Artipedia - Arts News

INK Miami will debut on Thursday, December 7th with a Breakfast Preview starting at 10:00 am. at the Suites of Dorchester Hotel with entrances on 19th Street, Collins Avenue and James Street, just steps away from the Miami Beach Convention Center.

Conceived and organized by the IFPDA’s Contemporary Committee, INK Miami 2006 is a focused event showcasing contemporary works on paper during Art Basel Miami Beach. The show’s fifteen exhibitors are print publishers and dealers who have been selected from the prestigious IFPDA membership for their ability to offer the best contemporary works on paper by internationally renowned artists and they reflect the vitality of the contemporary membership of the IFPDA.

New editions at the Fair include works by Peter Doig, Ed Ruscha, John Baldessari, Hung Liu, Jorge Pardo, Chuck Close, Kent Henricksen, Polly Apfelbaum, Kota Ezawa, and Yvonne Jacquette. Among the expected highlights: Isca Greenfield-Sanders’ The Swimming Pool Etchings, a set of four new color aquatint etchings from Paulson Press. Arion Press will exhibit an exquisite artist book featuring poems by Bill Berkson and 25 intaglios by Alex Katz. Landfall Press will present an all-new lithograph by artworld luminary Peter Doig. Ghada Amer collaborating with Reza Farkhondeh has created a beautiful new lithograph with woven threads on display at Solo Impression. Durham Press will launch an extraordinary series of large-scale prints by Brazilian artist Beatriz Milhazes. Florida’s own Graphicstudio will show a new photogravure self-portrait by Chuck Close. An intricate new wall construction by Richard Tuttle will be on view at Crown Point Press. Tandem Press will bring complex, bold new works by Suzanne Caporael. Mixografia® will showcase a selection of their innovative prints including new works by Swiss artist, Peter Wüthrich. Shark’s Ink. will premiere several new projects including Enrique Chagoya’s colorful lithograph The Pastoral or Arcadian State-Illegal Alien’s Guide to America, which offers disquieting insight on the contemporary American West.

Exhibitors at the Fair include several of the IFPDA’s leading contemporary dealers who will present rare and exceptional 20th century masterworks in addition to works from many young new contemporary artists. On offer at Marlborough Graphics: Wayne Thiebaud’s iconic etching Gumball Machine, 1970 a classic example of Thiebaud’s career-long engagement with printmaking. Among a diverse range of contemporary works, Diane Villani Editions will show a collection of exquisite woodcuts made in the 1930s by the Mexican artist David Alfaro Siqueiros. One of Elizabeth Peyton’s first prints, a 1998 lithograph entitled Bosie will be featured at Jim Kempner Fine Art. Charles M. Young Fine Prints and Drawings will exhibit a rare untitled Jackson Pollock drawing while William Shearburn Gallery will juxtapose a Cy Twombly screenprint from 1969 with works from contemporary artists Tom Friedman, Dana Schutz, and Yun-Fei Ji.

Additional featured artists include:
Donald Baechler, John Baldessari, Mel Bochner, Louise Bourgeois, Suzanne Caporael, Squeak Carnwath, Bruce Conner, Lesley Dill, Jim Dine, Kota Ezawa, Tony Fitzpatrick, Sam Francis, Helen Frankenthaler, Lucian Freud, Red Grooms, Salomon Huerta, Jasper Johns, Alex Katz, Ellsworth Kelly, William Kentridge, Sol LeWitt, Hung Liu, Andrew Millner, Robert Motherwell, Vik Muniz, Philip Pearlstein, Jackson Pollock, Martin Puryear, Robert Rauschenberg, Gerhard Richter, Ed Ruscha, Fred Sandback, Sean Scully, Shahzia Sikander, Tom Slaughter, Kiki Smith, Donald Sultan, William T. Wiley, and many more.

