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August 29th, 2006

Kristina Kudryk - Bjornson Kajiwara Gallery

Kristina Kudryk

August 29th, 2006

Phil Collins: el mundo no escuchará @ Or Gallery, Vancouver


[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

August 29th, 2006

The European Kunsthalle announces its first publication “Under Construction. On Institutional Practice”

European Kunsthalle
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.

August 29th, 2006

PORTIKUS, Frankfurt am Main


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.”

August 28th, 2006

Kunstraum Kreuzberg/Bethanien presents How to Do Things? – In the Middle of (No)where . . .

Kunstraum Kreuzberg/Bethanien
How to Do Things? – In the Middle of (No)where . . .

September 2 – October 8, 2006
Opening: September 1, 7 p.m.
Associated events: September 2 – 3, Casino/Bethanien
http://www.howtodothings.net

Artists:
Bik Van der Pol (NL), Pavel Braila (MD), Alexandra Croitoru (RO), Roman
Dziadkiewicz (PL), Andreas Fogarasi (AT), Lise Harlev (DK), Kristina
Inciuraite (LT), Alevtina Kakhidze (UA), Johanna & Helmut Kandl
(AT), Aleksander Komarov (BY), Little Warsaw (HU), Michal Moravcik
(SK), Wiebke Loeper (DE), Tanja Nellemann Poulsen (DK), Katya Sander
(DK), Jiri Skála (CZ), Sean Snyder (USA), Société Réaliste (HU/F),
Laura Stasiulyte (LT), Mona Vatamanu & Florian Tudor (RO), Julita
Wójcik (PL), Florian Zeyfang (DE), Moira Zoitl (AT)

Curators: Dorothee Bienert & Antje Weitzel

From September 2 until October 8, 2006, Kunstraum Kreuzberg/Bethanien will present the results of the exhibition series How to Do Things? – In the Middle of (No)where… that were produced during the residencies of twenty-eight artists in Budapest, Kiev, Bucharest, Copenhagen, and Berlin.

Initiated by Dorothee Bienert and Antje Weitzel, the project took
artists and cultural producers from fourteen countries of an imaginary
“Central Europe”, arbitrarily created by a finger on the map, and
brought them together at various locations over the course of a year.
The circle includes the old EU, the new EU, EU aspirants, and non-EU
countries: The Netherlands, Denmark, Germany, Poland, Lithuania, White
Russia, the Ukraine, Moldavia, Romania, Slovenia, Hungary, Austria, the
Czech Republic, and Slovakia. How to Do Things? – In the Middle of (No)where… playfully
defies real and mental borders and raises questions regarding the
geographical-territorial notion of present-day Europe and its
underlying identity constructs.

Within the broad thematic scope of social utopias, the artists were
invited to develop new projects during a month-long residency at a
location unfamiliar to them and to present them in an exhibition at the
partner institutions. The term social utopias serves
as an impetus to reflect on diverse European realities and contexts and
to discuss collective visions and goals as well as questions about
participation and the power of agency.
All of the artistic projects can be viewed together for the first time
at the exhibition at Kunstraum Kreuzberg/Bethanien. The works range
from personal observations of cultural traditions and heterogeneous
European realities of life to examinations of local situations to
abstracter reflections on identity, public sphere, and representation.

The artists will be present at the opening on the 1st of September and,
on the 2nd and 3rd of September from 3:00 p.m. to 6:30 p.m. in the
Casino/Bethanien, will present their works and recount their
experiences in Budapest, Kiev, Bucharest, Copenhagen, and Berlin. An
exhibition catalogue will be available.

Special Event: Ponzi’s 360° Pararsite, September 2, 2006, 9 p.m., General Public, Schönhauser Allee 167c, 10435 Berlin

A project of uqbar – Gesellschaft fuer Repraesentationsforschung e.V.
The project was realized with the support of the European Commission –
Culture 2000, the Hauptstadtkulturfonds, the European Cultural
Foundation, the Allianz Kulturstiftung, the Institut für
Auslandsbeziehungen ifa, the Danish Arts Council, the Minstry of
Culture of the Republic of Lithuania.

