Artipedia - Arts News

Ciné-parc ·Drive-In
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Paul Bossé
Jean-Denis Boudreau
Linda Rae Dornan
marc xavier leblanc
Mathieu Léger
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suivi de · followed by
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Linda Rae Dornan
Amanda Fauteux
Tara Wells
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Ce soir, 18 septembre / Tonight, September 18
À partir de 21h / Starting at 9 p.m.
présenté en boucle jusqu’à 13h30 / looped until 11:30 p.m.
Stationnement du Théâtre L’Escaouette / L’Escaouette Theater Parking lot
(coin des rues Mountain Rd et Botsford) / (corner of Mountain Rd and Botsford)

Sam Samore: the Suicidist

October 29, 2006 through January 8, 2007

P.S.1 Opening Day Celebration: October 29, 2006 from noon to 6

(Long Island City, NY – September 18, 2006) P.S.1 Contemporary Art Center is pleased to present Sam Samore’s first solo museum exhibition in the United States. Comprising two photography series shown together for the first time—“The Suicidist” produced in 1973 and the recent “The Suicidist (continued)”—the bodies of work parallel one another in theme: the artist in various post-suicide situations. Sam Samore: The Suicidist is on view in the Second Floor Mini-Kunsthalle gallery from October 29, 2006 through January 8, 2007.

Playing the role of both actor and director, Samore stages his own death in various ways—strangled with a telephone cord, asphyxiated, overdosed—and examines a macabre psychology in works that are both cinematic and documentary. These black and white pictures evoke both contemporary film noir and a crime scene investigation, and also offer an eerie take on the self-portrait. A sense of absurdist humor and the tragicomic is evident in a number of works in the exhibition. In one picture from the 1973 series, a poster in the background offers an image of a hand holding a flower, and the encouraging words: “Hang onto life for all it’s worth.” In another, the victim has had the air sucked out of his lungs with a vacuum cleaner. Samore’s work suggests a narrative beyond that which is immediately evident. The viewers, questioning what appears before them, are themselves investigators at the scene of a drama.

In the revisited series, “The Suicidist (continued),” which includes pictures made between 2003 and 2006, Samore shifts from everyday interiors and settings, casual dress, and a midrange vantage point to more austere spaces, each tightly framed, and with the artist appearing impeccably dressed. The hippie/student of the 1973 pictures is now an international businessman, easily interchangeable with any other dark-suited, corporate figure. This transformation of the victim/protagonist is most heightened in pictures that echo a number of earlier compositions, most notably one in which a body is slumped over a pill-strewn desk. By bringing his camera closer to the scene, Samore draws the viewers into the picture—as if they have just discovered the body—and creates a dream-like atmosphere.

Sam Samore (American, b. 1963) has exhibited internationally since 1990 at institutions such as the Kunsthalle Zurich, Switzerland; Fondation Cartier, Paris; and the 46th Venice Biennale. His work was previously exhibited at P.S.1 in the 1997 group show, Heaven. Sam Samore lives and works in New York and in Paris.

Sam Samore: The Suicidist is organized by P.S.1 Curatorial Advisor Bob Nickas, and is accompanied by a fully illustrated catalog published by Imschoot, with an introduction by the curator, an interview with the artist by Max Henry, and a foreword by P.S.1 Director Alanna Heiss.

