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CCA

CALIFORNIA COLLEGE OF THE ARTS CELEBRATES ITS CENTENNIAL
A Yearlong Schedule of Programs and Events

From its humble beginnings in 1907 with three classrooms, 43 students, and three teachers, California College of the Arts (CCA) has developed into one of this country’s most prestigious art colleges. Today CCA boasts state-of-the art campuses in San Francisco and Oakland, 19 undergraduate and six graduate programs, 1,650 fulltime students, nearly 500 faculty members, and an estimated 14,000 alumni.

A Yearlong Series of Events
A host of celebratory events will be held at locations both on- and off-campus. As a tribute to the college’s influence and reputation, more than 40 galleries and museums from New York to Los Angeles and the Bay Area have organized exhibitions to celebrate the centennial. Highlights for coming weeks include:

Through April 8: CCA: A Legacy in Studio Glass, San Francisco Museum of Craft+Design

Through April 22: 100 Families Oakland: Art & Social Change, Oakland Museum of California

March 23–August 16: California College of the Arts at 100: Innovation by Design at San Francisco Museum of Modern Art

April 1: Graduate Open Studios, San Francisco campus

April 25: Centennial Gala and Threads Fashion Show at Fort Mason in San Francisco

Other highlights include Celebrating a Centennial: Contemporary Printmakers at CCA at the de Young Museum September 29, 2007–April 20, 2008; and CCA: 100 Years in the Making, at Oakland Museum of California October 13, 2007 through January 27, 2008.

Galleries and museums participating in CCA’s centennial include 871 Fine Arts, American Craft Council, John Berggruen Gallery, Berkeley Art Museum, Rena Bransten Gallery, Braunstein/Quay Gallery, Cantor Center for Visual Arts at Stanford University, Charles Campbell Gallery, Claudia Chapline Gallery, Crown Point Press, Di Rosa Preserve, Gallery Paule Anglim, GarageGallery, Brian Gross Fine Art, Hackett-Freedman Gallery, Haines Gallery, Jack Hanley Gallery, Nancy Hoffman Gallery, Hosfelt Gallery, Intersection for the Arts, Gregory Lind Gallery, Walter Maciel Gallery, Judah L. Magnes Museum, Heather Marx Gallery, Modernism, Montclair Gallery, Museum of Craft and Folk Art in San Francisco, Oakland Museum of California, Palo Alto Art Center, Paulson Press, RayKo Photography Center, Richmond Art Center, San Francisco Museum of Craft + Design, San Francisco Museum of Modern Art, Sculpturesite Gallery, Andrea Schwartz Gallery, Patricia Sweetow Gallery, Thompson Art Gallery at San Jo
se State University, Traywick Contemporary, Triangle Gallery, and Stephen Wirtz Gallery.

For a complete list of CCA’s centennial events, please visit http://www.cca.edu/100.

For more information go to: http://www.cca.edu/100

Centre for Fine Arts, Brussels (BOZAR)

Restlessness by Jan Lauwers
Curated by Jérôme Sans

02.03 > 06.05.2007
Centre for Fine Arts, Brussels (BOZAR)
Rue Royale 10 Koningsstraat - 1000 Brussels
http://www.bozar.be
+ 32 (0)2 507 82 00

The visual artist, man of the theatre, and film-maker Jan Lauwers is known, above all, for his theatrical work with Needcompany. This spring he is exhibiting his work in the visual arts at the Centre for Fine Arts (Brussels) for two months in a solo exhibition entitled Restlessness. The exhibition, which focuses on his work in the visual arts from 1996 to today, has been put together in collaboration with the curator Jérôme Sans.

Jan Lauwers (b. 1957) lives and works in Brussels. He studied painting at the Academy in Ghent but over the last twenty years has made his name primarily as an international theatre-maker. The productions by his group, Needcompany, are striking for their expressiveness and the meticulous combination of words, language(s), music, dance, and movement as structuring elements. Jan Lauwers is also a visual artist. His work in the visual arts has only been exhibited sporadically to date, as he has always tried to preserve the intimacy of his studio as far as possible.

