[mac]musée d’art contemporain de Marseille

Toni Grand, Sans titre,
02.02.1935 - 29.11.2005
30 June - 16 September 2007
Opening: Friday, 29 June, 7:00 pm

[mac]musée d’art
contemporain de Marseille
69 avenue d’ Haïfa - 13008
Marseille - France
Tel : + 33 (0)491 25 01 07
Open : Everyday 11am - 6pm.
Closed on Mondays and bank holidays
dgac-mac@mairie-marseille.fr

http://www.marseille.fr

The [mac] has chosen Didier Larnac the director of the Fine arts school of Le Mans, a friend and gallerist of Toni Grand, to organise a tribute to this artist. His choice has been made through an peculiar perspective (point of view) to emphasize on the originality of this major sculptor of the 20th century. Didier Larnac offers to review three essential of his exhibitions : at the museum of Saint Etienne in 1976, at the musée d’art contemporain in Lyon in 1990 and at the Renaissance society in Chicago in 2000. Thanks to these exhibitions, Toni Grand questioned, among other themes, the pattern of the line in sculpture, what directions it points out, its displacements and movements in the space. Toni Grand was a precise analyst and talked with a great sense of humour. His students at the Ecole des Beaux Arts of Marseille appreciated this discreet and fascinating person. He used to work wood, stone, eels and congers (which only represented measures and gauging elemen
ts) with discipline and simplicity. His sculptures are in no way deceiving or mysterious, accordingly with his taste for transparency. He chose the materials he used all around his workshop at Mouriès in the landscape of the Alpilles where he loved to wander with his dogs.

Didier Larnac, Curator of the exhibition
Thierry Ollat, director of the [mac]

Toni Grand, Sans titre, 02.02.1935 - 29.11.2005 is accompanied by a souvenir book told by close friends and relatves entitled Toni Grand, la Légende, texts by Jean-Marc Andireux, Pierre André Boutang, Boris Charmatz, Françoise Cologan, Richard Deacon, Corinne Diserens, Michel Enrici, Eric Fabre, Amélie Grand, Julia Grand, Françoise Guichon, Didier Larnac, Joséphine Matamoros, Yves Michaud, Michèle Moutashar, Emile Noël, Thierry Ollat, Alfred Pacquement, Fredéric Paul, Patrick Saytour, Didier Semin, Marceau Vasseur, Claude Viallat.

192 pages, 20 x 24 cm, French and English, ill. Black end white and colour, 800 copies, Editions Analogues.

Toni Grand :
Born 1935 at Gallargues Le Monteux, Gard
Died 29 novembre 2005 in Arles, Bouches du Rhône
Lived and worked at Mouriès, Bouches du Rhône

For more information go to: http://www.marseille.fr

SCOPE Hamptons

SCOPE Hamptons
July 26-29, 2007
FirstView on July 26, 2007

East Hampton Studios
77 Industrial Road
Wainscott, NY 11937
info@scope-art.com

http://www.scope-art.com

EAST HAMPTON–Returning for its third year to the East End, SCOPE Hamptons transforms the 25,000 square-foot East Hampton Studios into a world-class art fair and destination-location for seasoned and new collectors. With over 60 international established and emerging contemporary galleries from over 20 countries, SCOPE presents a full schedule of special events, performances and screenings, alongside museum-quality programming.

This year’s Opening Night Benefit Reception and Dinner will benefit Socrates Sculpture Park’s Education Program. SCOPE Hamptons is proud to partner with Socrates Sculpture Park for its own featured program, SCOPE kids. Presented by Socrates’ artists, the SCOPE kids art-making workshops will introduce fundamental contemporary art-making techniques to our next generation of emerging artists. These inspirational projects, presented three times daily, will culminate in an all-hands-on-deck festive Sunday afternoon regatta!

For further information on SCOPE kids, please visit http://www.scope-art.com/images/stories/hamptons.pdf Benefit Tickets: Please contact Ellen Staller at 718.956.1819.

Continuing its mandate to redefine what an art fair is, this year’s SCOPE Cinema, in conjunction with Salomon Contemporary, is pleased to present "Stereomongrel" by Luis Gispert and Jeffrey Reed. "Stereomongrel" will be screened at the Salomon Contemporary warehouse in East Hampton on Friday, July 27, 2007. Screened daily, SCOPE’s award-winning video and film program presents The Perpetual Art Machine showcasing more than 1000 videos by over 600 emerging and established artists from 60 countries. [PAM] allows the visitor to become part of the curatorial process. PAM is organized in collaboration by Lee Wells, Raphaele Shirley, Chris Borkowski and Aaron Miller. http://www.perpetualartmachine.com

Scope Hamptons will be open daily from 12 pm to 8 pm.

