/10/2009
Milano via Marco Polo 11 tel. +39 02 4549 8902 Private Viewing su appuntamento da lunedì a venerdì New York 210 East 5 th Street. NY 10003 tel +1 212 671 1027 Private Viewing by appointment
Jules de Balincourt
AR / CONTEMPORARY GALLERY
Adad Hannah : The Raft of the Medusa (100 Mile House)
Pierre-François Ouellette art contemporain is proud to present artist Adad Hannah's most recent project The Raft of the Medusa (100 Mile House). The show will run from October 17 to November 28, 2009 in parallel with with an exhbition of new work by Marc Audette.
Following on the success of his Prado series, which was shot on location at the Museo del Prado in Madrid, Hannah takes Géricault's The Raft of the Medusa, which hangs at the Musée du Louvre, and restages it in rural British Columbia.
In late 2008 Adad Hannah received a telephone call from an old friend in British Columbia. Gus Horn, a rancher, community activist, and art collector, wanted to stage a version of Théodore Géricault's monumental painting The Raft of the Medusa (1818-1819) in 100 Mile House, a community of 2000 people in central BC. Although Hannah initially tried to talk Horn out of pursuing the project, explaining that it would be difficult and expensive, the details for remounting this tragic scene were finally worked out in early 2009 and Hannah flew to BC to get started on the project.
In 100 Mile House, the artist met with Horn and made presentations at the local high school, junior high, and community art centre trying to find people interested in being models and volunteering for other roles. Eventually the entire community came together for this project, with volunteers building the set, making costumes, applying makeup, and feeding a cast and crew of well over 40 people. The backdrop was painted by local painter Tom Godin using both brushes, and rollers on heavy canvas. It measures over 1000 square feet and was hung from a three-story scaffold.
For three months the students met weekly at the high school in order to prepare for the final tableau vivant. They practiced yoga so they would be able to hold the necessary poses, and studied the painting in order to get in the right mood. On May 2nd and 3rd, 2009 in the 100 Mile House community hall the final tableau was performed for several live audiences, a life-drawing class, and Hannah's video and still cameras. The final cast consisted of twenty students and two itinerant tree planters. The models held their poses for between five and ten minutes, creating an uncanny replica of Géricault's painting rendered in living flesh.
Géricault chose to paint a scene from a recent tragedy, the sinking of the French ship Méduse in 1816, and the plight of the survivors, who, left to their own devices, succumbed to cannibalism, dehydration, and insanity as their numbers shrunk from an initial 150 passengers to the final fifteen who were discovered by accident two weeks later. The finished canvas measured a giant 16' by 23.5' and was eventually purchased by the Louvre shortly after the artist's death in 1824. The community of 100 Mile House has been ravaged itself, if somewhat slower and less dramatically than the passengers of the raft, by downturns in the cattle and forestry industry.
Photographs and videos produced during these performances are being shown for the first time starting on October 17th at Pierre-François Ouellette art contemporain, Montreal. They will also be featured later in October at the Toronto International Art Fair, and next year at the Aldrich Contemporary Art Museum in Connecticut and during Art Chicago.
Adad Hannah was born in New York in 1971. He has lived in Montreal since 2001.
He has exhibited at the Musée national des beaux-arts du Québec (2008), the Musée d'art contemporain de Montréal (2008), Zendai MoMA, Shanghai (2009), Ke Center for Contemporary Art (Shanghai 2008), the Vancouver Art Gallery (2007), the National Gallery of Canada (2006), Ikon Gallery (Birmingham 2006), the 4th Seoul International Media Art Biennale (2006), Casa Encendida (Madrid 2006) and Viper Basel (2004). In 2004 he won the Toronto Images Festival Installation/New Media Award, and the Bogdanka Poznanovic Award at Videomedeja 8. His work has been funded by the Canada Council for the Arts, the Conseil des Arts et des Lettres du Québec, the B.C Arts Council, the Vancouver Foundation/Contemporary Art Gallery, the Quebec Delegations and Canadian Embassies in Madrid, Seoul, and New York. He has produced works at museums including the Montreal Museum of Fine Arts, the National Gallery of Canada, the Vancouver Art Gallery, the Rodin Gallery (Seoul), and the Prado Museum (Madrid).
