Artipedia - Arts News

Akbank Art Gallery

SNOWSCAPES AND ROADSCAPES
A photographic series by Abbas Kiarostami
8 Nov to 9 Dec 2006
Opening: Tue, 7 Nov 2006 at 19:00.
Curators: Ali Akay & Levent Çalikoglu

Akbank Sanat
Istiklal Caddesi No: 14-18
Beyoglu, Istanbul, Turkey
akbanksanat@akbank.com
http://www.akbanksanat.com
Tel: +90 212 252 3500
+90 212 292 3984

Focusing on the works of contemporary artists since 2003, the Akbank Art Gallery is presenting viewers in Istanbul with an exhibition by Abbas Kiarostami, an Iranian filmmaker and graduate of the fine arts academy whose command of the cinematic and plastic arts has become increasingly more apparent in recent years as he simultaneously pursues these sibling disciplines. Consisting of photographs and film frames shot by him in Iran, Kiarostami’s exhibition is called Snowscapes and Roadscapes. The show reveals the visual experimentation of an artist dealing with repetitiveness and with differences arising from similarities and in much the same way, Snowscapes and Roadscapes consists of two separate series in which a work in film accompanies the artist’s photographs in the exhibition space. In his imagery, Abbas Kiarostami is one of the founders of the Iranian New Wave Cinema. Taking his own native experience as his point of departure in his work, in this exhibition the filmmaker
and artist develops the imprint of a pragma of writing and reading on a dialectic that is infinitely different and infinitely identical. The photographs make us think about how different yet how similar are each and every photographic and cinematographic image that is read as being reproducible and yet at the same time they also show how each repetition is capable of taking us in the direction of quite different thoughts. The transitiveness from each image to any other one simultaneously presents a relationship and a transfer as the likeness of the transfer of a heritage. These sequentially arriving images, which we might call a sort of natural transfer, return to us as reproducible images. Although each one of them is in our memory, not one of them is recreated in our minds.

Along with these images, which remind us that the pragma of each one’s reproduction is in one respect actually rooted in how different it is and that similarly in a sense its aura is recreated on each and every occasion, our minds are also turned again to the difference between Adorno’s and Benjamin’s views of the aura and it does not escape us that, compared with Adorno, Benjamin is much closer to us and to Kiarostami’s photographs. These photographs also show us that in the same sense, each reconfiguration is based upon an experience as a reconfiguration of the world and of nature and that each experience is also unique in time and incorporates a time-bound singularity. As Kiarostami always emphasizes, cinematic images come from photographs and photographs must always return to fixed symbols (myths, dreams, sentiments, narratives, etc) that we may conceive of as a process of trial and error that relies on the relationship between viewed and viewer as an element of viewing.
This provides the test bench on which the process of trial and error is worked out. This is also the reason why cinema is everywhere and why it is possible to make a film about anything. In the same sense therefore, art is always contingent upon some reflection–be it verbal or visual. Each reflection may be anywhere and about any thing and for that reason each and every one of these snowscapes and roadscapes may be seen as an individual instance of trial and error. However much they may seem to be a narration or an illusion, through Kiarostami’s vision, each framed image leads us towards a reality, which seems to be nothing more than merely a reflection of a view.

Abbas Kiarostami will be coming to Istanbul during the exhibition and giving a lecture on the subjects of photography and filmmaking.

For more information go to: http://www.akbanksanat.com

norwich gallery

Alexis Hunter
Radical Feminism in the 1970s
24 October to 24 November 2006
Monday to Saturday 10am to 5pm

Norwich School of Art & Design
Francis House, 3-7 Redwell Street
Norwich NR2 4SN
tel: 01603 756247
fax: 01603 615728
info@norwichgallery.co.uk
http://www.norwichgallery.co.uk

“For feminist artists the ‘personal is political’ was one of the most important slogans in the 1970s. Being subjective as women in our work was the bravest and most radical thing we could do at the time. This female subjectivity became the most hated aspect of our work: myself using my own hands not the hands of models; Mary Kelly using her son’s diapers; Susan Hiller photographing her pregnant belly; Tina Keane making performances based on her relationship to her daughter. Although we were selected to show with male conceptual artists this gap between our subjectivity and their masculine objectivity was obvious, opening up a distinction between ‘socio-political’ art and conceptual art.”

“It was the way conceptual art emphasised and utilised the perception of the viewer which was so useful to feminist artists. It was a way of connecting directly to other women without any of the prejudices they might have about aesthetic language and this is why artists chose documentary, popular mediums such as film, photography and performance. These mediums enabled us to find a gap in perception in which to situate our work within popular culture.”

Alexis Hunter in conversation with John Roberts 1997

Alexis Hunter’s work will be featured along with that of Mary Kelly in the forthcoming exhibition WACK! Art and The Feminist Revolution at The Geffen Contemporary at MOCA, Los Angeles, USA 03.04.07 – 07.10.07.

