Artipedia - Arts News

Loris Gréaud, “Crossfading suitcase, ErsatZ Hyperreality Substitute Project”, 2004.
Private collection, Paris; courtesy of the artist. Photo: Anh Nam.

Whitney Museum at Altria’s Breakout Sessions reflects the diverse ways in which contemporary artists engage and present visual culture. As a departure from conventional formats, Breakout Sessions invites artists to present work, performances, and ideas that comprise the constellation of influences informing their overall creative practice. Promoting an “open studio” format, the program provides rare access to artists’ visual inspirations ranging from works of fellow artists to interdisciplinary elements of pop culture.

Past Breakout Sessions programs include performance/presentation by Vito Acconci; lecture series/publication with Adam Putnam; performance/limited-edition vinyl record release by Los Super Elegantes; and talk/collaborative publication by artist Alex Hubbard.

Admission and Receptions are FREE. Please visit Calendar of Events at http://www.whitney.org for further details and schedule updates.

Support for Breakout Sessions at Whitney Museum at Altria is also provided by Altoids®, The Curiously Strong Mints.

FALL 2006 PROGRAM

October 18 6:30pm
LOVELY DAZE ISSUE 3
Book Launch and Performances

Lovely Daze is a collection of artists writings and artwork published twice a year in limited editions by artist Charwei Tsai and edited by Kelly Carmena, Lesley Ma, and Sabrina Shaffer. Contributors for Issue #3: “When I Am Alone, Everything Is So Surreal” includes Rita Ackermann, AA Bronson, and Federico Herrero.

The book launch event features 3 performances: EUD by Lizzi Bougatsos and Sadie Laska, Soft Circle by Hisham Bharoocha, and Moving Contact by Julien Asfour.

November 18-22
REPEAT REDUX
Screening and Performance Series

Opening Reception, Saturday, Nov. 18, 6pm, with performance by Orthrelm’s Mick Barr
Special Performance, Monday, Nov. 20 6pm, “Crossfading” by Loris Gréaud

This screening and performance series contemplates repetition and reiteration as precursors to a loss of control and the inevitability of chaos. The program considers varying conditions of surrender and mania in the obsessive fracturing of time and sound. Featuring established and contemporary artists, REPEAT REDUX presents daily screenings in the Whitney at Altria Gallery punctuated by two evening performances and special screenings in the Sculpture Court by artists whose practices include music making.

Screening program includes Dan Graham, Jonathan Horowitz, Bruce Nauman, Jim O’Rourke, Oliver Payne & Nick Relph, and Catherine Sullivan. Additional artists to be announced. Performances by Loris Gréaud and Orthrelm’s Mick Barr.

Organized by Whitney Museum at Altria’s Howie Chen with Gabrielle Giattino and Jay Sanders.

Whitney Museum of American Art
at Altria
120 Park Avenue at 42nd Street
New York, NY 10017
(917) 663-2551
http://www.whitney.org

The Whitney Museum at Altria is funded by Altria Group, Inc.

Adam Szymczyk is a curator and writer who was born in Piotrkow Trybunalski, Poland, in 1970. In 1997, he was one of the founding members of the Foksal Gallery Foundation (FGF) in Warsaw where he organized projects together with Andrzej Przywara and Joanna Mytkowska, both in Warsaw and internationally. In 2003, he was appointed to the Kunsthalle Basel, where he most recently curated the retrospective “Lee Lozano: Win First Don’t Last Win Last Don’t Care” (in association with Van Abbemuseum, Eidhoven) and the group show “Quauhnahuac: The Straight Line Is An Utopia”. He has written extensively about various artists in books, catalogues and art magazines and has been responsible for exhibitions in Poland, Sweden and Switzerland. He is a member of the Program Advisory Board of the Museum of Modern Art in Warsaw, a project launched in 2005.

