Artipedia - Arts News

Kulczyk Foundation

GK COLLECTION #1
The Exhibition of art from Grazyna Kulczyk Collection

18th March – 17th June 2007
Opened daily 12:00 – 7:00 p.m.
Stary Browar The Centre for Art and Business in Poznan, Poland
http://www.grazynakulczyk.com

Senses and ideas beauty and darkness erotic and religion, aesthetic and provocation, entertainment and reflection – all these are interwined in GK’s collection. GK is one of the most important art collectors in Poland and Mid – Eastern Europe. In her collection one can find centuries old and modern works of art with strong emphasis however; put on contemporary art. As a collector GK appreciates experimentation, depth and bravery in art.

The collection includes works of outstanding Polish and foreign contemporary artists. The first display of this multifaceted collection consist of works of such artists as Magdalena Abakanowicz, Miroslaw Balka, Jan Berdyszak, Vanessa Beecroft, Thomas Demand, Izabela Gustowska, Candida Hofer, Zhang Huan, Tadeusz Kantor, Katarzyna Kozyra, Jacek Malczewski, Mariko Mori, Dorota Nieznalska, Roman Opalka, Thomas Ruff, Bruno Schulz, Alina Szapocznikow, Andy Warhol, Andrzej Wróblewski.

Apart the contemporary classics in the collection one can find works of many noteworthy young Polish artists, both male and female. The first exhibition of the collection attempts at creating and placing it in an international context.

The exhibition is derided thematically into rooms dealing with different problems of art and society. It leads through the following room’s themes: the Nude, the Perversion, the Religion, the Library, the Fashion, Body Sculpture, the object and the Museum. Over a hundred exhibits representing different techniques and media touch upon the issues of identity sexuality religion and the status of a work of art in present times. GK Collection # is the first collection of art from GK’s collection foreshadows the creation of a private art contemporary museum planned by the collector.

Curator of the exhibition is Pawel Leszkowicz. The author of the arrangement is Raman Tratsiuk. The designer of the album accompanying GK Collection #1 is Lech Majewski.

For additional information please contact the organizer:

Kulczyk Foundation
ul. Pólwiejska 42
61-888 Poznan
tel.+48 61 859 61 22
fax +48 61 859 61 21
office@kulczykfoundation.pl
http://www.kulczykfoundation.pl

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

Marres, Centre for Contemporary Culture

“RAW, Among the Ruins”
From March 11th 2007 until May 20th 2007

Curated by Lisette Smits and Alexis Vaillant: “Did you ever feel like an old bag in front of a work of art?”

Marres, Centre for Contemporary Culture
Maastricht, Netherlands
http://www.marres.org/

A ruin is defined as the disjunctive product of the intrusion of nature into an edifice without loss of the unity produced by the human builders. Time, proposed as the principal cause of ruin, serves also to unify the ruin. In a ruin the edifice, the man-made part, and nature are one and inseparable; an edifice separated from its natural setting is no longer part of a ruin since it has lost its time, space and place. A ruin has a signification different from something merely man-made. It is like no other work of art, and its time is unlike any other time.

A ruin is always ‘over’, in spite of the fact that it necessarily holds fragments of history. Moreover, a ruin is not in front of us. Decay evolves next to us, not to say with us. That’s the reason why we can say that at the beginning, there is the ruin.

Modern times have transformed the way ruins and monuments are approached and considered to the point where ruins became "contemporary ruins", closer to present than to past. "Contemporary ruins" are produced both by the acceleration of time and the growing fascination with deterioration. They test the very idea of a ruin within a system of objects structured by the invention of permanency. Good ruins do not illustrate or morally demonstrate this, but are able to re-reverse logics of time from science fiction to archaeology, from peplum to I-pod. Ruin lets off the very idea of theme because the ruin uses up any theme.

As soon as you start looking around, you see ruins everywhere.

Did you ever feel like an old bag in front of a work of art?