Artist’s Book
Alexis Hunter Radical Feminism in the 1970s
texts by Lucy Lippard and John Roberts
A4 126 pages colour perfect bound

For more information and hi res images contact Eleanor Cherry
01603 756247 e.cherry@nsad.ac.uk

Norwich Gallery
open Monday to Saturday 10 to 5
admission free

For more information go to: http://www.norwichgallery.co.uk

Paris Photo 2006

Paris Photo 2006

The world’s leading photography fair
The Nordic countries guests of honour
November 16 –19, 2006
at the Carrousel du Louvre

Preview : Wednesday, Nov 15th, 2006

http://www.parisphoto.fr

Paris Photo celebrates its tenth anniversary with a sparkling selection of Nordic talent
Guests of honour: Denmark, Finland, Iceland, Norway & Sweden

>From November 16-19, 2006, Paris Photo celebrates its first decade with an outstanding panorama of 19th century, modern and contemporary photography, bringing together 106 exhibitors (88 galleries and 18 publishers) at the Carrousel du Louvre.

With a rising number of high-quality candidates (almost 300 applications), the 2006 selection will be one of the most rigorous ever. 88 international galleries will present solo, group and thematic shows of rare and previously unseen work, representing a total of 500 artists.

Year on year, Paris Photo has seen an increase in international participation, with 21 countries represented in 2006, up from 14 the year before. Seventy-three percent of the participants come from outside France.

In addition to the 20 French galleries, the largest contingent of exhibitors comes from the USA (20), followed by Germany and Spain (8 each), the UK and Holland (5 each), Italy and Finland (3 each), Japan, Denmark and Sweden (2 each) and one representative each from Austria, Belgium, China, Iceland, Hungry, Luxemburg, Norway, Portugal, South Korea and Switzerland.

Paris Photo 2006 will also host the best international publishers of photographic books. The big four -Phaidon, Hatje Cantz, Steidl and Taschen- will come alongside rare booksellers and distributors.The record number of 18 publishers participating in Paris Photo this year attests to the soaring popularity of photographic books, a central theme of this year’s Mois de la Photo. More than 90 book signings will take place during the fair, involving celebrities such as David Bailey, Elliott Erwitt, Karl Lagerfeld, Martin Parr, Anders Pettersen, Massimo Vitali.

Spotlight on Nordic countries
Denmark, Finland, Iceland, Norway and Sweden are the guests of honour for 2006.
Three events to highlight the best of Nordic photography:

Statement :
A selection of eight galleries from the guest countries will present solo exhibitions by emerging contemporary artists:
Axel Antas, Heino-Helsinki
Maria Hedlund, FlachGeiger - Stockholm
Per Bak Jensen, Bo Bjerggaard - Copenhague
Eline Mugaas, Riis -Oslo
Annèe Olofsson, Mia Sundberg -Stockholm
Heli Rekula, Anhava -Helsinki
Hrafnkell Sigurdsson, i8 -Reykjavik
Trine Søndergaard & Nicolai Howalt, Martin Asbaek Projects - Copenhague

Central Exhibition:
A presentation of five prominent female artists, defended by a museum from their country
Charlotte Gyllenhammar, Sweden
Ulla Jokisalo, Finland
Astrid Kruse Jensen, Denmark
Ruri, Iceland
Mette Tronvoll, Norway

Project Room: “The Singing, Swinging North”
A broad survey of current Nordic video art from emerging artists. Entitled “The Singing, Swinging North,” the selection emphasizes music as an essential common element among young Nordic artists.

The art critic and freelance curator Andrea Holzherr curated The Nordic Countries – Guests of Honour. The project has been supported by the five Nordic embassies in Paris and the Nordic Council. The Project Room has benefited from the support of Nordea Investment Fund SA.

The BMW - Paris Photo Prize
For the third consecutive year the BMW-Paris Photo Prize will be awarded to an artist represented by a gallery participating in Paris Photo. The theme for 2006 is “Pleasure. Distilled.” A panel of international experts will choose the winner of this 12,000 euro prize on Thursday 16 November. The works by the 13 finalists will be on display during Paris Photo.
Shortlisted artists :
Axel Antas , Mathieu Bernard-Reymond , Stéphane Couturier , Denis Darzacq , Touhami Ennadre , Mitch Epstein , Pierre Faure , Beate Gütschow ,Trine Sondergaard & Nicolai Howalt, Mona Kuhn, Mario A , Tomio Seike , Alex Ten Napel

Close-up: privileged access for collectors to what’s happening in photography in Paris
The Close Up/Private Viewing programme offers invited collectors and art professionals VIP access to the latest on the photography scene. In November, Paris will be the world capital of photography with the Mois de la Photo which includes exceptional exhibitions such as Candida Höfer at the Louvre, La donation photographique de la Caisse des Dépôts at the Pompidou Centre, Lee Friedlander at the Jeu de Paume, La photographie de Maurice Denis at the Musée d’Orsay and Regarder Vu: un magazine photographique 1928-1940 at the Maison Européenne de la Photographie.