Established in 1998, the berlin biennial has become a major international event in contemporary art. Located in Berlin, in the midst of the vibrant cultural scene of the fast-changing capital of Germany, the berlin biennial has received an enthusiastic response from the audience as the experimental, forward-looking and context-sensitive show. The four editions of the berlin biennial that have taken place until today, explored a variety of exhibition formats and involved diverse curatorial agendas, including those of the founding director of the berlin biennial, Klaus Biesenbach, with Nancy Spector and Hans-Ulrich Obrist (1st berlin biennial, 1998), Saskia Bos (2nd berlin biennial, 2001), Ute Meta Bauer (3rd berlin biennial, 2004) and the curatorial team of Maurizio Cattelan, Massimiliano Gioni and Ali Subotnick (4th berlin biennial, 2006).

In 2003, the Kulturstiftung des Bundes/German Federal Cultural Foundation designated the berlin biennial as one of the “Beacons of Contemporary Art”. In consequence, the German Federal Cultural Foundation decided to support the two following editions of the berlin biennial from 2003 to 2008, the 4th berlin biennial and the 5th berlin biennial, with a total amount of 2.5 m Euro in order to enable the curators to focus on the content and communication of their project and to secure the much-needed financial stability of the whole event.

The selection committee of the 5th berlin biennial consisted of Chris Dercon, Director of the Haus der Kunst Munich, Charles Esche, Director of the Van Abbemuseum, Eindhoven, Chrissie Iles, Curator at the Whitney Museum of American Art, New York, Udo Kittelmann, Director of the Museum für Moderne Kunst, Frankfurt, and Chus Martínez, Director of the Frankfurter Kunstverein. The organizer of the 5th berlin biennial is KW Institute for Contemporary Art. KW is also one of the berlin biennial’s exhibition venues. Other venues will be announced later.

There will be a press conference held in spring 2007 to introduce Adam Szymczyk and his concept of the 5th berlin biennial to the public and media.

If you have questions or require further information, please do not hesitate to contact us. More information concerning the exhibition will be available at http://www.berlinbiennale.de

Contact:
press@kw-berlin.de

The 5th berlin biennial is funded by the Kulturstiftung des Bundes/German Federal Cultural Foundation.

Managing Director
Gabriele Horn

Founding Director
Klaus Biesenbach

Founding Chairman
Eberhard Mayntz

The seven Canary Islands are the setting for the 1st Architecture, Art & Landscape Biennial of the Canaries
27th Nov 2006 - 10th Feb 2007

http://www.bienaldecanarias.org
info.bienal@canariasculturaenred.com

ORGANIZED BY:
GOVERNMENT OF THE CANARY ISLANDS (Vice-ministry of Culture)

The Biennial of the Canaries is conceived as a singular event that intentionally reflects the specificities of the territory. The southern frontier of Europe, the Canary Islands is a singular, strategically located, North African Atlantic archipelago comprising seven highly different islands, whose shared trait is their common volcanic origin. They are a crossroads of many cultures, of communications, of people, of goods, of trade.

Accordingly, the Biennial is conceived as a fragmentary event extending throughout the whole of the territory of the Canaries.

The idea is to underscore and activate countless singular spaces (both constructed and natural) on the archipelago through a series of 70 artistic actions, paying special attention to the continents of Africa, America and Europe, and featuring a significant representation of contemporary creation produced in these regions, which are rounded off with theoretical encounters in which renowned experts in various disciplines will be taking part.

Featuring artists, architects, critics, curators, educators and other intellectuals and, therefore, from a free, open and imaginative space, the Biennial will address key issues for the future of these islands, like the limit to sustainable growth, the scarcity of natural resources, mobility and communication, cultural diversity, the increasing pressure of urban development, the public space and landscape, all tackled from an essentially territorial perspective.

