Artipedia - Arts News

The five rejected proposals for the Athens Tower, 2004 by BIG CITY LAB participant Vangelis Vlahos, Courtesy The Breeder, Athens

ART FORUM BERLIN 2006 – the not-to-be-missed season kick-off
The 11th edition of ART FORUM BERLIN - International Fair for Contemporary Art – opens its doors in just a few days on September 29th, 2006. A series of extraordinary stand concepts and individual presentations and a full range of discoveries make out of ART FORUM BERLIN the most fascinating and innovative fair dedicated to contemporary art. The Berlin Senate for Economics’ “Project Future” will honour conceptual achievement of participants by donating two prizes for the best gallery stands.

Works by more than 1,500 artists from all genres of contemporary visual art will be on view, presented by 121 galleries from all five continents. More collectors, curators, and critics than ever before from around the globe have announced their visit to the fair and Berlin – Europe’s metropolis of the Arts. Always alive with a selection of prominent galleries and the most interesting of the emerging generation, this year’s ART FORUM BERLIN offers a wider range of international upcoming galleries and an abundance of new constellations and presentations: For the first time in Berlin: Christopher Grimes, Santa Monica, Max Wigram, London. New-Berliners and ex-Cologners Aurel Scheibler and Andre Buchmann are awaited with great expectation. The Black Dragon Society from Los Angeles is bringing Gustavo Herrera, Nick Lowe and Julie Kirkpatrick to the shores of the Spree River. The presentation of the young Scottish Sorcha Dallas Gallery of Glasgow promises to be rivetin g. Controversial and exciting is also the mixture at the Breeder from Athens. Parisians Fabienne Leclerc (in Situ Gallery), Kamel Mennour and Laurent Godin are among the strengthened faction of French participants. Sculpture is the promising new trend to be discovered at Eigen + Art, Berlin/Leipzig and many other galleries this year. Nasty little paintings by Nicole Eisenman will be shown at Leo Koenig, New York. Hammelehle and Ahrens, Cologne, exhibit the “Swabian Bunker”, a thematic showing with four artists from Baden-Wuerttemberg who all live and work in Berlin. Further highlights are paintings of Axel Geis at Jan Wentrup, Berlin, “Arab Snow” a new video work by Sigalit Landau at Anita Beckers, Frankfurt/Main. But this is only a small selection of the wealth of art to be shown. Constantly updated information can be found on our website http://www.art-forum-berlin.com.

Galleries:
Adamski, Aachen / Akinci, Amsterdam / Helga de Alvear, Madrid / Mikael Andersen, Copenhagen / Anhava, Helsinki / Arndt & Partner, Berlin/Zurich / Art:Concept, Paris / Asbaek, Copenhagen / Aurel Scheibler, Berlin / Guido W. Baudach, Berlin / Juergen Becker, Hamburg / Anita Beckers, Frankfurt/Main / Black Dragon, Los Angeles / Bleich-Rossi, Vienna / The Breeder, Athens / Spencer Brownstone, New York / Lena Bruening, Berlin / Ellen De Bruijne, Amsterdam / Buchmann, Berlin / carlier|gebauer, Berlin / Marta Cervera, Madrid / Charim, Vienna / Mehdi Chouakri, Berlin / Contemporary Fine Arts, Berlin / Crone, Berlin / Sorcha Dallas, Glasgow / Erika Deák, Budapest / Elizabeth Dee, New York / Volker Diehl, Berlin / Dogenhaus, Leipzig / Doerrie*Priess, Berlin/Hamburg / Ansel m Dreher, Berlin / Eigen Art, Berlin/Leipzig / Espai 2nou2, Barcelona / Ulrich Fiedler, Cologne / Frank Elbaz, Paris / Fred, London / Frehrking Wiesehoefer, Cologne / Gazonrouge, Athens / Laurent Godin, Paris / Goff Rosenthal, New York / Christopher Grimes, Santa Monica / Grimm | Rosenfeld, Munich / Karin Guenther\ Nina Borgmann, Hamburg / Kavi Gupta, Chicago / Habana, Havana / Hammelehle & Ahrens, Cologne / Reinhard Hauff, Stuttgart / Haunch of Venison, Zurich / Patrick Heide, London / In Situ, Paris / Johnen, Berlin / K Galleri, Oslo / Iris Kadel, Karlsruhe / Kamm, Berlin / Georg Kargl, Wien / Ben Kaufmann, Munich/Berlin / Kicken Berlin, Berlin / Martin Klosterfelde, Berlin / Leo Koenig, New York / Kuckei Kuckei, Berlin / La Casona, Havana / Stella Lohaus, Antwerpen / Linn Luehn, Cologne / Martin Asbaek, Kopenhagen / Urs Meile / Caaw, Lucerne/Beijing / Kamel Mennour, Paris / Nina Menocal, Mexico City / Karlheinz Meyer, Karlsruhe / Milliken, Stockholm / MKgalerie.nl, Rotterdam / Magnus Mueller, Berlin / Mark Mueller, Zurich / Christian Nagel, Berlin/Cologne / Neu, Berlin / Noga, Tel Aviv / Alexander Ochs Galleries, Berlin/Beijing / Paolo Bonzano, Rome / Peres Projects, Los Angeles/Berlin / Pestorius, Brisbane / Pierogi, Leipzig/New York / Produzentengalerie Hamburg, Hamburg / Jesco von Puttkamer, Berlin / Robert Miller, New York / Ronmandos, Rotterdam / Thaddaeus Ropac, Salzburg/Paris / Rove Schachter, London / Jette Rudolph, Berlin / Schmela, Duesseldorf / Michael Schultz, Berlin / Otto Schweins, Köln / Senda, Barcelona / Sfeir-Semler, Hamburg/Beyrouth / Sies Hoeke, Duesseldorf / Springer & Winckler, Berlin / Taik, Helsinki / Tanit, Munich / Barbara Thumm, Berlin / Tim van Laere, Antwerpen / Upstream, Amsterdam / Van Horn, Duesseldorf / Vanguardia, Bilbao / Veracortes, Lisbon / Susanne Vielmetter, Culver City / Nadja Vilenne, Liege / Voges Partner, Frankfurt/Main / Vous Etes Ici, Amsterdam / Ursula Walbroel, Duesseldorf / Klara Wallner, Berlin / Gitte Weise, Berlin / Jan Wentrup, Berlin / Johann Widauer, Innsbruck / Max Wigram, London / Eva Winkeler, Frankfurt/Main / Jan Winkelmann, Berlin / Wohnmaschine, Berlin / Thomas Zander, Cologne / Zderzak, Krakow / Michael Zink, Munich / Zuercher, Paris / Zwinger, Berlin