Details

Dates:Thursday, November 16th – Sunday, November 19th, 2006
Opening by invitation only: Wednesday, November 15th 7:00 pm – 10:00 pm

Venue:Carrousel du Louvre, 99 rue de Rivoli, 75001 Paris

Opening hours:
Thursday, November 16th from 11:00 am to 8:00 pm, Friday, November 17th from 11:00 am to 9:00 pm, Saturday, November 18th from 11:00 am to 8:00 pm, Sunday, November 19th from 11:00 am to 7:00 pm

General admission: reduced price for students and groups

Advance purchase tickets available at:
France Billet: http://www.France-billet.com T: +33 (0) 1 41 57 32 28*
Ticketnet: http://www.ticketnet.fr T: +33 (0) 1 46 91 57 67*

Travel: for your travel arrangements and accommodations, please take advantage of our partnership with :
Turon Travel Inc
2 Wooster Street
New York, NY 10013
T: +1 212 925 54 53
E-mail: parisphoto@turontravel.com
http://www.turontravel.com

Media liaison:
Guillaume Piens - Paris Photo
Reed Expositions France, 11 rue du Colonel Pierre Avia
75726 Paris Cedex 15
Tel: 33 (0) 1 41 90 48 91
Fax: 33 (0) 1 41 90 48 59
E-mail: guillaume.piens@reedexpo.fr

List of selected galleries :

798 Photo Gallery (Beijing), Luis Adelantado (Valencia), Agathe Gaillard (Paris), Juana de Aizpuru (Madrid), Oliva Arauna (Madrid), Art 75 Galerie Yves Di Maria (Paris), Ausstellungsraum25 (Zurich), B&D (Milan), Baudoin Lebon (Paris), Bonni Benrubi (New York), Daniel Blau (Munich), Janet Borden (New York), Brancolini Grimaldi Arte Contemporanea (Florence), Camera Obscura (Paris), Camera Work (Berlin), Michèle Chomette (Paris), Clairefontaine (Luxembourg), Charles Cowles (New York), Anne de Villepoix (Paris), Deborah Bell Photographs (New York), Estiarte (Madrid) Johannes Faber (Vienna), Fifty One Fine Art Photography (Antwerp), Les Filles du Calvaire (Paris), Flatland (Utrecht), Foley (New York), Eric Franck Fine Art (London), Fucares (Madrid), Galerie 1900-2000 (Paris), Galerie f 5,6 (Munich), Hyundai (Seoul), GB Agency (Paris), Gitterman Gallery (New York), Howard Greenberg (New York), Hamiltons (London), Robert Hershkowitz (Sussex, UK), Michael Hoppen (London),
Edwynn Houk (New York), Charles Isaacs Photographs (New York), Jackson Fine Art (Atlanta), Galerie du Jour agnès b. (Paris), Robert Klein (Boston), Van Kranendonk (The Hague), Hans P. Kraus, Jr. (New York), Alain Le Gaillard (Paris), Lumière des Roses (Montreuil), Galerie m Bochum (Bochum), M+B (Los Angeles), Magnum Photos (Paris), Max Estrella (Madrid), Mem (Osaka), Laurence Miller (New York), Robert Miller (New York), Yossi Milo (New York), Priska Pasquer (Cologne), Ton Peek Photography (Utrecht), Moises Perez de Albeniz (Pamplona), Photo & Contemporary (Turin), The Photographers’ Gallery (London), Picture Photo Space (Osaka), Serge Plantureux (Paris), Polaris (Paris), Le Réverbère (Lyon), Yancey Richardson (New York), Rose Gallery (Santa Monica), Sfeir-Semler (Hamburg), Bruce Silverstein Photography (New York), Galeria Filomena Soares (Lisbon), Staley-Wise (New York), T20 (Murcia), Taik gallery (Helsinki), Toluca (Paris), Torch (Amsterdam), Galerie Lydie Trigano (Paris), Van der Grinten (Cologne), Vintage (Budapest), Vu’ la Galerie (Paris), Esther Woerdehoff (Paris), Thomas Zander (Cologne), Van Zoetendaal (Amsterdam)

PUBLISHERS: Antiquariaat L. van Paddenburgh (Leiden), Franck Bordas (Paris), Librairie La Chambre Claire (Paris), Filigranes Editions (Trézélan), Harper’s Books (East Hampton), Hatje Cantz Verlag (Stuttgart), J.J Heckenhauer (Berlin), Journal (Stockholm), Librairie 213 (Paris), Lodima Press (Revere/USA), Florence Loewy (Paris), Tissato Nakahara (Paris), Denis Ozanne (Paris), Phaidon (Paris/London), The Photographers Bookshop (London), Schaden.com (Cologne), Steidl (Gottingen), Taschen (Paris)

STATEMENT NORDIC COUNTRIES: Anhava (Helsinki), Bo Bjerggaard (Copenhagen), Galleri FlachGeiger (Stockholm), Heino (Helsinki), i8 (Reykjavik), Martin Asbaek Projects (Copenhagen), Riis (Oslo), Mia Sundberg (Stockholm).

