Artipedia - Arts News

Simon Starling, Wilhelm Noack oHG, 2006, installation view
(stainless steel, 35mm film projector, 4 minute looped 35mm film projection, plastic, sound, light) Courtesy the artist and neugerriemschneider, Berlin

László Moholy-Nagy & Simon Starling
March 24 - April 29, 2007
Presentation House Gallery

Opening reception: Friday, March 23, 8 pm
Simon Starling in attendance
Simon Starling, Artist Lecture
Saturday, March 24 at 2 pm, at Vancity Theatre, 1181 Seymour Street (at Davie)

Oliver Botar lecture: “László Moholy-Nagy and Biocentrism”
Sunday, March 25 at 2 pm, at Presentation House Gallery
A Moholy-Nagy scholar and art historian at the University of Manitoba, Dr. Botar will discuss the artist’s utopian conceptions of aesthetics and technology.

This exhibition brings together two artists from different eras whose works reflect on modernity and technology. The film projections featured in this exhibition reveal how the mechanical eye of the camera creates a unique form of seeing.

This exhibition is the North American premiere of a new installation by the distinguished British artist, Simon Starling. Born in 1967 in Epsom, England and a graduate of the Glasgow School of Art, this multimedia artist has quickly risen to international prominence. Winner of the coveted Turner Prize in 2005, he has exhibited widely and now here for the first time in Canada. The mixed media installation at PHG highlights his concern for mechanized and handmade production, and physical materials as histories of place. Produced in collaboration with the Berlin metal manufacturing firm referred to in the title, Wilhelm Noack oHG is a 35 mm., black and white film projection and elaborate projector apparatus. Related to Starling’s interest in icons of the modern, this work is a poetic reflection on machine culture and the nature of projection.

Born in Hungary in 1895, László Moholy-Nagy was an influential Bauhaus innovator who worked in various mediums including painting, sculpture, film and photography. He was also a graphic and stage designer, and an influential writer and teacher who published theories about perception - what he called “the new vision.” The works on display at Presentation House Gallery highlight Moholy’s experiments with abstraction and light as material. The exhibition profiles his experimental photography, including innovative cameraless photographs (photograms) as well as rarely seen colour photography. Running continuously in the gallery will be the 1930 film Light Play: Black White Grey that documents the play of light and shadow created by the mechanistic movements of one of his kinetic sculptures.

Contact Curator Helga Pakasaar for more information.

The Simon Starling lecture is in partnership with the Emily Carr Lecture Series and the Contemporary Art Society of Vancouver.

This exhibition is financially supported by the British Council, London and the British Council, Canada with assistance from Illingworth Kerr Gallery, Calgary, Emily Carr Institute, neugerriemschneider, Berlin, Contemporary Art Society of Vancouver, the Estate of László Moholy-Nagy, George Eastman House, Andrea Rosen Gallery, New York, and private collections.

Presentation House Gallery
333 Chesterfield Avenue
North Vancouver, BC V7M 3G9
604.986.1351

Presentation House Gallery
333 Chesterfield Avenue
North Vancouver, BC V7M 3G9
604.986.1351

Flash Art International

Flash Art International No.253
(March-April 2007)

http://www.flashartonline.com

Flash Art International # 253
March-April Issue

Much of Flash Art’s March/April issue focuses on women. Monica Bonvicini speaks with Massimiliano Gioni about architecture, literature and other points of references in her art. When asked “What is your art for?” she answers, “Art, when it is good, is like a wake-up call to me,” adding that she does not like “…pathos, didacticism, ornament and formalism, repetition, laziness in thinking.”

The short time that Francesca Woodman spent making art, before she took her life in 1981, remains a fascinating and mysterious period of art and intimacy. Elizabeth Janus sheds light on her process, her intentions and her strong friendship with Sloan Rankin-Keck, a model and a partner in many of her works.

Going back to 1987, this issue’s Reprint features one of the most in-depth interviews with Sherrie Levine ever published, conducted by Flash Art contributor Paul Taylor.

In an interview with Sonia Campagnola, Eric Wesley zigzags among topics like his love-hate relationship with art collectors, his ideas about failure and success, and his feelings about dividing his time between LA and Berlin, because, as he says, “80% of my ‘business’ is in Europe.”

Speaking of business, Jerry Saltz weighs in on the art market.

Andreas Bellini interviews Jannis Kounellis, one of the founding pillars of Italian Art Povera, who recently opened a major solo show at New York’s Cheim & Read gallery. Kounellis states, “The intervention of the artist must be a statement in a social sense.”

