Artipedia - Arts News

Resident talk:
Wednesday, Nov 1, 6:30 pm

Current apexart resident Erzen Shkololli (artist and curator, Kosovo) in conversation with New York-based artist and writer
Sabrina Gschwandtner.

Erzen Shkololli (born 1976, Pejë, Kosovë) is an artist, curator and co-founder of EXIT Contemporary Art Institute in Pejë. His art practice utilizes local rituals and folklore to draw attention to socio-political situations. Through his work, Shkololli acts as a sort of instinctive and biased anthropologist, re-enacting traditional ceremonies, while insinuating contemporary symbols and disillusion. This interplay of past and present typifies a certain generation of art practice throughout the Balkans, locating Shkololli within this broad cultural context. Shkololli has curated numerous international exhibitions of contemporary art in addition to programs and exhibitions at EXIT Contemporary Art Institute. He is currently working on a project featuring the work of artists from Israel, Palestine and the region of ex- Yugoslavia, which will be presented at the Israeli Centre for Digital Art, Holon, Israel in 2007.

Sabrina Gschwandtner is an artist who works with film, video and textiles. After studying film with Vlada Petric at Harvard University, and video with VALIE EXPORT at the Sommerakademie fur Bildende Kunst, Sabrina received her BA in art/semiotics from Brown University. She is currently pursuing an MFA at Bard College. In 2002, Sabrina founded KnitKnit magazine, dedicated to the intersection of fine art and handcraft. She has organized numerous exhibitions and events around themes and issues raised by the publication. She is currently writing a book on people doing interesting things in knitting; Stewart, Tabori and Chang will publish the book in fall 2007.

Diane Borsato talk
followed by reception

Diane Borsato Artist Talk: Saturday, October 28 at 4PM
Club SAW, 67 Nicholas Street, Ottawa

Diane Borsato will speak about her new poster commission produced by Galerie SAW Gallery and her previous and upcoming projects. Please consult www.galeriesawgallery.com to read the essay by Daniel Baird, Arts and Literature Editor of The Walrus. Come meet with one of Canada’s most unique performance artists. For more information on Diane Borsato, visit her new website www.dianeborsato.com.

Reception: Saturday, October 28, 5PM - 7PM
Galerie SAW Gallery, 67 Nicholas Street, Ottawa

Shmooze with the artist, have a glass of wine and visit our current exhibition Ephemeral Monuments: The Interventions of Rebecca Belmore and César Saëz. Diane Borsato’s three commissioned posters will be available for purchase at the special price of $5 each.

Biography:

Diane Borsato is a visual artist working in performance, intervention, video, installation and photography. She has exhibited nationally and internationally with solo exhibitions and performances at galleries and museums including La Centrale, Skol and Occurrence (Montreal), Gallery TPW and the Museum of Contemporary Canadian Art (Toronto), eyelevelgallery (Halifax), TRUCK (Calgary) and Artspeak (Vancouver), and a residency at Villa Arson / National Centre for Contemporary Art in Nice, France. Recently, she presented a 12-hour performance for the contemporary art event Scotiabank Nuit Blanche in Toronto. She will shortly be presenting a new relational project at the Art Gallery of York University. She is currently Assistant Professor of Interdisciplinary Studio at Brock University.

Galerie SAW Gallery
67, rue Nicholas Street
Ottawa ON K1N 7B9
T: (613) 236-6181
sawprogramming@artengine.ca
www.galeriesawgallery.com

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Conférence de Diane Borsato
suivie d’une réception

Conférence d’artiste de Diane Borsato : Le samedi 28 octobre à 16 h
Club SAW, 67, rue Nicholas, Ottawa

Venez rencontrer une des artistes de performance les plus uniques au Canada. Diane Borsato parlera de sa nouvelle édition d’affiches commandée par la Galerie SAW Gallery, de ses oeuvres antérieures et de ses projets en cours. Veuillez consulter le site Web de la galerie à l’adresse www.galeriesawgallery.com pour lire le texte critique de Daniel Baird, éditeur artistique et littéraire du magazine The Walrus, sur le travail de l’artiste. Pour de plus amples renseignements à propos de Diane Borsato, visitez son nouveau site Web à l’adresse www.dianeborsato.com.

Réception: Le samedi 28 octobre, de 17 h à 19 h
Galerie SAW Gallery, 67, rue Nicholas, Ottawa

Nous vous invitons à prendre un verre avec l’artiste, à échanger avec elle et à visiter notre exposition en cours, intitulée Monuments éphémères : Les interventions de Rebecca Belmore et de César Saëz. Les affiches de Diane Borsato seront en vente au prix spécial de 5 $.

