Artipedia - Arts News

SCAPE Christchurch Biennial

SCAPE Christchurch Biennial prepares to launch 5th biennial
of art in public space:

‘WANDERING LINES: Towards a New Culture of Space’

Opens 19 September 2008

http://www.scapebiennial.org.nz

Co-curated by Turkey’s internationally renowned Fulya Erdemci and New Zealand’s Danae Mossman, SCAPE 2008 will open with a distinctive list of artists showcasing new work in public space. Sited city-wide outdoors and at the Christchurch Art Gallery Te Puna o Waiwhetu, SCAPE 2008 runs for 6 weeks from 19 Sep – 2 Nov*.

A city is a dynamic system constantly in flux, that reflects the shifting values of society, where social and political representations, cultural production and consumption, tourism and leisure play out. Globalisation has led to greater mobility and increasing migration, transforming cities at an increasingly rapid pace. Culturally, this shift has seen shopping malls become surrogate social spaces, and urban centres designed to capture the tourist dollar over the need for public space that appeals to local inhabitants.

Driven by a desire to explore the potential for a new culture of space, Wandering Lines: Towards a New Culture of Space presents works by 25 artists across Christchurch city who reflect the conditions and conflicts of Christchurch’s public spaces. The title Wandering Lines (de Certeau: 1998) is drawn from the notion that ‘indirect or errant trajectories obeying their own logic’ can provide new understandings of space (ibid).

Making seemingly invisible contingencies visible, artistic interventions can propose a different experience of locale and situation, or suggest opportunties for more relevant public space, to counter the effects of privatisation and neo-liberal economic policies on social space.

SCAPE 2008 is firmly positioned within the dynamic systems of the city and will develop relationships between artworks and an infinite number of spatial, urban, social, psychological, individual or communal, political and historical conditions that exist in the city. In this sense, interweaving art within the social and urban context is vital in activating a critical dialogue towards a new culture of space.

In line with Vito Acconci’s definition of the function of art in public space, SCAPE 2008 projects are considered in accordance with their ability to de-design the spatial politics and established ‘ways of operating’ to reveal conflicts and contingencies in the urban realm.

Structured around three intersecting layers, SCAPE 2008 is interested in researching drivers behind global conditions of change in cities, mapping the complex textures and terrains that are specific to Christchurch city and creating a spatial dialogue that brings forward aspects of the city that resonate with global issues.

The SCAPE Christchurch Biennial is New Zealand’s only international biennial dedicated to the exhibition of contemporary art in public space. It plays a unique and important role as it focuses on commissioning new works of art. This year approximately 90 per cent of the artworks shown in the Biennial will premiere in Christchurch..

Artists: AVL - Atelier van Lieshout (The Netherlands), Billy Apple (New Zealand/United States); Hannah & Aaron Beehre (New Zealand), Erick Beltrán (Mexico), Guillaume Bijl (Belgium), Elmgreen & Dragset (Norway/Denmark), Ayşe Erkmen (Germany/Turkey), Pat Foster & Jen Berean (Australia), Carmela Gross (Brazil), Lonnie Hutchison (New Zealand), Ann Veronica Janssens (Belgium), Paul Johns (New Zealand), Maider López (Spain), Tea Mäkipää (Finland), Callum Morton (Australia), Tatzu Oozu (Germany/Japan), James Oram (New Zealand), Murat & Fuat Şahinler (Turkey), Karin Sander (Germany), Marnie Slater (NZ), Ron Terada (Canada), ZUS - Zones Urbaines Sensibles (The Netherlands), Felice Varini (France/Switzerland)

SCAPE previews 19 September, following the 2nd Singapore Biennale (9, 10 Sep) and the 6th Taipei Biennial (11, 12 Sep). Direct flights are available from Singapore to Christchurch and from Taipei (via Singapore or Sydney) to Christchurch.

Focusing on creative strategies and possible futures for art in public space the SCAPE 2008 Public Programme is concentrated over the opening weekend 20-21 September.