In the 2-part essay “Sci-fi Historicism,” Jan Tumlir excavates common traits among works by artists currently active in California. The March/April issue features Part 1 of this essay, titled “The time machine in contemporary Los Angeles art.” Here Tumlir examines works by Christopher Williams, Marie Jager, Adria Julia, Florian Maier-Aichen, Amir Zaki, Alex Slade and Mathias Poledna, among others.

Willoughby Sharp — the renown publisher of the ’70s New York cult magazine Avalanche — discusses with Andrea Bellini his variegated career path as an artist, publisher, curator and art critic.

This issue also provides insight into the evanescent paintings of the young London-based artist Maaike Schoorel. Pablo Lafuente discusses the artist’s methods and motives.

Aperto takes a revealing looks at art practice in the countries Armenia and Azerbaijan.

This issue also includes an extensive review by Christopher Miles of “High Times Hard Times,” a traveling show about New York painting from 1967 to 1975.

Ouverture is dedicated to Matthieu Ronsse and Global Art considers Doug Aitken’s large-scale installation Sleepwalkers at MoMA.

Group shows reviews include: “Magritte and Contemporary Art” at LA’s MOCA; the 5th Asia-Pacific Triennial, Damien Hirst’s collection, Busan Biennale 2006, “Cluj Connection” at Zurich Haunch of Venison, “Dreamlands Burn” at the Budapest Kunsthalle, “Humanism in China” at Stuttgart Staatgalerie and “How to Build a Universe…” at San Francisco CCA Wattis Institute.

Solo show reviews include: Terence Koh, Marilyn Minter, Adi Nes, Michael Fullerton, Dan Peterman, Giulio Paolini, Paul Pfeiffer, Song Dong/Yin Xiuzhen, Hélio Oiticica, Tino Sehgal, Dexter Dalwood, Victor Grippo, Rob Fischer, Andreas Slominski, Lisa Lapinski, Chris Evans, Fong-Leng/Isa Genzken/Keren Cytter, Dan Perjovschi, Jutta Koether, Shinro Ohtake and James Angus.

The COVER ARTISTS of this issue are: Francesca Woodman and Eric Wesley.
Get your hands on a copy of the March/April issue of the world’s leading art magazine while supplies last.

For information and subscriptions:
Flash Art International
Via Carlo Farini, 68
20159 Milan
ITALY
Tel. +39 02 668 6150
info@flashartonline.com
http://www.flashartonline.com

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

Argos – Centre for Art & Media, Brussels

Argos announces two new exhibitions:

Anachronism
&
The Otolith Group

27 March – 26 May 2007
Argos – Centre for Art & Media
Werfstraat 13 Rue du Chantier
Brussels 1000 - Belgium
T: +32 2 2290003
E: info@argosarts.org
http://www.argosarts.org

Anachronism looks at the work of artists from different generations who have insistently grappled with history, both personal and general, and related issues of nostalgia, retrospection, and temporality. More specifically, their work often refutes the image of history as a neat trajectory moving smoothly forward in time. They acknowledge instead the possibility of working against time—of creating works that deliberately counter received ideas of what the present should look like, what the past was, or what the future will be, and thus direct attention to the seams in the construction and presentation of history. Their alternate “histories” might thus be read as alternate readings of time, and a mode of showing the ultimate constructedness of the narratives we are given about the past as well as the problems inherent to late capitalism’s notion of an inexorably progressive and productive future.

The cinematic cut, spatial dislocation, formal repetition, appropriation, idleness, waste, idiosyncratic archiving, entropic undoing of the object: these are just some of the means these artists use to create the sense of disruption at the heart of the narration of history. In diverse ways, and through various media, their work is thus not so much or certainly not only about history or historical events as a reflection on and questioning of the temporalities implict in history’s unfolding—past, present, and future. And if the possibility of a genuine revolution according to Giorgio Agamben, lies above all in the effort to “change time,” the promise of these works is in their questioning of the temporality of history as it has been given to us so that we might all the better be able to read our present and possibly redefine the future.

Works by 18 international contemporary artists —with several in situ new productions, including a functional cinema built by Tobias Putrih — are featured against the exhibition’s backdrop of a continuous screening of La Jetée, Chris Marker’s historic cinematic meditation on the paradoxes of time and memory. The exhibition is curated by Elena Filipovic, an independent curator and writer based in Brussels.