Paris Photo details:

Location: Le Carrousel du Louvre, 99 rue de Rivoli, 75001 Paris
Dates: Thursday 16th November to Sunday 19th November, 2006.
Opening night: Wednesday 15th November, 7 pm – 10 pm

Opening Hours
Thursday 16th November, 11 am – 8 pm
Friday 17th November, 11 am – 9 pm
Saturday 18th November, 11 am – 8 pm
Sunday 19th November, 11 am – 7 pm

Further information: http://www.parisphoto.fr

Press and Media Coordinator: Guillaume Piens – Paris Photo
Reed Expositions France: 11 rue du Colonel Pierre-Avia – BP 571 – 75726 Paris Cedex 15 –
Phone + 33 (0) 1 41 90 48 91 – Fax + 33 (0) 1 41 90 48 59
E-mail: guillaume.piens@reedexpo.fr

For more information go to: http://www.parisphoto.fr

Orange County Museum of Art

2006 California Biennial
On view through December 31
Orange County Museum of Art

Orange County Museum of Art
850 San Clemente Drive
Newport Beach, CA 92660
949.759.1122 x202
http://www.ocma.net

The Orange County Museum of Art presents the 2006 California Biennial, the latest in an important series of biennials organized by the museum that reflect the region’s vital contributions to the art world. Showcasing more than 30 of California’s most exciting and innovative young artists and collectives, this year’s biennial includes more than 125 works in all media-from large-scale installations and wall drawings to film, video, and audio works, sculptures, paintings, and works on paper.

During the past two years, the biennial curators conducted numerous studio visits throughout California. In selecting participants for the 2006 California Biennial, the curators focused on artists whose new works reflect art trends from California, the diverse communities we live in, and the rich and varied cultures we experience. And, as in previous biennials, this year’s artists represent a wide range of geographical locales and artistic orientations. While all the artists live in California, the exhibition is, like the state, international in scope and flavor, featuring artists born in countries as diverse as Yugoslavia, Norway, the United Kingdom, Vietnam, Taiwan, Germany, and the Philippines. Many artists represented in the exhibition assume multiple roles as archivist, anthropologist, critic, curator, performer, and social activist, and as a result, the show includes works addressing a range of topical, art historical, formal, and philosophical issues.

Artists in this year’s Biennial include Andy Alexander, Christopher Ballantyne, Walead Beshty, Bull_Miletic, Jane Callister, Binh Danh, Sergio De La Torre, Shannon Ebner, Ala Ebtekar, Brian Fahlstrom, Kianga Ford, Pearl C. Hsiung, Marie Jager, Shana Lutker, Christian Maychack , Martin McMurray, Joel Morrison, My Barbarian, Kate Pocrass, Lordy Rodriguez, Arturo Ernesto Romo, Sterling Ruby, Leslie Shows, Speculative Archive, Tim Sullivan, Hank Willis Thomas, Nicolau Vergueiro, Goody-B. Wiseman, Mario Ybarra Jr., and Amir Zaki.

Initially the curators wanted to steer clear of an overarching curatorial premise, but after casting a wide net, they identified six prominent themes: extreme Object Makers—exquisitely rendered works that mutate traditional forms and media to create new hybrids; Social Interaction—works that engage viewers to interact in particular social spaces, constructed or identified by the artists and calling attention to popular culture and everyday life; Urban ecologies—art that responds to the natural and built environment, including urban, suburban, and entropic landscapes; Historical and Archival Consciousness—archiving and adapting images and text from the flow of history and contemporary political events; Fantasy Verité—the resurgent interest in work that draws upon unconscious desire, dreamlike imagination, and absurd humor as a strategy; and Appropriated Identities—artists who use themselves as both subject and object to construct personal, social, and/or multiple identi
ties.

The Biennial is organized by Elizabeth Armstrong, the Orange County Museum of Art’s deputy director for programs and chief curator; Karen Moss, curator of collections and director of education and public programs; and consulting curator Rita Gonzalez.

A full-color exhibition catalogue accompanies the Biennial with introductory essays by the exhibition curators, as well as short entries on each of the Biennial artists by the curators and guest writers: Kristin Chambers, Aimee Chang, Michael Ned Holte, Jan Tumlir, and Glen Helfand.

Orange County Museum of Art is located in Newport Beach, California. For information, visit http://www.ocma.net.

The California Biennial received leadership support from James B. Pick and Rosalyn M. Laudati. The exhibition is presented by Deutsche Bank. Significant funding is provided by Gilbert E. and Victoria LeVasseur, Charles and Twyla Martin, Louise Merage, the Nimoy Foundation, the Peter Norton Family Foundation, and Barbara and Victor Klein. Additional support was received from Arts Orange County and Orange County Community Foundation, Theory, Phyllis and John Kleinberg, and Elliot Leonard and Roger Litz. Media sponsorship is provided by 89.9 FM KCRW and OC Weekly.

For more information go to: http://www.ocma.net

Tate Modern

Tate Modern’s L2 Gallery presents a new series of contemporary displays

Tate Modern presents a new series of displays dedicated to showcasing the latest trends in contemporary art. The displays will be held in Level 2 Gallery which is located close to the gallery’s North Entrance facing the river.

Tate Modern’s L2 Gallery presents a new series of contemporary displays

Tate Modern presents a new series of displays dedicated to showcasing the latest trends in contemporary art. The displays will be held in Level 2 Gallery which is located close to the gallery’s North Entrance facing the river.