INK Miami 2006 exhibitors:
Arion Press, San Francisco, CA
Crown Point Press, San Francisco, CA
Durham Press, Durham, PA
Graphicstudio/University of South Florida, Tampa, FL
Jim Kempner Fine Art, New York, NY
Landfall Press, Inc., Santa Fe, NM
Marlborough Graphics, New York, NY
Mixografia®, Los Angeles, CA
Paulson Press, Berkeley, CA
Shark’s Ink. , Lyons, CO
William Shearburn Gallery, St. Louis, MO
Solo Impression, Inc., New York, NY
Tandem Press, Madison, WI
Diane Villani Editions, New York, NY
Charles M. Young Fine Prints & Drawings, Portland, CT

For more information, contact:

International Fine Print Dealers Association
15 Gramercy Park South, Suite 7A
New York, NY 10003
info@ifpda.org
http://www.ifpda.org
Tel: 212.674.6095

NEW GHOST ENTERTAINMENT-ENTITLED
Opening: Saturday, December 9th, 2006, 8 p.m.
December 10th, 2006 – February 18th, 2007

Kunsthaus Dresden Municipal Gallery for Contemporary Art
Rähnitzgasse 8 | D-01097 Dresden
T. +49-351-8041456
F. +49-351 8041582
E. office@kunsthausdresden.de
http://www.kunsthausdresden.de

Ghosts are in great demand these days: Not only have they haunted the theoretical discourse, most famously in the writings of the French philosopher Jacques Derrida - numerous dissertations and publications from literary and film scholars as well as the fields of postcolonial, queer and gender studies look at the social meaning of specters and phantasms from multiple perspectives. Also within the realm of art ghosts have experienced a renaissance, and ghosts appear frequently in exhibition titles, articles and art publications. The mythological or literary figure of the ghost is by no means a novelty. At least since antiquity ghosts have been invoked as symbols for the discomforting resurgence of past events into the present and since the Enlightenment ghost have been brought into play within the different arts as a catalyst for the critical reflection of social events.

This led to the idea to bring together writers and artists, whose works seem to conjure up ghosts as a point of reference. New Ghost Entertainment-Entitled poses the question if the engagement with mediumism, spiritualism and ghost stories can be a contemporary approach to invent - or reinvent - artistic and political forms of expression and if ghosts as a medium can add a dimension to the critical engagement within social and political realities.

The medium of film – itself some kind of material ghost – is central to the project and a film program by Madeleine Bernstorff presents films in a new ghost mood. It’s about another world, specters being symptoms of unresolved relationships, of disorder and injustice. Regarding the many attempts to represent the nonrepresentable the program does not concern questions of authenticity or false representations of realities in the past, but how history became a battlefield of representation, which constitutes the current symbolic, economic and political realities.

A variety of specters make their appearance in the beginning of the 21st century in the Western industrial nations and often they seem to go hand in hand. The specter of security, the specter of oil shortage, the revival of nationalism, the new right and an increasingly neoconservative stance regarding international politics to name but a few. At the same time military and geopolitical phantasms of power determine the current political debate. While it is not the goal of the project to give a full account of these complex problems, these frightening social developments provide the context for New Ghost Entertainment-Entitled.

Artists:
David Askevold, Stephan Dillemuth, Paul Gellmann, Frauke Gust, Judith Hopf, Annette Kelm, Alice Könitz, Dirk Lange, Cristobal Lehyt, Julie Lequin, David Maljkovic, Marriage (James Tsang/Math Bass), Reza Monahan, Arthur Ou, Katrin Pesch, Fredrik Strid, Stephanie Taylor, Michaela Wünsch as well as Lisa Marie Auer, Bernd Imminger & Nadja Schütt for STAFETA

Filmprogram:
Films by David Askevold and Shohei Imamura as part of the exhibition.
Films by Ken Jacobs, Shindo Keneto, Alan Klima, Karlheinz Martin (with music selection by Julian Göthe), Monica Rubio, and Joyce Wieland.
Film Screenings: January 6th and 7th, 2007 & February 9th-11th, 2007 at Kunsthaus Dresden.

Along with the exhibition a magazine will be published with contributions by Madeleine Bernstorff, Sladja Blazan, CHEAP and Vaginal Davis, Doris Chon, Molly McGarry, Josef Strau, Odila Triebel, Jan Tumlir, the artists, and others.

Curated by Katrin Pesch.