Kunstraum Kreuzberg / Bethanien
Mariannenplatz 2, 10997 Berlin
Opening hours: daily 12 a.m. – 7 p.m.
Tel.: +49(30)90298-1455, Fax: 90298-1453
bethanien@kunstraumkreuzberg.de

August 28th, 2006

Everybody Dance Now at EFA Gallery - New York


Everybody Dance Now
Curated by Kathleen Goncharov
September 8 – October 22, 2006

Opening, Sept. 8, 6 – 8 PM
Dance Party, Sept. 30, 8 PM – midnight

EFA Gallery / EFA Studio Center
323 West 39th Street, 2nd Floor
New York, NY 10018
Wed. through Sat., 12-6 PM

For further information:
Elaine Tin Nyo, Director
T. 212-563-5855 x203,
F. 212-563-1875
elaine@efa1.org

http://efa1.org

EFA Gallery opens its fall season with a first video only exhibition curated by Kathleen Goncharov.

Artists: Jake Borndal, Sanford Biggers, caraballo-farman, Maureen
Connor, Ben Coonley, Daily Dancer, Kan Xua, Kaoru Katayama, Mike
Kelley, Rodney McMillian,Trine Lise Nedreaas, Christodoulos Panayiotou,
Laura Parnes, Barbara Pollack, Ron Rocheleau’s ConcreteTV, Valeska
Soares, Michael Smith, Jennifer Sullivan, William Wegman, Wild Record
Collection, and Michael Zansky

Everybody Dance Now takes its title from the opening line
of the 1990 C&C Music Factory song. This exhibition, curated by
Kathleen Goncharov, showcases work by an international cast of
contemporary artists as well as excerpts from popular culture venues
such as public access television, You Tube, and Google Video. The show
celebrates the universal human urge to move to the beat (although dogs,
frogs, bears, ponies, ghosts, and alligators sometimes act as
surrogates for people). The title of the exhibition is literal…everyone
dances when all these characters move to the groove and show off their
collective talent (or lack there of).

Although many of the works in the exhibition are amusing, they often
have a dark humor and address such serious issues as gender and racial
stereotypes, war, violence, media manipulation, globalization, and
cultural conflict. Other videos deal with more personal matters that
concern us all, such as aging, mortality, the dilemmas of adolescence,
and the sexual insecurities that follow us through life.

Dog Duet, by video pioneer William Wegman, features the artist’s famous weimaraners who perform in perfect synch. Trine Lise Nedreaas’ poetic
work is a life size projection that depicts an 87 year-old man dancing
the tango with an invisible partner in an abandoned ballroom. Valeska Soares’ subject
is similar but her dancers perform with imaginary partners on a
mirrored floor in a Brazilian nightclub designed by Oscar Niemeyer.

Performance artist Michael Smith’s character “Mike” is a
parody of the “everyman” who craves social acceptance but like most of
us ultimately ends up a loser. Smith contributes excerpts of his
dancing alter ego from videos he’s made over the past twenty-five
years. Another everyman, an unabashed nerd, the Daily Dancer, who posts on the Internet, trips over his vacuum cleaner while dancing to Aretha Franklin’s Respect. TV personality Stephen Colbert dances to the hymn King of Glory in an Internet clip and another found video teaches black people how to “dance like a white guy.”

Mike Kelley’s contributes two short videos from his Day is Done project in which adults reenact the “extracurricular” activities depicted in photographs from old high school yearbooks. Laura Parnes and Jennifer Sullivan also look at adolescents, in particular participants in amateur talent shows. Rodney McMillian dances to a Prince song in a disturbing blue mask and Sanford Biggers makes the connection between Hip Hop and Kung Fu. Maureen Connor’s video installation recalls 1950s insecurities and gender stereotypes in a children’s dance class. Barbara Pollack collaborates
with her 18 year old son on a two-channel video where he and his
friends dance in a simulated mosh pit and perform a tableaux of an
infamous photograph from Abu Ghraib. Michael Zansky also deals
with failed US policies and asks whether we are dancing our way back
into the primordial slime led by Godzilla, who bears a striking
resemblance to Rona
ld Reagan.

Kaoru Katayama, a Japanese artist living in Spain explores
cultural confusion in a video of traditional dancers from Salamanca who
try to use their native steps while dancing to techno music. Christodoulos Panayiotou’s video
is documentation of Slow Dance Marathon, a performance in which total
strangers slow dance over a twenty-four hour period to sentimental pop
love songs. Kan Xua has a hilarious and surprising take on Chinese revolutionary opera and caraballo-farman’s floor projection is a ballet of vibrators. Ben Coonley’s mechanical ponies talk and do The Pony to a Chubby Checker song as well as teach themselves the Texas two-step.