Rings of Saturn, which runs until 3 December, is the first in this new series of displays. The title is inspired by W.G. Sebald’s voyages of cultural discovery and the exhibiting artists share a fascination with bohemianism, indigenous arts and crafts, folk culture, fairytales, paganism and heroes. Artist whose work is presented include Steve Claydon, Natalie Djrberg, Saul Fletcher, Thomas Helbig, Dorota Jurczak, David Noonan, David Wojnarowicz and Thomas Zipp. A myriad of subjects are explored, including overlooked historical figures and alternative lifestyle models, as well as forgotten political and utopian movements. Other works reinvigorate the legacies of Expressionism and Surrealism through the use of psychic energy.

Media Burn is the second in this new series and runs from 15 December until 11 February. Taking it’s title from a 1975 Ant Farm work in which a Cadillac drives through a wall of blazing TV screens, this provocative display mixes works from the 1970s and 80s with contemporary pieces to examine the blurred boundaries between art, politics, protest and the media. The featured artists are Ant Farm, Wynne Greenwood, K8 Hardy, Sharon Hayes, Peter Kennard, Josephine Meckseper, Valérie Mréjen, Martha Rosler and Jens Ullrich. Martha Rosler’s incisive collages offer a commentary on the Iraq war, whilst Valérie Mréjen’s hypnotic essay explores the limited horizons of a 1970s French housewife. Jens Ullrich presents documentary photographs of demonstrations in which the placards have being doctored to become meaningless and Josephine Meckseper’s specially commissioned shop window display seemingly tempts viewers with a glistening array of consumer goods but, on
closer inspection, offers a serious message about today’s consumerist culture.

For more information go to:

Siemens Arts Program

Academy. Learning from Art
September 15 – November 26, 2006
MuHKA, Museum van Hedendaagse Kunst Antwerpen, Belgium
http://www.muhka.be

Academy. Learning from the Museum
September 16 – November 26, 2006
Van Abbemuseum, Eindhoven, The Netherlands
info@vanabbemuseum.nl

Further information and Press contact:
Siemens Arts Program
Annika Schoemann
T: +49 /89 / 63 63 35 08
annika.schoemann@siemens.com
http://www.siemensartsprogram.com

MuHKA, Museum van Hedendaagse Kunst Antwerpen
Leuvenstraat 32
2000 Antwerp, Belgium
Phone: +32 32 60 99 99
Fax: +32 32 16 24 86
info@muhka.be
http://www.muhka.be

Van Abbemuseum
Bilderdijklaan 10
5611 NH Eindhoven, The Netherlands
Phone: +31 40 238 1000
Fax: +31 40 246 0680
info@vanabbemuseum.nl
http://www.vanabbemuseum.nl

Talks
“Teaching, Learning, Research and Crossovers in further Education”
November 16 and 21, 2006, 10 am–5 pm
With Koen Brams, Max Bruinsma, et al.
MuHKA, Antwerp

Round Table
“Art and Public Space”
November 23, 2006, at 2 pm
With Sven Augustijnen, Nico Dockx, Luc Tuymans, Jeroen Boomgaard, et al. (in Dutch)
MuHKA, Antwerp
“Concepts and views on research and PHD’s in the arts”
With Chantal De Smet, Mark De Belder, Hans De Wolf, Wim De Temmerman, Maarten Vanvolsem (in Dutch)
November 26, 2006, at 2 pm
MuHKA, Antwerp

“Research Department” by Apolonija Sustersic
November 2006,
MuHKA, Antwerp

Preparatory Conference
“Summit for Non Aligned Initiatives in Culture Education”
November 16, 2006, 6-9pm @ yourspace
With Kodwo Eshun, Susanne Lang, Irit Rogoff, Florian Schneider, Nicolas Siepen and Nora Sternfeld
Van Abbemuseum, Eindhoven

NBK Neuer Berliner Kunstverein

Ira Schneider
Mysteries in Reality
Hannah Höch Prize 2006

Opening: 3 November 2006, 7 pm
4 November – 17 December 2006

Neuer Berliner Kunstverein
Chausseestr. 128-129
D-10115 Berlin
+49-30-280 70 20
http://www.nbk.org

Ira Schneider was born in 1939 in Manhattan into a family who, in 1947, were the first on their street to own a television. The 8-year-old’s fate is sealed, and several decades and 250,000 hours of television viewing later he stops counting. Obsessed with media technology and imagery, Ira Schneider becomes a “televisor”, filmmaker, visionary video artist and proponent, co-founder and publisher of the journal Radical Software – the most important voice of the US video community in the 1970s – and co-author of the first standard work on the then new media: Video Art. An Anthology.

For these achievements the video pioneer Ira Schneider, who has been living in Berlin since the 1990s, will be honoured with the Hannah Höch Prize of the Berlin Ministry of Science, Research and Culture and an exhibition in the Neuer Berliner Kunstverein (NBK – New Berlin Art Association). The exhibition will also contain a concentrated insight into Schneider’s photographic work, and thus enable a comprehensive view of his life’s work.

The exhibition will be accompanied by a bilingual (German/English) catalogue with a greeting by Thomas Flierl and texts by Katja Albers, Kathrin Becker, Davidson Gigliotti, Frank Gillette, Matthias Harder, Brigitte Hausmann, Wulf Herzogenrath, Willoughby Sharp, Alexander Tolnay and Peter Weibel.