This show offers you a group of hopeful ruins, displayed in a classical nineteenth century aristocratic Dutch house. Here you will come face to face with the Nelly faggot, the spunky Nordic suitcase, the marble hand tapping his way through a fantastic water colour bleached world, a booty of damaged artworks, a mountain of freshly white sprayed earphones, the Jason mask without a face, the black plexiglass mandala, the silver animated survival cover, the suspended up bird, the celebration-church-bordello, and many more. Once in The Corridor of Who Knows When, some are arriving, others are leaving. If you expect nostalgia, be assured that nostalgic images just reiterate an inherited set of cultural expectations. These hopeful ruins might not fulfil that promise.

A ruin definitely alludes to the dissociation of ubiquitous artworks, lost in their photographic "entombed" time. Hopeful ruins resist their representation by being fragmented and, like raw material, ever again available. They point out the fragility of images, which are just thin illusions, doomed to fail our expectations, doomed eventually to crumble.

Artists:
Farîd-Ud-Dîn’Attar, Robert Breer, Marc Camille Chaimowicz, Dee Ferris, Jason Fox, Vidya Gastaldon, Richard Hawkins, Uwe Henneken, Karl Holmqvist, Jonathan Horowitz, Dorota Jurczak, John Kleckner, Petra Mrzyk & Jean-François Moriceau, Alessandro Pessoli, Nathalie Rebholz, Nick Relph & Oliver Payne, Re-Magazine, Markus Schinwald, V/Vm, Camille Vivier, T.J. Wilcox, and several historical damaged art works to be discovered.

A fully illustrated catalogue edited by Lisette Smits and Alexis Vaillant, with texts by Phillip van den Bossche, Brian Dillon, Raimundas Malasauskas, Noellie Roussel and the curators is published by Veenman Publishers.
RAW, Among the Ruins, Lisette Smits & Alexis Vaillant, eds.
ISBN/EAN: 9789086900671

For more press information please contact Floor Krooi, floor@marres.org or +31-(0)43-3270207

Marres
Open: wed – sun, 12 – 17 hrs.
Bookshop: wed – sat, 12 – 17 hrs.

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

Norwich Gallery

Revolution is not a Garden Party

Michael Blum, Nick Crowe, Igor Grubic, Sanja Ivekovic, Gergely László / Péter Rákosi, Nils Norman and Adrian Paci

Curated by Maja and Reuben Fowkes / http://www.translocal.org

22 March – 21 April 2007

Norwich Gallery
Norwich School of Art and Design
Francis House 3-7 Redwell Street
Norwich NR2 4SN
tel +44 (0)1603 756247
info@norwichgallery.co.uk
http://www.norwichgallery.co.uk

The international exhibition ‘Revolution is not a Garden Party’ considers the resonances of social and political revolution in contemporary art against the backdrop of the 50th anniversary of the Hungarian Uprising.

The exhibition consists of new and recent works that examine the global economic and political context against which revolutions take place, as well as the intersection between personal and artistic heritages of revolution. It expresses the sorrow of failed political struggles in the past and the future, and considers the shared experience of a communist past and the post-communist reality. Other concerns include the experience of revolutionary literature, the gendered images of resistance fighters in contemporary media, and the legacy of 1956 for the relationship of art and revolution.

As the first major popular rebellion against Soviet domination and the communist system in Eastern Europe, 1956 was a vital precursor of later revolutionary struggles. At the same time, it was part of wider geo-political shifts, such as the movement for decolonisation, and had cultural as well as political ramifications across Europe. In the history of art, the demolition of the Budapest Stalin Statue was the ultimate symbol of the decline of Socialist Realism. The truth about revolution is part of a contested history, a living process of rewriting and interpretation in which art takes a decisive part.