*at Christchurch Art Gallery until 30 Nov

info@scapebiennial.org.nz | http://www.scapebiennial.org.nz
http://www.christchurchartgallery.org.nz

References
Michel de Certeau, The Practice of Everyday Life, University of California Press, Los Angeles: 1998
İbid.

Screening —-Wednesday, June 16, 2008 at 10:00pm

Time and Place Date: Wednesday, July 16, 2008
Time: 10:00pm - 11:45pm
Location: Vidiots in Santa Monica
Street: 302 Pico Blvd.
City/Town: Santa Monica, CA

www.therisingtidefilm.com

Although artists in rapidly developing China enjoy more freedom than they ever have before, they also face problems they never anticipated. In Robert Adanto’s documentary The Rising Tide, performance and video artist Chen Quilin, anime-inspired video artist Cao Fei, conceptual photographer Wang Qingsong, and a wide array of other Chinese artists speak of the spiritual and intellectual dilemmas they face in a society where almost everything is in constant flux. Adanto’s surprisingly grim film highlights both the vitality and urgency of China’s burgeoning new culture while allowing its subjects to speak of the darker and more painful aspects of change.

– Gerry Mak in Flavorpill

Seating is Limited-Please RSVP
Contact (310) 663-1330
Email: kauaikind@gmail.

Ludwig Museum

1:1 scale model of the 5th Floor of 9 Via Giulia di Barolo,
Turin (La Fetta di Polenta) built at Uferstrasse 8, Berlin 2007
mixed media, 2,5 x 3,7 x 10,4 m
Copyright: Courtesy the artist and
Galleria Franco Noero, Turin

Simon Starling: Three Birds,
Seven Stories, Interpolations
and Bifurcations
13 June - 3 August 2008

Ludwig Museum – Museum
of Contemporary Art
PALACE OF ARTS
H-1095 Budapest, Komor Marcell u. 1.
Phone (36 1) 555 3444
Fax: (36 1) 555 3458
info@lumu.hu
http://www.lumu.hu

Simon Starling: Three Birds, Seven Stories, Interpolations and Bifurcations

The Ludwig Museum – Museum of Contemporary Art, Budapest presents a solo exhibition by the British artist Simon Starling. The project Three Birds, Seven Stories, Interpolations and Bifurcations draws on a number of different, both real and fictitious, versions of the same story – the story of a European architect being employed by a Maharajah to realise an ambitious building project in India.

Simon Starling is best known on the international art scene for his site-specific projects and interventions that address the reinterpretation of existing objects, and the circumstances of their creation and usage. Starling’s work is always based on his own interdisciplinary research. The exhibited installations appear as complex, sculptural objects in which he creates a narrative through a wide range of cultural and historical references, comprising seemingly disparate elements.

The project on exhibit in Budapest brings together the manifold ramifications of a story that spread geographically from continent to continent over a period of a few decades in the middle of the 20th century. In 1929, the young European-educated Maharajah of Indore, Yeswant Rao Holkar (1908-1961) commissioned the German architect Eckart Muthesius (1904-1989) to design and build him a palace; this ultimately turned out to represent the best of European modernist design and technology, including many works of the best practitioners of contemporary design (Le Corbusier, Eileen Grey, Marcel Breuer, Lilly Reich, and Constantin Brancusi) most of which were produced in Berlin. The palace also sported the first domestic air conditioning system in India, built and installed by Heinz Riefenstahl, the Berlin-based plumber and brother of filmmaker Leni Riefenstahl.

The installation Starling presents stresses the interplay between factual information and fictitious elements, underlying the ways in which the construction of a narrative is the result of subjective, culturally determined but very often unconscious motives. In this endeavour, he relies on a range of cultural products that have a large variety of origins and subsequent histories of their own. One interesting and telling example is the way Muthesius himself ‘fictionalised’ his own involvement in the design of the Maharajah’s palace. When he presented the project to a European public, the images of the building were retouched, hiding the unfashionable sloping roof. When, in 1959, Fritz Lang eventually realized his version of a script he had co-written in 1921 with the title The India Tomb, Muthesius was brought in as a consultant for the film.