Opening hours:

Tue. – Fri. 12 am – 6 pm
Sat. + Sun. 2 – 6 pm
Free admission

Accompanying Programme

15 November 2006, 7 pm
in the series “Treffpunkt NBK”:
“In and out of Context”. Excerpts from recent video works by Ira Schneider, winner of the Hannah Höch Prize for 2006.

For further information please contact us direct or visit our website:

Neuer Berliner Kunstverein
Chausseestr. 128-129
10115 Berlin
Germany

Phone: +49-30-280 70 20
Fax: +49-30-280 70 19
mailto: nbk@nbk.org
http://www.nbk.org

For more information go to: http://www.nbk.org

ARTPACE San Antonio

ARTPACE ANNOUNCES NEW EXECUTIVE DIRECTOR MATTHEW J. W. DRUTT

Matthew J. W. Drutt, former Chief Curator at The Menil Collection in Houston, Texas has been appointed executive director of Artpace San Antonio. A search committee headed by board chairperson Jeanne Klein and Artpace founder and trustee Linda Pace announced that Drutt will assume his post September 25, 2006.

Matthew J. W. Drutt, former Chief Curator at The Menil Collection in Houston, Texas has been appointed executive director of Artpace San Antonio. A search committee headed by board chairperson Jeanne Klein and Artpace founder and trustee Linda Pace announced that Drutt will assume his post September 25, 2006.

“Matthew has a broad range of experience, from curatorial to long-range strategic planning, which will prove invaluable at this pivotal point in Artpace’s history,” stated Klein. Adds Pace, “He will be an outstanding leader at Artpace and in the San Antonio art community, but an important player in the international art world as well.”

Drutt most recently served as Chief Curator at The Menil Collection, Houston, TX. During his five years at the Menil, he played an instrumental role within the museum management team. With extensive fundraising experience, Drutt was also deeply involved with all budget planning and departmental reporting, exhibition and collections planning, in addition to capital projects.

Prior to moving to Houston, Drutt was Curator at the Solomon R. Guggenheim Museum in New York, NY, while simulatenously holding the title of Adjunct Professor at Columbia University’s Graduate School of Art. Drutt received his BA in Fine Arts and Russian, Cum Laude, from New York University, New York, NY and his MA in Art History from Yale University, New Haven, CT. He also participated in the Getty Museum Leadership Institute at The Getty Center, Los Angeles, CA.

“Artpace’s dedication to fostering experimentation and creativity in the visual arts is a model for residency programs around the world,“ states Drutt. “I look forward to leading this vital institution as it endeavors to continue challenging and redefining itself and its resident artists, enabling Artpace to strive for and achieve the highest standards of quality.”

While at the Menil Collection, notable exhibitions and projects Drutt organized include: Robert Gober: The Meat Wagon (2005-2006); Olafur Eliasson: Photographs (2004); Kazimir Malevich: Suprematism, co-organized by the Solomon R. Guggenheim Foundation, New York, NY (2003– 2004); and Vik Muniz: Model Pictures (2002). Other exhibitions of note include: Amazons of the Avant-Garde, Six Russian Artists: Alexandra Exter, Natalia Goncharova, Liubov Popova, Olga Rozanova, Varvara Stepanova, and Nadezhda Udaltsova, Deutsche Guggenheim Berlin; Royal Academy of Arts, London; Peggy Guggenheim Collection, Venice; Guggenehim Museum Bilbao; Solomon R. Guggenheim Museum, New York, NY; Tretiakov Galllery, Moscow (1999-2001); Contemporary Photography: An Expanded View, Guggenheim Museum Bilbao, Spain (1999–2000); and Max Beckmann in Exile, Guggenheim Museum SoHo, New York, NY (1996-1997).

Select awards Drutt has received include Chevalier de l’Ordre des Arts et des Lettres (2006) and Best Monographic Exhibition Organized Nationally: Kazimir Malevich: Suprematism, International Association of Art Critics (2003). A respected author, Drutt has an extensive publishing history in association with the exhibitions he has organized.

Various boards and committees Drutt is currently on or has served in capacity include: Dokumenta International Advisory Board, Kassel, Germany (2006); Founding Vice-President, The Arts Initiative, Houston, TX (2005–present); Voting Member, CINAM (International Committee of Museums of Modern Art/ICOM) (2003 – present); Art Advisory Board, American Academy, Berlin, Germany (2005–07); and Juror, Lucelia Artist Award, Smithsonian Institution, Washington, D.C. (2002).

A frequent lecturer across the globe, recent engagements include: To Be A Director?, invitational roundtable discussion, Getty Leadership Institute, Los Angeles, CA (2006); Aspen Curatorial Dialogues, speaker, Aspen Art Museum, Aspen, CO (2004); Strategies for Building A Collection, panel discussion, The New Museum, New York, NY (2004); Kazimir Malevich: Suprematism, Deutsche Guggenheim Berlin, Berlin, Germany (2003); Dokumenta XI: The Absence of Curatorial Dictatorship and the Abandonment of the Viewer, Glassell School of Art, Museum of Fine Arts, Houston, TX (2002); Looted Art and Provenance Research Problems, Metropolitan Museum of Art, New York, NY (2000) and Video-Performance, RAI, Rome, Italy (1998).