The exhibition publication brings together the artistic response to contemporary revolution represented by the exhibition and new reflections on the relationship between art and revolution by theorists and art historians. It includes illustrations and interviews with the artists, and new essays by Gerald Raunig, Benda Hofmeyr, Simon Sheikh, Chus Martinez and Maja and Reuben Fowkes that engage with issues such as art and revolution, aesthetics and politics, and ecology and anarchism. Additionally, responses to individual works in the exhibition highlight the variety of experiences and understandings of revolution in the context of contemporary art. It is published by MIRIAD, the Manchester Metropolitan University Research Institute for advanced cultural inquiry and creativity, and distributed by Cornerhouse Manchester http://www.cornerhouse.org/books

The SocialEast Seminar on Art and Revolution takes as its primary focus the legacy of political, social and cultural revolutions for art and visual culture in Eastern Europe and beyond. This includes discussion of the role of the historical avant-garde, the specific trajectory of Conceptual Art in Central Europe, and the re-evaluation of Socialist Realism as an art historical problem in the context of modernism, post-modernism and the polarised aesthetics of the Cold War. Speakers include Gerald Raunig, Gáspár Miklós Tamás, Malcom Miles, Bettina Jungen, Michael Blum, Dorota Monkiewicz, Edit András, Marian Mazzone and Klara Kemp-Welch.
http://www.socialeast.org

Exhibition Venues

Trafó Gallery 26 October – 26 November 2006 http://www.trafo.hu
Holden Gallery 3 – 27 February 2007 http://www.holdengallery.mmu.ac.uk
Norwich Gallery 22 March – 21 April 2007 http://www.norwichgallery.co.uk
Galerija Miroslav Kraljevic 14 June – 6 July 2007 http://www.g-mk.hr

The exhibition is supported by MIRIAD Manchester Metropolitan University, European Cultural Foundation, Hungarian Ministry of Culture, Croatian Ministry of Culture and ACEX - Agency for Contemporary Art Exchange.

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

CCNOA - Center for Contemporary Non-Objective Art

A BIT O’ WHITE
EEN BEETJE WIT
UN PEU DE BLANC

March 15 , 2007 - May 6, 2007

CCNOA
Center for Contemporary Non-Objective Art
Boulevard Barthélémylaan 5
1000 Brussels
Belgium
T + F: (32) (0)2 502 6912
E: info@ccnoa.org
W: http://www.ccnoa.org

CCNOA center of contemporary non-objective art Brussels, Belgium, is pleased to present the group exhibition A BIT O’ WHITE, which – after Double Exposure, minimalpop, Painted Objects, and 2step – is the fifth touring group exhibition produced by TEAMCCNOA. A BIT O’ WHITE features the work of 16 international artists working in the reductive mode: Matilde Alessandra (I), Tom Benson (UK), Julian Dashper (NZL), Ward Denys (B), Zipora Fried (A/USA), Klaas Kloosterboer (NL), Renée Levi (CH), Gerold Miller (D), Perry Roberts (UK/B), Michal Skoda (CZ), Clary Stolte (NL), Jan van der Ploeg (NL), Pieter Vermeersch (B), Emmanuelle Villard (F) and Jan Maarten Voskuil (NL). Although none of these artists focuses exclusively on the subject addressed in this exhibition – the notion and experience of the color/material WHITE with all its implications – its use plays an active and important role in their respective artistic practices. The exhibition will include paintings, objects an
d site-specific works as well as a new soundwork by Belgian composer Guy de Bièvre, which has been especially commissioned for this exhibition. A BIT O’ WHITE will be accompanied by a 32-pages full-color publication.

The color phenomenon WHITE has long served as a subject of symbolism in religion, metaphysical thinking and literature, as well as in scientific research and philosophical inquiry. But it was not until the beginning of the last century, with the work of Kasimir Malevich, that WHITE in its radical form of expression first entered the world of the visual arts. Since this early, strong, seminal and - in his case utopian – statement the use of the color/material WHITE has become an integral part of artistic practice either in its pure form or as part of a broader frame of reference (De Stijl, Arp, Rauschenberg, Manzoni, LeWitt, Ryman, Group Zero, etc.). On the negative side, however, the radical and exclusive use of the color WHITE has often been the subject of ridicule and a populist weapon against non-objective art. And there is a common perception that the subject WHITE is in a way still ‘cornered’ by the everyday notions of ‘beginning’, ‘birth’, ‘silence’, ‘nothingness’ or ‘d
eath’ (the death of painting … as if WHITE were only a property of painting), possibly the irony of radical reduction. Notions and connotations, which appear like evergreens in the discussion on WHITE, try on the one hand to get a grip on WHITE but on the other hand defy its message of awareness and the idea of raising consciousness. Post-modern art criticism and revisionism mirror the variously coded characteristics of the color WHITE.