The package is completed by ART FORUM BERLIN’s signature site-specific artist lounges this year conceived by prize winning artists Ulrike Kuschel, Gitte Schaefer and Peter Welz as well as Andrew Simsak..

The fair’s third special exhibition BIG CITY LAB within the luscious 2000 sqm exhibition space is curated by Berlin based Friederike Nymphius. BIG CITY LAB takes up actual currents of art which regard the city as laboratory, that in many respects holds a wide range of capabilities. BIG CITY LAB gives an outlook upon the city as a microcosm in its diversity between traditional and new strategies.

Participating Artists: Saadane Afif \ John M. Armleder \ Jordi Bernadó \ Jeremy Blake \ Keren Cytter \ Stéphane Dafflon \ Tacita Dean \ Elmgreen & Dragset \ Angus Fairhurst \ Berta Fischer \ Carsten Fock \ Alicia Framis \ Carlos Garaicoa \ Torben Giehler \ Delia Gonzalez & Gavin Russom \ Sabine Gross \ Peter Halley \ Anthony Hernandez \ Lori Hersberger \ Jeroen Jongeleen \ Till Krause \ Antal Lakner \ Brandon Lattu \ Erik van Lieshout \ Jen Liu \ Stefan Loeffelhardt \ Bernhard Martin \ Soren Martinsen \ Maix Mayer \ Josephine Meckseper \ Ryuji Miyamoto \ Nils Norman \ Markus Oehlen \ Daniel Pflumm \ Jack Pierson \ Anselm Reyle \ Gerwald Rockenschaub \ Dennis Rudolph \ Paul Snowden \ Sean Snyder \ Frank Thiel \ Vangelis Vlahos \ Amelie von Wulffen \ Akram Zaatari

Visitors will experience five inspiring fair days with 10 excellent ART FORUM BERLIN Talks featuring renowned international art experts and a parallel program full of highlights. Special attention will be drawn to topics around the art market and its knotty relationships to museums as well as art scenes beyond the usual trails of the art world. Among the panellists are artist Santu Mofokeng from Johannesburg, curators Doreet Harten and Claire Davies, Beatrix Ruf of Kunsthalle Zurich, Fumio Nanjo, Mori Art Museum, Tokyo and Singapore Biennial, Sebastian Cicocki, Galeria Kronika, Bytom, Nicolaus Schafhausen, Witte de With, Rotterdam and Curator German Pavilion Venice Biennial 2007, Susanne Titz, Museum Abteiberg Moenchengladbach, Shamin M. Momin, Whitney Museum New York.

Berlin’s institutions beckon with intriguing exhibitions by international artists parallel to the 11th ART FORUM BERLIN such as Felix Gonzales-Torres, Walid Raad, Rebecca Horn, Mika Rottenberg, Valerie Favre, Via Lewandowsky, Claude Lévêque, Vanessa Beecroft and many more, while Kuenstlerhaus Bethanien investigates What is Modern Art? in a group show and Hamburger Bahnhof goes Beyond Cinema – the Art of Projection.

But that is not all, the evenings after the fair hours will be busy with a multitude of openings, receptions and events all over Berlin, one of the high-lights will be the ART FORUM BERLIN Party on September 30th at Radialsystem – the latest art space in Berlin and co-organized by ART FRANCE BERLIN.

ART FORUM BERLIN 2006 - The International Fair for Contemporary Art - will take place for the 11th time from September 30th – October 4th, 2006 at the Berlin Exhibition Grounds. The professional preview will be held on Friday, September 29th, 2006.
For all participants and further information please go to http://www.art-forum-berlin.com.

Bonniers Konsthall opens September 24, 2006.

20 years!
Grant Recipients of the Maria Bonnier Dahlin Foundation 1985 –2005
Sept 24 – Dec 17 2006

Participating artists:
Eva Löfdahl, Sissel Tolaas, Läderfabriken, Lena Laurin-Karlström, Fredrik Wretman, Cecilia Edefalk, Roger Risberg, Martin Wickström, Per Hüttner, Stefan Karlsson, Martin Ålund, Thomas Olsson, Cecilia Sikström, Sissel Wibom, Karin Mamma Andersson, Sunniva McAlinden, Olov Tällström, Peter Ern, Gunnar Larsson, Birgitta Muhr, Thomas Henriksson, Arijana Kajfes, Michael West, Richard G Carlsson, Klara Kristalova, Karin Ohlin, Johanna Karlin, Björn Stampes, Magnus Wassborg, Åsa Larsson, Cecilia Parsberg, Tanja Airaksinen, Carl-Fredrik Ekström, Eva Marklund, Helena Mutanen, Fredrik Persson, Jacob Dahlgren, Marcus Eek, Linn Fernström, Charlotte Enström, Björn Perborg, Petra Lindholm, Sven Nilsson, Tomas Broomé, Stina Stigell, Ann Böttcher, Tilda Lovell, Gunnel Wåhlstrand, Lisa Jeannin, Lisa Jonasson, Lina Selander, Johan Svensson.