Exhibitions at P.S.1 are made possible by the Annual Exhibition Fund with support from Peter Norton and the Peter Norton Family Foundation, Patricia Phelps de Cisneros, The Horace W. Goldsmith Foundation, Lawton W. Fitt and James I. McLaren Foundation, Marie-Josèe and Henry Kravis, Jerry I. Speyer and Katherine G. Farley, Philip Aarons and Shelley Fox Aarons, Kathy and Richard S. Fuld, Jr., Lily Auchincloss Foundation, J. Christopher Daly and Sheldrake Organization Inc., Rosa and Gilberto Sandretto, David Teiger, Michel Zaleski, Enzo Viscusi, Sue & Edgar Wachenheim Foundation, The Broad Art Foundation, Mimi and Peter Haas Fund, Dennis W. LaBarre, Julia Stoschek, Pamela and Richard Kramlich, Richard Anderman, Paul Beirne, Douglas S. Cramer, L. Matthew and Elizabeth Quigley, Mathis-Pfohl Foundation, SilverCup Studios, Yellow Book U.S.A., The Friends of Education in honor of Peter Norton and Gwen Adams, and The Contemporary Arts Council and The Junior Associates of The Museum of Modern Art.

Time Out New York is the official print partner of exhibitions and public programs at P.S.1.

Exhibition of Ron Mueck Sculpture on View at Brooklyn Museum November 3, 2006 through February 4, 2007

Big Man
Ron Mueck, a solo exhibition of eleven works by the sculptor Ron Mueck, known for his extraordinarily lifelike, empathetic renderings of his subjects, will be on view at the Brooklyn Museum from November 3, 2006, through February 4, 2007. The exhibition includes five major new works, presented at the Fondation Cartier pour l’Art Contemporain in Paris, where they were recently seen by an enthusiastic audience of more than 110,000 visitors. Six additional works will be added to the Brooklyn exhibition, the only United States presentation before the show travels to the National Gallery of Canada in Ottawa.

The expanded exhibition Ron Mueck has been co-organized by the Brooklyn Museum and the National Gallery of Canada.

Born in Australia in 1958, Mueck began creating his scrupulously detailed sculpture in the 1990s. His works are so lifelike, with veins, wrinkles, sagging skin, and body hair that viewers almost expect them to breathe. Included in the exhibition will be Dead Dad (1996–97), commemorating the death of his father through a somewhat smaller than life-size sculpture, which captivated visitors to the Brooklyn Museum when it was included in the exhibition Sensation. Among the other works included in Ron Mueck will be Mask II (2001), a self portrait of the artist’s slumbering head that measures nearly 4 feet from chin to brow, and Wild Man (2005), a nearly nine-foot-tall sculpture of a naked, bearded man clutching the stool on which he is seated.

Through his detailed works, which are always either smaller than life size or monumental, Mueck explores the ambiguous relationship of reality to artifice through strategies of imitation and illusion. His pieces are sculpted with polyester resin (fiberglass) and silicone, which is more flexible and allows greater ease in shaping body parts and implanting hair.

After working in Australian television as a puppet maker, Ron Mueck went to Los Angeles in 1986, where he worked in the film, television, and advertising industries. For a time he worked for Jim Henson’s Creature Shop, creating models and special effects. He later moved to London. For more than a decade, he has focused on creating his sculptures, which have been the subject of previous solo exhibitions at the Hirshhorn Museum and Sculpture Garden in Washington, D.C., the Nationalgaleries im Hamburger Bahnhoff in Berlin, and the National Gallery in London, a presentation that was the culmination of his two years there as an artist-in-residence. His work has also been included in several group exhibitions.

The smaller version of the exhibition is currently breaking attendance records at the Royal Academy in Edinburgh.

The Brooklyn Museum presentation is organized by Charles Desmarais, Deputy Director for Art at the Brooklyn Museum. A bilingual catalogue accompanies the exhibition.

Image: Ron Mueck, Big Man (2000), Mixed Media
81 x 46 1/4 x 82 1/4 in. (205.7 x 117.5 x 208.9 cm)
Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C.
The Joseph H. Hirshhorn Bequest Fund, 2001

Brooklyn Museum
200 Eastern Parkway Brooklyn NY 11238-6052

Press Contact:
sally.williams@brooklynmuseum.org
(718) 501-6330
adam.husted@brooklynmuseum.org
(718) 501-6331

http://www.brooklynmuseum.org

KD Vyas Correspondence Vol. 1 by Raqs Media Collective

“There is nothing new. Whatever is there is there in the Mahabharata, and whatever is not there in the Mahabharata is not worth the effort”. - Raqs Media Collective, 2006

For the first time the installation KD Vyas Correspondence: Vol. 1. by Raqs Media Collective will be exhibited in the Museum für Kommunikation in Frankfurt.

