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Tate Liverpool

Centre of the Creative Universe
Liverpool and the Avant-Garde

20 February – 9 September 2007

Tate Liverpool
Albert Dock, Liverpool, L3 4BB
http://www.tate.org.uk/liverpool
Admission Free

To coincide with the Liverpool’s 800th anniversary celebrations, Centre of the Creative Universe investigates how the city has inspired and influenced a diverse range of nationally and internationally renowned artists since the 1940s.

The sense of Liverpool looking outward beyond the United Kingdom, and the world returning this gaze, is a feature of the city’s character. This exhibition presents Liverpool as a world city with an undying capacity to inspire imaginations. The explores Liverpool as a centre of the 1960s global pop revolution, reveals how the city has inspired documentary photography and politically motivated art, and played host to avant-garde artists and art movements from Pop art to Conceptual art.

Centre of the Creative Universe: Liverpool and the Avant-Garde will feature some of the most important artists of the post-War era, including Keith Arnatt, Stewart Bale, John Baum, Bernd and Hilla Becher, Boyle Family, Henri Cartier-Bresson, Maurice Cockrill, Jeremy Deller, Rineke Dijkstra, Filmaktion, Adrian Henri, Candida Höfer, John Latham, Melik Ohanian, Yoko Ono, Martin Parr, Bob and Roberta Smith, Alec Soth, Sam Walsh, and Tom Wood.

Artist Talks: Imaging Liverpool
In this series of talks, artists from the Centre of the Creative Universe: Liverpool and the Avant-Garde exhibition at Tate Liverpool discuss photographic and filmic representations of Liverpool and their work in general. Speaker include Martin Parr and Rineke Dijkstra.

For more information about the artist talks and other events surrounding the Centre of the Creative Universe: Liverpool and the Avant-Garde visit http://www.tate.org.uk/liverpool

Supported by the Liverpool Culture Company as part of the city’s preparations for European Capital of Culture 2008’.

For more information go to: http://www.tate.org.uk/liverpool

The National Museum of the American Indian

Jeffrey Gibson - Infinite Anomaly: Tahlequah, Oklahoma Project
Part of Off The Map: Landscape in the Native Imagination

March 3, 2007–September 3, 2007

The National Museum of
the American Indian
George Gustav Heye Center
One Bowling Green
New York, NY 10004
http://www.nmai.si.edu

In 2005, artist Jeffrey Gibson began researching a small plot of land in Tahlequah, Oklahoma, that he would one day inherit from his mother. In 1906 the land was given to his family as part of the Federal Indian Allotment Act. “Giving” the land to individual Indians was an acculturation act. It was meant to break apart the collective voice of the tribes into individual landowners who, due to poverty, would most likely sell the land back and therefore become a part of the national economy. Jeffrey has created a body of paintings, sculptures, and a new installation from this history full of anguish, loss, hope, and the natural beauty of the land.

“The relationship of Native people to place, historically and metaphysically, is well documented by scholars and expressed at length in the visual and literary arts. Indeed, this relationship to “the land” is often cited as the very root of our indigeneity. Geography has shaped and defined Native cultures, literally and conceptually, over countless generations. Our origin stories and understanding of the universe often relate to geographical features in the landscape, and the material culture of each community is based on the natural environment of our homelands. For more than 500 years, land has also been a site and source of conflict and struggle with outsiders—be they non-Indian settlers seeking farmland, or commercial enterprises eager to exploit natural resources. As a subject for Native artists, then, the land/landscape is laden with history and expectation. Land is home, culture, and identity, but it also represents violence, isolation, and loss.” – Kathleen Ash-Milby,
Curator

Selected works from this project were included in No Reservations at The Aldrich Museum of Contemporary Art, and recent works will be included in Off The Map at The National Museum of The American Indian, Smithsonian Institution. This project was made possible by funding from The Creative Capital Foundation. A publication including an essay by Hélène Cixous about The Infinite Anomaly: Tahlequah, Oklahoma Project will be published to accompany the debut of the works included in Off The Map. A catalog will also be available to accompany the exhibition including essays by Kathleen Ash-Milby, Kate Morris, and Paul Chaat Smith.