Bonniers Konsthall in the centre of Stockholm is a new venue for Swedish and international contemporary art. Through exhibitions, seminars, publications, a studio for guest artists and much more, Bonniers Konsthall aims to support the emergence of and the encounter with new art.

Bonniers Konsthall was initiated by the Maria Bonnier Dahlin Foundation, founded in 1985 by Jeanette Bonnier in memory of her daughter Maria. The Foundation awards grants to young Swedish artists annually. The Foundation is celebrating twenty years of supporting young Swedish artists by inviting the fifty-one grant recipients to show their recent work. The artists, who have emerged during the three decades and are active in Sweden as well as abroad, are presenting a comprehensive and diverse body of work linking the past activities of the Foundation with the present. Several generations of artists representing a variety of artistic expressions, objectives and methods are brought together to form a multi-faceted whole.

The exhibition shows how the Foundation has established itself within the Swedish art scene by offering young artists opportunities for artistic development. The diversity of this exhibition is testimony to the way in which artists belonging to a wide range of schools and temperaments have been selected. The participating artists are working with a wide range of techniques and forms of expression – painting, sculpture, video, drawing, objects and installations. The artists’ objectives, subject matter and methods are extremely diverse too. Their subject matter ranges from existential and burning social issues, technological inventiveness and formal experiments to references to art history and comical incidents from everyday life.

20 Years!… was initiated by the Maria Bonnier Dahlin Foundation and has been produced by Bonniers Konsthall.

Jeanette Bonnier is the founder of Bonniers Konsthall. Sara Arrhenius has been Director since 2005. The Konsthall is run on a non-profit basis by the Bonnier family under the auspices of The Bonnier Group. The Bonnier Group is one of Scandinavia’s biggest media concerns with operations in the daily press, magazines, books, film and television.

INAUGURAL EXHIBITION OF BONNIERS KONSTHALL

20 years!
Grant Recipients of the Maria Bonnier
Dahlin Foundation 1985 –2005
Sept 24 – Dec 17 2006

http://www.bonnierskonsthall.se

The collaboration between Marie-Antoinette Chiarenza (*1957, Tunisia) and Daniel Hauser (*1959, Bern) began in the 1980s in Paris at the squatter-occupied Giraud-Phares factory. Since the beginning of the 1990s they increasingly worked on projects in public space, respectively art-on-architecture projects. During their 1997-2001 collaboration with the city-and-landscape planner Daniel Croptier (*1949, Biel-Bienne), they changed their name to RELAX (chiarenza & hauser & croptier) Since 2003 the artists have lived and worked in Zurich; their works and projects trade under the name RELAX (chiarenza & hauser & co), whereby the “co” stands for partners who change according to the project.

In its works, RELAX occupies an artistic position that since the 1980s has sought out in-between spaces, infiltrated them, posed irksome questions as to economic connections and their cultural impact and examined social links and patterns. The research the artists instigated, their coming-to-grips with societal, political and social questions, their stand vis-à-vis the art system per se and the prevailing theoretical discourses are all transformed into photography, installations, drawings, video works and performances. RELAX consciously uses “poor” materials and industrial semi-products to direct our gaze to the spatial and site-specific contexts, i.e., the works’ statement. This position becomes, so to speak, paradigmatic for the artists’ way of working; it leads to works and projects in which the thematic level and situation-related aspects are always given precedence over purely aesthetic approaches and art-immanent queries. It is the site as the place of concrete realizat ion, but above all also as the mental category, the mirror of a social (activity) space, the territory for different interactions and interventions that, in the 1990s, became a central aspect of RELAX’s art.

The present publication is quite explicitly neither an artist’s book nor an exhibition catalogue, but a kind of standard work. After in-depth analysis of the works and lengthy conversations between the artists and the editors, a concept emerged that, on the one hand, corresponds with a claim of scholarliness and an overview but, on the other, gives the artists’ way-of-working its due. Texts and photos, as well as the filmed audio-visual sequences on the DVD, compile and examine the artists’ works. Over 500 illustrations allow an in-depth look into a rigorous artistic production; two hours of video material offer a comprehensive survey of the artists’ numerous video works. The volume of texts is comprised of four essays, in which scholars and curators follow the media-specific character of the works, as well as survey and reflect on RELAX’s artistic position and works against the background of theoretical models. In addition this volume contains an oeuvre catalogue of the work s, which includes a differentiated list of materials, as well as a deeper commented look into select pieces. Its fundamental essays, the oeuvre catalogue and the carefully selected picture material – and not least of all its conceptual stringency – makes this publication the definitive work on RELAX.

Book launch: 15 September 2006, 5 to 10 pm at Condor Films, Studio Bellerive, Kreuzstrasse 2, 8034 Zurich

Irene Müller, Ilka and Andreas Ruby, Emanuel Tschumi, Susann Wintsch (Eds.)
RELAX (chiarenza & hauser & co) – we save what you give
Text contributions by Irene Müller, Ilka and Andreas Ruby, Katharina Schlieben and Sønke Gau, Philip Ursprung, Susann Wintsch (German, French, English)

192 and 261 pages, approx. 550 color reproductions, 29.7 x 21 cm, hardcover (2 volumes), integrated DVD, Zurich / Nuremberg, a project of edition fink in Verlag für Moderne Kunst Nürnberg, 2006

Verlag für moderne Kunst Nürnberg presents

RELAX (chiarenza & hauser & co) –
we save what you give,
ed. by Irene Müller, Ilka and Andreas
Ruby, Emanuel Tschumi, Susann
Wintsch, Zurich / Nuremberg,

a project of edition fink in
Verlag für moderne Kunst
Nürnberg, 2006,
http://www.vfmk.de

Gigi Scaria, “A Day with Sohail and Mariyan”, 2004, Videostill

“Ist das Leben nicht schön?”
Arturas Raila: “Power of the Earth”
The exhibition “Power of the Earth” curated by Chus Martínez, is Arturas Raila’s first solo show in Germany, in which he will present three closely related projects that have been developed continuously during the last few years. One of these is created especially for the show in the Frankfurter Kunstverein.

