Portland Art Museum
2006 Oregon Biennial
On view through October 8, 2006

Portland Art Focus 2006
The World is Coming to Portland.
You Should Too.

Visit http://www.portlandartfocus.net
for more information.

L’OEUVRE de l’Autre
Le centre d’exposition de l’Université du Québec à Chicoutimi

Communiqué
Du 6 au 20 septembre 2006

Un Pari sur l’imaginaire
Sélection 2006

Le centre d’exposition de l’UQAC, La Galerie l’‘uvre de l’Autre est heureuse de vous inviter à l’ouverture de sa nouvelle saison artistique 2006-2007.

« Un pari sur l’imaginaire c’est une gageure interdisciplinaire, un coup d’envoi, une exposition annuelle qui regroupe des ¦uvres sculpturales, picturales et filmiques réalisées lors des sessions d’automne et d’hiver précédentes, par des étudiants de première, deuxième et troisième année du baccalauréat interdisciplinaire en arts de l’UQAC.

Avec cet événement, La Galerie L’‘uvre de l’Autre, en collaboration avec le module des arts, accueille une nouvelle génération d’artistes en devenir : les étudiants nouvellement inscrits au BIA (baccalauréat interdisciplinaire en arts) et de la maîtrise en arts.
Ce sera aussi un moment privilégié pour rentrer en contact avec les centres d’artistes régionaux qui profiteront de l’occasion pour lancer à leur tour leur programmation.

VERNISSAGE
LE MERCREDI 6 SEPTEMBRE À 17 HEURES

Michael Spano

Auto Portraits

September 28 – November 4, 2006

Reception for the artist: Thursday, September 28,
6-8pm

 Laurence
Miller Gallery

 20 West 57^th
Street  New York City

 212.397.3930  laurencemillergallery.com

Yoshua Okon, Coyoteria, 2003, performance and video

Sept 6 - Oct 14, 2006
Curated by Cristiana Perrella
Artists: Iain Forsyth and Jane Pollard, Jonathan Monk, Yoshua Okon, João Onofre, Mario Garcia Torres, Francesco Vezzoli
Wed Sept 6, 6 - 8 pm: Opening reception with performance by Yoshua Okon

Artworks that reference other artworks as their main subject matter run the risk of being little more than esoteric in-jokes for those who know their art history. While the pieces displayed in this show are exactly that on one level, they are also far from being just a dry homage or conceptual one-liner.

neo-con presents artworks by six international artists who re-enact, with a twist, famous conceptual works by Acconci, Baldessari, Beuys, Boetti, Nauman, Ruscha. The remakes level and humanize, with quirky humor and down-to-earth sensibility, the key principles of Conceptualism such as the favoring of ideas over object-making, the dematerialization of the art object, and the production of work in collaboration, often without a studio.

Far from the low resolution, degraded black and white images associated with the art from the 1960s and 70s, the artists in the show infuse the sophisticated and cryptic aesthetics of Conceptual Art with contemporary mass culture. Beneath this playful, ironic take on art making, however, is a serious scrutiny of the very idea of art and its status, appearance, and market value, as well as the myth of the artistic genius.

Cristiana Perrella is Curator of the Contemporary Arts Program of The British School at Rome. Her exhibition was selected through apexart’s Unsolicited Proposal Program.

apexart
291 Church
Street, NYC, 10013
t. 212 431 5270
www.apexart.org

Gilles Deleuze, age 3, with older brother

Daniel Birnbaum’s Chronology is one of the most discussed books of art
criticism to appear in recent time. Although modest in size and highly
unsystematic, it has become a productive point of reference and a
source of inspiration for critics, curators, and — perhaps more
surprisingly—dancers and choreographers. It has been reviewed
extensively across Europe and was recently presented in frieze as a
“compelling and sophisticated take on the common theme of Deleuzian
immanence.”

September 7 to October 21, 2006

Opening on Thursday, September 7 at 8pm in conjunction with SWARM7

The installation consists of a doctor’s examination table with a conveyor belt containing detailed photographs of skin. A scanner scans the photos puncturing the paper whenever a freckle, scar or mole appears. These punctures are then fed through a mechanical vacuum system similar to a player piano employing 14 tuning forks transforming them into spatial sound.

“Marked” is a mechanism that continuously searches images taken off the body. The skin images have been pierced in areas that could possibly be seen as a flaw or as a life threatening mark. As these voids of imperfections are found within the image, the patterns are then transferred onto two contrasting forms within the space.”

Joseph Kohnke was born in Monterey, California in 1973 and now works and lives in Chicago, Illinois. He receive d his BFA with an emphasis in sculpture from San Jose State University in California and his MFA with an emphasis in art and technology from The School of The Art Institute of Chicago in Illinois. He currently supervises the materials lab and teaches a two-part fundamentals course for the Architecture Department at the Illinois Institute of Technology, while also actively producing and exhibiting art.

Artist talk (and a few home movies)

Paterson Ewen,
Rain over Water, 1974, acrylique sur contreplaqué
gravé, collection du
Museum London.

À
une époque où les effets du réchauffement planétaire seront deux fois plus
catastrophiques que prévus et que des événements climatiques extrêmes menacent
la Terre entière, parler du temps ne paraît plus banal. L’exposition L’air du temps
propose d’examiner comment les artistes en art contemporain réfléchissent
au temps. Pour certains, l’étude et la présentation des aspects
phénoménologiques du temps ont de vastes conséquences. D’autres utilisent
des stratégies visuelles et textuelles pour lier conditions atmosphériques et
préoccupations psychologiques, sociales et environnementales.