For a full list of events, please go to http://www.scope-art.com/images/stories/hamptons.pdf

Opening Night benefit, 5-9pm July 26th

Support Socrates Sculpture Park, Guild Hall and the SCOPE Foundation Education Program (SCOPE kids)

5-7pm FirstView SCOPE Hamptons (Onsite) Reception
7-9pm HC&G idea House (Offsite) Dinner

A portion of the ticket price is tax deductible and will benefit GuildHall, Socrates Sculpture Park’s and SCOPE’s Education Programs.

Purchase tickets: es@socratessculpturepark.org or Ellen Staller at 718.956.1819

VIP/Press Preview Brunch Friday, July 27th 12am-2pm
Scope Hamptons launches with a Press and VIP Brunch. The brunch will feature special performances and screenings. A shuttle will leave from MoMA at 10am and arrive at Scope Hamptons at noon. Additionally, press can visit daily and enjoy the outdoor grass-carpeted media lounge. For press credentials, please email press@scope-art.com.

Collector Brunches 9am-noon, July 28th and 29th
Hamptons Collectors will open their homes to Exhibitors and Scope Patrons. Non Patron cardholders can buy tickets from info@scope-art.com.

Emerging Collectors Reception 2-5pm, July 27th, 28th, 29th
Young Collectors enjoy a Grolsch Swingtop as they chat with exhibitors, artists, and more seasoned collectors in an informal setting.

‘Stereomongrel’ by Luis Gispert & Jeffrey Reed Screening & Reception Friday, July 27th 9-11pm
The Salomon Contemporary Warehouse. 6 Plank Road, Unit #3 East Hampton. Patron Cardholders free; Tickets onsite

[PAM] Reception, 2-5pm, July 28th
Over 600 [PAM] artists are invited for the first-annual reunion to celebrate the third anniversary of SCOPE Cinema, which premiered in SCOPE Hamptons 2005. After a brief presentation of [PAM] by its founders, [PAM] artists, collectors, and video-lovers are invited to a reception courtesy of Grolsch. Entry included with Admission.

Scope Hamptons exhibitors were chosen by an elected selection committee. Each committee member is a representative from a particular city or region, inviting the most significant emerging galleries, curators, and artist projects. Scope’s invited sixty-five international exhibitors will uphold its unique tradition of one-person and thematic group shows, bringing visitors a real-time international survey of the emerging contemporary art world available nowhere else.

Scope’s continued mission is to turn viewers into users. Founded in 2002, Scope gives a view of the contemporary art-world available nowhere else. Scope international art fairs present up-and-coming dealers, curators, and artists, alongside museum quality programming.

info@scope-art.com
212 268 1522

For more information go to: http://www.scope-art.com

Deutsche Guggenheim

Phoebe Washburn:
Regulated Fool’s Milk Meadow

Deutsche Guggenheim
Unter den Linden 13/15
10117 Berlin
p +49-30-202093-0
f +49-30-202093-20
berlin.guggenheim@db.com
Open Daily 11am-8pm; Thursdays 11am-10pm

http://www.deutsche-guggenheim.de

Phoebe Washburn’s installations explore generative systems based on absurd patterns of production. She typically combines countless numbers of cardboard boxes or pieces of scrap wood that she skims off the refuse of consumers and commerce, combing dumpsters and loading docks for basic matter. Her materials are discarded relics of daily routines, fatefully and incidentally discovered and transported to the studio where they are ordered and repurposed, imbuing with value what was once deemed worthless. Featuring already used, already worn, already consumed objects, which carry evidence of their own histories, she stacks, binds, and nails together her discoveries into installations that often tell the story of their own making, consolidating by-products of their creation, such as sawdust and packing materials, into the final project.

For Deutsche Guggenheim, Washburn has conceived of Regulated Fool’s Milk Meadow as a self-contained "factory" that incorporates its own product–grass for the project’s sod roof–into the installation over the course of the exhibition. For the first time, the artist integrates mechanics into her work, using a conveyor belt loop to shuttle small plots of soil through different stations for light and water, which nourishes the growth of grass. These "plots" are periodically tended by a "gardener" who plants the seed, allows it to germinate in a greenhouse before shifting the organic matter to the factory where it will mature, and finally places the output on the roof of the structure where it will eventually atrophy and wither, removed from the sustaining system of water and light, thus exhibiting the full cycle of growth and decay.