New Ghost Entertainment-Entitled is a project in cooperation with OR Gallery Vancouver, Canada, funded by the German Federal Cultural Foundation.

Vik Muniz, Akte Weimar #157, 2006, Gelatin silver print, 8×10 in.

Vik Muniz: Reflex
February 11, 2007 through May 7, 2007

P.S.1 Opening Day Celebration: February 11, 2007 from noon to 6

(Long Island City, NY – December 6, 2006) P.S.1 Contemporary Art Center is pleased to present a survey of photographic works by Vik Muniz. This show is a selection from a larger exhibition organized by Miami Art Museum and curated by Assistant Director for Programs/Senior Curator Peter Boswell. This presentation, which includes photographs from each of the artist’s major series, is edited by the artist, P.S.1 Director Alanna Heiss, and Peter Boswell. Vik Muniz: Reflex is on view in the Second Floor Kunsthalle from February 11 through May 7, 2007.

Since the mid 1990s, Muniz has been incorporating everyday objects into his photographic process to create witty, bold, and often deceiving images based on photojournalism and art history. The Brazilian-born, New York-based artist makes pictures from dirt, diamonds, sugar, wire, string, chocolate syrup, peanut butter, dust, ketchup, the circular paper remnants made by hole punches, junk, pigment and other materials. Though Muniz’s images are often familiar—borrowing from popular culture and Old Master artists—it is quickly evident that they are not what they seem. Using an approach that the artist calls “the worst possible illusion,” the works are formed from materials gathered from everyday life, which Muniz arranges and photographs, rather than traditional artistic materials.

Included especially in the P.S.1 survey is Muniz’s recent “Weimar” series, a suite of black-and-white photographs that reference espionage, surveillance, and intelligence gathering. A body of work that will be shown for the first time in the U.S., it is a departure for the artist since it is not a composition of assembled objects, but rather images that are seemingly documentary.

Vik Muniz (b. 1961, São Paulo) has exhibited internationally since 1989. He has had solo shows at the International Center of Photography and Whitney Museum of American Art, NY; the Menil Collection, Houston; Meseu de Arte Moderna, Rio de Janeiro; Meseu de Arte Moderna, São Paulo; and the Museo d’Arte Contemporanea, Rome; among others. In 2001 Muniz was the Brazilian representative at the 49th Venice Biennale

Vik Muniz: Reflex premiered at Miami Art Museum from February 10 through May 28, 2006. It has since traveled to University of South Florida, Seattle Art Museum, and will continue on to Museum of Contemporary Art San Diego, and Musée d’art contemporain de Montréal.

The exhibition is accompanied by 204-page book, Reflex: A Vik Muniz Primer, published by the Aperture Foundation. The book, authored by Muniz and richly illustrated not only with his own works, but with works from the history of art and photography and scientific diagrams dealing with everything from perception theory to printing processes, is a remarkable investigation into the interlinked practices of seeing, representing, and creating.

Vik Muniz: Reflex was organized by Miami Art Museum, Miami, Florida, with support from Miami Art Museum’s Annual Exhibition Fund. Additional support provided by Duggal Visual Solutions.

The exhibition at P.S.1 is made possible by Sydie and Gerrit Lansing, Peter Marino, The West Collection, Sam Trower, Jean Edouard Van Praet and supporters of the P.S.1 Annual Exhibition Fund.

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-Josée 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, LBC Foundation, Inc., Mimi and Peter Haas Fund, Dennis W. LaBarre, Julia Stoschek, E. William Judson, Pamela and Richard Kramlich, Richard Anderman, Paul Beirne, Werner H. Karmarsky, Douglas S. Cramer, L. Matthew and Elizabeth Quigley, Mathis-Pfohl Foundation, SilverCup Studios, 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.

Christopher Williams on John Chamberlain’s foam sculptures
Monday, December 11, 2006, 6:30 pm

Dia Art Foundation
548 West 22nd Street (between 10th and 11th avenues)
New York, New York 10011
212 989 5566 www.diaart.org

Admission for the lecture is $6; $3 for students, seniors, and Dia members. Tickets are available at the lecture; advance reservations are not necessary.