In his work, the Lithuanian artist Arturas Raila (*1962) uses mostly photography and video. He explores segments of society that seem to be detached from ordinary mainstream culture in order to open up new perspectives on what is perceived as common sense.

Power of the Earth (2005-6) is the pivotal work of the exhibition. The project is the result of a two-year collaboration with Vaclovas Mikailionis and Villius Gibavicius. They are two experts in Geopathic Energy from rural Lithuania, who use folk knowledge to locate and map energy fields in the Earth, as they will also do in and around the Frankfurter Kunstverein. In the exhibition will be shown a series of beautiful and mysterious photos taken in the Lithuanian countryside, as well as an ‘energy map’ of the Frankfurt city centre where the Kunstverein is located.

Primitive Sky (2002/2006) consists of a series of five photos and a short video. The project originates in an experience the artist had in the late 1970s when he claims to have seen some strange lights moving in the sky in a small town in western Lithuania. He saw the phenomenon five times afterwards, he claims. …forever lacking, never quite enough… (2002-3) is a video installation consisting of two big projections and a plasma monitor. The work deals with the foreign occupations of Lithuania in the 1940s and poses questions about the different narratives that separate “History” from “Story”.

Arturas Raila invites the viewer to reflect upon what is considered mainstream and marginal, the relationship between the new and the traditional, the rational and the esoteric.

Thursday, September 28, 7 pm: Talk with Arturas Raila and two experts in Geopathic Energy from Lithuania: Vaclovas Mikaikionis and Vilius Gibavicius, and the Lithuanian witch Marija Peckiene..

Speaking of Others
“Impossible India. Parallel Economies and Contemporary Art Production”
Artists: Shaina Anand, Open Circle, Gigi Scaria, Christoph Schäfer, Åsa Sonjasdotter, Shilpa Phadke and Bishaka Datta with Abhinandita Mathur, Roshani Jhadav, Neelam Ayare and Karan Arora

Impossible India is a project curated by Nina Möntmann for the platform Speaking of Others at the Frankfurter Kunstverein.

In the media India is presented as the fastest growing economy in the world – the stock market is booming. The exhibition explores how artists see the changing economic relations between urban and rural areas in India, and their impact on individual and collective life styles.

That the country is currently exposed to the effects and side effects of globalisation is a fact of contemporary Indian life. Wealth from the IT-business and service economies visibly flows into the increasingly prosperous urban areas, while the economic and social situation in the rural areas is worsening. India’s development to a prospering economy only began one and a half decades ago. The country’s self-imposed trade embargo, intended to insure self-reliance on domestic resources, was lifted when India opened its doors to foreign imports and investments in 1991. As a consequence the country and its economy changed rapidly. India had taken the first step toward participating in the global economy, but this process has winners as well as losers. Research on information technology, old and new economies and their effects on urban and rural conditions is often an important theme in the work of artists in India.

The exhibition is an open structure including different collaborations, events and media such as docu-fiction, Photo(journalism), interviews, drawings, film and a participatory TV program. In this way, it also documents the way in which artists in contemporary India challenge the conditions of artistic production.

The title Impossible India indirectly relates to the political scientist Partha Chatterjee’s influential book A Possible India (1997), in which he examins the perspectives of democracy in India as the politics of the governed. The title of the exhibition challenges his idea of an “anticolonial nationalism” and questions at the same time any notion of the nation as a defining centre of reference. The art works in the exhibition introduce a diversity of factors and situations in India whose existence side by side seem “impossible”, but in fact they intertwine and affect each other.

Film screenings:
Saturday, September 23, 7 pm. Presented by Sharmila Samant
Wednesday, October 4, 7 pm. Presented by Nina Möntmann

Frankfurter Kunstverein
Steinernes Haus am Römerberg
Markt 44
60311 Frankfurt am Main
Germany
Tel. +49 (0)69 219 314 0
Fax. +49 (0)69 219 314 11
post@fkv.de
http://www.fkv.de

Opening hours: Tuesday – Sunday: 11 am – 7 pm
Guided tours every Thursday at 6 pm or by appointment

Arturas Raila with kind support from:
Mainova, Hessische Kulturstiftung, Hessisches Ministerium für Wissenschaft und Kunst, the Lithuanian Ministry of Culture

“Impossible India” with kind support from:
Goethe Institute, Auswärtiges Amt, Kulturstiftung des Bundes, Amt für Wissenschaft und Kunst, Stadt Frankfurt am Main

Mitchell-Innes & Nash will present the first New York exhibition of German artist Norbert Schwontkowski from September 21 through November 22 in their Uptown space.

The exhibition presents a dozen new paintings by Schwontkowski among a number of paintings by modern and contemporary masters selected by Schwontkowski himself. Works by Forrest Bess, Philip Guston, Alex Katz and Pablo Picasso hang alongside Schwontkowski’s paintings and serve as an informal homage to these artists while demonstrating Schwontkowski’s affinities with a range of 20th -century artistic traditions.

Born in 1949 in Bremen, Germany, Schwontkowski has regularly exhibited in galleries and public institutions throughout Europe since the late 1970s. In Spring 2006 he was included in the Berlin Biennial and was the subject of a special exhibition at the Rubell Collection in Miami in December 2005. Represented in Germany by Contemporary Fine Arts, Berlin and Produzentengalerie, Hamburg, Schwontkowski is a professor of painting at the Hochschule für Bildende Künst at Hamburg.

WE MAKE ANY SIZE OF MIRROR

Norbert Schwontkowski
and Forrest Bess, Philip Guston,
Alex Katz, Pablo Picasso

Opening Reception
Thursday September 21, 6-8PM

Mitchell-Innes & Nash
1018 Madison Avenue
Hours: Tue-Sat, 10am-5pm
www.miandn.com
press@miandn.com

nacktes Leben, 2006, Katrina Daschner/Gini Müller

Gutshaus Kranz is proud to present Protections. This is Not an Exhibition – a unique insight into traumas and pleasures of life in a state of emergency.