Washburn largely relies on improvisational and amateurish construction techniques. The spontaneity of her architecture resonates with the natural development of the growing sod roof as well as its organic decline and decay. This practice stands in contrast with the characteristic efficiency intrinsic to the factory system. But Washburn often mines such apparently ridiculous juxtapositions–here, organic growth and mechanical tools–as loci of creativity.

Curator:
Joan Young, Associate Curator for Contemporary Art and Manger of Curatorial Affairs, Solomon R. Guggenheim Museum

<Publication:
Catalogue in German and English with essays by Jan Avgikos and Ben Hamper as well as an interview between the artist and the curator.

For press information please contact Sara Bernshausen, phone: +49-30-202093-14; e-mail: sara.bernshausen@db.com

For more information go to: http://www.deutsche-guggenheim.de

Tate Britain and Tate Modern

Art Now at Tate Britain and
Level 2 Gallery at Tate Modern

Tate Britain
Millbank
London SW1P 4RG

Tate Modern
Bankside
London SE1 9TG

http://www.tate.org.uk

Art Now at Tate Britain reflects current developments in contemporary British art. It consists of up to five exhibitions a year which demonstrate the quality and variety of new art in the UK.

Level 2 Gallery is Tate Modern’s dedicated showcase exploring the latest ideas, themes and trends in international contemporary art. It is located at the North Entrance facing the river.

Art Now: Christina Mackie
2 June - 28 October

Christina Mackie’s sculptural installations weave an intricate web of associations between their diverse physical components, which comprise natural, man-made and crafted elements.

Holding an inherent respect for her materials and an intuitive understanding of the way things work, Mackie’s creative processes are often directed by what something can be made to do. Both personal and complex, her works are imbued with her own experience of the world and her private thought processes.

For Art Now, Mackie has created a new sculpture, The large huts, in the Sculpture Garden outside Tate Britain.

Art Now: Goshka Macuga
30 June - 14 October 2007

Goshka Macuga’s sculptural environments include unlikely displays of other artists’ work alongside disparate collections of objects — books, souvenirs, scraps, artefacts and curios — thus blurring the roles of artist, curator and collector. For Art Now she has selected objects from Tate’s Archive and Collection to explore conventions of archiving, exhibition making and museum display.

Art Now Live
Saturday 8 September 2007

Working in collaboration with commissioning agency Electra, Art Now presents a day of live works that explore ideas of participation and storytelling. Projects include new work by the Bohman Brothers, Melanie Gilligan, Emma Hedditch, Janice Kerbel and Olivia Plender.

Art Now: Seb Patane
3 November 2007 - 13 January 2008

Seb Patane creates paired-down tableaux comprising drawings, adapted found imagery and objects, sound and live performance often arranged around provisional architectural constructions. Resurrecting material that contains a particular potency for him, Patane is drawn to ideas of tribalism, urban mythology and altered states. His sources have included staged portrait photographs from a Victorian magazine, 80s avant-garde German band DAF (Deutsch Amerikanische Freundschaft) and occultist mountaineer Aleister Crowley. Patane will be making a new installation for Art Now.

Level 2 Gallery: Learn to Read
19 June - 2 September 2007

Learn to Read is the latest exhibition in the Level 2 Gallery series which forecasts themes and trends in international contemporary art. This visually diverse display brings together works by 29 artists which play with text, erasure and miscommunication and the works resonate with the influence of Dada, Fluxus, Letterism and conceptual art.

The featured artists are: Saadane Afif, John Baldessari, Robert Barry, Carol Bove, Peter Coffin, Annelise Coste, Shannon Ebner, Simon Evans, Mario Garcia Torres, Graham Gillmore, Mauricio Guillen, Kevin Hutcheson, Bethan Huws, Július Koller, Christopher Knowles, Friedrich Kunath, Glenn Ligon, Maria Lindberg, Kris Martin, Jonathan Monk, Lia Perjovschi, Philippe Parreno, Kirsten Pieroth, Damien Roach, Vittorio Santoro, David Shrigley, Frances Stark, Sue Tompkins, Jordan Wolfson.

Supported by CULTURESFRANCE, Pro Helvetia (Swiss Arts Council) and the Romanian Cultural Institute in London

Level 2 Gallery: The Irresistible Force
20 September - 25 November

The Irresistible Force is an exhibition and magazine project that examines how the economic structures of capitalism shape labour and distribution, advertising and consumerism, creation and reproduction, and the flows of persons and commodities. As cultural values and traditions are realigned by globalisation and market forces, the international artists in this exhibition reflect on the impact of these upheavals. Tensions, uncertainty, and fantastical stories emerge from the banality of bureaucracy and circulation of commodities. Among the featured artists will be Matei Bejenaru, the first Temporary Project in Level 2 Gallery during the weekend 8-9 September.