Biographie :

Diane Borsato est une artiste visuelle qui travaille en performance, intervention, vidéo, installation et photographie. Son travail a été exposé à l’échelle nationale et internationale. Elle a présenté des expositions individuelles et des performances à des galeries et des musées tels que La Centrale, Skol et Occurrence (Montréal), la Gallery TPW et le Museum of Contemporary Canadian Art (Toronto), eyelevelgallery (Halifax), TRUCK (Calgary) et Artspeak (Vancouver). Elle a également été artiste en résidence à la Villa Arson / Centre national d’art contemporain à Nice, en France. Récemment, elle a réalisé une performance de 12 heures pendant l’événement d’art contemporain Nuit Blanche de Scotiabank à Toronto. Elle présentera prochainement un nouveau projet relationnel à la Art Gallery of York University. Elle est actuellement professeure adjointe au studio interdisciplinaire de la Brock University.

Galerie SAW Gallery
67, rue Nicholas Street
Ottawa ON K1N 7B9
T: (613) 236-6181
sawprogramming@artengine.ca
www.galeriesawgallery.com

What is fact? What is fiction?
Fiction non Fiction Gets Real!

Sunday, October 22
What is fact? What is fiction? In an age of sophisticated, mediated digital images, we can’t help but become more easily deceived, as well as more suspicious of representations of reality. Does an image show reality or create it? And how does this matter - do representations of reality enhance our survival instinct, reinforce social norms, relieve anti-social fantasies, imagine better worlds, or do they simply serve as entertainment?

These questions will be addressed by professionals in such diverse fields as psychology, computer interface design and cultural theory in a Roundtable at the Surrey Art Gallery as part of the Fiction non Fiction Gets Real! event on Sunday, October 22, 2pm. Fiction non Fiction exhibiting artists will be on hand to respond, and time will be reserved for audience participation in the conversation. The Roundtable will be preceded by a guided tour of the exhibition with Surrey Art Gallery Curator, Liane Davison at 1pm, and will be followed by a reception to 4:30pm. Admission is free.

The idea of reality as a construction, complicated by digital culture, is the underlying subject of the exhibition Fiction non Fiction. The artworks explore the representation of reality - of time, people, places, and events, in ways that are persuasive, provocative, or amusing. Fiction non Fiction features works by Canadian artists David Carter, Adad Hannah, David Hoffos, Jane Irwin, Kelly Mark, and Jeremy Turner. The exhibition continues to November 5.

Surrey Art Gallery is located at 13750 - 88 Avenue, 1 block east of King George Hwy. in Bear Creek Park. Phone: 604-501-5566 or www.arts.surrey.ca.

Pari Nadimi Gallery is pleased to announce a solo exhibitin by internationally renown collaborative artists Botto & Bruno.

Botto & Bruno have been investigating the behaviours of teenagers who live in the immense suburbs of our planet, their revolts, their wishes and their dreams. The exhibition at Pari Nadimi Gallery consits of a video installtion, very large photographs and drawings. The video titled The Fall, shows two suburban children who keep on playing despite their fall onto a pile of garbage left over from the morning market. They seem to be holding on their dreams, hopes and freedom without being aware of their surroundings. The video has a soundtrack that becomes a fundamental part of the work as it follows and establishes the rhythm of the images. It is shown on a monitor installed on a floor covered by photographic works and a fanzine made out of texts and images taken from daily newspapers and magazines containing stories of childhood and music..

The photographs are printed on pvc with collage technique and with no use of computer. By contrast with the video, in these photographs the children have become adults but surrounded by all those elements which remind them of their childhood. The large drawings are also printed on pvc. in which, besides human figures, are present: electrical wires, electricity posts that altogether form a landscape with only essential elements. The architectural elements, in these drawings, seem to disappear and all is left are manholes, electricity poles, walls, steep grounds, as if architecture has become a disturbing element.