Starling’s work allows the viewers to construct their own stories based on the rich array of fragments he puts on display. The artist does not privilege any one reading over other possible readings; indeed he even implicitly encourages the viewer’s construction of his or her story beyond the constraints of the exhibition space.

The exhibition in Budapest is, in a certain sense, the ‘unpacked’ version of the project as it was realised in Turin earlier this year in the unique location of the “La Fetta di Polenta” (The Slice of Polenta) – an extraordinary house with seven floors built on a tiny slither of land in the city centre. In the Ludwig Museum a one to one walk in reconstruction of the fifth floor of this building is shown along with original drawings of Brancusi (from the collection of the MNAM – Centre Georges Pompidou) for an unrealised temple commissioned by the Maharaja of Indore, photographs of the Manik Bagh Palace by Emil Leitner and Eckart Muthesius (from the Galerie Doria, Paris), and projections of the films The India Tomb and The Tiger of Eschnapur by Joe May (1921), Richard Eichberg (1938) and Fritz Lang (1959)

Simon Starling lives and works in Copenhagen and Berlin, and has been widely exhibited internationally, most recently at the Sydney Biennale (2008), the Power Plant, Toronto (2008), The Modern Institute, Glasgow (2008), and the Museum Folkwang, Essen (2007). In 2005, Starling was the recipient of the prestigious Turner Prize.

The exhibition is curated by Katalin Timar.

The exhibition was realised in cooperation with the Museum Folkwang, Essen and the Galerie Doria, Paris. The exhibition has been made possible with the generous support of ELMŰ and ÉMÁSZ.

New Zealand Pavilion

New Zealand Pavilion Venice Biennale 2009
http://www.nzatvenice.com

Two artists will represent New Zealand at the 53rd Venice Biennale of International art; Judy Millar’s installation, The Collision, curated by Leonhard Emmerling and Francis Upritchard’s installation, Save Yourself curated by Heather Galbraith and London-based Francesco Manacorda.

Artist Judy Millar is considered one of New Zealand’s foremost painters. Central themes in the artist’s large scale paintings include the relationships between canvas and paint, static and movement and the place of painting in art history.

Judy Millar studied at the University of Auckland, Elam School of Fine Arts, graduating with a BFA in 1980 and an MFA in 1983, returning in 1989 to the University of Auckland to study the writings of Italian feminist authors. She gained an Italian Government Scholarship in 1990 and spent a year in Turin researching the work of Italian artists from the 1960s and 1970s. While there she became increasingly convinced that painting could still be a vital part of the contemporary artistic landscape.

Curator Leonhard Emmerling has an international reputation as a curator, art theorist /historian. He has lectured in art history and authored several books including Jean-Michel Basquiat, 2003 and Jackson Pollock, 2003, both published by Taschen. Born in Wertheim, Germany in 1961, Emmerling immigrated to New Zealand to take up his current position of director at St Paul ST Gallery in 2006. Previous to this he was Director of the Kunstverein Ludwigsburg in Ludwigsburg, Germany.

Created for the 53rd Venice Biennale, The Collision will be an installation of large scale painted canvases that will poke through floors and ceilings, reach out into the space beyond the proper confinements of the building, fold in and out and deliberately discard conventional modes of display and exhibition design. It will challenge the traditional relationship between the object of art and the exhibition space.

Francis Upritchard is a New Zealand born artist living in London. She has exhibited extensively in Aotearoa New Zealand, Europe and America since graduating from Canterbury University’s Ilam School of Fine Arts in 1997. In 2006 Francis Uprichard was the winner of the Walters Prize, often referred to as the New Zealand equivalent of the Tate Prize, Tate Britain.

In 2007-08 Francis Upritchard took up a three month residency at the Govett-Brewster Art Gallery resulting in the exhibition rainwob I before participating in a residency at Artspace Sydney where she presented rainwob II. These exhibitions continue to explore Upritchard’s fascination with the dislocated; a mix of history retrieved, reworked and reinvested with new meaning.