Christopher Williams was born in 1956 in Los Angeles, where he lives and works. Among his many solo shows are recent exhibitions at the Museu Serralves, Porto (2006); David Zwirner, New York (2006); Secession, Vienna (2005); and Galerie Gisela Capitain, Cologne (2004).

A group of works by John Chamberlain is on view at Dia: Beacon. An exhibition devoted to Chamberlain’s foam works was presented at the Chinati Foundation, Marfa, TX in 2005.

Born in 1927 in Rochester, Indiana, John Chamberlain grew up in Chicago. After serving in the United States Navy from 1943 to 1946, he attended the Art Institute of Chicago (1951–52) and Black Mountain College (1955–56). Chamberlain moved to New York in 1956 and the following year made Shortstop, his first sculpture incorporating automobile parts. His work was included in the “Art of Assemblage” exhibition at the Museum of Modern Art, New York, in 1961, and he began showing at Leo Castelli’s New York gallery in 1962. Chamberlain had his first retrospective in 1971, at the Solomon R. Guggenheim Museum, New York, and the Museum of Contemporary Art, Los Angeles, held a second retrospective in 1986. He currently lives and works on Shelter Island, New York.

A group of works by John Chamberlain is on view at Dia: Beacon. An exhibition devoted to Chamberlain’s foam works was presented at the Chinati Foundation, Marfa, TX in 2005.

Made possible by a grant from Art for Art’s Sake, New York, and by public funds from the New York City Department of Cultural Affairs, this series, established in 2001, highlights the work of contemporary artists from the perspective of their colleagues and peers, and focuses on artists in Dia’s collection and exhibition programs.

Images: (left) Christopher Williams, Kodak Three Point Reflection Guide, © 1968 Eastman Kodak Company, 1968. (Meiko laughing), Vancouver, B.C., April 6, 2005, 2005. Chromogenic print. 20 x 24 inches. Courtesy of the artist and David Zwirner, New York. (right) John Chamberlain, Stuffed Dog 1, 1967. Urethane foam, cord, and paint. 7 x 10 x 9 1/2 inches. Dia Art Foundation, New York.

SIMON HENWOOD
“CRICKLEWOOD” new paintings
8 DECEMBER - 13 JANUARY 2007
opening in the presence of the artist 14 DECEMBER 6-8pm

Tuesday thru Saturday from 11-6pm
envoy . 535 West 22nd Street . 6th Floor . New York . NY 10011

Curious, experimental, and clear-eyed, Simon Henwood is a master of many media.
Since he left Exeter College in 1986 with a degree in mixed arts, painting,
animation and illustration, he’s had numerous solo and group exhibitions around
the world and made various exclusive video projects for artists such as Roisin
Murphy, Devendra Banhart, Imogen Heap and The Delays.

Since everything in his art, at some point requires drawing and the ability to
conceive on paper, painting has always been at the center of his career.

Throughout his work, Henwood has made his superb draftsmanship apparent in
producing memorable portraits and observations by engaging directly with his
subjects. He uses gouache and most recently oil paint, to capture the people
from his surroundings with extreme detail and definition.

A recurrent theme in Henwood’s paintings and mixed-media works has been the
exploration of the complex social and cultural terrain of childhood and
adolescence. Recently however, the work has been heading in another direction.
Narrative themes are characterized by a frank, mundane realism derived from Pop
art and photography. It is done with such artistic depth that it provides his
work with a naturalistic dimension. Moving from a semi-expressionist form of
pop art, he developed a highly personal realistic style, producing images
saturated with color in which longing, emptiness and solitude all hang in the
air. His meticulously executed realist paintings, imbued with a pervasive mood
of alienation, are noble, lyrical, loving and also capture something
fundamental, a diaristic directness. They bring about a sense of life and
energy yet still capture that feeling of abandonment and solitude hiding deep
within his subjects.