Botto & Bruno’s video installations and photo based works have been shown at 49th Venice Biennale curated by Harald Szeemann. Their recent (2006) and up coming shows includs: Natura e Metamorfosi, Urban Planning Exhibition Center, Shanghai, China, Natura e Metamorfosi, Beijing Creative Art Center, Beijing, China, Walking in the empty spaces, site specifc public art, Stazione metropolitana piazzale Augusto, Napoli, Italy,Kids riot, curated by Stefano Pezzato, il Centro d’art contempoaranea Luigi Pecci, Prato (Toscana), italy, Intramoenia extra art, curated by Achille Bonito Oliva and Giusy Caroppo, Rocca Sforzesca, Manfredonia, Puglia, Italy, Vis a vis – Collezioni si incontrano, curated by di V.Guadagnini and L.Pratesi, Centro Arti visive la Pescheria, Pesaro, Italy, Sharing passion,geografie della contemporaneità, Palazzo della Fortuna, Turin,Italy, Metropolitanscape, Paesaggi urbani nell’arte contemporanea, curated by M.Capua, L.Mattarella and G.Iovane, Palazzo Cavour,Torino,Italy, Artesto,Connect to Art, curated by L. Scacco and M.Viglione La triennale di Milano, Milano, Italy. Currently on show is an installation work Il ronk’n’ roll ci salvera’ at Palazzo delle Papesse, Siena. Sleeping town, Le Hall, ENBA, Lyon, 2005, Constellations, ARTISSIMA 12, Turin, Italy, curated by Ida. Gianelli and P. Castagnoli, 2005, A hole into the water, MAMAC, Nice, France, 2004, La ciutat que desapareix, La Caixa Forum, Barcellona, Spain, 2004, Wall’s place, MAMCO, Geneva, Switzerland, 2003 and Busan Biennale (Korea) 2002.

Botto & Bruno
The Fall

October 28 – December 2, 2006
Opening reception: Saturday October 28, 2-5 pm.

Pari Nadimi Gallery
254 Niagara Street
Toronto, ON M6J 2L8 Canada

Tel: 416.591.6464
http://parinadimigallery.com

gallery hours: Tuesday-Saturday 11-5 pm

TRACK 16 GALLERY
BERGAMOT STATION
2525 MICHIGAN AVE. BLDG. C1
SANTA MONICA, CA 90404
310 264 4678
www.track16.com

APOCALYPSO FACTO: NEW WORKS BY ROBBIE CONAL

THURSDAY, OCTOBER 26, 2006
THROUGH SATURDAY NOVEMBER 18, 2006
OPENING RECEPTION THURSDAY, OCTOBER 26 FROM 7 TO 10 P.M. MUSIC BY VERY SPECIAL GUESTS

Track 16 Gallery is pleased to present APOCALYPSO FACTO: New works by Robbie Conal. The exhibition runs from Thursday, October 26, through Saturday, November 18, with an opening reception on Thursday, October 26, from 7 to 10 P.M.

Though Conal is best known for his bitingly satirical depictions of U.S. political figures of note, accompanied by punning critical text, his most recent work strips them to the bone, leaving his art wordless, if not speechless. Conal has consistently confronted us with his political fervor, his unrelenting desire to express and dissent, and his biting humor—the qualities that we expect when we see his latest posters plastered on unsuspecting artifacts like mailboxes, underpasses, and construction site walls. Playful, but “dead” serious, these recent works, show us a different side of Conal’s image database.

In the tradition of Hans Holbein the Younger’s, “Dance of Death” series of etchings (referencing the Black Plague) and Jose Guadalupe Posada’s, “Calaveras”, Conal has come up with a macabre metaphor for the mindset of the crusader/purveyors of the so-called, “Permanent War on Terror” and what he calls, “its ideological twin-spin-sister, Operation Worldwide Democracy (whether the World wants it or not).” Members of the Bush Administration gleefully rattle their own and each other’s bones, dancing the “APOCALYPSO FACTO”: reveling in their messianic hubris.

But what does baseball have to do with it?

A life-long baseball fan (who knew?), Conal has also taken his scalpel to “The American Pastime,” itself. Positing its present state as a measure of the pervasiveness of the pressure our cultural economy puts on us, as Conal says, “ to win by any means available.” While exhibiting his appreciation for the physical skill and effort of great ballplayers, Conal’s grinning glitter-skulled, skeleton pitchers deliver his version of “chin music” with a strenuous élan. Perhaps warning us that even our “play” has been made vulnerable to corruption.

Conal is an Adjunct Professor of Painting & Drawing at the University of Southern California‘s Roski School of Fine Arts. He was a participant in the www.droppingknowledge.org “Table of Free Voices” event in East Berlin on Sept. 9th, 2006. His postering raids have been featured in numerous publications, including Time, Newsweek, the New York Times, the Los Angeles Times, as well as CBS ‘s This Morning, and Charlie Rose. He was the subject of the 1992 documentary Post No Bills. He has also written two books, Art Attack: The Midnight Politics Of A Guerrilla Artist and Artburn, a collection of his work published in the alternative newspaper L.A. Weekly. He has been awarded grants by the National Endowment for the Arts, The City of Los Angeles (“COLA” grant), and the Getty Trust. For more information visit our website at www.track16.com. Shown concurrently with Forgotten Faces: Portraits without Pedigree or Your Picture Here: Pictures from Purgatory, Selections from the Roger Handy Collection, curated by Jeffrey Vallance.