The Biennial of the Canaries is directed by Rosina Gómez-Baeza

The members of the Scientific Committee of the Architecture Section are:
Miriam Arricivita
Manuel Feo
Juan Antonio González Pérez
Virgilio Gutiérrez
Arsenio Pérez Amaral
Flora Pescador
José Antonio Sosa
Juan Torres

Art Section:
Curator: Antonio Zaya

Participating artists:
Adel Abdessemed · Eija-Liisa Ahtila · Jaafar Akil · Fernando Álamo · Alexis W. · Allora and Calzadilla · Alexander Apóstol · Hamdi Attia · Kader Attia · Juan Carlos Batista · Karina Beltrán · Thami Benkirane · Ursula Biemann · Eelco Brand · Olaf Breuning · Sergio Brito · Mircea Cantor · Jordi Colomer · Alfonso Crujera · Salomé Cuesta / Bárbaro Miyares · Fabiana de Barros / Michel Favre · Allan deSouza · Ángel Delgado · Amal Kenawy · Hala Elkoussy · Jon Mikel Euba · Regina Galindo · Carmela García · Kendell Geers · Ori Gersht · Juan Hidalgo · Alfredo Jaar · Concha Jerez / José Iges · Won Ju Lim · Kcho · Mahmoud Khaled · Ellen Kooi · Pablo León de la Barra · Juan López · Rogelio López Cuenca · Guillermo Lorenzo · Sara Maneiro · Ángel Marcos · Mona Marzouk · Mateo Maté · José Román Mora · David Moratón · Mosco · Nato · Shirin Neshat · Otobong Nkanga · Noxer · Open Circle · Germán Paez · Jesús Palomino · Maria Papadimitriou · Cecilia Paredes · Ester Partegás · Key Portilla Kawam ura · PSJM · Younes Rahmoun · Juan Carlos Robles · Julian Rosefeldt · José Ruiz · Ruth Sacks · Teresa Serrano · Siner · Skuf · Javier Tellez · Johan Thom · Torolab · Anton Vidokle / Julieta Aranda · Miwa Yanagi · Z (Club)/ Nestor Torrens

Following his 10-day journey through the Canadian Forces Artist Program on the HMCS Calgary from Pearl Harbour to the Esquimalt Naval Base, Ho Tam’s Romances includes drawing, painting, video and photography in an exploration of the sea and the Navy that combines fact and fiction. The project continues his long time study of gender and race, and examines the various constructs of masculinity, military and nationality. Tam says, “The romance of the sea has given rise to plenty of myths and imaginings. In bringing together the rich symbolism and reference about the sea and the voyage, I seek to construct a complex yet open-ended, larger narrative.” (Curated by Lisa Baldissera)

Ho Tam currently lives in Victoria and teaches at the University of Victoria. His first documentary feature Books of James will be screened in Seattle Lesbian & Gay Film Festival (October 22 at NorthWest Film Forum). For information on the film, please go to www.booksofjames.com

Art Gallery of Greater Victoria
1040 Moss Street
Victoria, British Columbia
Canada V8V 4P1
Tel: 250.384.4101
www.aggv.bc.ca

Romances will also be exhibited at Paul Petro Contemporary Art in Toronto from November 17 to December 23, 2006.

“(Our work) is competitive in a positive sense. Each of us brings back hunting trophies and we show them to each other.”

In the October issue of frieze Peter Fischli and David Weiss talk to Jörg Heiser about three decades of making art, slapstick and semiotics, sausages and sunsets, culture and cats.

“Lozano investigated the psychic and atomic boundaries of life and art, although not without psychic and mortal consequences.”

Bruce Hainley reflects on the career of Lee Lozano, who, through her paintings, drawings and conceptual projects, aimed to ‘participate only in a total revolution both personal and public’. Jan Verwoert considers the work of Hilary Lloyd, whose video and slide installations study and celebrate movement, pose and gesture. On the occasion of his 70th birthday, Steve Reich, one of the most influential American composers of the last 40 years, talks to Dan Fox and Mark Godfrey about his groundbreaking early works and more recent multimedia collaborations.

Brian Dillon asks whether taste, once integral to discourses around aesthetics, culture, gender and class, has now become an anachronism. Martin Herbert wanders through Martin Boyce’s melancholy Modernist dreamworlds, and Tom Morton gets to grips with the eclectic sculptures of Abraham Cruzvillegas. Luca Cerizza and Massimiliano Gioni send a double city report from Milan and Turin, the artistic capitals of postwar Italy.