Continuing with the animal theme, the collaborators responsible for Manhattan Neighborhood Network’s Wild Record Collection feature
their toy polar bear Snuffles and his stuffed animal friends who dance
to cuts from their collection of thousands of LPs. Another MNN
favorite, Ron Rocheleau’s Concrete TV, features brilliantly edited clips of strip club dancers, car crashes and brief scenes from popular movies. Jake Borndal creates a special TV and Internet lounge for viewing these programs and found footage.

Everybody Dance Now presents work that ranges from the
ridiculous to the sublime; some are profound and others are downright
silly, but they all reflect the human condition through the urge to
dance.

Artists in the exhibition include Jake Borndal, Sanford Biggers,
caraballo-farman, Maureen Connor, Ben Coonley, Daily Dancer, Kan Xua,
Kaoru Katayama, Mike Kelley, Rodney McMillian, Trine Lise Nedreaas,
Christodoulos Panayiotou, Nam June Paik, Laura Parnes, Barbara Pollack,
Ron Rocheleau’s Concrete TV, Valeska Soares, Michael Smith, Jennifer
Sullivan, William Wegman, The Wild Record Collection, and Michael
Zansky.
***

Kathleen Goncharov is an independent curator and critic. She has served
as Adjunct Curator at the Nasher Museum of Art at Duke University, US
Commissioner to the 50th Venice Biennale, Public Art Curator at
Massachusetts Institute of Technology, and Curator of the Collection at
The New School. She lives and works in New York City.

This exhibition is presented by The EFA Gallery, a program of the
Elizabeth Foundation for the Arts. With additional support from The
Milton and Sally Avery Foundation, The Helen Keeler Burke Charitable
Foundation, Peter C. Gould, Materials for the Arts, and Carnegie
Corporation Inc.

The EFA Gallery is a curatorial project space. Through the gallery, The
Elizabeth Foundation for the Arts supports the creative work of
independent curators. Curators build the framework in which we
understand artists and the art they make. At their best, they redefine
how we look at culture. The Elizabeth Foundation for the Arts believes
in the essential importance of art in a civil society. The value of the
artist’s creative spirit is not limited by age, race, nationality or
acceptance by others.

August 28th, 2006

Two Exhibitions opening Thursday Aug.31st Mercer Union

Mercer Union is pleased to announce the opening of two new exhibitions

on Thursday August 31st, 2006, at 8pm.

Front Gallery: Michelle Allard (Toronto/Vancouver) Flourish

“With reams of fluorescent office paper, glue sticks and expended

fluorescent light tubes, Allard creates her work by shaping the sheets

of paper around the tubes and then installing the resulting forms

upright and at varying heights. Like information, there are spikes and

recesses with contour contingent upon the space. It is elegant and

efficient. ”

– excerpted from the brochure essay by Brian Joseph Davis

Michelle Allard is an artist based in Toronto and Vancouver. Recent

exhibitions include Transformation/Metamorphosis at Aomori

Contemporary Art Centre, Japan, In the Pink at Association Pollen,

France, 2005; Extruded Expanded at YYZ Artists Outlet, 2004, and will

be exhibiting at Eye Level gallery in Halifax in early September, and

will be showing solo work at Diaz Contemporary, Toronto, in November.

She has taken part in several residencies; Association Pollen, France,

2005; Aomori Contemporary Art Centre, Japan, 2005, and Aceartinc in

Winnipeg, 2004. Michelle Allard is represented by Diaz Contemporary,

Toronto.

Back Gallery: Maïder Fortuné (Paris, France) Everything is Going to be All Right

“Everything is Going to be All Right reveals Maïder Fortuné’s double

passion, her double practice of media arts and performance. Producing

such a piece requires both the ability to feel and understand the

sensation of a body moving or still, as well as the ability to capture

the expressive intensity of these states through the image - the eye.

Therefore, her experience and knowledge of two different ways to

approach space combine for a unique exploration of space.”

- excerpted from the brochure essay by Catherine Sicot

Maïder Fortuné lives and works in Paris. After study in the Jacques

Lecoq International School of Physical Theatre in 1998, Fortuné

created her own theatre company where she produced several happenings

and pieces involving her own body. Her exploration of body, movement

and space led her to work in video and sound, explorations begun

during her studies at Le Fresnoy National Studio for Contemporary Art,

based in Tourcoing, France. Fortunés work has evolved toward the

realization of performance-based multimedia installations.