303 Gallery presents our fourth exhibition of paintings by Maureen Gallace.
Maureen Gallace’s oil paintings have evolved out of the history of American landscape painting and out of her own conceptual rigor. Her intimate works on canvas and panel have become increasingly reductive and complex over the years.

Gallace’s accounts take place in and around her hometown of rural Connecticut and family summer vacations on Cape Cod. “Winter, Easton, CT” 2006, is inhabited by three red barns in a snowy valley. The simple structures stand against dark blue mountains that give way to a rosy dawn sky. Gallace’s paintings are rendered in deliberate, considered strokes, each of which is essential to holding the delicate light and space she has constructed. “Her spare landscapes trigger viewers’ thoughts and feelings more successfully through form and color and brushstroke than would a photographic transcription.” (Alan G. Artner, Chicago Tribune, July 7, 2006) Another painting, “Lake House with Forsythia” 2006, is of a tiny cottage in springtime with a flowering bush in the foreground about the same size as the building. This exhibition also includes paintings of empty summer beaches as well as an autumnal road, “Late November”, 2005, bringing to mind the passing of seasons, years and other inescapable cycles.

This year Maureen Gallace had one person exhibition at The Art Institute of Chicago, Chicago, IL. In 2005 Gallace exhibited at the Chinati Foundation ins Marfa,TX, and the year before had a one person show at the Douglas Hyde Gallery, Trinity College in Dublin, Ireland. A catalogue with text by Rick Moody was published to accompany this exhibition. Previous one-person shows include the Dallas Museum of Art, TX in 2003, the Fukui City Art Museum, Japan in 2001 and the Museum Schloss-Hardenberg in Velbert, Germany in 1996. Gallace’s paintings are included in the collections of the Dallas Museum of Art, TX, Wadsworth Atheneum, the Fondazione Di Vignola, Italy and the Whitney Museum of American Art

303 Gallery
525 W 22 Street New York NY 10011 t 212 255 1121 f 212 255 0024 www.303gallery.com

“Margarita Rita Rica Dinamita” at the Calderon Guardia Historical Museum

Margarita Azurdia, also known as Margot Fanjul, started her artistic career in the 60`s in Guatemala, and all her work was a process of experimentation and rupture with conventions, and thus became a controversial figure in the 70`s and 80’s in Guatemala. She received a mention for her paintings in the Sao Paulo biennale of 1969, and produced an important pictorial work inspired in the geometrical designs of the indigenous textiles of her country and also researched in more organic abstraction. In the early 70`s, she created a series of white marble sculptures with movable elements that required the participation of the public. Around 1974, “Homage to Guatemala”, a large group of sculptures in polychromed wood was exhibited a single time, in a field, work which integrated the popular myths of a synchretic culture and her own imagination. As a prolific writer, poet and performer, she has legated work linked to popular culture and language, to gender issues and to the energy of the earth. This exhibition seeks to recognize her work posthumously at an international level, through the selection and restoration of around 35 works, including sculpture, canvas, works on paper and artist books. This exhibition has been possible with the curatorial assistance of Rosina Cazali, and with the support of Milagro de Amor Society, Cementos Progreso and GASH International Transports.

“Convivencias”: Juan Downey at the Nacional Museum of Costa Rica

Juan Downey, Chilean visual artist, printmaker and one of the pioneers in video art. Living and working in New York since 1966, studied and taught at Pratt Institute until his untimely death in 1993. He was linked to the Perception group as well as with Radical Software, and was an exclusive artist of Leo Castelli Gallery. While working throughout his life with drawing, painting and graphics, he began exploring new technologies since the sixties and realized electronic sculptures in which photoelectric cells activated sound and light with the movements of the spectators. In 1968, the availability of the first video cameras marked an important change in his artistic career and he became one of the most original video creators worldwide, with a production oriented both towards the western culture and to the indigenous cultures of the Americas. For The Doubtful Strait, the exhibition at the National Museum will include 15 videos, prints, paintings and for the first time, d rawings by Yanomami children produced during his sojourn in the Amazon region. The installation “About Cages”, shown at the Chilean Pavilion in the Venice Biennale of 2001, and recognized by the International Jury at that time, will be presented in the venue of TEOR/eTica.

Curators: Justo Pastor Mellado and Marylis Downey
This exhibition has been possible through the support of the Chilean Ministry of Foreign Affairs, and the Juan Downey Foundation.

