Visual Arts News - Call for entries, Exhibition Announcements, Press Releases
Rocky Mountaineer
Station
7:30 live auction
followed by dinner
Auctioneer: Suzanne
Davis, Christie’s
fundraising event go directly to the CAG’s programs.
person, advance tickets only. Please call 604-681 2700
Juliana Eng and Douglas Coupland, co-chairs;
Melissa Bonetti, Nancy
Forstrom, Pamela Groberman, Andrea Molnar, Marcella Munro
POWER 100 HOW DO YOU DEFINE POWER IN ART?
Who was the highest bidder? What artists are driving the market? Which galleries and collectors dominate the sector?
ArtReview’s Power 100 answers those questions. Now entering its fifth
year, ArtReview Power 100, published each November, is one of the
contemporary art world’s key cultural events.
Last year, the ArtReview Power 100 reached millions of people worldwide
after being picked up by national and international media across the
globe.
THE 2006 POWER 100
“THE ART WORLD’S EQUIVALENT TO THE FORBES 100” Reuters
In 2005, the ArtReview Power 100 received unprecedented global
coverage, ensuring its status as an annual contemporary art event. To
satisfy demand and interest, the 2006 ArtReview Power 100 will be much
more expansive than in the past, including collector profiles,
Q&A’s, articles on the balance of power in the art world by
respected critics and writers and, naturally, compelling imagery
throughout.
ArtReview will also reinforce the print edition with online virals, PR
events and happenings. ArtReview Power 100 will enjoy an increase in
its global distribution to ensure unprecedented coverage and to meet
demand from the global contemporary art audience.
THE UNVEILING
This year’s ArtReview Power 100 will be the biggest yet – more pages,
more pictures and more features by respected critics on the balance of
power in contemporary art. To ensure the most coverage and publicity,
the Power 100 2006 will be unveiled during the London’s annual
contemporary art week (12-16 October), precisely when the art world’s
most prestigious patrons – many of whom will be listed in the Power 100
- - are in town.
SILENT PANEL
A silent panel of respected writers, critics and curators spread across
the globe will compile this year’s ArtReview Power 100. As such, the
list will be more global than ever before, reflecting the increasing
reach of the art trade and emerging capitals within it. The panellists
are working from behind the scenes from a long-list of hundreds of
potential candidates.
FEATURES
In addition to devoting space to each individual in the ArtReview Power
100, the November issue explores the nuances of power. Features include:
Five year’s Power in perspective:
Who made the biggest jumps? Where were the greatest shifts? And which
people were able to sustain their power across every ArtReview Power
100?
Institutional Power in New York and London
The Rise of Foundations
The increasing importance of corporate sponsorship
Power in the digital age: Google and Flickr
2005 TOP 10
1. Damien Hirst, artist, Uk
2. Larry Gagosian, dealer/ gallerist US
3. Francois Pinault, owner of Christie’s /collector, France
4. Sir Nicholas Serota, Tate director, Uk
5. Glenn D Lowry MoMA director, US
6. Eli Broad, collector/philanthropist, US-LA
7. Sam Keller, Art Basel director, Switzerland
8. Iwan Wirth, dealer/gallerist, Hayser and Wirth, Switzerland
9. Bruce Nauman, artist US
10. David Zwirner, dealer/gallerist, US
Tacita Dean, The Russian Ending, 2001
David Noonan
September 8 – October 7, 2006
David Kordansky Gallery is pleased to present the first Los Angeles solo exhibition by the London based, Australian born artist David
Noonan. The opening reception will be held on Friday, September 8th
from 6 to 9pm, and the exhibition will be on view through October 7th.
Historical imaginations, invented memories, bohemianism and late 20th
century British theatre inspire David Noonan’s installation of
large-scale screen prints, collages and bronze sculptures.
Within
his large-scale montages, Noonan fabricates stills of ersatz
performances involving gurus, masked figures, harlequins, and exotic
fauna. These participants are presented in a cosmological and
psychological realm. Noonan hints at a mythology without provenance and
suggests an inexplicable scene beyond the material world. The work’s
layered, cinematic imagery becomes like a physical interpretation of
filmic space and at times alludes to the surrealist and complex
constructions of Latin American filmmaker Alejandro Jodorowsky in films
such as Holy Mountain and Fando y Lis.
