Artipedia - Arts News

Artscape

GIBRALTAR POINT INTERNATIONAL ARTIST RESIDENCY PROGRAM
ON TORONTO ISLAND,
TORONTO, CANADA

Artscape is currently accepting applications for the Gibraltar Point International Artist Residency Program taking place June 1 – 30, 2007.

Submission Deadline:
February 21, 2007, 4pm EST
2007 Program Dates: June 1 – 30

For further information including the Guidelines for Submissions, Application Form and Answers to Frequently Asked Questions, please visit Artscape’s website at http://www.torontoartscape.on.ca/gpiarp

ABOUT THE GIBRALTAR POINT INTERNATIONAL ARTIST RESIDENCY PROGRAM
The Gibraltar Point Residency transcends political, aesthetic and geographic boundaries, welcomes diversity and provides a spawning ground for unique cultural alliances. The program is open to Canadian and international artists who are engaged in the research, development or creation of work. Emerging, mid-career and established professional artists are invited to apply. Participants in the residency program receive accommodation, a private work studio and all meals at no cost. Travel and material costs are the responsibility of participating artists.

The residency program aims to further the professional development of artists by: enabling the creation and production of new work; fostering an exchange of ideas and influences; encouraging the sharing of expertise; inspiring new works of art and creative collaborations; and building relationships between artists working in different media. The program is designed and managed by Artscape and takes place for a single 30-day term each calendar year at the Gibraltar Point Centre for the Arts on Toronto Island.

ABOUT THE GIBRALTAR POINT CENTRE FOR THE ARTS AND TORONTO ISLAND
Situated on the south-western beachfront of Toronto Island, The Gibraltar Point Centre for the Arts owes its name to its location marked by Toronto’s oldest landmark – the Gibraltar Point Lighthouse, which was erected in 1808. Operated by Artscape, this 30,000 square foot unique facility provides permanent studio space to more than a dozen artists and a Retreat Centre which can be rented for a variety of functions. In addition to hosting the Residency Program, the Gibraltar Point Centre for the Arts features Artscape Lodge; a short-term rental service with accommodation and work studios for up to 13 visiting artists.

Toronto Island is a peaceful 230-hectare natural park in Toronto’s harbour, a short 15-minute ferry ride from the thriving downtown core of Canada’s cultural capital. The Island is part of the Carolinian Zone which includes flora and fauna not found anywhere else in Canada. Naturalized areas and wildlife reserves make it a popular stopover point for southern song birds. The Island is also home to approximately 800 individuals whose remarkable community boasts one of the highest per capita populations of artists in Canada and is the largest urban car-free community in North America.

Mail submissions to:
GIBRALTAR POINT INTERNATIONAL ARTIST RESIDENCY PROGRAM
Artscape
Suite 111 – 60 Atlantic Avenue
Toronto, Ontario M6K 1X9
Canada

Submission Deadline:
February 21, 2007, 4pm EST
2007 Program Dates: June 1 – 30

GUIDELINES FOR SUBMISSIONS, APPLICATION FORM AND ANSWERS TO FREQUENTLY ASKED QUESTIONS CAN BE FOUND AT http://www.torontoartscape.on.ca/gpiarp

For questions regarding the Gibraltar Point International Artist Residency Program please contact by email only residency@torontoartscape.on.ca

The Gibraltar Point International Artist Residency Program is hosted and managed by Artscape with the generous support of the City of Toronto and the Ontario Arts Council

Celebrating its 20th anniversary this year, Artscape is a Toronto-based non-profit enterprise that unlocks the creative potential of people and places. Artscape’s work encompasses building creative places, developing creative districts and clusters, and cultivating cities on a local, national and international level. http://www.torontoartscape.on.ca

For more information go to: http://www.torontoartscape.on.ca/gpiarp

Americas Society

Vis-à-Vis
Dialogues Between Artist and Curators:
AA Bronson and Linda J. Park

Wednesday 13 December, 6:30 pm

Americas Society
680 Park Avenue
New York, NY 10021
T: (212) 249 8950
F: (212) 249 5868
culture@americas-society.org
http://www.americas-society.org

Over a decade after the death of his two artistic partners, AA Bronson has focused on creating work that confronts the experience of personal loss, trauma, and individual identity. Outside of the collaborative group General Idea, which defined his life and work for twenty-five years, AA Bronson continues to traverse the borderline between the private and public domain, to merge life with art, and the social and political with the making of art.

AA Bronson’s work focuses on death and disease, and individual and collective trauma, as well as illusion and identity. His well-known billboard-sized portrait of Felix Partz on his deathbed, exhibited at the 2002 Whitney Biennial, is a poignant example. This image is at once a memorial to his partner, a stark portrayal of the ravages of AIDS, and an art-historical reference to Gustav Klimt and the “fin de siecle”. Combining text and images, the artist’s ongoing series of self-portraits—including “The Hanged Man”, and the diaristic writings of “Negative Thoughts” and “Mirror Mirror”—are intimate inquiries into the connection between body, mind, history and memory. Most recently, AA Bronson’s has increasingly tied aesthetic experience to alternative healing practices as a means of investigating who we are and how we bear witness to the transitory nature of life.