A strive for safety, a constant need of security and a basic demand for care and comfort are in focus of this project which resists to be yet another exhibition. Here, no fixed points but rather a dynamic structure which bridges visual arts, performance, theatre and architecture constitutes a platform to renegotiate elemental aspects of the contemporary beyond-modern life.

From a subversive architectural gesture of Elmgreen & Dragset (prefabricated houses as a design platform for other artists’ projects), through laboratory cinema of Moser & Schwinger (a specific location set for still new episodes of good soldier Schwejk) and a vertical stage of Markus Schinwald’s Stage Matrix II (impressive site for a non-stop spectacle of everyday choreography) to the MUSU, Apolonija Sustersic’s Museum-Bus (a mobile architecture on the route between Ljubljana and Graz as a fictive Slovenian Museum of Contemporary Art) and invisible and gentle performative act of Roman Ondak (The Stray Man, performed everyday in front of the Kunsthaus Graz) and Kris Martin with his endless landscape staged on the Gutshaus Kranz inner skin – such is a maze of events and situations in the shell of a temporary Gutshaus Kranz carousel of identity…

As a project-in-progress, Protections does not protect the viewer by providing him/her with the final product of conventional exhibition making. It allows to follow the development of a concept spread in time and space and executed by the artists in a close encounter with the audience. Its composition - as a storyboard - challenges the usual perceptive habits and it invites to explore the museum space in a participatory way. As such, Protections. This is Not an Exhibition generates a situation which turns the museum into both a meeting place and a site of discovery.

As an ongoing anti-spectacle, Protections does protect the viewer and his/her desire to reflect upon the museum and its (social and cultural) function in the most independent and autonomous way. The performative character of artistic proposals as well as the organic process of collected events guarantee an experience of duration and involvement. Simultaneously, it offers and seeks for temporary shelter whilst creating a non-stable construction site: here the attentiveness is put at stake and the fragility of spectatorship is exposed. Thus the site becomes a playground for staging the relations of public and private nature and producing the knowledge on the practice of everyday life.

As such Protections is a polyphonic edifice where a variety of artistic activities is being inhabited: from architectural interventions, through performances, theatrical forms and performative installations, down to visual contributions that include film and video as well as conceptual and discursive studies. The complex and provocative architecture of the Gutshaus Kranz as well as the social and cultural milieu of the city constitute the matrix for all artistic approaches gathered within this project thus turning into a site-specific event.

Participating artists:
Cezary Bodzianowski, the Centre of Attention, Katrina Daschner, Elmgreen & Dragset, Tim Etchells, Vlatka Horvat, Christian Jankowski, Marysia Lewandowska & Neil Cummings, Katarina Löfström, Daria Martin, Kris Martin, Frédéric Moser & Philippe Schwinger, Warren Neidich, Roman Ondak, Elisabeth Penker, Philippe Rahm, Markus Schinwald, Dejan Spasovik, Apolonija Sustersic, Mark Wallinger, Markus Weisbeck, Herwig Weiser

A comprehensive Reader in English and German has been published on the occasion of Protections (with contributions from Marius Babias, Zygmunt Bauman, Beatrice von Bismarck, Adam Budak, Jordan Crandall, Claire Doherty, Jean Fisher, Elisabeth Grosz, Nikolaus Hirsch, Veronica Kaup-Hasler, Peter Pakesch, Christine Peters, Irit Rogoff, Stefan Römer, Renata Salecl and Michael Terman).

Protections. This Is Not an Exhibition is accompanied by a very intense programme of events, Gutshaus Unplugged , grouped in four sections: CURATING AS PERFORMANCE or yet another Protections vernissage; GUIDED (PROTECTION ARTIST) TOURS AS PERFORMANCE or a subjective view of an insider; BOOK AS PERFORMANCE or staging a source material; PERFORMATIVE LECTURE or discursive qui pro quo.

Tuesday, September 26, 6pm
Curating As Performance
Florian Zeyfang, artist and curator/Berlin:
break in / break out and Proprio Aperto

Wednesday, September 27, 3pm and 6pm
Guided (Artist) Tour As Performance
Philippe Rahm, architect/Paris
focus: architecture and ambiance

Thursday, September 28, 6pm
Book As Performance
Maria Lind, IASPIS/Stockholm in conversation with Søren Grammel, Graz:
Curating with Light Luggage, REVOLVER 2005

Saturday, September 30, 5-7pm
Special Event At The Generosity Broadcasting House
Marysia Lewandowska & Neil Cummings, artists,/London:
Open Content Film Culture

Tuesday, October 3, 7pm
Curating As Performance
Sören Grammel, Grazer Kunstverein & Luca Frei, artist/Sweden:
Installation and Presentation of SPARKS

Wednesday, October 4, 3pm and 6pm
Guided (Artist) Tour As Performance
Elisabeth Penker, artist/Vienna
focus: sound and language

Thursday, October 5, 6pm
Book As Performance
Claire Doherty, University of the West of England/Bristol:
Contemporary Art - from Studio to Situations, Black Dog Publishing, 2005
with a screening of Guy Debord’s films and Jeremy Deller’s The Battle of Orgreave

Friday, October 6 – Saturday, October 7
Walk-In-Progress
With participation of Claire Doherty, Apolonija Sustersic, Bojana Kunst, Christine Peters and Adam Budak and featuring students of the Schauspielinstitut, Kunstuniversität Graz

Saturday, October 7, 6-8pm
Special Event At The Generosity Broadcasting House
Eileen Simpson & Ben White, artists/London:
Open Music Archive

Tuesday, October 10, 6pm
Curating As Performance
Barbara Steiner, Gallery for Contemporary Art/Leipzig:
Spaces of Negotiations with AS IF Architekten/Wien, Berlin

Wednesday, October 11, 3pm and 6pm
Guided (Artist) Tour As Performance
Markus Schinwald, artist/Vienna
focus: performance and theatre

Thursday, October 12, 7pm
Performative Lecture
Jordan Crandall, media artist and theorist/Los Angeles:
Ready for Action!