In his collages, Noonan intensifies ambiguous black and white imagery
collected from disparate sources, mainly books and magazines, by
reassembling them according to a personal logic. Johanna Fahey
describes one of Noonan’s previous installations as a “custom-made
flashback, tailored with an appreciation for aesthetics [used] to
create a historical flavor.”* In Noonan’s new series, visions of a
quasi – spiritual, separatist community, a pagan cult of sorts, are
prompted by photographs of children and adults dancing, hugging, and
practicing abstract artwork. Within these peculiar scenes preachers,
doting fathers, and mother figures nurture youth through seemingly
ritualistic acts. The work perhaps serves as a simulated narrative of
David Noonan’s childhood, but the imagination is a disobedient
historian and the fiction within the work is profoundly dominant.
David Noonan will be participating in The Rings of Saturn
opening at the Tate Modern in October, and is preparing for a residency
at Me-di-um, St. Barths, French West Indies. He has had solo
exhibitions at Monash University Museum of Art, Melbourne, Australia,
HOTEL, London, England, Foxy Production, New York, NY, Roslyn Oxley9,
Sydney, Australia and the Australian Centre for Contemporary Art,
Melbourne, Australia. He has participated in group exhibitions
worldwide, including Japan, The Czech Republic, New Zealand, Spain, and
Scotland.
For more information or for directions to the gallery please contact us
at (323) 222-1482, send a fax to (323) 227-7933 or email
info@davidkordanskygallery.com
*From: “David Noonan: Before and Now,” Thames and Hudson, London, England, 2005
[still: Phil Collins, el mundo no escuchará, 2004. Single–channel colour video projection with audio, 55 min. Courtesy of the artist & Tanya Bonakdar Gallery, New York]
Phil Collins
el mundo no escuchará
opens: Friday, September 8 at 8pm in conjunction with SWARM 7
through October 6
tuesday to saturday 12-5pm
Phil Collins (1970, Runcorn, UK) is a visual artist based in Glasgow. His work examines the emotional core of portraiture and the photographic image, and often describes communities ordinarily excised from our understanding of contemporary situations. His practice often elicits a convocation of individuals, and is process-, or better still, event-oriented.
el mundo no escuchará is a karaoke project produced in 2004 for Smiths fans in Bogotá, Colombia. Whilst karaoke has a fundamentally democratic function, its musical content is conventionally the deplorable, lack-lustre chirp of the mainstream. For el mundo no escuchará the eponymous 1987 compilation The World Won’t Listen, was re-recorded in its entirety, note for note, in an insane attempt to construct a platform to give voice to the otherwise largely ignored.
Collins has produced one other version of the Smiths Karaoke in Instanbul (dünya dinlemiyor, 2005), and will complete the trilogy later this year in Jakarta.
He has had solo exhibitions at the Tate Britain; Tanya Bonakdar Gallery, New York; Milton Keynes Gallery; Wexner Center for the Arts, Columbus, Ohio; Espacio La Rebeca, Bogotá; Stedelijk Museum voor Actuele Kunst, Gent; Neue Kunsthalle St. Gallen; Sala Rekalde, Bilbao; and the Wrong Gallery, New York. Shortlisted for the 2006 Turner Prize, he will participate in the corresponding exhibition opening October 3, 2006, at Tate Britain.
The Or Gallery gratefully acknowledges the support of the Canada Council for the Arts, the BC Gaming Commission, the Province of BC through the BC Arts Council, the City of Vancouver, and all our members and volunteers.
Additional support for this exhibition was provided by the British Council. Special thanks to the Vancouver Art Gallery.
Or Gallery
103.480 Smithe Street
Vancouver BC V6B 5E4
T 604 683.7395
http://www.orgallery.org
The publication “Under Construction“ documents an event series of the
same name produced by the European Kunsthalle, a (still) virtual art
exhibition space in Cologne. Essays, lectures, discussions, and images
focus on current issues such as the politics of urban marketing and the
different ways of financing culture, as well as contemporary art
movements and their presentation in various spaces. Looking beyond the
boundaries of Cologne, these questions examine possible paths of action
institutions might take today. The book unites different academic and
curatorial discourses, and conveys the spectrum of fundamental issues
that must be considered when establishing a new contemporary art
institution.