Also featured: Sarah Anne Johnson by Meeka Walsh, Armando Andrade Tudela by Dan Fox, Jan Mancuska by Melissa Gronlund and Karin Ruggaber by Sally O’Reilly.

Subscribe at http://www.frieze.com to receive this issue and subsequent issues as soon as they are published.

ENOC PEREZ
“Seagram Building, New York”, 2006
Oil on canvas
106 by 86 in. 269.2 by 218.4 cm

Mitchell-Innes and Nash presents its first exhibition of work by Enoc Pérez. “Enoc Pérez: New York” features several new, large-scale paintings of Modernist architectural landmarks in New York City, including Mies van der Rohe’s Seagram Building, 1958; the Lever House by Skidmore, Owens and Merrill, 1952 and the United Nations headquarters by Le Corbusier, 1953. By focusing on the buildings’ formal components, Pérez captures both the starkness and the visionary optimism of the International Style, a style of architecture popular in the U.S. and Europe in the 1920s-50s. The paintings in the exhibition explore the ways that form can become a symbol of power, both institutional and aesthetic.

Enoc Pérez was born in Puerto Rico in 1967. He received his M.F.A from Hunter College and his B.F.A. from Pratt, both in New York. He has exhibited widely in museums and galleries in the Americas and Europe since the 1990s, including solo shows in New York, Los Angeles, Berlin and Cologne. He will be the focus of a major solo exhibition at the Museum of Contemporary Art, North Miami in 2007-2008. He has also been included in numerous group shows including “Dear Painter…” at the Centre Pompidou in Paris (which later traveled to Schirn Kunsthalle Frankfurt and Vienna Kunsthalle), 2002 and “The Undiscovered Country” at the UCLA Hammer Museum in Los Angeles, 2004. Pérez lives and works in New York.

“Call Waiting”, 1997. Gelatin silver print with silk-screened text, 20 x 16 inches. From the video installation “Call Waiting”, 1997. 16mm black-and-white film transferred to DVD. 13 minutes, 11 seconds, sound. Courtesy the artist and Sean Kelly Gallery, New York.

Lorna Simpson, a comprehensive survey of the multi-faceted work of one of the leading artists working in the United States today, will be on view at the Miami Art Museum from October 5, 2006 until February 4, 2007. The exhibition is organized by the American Federation of Arts (AFA) and curated by AFA Adjunct Curator Helaine Posner.

The exhibition includes approximately fifteen of the artist’s acclaimed image and text pieces (1985–92) and seven major photographs on felt (1994–2005). Also on view are six film installations dating from 1997 to 2004, including Call Waiting; Easy to Remember; Interior/Exterior; Full/Empty, a seven-part projection and related series of photographs; 31, a video calendar in which the artist closely observes a month in the public and private life of an unknown woman; and Corridor (2003), a work that juxtaposes the domestic meanderings of two women—one set in the seventeenth-century Coffin House and the other in the 1938 house built by Bauhaus architect/designer Walter Gropius for his family in Lincoln, Massachusetts. The exhibition concludes with Simpson’s recent photographs, which consist of ghostly, silhouetted profiles of black women and men accompanied by the titles of paintings, songs, and films that date from the 1790s to the 1970s.

Lorna Simpson first became well known in the mid-1980s for her large-scale photograph and text works that confront and challenge conventional views of gender, identity, culture, history, and memory. In the mid-1990s, she began creating large multi-panel photographs printed on felt that depict the sites of public—yet unseen—sexual encounters. More recently, she has turned to moving images. In film and video works such as Call Waiting, Simpson presents individuals engaged in intimate and enigmatic yet elliptical conversations that elude easy interpretation but seem to address the mysteries of both identity and desire.