As a director Henwood sees live action and animation as two sides to the same
thing, inextricably and increasingly linked by the growing demand for
postproduction techniques that cross the boundaries. He enjoys the cooperative
facet of directing and the rewards of seeing an idea come to life, be it
meticulously animated or carefully crafted moving images such as the ones in
“Poor Johnny Pumpkin.” This fascinating project was toured to museums by the
Museum of Modern Art, New York and tells the story of a pumpkin-headed boy
whose extreme sensitivity to UV light forces him to remain indoors during the
daytime. The work has now been developed into a groundbreaking 3-D
computer-animated TV series.

In addition to all of this, Henwood has created artwork for Roisin Murphy’s
latest album and his paintings have been adapted for use in a line of designer
T-shirts. Henwood has also designed a plushy toy named ‘Klong.’ an endearing
creature with long arms. Klong can’t see or hear, yet he senses your kindness
and actually hugs you back.

As a painter, illustrator, animator, writer, art director, publisher and
filmmaker, Simon Henwood embraces all aspects of his art, infusing each project
with originality and integrity.

Henwood’s most recent work will be featured exclusive at envoy from 8 December
2006 thru 13 January 2007.

envoy
535 West 22nd Street, 6th Fl.
New York, NY 10011
p. 212.242.7524
e. office@envoygallery.com
w. www.envoygallery.com

What were the artistic successes of 2006? Monica Bonvicini’s takeover of a Los Angeles mall for West of Rome, Inc.? Jean-Luc Godard’s curatorial coup at the Centre Pompidou, Paris? Fischli & Weiss’s travelogue at London’s Tate Modern?

In the Artforum tradition, a global crew of critics, curators, artists, and art historians provide their answers in December’s year-end roundup. Among the top tens, read Daniel Birnbaum on Dominique Gonzalez-Foerster; Chrissie Iles on Cerith Wyn Evans; David Rimanelli on Christopher Williams; Francesco Bonami on Maureen Gallace; Alison M. Gingeras on David Hammons; and much more from Okwui Enwezor, Jessica Morgan, Elizabeth Schambelan, Rita Kersting, Thomas Lawson, and Mike Kelley.

“I’m a sucker for ectoplasm, and this show proved that ‘fake photography’ is nothing new.” –Mike Kelley on “The Perfect Medium: Photography and the Occult” at the Metropolitan Museum of Art, New York

Plus: Thomas Crow, Carol Armstrong, Bruce Hainley, Lynne Cooke, and Yve-Alain Bois pen essays focusing on what were, in their minds, the best exhibitions from the past year.

“Damien Hirst drew new strength from an impeccably conceived and crafted installation, lending his thinking as an artist a coherence and sustained intensity that I have not seen anywhere before.” –Thomas Crow on Damien Hirst at Galería Hilario Galguera, Mexico City

Also in this issue: Matmos, Kode9, Christina Kubisch, Wendy Fonarow, and Iain Forsyth & Jane Pollard survey the year in music; John Baldessari, Yvonne Rainer, Claire Bishop, Chris Kraus, Terry Eagleton, Josiah McElheny, and many others write up their best books; and John Waters, Amy Taubin, James Quandt, Barbara London, and Jonathan Romney select the highlights in cinema.

“The film is so depressing and great that I wish I could see it with an all-female prison audience.” –John Waters on Sherrybaby

And: Artforum’s annual “On the Ground” series, where insiders give the lay of the land in different cities. This year, Matthew Higgs surveys New York, Rachel Kushner roams Los Angeles, Melanie Gilligan takes stock of London, Massimiliano Gioni imagines Milan, Nina Möntmann combs through Mumbai, and Philip Tinari weighs events in Beijing.

“The recent changes at the city’s not-for-profits constitute a profound shift in ambition and attitude, and, maybe, an equally profound opportunity to reanimate an entire culture.” –Matthew Higgs on New York

“The ascendance of the market in Beijing made 2006 a year not only of new cars and apartments but also of deep-seated neurosis and anxiety among artists, curators, and gallerists trying desperately to shore up their places in an ambiguous new order.” –Philip Tinari on Beijing

“At the Serpentine, Dan Graham delivered a short diatribe against Rem Koolhaas’s architecture, punctuated by an attack on the professionalization of art: ‘There’s a disease, and it’s called Goldsmiths.’” –Melanie Gilligan on London

Plus: “The Artists’ Artists.” The toughest judges divulge the shows that inspired and influenced them this year, with contributions from Vito Acconci, Jennifer Bornstein, Thomas Hirschhorn, Marine Hugonnier, Luisa Lambri, Kalup Linzy, Daria Martin, Damián Ortega, Rob Pruitt, Jim Shaw, Hiroshi Sugimoto, Richard Tuttle, Rebecca Warren, and Andrea Zittel.