Vanessa Joan Müller, Nicolaus Schafhausen (ed.): Under Construction. On
Institutional Practice. Verlag der Buchhandlung Walther König, Cologne.
250 pages, 36 images, softcover, available in German (ISBN 978-3-86560-118-6) and Englisch (ISBN 978-3-86560-119-3)
Authors:
Franz Ackermann, David Adjaye, Bart De Baere, Beatrice von Bismarck,
Monica Bonvicini, Anthony Davies, Michael Elmgreen & Ingar Dragset,
Charles Esche, Harald Falckenberg, Liam Gillick, Heiner Goebbels,
Adrienne Goehler, Matthias Görlich, Ulrike Groos, Jörg Heiser, Karin
Heyl, Nikolaus Hirsch, Max Hollein, Karl-Heinz Kohl, Maria Lind, Dirk
Luckow, Gerald Matt, Markus Miessen, Phil Misselwitz, Vanessa Joan
Müller, Olaf Nicolai, Ingo Niermann, Philipp Oswalt, Irit Rogoff,
Sebastian Preuss, Nicolaus Schafhausen, Elisabeth Schweeger, Werner
Sewing, Simon Sheikh, Andreas Spiegl, Barbara Steiner, Thomas Wagner,
Florian Waldvogel, Ursula Zeller, Franciska Zólyom
A complete documentation of the series of events “Under Construction“ can be downloaded at http://www.eukunsthalle.com.
Contact
EUROPEAN KUNSTHALLE
Postbox 10 11 16
50451 Colgne
T. +49. (0)221. 5696. 140
F. +49. (0)221. 5696. 142
http://www.eukunsthalle.com
mail@eukunsthalle.com
250 pages, 36 images, softcover, available in German (ISBN 978-3-86560-118-6) and Englisch (ISBN 978-3-86560-119-3)
“Under Construction“ is funded by The German Federal Cultural Foundation.
Francis Alÿs: “A Story of Deception / Historia de un desengaño”, Patagonia 2006 in collaboration with Olivier Debroise und Rafael Ortega
Courtesy of the artist and Peter Kilchmann Gallery, Zurich.
A Story of Deception Francis Alÿs
Opening: September 1, 2006, 8 p.m.
Exhibition: Sept. 2 – Oct. 15, 2006
PORTIKUS, Frankfurt am Main
Alte Brücke 2 / Maininsel
60311 Frankfurt am Main
http://www.portikus.de
info@portikus.de
T: +49 69 9624454-0
F: +49 69 9624454-24
The exhibition of Francis Alÿs (*1959 Antwerp/Belgium) A Story of Deception includes
the film of the same name that originated from a collaboration with
Olivier Debroise and Rafael Ortega in Patagonia in the spring of 2006
as well as documentation material, on display in vitrines. The project
began in 2003 with the intent to follow up on a story that Alÿs had
heard while undertaking historical-geographical research in the
Argentinian Pampa. The story tells how the Tehuelche people from
Patagonia congregate seasonally to track flocks of the local flightless
birds nandus over hundreds of kilometres until they collapse from
exhaustion. “I was fascinated by the absolute simplicity of the
technique, and of course the use of walking as a weapon, as a hunting
method”.
Alÿs has used walking as a medium in many of his earlier works where
movement evokes situations with unexpected twists and turns. In this
current project, instead of realising an image from this story, Alÿs
has used the narrative’s metaphorical function as a starting point.
While shifting through his collected film and photographic materials,
illusions emerged on the horizon of a dusty, endless highway. Alÿs
followed this phenomenon of atmospheric refraction as he attempted to
capture the ever-vanishing vantage point and what lies behind it in the
picture frame. The approximately two minute long 16mm film shows
nothing more than a trip along a highway, where the incessantly
blurring horizon has been displaced by the heat, and therefore visually
unreachable. The mirage lies at a tangible distance on the horizon only
for a moment, before it vanishes again. “Without
the movement of the viewer/observer, the mirage would be nothing more
than an inert stain, merely an optical vibration in the landscape.”