Heather Galbraith is Senior Curator/Manager Curatorial Programmes at City Gallery, Wellington, NZ.

She studied at Elam School of Fine Arts before moving to London where she completing a MA in Curating at Goldmiths College. She worked as Exhibitions Organiser at Camden Arts Centre for seven years, delivering exhibitions, off-site projects and publications. In 2004 Galbraith returned to New Zealand as Director of St. Paul ST Gallery, Auckland before taking up her current position at City Gallery, Wellington in 2005.

Francesco Manacorda, Curator at the Barbican Art Gallery since 2007, has realised the large-scale Martian Museum of Terrestrial Art (with co-curator Lydia Yee) and Hans Schabus: Next time I’m Here, I’ll Be There, and is working on a large exhibition on Robert Smithson and his legacy to be realised in 2009. In 2007 he curated Venetian, Atmospheric: Tobias Putrih - the Slovenian Pavilion at the 52nd Venice Biennale.

Francis Upritchard’s Save Yourself for Venice Biennale 2009 will be an imaginary landscape that exists in an indeterminate historical period. The figures populating this imaginary landscape are detailed with a psychedelic surface and handmade quality. The landscape combines the antique and futuristic, making the scene both familiar and unsettling. The work explores ideas about time, hope and evolutionary change.

Both projects are being developed in association with New Zealand Commissioner Jenny Harper and are initiatives of Creative New Zealand the Arts Council of New Zealand Toi Aotearoa.

To find out more please contact Hannah Evans: hannah.evans@creativenz.govt.nz

DHC/ART Foundation for Contemporary Art

Jean-Baptiste Mondino

DHC/ART Foundation for Contemporary Art
presents the North American premiere of

SOPHIE CALLE
Prenez soin de vous

July 4 - October 19, 2008

http://www.dhc-art.org

DHC/ART is delighted to present Sophie Calle’s critically acclaimed exhibition Prenez soin de vous (Take care of yourself).

At the heart of this exhibition is a break-up e-mail that the artist received from a lover, which ends with the line “Take Care of Yourself”. Sophie Calle decided to do just that:

“I received an email telling me it was over. I didn’t know how to respond. It was almost as if it hadn’t been meant for me. It ended with the words “Take Care of yourself”. And so I did. I asked 107 women (including two made from wood and one with feathers), chosen for their profession or skills, to interpret this letter. To analyze it, comment on it, dance it, sing it. Dissect it. Exhaust it. Understand it for me. Answer for me. It was a way of taking the time to break up. A way of taking care of myself.”

In Prenez soin de vous ¬ - a massive installation comprising texts, photos, films and voices - the break-up letter is abstracted into digital code, Braille and shorthand, but mainly it is endlessly interpreted through the professional vocabulary of the many women. This poetic, humourous and touching project speaks to us all about our relation to the beloved and builds to a powerful meditation on loss.

France’s pre-eminent artist, Sophie Calle combines photography, text, video and performance in playfully conceptual and often autobiographical narratives concerned with absence, desire and loss. With a heady mix of humour, pathos, fetishism and voyeurism, her work repeatedly tests and redraws the boundaries of private and public, art and life. She often employs self-established guidelines, questions or rituals to transform her life into image and text-based works. She acts as the voyeur, The Sleepers (1979), The Hotel (1981) the pursuer Suite vénitienne (1983) or shares her love sorrows with others in Exquisite Pain (1984-2003), Double Blind (1992) and in her most recent exhibition, Take Care of Yourself (2007). Her experiments with different forms of photographic documentation: archival images, street photography, surveillance imagery and portraiture are combined with texts and stories and become compelling works that reside wistfully between fiction and reality.