A BIT O’ WHITE challenges the stereotypical properties attributed to WHITE and aims to broaden our capacity to perceive, experience and just enjoy its existence, free of preconceived notions and interpretations. A BIT O’ WHITE presents the color WHITE as an event, a happening, a celebration of the perception of the color, color/material and color phenomenon WHITE. We might be irritated: we cannot identify anything, we do not see anything – it’s white, all white. And yet it opens our eyes, tickles our senses, let’s us be – we see so much. WHITE, which hints at a whole range of possibilities without expressing them, yet puts us on the alert. WHITE, which triggers our emotions, our fears, yet is so familiar to us. WHITE we fear – WHITE we embrace. Can we let go of our preconceptions? Can we let WHITE just be white – as we see it, as we experience it? A BIT O’ WHITE sets out to open the door to a more comprehensive understanding of the subject WHITE as a color and as a material,
to enable the viewer freely to experience and understand its subtle qualities in the context of contemporary non-objective art and daily life, to present a range of possible propositions and challenges, and to validate dialogue on the production of reductive art and its communication with the public. (copyright team CCNOA)

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

Ars Baltica Triennial

Don’t Worry – Be Curious!
4th Ars Baltica Triennial of Photographic Art

Stadtgalerie Kiel
March 31 – May 28, 2007
Opening: Friday, March 30, 7 p.m.

http://www.arsbalticatriennial.org

Artists: Petra Bauer (SE), Anna Baumgart (PL), Olga Chernysheva (RU), Colonel and Khaled D. Ramadan (DK), Bodil Furu (NO), Kaspars Goba (LV), Tellervo Kalleinen and Oliver Kochta-Kalleinen (FI), Kristina Inciuraite (LT), Sven Johne (DE), Talleiv Taro Manum (NO), Tanja Nellemann Poulsen (DK), Anu Pennanen (FI), J&K (DE/DK), Katrin Tees (EE), Alexander Vaindorf (SE), Arturas Valiauga (LT), Julita Wójcik (PL)

Curators: Dorothee Bienert (Berlin), Kati Kivinen (Helsinki), Enrico Lunghi (Luxembourg)

The 4th Ars Baltica Triennial of Photographic Art Don’t Worry – Be Curious! will present photographs, videos, and installations by 20 artists from the countries bordering the Baltic Sea, works that address the problems and fears resulting from upheavals in present-day society.

Europe’s social, political, and economic reality is currently marked by restructuring processes that have led to a collapse in a continuity of location, a volatility in stable social relationships, and increasing individualization, on the one hand, and growing unemployment, passivity, and disenchantment with politics, on the other. These upheavals are predominantly experienced by West European countries as a crisis of the welfare state, while in East European countries they appear to be the result of socialism’s displacement by a capitalistic economic order. The sensed threat provokes similar reactions here as well as there; fear of social impoverishment, of a loss of identity, and of an uncertain future are the effects of globalization. In addition to this is the growing fear of the “foreigner” and the increasing desire to exclude the “other.”

The exhibition assumes that art can offer impulses and inspire reflection on participation and the power of agency. Invited are artists whose practice is based on the exploration of their social environment. The artists deal with diverse thematic fields such as migration politics, ideas of “normality” and “differentness,” the mechanisms of understanding and misunderstanding, social fears, young people’s various perspectives and concepts of life; the media’s influence on perception, thought, and knowledge; the relation between consumer culture and nature; or the sentimental value of the commonplace. What unites the works is a positive and often humorous prevailing mood that makes the observer want to engage in something new and scrutinize his or her own patterns of perception and thought.

Don’t Worry – Be Curious! will open in Stadtgalerie Kiel on March 30, 2007 at 7 p.m. The press conference will take place on March 29, 2007 at 11 a.m. The exhibition is under the auspices of the Prime Minister of Schleswig-Holstein and is supported by the programme Culture 2000 of the European Union, the German Federal Cultural Foundation, and institutions from the participating countries: the Danish Arts Council, the Arts Council of Finland, the Center for Contemporary Art Norway, IASPIS – International Artists’ Studio Programme, Moderna Museet – International Programme, Stockholm and the Ministries of Culture in Estonia, Latvia, and Lithuania.