In 1997 he took part in Documenta X in Kassel with his performance of Caligula (No beauty for me there, where human life is rare, part one). At Grimbergen 2002 (a group exhibition together with Atelier Van Lieshout, Thomas Schütte, Ann Veronica Janssens, and others) he showed the monumental work Verre van der menscen dinghen en vant ic neghene scoenhede. At "Grasduinen 02/SMAK aan zee" in 2004 he showed a video installation on violence called C-Song 01. In 2006 he is presenting the video installation Untitled Construction in the "DARK" exhibition at the Boijmans Van Beuningen Museum in Rotterdam, a group exhibition that also includes Juergen Teller, Luc Tuymans, Dirk Braeckman, and others. Part of this installation is the 1997 video piece Duchamp’s Moustache.

Jérôme Sans (b. 1960) lives and works in Paris. As adjunct curator at the Institute of Visual Arts in Milwaukee, he organised numerous monographic exhibitions there before moving on to a similar post at the Stockholm Konsthall’s Magasin 3. As well as an exhibition curator – Taipei Biennale, Taiwan, 2000; "Live", Palais de Tokyo, Paris, 2004 – he is also a critic, author of a volume of interviews with Daniel Buren, and a contributor to a wide range of art publications. He is currently "Director of Programme" at the BALTIC Centre for Contemporary Art (UK).

This exhibition will be accompanied by a lavishly illustrated book on Lauwers’s art work, focusing on the period from 1996 to 2006. It is published by Mercatorfonds, BOZAR, Actes Sud, and Needcompany. French and English editions will be available in bookshops, at the exhibition, and at all NC performances. It will appear on the French market in September.

Opening hours
Tuesday > Sunday 10:00 > 18:00
Thursday 10:00 > 21:00

Entry
Admission free

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

Kunsthaus Graz am Landesmuseum Joanneum

Werner Reiterer
Eye Sucks World
Curators: Peter Pakesch, Katia Schurl

Opening: Friday, March 2 / 7pm
March 3 – May 13, 2007
Tue – Sun 10am-6pm

Kunsthaus Graz am
Landesmuseum Joanneum
Lendkai 1, A–8020 Graz

T +43-316/8017-9200, F -9212
info@kunsthausgraz.at
http://www.kunsthausgraz.at

The works of Styrian artist Werner Reiterer are characterised by dialogue and communication. The
beholder “may feel addressed”*, as the artist invites him to reflect on the sense and senselessness of the world we live in. “I believe that art per se is actually always about to develop new rules as to how one may perceive the world”, says Reiterer finding himself in the lucky position of someone capable of turning the world upside down and make new rules.

In addition to sculptural works, it is mainly drawings that serve as an outlet for the play of Reiterer’s thoughts. The artist’s constant formalism, expressed in the consistent use of exactly 17 pencils all differing in thickness for 17 different shades of grey and the consistent format (70 x 50 cm) recall drafts on a sketch pad. Many works from the “Gezeichnete Ausstellungen (Drawn exhibitions)” series, constantly expanded and complemented by the artist, were implemented in the form of installations and sculptures.

Seemingly familiar as these sculptures are at first glance, they are very irritating on closer inspection. The works appear like a source of irritation in a normal world and quite often it is only small details that are confusing and they involve the person who notices them in a private dialogue. It is a strategy of the paradox Reiterer uses to deprive us of the implicitness, we need to understand reality. It is very evident here that the artist takes pleasure in testing the recipients of his art, undermining expectations vis-à-vis pieces of art per se.

A lapidary note, for instance, mounted on the wall of the exhibition room, invites visitors to roar as loud as they possibly can. Whoever succeeds in overcome his or her cultural education forbidding him or her to be loud in the public space, will be rewarded by a reaction from outside: the exhibition lighting in Space02 starts breathing, both visually and acoustically (Breath [Kunsthaus Graz], 2007). Reiterer’s principle, to let both objects and material act in a human way stems from an absurd tradition.

In fact, the artist admits, “to rape, abuse, ravish and form various objects of everyday life, according to various different rules”**, in reality, however, he liberates them from the prison of pre-determined contexts rather than tormenting them. “The lapidary creep (like a virus) into unexpected contexts with conscious platitude, but without doubt in a somewhat cryptic manner […]“*** Lapidary is the term one might also use for Reiterer’s way of dealing with his own person, being used as a tool in numerous sculptural casts to represent the unacceptable.

May 3 / 7pm
Stephan Berg:
Werner Reiterer and the imaginary effectiveness
Kunsthaus Graz, Space02