Linda J. Park is a Program Officer at the New York Foundation for the Arts. Prior to joining NYFA, Ms. Park was a curatorial and arts management consultant at Howell Art & Design, NYC. From 2001 to 2004, Ms. Park was the Curatorial and Development Associate at Downtown Arts Projects and worked extensively with US and Canadian artists. She has curated and organized individual artist projects, group exhibitions, as well as been involved in developing career resource programs. Ms. Park was the Principal Organizer of Brewster 2003 Collaborations, a public art project in upstate New York, and her writing has been in published in periodicals such as Read Baby (Art & Culture), Latitute 53, and See Magazine.

This public dialogue with AA Bronson will explore the range of the artist’s life and work.

The event will take place at Americas Society. It is free, open to the public and wheelchair accessible.

Please RSVP by calling 212.277.8359 or emailing culture@americas-society.org.

_______________________________________________________________________

A Principality of its Own
40 Years of Visual Arts at the Americas Society

The publication presents fifteen scholarly and critical essays by a diversity of art historians and curators who examine various aspects of the history of Latin American art in the United States. They discuss the relevance of the Americas Society’s trajectory vis-à-vis the intricate relationships between art, economics, and politics since the institution’s 1965 founding in New York City by David Rockefeller.

Beverly Adams - Alexander Alberro - Alexander Apóstol - Cecilia Brunson
Luis Camnitzer - Thomas B.F. Cummins - José Luis Falconi - Andrea Giunta
Nicolás Guagnini - Paulo Herkenhoff - Anna Indych-López - Luis Pérez Oramas
John Pruitt - Gabriela Rangel - Sofía Sanabrais - Mary Schneider Enriquez

Published in 2006 by the Americas Society in conjunction with the Colección Patricia Phelps de Cisneros and the David Rockefeller Center for Latin American Studies. Distributed by Harvard University Press.

_______________________________________________________________________

ABOUT US

The Americas Society is the premier national not-for-profit institution dedicated exclusively to educating U.S. public about all facets of their Western Hemisphere neighbors. Its purposes are to foster an understanding of the contemporary political, social and economic issues confronting Latin America, the Caribbean and Canada, and to increase public awareness and appreciation of the rich cultural heritage of our neighbors and the importance of the inter-American relationship.

For more information go to: http://www.americas-society.org

Centre for Contemporary Art

1,2,3… Avant-Gardes
Experiment / Film / Art / Archive

Dec. 9, 2006-Jan. 28, 2007

Centre for Contemporary Art
Ujazdowski Castle
Al. Ujazdowskie 6,
00-461 Warsaw, Poland
tel: (+48 22) 628 12 71-3
fax: (+48 22) 628 95 50
e-mail: csw@csw.art.pl

Artists:
Akademia Ruchu, Antosz & Andzia, Pawel Althamer / Artur Zmijewski, Piotr Andrejew, Bernadette Corporation, Kazimierz Bendkowski, Matthew Buckingham, Bogdan Dziworski, Marcin Gizycki, Janusz Haka, Oskar Hansen, Judith Hopf / Katrin Pesch, Tadeusz Junak, Jacques de Koning, Igor Krenz, Grzegorz Królikiewicz, Zofia Kulik, Pawel Kwiek, Przemyslaw Kwiek, Natalia LL, Jolanta Marcolla, Jonathan Monk, Ewa Partum, Andrzej Pawlowski, Zygmunt Piotrowski, Józef Robakowski, Jeroen de Rijke / Willem de Rooij, Zbigniew Rybczynski, Zygmunt Rytka, Wilhelm Sasnal, Jadwiga Singer, Zdzislaw Sosnowski, Mieczyslaw Szczuka, Michal Tarkowski, Stefan & Franciszka Themerson, Teresa Tyszkiewicz, Ryszard Wasko, Jan S. Wojciechowski, Krzysztof Zarebski, Florian Zeyfang

The exhibition 1,2,3… Avant-Gardes celebrates the (ongoing) history of the experiment in film and art, and the interactions between these two fields. The exhibition brings together artists and filmmakers from different countries and generations, juxtaposing their work with the outstanding history of Polish avant-garde film, represented by the works of Pawel Kwiek, Józef Robakowski, Natalia LL, Stefan and Franciszka Themerson, Bogdan Dziworski and many others.

The exhibition works with the tension created by a "horizontal" and a "vertical" interpretation of the multiplicity of the avant-garde and evoked by the exhibition’s title 1,2,3… Avant-Gardes: Horizontal – in the sense of different ideas of modernism, the pluralism of film and conceptual image-work existing in the different worlds of the Cold War and today; Vertical – suggesting the search for a possible historicisation of Polish avant-garde art and film, a linearity, to be discovered and reconstructed in light of the many distortions in Polish history over the last 80 years.

Vertically it contains a reference to the three movements important to experimentation with art and film: the very first modernist avant-garde, the neo-avant-garde of the 1970s, and the artists who started working in the 1990s to address, often with irony or idealism, the heritage of the two previous movements. In contrast, the title’s horizontal reading includes different understandings of the notion of avant-garde – like Peter Wollen’s text Two Avant-Gardes that elaborates on the difference between narrative politics and politics of the formal experiment – suggesting something like a third, fourth and even fifth avant-garde…

1,2,3… Avant-Gardes experiments itself with a setting that confronts the videos and films of artists working since the 1990s and influenced by different legacies and notions of moving image with the extensive work of earlier generations of artists, performers and filmmakers in Poland. The exhibition consists of six rooms, organised according to different themes, such as Analytical strategies, Political Film / Soc Art, Sound & Image, Imagination, Games / Participation, Consumption, and features work especially developed for the show.