Gallery Hours:

SUMMER HOURS
Wednesday to Friday from 12 PM to 9 PM
Saturday and Sunday from 11 AM to 9 PM
Free admission

Address:
451 and 468 St-Jean (corner Notre-Dame, in Old Montreal), Montreal, Quebec H2Y 2R5 Canada

For more information contact:
Cheryl Sim, Program Coordinator
Tel: (514) 866-6767 ext. 206
cheryl@dhc-art.org
http://www.dhc-art.org

Scottsdale Museum of
Contemporary Art [SMoCA]

Installation view, Pae White: “Lisa Bright & Dark”, Scottsdale Museum of Contemporary Art, 2008. Ephemera objects in case listed below, all works collection of the artist, Los Angeles, CA unless otherwise noted. Copyright: Pae White

Pae White:
”Lisa, Bright & Dark”
17 May 2008 to 7 September 2008

Scottsdale Museum of
Contemporary Art [SMoCA]
7380 E. 2nd Street
Scottsdale, AZ 85251, U.S.A.
Phone: 480-874-4666

http://www.smoca.org

EXHIBITION:
Pae White: “Lisa, Bright & Dark”

Pae White seeks what she calls an “artfulness” in everything—books, advertisements, objects such as a shopping bag or perfume bottle, even exhibitions. She has a keen way of deconstructing or perhaps rethinking the assumed forms of things. This exhibition, an innovative approach to showcasing White’s broad output, marks the first full-scale American museum exhibition of her art.

White titled this exhibition after a novel by John Neufeld, Lisa, Bright and Dark, 1969, Copyright SG Phillips. The book was somewhat of a phenomenon and played an important role at the time of its release for many teenagers (White among them) seeking to understand the “craziness” of the world around them. In retrospect, for White now, the title represents a specific and elusive tone of that specific time and place. Rather than referencing the literal story of Lisa, Bright and Dark, she is interested in using the book title as a device that can reference notions of confusion and inconsistency. For her, it is about conjuring an essence more than telling a specific story.

The exhibition is literally and physically organized in two galleries, one “bright” and one “dark.” These two spaces create contrasting environments in which to experience the work psychologically. The “bright” gallery is like a jewel box. It is filled with White’s ephemera: books, catalogues, posters, stickers, announcement cards as well as various small objects including perfume bottles and delicate glass spheres that contain bath water, one of many un-collectable things, White has collected over the years. The sparkling realm of bright colors and dynamic shapes evokes a playful sense of wonder. By contrast, in the “dark” gallery, the richly hued objects made of heavier materials such as cast iron elicit a quiet, meditative quality and a more somber mood. Woven tapestries hang among dramatically lit paper mobiles and ethereal hanging sculptures. Central to the tone of this space is Reflective Tables, 2008, one of White’s “pools,” created for this exhibition out of layers of
mirrored and colored Plexiglas. The shimmering “pool” acts as an extended reflective pedestal that anchors various objects from White’s repertoire.

TOUR:
Pae White: “Lisa, Bright & Dark” will travel to the Taubman Museum of Art, Roanoke, Virginia where it will be on view from September 5 – November 2, 2009. The exhibition is available for travel from September 2008 – August 2009. To receive a full exhibition proposal packet please contact exhibition curator Cassandra Coblentz, 480-874-4637, or cassandrac@sccarts.org

PUBLICATION:
Pae White: “Lisa, Bright & Dark” Available now
The catalog accompanying this exhibition is the first major U.S. museum publication on Pae White’s art, which is widely shown abroad. Designed by Juliette Bellocq in close consultation with White, it includes an interview by Hans Ulrich Obrist, co-director of exhibitions and programs and director of international projects at the Serpentine Gallery, London, and texts by Cassandra Coblentz, implementing curator, and Marilu Knode, originating curator and now assistant director, F.A.R. [Future Arts Projects], Arizona State University, Tempe.

For further information please visit our website http://www.smoca.org

Scottsdale Museum of Contemporary Art [SMoCA]
7380 E. 2nd Street
Scottsdale, AZ 85251
U.S.A.

Phone: 480-874-4666
Fax: 480-874-4655
e-mail: smoca@sccarts.org

Museum Summer Hours: Wed 12 noon – 5pm; Thurs 10am - 8pm; Fri + Sat: 10am - 5pm; Sun 12 noon- 5pm. Closed on Mondays & Tuesdays during the summer and major holidays.