“From his vast experience, knowledge, and high regard in the international art world, Matthew is the right person at the right time to lead Artpace through this unprecedented growth period,” acknowledges Pace.

Drutt will be moving to San Antonio with his wife, curator Claudia Schmuckli.

The search was conducted by Linda Sweet of the executive search firm Management Consultants for the Arts, Inc.

About Artpace
Artpace San Antonio serves as a laboratory for the creation and advancement of international contemporary art. Artpace believes that art is a dynamic social force that inspires individuals and defines cultures. Our residencies, exhibitions, and education programs nurture the creative expression of emerging and established artists, while actively engaging youth and adult audiences.

Artpace is located downtown at 445 North Main Avenue, between Savings and Martin streets, San Antonio, Texas. Free parking is available on the corner of Savings and N. Flores streets. Artpace is open to the public Wednesday through Sunday, 12-5 PM, Thursday, 12-8 PM, and by appointment. Admission is free.

Artpace San Antonio is supported by Kronkosky Charitable Foundation, Melva Bucksbaum and Raymond Learsy, The Andy Warhol Foundation for the Visual Arts, Neiman Marcus, Nimoy Foundation, Valero Energy Corporation, Texas Commission on the Arts, H-E-B, a grant from the Ruth Lang Charitable Fund of the San Antonio Area Foundation, the William and Salomé Scanlan Foundation, AT&T, The Nordan Trust, Matthews Family Foundation, Target, The Brown Foundation, Inc., the Amy Shelton McNutt Charitable Trust, the Make Your Mark Circle, and the Friends of Artpace.

For more information go to: http://www.artpace.org

What remains is future

What remains is future
An exhibition about the current artistic reality,
as part of the events for the Cultural Capital of Europe, Patras 2006

Exhibition curator, publication editor: Nadja Argyropoulou
Organiser: Angeliki Antonopoulou, a.antonopoulou.art

23 September – 19 November, 2006
Old Arsakion School, 19 Mezonos Street, Patras, Greece

What exactly does it mean to be a ‘young Greek artist’ in the early 21st century? What is the role of the Greek artist in this ‘expanding’ youth of which it has been said that it prefers to create the future because predicting it is boring? What questions is art called upon to answer and, more crucially, what questions is it expected to pose? In what language will it do this, what is its scope and its audience? How does it handle what remains so that it can define what lies in the future?

The exhibition What remains is future was organised as an invitation to young Greek artists to ‘occupy’ and reorganise with their works one of the most distinctive and interesting places of educational activity in modern Greek history: the Arsakios Teachers’ Academy of Patras.

Unfolding over the three floors of the School, in an area of almost 3,000 sq. m., and with over 80 works –most of which were made for the Cultural Capital and the specific site of the Arsakion– the show is more a snapshot of an artistic synergy rather than a closed theoretical concept or an ‘exhaustive’ curatorial approach to the “new generation of Greek visual artists”. At the same time it is a starting point for expanding the relation of artists and their works with everyday life and its languages: musical culture, unconventional typography, e-zines, cinema and television, extra-institutional events, fashion, advertising, graphic design, street poetry, the post-9/11 urban reality, the political impasses and the new architectural utopias, local traditions and international practices, education and the nomadism of people and ideas.

Through its production procedures –the creation of new specific works and the recording of this process – the exhibition aspires to reflect the vitality, the momentum of current artistic activity in Greece. It aims also to touch upon the question of ‘continuity’ and influences (as they appear in the learning process, but also in the sense of subversion – what remains is what we keep but mostly what we discard), and so it includes works or group projects by some artists from a slightly older generation whose members teach (and thus generate a specific zeitgeist, a dynamic artistic atmosphere) at educational institutions in Greece (mostly regional – Universities of Patras, Volos, etc.) or abroad.

A main tool for expanding the scope of the exhibition is a series of four fanzines published successively during the show. As one can see in the first two issues that have come out so far, with contributions by artists, theoreticians, people from other fields, not necessarily associated with the show as well as by the public, these fanzines are not just an ‘alternative’ catalogue; they are a way of complementing with speech –free as to its subjects and unconventional or not– the picture of this (controversial) present which will remain as future. The last fanzine, to be published at the end of the exhibition, will include the reviews written about it, a survey/art project on the public that visited it and the project “Four discussions at four student homes”. The latter, organised by students and teachers of the Architecture department of the University of Patras, is about everyday student life as the boundary between a current and a future position, its relation to art and ed
ucation, etc. Overall, these fanzines and the exhibition will hopefully document our own “memories of the future (to borrow a paradox from the sci-fi extravaganza of the ‘80s).