Raqs Media Collective is a group of media practitioners consisting of Monica Narula, Jebeesh Bagchi and Shuddhabrata Sengupta who are based in Delhi. They are concerned with the effects of globalization on urban structures and living conditions. Since their participation in the documenta 11 in Kassel and the Biennale in Venice (2003+2005), they are now known to a larger international audience. They are co-founders of Sarai, a programme for interdisciplinary research and practice on media, city space and urban culture at the Centre for the Study of Developing Societies Delhi.

Curated by Monique Behr, their most recent work KD Vyas Correspondence: Vol. 1 is an installation consisting of 18 audio-visual stations. It documents in fragments correspondence between Raqs Media Collective and KD Vyas. KD Vyas is regarded as having dictated the Mahabharata, passed down by word of mouth over the centuries, to the elephant God Ganesha about 2000 years ago. The important epic of Hindu culture delivered in 18 parts is still relevant today. It is arranged in such a way that one story leads to another. In the KD Vyas Correspondence: Vol. 1. this idea of linked authorship plays a fundamental role reflecting at various levels the daily life in a media age.

The exhibition is being shown as part of the Frankfurt Book Fair 2006 - Guest of Honour India.

In collaboration with Raqs Media Collective architects Nikolaus Hirsch and Michel Müller developed a specific space that follows the complex nodal structure of KD Vyas Correspondence: Vol. 1 and operates with its given parameters.

Curator: Monique Behr
Architecture: Nikolaus Hirsch / Michel Müller

CATALOG: “Raqs Media Collective. The KD Vyas Correspondence: Vol. 1 ” ed. by Monique Behr, with a foreword by Monique Behr and contributions by Raqs Media Collective, Cédric Vincent and Nikolaus Hirsch / Michel Müller. German/English, 52 pages, Video Stills, Revolver Books, Frankfurt
ISBN-3-86588-312-5

Press contact:
Regine Meldt
r.meldt@mspt.de
Tel.: +49 (0) 69 60 60 350

Events accompanying the exhibition:

Monday, 18th September, 7 p.m.
Raqs Media Collective: Talk
Raqs Media Collective give a summary of their work.
The talk will be held in English.

In cooperation with the Staatliche Hochschule für Bildende Künste - Städelschule.
Venue: Staatliche Hochschule für Bildende Künste - Städelschule, Dürerstr. 10, 60596 Frankfurt

Wednesday, 27th September, 7 p.m.
Rimini Protokoll: “Call Cutta – a mobile phone theatre”: Movie screening and discussion
The documentary film “Call Cutta - the movie”(2005, 60 Min.) by Anjan Dutt describes the “mobile phone theatre“-Project of the same name, which the Rimini Protokoll (Haug/ Kaegi/ Wetzel) compiled in Berlin and in Calcutta: the visitors of the movie theatre were handed a mobile phone and guided through Berlin by Call Centre-employees, stationed in Calcutta. They had to guide visitors round a city they have never seen. This paradox situation is intentional, as the artists of the Rimini Protokoll want to bring to life the effects of globalization through this project.

In cooperation with schauspielfrankfurt.

At the end of the showing, Marcel Luxinger (schauspielfrankfurt) will talk with the artists.

The discussion will be in German and English.

On behalf of the Art Committee for the New Opera House in Oslo, the National Foundation for Art in Public Buildings hereby invites Norwegian and international artists to signal their interest in participating in a closed competition for an autonomous artwork in the water - using water as the central element. Well-founded reasons for participating in the competition should be stated.