“Munch came at me like a spider monkey!” –Amy Sillman on “Edvard Munch: The Modern Life of the Soul” at the Museum of Modern Art, New York

Amy Bennett Neighbors
January 6 ­ February 10, 2007

Opening reception: January 6, 2007 5 ­ 7 pm

RICHARD HELLER GALLERY
Bergamot Station
2525 Michigan Ave. B-5A
Santa Monica, CA 90404
T 310.453.9191 F 310.453.2791
www.richardhellergallery.com

Richard Heller Gallery presents new oil paintings by Brooklyn based artist
Amy Bennett. These works consist of various scenarios unfolding within an
imaginary suburban neighborhood. Bennett has created a tabletop scale model
on which the paintings are based.

³The model becomes a stage on which to develop the psychological
implications of belonging to a particular family, with all of its dramas,
struggles and familiar routines. I think: this tree will be taken down after
an old man crashes into it; a father will transform this lawn into an ice
skating rink; this house will be abandoned after its residents are
scandalized on the evening news.² - Amy Bennett

This is Amy¹s debut solo show in Los Angeles. She also shows with Galleri
Magnus Karlsson in Stockholm, Sweden.

For further information please contact the Richard Heller Gallery
art@richardhellergallery.com

To close the 2006 theme, which aimed to establish close links between artists of different generations and to grasp the evolution of a constantly changing artistic quest, we have devoted the exhibitions of this last event of the year to painting.

These allers/retours let us understand the genesis of creation, its differences and its permanence by observing how creation unfolds. Such an experience may not be evident in each case, although certain major affinities are clearly perceptible. We should always attempt to understand the multiple investigations of our time and anticipate the major issues of tomorrow.

As a starting point for this aller/retour in painting, we chose concrete art which made its appearance as of the 1940s in Zurich with RICHARD PAUL LOHSE, VERENA LOEWENSBERG. Their pictorial offspring were the productions of CHRISTOPH GOSSWEILER, LUIGI LURATI, OLIVIER MOSSET and PETER STÄMPFLI.

The exhibition closes with a new generation of abstract painters: FRANCIS BAUDEVIN, STÉPHANE DAFFLON, PHILIPPE DECRAUZAT, CHRISTIAN FLOQUET, LAURENCE PITTET. This group of Swiss artists represents a selection that lays no claim to being an exhaustive historic view and is just one of a number of possible versions. The works of these painters are keen to enter upon a dialogue with the works of other generations, between past and present references.

In counterpoint to a certain form of abstract painting and by proposal of the new director of the Kunsthalle in St Gallen, Giovanni Carmine, in the PROJECT ROOM we will present successive solo exhibitions of three artists whose work focuses on figurative painting: Georgian painter ANDRO WEKUA (03.12 – 31.12/ opening 03.12), Armenian ARMEN ELOYAN (04.01 – 04.02 / opening 11.01) and American DAVID CHIEPPO (08.02 – 11.03 / opening 08.02).

Alongside the exhibition, the Rendez-Vous du Jeudi Soir and La Séance du Dimanche will pick up the same principle of Aller/Retour in the different disciplines presented.

Some of the highlights will be:

Cinema: Tribute to film director Daniel Schmid.

Theatre : Invitation of the master of the solo performance Peter Wyssbrod (11.01 – 19.01).

Music : The Voix des Alpes cycle with the Lauterburg – Neuhaus duo (25.01), Vox vokalensemble (08.02), Erika & Roots of communication (22.02) and Betty Legler (08.03).