Exhibition Dates: August 31st to October 7th, 2006

Opening: August 31st, 7PM

Artist Talks: Maïder Fortuné, Michelle Allard at 7PM August 31st, 2006

Mercer Union

37 Lisgar Street

Toronto ON M6J 3T3

www.mercerunion.org

info@mercerunion.org

Brochure essays are available at www.mercerunion.org. Catherine

Sicot’s text on Maïder Fortuné is available in French and its English

translation.

August 28th, 2006

Minerva Cuevas,The Economy of the Imaginary

outpost-art.org

MINERVA CUEVAS

The Economy of the Imaginary: Pirates and Heroes

Opening Reception: Saturday, August 26, 6-8:00 p.m.

August 26 −October 14, 2006

Luckman Gallery, Luckman Fine Arts Complex, Cal State L.A.

Co-produced by Outpost for Contemporary Art, Los Angeles

LOS ANGELES, Calif. − For her first U.S. solo exhibition Minerva

Cuevas presents The Economy of the Imaginary: Pirates and Heroes, a

new, 5-channel video installation that uses cinematic projections to

play with the formal conventions of popular comics. Cuevas researched

the history of the Hollywood film industry, particularly its

superheroes, social heroism, piracy dynamics, and the public domain to

create this piece, which features Salvia, Capital, Imperio, Oscar and

Liberdade: five characters who speak about Thomas Alva Edison, the

economy, heroism, defeat and human fantasies.

Actors playing these characters were selected from those who responded

to calls for auditions reading “Se buscan superheroes (Looking for

superheroes)” that were published in newspaper ads and distributed in

fliers throughout various parts of Mexico City. Actors attending the

audition dressed in superhero costumes were interviewed about their

superpowers, and asked to respond hypothetically to the idea of a

Mexican superhero.

Born in 1975 and working in Mexico City, Minerva Cuevas is interested

in informal economies and is known for projects that are based on

context-specific social research and an adept use of a wide array of

media and artistic approaches. As such her work leads the viewer

freely into the social sphere and its surrounding aesthetics. Her past

exhibitions include: Sharjah Biennial 7 (2005); Not Impressed by

Civilization, Walter Phillips Gallery, The Banff Centre (2005);

Populism, Contemporary Art Centre. Vilnius, Frankfurter Kunstverein,

Stedelijk Museum (2005); Biennale of Sydney (2004); Hardcore, Palais

de Tokyo (2003); 8th Istanbul Biennial (2003); MVC-Biotec, Secession

(2001). Many of her projects are documented on her website:

www.minervacuevas.org

Gallery Talk: Wednesday, October 4, 7:00 p.m.

Bull## and Truth: Superhero Mythology and the Manufacturing of

Identity, an illustrated lecture regarding the connections between

comics and contemporary art by Amy Pederson, Ph.D., UCLA and Assoc.

Professor, Woodbury University

Outpost for Contemporary Art is a Los Angeles-based non-profit

organization devoted to international cultural exchange and a social

setting conducive to lively discussion in contemporary art.

Generous support for the exhibition is provided by La Colección Jumex.

Additional support is provided by the Peter Norton Family Foundation;

Epson America, Inc.; Celuloide Films, The Millennium Biltmore Hotel,

Los Angeles, and Villa Sorriso, Pasadena.

For further information contact:

Luckman Gallery

The Harriet and Charles Luckman Fine Arts Complex

California State University, Los Angeles

5151 State University Drive

Los Angeles, CA 90032-8116

Tel. (323) 343-6604 Fax (323) 343-6423

luckmangallery@luckmanarts.org

Outpost for Contemporary Art

Mailing Address: P.O. Box 50780, Los Angeles, CA 90050

Office Address: 6375 North Figueroa Street, Los Angeles, CA 90042

Tel. (323) 982.9461

info@outpost-art.org

__________________________________________________

Outpost for Contemporary Art´s Board of Directors are

Julie Deamer (Founding Director), Corrina Peipon (President), Maureen

Branley (Treasurer), Kendra Stanifer (Secretary), Jordan Biren, Gary

Cannone, Kristina Kite, and Corinne Weitzman.

August 28th, 2006

Invitation to CARMADA : Saturday, August 26

Invitation to CARMADA : Saturday, August 26

Please join us for the party of the CARMADA performance

Place: 1168 E. 5th Street, Los Angeles, CA 90013

Time: August, 26; 7-10 pm

CARMADA

Driving art modules

www.carmada.org

15 local and international artists transform cars into small

exhibition units and scatter into Los Angeles neighborhoods and

traffic.