Hannah's work can be found in the collections of the Musée d'art contemporain de Montréal, the Montreal Museum of Fine Arts, the Ke Center for Contemporary Art (Shanghai), the Zacheta National Gallery of Art (Warsaw), BMO Financial Group and the Royal Bank of Canada.
M+B is pleased to announce an exhibition of Mona Kuhn’s latest series Native, opening October 24 and running through December 5, with a reception and book signing for the artist on Saturday, October 24 from 7 to 9 p.m. Shot entirely in her native country of Brazil, this series marks a 20 year return for the artist best known for her alluring figurative studies in a French naturist colony. The homecoming, literal and sympathetic, ignited something new, and the resulting oeuvre is rich, moody in tonality, and the most deeply psychological of Kuhn’s work to date.
The play between new friends—the people featured in her work were all first time collaborators—and an old space is a marked departure from her earlier series of familiar friends in a temporary, makeshift space. In exploring the essence of reconciliation and regrowth, Native moves the viewer back and forth between wilderness and civilization, carnality and oblivion, fecundity and decay, interweaving a sultry and sensual visual narrative.
Mona Kuhn’s work is held in collections such as the Musee de la Photographie de Charleroi (Belgium), Schwarz Fine and Contemporary Art Collection (Berlin, Germany), Nicolaus von Oesterreich Collection (Frankfurt, Germany), di Rosa Foundation (San Francisco, California), Sir Elton John Collection (England), Buhl Foundation (New York), Miami Art Museum (Miami, Florida), and SFMOMA (San Francisco, California). This is her second exhibition with M+B.
The artist will be available to sign copies of her new book published by Steidl entitled Mona Kuhn: Native. This is her third monograph by Steidl.
MONA KUHN: NATIVE runs from October 24 - December 5, 2009.
Home - M B
Distrito 4: "In 1968, Michael Baldwin first used the term Art & Language to name the conceptual art group now made up of Baldwin himself and Mel Ramsden. After their participation in quite a number of Kassel Documenta Exhibitions, in 1993 the centre Jeu de Paume in Paris organised their first retrospective exhibition, which afterwards was followed by shows in such momentous venues for the contemporary scene as New York’s P.S.1 (1999) and the Musée D’Art Moderne in Lille (2002). "
The earliest known documentation of a fatal car crash provides a pictorial metaphor for the new body of photographic and sculptural work included in this exhibition. Photographed in 1898, ‘The First Fatal Car Crash’ records death as a spectacle for the first time. A curious crowd surrounds the carcass of a motor vehicle, its once powerful form now lying redundant in a heap in this haunting image. Over a century later, Shonibare creates a similar scene of destruction in a sculptural dramatization of the death of Arthur Miller’s infamous protagonist, salesman Willy Loman. Here, a life-sized cross section of the doomed vehicle in which Loman died of his own volition, confronts viewers head-on. The character slumps lifelessly in the driver’s seat, having finally met his pitiful end. Willy Loman becomes a contemporary protagonist in this powerful body of new work, suggesting a parallel between Miller’s 20th century examination of greed and the human condition, and the present day.
Yinka Shonibare, MBE | Stephen Friedman Gallery
BWA WROCLAW: "What is the value of painting in the times marked by overproduction of pictures? The diversity of visual culture, spread amid its most extreme forms, makes a single picture barely noticeable, no matter how much work and refinement has been put in it. What is even worse, painting may be compared with other products of culture according to the unfair criteria of visual or intellectual attractiveness. In this situation, an attempted return to contemplating a picture in the classic sense – by a multi-level reading of its idea – seems like a luxury that very few recipients of culture may afford."