About the Artist
Lorna Simpson was born in 1960 in Brooklyn, New York, and received her BFA in Photography from the School of Visual Arts, New York, and her MFA from the University of California, San Diego. Her work has been exhibited at the Museum of Modern Art, New York (1990), the Museum of Contemporary Art, Chicago (1992), the Miami Art Museum (1997), the Walker Art Center, Minneapolis (1999), and the Irish Museum of Modern Art, Dublin (2003). She has participated in such important international exhibitions as the Hugo Boss Prize (1998) at the Guggenheim Museum, New York, and Documenta XI (2002) in Kassel, Germany. Simpson has been the subject of numerous articles, catalogue essays, and a monograph published by Phaidon Press.

Tour
Lorna Simpson debuted in April at the Museum of Contemporary Art, Los Angeles. After the presentation in Miami, the exhibition will travel to the Whitney Museum of American Art (March 1-May 6, 2007); the Kalamazoo Institute of Arts, Kalamazoo, Michigan (May 25–August 19, 2007); and the Gibbes Museum of Art, Charleston, South Carolina (September 7–December 2, 2007).

Catalogue
A fully illustrated catalogue published by Abrams, New York, in association with the American Federation of Arts accompanies the exhibition. The book includes a curatorial foreword by Helaine Posner; a dialogue including Lorna Simpson, artist Isaac Julien, and Studio Museum in Harlem Director Thelma Golden, with a preface by Shamim M. Momin, Associate Curator at the Whitney Museum of American Art; an overview of Simpson’s work, from the earlier image and text work to the recent films, by Okwui Enwezor, Dean of Academic Affairs at the San Francisco Art Institute; and an essay exploring the relationship of Simpson’s work to cinema by cultural critic and New Yorker staff writer Hilton Als.

The exhibition is organized by the American Federation of Arts and made possible, in part, by grants from The Andy Warhol Foundation for the Visual Arts, the Peter Norton Family Foundation, the National Endowment for the Arts, the Lily Auchincloss Foundation, Inc., the Martin Bucksbaum Family Foundation, Emily Fisher Landau, and The Barbara Lee Family Foundation Fund at the Boston Foundation.

The AFA is a nonprofit institution that organizes art exhibitions for presentation in museums around the world, publishes exhibition catalogues, and develops education programs. For more information on the AFA, please visit http://www.afaweb.org

VIRTUAL FIREWORKS
A DAYLIGHT FIREWORK DISPLAY BY TOM ELLIS

A TRADITIONAL FIREWORK DISPLAY TRANSFORMED INTO A DAYTIME SPECTACLE OF BLEACHED OUT FLARES & EXPLODING CARDBOARD. DAYLIGHT BECOMES BOTH REVEALER & DESTROYER.

Location:
FRIDAY 13 OCTOBER | 2PM
THE PIRATE CASTLE
REGENT’S CANAL
LONDON

http://www.limaprojects.co.uk

Halifax, NS - October 11, 2006 - The $50,000 Sobey Art Award, presented biennially since 2002, will, as of November, be awarded annually to a young Canadian artist.

“Moving the Sobey Art Award to an annual model as well as our partnership with Scotiabank and the Art Gallery of Nova Scotia ensures that the future of the Sobey Art Award is bright, indeed,” said Donald Sobey, chairman, Sobey Art Foundation. “Canadian artists under 40 are the future of the arts in this country, and we are proud to be supporting their efforts. The Sobey family and the Sobey Art Foundation are also proud to be able to share this future with Canadians.”

The Sobey Art Foundation is also pleased to announce that Scotiabank is joining as sponsor in an ongoing partnership that will help to increase awareness of contemporary art and foster excellence in art across the country.

“As the Presenting Sponsor of the 2006 Sobey Art Award we are entering an exciting new phase in what is already Canada’s premier award for young visual artists,” said Rick Waugh, president and chief executive officer, Scotiabank. “Our long-standing relationship with the Sobey family and our mutual commitment to promoting excellence in visual art in Canada makes this a particularly fulfilling partnership.”

The Sobey Art Award is given to an artist under 40 who has had a show in a public or commercial art gallery within 18 months of being nominated. A panel of curatorial advisors, one from a major gallery in each of five regions (Atlantic, Quebec, Ontario, Prairies/North and West Coast) decides the shortlist, and the winner. It is administered by the Art Gallery of Nova Scotia.