Further exhibition venues: KUMU – Art Museum of Estonia, Tallinn (EE); Pori Art Museum, Pori (FI)

Publication: An exhibition catalogue will be published by Revolver Books with an introduction by the curators, an interview with Zygmunt Bauman, and texts by Petra Bauer and Annika Ruth Persson, Anders Eiebakke, Boris Kagarlitsky, Simon Sheikh, Hito Steyerl, Audrone Zukauskaite, and others.

Stadtgalerie Kiel
Andreas-Gayk-Str. 31, 24103 Kiel
Phone: 0431 901 34-00/-11
stadtgalerie@kiel.de, http://www.kiel.de/kultur/stadtgalerie
Opening hours: Tue, Wed, Fr 10-17, Thu 10-19, Sat, Sun 11-17

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

CENTRO CULTURAL MONTEHERMOSO KULTURUNEA

MONTEHERMOSO ART AND RESEARCH
Grants 2007

The Centro Cultural Montehermoso Kulturunea presents the seventh edition of the grants Support for Creation and Research in Contemporary Art and Thought. This initiative, promoted by Vitoria-Gasteiz Town Council, aims to facilitate the production of the selected projects, as well as their dissemination and exhibition. In order to make this possible, the grants offered are aimed at Artistic Creation, Curatorship and Research. Authors of any nationality, regardless of age, can present their projects individually or collectively.

ARTISTIC CREATION
Awarding of 8 grants for unpublished art projects which are in the production phase or which must be produced during the extension of the grant. Each project grant will not exceed €10,000, divided into the following items: €7,000, maximum amount for the production of the project, and €3,000 for fees of work production and copyright. The Grant includes an exhibition in the space of the Montehermoso Cultural Centre, within the 2008 programme.

CURATORSHIP
Awarding of 1 grant for a unpublished curatorial project including the participation of at least four contemporary creators. The proposal must be under production or must be produced during the extension of the grant. The selected project will be allocated €6,000 for fees of curatorial tasks and copyright.

The exhibition project award will not exceed €15,000. This amount must include the expenses caused by work production, insurances and transport, trips and stays of the selected artists and curators. Moreover, it must include the expenses caused by the exhibition mounting that cannot be included within infrastructures, technical equipment or human resources of the Montehermoso Cultural Centre.

RESEARCH
Awarding of 3 grants for research projects related to Contemporary Art and Thought. Within this section, at least one of the grants will be aimed at projects related to the development of a Historiography of Feminist Art in Spain. The award for the Research project development will not exceed €9,000. This amount includes the researcher’s fees, as well as the expenses caused by the project development. The Montehermoso Cultural Centre reserves the right to publish the results of the research.

For further information
(Download of full requirements)
http://www.montehermoso.net

CENTRO CULTURAL MONTEHERMOSO KULTURUNEA
Fray Zacarías Martínez, 2. 01001
Vitoria-Gasteiz.
SPAIN
accioncultural@montehermoso.net
comunicacion@montehermoso.net

tel. +(34) 945 161 830
fax. +(34) 945 161 831

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

GAMeC

ENZO CUCCHI. SCULPTURES
curated by Giacinto Di Pietrantonio

JOHANNES KAHRS.
MEN WITH MUSIC
curated by Alessandro Rabottini

Opening:
TUESDAY, 3 APRIL 2007, at 6.30 pm

GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo
Via S. Tomaso, 53
24121 Bergamo (Italy)
http://www.gamec.it

On 3rd April GAMeC will present two solo exhibitions dedicated to Enzo Cucchi and Johannes Kahrs.

ENZO CUCCHI. SCULPTURES
4 APRIL – 27 MAY 2007

The exhibition at GAMeC – Galleria d’Arte Moderna e Contemporanea di Bergamo is the first show in a public institution devoted entirely to the artist’s sculptural work and it contains works dating from the early 1990s until today including more than forty bronzes, a large ceramic work, and a canvas measuring 6×6 metres made specially for GAMeC. Placed on the far wall of the large room, the canvas will provide the background to the show.