The Irresistible Force is the first of four related exhibitions in Level 2 Gallery addressing notions of the citizen and citizenship. Acclaimed polemicist Stuart Home will be writer-in-residence for the year, producing literary responses to the concepts and contents of each of the four exhibitions.

Level 2 Gallery: Temporary Project: Matei Bejenaru
Saturday 8 - Sunday 9 September

During the coming year an artist will be invited to do a weekend-long temporary project in the Level 2 Gallery between each exhibition. The first will be Romanian artist Matei Bejenaru who will present a project with and about illegal Romanian migrant workers in the UK.

Supported by the Romanian Cultural Institute in London

Tate Britain, London SW1
http://www.tate.org.uk/britain/exhibitions/artnow/

Tate Modern, London SE1
http://www.tate.org.uk/modern/level2gallery/

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

1st Thessaloniki Biennale of Contemporary Art

1st Thessaloniki
Biennale of Contemporary Art
"HETEROTOPIAS"
21st May - 30th September 2007
160 artists / 37 countries / 25 city institutions / 26 spaces / 27 exhibitions

http://www.thessalonikibiennale.gr

A huge… saw, 10 meters high, arrives…from Miami, "cutting"…the earth and the sea…in an act symbolising the gap that may exist among people and religions. "Black birds", men with ties and briefcases landing on the atrium of the Byzantine Museum, reminding us of "Golconda" by Magritte. A painted table of the artist from which 300 small sketches have escaped and float freely on…the wall creating the illusion of three-dimensional painting. "Paintings" created in Braille: These are Van Gogh’s letters describing his works, transferred to white frames, that can be "seen" through touch by people with impaired vision. These are some of the "Heterotopias" that will be exhibited in the 1st Biennale of Contemporary Art in Thessaloniki, entitled "Heterotopias", organised by the State Museum of Contemporary Art with the support of the Ministry of Culture from May 21 until September 30 (within the framework of "Cu
lture" operational programme - co-funded by the European Union (80% by ERDF and 20% by the Ministry of Culture).

The title is borrowed from Michel Foucault’s lecture on real spaces-islands where man follows a certain set of rules, which distract him from his daily functions. We interpret Foucault’s text based on new conditions which prove its timelessness. We detect contemporary "heterotopias", counterpoising real spaces with imaginary ones and we imagine new spaces of the future. As the Biennale’s city, Thessaloniki reevaluates the notions of centre and periphery and brings the periphery to the centre by abolishing the established borders. This way, art is liberated from the restricting walls of a Museum which, regardless, is a "heterotopia" in itself.

The Director of the State Museum of Contemporary Art and one of the three curator of the main programme of the Biennale, Maria Tsantsanoglou -the other two are Catherine David, Jan-Erik Lundstr&ouml;m- notes: "Foucault underlines that the museum is a heterotopia. However, in the end, it is the work of art that becomes a heterotopia. It is the creation of a space within the real one, a space that borrows elements from the real space, situations and actions, archives and drawings in order to offer, in the end, a strange reflection of the real space, a "heterotopia", that exists and is determined by a system of rules referring to ethics and aesthetics codes".

The President of the Board of Trustees of the State Museum of Contemporary Art, George V. Tsaras explains: "We aim to establish the city of Thessaloniki as a meeting point where artists and art theoreticians can collaborate. We would like to bring the cultural institutions of the city together. To suggest and insinuate contemporary and enterprising artistic activities which dare to stray from the globalization tendency of deterioration and leveling, in order to support cultural singularity, to respect identity and diversity, and to equally accentuate local as well as universal qualities. The 1st Biennale’s theme, "Heterotopias" emphasizes the dynamics of a living and vivid cultural foundation which draws from incentives and inspires creation, which accepts and then emits. The diversity that we are defending with this organization is by no means established by the mediums or techniques that are used, nor does it rely on the folkloric exploitation of our cultural
identity, but rather, it is sustained by our faith in the ecumenical and at the same time subjective nature of artistic expression and communication. More than a prominent artistic event, every biennale constitutes an attitude for the international scene and the issues that concern the world. They also play a prominent political and humanitarian role as they shape the ways in which each society comprehends the world around it. In this sense, the art of our days constitutes one of the few stages of resistance against a dominating, globalized system which has invaded everything, including artistic expression".