Organized by the Scottsdale Museum of Contemporary Art.

Sponsored by the Peter Norton Family Foundation and the SMoCA Salon.

This project is supported in part by an award from the National Endowment of the Arts, which believes that a great nation deserves great art.

Installation of objects in the case from image above include:
Bath Spheres, 2001, glass and bath water, each of nine; Blue Crush, 2007, porcelain perfume bottle and perfume stopper, edition of eight; Journal, 2003, mixed media artist’s book, courtesy of the artist and neugerriemschneider, Berlin; The Norton Family, n.d., Corian box and printed cards, Courtesy of The Norton Family Foundation.

San Francisco
Museum of Modern Art

Yves Netzhammer, Furniture of Proportions (preparatory sketch), 2008; Courtesy the artist and Galerie Anita Beckers, Frankfurt, Germany; Copyright 2008 Yves Netzhammer

Room for Thought:
Alexander Hahn and
Yves Netzhammer
July 10 through October 5, 2008

San Francisco
Museum of Modern Art
151 Third Street
San Francisco, CA 94103
415.357.4000

http://www.sfmoma.org

Room for Thought pairs two computer-generated video installations by Swiss artists Alexander Hahn and Yves Netzhammer that reveal a fascination with internal landscapes of the mind. Hahn’s single-channel, interactive video projection Luminous Point (2006) allows the viewer to take a self-guided tour of a virtual simulation of the artist’s Manhattan apartment, using a remote control to navigate a gamelike labyrinth of spaces derived from digital manipulations of photographic and filmic records. Where Hahn’s hybrid space incorporates images of the real world, Netzhammer presents a poetic world of pure invention. Premiering at SFMOMA, his new three-channel, site-specific installation Furniture of Proportions (2008) incorporates highly stylized wall drawings, animation, and sculptural objects to create an intricate spatial narrative.

Organized by Rudolf Frieling, SFMOMA’s curator of media arts, the exhibition occupies adjacent galleries and represents two generations of artists who have consciously worked with the computer as a formal artistic tool and means of expression. Both Hahn and Netzhammer combine a variety of traditional media with computer techniques in order to articulate a deep concern with the histories of philosophy and art. The artists also share an interest in human thought processes and the interplay between external images in the world and internal images in the mind. Undertaken as an open-ended investigation, their art is concerned with transience and states of change, and deals in surrealistic effects, associative thinking, and temporal multiplicity.

Alexander Hahn
Hahn (born 1954) is widely regarded as a pioneer of new media. His experiments with digitally reworked animations combine documentary film and video, photography, and computer-generated imagery, conflating reality and fantasy. Filled with associative, often cyclical image-streams, his work generally revolves around problems of representation—specifically rules governing individual and collective memory—and raises questions about what it means to perceive, store, and recollect visual knowledge in both time and space.

Yves Netzhammer
Zurich-based artist Netzhammer (born 1970) has become known for his graphically dynamic drawings, animations, and sculptural installations that explore the interconnectedness of things. Dealing in extremely reduced forms, his mainly figurative imagery intentionally blurs the hierarchy among humans, animals, plants, and iconic objects. This abstract pictorial lexicon—or, “thought-imagery” to use the artist’s term—functions more akin to a system of encoded signs that, uprooted from reason and familiar context, stand in opposition to the world of everyday images.

Room for Thought: Alexander Hahn and Yves Netzhammer is organized by the San Francisco Museum of Modern Art. Support for this exhibition is provided by Pro Helvetia, Swiss Arts Council.

Public contact: 415.357.4000; http://www.sfmoma.org
Press only: Robyn Wise, 415.357.4172, rwise@sfmoma.org
SFMOMA Press Room: http://www.sfmoma.org/press/pressroom.asp?id=344&do=exhibitions

Art and You - Rodolphe Cintorino

A l’occasion de son premier anniversaire, le Studio Art and You organise une présentation de l’exposition de Rodolphe Cintorino par l’artiste lui même.
Vous êtes bien entendu les bienvenu(e)s, et vous pouvez convier d’autres personnes.