Another important issue off the exhibition is work with the archive. The show is a specific summary of the previous events of the program of the Archive of Polish Experimental Film at CCA Ujazdowski Castle, which is a research project focused on gathering and analysing Polish film and art. The aim of the program is to reveal new layers of communication between film and art, and to develop contemporary contexts of presentation for this historic material.

1,2,3… Avant-Gardes is curated by Lukasz Ronduda and Florian Zeyfang and
conceived within the framework of Buero Kopernikus, an initiative of the Kulturstiftung des Bundes (German Federal Cultural Foundation). The exhibition is supported by IFA Institut für Auslandsbeziehungen, Stichting Mondriaan, and Piktogram Magazine. Collaboration: Kaja Pawelek. Exhibiton design: Centrala http://www.centrala.net.pl

For further information:
Kaja Pawelek: + 48 22 6281271 # 104, kaja.pawelek@csw.art.pl
http://www.buero-kopernikus.org/en/project/2/36/0

1,2,3… Avant-Gardes will be shown in 2007 at Künstlerhaus Stuttgart (with a special focus) and at Sala Rekalde, Bilbao. A catalogue will be published with essays by Leire Vergara, David Crowley, Steven Ball/David Curtis, Stefanie Peter, Anselm Franke, Jan Verwoert, Michal Wolinski, Lukasz Ronduda, and including an archive section and artist pages.

For more information go to: http://www.buero-kopernikus.org/en/project/2/36/0

Janus

In Janus we Trust

The launch of issue #21 of the magazine and a debate on the cultural scene in Brussels

http://www.janusonline.net

Wednesday, 13th December at 19:30
Argos - Centre for Art & Media
Werfstraat 13 Rue du Chantier Brussels 1000

Speakers
Charlotte Bonduel, Geert Cochez, Jan Hoet, Geert Van Istendael, Nicola Setari, Alessandra Tesi, Charlotte Vandevyver, Marleen Wynants

The cult of Janus is back and again on the lookout for adepts that are willing to join this cross-disciplinary adventure. The magazine has been away from the scene for a while after Jan Fabre, who founded it in 1998, decided to interrupt its publication last year. In April 2006, Charlotte Bonduel, Luigi di Corato, Giovanni Iovane, Frank Maes, Nicola Setari and Marleen Wynants accepted Jan Fabre’s challenge to continue the project and compose the new editorial board. If you missed the launch of issue # 20 (it came out in June and was presented in Milan at the Pavilion for Contemporary Art, in Basel at the Contemporary Art Fair, in Antwerp at the Museum of Fine Arts, in Munich at the Lenbachhaus and in Turin at the Contemporary Art Fair) you cannot miss the launch of issue # 21 at Argos in Brussels.

The concept of the magazine will continue to be thematic, with a selected topic of discussion for every new issue, as was in the previous publication. What has changed is that two new sections have been added to the magazine: the first is dedicated to a cult city, in which the double-fronted god can engage his ubiquitous powers in search of cultural initiatives worth being discovered.
The second satisfies Janus’ passion for contemporary art: in preparation of each new issue the editorial board will invite five curators or art critics to present in the freest way possible and in a space of approximately ten pages, an artist with whom they have recently worked or are currently working with.

The content of issue # 21 is divided in three parts: in the thematic section you will find an interdisciplinary exploration on the invisible and its role in contemporary culture. The title “Regarding the Invisible” plays with the idea of looking at the invisible and in some way advocating its cause.
The second section is dedicated to the cultural scene of Brussels. The presentation of December 13th will focus on this part of the magazine with a debate moderated by Marleen Wynants on the singularities of the city’s cultural policies.

In the final section the artists Candice Breitz, Ann Veronica Janssens, Jonathan Monk, Koo Joeng-A and Pietro Roccasalva, are presented respectively by Marcella Beccaria, Hans Theys, Adam Carr, Federico Nicolao and Jan Hoet.

Just some of the contributors in issue #21 are Ken Mogi , Cory Doctorow, Hans Ulrich Obrist, Philippe Parreno, Frank Nielsen, Jimmie Durham, Jota Castro, Ryan Gander, Art & Language, Giorgio Galli, Nicoletta Agostini, Angelo Scola, Biancamaria Scarcia, Paul Moyaert, Alessandra Tesi, Marjetica Potrc, Geert Cochez & Eric Corijn, Geert Van Istendael, Jo Dekmine, Christophe van Gerrewey, Nasr Hafez

For a full table of contents of the new issue of Janus visit http://www.janusonline.net

The cover of issue #21 is a special project by artist Alberto Garutti. A limited edition of 100 copies of the magazine signed by the artist is available. For more info, write to subscriptions@janusonline.net.

The launch will take place in the new exhibition spaces of Argos, where the show “Being, in Brussels”, curated by the media and arts centre’s recently appointed director, Katerina Gregos, is currently on view. The exhibition can be visited before the presentation between 7-7:30 PM.