The deadline for submission is 14th October 2006

Complete invitation text: http://www.operautsmykking.no/english/index.html

Global Photography Now at Tate Modern
Global Photography Now is a series of talks and discussions, featuring leading international artists and curators, focusing on some of the most exciting contemporary photographic practice from around the world. From the Middle East to Latin America, from Africa to East Asia, the talks address a wide variety of significant themes and concerns emerging in the latest photography, and assess the impact of, for example, historic images and the media on the direction current practice takes. Central to the discussions will be an analysis of the social and political environments artists work within and how this may be reflected in their work.

Global Photography Now: The Middle East
Friday 22 September 2006

Internationally acclaimed artists Lida Abdul, Mitra Tabrizian, Rula Halawani and Fouad Elkoury consider some of the debates associated with regional and dogmatic representations of the Middle East in a session chaired by Jack Persekian, artistic director, curator of the Sharjah Biennial, Al Ma’mal Foundation for Contemporary Art, Jerusalem.

Global Photography Now: Post-Soviet States
Friday 29 September 2006

In 1991 the USSR disintegrated and the Iron Curtain dropped to unveil progressive, multi-ethnic nations in Europe, Central Asia and the Caucasus region, which were striving for democracy and individual identity. Since then, new models of cultural identity have replaced the monuments and doctrine of the Soviet and Communist ideology. Leading international artists Zeigam Azizov, Anastasia Khoroshilova, Dmitry Gutov and Koka Ramishvili discuss photography in relation to the quest for cultural identity in the post-Soviet environment in a session chaired by Viktor Misiano.

Global Photography Now: The Indian Subcontinent
Friday 27 October 2006

Shezad Dawood, Hasan Elahi, Ram Rahman and the Raqs Media Collective discuss the impact of speed, technology, mass media and economic power on their photographic practice, and the reality of residing within one of the world’s fastest expanding economies.

Global Photography Now: The Balkans
Friday 3 November 2006

Photographic images emerging from the Balkan states are frequently fraught with complexities resulting from by region’s turbulent history, geographical positioning and the fusion of ideological systems inherited from the Communist, Ottoman and Byzantine pasts. Aydan Murtezaoglu, Tanja Dabo, Alexandra Croitora and Aurora Dediu, discuss the various incongruities associated with the Balkans in a panel chaired by theorist and curator Suzana Milevska.

Global Photography Now: Latin America
Friday 10 November 2006

This session brings together exciting young artists from Latin America, including the Brazilian Rosangela Renno; the Columbian Oscar Muñoz; Melanie Smith, a British artist working in Mexico; and Laura Gonzalez from the Instituto de Investigaciones Estéticas, Mexico City and author of a recent book on photography and painting.

Global Photography Now: East Asia
Saturday 18 November 2006

East Asian artists have become a regular fixture on the international art circuit as more and more major festivals were also set up in the region. At this disucssion Qiu Zhijie (Shanghai), Yeondoo Jung (Seoul), Yao Jui-Chong (Taipei) and Japanese curator Masafumi Fukagawa (Kawasaki Museum of Art) give their personal perspectives on one of the most dynamic and exciting areas of contemporary art.

Global Photography Now: Asia Pacific
Friday 8 December 2006

This seminar focuses on three practitioners whose photographic work is informed by an astute sense of both the historical past and present. Isobel Crombie joins artists Anne Ferran (Australia), Lisa Reihana (New Zealand) and Yee I-Lann (Malaysia) who, in different ways, all create photographs in which time is a fluid and even non-linear dimension, allowing them to meld an astute sense of colonial histories with contemporary personal and social realities.

Visit Tate Online for details of the forthcoming events:

Global Photography Now: North Africa
Friday 1 December 2006

Global Photography Now: West Africa
Saturday 9 December 2006

For press enquiries, please contact the Tate Press Office on pressoffice@tate.org.uk or 020 7887 8730/31/32.