Cet événement est organisé :
Mardi 8 juillet à partir de 17h30 / 18h
Au Studio Art and You - 14, rue Richer - 75009 Paris

Plus d’informations sur l’expo de Rodolphe Cintorino :
http://www.art-and-you.com/info_75_rodolphe-cintorino.html

Cette opération est montée en partenariat avec Drouot formation

Cordialement,

Jean-David Boussemaer
Editeur de Artandyou.com

Flash Art International

Flash Art International No.261

(July - September 2008)
 


http://www.flashartonline.com

Flash Art International # 261

July – September Issue

CELEBRATE WITH US 41 YEARS OF FLASH ART!

For over forty years Flash Art has been at the forefront of reporting and interpreting emerging directions in art, from today’s art criticism to the art market. It was back in 1967 that Flash Art was conceived, and now, to mark those days and those expectations, a special anniversary issue comes out, with a selection of the articles that contributed most to the renewal of the international art scene.

Flash Art International’s Special 41st Anniversary issue will include seminal texts on the ’70s scenes art history: Arte Povera by Germano Celant, Charles Dreyfus’s history of Fluxus and Douglas Crimp on the “Pictures” generation. Also reprinted are the interview by Helena Kontova with Marina Abramovic and Ulay, and Jeffrey Deitch’s first text on the art market as Flash Art’s US editor at that time.

The spirit of the ’80s lives on in Peter Nagy’s panel conversation with Jeff Koons, Sherrie Levine, Philip Taaffe, Ashley Bickerton, Haim Steinbach and Peter Halley and through the interviews by Giancarlo Politi with art masters such as Peter Halley, Jeff Koons and Joseph Beuys, furthermore, in Robert Pincus-Witten’s text on David Salle and in Paul Taylor’s interview with Hans Haacke.

Francesco Bonami features with an early text on Matthew Barney and an interview with Rem Koolhaas. Damien Hirst’s first interview for Flash Art and a lively conversation between Larry Clark and Mike Kelley are other gems that have been included.

Interviews with Francesco Vezzoli and Vanessa Beecroft by Helena Kontova and Massimiliano Gioni start the art-star parade, followed by Maurizio Cattelan’s interview with Piotr Uklanski and THE interview with Maurizio Cattelan by Giancarlo Politi and the readers of Flash Art.

Andrea Bellini’s meeting with Wilhelm Sasnal is reprinted in this issue, as well as Gea Politi’s interview with Kutlug Ataman & Atom Egoyan.

Finally, Hans Ulrich Obrist is in a conversation with Deimantas Narkevicius and a text on “Political Minimalism” by Klaus Biesenbach deal with political and social matters of the ’90s.

Amongst the artists’ special projects and contributions which have featured over the years, are those of Lawrence Weiner, Bruce Nauman and Robert Morris, republished here in all their glory. Included are a later text by Cecily Brown on painting from 1998 and Maurizio Cattelan’s ongoing interview-project with outstanding artists, which started in 2002.

Further, to celebrate this special occasion, Giancarlo Politi and Helena Kontova have invited those gallerists who have also achieved a similar historical milestone to participate in this issue’s new Survey, sharing ‘art experiences’ from the ’60s ’til today.

New Group show reviews include: “Selective Knowledge” at Cultural Foundation of the National Bank of Greece (MIET), Athens and “Locked In” at Casino, Luxemburg.

Solo show reviews include: John Baldessari/Matt Mullican; Gedi Sibony; Nate Lowman/Dan Colen; Piotr Uklanski; Catherine Opie; Joan Jonas; Ryan Gander; Steve Van Den Bosch; Isa Genzken; Claude Closky; Paul Sietsema; Angela Ferreira; Guillaume Leblon; Dmitry Gutov; Dave Allen; Matti Braun; Lucy and Jorge Orta; Michael Beutler; Vincenzo Agnetti; Jorge Méndez Blake; Kamin Lertchaiprasert; Sangnam Lee.