Dans
le but d’examiner comment les artistes en art contemporain réfléchissent
au climat, Karen Love a sélectionné un corpus de quatorze œuvres produites
par des artistes canadiens durant les années 1970, 1980, 1990 et 2000 qui
exploitent cette problématique afin de représenter l’idée de lieu et de
condition humaine.

Le
public pourra apprécier les œuvres de Marlene Creates, Paterson Ewen,
Rodney Graham, Tania Kitchell, Mark Lewis, Richard Rhodes, Seifollah Samadian,
Alan Storey, T & T, Lawrence Weiner et Chris Welsby.

Appuis

Conseil
des Arts de l’Ontario
Conseil des Arts du Canada
Corporation de la ville d’Oakville
Fondation Trillium de l’Ontario
Ministère du Patrimoine canadien
Programme de consolidation des arts et du patrimoine
Programme Tournées et collaborations du Conseil des Arts de l’Ontario
Ville d’Ottawa

L’air du temps / Weathervane

At a
time when the effects of global warning might be twice as catastrophic as
previously thought, and extreme climate events threatening us worldwide, it no
longer seems mundane to talk about the weather. The exhibition Weathervane
looks at how contemporary artists think about the weather. For some artists the
study and presentation of the phenomenological aspects of weather has enormous
implications. Others use visual and textual strategies to link atmospheric
conditions to psychological, social, and environmental concerns.

Visitors
of the exhibition will appreciate the works of Marlene Creates, Paterson Ewen,
Rodney Graham, Tania Kitchell, Mark Lewis, Richard Rhodes, Seifollah Samadian,
Alan Storey, T & T, Lawrence Weiner, and Chris Welsby. This group
exhibition is produced by Oakville Galleries and the Art Gallery of Ottawa.

Credits

Canada
Council for the Arts
Canadian Arts and Heritage Sustainability Program
City of Ottawa
Minister of Canadian Heritage
Ontario Arts Council
Ontario Trillium Foundation
Corporation of the Town of Oakville
Touring and Collaborations program of the Ontario Arts Council

Presented in conjunction with SWARM7

Thursday, September 7th, 2006 @ 8pm
Video In Studios / Satellite Video Exchange Society
1965 Main Street, Vancouver, BC, V5T 3C1
604-872-8337, info@videoinstudios.com

MUTED is a multi-disciplinary installation produced by nine artists
exploring the impact of censorship on the facilitation, aesthetics and
production of artwork. The notion of censorship is very subtle and often
has unperceivable effects. Video In has created an exhibition that
questions self, peer, community and state censorship within cultural
production.

Each piece will be interrogated with the assistance of overhead
spotlights while the remainder of the room holds black. The artists will
present work that have been tied up, hung or restricted by our current
state of affairs. As a whole the show will examine the internal and
external forces that sway the artist’s original intension.

Emily Rosamond’s sound piece looks at interiority and confinement within
internal spaces. Her piece will speak of implicit censorship rather than
explicit censorship; the wide tendency in our culture to just conform
outwardly; and stay inside our own spaces in order to not unsettle the dust.

Miss Seventy talks about the political notion of Western fashion through
a pair of stilettos. She ponders the question, “How free is a person who
has full mobility but inhibits their body through their shoes?”

Mona Hatoum’s video piece “So much I Want To Say” repeats the title’s
phrase over and over while still shots of a woman being gaged transition
from one to the other.

Other artist represented in MUTED are Steve Calvert, Emma Hendrix,
Crista Dahl, Pierre Sonolet and Asa Mori.

DCKT Contemporary is pleased to announce an
exhibition by the collaborative artists castaneda/reiman. Their
latest body of work focuses on the natural scenic environments
existing on the fringes of the urban landscape, their various
interpretations and how these areas are reflected within domestic
spaces.

Several large wall pieces loosely depict
postcard versions of coastal California. At first glance, these
appear to be large multilayered canvas paintings of beautiful scenes
rich with glazes and grounded in painting tradition. In fact, they
are standard 4×8 foot plywood and sheetrock layered in drywall mud.
This mud is pigmented with commercial tints and applied with a
trowel more in the tradition of house building than conventional
landscape painting.

Dozens of carefully cast, concrete replicas
of river rock and quarry stones ranging in scale from overlooked
pebbles to average landscaping rock are carefully placed in piles
around the gallery. Some rocks blend with the architecture of the
space while others supply substructure for the weighty landscape
pieces. It soon becomes clear that there is a uniformity of color
and a repeat of the forms not present in nature, an evident
indication that they are not rocks but replicas. Their function is
multi-faceted: they represent the geological foundation of an
exterior landscape, their concrete material represents the
foundation of a house, while at the same time they are hand-crafted
art objects.

A palette, built at 80% actual size in solid
walnut, goes from a functional to a contradictory object. This
normally overlooked construction is now elevated as it becomes an
absurd stage for more hand-cast rocks. The same absurdity that
exists in the palette and rocks is seen in a hand-painted watercolor
replica of a commercial wallpaper border. This manufactured,
idyllic, natural landscape horizon repeats itself for 15 yards,
existing in its standard commercial form just as the drywall sheets
do.

castaneda/reiman are recipients of a 2004
Fleishhacker Foundation Eureka Fellowship. Their work is included in
the permanent collection of the San Francisco Museum of Modern Art.