Technical information
Janus
Periodicity: 2 issues per year
Pages: 232, color illustrations
Language: English plus the author’s original language
Publisher: Janus VZW, Belgium
Design: Luc Derycke
Distribution: Silvana EditorialeJanus VZW and EPO (for Belgium)
Partner: Dena Foundation for Contemporary Art, Paris (www.denafoundation.com)
Website: http://www.janusonline.net
For more information please write to charlotte.vandevyver@janusonline.net or info@janusonline.net

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

CONTEMPORARY ISTANBUL

CONTEMPORARY ISTANBUL

December 21st - 24th, 2006
Istanbul Convention and Exhibition Center
11.00am - 9.00pm, daily
Vernissage December 20th
2.00pm - 9.00pm
(by invitation only)
info@contemporaryistanbul.com
http://www.contemporaryistanbul.com

INTRODUCING: CONTEMPORARY ISTANBUL

The premier edition of Contemporary Istanbul, Turkey’s and the region’s newest contemporary art show, will be held next week between December 20-24, 2006 at the Istanbul Convention and Exhibition Center, located at the very heart of the city. More than 65 galleries and art initiatives representing several countries will take part in this year’s inaugural edition. Deutsche Bank has become a sponsor of Contemporary Istanbul. Next year, the fair will be held on September 5-9, 2007 to coincide with the opening week of the 10th edition of the Istanbul Biennial.

Contemporary Istanbul, already perceived locally as the most desirable art fair for contemporary galleries, artists, and collectors alike, will grow to become the region’s most important art show by attracting top galleries and artists from the entire Middle East, the Balkans, the Turkic Republics of Central Asia, North Africa, as well as several of the more established galleries from the Western Hemisphere. Istanbul, with its magnificent historical architecture and its vibrant nightlife, sets the perfect backdrop for a contemporary art show.

Contemporary Galleries

AHK Çagla Cabaoglu Art Gallery Istanbul . Anka Art Istanbul . Arda Sanat Galerisi Ankara . Art Estate AG Berlin . Article Art Gallery Istanbul . artSumer Gallery Istanbul . Broadway Gallery New York . C.A.M. - Contemporary Art Marketing Istanbul . Celina Lunsford Photo-Art Consulting Frankfurt . Cey Güzel Sanatlar Istanbul . Çagla Cabaoglu Art Gallery Istanbul . Dam, Stuhltrager Gallery New York . Dem-Art Sanat Galerisi Istanbul . Fotografevi Istanbul . Galeri A Istanbul . Galeri Apel Istanbul . Galeri Baraz Istanbul . Galeri Nev Istanbul . Galeri Selvin Ankara . Galerie Dyakov Plovdiv . Galerie Gabriel Wien . Galerie Hélène Lamarque Paris . Galerist Istanbul . Gallery ArtsIndia New York . Gallery D Istanbul . Gallery L’Escale Brussels . Gallery x-ist Istanbul . Görüntü Sanat Galerisi Adana . Hayaka Art? Istanbul . Kanat Bayazit Sanat Galerisi Istanbul . Krisna Sanat Galerisi Ankara . Lebriz.com Istanbul . Likya Sanat Galerisi I
stanbul . Mac Art Gallery Istanbul . Maçka Mezat Istanbul . Maçka Sanat Galerisi Istanbul . Mine Sanat Galerisi Istanbul . Pera Sanat Galerisi Istanbul . PG Art Gallery Istanbul . Pi Artworks Istanbul . Siyah/Beyaz Sanat Galerisi Ankara . Teksin Sanat Galerisi Istanbul . Teku Sanat Galerisi Ankara . Tem Sanat Galerisi Istanbul . Terakki Vakfi Sanat Galerisi Istanbul . Tevfik Ihtiyar Sanat Galerisi Istanbul . Under Construction Istanbul . Woods Art Istanbul . Vonderbank ArtGalleries Berlin

Contemporary Initiatives

Apartment Project Istanbul . Hafriyat Istanbul . Contemporary Art Museum Istanbul . K2 Contemporary Art Center Izmir . KargART Istanbul . Masa Istanbul . Nomad Istanbul . Ters-Hane Istanbul . Yama Istanbul

Contemporary Institutions

AICA Paris . Akbank Art and Culture Center Istanbul . Christie’s London . Dogançay Museum Istanbul . Haaz Istanbul . International Istanbul Biennial Istanbul . Platform Garanti Contemporary Art Center Istanbul . Proje 4L - Elgiz Museum of Contemporary Art Istanbul . Sabanci University Kasa Galeri Istanbul . Yapi Kredi Cultural Activities, Arts and Publishing Istanbul

Contemporary Roundtable

LUNCH BREAK PANEL

21.12.2006 Thursday 12.20pm
"Institutional Support and Contemporary Art"
Speakers: Orhan Taner [Director, Contemporary Istanbul Art Fair]
Friedhelm Huette [Director, Deutsche Bank Art]
Vasif Kortun [Director, Platform Garanti Contemporary Art Center]

CONTEMPORARY ART AT THE ROUNDTABLE

21.12.2006 Thursday 6.30pm
"Being an art collector- Building an art collection"
Opening Speech: Beral Madra [Curator - Art Critic]
Moderator: Haldun Dostoglu [Director, Nev Art Gallery]
Speakers: Nevzat Sayin [Architect]
Sevda Elgiz [Art Collector]
Can Elgiz [Art Collector]
Sema Çaga [Art Collector]
Kerimcan Güleryüz [Art Gallery Manager, X-ist]
Erdag Aksel [Artist]

22.12.2006 Friday 12.30pm
"Istanbul from the Inside and Outside"
Opening Speech: Beral Madra [Curator - Art Critic]
Moderator: Aysegül Sönmez [Curator-Journalist-Art Critic]
Speakers: Antonio Cosentino [Artist]
Pelin Basaran [Researcher]
Melih Görgün [Artist - Curator - Professor]
Mario Rizzi [Artist]
Bertrand Ivanoff [Artist]

All conferences held at the "Contemporary Forum" at Rumeli Hall, lower floor. Simultaneous interpretation in English or Turkish.