Flash reviews include: Mel Bochner; Tyson Reeder/Scott Reeder; David Claerbout; Peter Coffin; Rachel Feinstein; Troy Brauntuch; David Burrows; Lucy Skaer; Martin Maloney; Sarah Morris; Tom Chamberlain; Daniel Pitin; Peter Halley/Alessandro Mendini; Marc Camille Chaimowicz; Koo Jeong-A; Zhao Liang.

A 240-page volume, available in a collector’s hardback edition, will soon hit the shelves of all good bookstores — an up-do-date manual that chronicles the history of the art of our days.

The COVER for this issue presents a collection of the best covers of the last 41 years.

Get your hands on a copy of the July – September issue of the world’s leading art magazine while supplies last.

For information and subscriptions:

Flash Art International

Via Carlo Farini, 68

20159 Milan
ITALY

Tel. 39 02 668 6150

info@flashartonline.com

http://www.flashartonline.com

Literaturhaus Frankfurt

Boxer
11 July - 3 August 2008

Curator: Juliane von Herz

Literaturhaus Frankfurt
Schöne Aussicht 2
D-60311 Frankfurt am Main

http://www.literaturhaus-frankfurt.de

The Literaturhaus Frankfurt in cooperation with the independent curator Juliane von Herz are pleased to announce the opening of the group exhibition BOXER.

28 international contemporary artists, all of which were former or are currently students of Frankfurt’s renowned art academy Städelschule have been invited to work at the interface of art and literature at a very special place steeped in history:

Formerly public library of Frankfurt, the neo-classical 19th century building has been destroyed in the 2nd world war and its portico was the only part to survive. In 1987 a container called PORTIKUS was installed behind the historical columns and served for many years as an exhibition space for young emerging international art. The PORTIKUS, which is linked to the academy Städelschule, soon gained an enormous reputation worldwide but nevertheless in 2003 had to move to a new location on an island on the River Main. This container gave way to the reconstructed public library that reopened in 2005 as the new home of the Frankfurter Literaturhaus.

The carefully chosen group of young artists refers in a way to the former tradition and once again brings back visual art to a space now dedicated to literature. Their works, most of them particularly created for the house as site specific projects, explore all kind of possible media (e.g. photography, installation, sculpture, painting) mostly to reflect the architectural and historical situation of the building. But the approach is manifold: some of them simply considering the building as just another exhibition space or referring to subjects of literature that have had an impact on their œuvre.

The overall motivation for Juliane von Herz for setting up the show Boxer is obvious: Frankfurt today is more than ever an important center for young contemporary art, due to the preeminent standard of education that the Städelschule provides for her students.

Artists in the Exhibition:
Anne Line Billinger / Shannon Bool / Sunah Choi / Andreas Diefenbach / Jana Euler / Manuel Gnam / Thilo Heinzmann / Lena Henke / Simone Junker / Sergej Jensen / Stefan Kern / Marion Kober / Dennis Loesch / Stefan Müller / Martin Neumaier / Stehn Raupach / Flo Maak / Oliver Voss / Thomas Judin / Michael Pfrommer / Peyman Rahimi / Anne Speier / Steffen Suckale / Jelena Trivic / Michael Moos / Adrian Williams / Andrei Koschmieder / Naneci Yurdagül

Sponsoring and Support: Ernst & Young AG, Dewey Leboeuf LLP, Verein der StädelschulePortikus e.V. and the Portikus Frankfurt

11 July - 3 August

Monday - Friday: 10.00 am - 8 pm, Sundays: 11.00 am - 6.00 pm

For any further information and/or images please contact head of press Silke Hartmann
Tel: 069 / 75 61 84 11 // Fax: 069 / 75 61 84 20
hartmann@literaturhaus-frankfurt.de

or Juliane von Herz
contact@julianevonherz.com
http://www.julianevonherz.com