Friday, October 13, 3pm
Performative Lecture
Beatrice von Bismarck, Academy of Visual Arts/Leipzig:
Making Exhibitions - Processing Relations

Saturday, October 14, 2-10pm
Special Event At The Generosity Broadcasting House
MaMa, Club/Zagreb:
Skill Sharing

Tuesday, October 17, 6pm
Curating As Performance
Nikolaus Hirsch (co-curator), architect/Frankfurt & Anton Vidokle, artist, Berlin:
United Nations Plaza

Wednesday, October 18, 3pm and 6pm
Guided (Artist) Tour As Performance
Warren Neidich, artist/New York, Berlin
focus: Phenomen(a)logic Urbanism. An Ontotopologic Journey.

Wednesday October 18 – Saturday, October 21, daily 10am-6pm
Book As Performance
Seminar and Workshop
Nina Möntmann, curator and writer/Hamburg & Jan Verwoert, art critic/Berlin:
Art and Institutions. Current Conflicts and Collaborations, Black Dog Publishing, 2006

Friday, October 20, 5pm
Discussion
Subtle Environmental Influences on Mood, Sleep an Alertness
Michael Terman, Department of Psychiatry, Columbia University/New York in a discussion with Anna Wirz-Justice, Centre for Chronobiology, Psychiatric University Clinics/Basel, Michael Lehofer, Med Uni/Graz and Colin Fournier, architect/ Bartlett School of Architecture, London

Workshop
with Michael Terman and Ann Wirz-Justice and students from Architectural Association, London, ECAL, Lausanne and Technical University, Graz.
3-4.30pm

Protections
This is Not an Exhibition
Co-production between Gutshaus Kranz and steirischer herbst 2006
Curators:
Adam Budak, Christine Peters

Opening: Sat, September 23, 11am
September 23 – October 22, 2006
Tue - Sun 10am – 6pm,
Thu 10am – 8pm

Gutshaus Kranz
Lendkai 1, A–8020 Graz
T +43-316/8017-9200, F -9212
info@kunsthausgraz.at
http://www.kunsthausgraz.at

Scenarios of withdrawing and dropping out – myths of Cologne seen from here / How to escape the imperative of communication? – an interview with Paolo Virno on multitude, virtuosity and the power of withdrawing / Many happy returns – the reception of Martin Kippenberger / The “sensual concept” – the haziness of “Romantic Conceptualism” / Undercover, dislocated, de-subjectified – artists’ collectives between marketability and alternative modes of production

Reviews from Basel, Cologne, New York, Vienna, London, Hannover, Berlin, Paris, Philadelphia, Edinburgh and Dakar

Exclusive new artists’ editions:
Michael Krebber, Christopher Williams, Matthew Brannon

ENGLISH CONTENT:

ISABELLE GRAW
SEEN FROM HERE / On Myths of Cologne, Heteronomy, and Scenarios of Withdrawing and Dropping Out in the Face of the Increased Significance of “Life”

MELANIE GILLIGAN
DOWN WITH INFLATION / The Return(s) of Martin Kippenberger

MANFRED HERMES
“PLEASE OPEN HERE” / Some of What Comes to Mind on K.

YOU ARE YOUR POTENTIAL! / An interview with Paolo Virno by Isabelle Graw
ANDRÉ ROTTMANN

MORE THAN A FEELING / Notes on “Romantic Conceptualism”

YOU ARE NOT ALONE / A conversation with Stephan Geene, Jutta Koether, Markus Müller, Bernadette Van-Huy and Antek Walczak, hosted by Mirjam Thomann

All reviews originally written in English can be found on our website
http://www.textezurkunst.de

Rosalind E. Krauss on “Los Angeles 1955-1985″ at the Centre Pompidou, Paris / John Miller on Eva Hesse at the Jewish Museum and the Drawing Center, New York / Emily Speers Mears on Xavier Cha at Taxter & Spengemann, New York / Neil Mulholland on “Dada’s Boys” at the Fruitmarket, Edinburgh / Sam Lewitt on “Make Your Own Life. Artists In And Out Of Cologne” at the ICA Philadelphia

ARTISTS’ EDITIONS issue 63:
MICHAEL KREBBER
CHRISTOPHER WILLIAMS
YOUNG EDITION No. 4:
MATTHEW BRANNON
Visit our booths at the Artforum Berlin, the Frieze Art Fair and the Art Cologne!

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“Exposure #30: N.Y.C., 249 W 34th Street, 11.20.04, 2:27 p.m.” 2004. Pigmented inkjet prints. The Museum of Modern Art. Fund for the Twenty-First Century. © VG Bild-Kunst, Barbara Probst

New Photography 2006: Jonathan Monk, Barbara Probst, Jules Spinatsch
September 21, 2006–January 8, 2007

The Museum of Modern Art presents New Photography 2006: Jonathan Monk, Barbara Probst, Jules Spinatsch, the latest installment of its annual fall showcase of significant recent work in contemporary photography. The exhibition is organized by Roxana Marcoci, Associate Curator, Department of Photography, The Museum of Modern Art. Explains Ms. Marcoci, “Today’s photographic-based work holds a complex genealogy-it is rooted in established photographic traditions, and is also an outgrowth of the broader world of contemporary art. This year’s exhibition features three artists from Europe whose varied approaches tap into film, video, and digital technologies, attesting to the diversity of the medium.