Contemporary Sponsors

Deutsche Bank, Chopard, Dogan Yayin Holding, The Sofa Hotel, Republica, Osram, Nurus, Ikon Tourism A.S.

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

Frankfurter Kunstverein

“Ist das Leben nicht schön?”
Tommy Støckel: Chapter 4

Speaking of Others
tranzit: “Auditorium, Stage, Backstage – An Exposure in 32 Acts”

10 Reasons to be a Member
#11: Olivia Plender: "The Folly of Man Exposed or the World Turned Upside Down"

Opening: December 12, 7 pm
December 13, 2006 – March 4, 2007

Tommy Støckel
Tommy Støckel closes the cycle of solo exhibitions presented this year at the Frankfurter Kunstverein under the umbrella title “Ist das Leben nicht schön?”. The exhibition – especially conceived for the space and the situation at the Frankfurter Kunstverein – consists of a large installation made of several models, collages and sculptures. Using humble materials such as cardboard and paper, Støckel proposes an intriguing glance into the future. The entire project is an invitation to rethink the notion of the virtual and the sensual in our understanding of what reality is. Tommy Støckel was born in 1972 in Copenhagen and lives and works in Berlin.

tranzit: “Auditorium, Stage, Backstage – An Exposure in 32 Acts”
“Auditorium, Stage, Backstage – An Exposure in 32 Acts“ is realised by tranzit in collaboration with the Frankfurter Kunstverein for the platform “Speaking of Others”. tranzit is a network of independent initiatives in the field of contemporary art from Austria, Czech Republic, Hungary and Slovakia.

The exhibition space on the second floor of the Frankfurter Kunstverein is divided into three spaces: Auditorium, Stage, Backstage. Backstage is the mental center of the exhibition. It is a place where the artworks will be displayed in an intimate working manner. During the exhibition the works will change their positions between the areas of the backstage and stage. Through this mode of display, objects, performative works and temporary presentations will appear in different constellations.

Curators of the exhibition and tranzit project leaders are Vít Havránek (Czech Republic), Dóra Hegyi (Hungary), Boris Ondreicka (Slovakia), and Georg Schöllhammer (Austria). Exhibiton concept: Vít Havránek.

Artists: Béla Balázs Studio film-program, Egon Bondy, Josef Dabernig, Guillaume Désanges (with Frédéric Cherboeuf), Orshi Drozdik, Róza El-Hassan, Miklós Erdély, Stano Filko, Free School for Art Theory and Practice, Jef Geys, Tibor Hajas, Josef Hirsal, Hamlet Hovsepian, Sanja Ivekovic, Lilla Khoor - Will Potter, Július Koller, Jirí Kovanda, Pawel Kwiek, Denisa Lehocká, Little Warsaw, Ján Mancuska, Dorit Margreiter, Work Method, Monument of Transformation, fragment # 1, Zbynek Baladrán, Pavel Humhal, Roman Ondák, Boris Ondreicka, Lia Perjovschi, Reinhard Priessnitz, Józef Robakowski, Ernst Schmidt Jr., Jirí Skála, János Sugár, Tamás Szentjóby, Katerina Sedá, Rasa Todosijevic, Tomás Vanek, Heimo Zobernig

On Wednesday, January 17, 2007, the project will be presented in a panel discussion at the Frankfurter Kunstverein with the participation of Vit Havránek, Dóra Hegyi, Boris Ondreicka, Georg Schöllhammer, and the tranzit project initiators Kathrin Rhomberg and Maria Hlávajova.

Olivia Plender: "The Folly of Man Exposed or the World Turned Upside Down"
After almost a year of existence, the “10 Reasons to be a Member” archive will be given a new face. Thanks to the contribution of Olivia Plender (UK, 1977) our archive will grow.
The #11th Reason is presented under the intriguing title „The Folly of Man Exposed or the World Upside Down“. It is a series of drawings specifically made for the Frankfurter Kunstverein dealing with the notion of history, nonsense and our longing for a place, a context, a home, a reference.

Olivia Plender has translated the history of the Frankfurter Kunstverein into a history of emblems, that is, an iconic image used to represent an idea. The whole entrance space is transformed in order to create a new narrative of the institution, in which abstract notions like “Verein”, “citizenship” or even “art” crystallise into concrete and rich visual scenes.