MDF, wood, string, cotton sheet, paint
Height variable x 70 x 55 inches x 177.8 x 139.7" />

Matthew Ronay’s art stems from life – from what we are, what we do, and how we live. Much of his work takes the crude realities of life and depicts them seemingly devoid of all emotion, reflecting in some ways our own contemporary society.

The works in this exhibition are large assemblages of disparate and apparently mundane objects made primarily out of medium density fibreboard (MDF) and painted in bright colours. En masse these objects make a collective sense, yet equally, each one can stand alone. Above all, these assemblages function like stage sets on which the dramas of life are laid bare. Often, a scene will depict some gory circumstance, a narrative in need of an audience. With its strong compositional element, Ronay’s work can often read like a sentence or even a musical score, both familiar territories to Ronay. For as long as he has made art he has also played music, and he is an avid reader of innovative and unconventional literature, such as the writings of Raymond Roussel, Alain Robbe-Grillet, Raymond Queneau and George Perec.

Born in 1976, in Louisville, Kentucky, USA, Matthew Ronay now lives and works in New York.

Matthew Ronay exhibition is accompanied by a full-colour catalogue that includes two essays and an interview. It is the first monograph on Ronay’s work and will be distributed world wide by JRP I Ringier

For up to date information on all of our events, please visit our website at http://www.parasol-unit.org or call our office on +44 (0)20 7490 7373

On the occasion of the opening, the movie, ‘ Zidane: A 21st Century Portrait ‘ by Douglas Gordon and Philippe Parreno, will be screened for the first time in Spain

The Museo de Arte Contemporáneo de Castilla y León, MUSAC (Spain), inaugurates five new exhibitions starting September 23rd which intend to make a particular itinerary by some of the reinterpretations and paths taken by painting in the last few years. A group of canvases by the African artist, Julie Mehretu, as well as by the Austrian-Israelí pair, Muntean/Rosenblum, aside from videos, photographs and sculptures; while national representation is under the charge of Daniel Verbis, who will show his installation misojosentusojosderramándose and Felicidad Moreno, who will exhibit digital impressions in huge format and plays of light and laser under the title hipnÓptico. The virtual shop and the installation of the group Funky Projects for the showcase project will be extended until January 2007 and the young artist Philipp Fröhlich will gather his particular “votive offerings” at the Laboratorio 987.

Title: Black City (Ciudad Negra)
Artist: Julie Mehretu (Addis Ababa, Africa, 1970)
Curator: Agustín Pérez Rubio
Coordination: Marta Gerveno
Dates: September 23, 2006 - 7 January, 2007

MUSAC is holding the first solo exhibition in a European institution by Julie Mehretu, born in 1970 in the Ethiopian capital of Addis Ababa (Africa) and currently living in the U.S. Under the title Black City, the show consists of more than twenty canvases of varying dimensions, almost half of which were produced recently.

Title: Make death listen
Artists: Muntean/Rosenblum (Graz, Austria, 1962 and Haifa, Israel, 1962)
Curator: Agustín Pérez Rubio
Coordination: Carlos Ordás
Dates: 23 september, 2006 - 7 January 2007

MUSAC will inaugurate a retrospective show of the work by the artistic couple consisting of Markus Muntean (Graz, Austria, 1962) and Adi Rosenblum (Haifa, Israel, 1962), thus giving rise to what will be their first solo show in Spain. Make death listen is a turning point in their exhibition career, given the retrospective point of view that characterizes the show, which includes works from 1998 to the present day.

Title: misojosentusojosderramándose
Artist: Daniel Verbis (León, Spain,1968)
Curator: Javier Hernando
Coordination: Tania Pardo
Dates: September 23 - December 31, 2006

Curated by the university professor and critic Javier Hernando, this exhibition takes us to the complex creative universe of León (Spain) native artist Daniel Verbis. It focuses on several aspects of his work, such as the deconstruction of pictorial language, experimentation with extra-pictorial materials, and his questioning of the pictorial support. Now a large-scale installation occupying two consecutive halls of the MUSAC, will enable them to view wall drawings, sculptures, light boxes, pictures and photographs.