Other exhibitions, information to follow:
December 1st “Intangible Routes”, “Limits” and “News from the Filibuster” at the Contemporary Art and Design Museum, Costa Rican Art Museum, Museum of Forms, Spaces and Sounds, La Reforma Penitentiary, TEOR/éTica

December 2nd “Traffics” at the Museums of the Central Bank, Central Park of San José and other public spaces

The Doubtful Strait has been possible through the generous support of HIVOS (The Netherlands), the Ford Foundation through its Regional office in Mexico City, COPA Airlines, and then Getty Foundation Los Angeles) for the catalogue publication, the SEACEX (Spain) and many other contributors.

More information and travel information
http://www.estrechodudoso.com
estrechodudoso@gmail.com

The acclaimed international art fair, long a meeting place for knowledgeable curators and connoisseurs, blossoms this year with more new editions than ever and a stunning array of old master, modern and contemporary works that are among the highest achievements in this art form. While rare impressions from artists such as Rembrandt, Cassatt, Picasso, and Lichtenstein will command five and six figure prices, there will be a multitude of choices in the affordable range for collectors seeking blue chip names and newly emergent artists.

Exhibitors at the Fair are all members of the International Fine Print Dealers Association, an organization of prestigious galleries, contemporary print publishers, and distinguished private dealers united by their expertise in this medium.

The juxtaposition of many periods and movements throughout the Fair illustrates the enduring commitment of artists to printmaking as part of their artistic practice. Exhibitors at the Fair also include the IFPDA’s contemporary print publishers who work with internationally renowned artists to produce ambitious new projects. These new projects are often astonishingly complex and show how contemporary artists are pushing the boundaries of the medium with new and innovative methods. This year, collectors will have a first look at new prints by Ida Applebroog, John Baldessari, Jonathan Borofsky, Richard Serra, Sanford Biggers, Chuck Close, Suzanne Caporael, Enrique Chagoya, Isca Greenfield- Sanders, Gordon Cheung, Ian Davenport, Julian Opie, Beatriz Milhazes, Los Carpinteros, Alex Katz, Vik Muniz, Tara Donovan, Carroll Dunham, Polly Apfelbaum, James Siena, Ed Ruscha, Kiki Smith, Richard Tuttle, Ana Maria Pacheco, Kristian Krokfors, and Manolo Valdés.

OPENING NIGHT PREVIEW – WEDNESDAY, NOVEMBER 1ST
The Fair will open with a Preview Party to benefit the Department of Prints and Illustrated Books of The Museum of Modern Art. This year’s Preview is expected to be particularly festive with hours extended to 9:30 pm and a new “Friends” ticket introduced. Those purchasing tickets at the Benefactor level will receive this year’s benefit print, a striking color screenprint, created by British artist Julian Opie (subject to limited availability). Tickets are required for this event and can be purchased online at http://www.moma.org/events/special

SPECIAL EXHIBITION: “TÊTE À TÊTE”
The Fair’s new exhibition program provides a platform for the IFPDA’s next generation of talented gallerists. Curated by Jeffrey Lee of IFPDA member Mary Ryan Gallery, the first show in this new program will hang in the Fair’s Café in the exhibitors’ hall. Entitled “Tête à Tête,” Mr. Lee’s exhibition connects the recent trend towards figurative work in contemporary art with the deeply rooted tradition of portraiture in the history of art.

PROGRAM AT THE PRINT FAIR
SATURDAY, NOVEMBER 4TH 11:00 AM
The Tiffany Room, Admission: free
The IFPDA Program Committee presents “Vollard as Publisher: From Cezanne to Picasso.” This roundtable discussion will explore the impact of Vollard’s enduring influence as a publisher of numerous projects and editions for his artists. Faye Hirsch, Senior Editor, Art in America, will moderate this free-ranging discussion with Jay Fisher, the Senior Curator of Prints, Drawings and Photographs at the Baltimore Museum of Art and Emmanuel Benador, Director of Graphics at Jan Krugier Gallery.

IFPDA PRINT FAIR
2 – 5 November, 2006
7th Regiment Armory
Park Avenue & 67th St.
New York

Open daily 12 noon – 7 pm
Sunday 12 noon – 6 pm
Admission price includes catalogue

Further details and a full exhibitor list at http://www.printfair.com
Tel: 212.674.6095
Turon Travel Inc. is the official travel agency for the IFPDA Print Fair.
The IFPDA Print Fair is managed by Sanford L. Smith & Associates.

Althea Thauberger, Mess Tent, c-print, 2005