Tommy Støckel is supported by:
The Danish Arts Council, Hessische Kulturstiftung

“Auditorium, Stage, Backstage” is supported by:
tranzit.at, Schauspiel Frankfurt
tranzit is supported by:
Erste Bank Group, Ceská sporitelna a.s., Slovenská sporitelna a.s., Erste Bank Hungary
Monument of Transformation is supported by the Erste Bank Foundation
“Speaking of Others” is supported by:
The German Federal Cultural Foundation

Frankfurter Kunstverein
Markt 44
60311 Frankfurt, Germany
http://www.fkv.de
post@fkv.de
+49 69 219 314 0
Tue-Sun: 11 am – 7 pm

For more information go to: http://www.fkv.de

MuHKA

THE PROJECTION PROJECT
durven denken, durven dromen
15.12.06 - 25.02.07
OPENING 14.12.06 20.30

MuHKA
Museum van Hedendaagse Kunst Antwerpen
Leuvenstraat 32 2000 Antwerpen
T +32 [0]3 260 99 99
info@muhka.be
http://www.muhka.be

In art and reflections on visual culture, projection occurs in all kinds of formats. Its many applications come from a development in which sometimes very different fields interact: physics, geometry, cartography, optics, psychology, the fine arts and show business. As a concept however, projection has not been thematized all that much; it links mathematical and cultural conceptualization, operations of the unconscious and of an active mind.

THE PROJECTION PROJECT durven denken, durven dromen [dare to think, dare to dream] is taking place in a media landscape where a new paradigm emerges. Today we experience a farewell to various analogue image technologies. As a result of the digital revolution many methods sanctified by the tradition of modern art, such as slide- and film projection, will get into disuse. The art world’s response to this is one of lucid nostalgia and militant identification; in contemporary art slide- and film projection will for sure remain important media for a while, but these can hardly be dissociated from the effect of looking back melancholy at an epoch and a technology that once was.

But the historical breakdown of projection as technology means that we have reached a point in time where projection does not longer need to be thought in narrow technical or technological terms. Relevant here is the socio-political undertone of projection as a collective event or as a project of a future community. Now that projection is losing its technological servitude, the concept can regain its metaphorical power. Our hypothesis therefore is that artists at this juncture once more tackle and regauge the artistic concept of ‘projection.’

What does current projection art tell us? THE PROJECTION PROJECT investigates how art offers alternatives to a culture of escapism typified by an immense presence of phantasmagorical representations, images carried by technology that are filtering/masking our daily reality. In current projection art we see, amongst others, an interest in technique as intoxicator by deconstructing technology in its operations on the human psyche. Here is a relation with psychedelic art from the 2nd half of the ’60, with one difference: the understanding that today’s reality itself often is already hallucinatory. Recent projection art also differs from the phantasmagories that dominate today’s visual culture, in that it redefines the implicit ambition of the term: projection as a project, a visionary image, radiating an expectation about the future. Historical consciousness is repaired, after all projection as a pure utopia is a reaction to the present, a product of its time and rooted in a pas
t.

THE PROJECTION PROJECT wants to be a thoughtful enterprise in itself, a promising method to [re]think and show the potential of the act of projection. In its ambition, the project is a co-operation of three curators [Mark Kremer, Edwin Carels, Dieter Roelstraete] and three institutions [MuHKA, IFFR, NAi publishers]. This unison of visions and practices led to an exhibition, a publication, and a film programme.

PUBLICATION [prologue]
Authors
Edwin Carels, Mark Kremer, Dominique Païni, Dieter Roelstraete and Thomas Zummer,including a visual essay by Joost Rekveld.
isbn 90-5662-543-6

EXHIBITION [MuHKA]
Participating artists
Marie José Burki, Marc De Blieck, Rodney Graham, Pierre Huyghe, Kristina Ianatchkova & Vitto Valentinov, Timothée Ingen-Housz, Yeondoo Jung, André Kruysen,Bertrand Lavier, Bruce Nauman, Stephen & Timothy Quay, Joost Rekveld, Matthew Stokes, Fiona Tan, Krassimir Terziev, Ana Torfs, Paul Van Hoeydonck, Benjamin Verdonck, Cerith Wyn Evans and Thomas Zummer
Curators
Mark Kremer, Edwin Carels, Dieter Roelstraete

FILM AS PROJECTION
The cinematographic part of THE PROJECTION PROJECT, with presentations in MuHKA_media, comprises three retrospectives with work by David Lynch, Werner Herzog and Abbas Kiarostami respectively, three evenings in which the curators give their personal view of the possibilities of film as projection medium

As an epilogue, MuHKA also presents REAR WINDOWS, comprising works by Anri Sala, Julie Morel and Michael Snow.

http://www.muhka.be

MuHKA_media
Waalsekaai 47
media@muhka.be

For more information go to: http://www.muhka.be

PAC Padiglione d’Arte Contemporanea

GRAZIA TODERI
Curated by Francesca Pasini

Opening Wednesday 13th December 2006, 6.30 p.m

14th December 2006 – 12th February 2006
PAC Padiglione d’Arte Contemporanea
Via Palestro 14 – Milan, Italy
http://www.comune.milano.it/pac
Tel +39 02 76009085

The PAC continues its 2006 programme with an exhibition by Grazia Toderi, presenting new works created for the exhibition alongside a broad collection of her previous videos. Italian opera houses are a central part of the works of Grazia Toderi (Padua, 1963), one of the most interesting personalities to emerge from her generation of Italian artists over the last decade. Her latest works, seen for the first time at the PAC, were created last summer in co-operation with the La Scala opera house in Milan. Grazia Toderi has made videos of great beauty of other theatres, including the La Fenice opera house in Venice, the Rossini opera house in Pesaro, the Massimo opera house in Palermo, the municipal opera houses in Ferrara and Modena and other, smaller and less well known theatres. These places are so important to the musical, artistic and architectural culture of Italy, and by taking a fresh look at them, Grazia Toderi proposes an interaction between our cultural heritage and th
e contemporary language of visual art. Toderi has also frequently used the central plan architecture of Italian, European and American arenas and stadiums as major themes for her work. Her images of this architecture, reprocessed and enhanced with lights and movement are transfigured into starry bodies, which act as the vehicle and the point in which cosmic and human space become one. The whole of the PAC is caught up in a continuous stream which evokes that relationship between earth and heaven.