The exhibition illustrates the sculptural development of an artist who is known above all to the public as a painter. In fact Cucchi has never ceased to produce sculptures, or paintings that contain sculptural or indeed installational forms. Many of his earliest works expressed three-dimensionality, a spatial quality that is also apparent in his painting and drawing. He pays heed to space, consequently, his images are never flat, always being placed in a three-dimensional void. Having his output rooted in sculpture means that his works enjoy a degree of originality compared with the trends that were predominant in the late 1970s and distinguish themselves from the new purely pictorial work being done at the moment. In this way he keeps alive the experimentalism typical of the avant-gardes: his installations are made from more diverse materials, placed freely in the exhibition space, and used as supports for his painted, sculpted or drawn images. Seen from his standpoint, the
exhibition at GAMeC has been conceived and will be laid out as a large installation, a single large work of art made up of many small but great works.

The exhibition will be accompanied by a bilingual catalogue published by Electa, Milan and includes a text by Giacinto Di Pietrantonio. This will be the first catalogue devoted to Cucchi’s sculpture and will feature not just the works on display but also the large body of sculptural works that the artist has produced over his artistic career.

JOHANNES KAHRS. MEN WITH MUSIC
4 APRIL – 29 JULY 2007

Men with music dedicated to Johannes Kahrs, one of the most outstanding figures in German and international painting since the 1990s, is the first solo show of the artist in an Italian museum.
The first floor of the gallery houses thirty paintings, some of which have never been presented to the public, that are laid out in a site-specific itinerary conceived by the artist to suit the display areas of the museum. The theme of the exhibition will be the representation of identity and the male body in relation to sexuality, violence, desire and loss.

Kahrs’ painting is distinguished by its intense emotional power and its perceptual and psychological impact. The starting point of each of his works are either photographs, or cinema or television stills, or, as has been the case for his most recent works, photos taken by the artist himself. Kahrs mixes fragments of images with his personal experiences, and places them in an atmosphere suggesting fiction, memory, dreams or imagination in which it is difficult to distinguish outlines. His is an ambiguous universe, with blurred, mysterious outlines, in which the multiple dimensions of desire and perception are charged with a tension that has no particular setting in time or space. It is difficult to describe what is happening in his scenes or even to identify their subject. What remains is an atmosphere, a sensation, a doubt and a profound fascination.

The exhibition is completed by a bilingual catalogue designed as an artist book, published by Diamondpaper, Berlin, with a conversation between the artist and the curator Alessandro Rabottini.

The exhibition is supported by the contribution of IFA – Institut für Auslandsbeziehungen and realized in collaboration with Goethe-Institut Mailand.

Hours:

Tuesday to Sunday: 10 am–7 pm
Thursday: 10 am–10 pm
Closed Monday

For information:
GAMeC - Galleria d’Arte Moderna e Contemporanea
Via San Tomaso, 53
24121 Bergamo
tel. +39 035 399528 / fax +39 035 236962
http://www.gamec.it

Press Office
CLP Relazioni Pubbliche
tel. +39 02 433403
http://www.clponline.it
e-mail: info@clponline.it

For more information go to: http://www.gamec.it

New Museum

The “IT” Factor: What Makes Something Hot?
A Hot Button! Panel presented by the New Museum

Wednesday, March 28, 2007
6:30-8PM

The Great Hall at The Cooper Union
7 East 7th Street @ 3rd Avenue, NYC

Free for New Museum members and Cooper Union students and faculty.

http://www.newmuseum.org

Join the New Museum and five legendary tastemakers as they break down the cult of cool and give insight into their participation in its creation: Clarissa Dalrymple, talent scout; Mayer Rus, Design Editor, House & Garden; Francesco Vezzoli, artist; Anthony Vidler, architectural historian; and Irma Zandl, trendspotter and Principal, The Zandl Group. This panel will be moderated by Laura Hoptman, Senior Curator at the New Museum. The panel will also feature the first U.S. viewing of Francesco Vezzoli’s newest video, Marlene Redux: A True Hollywood Story! (2006, Courtesy Collection François Pinault).