Title: hipnÓptico (hypnÓptic)
Artist: Felicidad Moreno (Toledo, Spain)
Curator and Coordinator: Tania Pardo
Dates: September 23 - December 31, 2006

With the title hipnÓptico (hypnOptic), a play on words that brings to mind such concepts as hypnosis, optics and sound, Felicidad Moreno (Toledo, 1959) has created a specific installation for the MUSAC, made up of some 14 large-size digital prints as well as light and laser projections. Here she thoroughly examines her pictorial language, taking it to its utmost expressive possibilities.

Title: Ex-voto. Where is Nikki Black?
Artist: Philipp Fröhlich (Schweinfurt, Germany, 1975)
Curator: Tania Pardo
Dates: September 23 to November 19, 2006

The exhibition Ex-voto. Where is Nikki Black?, hosted by Laboratorio 987 (MUSAC) assembles some 20 paintings in different formats that the young artist Philipp Fröhlich (Schweinfurt, Germany, 1975) has done in recent years. These canvases show a series of scenes, both interior and exterior, which, through a dramatic use of lighting –which should come as no surprise given the artist’s background in stage design– suggest mysterious unfinished events to us.

Artist: FUNKY PROJECTS
Venue: Showcases of the entrance hall, MUSAC
Dates: May 6, 2006 – January 7, 2007

The site-specific project for the showcases of MUSAC undertaken by the group FUNKY PROJECTS ( http://www.funkyprojects.com ) was inaugurated last May 6th as part of the show GLOBOS SONDA/TRIAL BALLOONS curated by Octavio Zaya, Agustín Pérez Rubio, Yuko Hasewaga and Tania Pardo as Assistant Curator. It consists of two parts, a virtual shop where all kinds of merchandising by the brand “Funky Projects” can be acquired, and the installation I LOVE LEON, that occupies the second showcase. Given the excellent acceptance of the public, this exhibition will be extended until January 7th, 2007.

Film: Zidane a 21st Century Portrait. Zidane
Directors: Douglas Gordon and Philippe Parreno
Duration: 90 mins
Date: September 23, 2006. Free admisión
Venue: Cine Emperador, (León, Spain)

The film, directed by the artists Douglas Gordon and Philippe Parreno is a portrait of Zinedine Zidane, one of the best football players in the history of this sport. The film has the same duration as a football game: 90 minutes, and was shot in real time by 17 Super 35mm HD cameras all around the football field. The result is an incomparable and powerful visual experience in which one can witness, aside from all the facets of the French star, from the mind as well as the body of an athlete in action, an unwonted experience in which cinematography, the latest audiovisual technology and art, join hands.

More information and images at: http://www.musac.org.es
MUSAC Press Office: +34 987 09 11 03
Avda. de los Reyes Leoneses, 24. 24008 León – España. Spain

Artists: Mircea Cantor (RO), Stefan Constantinescu (RO), Harun Faroki (CZ) and Andrei Ujica (RO), Ion Grigorescu (RO), Marcel Janco (RO), Sebastian Moldovan (RO), Ciprian Muresan (RO), Dan Perjovschi (RO), Lia Perjovschi (RO), Cristi Pogacean (RO) and Tristan Tzara (RO).

Curator: Adrian Notz in cooperation with Raimund Meyer and Juri Steiner.

Officially, Dada was born on the 5th of February 1916 when Hugo Ball and Emmy Hennings opened the literary-artistic Cabaret Voltaire in the restaurant Meierei at Spiegelgasse 1 in Zürich. In his journal “Flight out of Time“, Hugo Ball writes: “… a deputation of four oriental looking little men appeared, carrying portfolios and paintings; they kept bowing discreetly. They introduced themselves: Marcel Janco the painter, Tristan Tzara, George Janco, and a gentleman whose name I missed.” These four little men, still being youngsters – the fourth must have been Jancos brother Jules – had all been running away from Romania. Tristan Tzara, this “dompteur des acrobats”, and Marcel Janco, the well-tempered artistic experimenter would become an important influence for Dada Zurich.