The image of the La Scala opera house is the subject of two projections of the new video work, Scala near (Black Scala), 2006. Both have been toned to suggest the darkness of the moment before a performance begins. In one projection the image is from the front; in another the image of the opera house is double, forming an ellipse surrounded by stages so that it turns on its own axis. The black oval, a germinal and secret nucleus, creates a hypnotic attraction. On the one hand its elliptical shape recalls her previous work on stadiums, while on the other it suggests a large mouth similar to those of the portraits of the personalities in Plato’s comedies or Bomarzo’s Garden. This black ellipse becomes a symbol so deep in meanings as to become impenetrable.
The other new work is entitled Rosso Babele (Babel Red), 2006, and consists of two video projections. A reddish matter swarming with lights is created by superimposing shots of the city, from which a tower, formed by hundreds of layers and levels of transparency, rises, crumbles and collapses. This is a modern Tower of Babel, which is intertwined with a multitude of indistinct cities, where increasingly the profound meaning of language fluctuates between growth, multiplication and destruction, between an excess of information and an impoverished message. The title is linked to the night tone of sodium vapour street lighting. It is a reddish colour which cannot be found on palettes and which Toderi calls “Babel Red”, because it is mobile and indeterminate to look at and also because of the obsessive superimposition of layers which surrounds the Babel we are moving through.

The exhibition contains a large sequence of video projections including: Zuppa dell’eternità e luce improvvisa (Soup of eternity and sudden light), 1994; Nata nel ’63 (Born in ’63), 1996; Ragazzi caduti dal cielo (Kids falling from the sky), 1998; Il fiore delle 1001 notte (the Flower of 1001 nights), 1998; Il decollo (the Take-off), 1998; San Siro, 2000; Diamante (Diamond), 2001; Q, 2003; Mirabilia Urbis, 2001; Milano, 2003; Empire, 2002; Rendez-vous, 2005.

Catalogue by Skira with texts by Joao Fernandes and Francesca Pasini.

The exhibition is organised with the support of TOD’S and Epson Italia.

For more information go to: http://www.comune.milano.it/pac

Saint Louis Art Museum

Currents 99: Isaac Julien
December 15, 2006 – March 11, 2007

Opening Lecture, Screening, and Preview
December 14, 2006, 7:00 pm
Conversation with the Artist and Screening
February 15, 2007, 7:00 pm

Renowned British artist Isaac Julien is interested in representation, aesthetics, and politics in film and photography. His work has long been celebrated in Europe for its theoretical sophistication, lush sensuality, intelligence, wit, and emotional complexity. For Currents 99: Isaac Julien, the artist’s first solo exhibition in St. Louis, he will create an installation of photographs from a larger project entitled True North.

True North reconsiders the genre of the sublime in depictions of polar expeditions through the lenses of mythology and fiction. The project was inspired in part by the story of Matthew Henson, an African-American who accompanied the white U.S. explorer Robert E. Peary on several expeditions, including one on which they were believed to have discovered the North Pole. True North has been realized variously as three-screen, two-screen, and single-screen projections (each shot in 16-mm film transferred to DVD with an accompanying soundtrack). True North has also been realized as a series of one-meter square color photographs, some conceived as single images and others presented as diptychs or triptychs. These images, which feature a small, recurring cast of characters in a wintry landscape, suggest a narrative, but a narrative in which meaning shifts with each new iteration and context. The photographs were made before the film and do not serve the subordinate function typic
al of film stills; rather, they may be exhibited in tandem with the film, or independently. When asked to discuss the relationship between the True North photographs and film, Julien commented, “they perform differently; when you make filmic images they are fleeting, whereas in photography you concentrate on a suspended moment in time.”

Julien’s recombination of the True North images in the various iterations of the work and his refusal to offer a single, climactic conclusion to the overall project make the viewer an active participant in the way that the meaning of the work is constructed. Foregrounding the importance of the viewer is both an aesthetic and political act on the part of the artist, in whose practice these two approaches are inextricably linked.

Isaac Julien (British, born 1960) lives and works in London. He earned a B.A. in Fine Art Film at Central St. Martin’s School of Art in London, and completed graduate studies at Les Entrepreneurs de L’Audiovisuel Européen (EAVE) in Brussels. His extensive list of solo exhibitions includes projects at the following museums: MAK Center for Art and Architecture, Los Angeles; Museum of Contemporary Art, Miami; Irish Museum of Modern Art, Dublin; Centre Georges Pompidou, Paris; The Laboratory of Art and Ideas, Denver; The Studio Museum, Harlem; and the Museum of Contemporary Art, Montreal.