The British artist Jonathan Monk offers a personal, humorous twist on the aesthetic strategies of 1960s Conceptual art. The exhibition features Monk’s new work, including the slide installation, I Do Not Know Where I Am, I Do Not Know Who I Am With (2004), which is shown for the first time in New York. For this piece, Monk asked his mother to review the contents of a box of slides his father had shot in the late 1950s and 1960s and point out all those she could not identify. In the installation the slides alternate between views of unidentified places and portraits of people Monk’s father met before marrying his mother. Found photographs are a source of inspiration in Monk’s work. This is evident in One in Fifty in One (fishing boats) (2005), a series of 50 prints that takes Ilford photographic paper as its material. The artist appropriated an image from the lid of the Ilford box, and asked a commercial lab in Berlin to print the image on all of the 50 sheets of paper contained in the box.

German artist Barbara Probst’s photographic work consists of multiple images of a single scene, shot simultaneously via a radio-controlled system of several cameras. In Exposure #30: N.Y.C., 249 W 34 St. 11.20.04, 2:27 p.m. (2004) a woman is caught in candid poses at the same instant in what appears to be four different locales: in a park, beneath a skyscraper, looking into a giant eye, and standing on a floor that is covered with letters. It is the same woman in four different circumstances at the same moment, leaving one to guess how Probst managed to collapse space and time. In actuality, Probst shot the piece in her studio, and the backdrops are enlarged printouts of both her own photographs and popular film stills. The park is from Michelangelo Antonioni’s film Blow-Up (1966); the skyscraper is a snapshot that Probst took from the Empire State Building; the eye comes from Stanley Kubrick’s film 2001: A Space Odyssey (1968); and the letters on the floor spell out an excerpt from a poem by the postwar author Paul Célan. By experimenting with the point of view of the shot/counter-shot technique that film uses to tell a story, the artist offers new interpretations of the traditional idea that photography can freeze a moment in time.

The exhibition premieres in New York the work of Swiss artist Jules Spinatsch with a selection from his photographic project Temporary Discomfort (2001-2003). The pictures in this project document the security preparations surrounding several major international political events: the January 2001 and January 2003 World Economic Forums (WEF) in Davos; the July 2001 G8 summit in Genoa; the February 2002 WEF in New York; and the June 2003 G8 summit in Geneva and Evian. The main piece in Temporary Discomfort is an installation comprising a large panorama into which thousands of still images are compiled, along with three video pieces. The images show preparations for a high-security lockdown in the artist’s hometown of Davos during the January 2003 WEF, which are revealed as meticulously planned and tightly controlled. In the period leading up to the WEF, Spinatsch recorded with a remote-controlled camera 2,500 single images in the course of three hours, from 6:35 to 9:30 a.m. After the recording, he assembled the resulting shots in a gridded, high-resolution panorama that shows random moments captured frame by frame, as well as the transition from dawn to early morning.

The New Photography series is made possible by JGS, Inc.

Miao Xiaochun: “Celebration”, 2004 “ the artist. Foto: Miao Xiaochun

FASTER! BIGGER! BETTER!
Signet works of the collections
24.09.06 through 07.01.07
and
totalstadt. beijing case
cultural aspects of high speed urbanization in china -
final presentation of the scholarship holders of the project “Beijing Case”
24.09. through 07.01.07

ZKM | Center for Art and Media
Lorenzstr. 19
76135 Karlsruhe, Germany
phone: +49(0)721/8100-1200
info@zkm.de
http://www.zkm.de

FASTER! BIGGER! BETTER!
Sylvie Fleury´s neon writing from 1999 is clear and unambiguous: “FASTER! BIGGER! BETTER!”. Thus she posits maxims as they appear in advertisements, the economic marketplace, sports and everyday life. The pressure to perform is both an ordeal and a euphoric moment, an addiction to “more” that can hardly be satisfied.

Presentation of the collections of the ZKM | Museum of Contemporary Art
Fleury´s work supplies the title for the presentation of our museum’s new collections. Signet works of our present and recently acquired private collections will be displayed on all three levels of the atriums 1 and 2. The diversity and high quality of the Collections FER, Froehlich, Grässlin, Siegfried Weishaupt and Boros have recently been significantly supplemented by new partners: the Collection of the Landesbank Baden-Württemberg in Stuttgart, Francesca von Habsburg´s Collection Thyssen- Bornemisza Art Contemporary (T-B A21) with its headquarter in Vienna and the VAF-Stiftung, Frankfurt am Main/MART, Rovereto, reconfirm, together with our already proven partners, the impressive level of the ZKM | Museum of Contemporary Art. They all contribute to making our museum an important international meeting-place for contemporary art. It is a great pleasure for us to be able to show in this upcoming exhibition our many signet works and to introduce our recently acquired co llections to the public.

FASTER! BIGGER! BETTER!, the survey of approximately 250 signet works by more than 130 artists, is thus both a special exhibition of our museum and its collections and a reflection of the art history of the last 50 years.

Moreover, the themes of movement and dynamics propose relations to the parallel exhibition “totalstadt. beijing case”. Together with works from the 21st century, this re-presentation of masterpieces of probably the most interesting decades of the last century forms an aesthetic, thought-provoking and not least entertaining lobby for the exhibition of the history of recent art and its collections.

Curators: Gregor Jansen with Andreas F. Beitin, Anne Däuper and Yvonne Ziegler.
Exhibition catalogue / collections guide published by Walther König, Köln (Ed.: Gregor Jansen and Peter Weibel, 336 pages, ca. 300 ill.)

totalstadt. beijing case
The urban growth of China is being carried out with an expenditure of energy, land and material that is inconceivable to us. More than 40% of the people in the most populous country on earth live now in cities; by 2020, it will be 60%, i.e. 800 million people. Conventional city planning approaches run up against their limits in Beijing because of the rapid development, while the official master plan plays, in reality, only a peripheral role. Lucrative construction plans take the limelight, while the total urban context is frequently ignored. Internationally famous architectural firms like Rem Koolhaas, GMP (von Gerkan, Marg und Partner) and Herzog & de Meuron are now making station in Beijing and contributing decisively to its reshaping. New landmarks are arising in the cityscape – the best known is surely Rem Koolhaas’s CCTV Tower. The face of Beijing is changing rapidly. Entire city districts are disappearing, new ones arising, resettlements taking place in grand sty le.