The "IT" Factor: What Makes Something Hot? will take place on Wednesday, March 28, 2007, from 6:30 - 8PM, and address the zeitgeist, charisma, and the herd mentality in the worlds of art, architecture, design, and fashion.

The "IT" Factor is the third in a series of popular Hot Button! panels, presented in anticipation of the reopening of the New Museum at 235 Bowery in late 2007, and represent the spirit of an institution dedicated to new art and new ideas, and ready to embrace debate. The Hot Button! panels are designed to encourage frank conversation on issues widely discussed in private but less candidly so in the public arena.

Organized by the New Museum in association with the School of Art at The Cooper Union, these panels are held in the Great Hall at The Cooper Union, 7 East 7th Street at Third Avenue. Tickets will be available for purchase at the door. More information can be found at http://www.newmuseum.org or 212-219-1222.

The New Museum’s Hot Button Topic Panels are generously supported by Altria Group, Inc.

The New Museum receives lead general operating support from Carnegie Corporation of New York, New York City Department of Cultural Affairs, New York State Council on the Arts, and the trustees and members of the New Museum. Additional support provided by American Express, Bloomingdale’s Fund of the Federated Department Stores Foundation, Con Edison, Goldman, Sachs & Co., Merrill Lynch & Co., and May and Samuel Rudin Family Foundation.

New Museum
210 11th Avenue, 2nd Floor
New York, NY 10001
212-219-1222
http://www.newmuseum.org

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

BOZAR EXPO

Visit(e)
Contemporary Art in Germany
23.03 > 01.07.2007
Preview on 23 March at 6.30 pm

Espace culturel ING | Cultuurcentrum ING
Place Royale | Koningsplein 6
1000 Brussels
+ 32 (0)2 507 82 00
http://www.bozar.be

The Federal Republic of Germany‘s collection of contemporary art is being presented in Brussels in an exhibition entitled Visit(e). The curators have conceived this exhibition as a lively essay in images. They show us works in a wide range of techniques and media. The selection includes, inter alia, paintings by Jonathan Meese, Neo Rauch, and Gerhard Richter, drawings by Joseph Beuys and Johannes Kahrs, sculptural works by Rebecca Horn and Nam June Paik, photographs by Candida Höfer and Wolfgang Tillmans, and films and videos by Tacita Dean, Omer Fast, and Daniel Pfl umm. In three chapters – existence, space, and history – Visit(e) demonstrates just how strongly art, personal life, and the world interlock.

Curators: Prof. Dr. Eugen Blume & Dr. Anette Hüsch

Dates
23 March > 1 June 2007
Preview on 23 March at 6.30 pm

Espace culturel ING | Cultuurcentrum ING
Place Royale | Koningsplein 6
1000 Brussels
+ 32 (0)2 507 82 00
http://www.bozar.be

Opening hours
Tuesday to Sunday, 10 am > 6 pm
Thursday, 10 am > 9 pm

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

e v + a

OPEN e v + a 2007
A Sense of Place

CURATOR: KLAUS OTTMANN

March 29 - June 24, 2007
City-wide venues
Limerick, Ireland

For more information, please call e v + a at 353 (0) 61 318240 or 353 (0) 87 9477042 or visit http://www.eva.ie

"Where are we at all? and whenabouts in the name of space?"
—James Joyce, Finnegans Wake

OPEN e v + a 2007, Ireland’s pre-eminent annual exhibition of contemporary art, opens to the public on March 29th. Selected by New York-based independent curator Klaus Ottmann, the exhibition will present 32 artists from Ireland, Continental Europe, and the United States in traditional and nontraditional sites throughout Limerick that were chosen by the curator, which includes the Limerick City Gallery of Art, Belltable Art Centre, City Hall, the Hunt Museum, King John’s Castle, and St. Mary’s Cathedral, among others.