The Convoy will merge at specific points and end the day at downtown

parking lot party for celebration and film screenings.

For further information  please visit www.carmada.org

Participating artists:

Eva Castringius

Erik Frydenborg

Gustavo Godoy

Hugo Hopping

Dawn Kasper

John Knuth

Kelly Lycan & Jinhan Ko ı Instant_Coffee

Michael Markowsky

Miguel Nelson

Kiersten Puusemp

Nicole C. Russell

Pascual Sisto

Allyson Spellacy

Bettina Camilla Vestergaard

Sonja Vordermaier

August 28th, 2006

New Art Bank Opens - South Africa

Art
Bank Joburg opens in South Africa, credits Canada Council Art Bank for the
inspiration and advice.
 
This
initiative began with a visit from the then Minister of Arts and Culture,
Science and Technology, Mr. Ben Ngubane to Ottawa in 2000 when Victoria Henry,
the Director of the Art Bank, introduced the Art Bank concept to him during a
formal lunch. He was immediately taken with the value of this kind of support
for artists. Discussions continued and in 2002 during a visit to South Africa as
a member of  an African Trade Mission, Ms Henry met with the Minister and
the Director of the National Arts Council of South Africa, and with the promise
of one million rand  to the National Arts Council of South Africa as seed
money for the project, planning began. Two years later, on the invitation of the
National Arts Council of South Africa, Ms Henry returned to South
Africa to help move the
project forward. During visits to several museums and galleries and government
offices, the practical considerations were explored. The City of
Johannesburg has taken the
initiative and funded the new Art Bank which opened in July.

Click
on the link below to read the complete bulletin, including the Art Bank Joburg
press release:

http://www.artbank.ca/News+and+Events/Activities/bulletin29.htm

Please feel free
to forward this bulletin to a colleague! If you do not wish to receive these
announcements, please email artbank@canadacouncil.ca

Ouverture
d’une nouvelle banque d’œuvres d’art

La
Art Bank Joburg ouvre ses portes en Afrique du Sud et reconnaît le rôle de
l’instigatrice et inspiratrice du projet, la Banque
d’œuvres
d’art du Conseil
des arts du Canada.
 
Le
projet de mise sur pied de la banque d’œuvres d’art a pris naissance lors d’une
visite à Ottawa effectuée en 2000 par le ministre des arts, de la culture, de la
science et de la technologie de l’époque, M. Ben Ngubane; au cours d’un dîner
officiel donné dans le cadre de cette visite, la directrice de la Banque
d’œuvres d’art, Victoria Henry, a présenté le concept de banque d’œuvres d’art
au ministre, qui a tout de suite été séduit par cette forme de soutien aux
artistes. Les discussions se sont poursuivies et, en 2002, pendant une visite en
Afrique du Sud qu’elle effectuait en tant que membre d’une mission commerciale
en Afrique, Mme Henry a rencontré le ministre et le directeur du conseil
national des arts d’Afrique du Sud; suite à la promesse de la directrice de la
Banque d’œuvres d’art de verser au conseil des arts d’Afrique du Sud un million
de rands qui serviraient de fonds de démarrage au projet, la planification a
débuté. Deux ans plus tard, à l’invitation du conseil national des arts
d’Afrique du Sud, Mme Henry s’est rendue à nouveau en Afrique du Sud pour aider
à la mise en œuvre du projet. Les visites effectuées dans plusieurs musées et
galeries et auprès des hauts fonctionnaires de l’État ont été l’occasion
d’examiner les questions d’ordre pratique. La ville de Johannesburg a pris
l’initiative du projet et a financé la mise sur pied de la nouvelle banque
d’œuvres d’art, qui a ouvert ses portes en juillet.

Cliquez
sur le lien ci-dessous pour lire la version complète du bulletin, y compris le
communiqué de presse de la Art Bank Joburg :

http://www.artbank.ca/Nouvelles+et+activites/Activites/bulletin29

N’hésitez pas à
partager ce bulletin avec vos collègues! Si vous ne désirez pas recevoir ces
informations, prière de nous en aviser par courriel au
bda@conseildesarts.ca

Pierre
Schnubb, Senior Art Consultant, Conseiller Principal en Arts visuels, 1-800 263-5588  (5608), (613) 566-4414 (5608)

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