Currents 99: Isaac Julien is part of a series of exhibitions featuring the work of contemporary artists at the Saint Louis Art Museum. This exhibition was curated by Robin Clark, associate curator of contemporary art.

Saint Louis Art Museum
One Fine Arts Drive, Forest Park
St. Louis, MO 63110
314.721.0072
http://www.slam.org

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

Public Art Fund

Public Art Fund presents
Liz Larner
2001

At Doris C. Freedman Plaza in Central Park
Fifth Avenue and 60th Street, New York

http://www.publicartfund.org

November 29, 2006 – May 1, 2007

2001 is a tour-de-force sculpture by Liz Larner, a Los Angeles-based artist best known for her engaging investigations into the physicality of objects in space. Presented at Doris C. Freedman Plaza, near the southeast entrance to the park, 2001 is Larner’s virtuoso reinterpretation of the two quintessential geometric forms of modernist sculpture – the sphere and the cube. It represents six different points of progression between these two shapes, all superimposed on one common center point to create a multifaceted three-dimensional object.

Twelve feet high, deep and wide, and painted in green and purple iridescent urethane, 2001 is an enigmatic shape-shifter; its contour and color change with the viewer’s angle and the overall light conditions so that it seems to be both at rest and undergoing metamorphosis. Made using a computer animation program and constructed of industrial materials – stainless steel, fiberglass and automotive paint – 2001 is the largest and most technically sophisticated example of the artist’s ongoing examination of the dynamic potential of static objects. At once sci-fi futuristic and gemlike, giant yet indeterminate, Larner’s sleek experiment with simultaneity invites the viewer in, and around, for a closer look. The title, perhaps a nod to the sculpture’s mysterious and almost meteoritic nature, is also the year it was made.

Since the mid-1980s, Larner has been renowned for her inventive explorations of the fundamental elements of modern and contemporary sculpture: volume, mass, line, density and substance. Her idiosyncratic formalism employs unexpected hues and a wide range of unconventional materials. Her works address the relationship that exists between an object and a person, which she has described as being much more than purely visual: “When you’re with something…there’s almost a bodily tracking system, like the way you can tell how far away something is. Maybe it’s like heat or sound.”

Born in Sacramento in 1960, Liz Larner lives and works in Los Angeles. She received a BFA from California Institute of Arts, Valencia (1985). Her work has been featured in recent exhibitions at Regen Projects, Los Angeles (2005); Museum of Contemporary Art, Chicago (2002); Museum of Contemporary Art, Los Angeles (2001); Kunsthalle Basel, Switzerland (1997); and in “Two or Three or Something,” a two-person exhibition with Maria Lassnig at Kunsthaus Graz, Austria (2006). She has participated in many group exhibitions including the 1989 Whitney Biennial, Whitney Museum of American Art, New York; “Helter Skelter: L.A. Art in the 1990s” at the Museum of Contemporary Art, Los Angeles (1992); 2006 Whitney Biennial, Whitney Museum of American Art, New York. She is the recipient of the Smithsonian American Art Museum’s Lucelia Artist Award (2002) and a Guggenheim Fellowship (1999).

LOCATION AND DIRECTIONS
2001 is on view at 60th Street and Fifth Avenue, at the entrance to Central Park. Subways: N, R to Fifth Avenue; 4, 5, 6 to 59th St/Lexington Ave. The work is free to the public and is on view daily.

DORIS C. FREEDMAN PLAZA is named for the founder of the Public Art Fund and has been the site of more than 40 artist projects and commissions, featuring works by both internationally known and emerging artists including Sarah Sze, Wim Delvoye, Richard Deacon, Paul McCarthy, Juan Muñoz, Keith Edmier, Mark Handforth and Chinatsu Ban.

Public Art Fund is New York’s leading presenter of artists’ projects, new commissions, installations and exhibitions in public spaces. For almost 30 years, the Public Art Fund has been committed to working with emerging and established artists to produce innovative exhibitions of contemporary art throughout New York City. By bringing artworks outside the traditional context of museums and galleries, the Public Art Fund provides a unique platform for an unparalleled public encounter with the art of our time.

Recent and current critically acclaimed exhibitions and presentations by Public Art Fund include Nina Katchadourian’s Office Semaphore at Chase Manhattan Plaza (on view November 16, 2006 – January 14, 2007); Sarah Morris’s Robert Towne at Lever House (on view through December 3, 2006); Alexander Calder in New York at City Hall Park (on view through March 18, 2007); Anish Kapoor’s Sky Mirror at Rockefeller Center (2006); Sarah Sze’s Corner Plot at Doris C. Freedman Plaza (2006); and Nancy Rubins’s Big Pleasure Point at Lincoln Center (2006).

Public Art Fund is a non-profit arts organization supported by generous contributions from individuals, foundations, and corporations, and with public funds from National Endowment for the Arts; New York State Council on the Arts, a State Agency; and the New York City Department of Cultural Affairs.

This exhibition is made possible through the cooperation of the City of New York, Michael R. Bloomberg, Mayor; Patricia E. Harris, First Deputy Mayor; and Department of Parks & Recreation, Adrian Benepe, Commissioner.

Special thanks to Regen Projects, Los Angeles.

Contact:
Anne Wehr or Jane Koh
Public Art Fund
press@publicartfund.org

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