For the full list of artists please visit:
http://patras2006.gr/en/modules/extcal/event.php?event=244

Organising & communication assistants: Katerina Panagopoulou, Marina Vranopoulou
Communication consultant: Alexandros J. Stanas
For more information and photographic material please contact: Email: nadjaarg@otenet.gr, aaart@otenet.gr tel: +30 2103214994 , fax: +30 2103214263, +30 2108047560

For more information go to: http://patras2006.gr/en/modules/extcal/event.php?event=244

Malba – Colección Costantini

Malba turns five having received more than 1,600,000 visitors

Malba – Colección Costantini
Avda. Figueroa Alcorta 3415
C1425CLA Buenos Aires, Argentina
T +54 (11) 4808 6500
F +54 (11) 4808 6598/99
info@malba.org.ar
http://www.malba.org.ar

Last September 21, Malba celebrated its fifth birthday, having received more than 1,633,780 visitors. Since it opened its doors on September 21, 2001, more than 130,000 school students have explored the museum; 250,000 people have attended the cinema and almost 30,000 have taken part in literature and education courses.

The museum has a permanent collection of Latin American art; the collection includes a wide range of pieces, spanning from 20th century avant-garde movements to contemporary art. It has 335 works by 134 artists from Argentina, Uruguay, Brazil, Mexico, Ecuador, Cuba, Colombia, Venezuela and Chile such as Frida Kahlo, Roberto Matta, Diego Rivera, Joaquín Torres-García, Tarsila do Amaral, Helio Oiticica, Liliana Porter, Guillermo Kuitca, Pablo Siquier and others.

In the short term, it is expected that the Buenos Aires city government will approve a project to expand the museum building. The aim of this project is to create new exhibition rooms and spaces to carry out more educational programs. Indeed, the plan is to increase the museum’s surface area to make it possible to exhibit new works obtained through the Acquisition Plan and contain the national film archive together with INCAA (Instituto Nacional de Cine y Artes Audiovisuales) and APROCINAIN (Asociación de Apoyo al Patrimonio Audiovisual).

Exhibitions
Of the shows held to date, Antonio Berni y sus contemporáneos. Correlatos (March 11 / May 23, 2005) received the greatest number of visitors: 110,681 people. It was followed by Dada y surrealismo en la colección de Vera y Arturo Schwarz, Museo de Israel, Jerusalén (March 12 / May 25, 2004), with 98,120 visitors.

Year after year, the museum has grown in terms of its cultural activities as well as the number of visitors:

- 2002: 201,739 visitors
- 2003: 309,188 visitors
- 2004: 332,806 visitors
- 2005: 428,386 visitors

Fifty-four temporary shows have been held, including eighteen editions of the Contemporary program, dedicated to current, local and regional art. Starting in 2002, the collection’s patrimony has grown thanks to the incorporation of artists from the younger generations through donations and loans, and, in 2004, the launching of the Acquisition Program.

Crucial to the museum’s growth and development, starting in 2005 several of the exhibitions produced by Malba have been shown at other museums around the world, reinforcing Malba’s presence on the world art scene:

- Xul Solar. Visiones y revelaciones was shown at Pinacoteca do Estado de São Paulo, Brazil; The Museum of Fine Arts, Houston, and Museo Tamayo Arte Contemporáneo, Mexico City.

- Víctor Grippo. Una retrospectiva. Obras 1971-2001 was shown at Miami Art Central (MAC).

It is important to emphasize that, from the beginning, Malba has placed great importance on education. In addition to the regular programs of guided tours of the permanent collection and temporary exhibitions for a wide range of publics (children, youth, families, senior citizens, the blind and visually impaired), in 2006 the museum created new projects for people with mental disabilities, the deaf and the hearing impaired.

Malba.cine
Over the last two years, malba.cine has become a key alternative for a demanding public eager to see films not included on the commercial circuit. The number of viewers has grown 40% since 2004. Every month new programs are organized, including a major cycle that consists of tributes and films on a given theme (approximately twelve per year), new copies of classics and restored films.

In 2006, there have been outstanding international pre-debuts including La pesadilla de Darwin, by Hubert Sauper; The World, by Jia Zhang-ke; Mondovino, by Jonathan Nossiter; Five (dedicated to Ozu), by Abbas Kiarostami and Triple agente, by Eric Rohmer.

Malba is the seat of the Buenos Aires Festival Internacional de Cine Independiente (BAFICI). Since 2004, as part of the festival, the museum has organized an exhibition of a director as well as a retrospective of his or her films: Glauber Rocha (April-May, 2004); Chantal Akerman. (April-May, 2005) and Abbas Kiarostami (April-June 2006).

Malba.literature
Thanks to its weekly activities, almost 20,000 people have participated in the malba.literatura activities, which are mostly free of charge. Through conferences, roundtables, courses, book presentations and interviews with writers, in 2006 the public to attend these events was considerably larger than in previous years.

Since its creation, outstanding international figures have accepted the invitation from malba.literatura to give seminars and conferences. The museum has hosted personalities such as Paul Auster, José Saramago, Slavoj Zizek, David Lodge, Hanif Kureishi, Siri Husvedt, Alejandro Jodorowsky and others.

Press contact: Elizabeth Imas / Guadalupe Requena. T +54 (11) 4808 6507/6520 | F +54 (11) 4808 6599 | eimas@malba.org.ar | prensa@malba.org.ar

For more information go to: http://www.malba.org.ar