Participating artists include: Boris Belay, Guillaume Bijl, Tobias Buche, David Claerbout, Babak Ghazi, Felix Gmelin, Aneta Grzeszykowska, Carl Michael von Hausswolff, Erwan Maheo, Chris Marker, Deimantas Narkevicius, Sophie Nys, Paulina Olowska, Roman Ondák, Tobias Putrih, Pia Rönicke, Martha Rosler, and Bojan Sarcevic.

In its first floor exhibition space argos will present the film Otolith I, by the Otolith Group. The Otolith Group was founded in 2002 by the artist Anjalika Sagar and the cultural theorist Kodwo Eshun, who collaborated with the artist Richard Couzins to make Otolith I. The film essay probes the potency of archival images, exploring the poeticisation of mediated memory. Taking its name from otoliths, the minute particles found in the inner ear that help us to balance and to navigate our way across space, the film aims at reorienting our perceptions of the world by weaving personal and public histories together into a meditation upon the persistence of utopian aspirations.

“Earth is out of bounds for us now; it remains a planet accessible only through media”, the viewer is told at the beginning of the film, suggesting a post-nuclear future in which humankind is confined to outer space. Through prolonged space travel, the film tells us, otoliths have ceased to function, leaving homo sapiens unable to walk the earth. Instead the new mutants research images “sifting aging history from the tense present in order to identify the critical points of the twentieth century”. The film’s narrator is Dr. Usha Adebaran Sagar, a fictional descendant of Anjalika Sagar, living in space in the year 2103. The narrator looks back at several generations of women from the Sagar family, linking her own experiences with those of Sagar’s grandmother during the 1960s when she met Russian cosmonaut Valentina Tereshkova, the first woman to orbit the Earth. “For us”, the narrator declares, “there is no memory without image and no image without memory. Image is the matter
of memory”. Her attempts to understand multiple dimensions of the historical, the terrestrial and the evolutionary bring together existing images of very different qualities and registers.

In addition, the new video by the Otolith Group, Otolith II, will premiere at Argos on Monday 14th May at 20.30 pm. Following the premiere of the film Anjalika Sagar and Kodwo Eshun of the Otolith Group will talk about the film and their work in general. From the 15th – 26th May, Otolith II will be screened in Argos’ Black Box.

The Otolith Group exhibition is co-produced by Argos and KunstenFestivalDesArts.

Otolith II is being co-produced by Argos, KunstenFestivalDesArts and If I Can’t Dance…/Huis & Festival aan de Werf.

Anachronism is supported by:

The Brussels Capital Region
Agnès B, Bruxelles
Tobias Putrih’s Functional Cinema has been made possible with the kind support of Galerie Almine Rech, Brussels

General support: The Flemish Authorities, the Flemish Community Commission of the Brussels-Capital Region

For more information contact Rebekka Baumann
T: +32 2 2290003
E: Rebekka@argosarts.org

Duration of exhibitions: 27 March – 26 May 2007

Exhibition opening times: Tuesday – Saturday 12:00 – 19:00

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

The Deste Foundation Centre for Contemporary Art

The Library of the Deste Foundation
Deste Foundation Centre for Contemporary Art
11 Filellinon & Em. Pappa Street,
Nea Ionia 142 34
Athens, Greece
Tel: + 30 210 2758490
Fax: + 30 210 2754862
Email: info@deste.gr
http://www.deste.gr

The Deste Foundation’s Centre for Contemporary Art announces the operation of a newly established library on its premises, complete with a reading room open to all visitors.

The Deste´s Library specializes in the visual arts, with a specific focus on international & Greek contemporary art. It also includes publications on architecture, industrial design and contemporary culture at large. More specifically, it holds a collection of books, exhibition catalogues, magazines, special publications, artists’ books and an archive of auction catalogues. Furthermore, it includes audiovisual material and artists’ videos.

The creation of the library together with the Archive of Contemporary Greek Artists that is already open, is an integral part of the Foundation’s overall program, which aims to provide information on issues of contemporary art and keep the public abreast of the latest developments in the area.

The library welcomes exchanges and donations, thus acknowledging the importance of continuous renewal and growth.

Lastly, it should be noted that the Foundation’s library is a reference library and not a lending library; it is to be used as a research tool; as a means of obtaining thorough and systematic information.

Access is free for the general public
Opening hours:
Monday - Friday 12.00-17.00
Saturday 12.00- 16.00

For more information: t: +30 210 2758490, email: library@deste.gr

For more information go to: http://www.deste.gr