Facebook | Media Guru: EDGAR MORIN e l’etica della complessita'. 11/11/2009: "Morin ha di consacrato trent’anni alla ricerca di un metodo adatto a raccogliere la sfida della complessità che si impone ormai come necessaria, non soltanto alla conoscenza scientifica, ma anche ai nostri problemi umani, sociali, politici (La Méthode,1 . La Nature de la nature. 2 La Vie de la vie, 3 . La connaissance de la connisance, 4 Les Idées,5. L’identité humaine, I Ethique). Ed in questo sforzo intelluttuale ha saputo enucleare un’analisi dei problemi dei problemi fondamentali del nostro tempo e un’etica per affrontare il terzo millennio (Pour Sortir du XXème sieclè, Penser l’Europe, Terre-Patrie, pour une politique de civilisation, vers l’abîme)."
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Il 16 ottobre inaugura a Venezia A camel is a horse designed by a committee (attempts at rewriting the wor(l)d), mostra di fine corso dei partecipanti alla XV edizione del Corso Superiore di Arti Visive della Fondazione Antonio Ratti diretto da Annie Ratti, che ha visto l’artista libanese Walid Raad come Visiting Professor.
L’esposizione a cura di Anna Daneri, Cesare Pietroiusti (FAR) e Stefano Coletto (Fondazione Bevilacqua La Masa) è realizzata dalla Fondazione Antonio Ratti e Fondazione Bevilacqua La Masa in collaborazione con la Fondazione Claudio Buziol e con il supporto di Epson, e sarà visitabile fino all’8 novembre.
Fondazione Bevilacqua La Masa
The Verbeke Foundation, founded by art collectors Geert and Carla Verbeke-Lens, is a private art site which first opened doors to the general public on June 1st of 2007.. As a ‘refuge of arts’ the domain offers chances to young / less renowned artists and holds an impressive collection of modern and contemporary art. Culture, nature and ecology go hand in hand in the Verbeke Foundation.
With 12 hectares (29.7 acres) of scenic area and 20,000 m² (4,9 acres) covered spaces, the Foundation is one of the largest private initiatives for contemporary art throughout Europe. The warehouses of the former Verbeke transport agency were transformed into unique exposition halls. One of the buildings was furnished to exhibit Verbeke’s extraordinary collection of collages and assemblages.
The Verbeke Foundation is subject to a continuous growth process. Artists have the ability to reside, larger and smaller exhibitions relieve each other… the Verbeke Foundation resembles a living organism and so looks different one day to another.
“Our exhibition space is not designed as an oasis. Our presentation is unfinished, in motion, unpolished, contradictory, untidy, complex, disharmonous, lively and unmonumental. In this manner it resembles the world outside the museum walls” Geert Verbeke
Facebook | EXPEDITIONS POLAIRES!
Verbeke Foundation - wintertentoonstelling 2008-2009 - G58-G59 Mass-akker
8th Annual Newark Arts Council Open Doors - Gallery Crawl - How do you Crawl?
Hop on, hop off. Do the whole crawl. Go from one reception to another, or take it to one location and walk to the various exhibits in the area. However you choose to Crawl -- just do it and look for the red Newark Trolley to help you along!
Immediately following Newark Art Parade on Friday eve, join the Gallery Crawl and visit dozens of galleries, temporary installations and experimental spaces located throughout the Ironbound, Halsey Village, Lincoln Park, Market St and other areas in Downtown.
NAC: Open Doors
Lo stile di Rogier Willems (Dordrecht,1969) è caratterizzato dalla tradizione dei ritratti, pur non oltrepassando e precipitando nella retorica narrativa. Le opere sono di matrice realistica, spinte all'assurdo.
In questa occasione, la Galleria Movimento Arte, espone l'ultime opere di questo ciclo dell’autore: “La Trasfigurazione”. Lo stile pittorico del trittico, come alcuni nudi recenti, insieme alla struttura dell'opera, ricorda la luce drammatica e sobria delle opere del Caravaggio.
ROGIER WILLEMS - schilderijen en theater
Facebook | TRANSFIGURATION - Rogier Willems