For art to be experienced or observed, it has to be emplaced — put in place, however temporarily. An national exhibition with an international character such as e v + a, which is rooted deeply in one place, one history, and one culture, yet embraces the right to diversity within its borders, must inevitably focus on the dialectic of emplacement and displacement. The Irish poet Seamus Heaney speaks of the "two often contradictory demands" under which Irish poets labor: "To be faithful to the collective historical experience and to be true to the recognitions of the emerging self." According to Heaney, the two ways in which a place is known — one is the lived and illiterate; the other, learned and literate — co-exist "in a conscious and unconscious tension" in the artistic sensibility. For two months, the city of Limerick will be the limit and the condition of all the art and related events, where the artistic sensibilities of those at home
and those displaced will co-exist in a conscious and unconscious tension.

Participating artists:

Shelley Corcoran (Ireland); Patrick Corcoran (Ireland); David Dunne (Ireland); Melissa Earley (Ireland); Barry Foley (Ireland); Eric Glavin (Ireland); Tony Gunning (Ireland); Amy Hauft (United States); Ashley Holmes (United Kingdom); Ronnie Hughes (Ireland); Eithna Joyce (Ireland); Jesper Just (Denmark); Orla Keeshan (Ireland); Joanne Lefrak (United States); Miriam Lohan (Ireland); Sean Lynch (Ireland); Vanessa Marsh (Ireland); Enrique Martínez Celaya (United States); Anthony McCall (United States); Conor McGarrigle (Ireland); Margot McLean (United States); Marie Louise O’Dwyer (Ireland); Eamon O’Kane (Ireland); Alix Pearlstein (United States); Christopher Reid (Ireland); Andrei Roiter (Russia/United States/Holland); Aura Rosenberg (United States); Matthew Schenning (United States); Wolfgang Staehle (United States/Germany); Siobhán Tattan (Ireland); Thorns Ltd. (Norway); and Suzannah Vaughan (Ireland).

About the Curator:
Klaus Ottmann, an independent curator and scholar based in New York, is the author of numerous articles, essays, and books on art and philosophy, including The Genius Decision: The Extraordinary and the Postmodern Condition; James Lee Byars: Life, Love, and Death, and The Essential Mark Rothko. Ottmann has curated over forty exhibitions, including Still Points of the Turning World, SITE Santa Fe’s Sixth International Biennial (2006); Life, Love, and Death: The Work of James Lee Byars, (Schirn Kunsthalle, Frankfurt, 2004); and Wolfgang Laib: A Retrospective (Hirshhorn Museum & Sculpture Garden, Washington, D.C., and traveling to 5 additional museums, 2002-04). He is currently writing a book on the philosophy of the French painter Yves Klein and preparing a traveling survey of paintings and sculptures by the American artist Jennifer Bartlett (2009-2010).

The e v + a story
A group of Limerick artists began e v + a in 1977 as a way of bringing their work as contemporary artists into mutual close encounters with audiences so that, together, sense and meaning could be made in and of the world all shared. More than two decades on e v + a is still an artist centred exhibition and has become the Republic of Ireland’s premier annual exhibition of contemporary art. It now offers a wide ranging program of events that integrate local, national, and international audiences in a communal celebration of contemporary art and culture. Previous e v + a curators include Katerina Gregos (2006), Dan Cameron (2005), Zdenka Badovinac (2004), Virginia Perez-Ratton (2003), Apinan Poshyananda (2003), Salah M. Hasan (2001), and Rosa Martinez (2000).

e v + a 2007 - Sponsors & Patrons

The successes of e v + a have depended firstly on all the participating artists. But success also depends on the patrons and sponsors who have in the past and continue to give generously financially or in kind. The e v + a organising committee is extremely grateful to all the e v + a sponsors and patrons, whose continued support is invaluable to the impact and influence of the exhibition.

The Arts Council, Limerick City Council, Limerick City Gallery of Art, Sisk, Failte Ireland, The Belltable Arts Centre, The Hunt Museum, The Bourn Vincent Gallery, St. Mary’s Cathedral, Philips Ireland, Clancy’s

Contact person for press or further information;

Paul O’Reilly; e v + a administrator,
Tel : 353 (0)61 318240 or 353 (0) 87 9477042
Email : info@eva.ie
Web site http://www.eva.ie

For more information go to: http://www.eva.ie