Under the sign of high-speed urbanization
During a four-month working stay in Beijing, twelve Chinese and German artists studied the effects of urban development on art and culture. They produced works in various genres that dealt with, mainly from a personal angle, with aspects of subjects like everyday material culture, socio-political change and new concepts urban construction and architecture.

In addition to the works of the Beijing-Case scholarship holders Heike Baranowsky, Thomas Bayrle, Cao Fei/Ou Ning, Christine de la Garenne/Via Lewandowsky, Echo Yinsin Ho, Mara Kurotschka, Ma Yingli, Ingo Niermann, Susanne Röckel und Xi Chuan, the exhibition totalstadt. beijing case will be enriched by further artistic positions from China and Germany by Helke Bayrle, Sunah Choi, Ebru Erülkü, Jiang Jian, Waszem Khan, Barbara Klemm, Daniel Kohl, Antje Majewski, Ottjörg A.C., Harald Pridgar, Wang Shugang, Wang Wei, Miao Xiaochun, Xing Danwen, Kexin Zang und Martin Zeller.

Curators: Gregor Jansen, in collaboration with Anne Däuper, Birgit Hopfener and Yvonne Ziegler.

Exhibition catalogue: published by Prestel Verlag, Munich, with contributions by more than 30 authors.

totalstadt. beijing case is a project of the Kulturstiftung des Bundes (German Federal Cultural Foundation) in collaboration with the Goethe Institute in Beijing.

Opening hours:
Wed-Fri 10 am – 6 pm
Sat, Sun 11 am – 6 pm
Thur 12.10. / 09.11. / 14.12.: 10 am – 9 pm
Mon, Tue closed

Guided tours:
Sat 4 pm, Sun 11.30 am (FASTER! BIGGER! BETTER!)
Sat 2 pm, Sun 4 pm (totalstadt. beijing case)

More information:
http://www.zkm.de/signetwerke
http://www.zkm.de/totalstadt

Press contact
Irina Koutoudis
phone: +49(0)721/8100-1220
fax: +49(0)721/8100-1139
e-mail: presse@zkm.de

“Untitled (pocket),” 2006, Oil on MDF, 28.5 x 37.5 cm/11.2 x 14.7”

JULIA SCHMIDT: New Fabrics

EXHIBITION DATES: OCTOBER 14 – NOVEMBER 11, 2006
OPENING: SATURDAY, OCTOBER 14, 6 – 8 PM
GALLERY HOURS: TUESDAY – SATURDAY, 10 – 6 PM

Casey Kaplan is pleased to announce, “New Fabrics,” the first solo exhibition in New York of the Leipzig-based painter, Julia Schmidt. For this show, Julia will present a new series of oil on MDF-board paintings. Schmidt is a key figure of a new generation of German painters whose work resists the bold gestures of her contemporaries, opting instead to focus on details, traces, and omissions.

The works in this exhibition–new fabrics–visit a panoply of subjects. Depicting both representational and abstract imagery, Schmidt portrays her aesthetic totems in muted hues with a cool, detached beauty. Inconsequential objects– blotches, skirt hems, and debris–are painted with the same painstaking precision as 18th century portraits, baroque tables, and sumptuous leather handbags.

Working with different methods and often reclaiming discarded objects and imagery, Schmidt sidesteps the conformity of a single artistic style. Her paintings often demonstrate an old master-like attention to detail: rich impasto, tonal gradation, and high gloss surfaces. While she uses the classical technique of oil painting, her brushstrokes often appear hacked and staccato, and while her small (even miniature) formats are relatively standardized, her canvas is made from industrial chipboard—a material that lends her paintings an attitude of indifference or self-effacement.

By focusing on flawed, unstudied, and forgotten subjects, Schmidt redirects our attention to blurred backgrounds, peripheral views, and minute details. Schmidt’s appropriation of the overlooked proclaims the significance and wonder of marginal and low-key subjects, addressing her concerns with value and artifice, use and ornament. With all the paintings in the exhibition, Schmidt’s method of visual reduction alongside optical saturation posits what constitutes artistic beauty within the decadence of high art.

Julia Schmidt received her formal training at the Glasgow School of Art and the Academy of Visual Arts in Leipzig. She was the recipient of the Arbeitsstipendium Stiftung Kunstfonds Bonn e.V. and the Kunstpreis der Sachsen LB in 2006. Recent exhibitions include “Artists from Leipzig,” at Arario Beijing, China in October 2006; “Criss-Cross, Five Positions in Croatian and German Contemporary Art,” at the Museum of Contemporary Art, Zagreb, Croatia in 2005; and the 2nd Biennial of Contemporary Art in Prague. A solo exhibition at Museum der Bildenden Künste Leipzig opens this December and will travel to Kunstforum Ostdeutsche Galerie, Regensburg.

FOR FURTHER EXHIBITION INFORMATION PLEASE CONTACT THE GALLERY.

CHANA BUDGAZAD
CASEY KAPLAN
525 WEST 21ST STREET
NEW YORK, NY 10011
TEL. 212.645.7335
FAX. 212.645.7835
WWW.CASEYKAPLANGALLERY.COM

NEXT GALLERY EXHIBITION:
NATHAN CARTER
NOVEMBER 16 – DECEMBER 22, 2006

JEFF BURTON, NATHAN CARTER, MILES COOLIDGE, JASON DODGE, TRISHA DONNELLY, PAMELA FRASER, LIAM GILLICK, ANNIKA VON HAUSSWOLFF, CARSTEN HÖLLER, BRIAN JUNGEN, JONATHAN MONK, DIEGO PERRONE, JULIA SCHMIDT, SIMON STARLING, GABRIEL VORMSTEIN, JOHANNES WOHNSEIFER