Complete programme of the evenings: http://www.ccsparis.com

Handy information:
Open from Wednesday to Sunday / 1 pm – 8 pm / late night Thursday till 10 pm
(entrance by 38 rue des Francs-Bourgeois – at the end of the passage) / free entry

Rendez-vous du jeudi soir
Avez-vous quelque chose à lire? / 6 pm / library / free entry
Evenings / 8 pm / reservation recommended 01 42 71 38 38

Sunday screenings / every Sunday / 6 pm

The Centre culturel suisse de Paris is the representation of Pro Helvetia, Arts Council of Switzerland

PEINTURES ALLER/RETOUR
03 December – 11 March 2007

OPENING
2 December 2006 / from 6 pm to 9 pm

Centre culturel suisse de Paris
38 rue des Francs-Bourgeois – 75003 Paris

Open
from Wednesday to Sunday / 1 pm – 8 pm
late night Thursday till 10 pm

Press officer: Elsa Guigo
Tel: +33 1 42 71 44 50
ccs@ccsparis.com

http://www.ccsparis.com

photo MIAMI, the international, contemporary art fair for photo-based art, video and new media launches in Miami December 6-10 during Art Basel Miami Beach. Directed by Tim Fleming and organized by artfairs, Inc., producer of the highly-acclaimed photography and contemporary art fairs in Los Angeles and New York, photo MIAMI, redraws the boundaries of technology, photography, and contemporary art focusing on the medium’s complexity within contemporary art.

A highlight of the fair will be a special “Preview” section consisting of premier works by important established and emerging international artists including Andres Serrano, Tobias Bernstrup, Tim White-Sobieski, Marcos López, Ixone Sadaba, Carlos Ruiz-Valarino and Alexandre Apóstol.

The fair will also host special curated projects by Madrid-based curator Paco Barragán, Miami-based Nina Arias, and Pedro Velez of Puerto Rico. Barragán’s project entitled “Party Time” is a multi-media performative project, while Arias’ STILLMOVING Miami, features a group exhibition including video and performance elements. The Dams, a group exhibition of emerging artists from Puerto Rico, focus on the role of photography, propaganda and advertising in contemporary Caribbean society, will be presented by Velez.

An artists’ lecture series featuring presentations by Enrique Martinez Celaya, Andres Serrano and Carrie Mae Weems will be held Friday, December 8 at the Miami Art Museum, 101 West Flagler Street, Miami, from 1 to 4pm. Admission to lectures are free.

For additional information on photo MIAMI including the opening reception please visit http://www.artfairsinc.com or call 323.937.4659

Exhibitors
ADN Galería, Barcelona • Galeria Altamira, Asturias • Daniel Azoulay Gallery, Miami • B&D Studio Contemporanea, Milan • Brancolini Grimaldi Arte Contemporanea, Florence • Stephen Bulger Gallery, Toronto • ClampArt, New York • Cohen Amador, New York • Stephen Cohen Gallery, Los Angeles • Espacio Distrito Cu4tro, Madrid • galerie f5,6, Munich • Karpio + Facchini Gallery, Miami • Galerie Dominique Fiat, Paris • Flowers Inc., New York / London • Foley, New York • Fringe Exhibitions, Los Angeles • Goedhuis Contemporary, New York • Charles Guice Contemporary, Berkeley • HackelBury Fine Art Limited, London • Hardcore Art Gallery, Miami • Galerie Caprice Horn, Berlin • J.J. Heckenhauer, Berlin • Charlotte Jackson Fine Art, Santa Fe • Federico Luger, Milan • Taro Nasu Gallery, Tokyo • The New Art Project, Paris • Galleria Pack, Milan • Peak Gallery, Toronto • photo-eye gallery, Santa Fe • Galeria Fernando Pradilla, Madrid • Galerie Schuebbe Project, Düsseldorf • Lisa Sette Gallery, Scottsdale • Galeria Sicart, Barcelona • Silverman Gallery, San Francisco • Skew Gallery, Calgary • Tagrom, Hato Rey • Bernard Toale Gallery, Boston • 21st Editions, South Dennis • VOLF, Bologna • Wetterling Gallery, Stockholm