We can find numerous mental cartographies of the forerunners and precursors of Dada. However, the developments in Eastern Europe have gained only very little attention. It is also the merit of Tom Sandqvist’s book “Dada East; The Romanians of Cabaret Voltaire”, published in spring 2006, that a focus has been set on Romania and that cultural and historical context, which might have had particular impact on the activities in Zurich. Sandqvist also reckons that the relationship to East European Yiddish tradition was particularly significant and accordingly influential: all of the “Romanians of the Cabaret Voltaire”, including Arthur Segal, had been brought up within Jewish culture and tradition.

In a historical search for traces, the cabaret voltaire exhibition deals critically with the artistic and personal context of Tristan Tzara and Marcel Janco. We interpret the indicators suggested by Tom Sandqvist, we inquire the dadaist precondition – and its meaning for the history of Dada and cabaret voltaire today. We will refine this historical nucleus of the exhibition with a little homage to Janco and Tzara, we will show works which were made by them in the wake of the Zurich Dada Seasons – and there is one pearl which has not seen daylight ever since.

We also use the indicators as an occasion to inquire how the topic could be debated in contemporary context and, even more, to look for the potential and meaning of “Dada East” for the cultural scene of Romania. It is today’s perspective. We want to find out why people who are currently engaged in cultural work, are interested in the dada from the past. This is one of the main questions which cabaret voltaire keeps asking and instigating.

The contemporary Romanian artists offer possible answers.
Mircea Cantor and Dan Perjovschi have developed works especially for the exhibition “Dada East? The Romanians of Cabaret Voltaire” which reveal their relationship to Dada and the Romanian avant-garde. In addition to that, the works by Stefan Constantinescu, Harun Faroki and Andrei Ujica, Ion Grigorescu, Sebastian Moldovan, Ciprian Muresan, Lia Perjovschi and Cristi Pogacean open new possible perspectives on the conception of Dada.

With great support of Michael Ilk, Nicolae Tzone, the Embassy of Romania in Switzerland and the Romanian Cultural Institute in Bucharest.
Scenography and realization by Kunstumsetzung GmbH, Zurich.
Special thanks to Ion Pop and Tom Sandqvist.

Supported by: The City of Zurich and The Swatch Group.

Dada East?
The Romanians of Cabaret Voltaire
Dada Est? Românii de la Cabaret Voltaire

Opening:September 20, 2006 6 p.m.
Exhibtion: September 20, 2006 – February 22, 2007
Conference: October 28, 2006

cabaret voltaire, Dada – Zurich
Spiegelgasse 1
CH-8001 Zurich
http://www.cabaretvoltaire.ch
info@cabaretvoltaire.ch
T: +41 43 268 57 20

Casey Kaplan is pleased to announce that The Museum of Modern Art, New York has selected Jonathan Monk to participate in their annual series: New Photography.

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

Photography Galleries
Third floor

New Photography is the annual fall showcase of significant recent work in contemporary photography. This year’s exhibition features three artists from Europe. The Berlin-based British artist Jonathan Monk contributes a series of tongue-in-cheek photographs and two slide projections that play with the idea of falsified documents, interweaving moments of personal history with art history. German artist Barbara Probst experiments with the temporality and point of view of the shot/counter-shot technique of film by presenting multiple photographs of one scene shot simultaneously with several cameras via a radio-controlled release system. The Swiss artist Jules Spinatsch presents a selection of works from his major photographic project Temporary Discomfort—making its New York premiere in this exhibition—which documents the towns of Genoa, Davos, New York City, and Geneva/Evian during the 2001 and 2003 World Economic Forums.

Organized by Roxana Marcoci, Associate Curator, Department of Photography.