For more information regarding this project, please contact Camilo Alvarez at 617-357-7177 or visit http://www.samsonprojects.com

For more information go to: http://www.nmai.si.edu

Extra City

NO MATTER HOW BRIGHT THE LIGHT, THE CROSSING OCCURS
AT NIGHT.

02/03 – 29/04/2007
Opening 01/03/2007

More information:
http://www.extracity.org

This collaboratively developed exhibition features works by Natascha Sadr Haghighian, Judith Hopf/Deborah Schamoni, Ines Schaber and Stefan Pente, all addressing themselves to various aspects of the spectral – understood as absences caught in a paradoxical presence, or a discontinued past bound to return. It is not about making ghosts visible, but an investigation of the power relations, institutional forms of display and forms of “enlightenment” which produce shadows and exclusions, and it questions the possibility to speak with and unleash the transformative potential of ghosts.

Ines Schaber speculates on a latent activity within the photograph and its ability to travel through space and time. Using photographs of Pennsylvania workers as her base, she follows images from a series taken for the National Child Labor Committee in the 1910s by Lewis Hine, a pioneer of social documentary photography. These images become the point of departure for a trip through today’s hardly recognizable mining country landscape. There, stored in a former limestone mine, exists one of today’s largest commercial image archives, Bill Gates’ firm Corbis, which offers over 70 million images for sale online, including some from Hine’s series. The overlap of these two moments poses questions for photography as the agent of something that is able to travel, multiply itself, appear in various places and speak with its surroundings.

Judith Hopf works with the specters of bourgeois society. How does the attempt to control, the defense against pathological anxieties and the ideology of complete transparency, inscribe themselves on the body and the faculty of imagination? Apart from a series of sculptures, a new videowork, developed and realized with filmmaker Deborah Schamoni is presented in the exhibition. The video, using the metaphor of the sceleton dance, deals with the representation of specters in the institutional space, in search of usable rituals that would make it possible to assign places to specters as representatives of the repressed.

Natascha Sadr Haghighian investigates societal mechanisms of representation and constructions of inclusion and exclusion. How it is decided when someone will be granted member status in a “civilized community”? When is someone perceived as present and addressable through its voice, image, and concerns? How does one lose this status and when is it withdrawn? For the exhibition, Natascha Sadr Haghighian produced two installations which elaborate on the constitutive function of the address: how one is being named, pictured, and categorised, in which she draws on material from feminist novelist Kathy Acker’s book “Empire of the Senseless“. In various collaborations and dialogues this research is expanded in the accompanying book.

The 200-page reader of the same title is published by Verlag der Buchhandlung Walther König, Köln, with contributions and dialogues by and with Ines Schaber, Natascha Sadr Haghighian, Stefan Pente, and Judith Hopf, as well as Avery F. Gordon, Anselm Franke, Ashley Hunt, Nanna Heidenreich, Sladja Blazan, Thomas Keenan, and Michael Taussig.

The exhibition was originally produced at KW Institute for Contemporary Art in Berlin in 2006 and was made possible by the support of the Hauptstadtkulturfonds, Berlin and the Graham Foundation for Advanced Studies in the Fine Arts, Chicago.

Also at Extra City:
THINKING ARCHITECTURE #1: ANRI SALA

With this exhibition, Extra City launches a series of newly produced projects by artists and architects that reconsider architecture from different and radical points of view. The series opens with a presentation of a new work by Albanian artist Anri Sala, which takes it’s cue from two photographs found in the image archive of Mexican muralist David Alfaro Siqueiros.

New Location:
Klamperstraat 40
2060 Antwerpen

More information:
http://www.extracity.org

Contact:
+32-484-42.10.70
info@extracity.org

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