The Biennale’s website http://www.thessalonikibiennale.gr contains all the exhibitions and events of the parallel and concurrent programme (with exact dates of openings and durations) which will take place throughout the city in collaboration with many cultural institutions: Guest Artist: Leda Papakonstantinou Title of the Piece : "In the name of" (September 2007), Exhibition-Project: Public Screen (September 2007), Closing Multi-disciplinary Conference "The Meaning of the Heterotopia in the Arts" (September 2007), Educational Programme: "The Biennale goes…to school!", the 3rd Children’s Biennale, The International Workshop of Young Artists, Project "Farkadona", Exhibition of printmaking "Heterotypias-Heterotypies"

Exhibition of 15 Greek Visual Artists "Recreation-maid in Greece", Exhibition of 27 visual artists from Greece and abroad with the title "Who is there?" (May - June), Project "OUF!" Exhibition "Other Spaces", Happening "The Concept of Symposium", "The Mystery Festival", Collaboration with art galleries of Thessaloniki.
Welcome!

For further information
Press office
Yiota Sotiropoulou / 6972336261
[t] 2310- 589152 [f] 2310- 589210, press@greekstatemuseum.com

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

Haus Konstruktiv Zürich

Carsten Nicolai — static fades
May 31st until August 1st, 2007

Haus Konstruktiv Z&uuml;rich
Selnaustr. 25
8001 Z&uuml;rich
T +0041 (0)44 217 70 80
F +0041 (0)44 217 70 90
info@hauskonstruktiv.ch

http://www.hauskonstruktiv.ch

The artist and musician Carsten Nicolai — also known as alva noto — is one of the most colourful and multifaceted personalities on the contemporary art scene. Nicolai has performed and created installations in many of the world‘s most prestigious spaces including The Guggenheim NYC, MOMA San Francisco, MOMA Oxford, NTT Tokyo, and Venice Biennial Italy. His current exhibition ’static fades’ at Haus Konstruktiv in Zurich furnishes him with the setting for his extraordinary concert ‘xerrox’.

Carsten Nicolai’s installations explore the boundaries of human sensory perception. They enable us to make auditive and visual experiences of phenomena such as sound and light frequencies and electromagnetic fields.

’static fades,’ the artist’s first large solo exhibition in Switzerland — he was born in Chemnitz, Germany, in 1965 and now lives in Berlin — extends across three floors of Haus Konstruktiv. The list of Nicolai exhibitions worldwide is impressive. He is among just a few contemporary artists to produce satisfying works that explore tensions between the fields of art, science and sound.

Nicolai’s works are based on complex, interdisciplinary investigations and scientific observations. They provide acute insights into individual worlds of perception and sensation. Most of the pieces presented at Haus Konstruktiv are new, having been designed especially for these spaces throughout almost the entire past year. Despite their clear and spare formal idiom, these works are highly charged and atmospheric.

OPENING HOURS: Tuesday/Thursday/Friday 12 am to 6 pm, Saturday/Sunday 11 am to 6 pm, Monday closed

CATALOGUE: Carsten Nicolai — static fades, published by JRP Ringier Verlag

The exhibition is being sponsored by Zurich Group | Art Mentor Foundation Lucerne | Galerie EIGEN + ART Berlin/Leipzig | ewz | Lehrwerkst&auml;tte f&uuml;r M&ouml;belschreiner, Baugewerbliche Berufsschule, Z&uuml;rich | Schulthess Druck | rent a museum

Accompanying Carsten Nicolais exhibition we are presenting Volume 4 of our series ‘Visionary Collection’.

The Zurich Prize
Carsten Nicolai is the first artist to receive a newly created art award, the Zurich Prize, which will be awarded annually. Its conception is the result of close cooperation of the Zurich Group insurance company with Haus Konstruktiv. The Zurich Prize is perfectly suited to highlight this art institution’s specific mission, which is to reveal connections between classically Concrete-Constructivist and Contemporary positions in art.

The Zurich Prize is intended to express our appreciation of a younger generation’s artistic positions, and to provide some support to the autonomous artistic expression of a male or female artist who has already made a lasting impression on the national and international contemporary art scene. Prize money of CHF 80,000 — to be invested in a solo exhibition at Haus Konstruktiv and a substantial publication by JRP Ringier Verlag — makes it one of Europe’s most highly endowed art awards. The award ceremony will be held at Art Basel.

From 2008 onwards, a highly qualified jury will nominate the winner of the Zurich Prize. Jury members are Dorothea Strauss, Director, Haus Konstruktiv (President); Samuel Keller, Director, Art Basel, and designated Director, Fondation Beyeler; Annette Kulenkampff, CEO, Hatje Cantz Verlag; Gianfranco Verna, gallery owner; David Weiss, artist; and Markus Hongler, CEO, Zurich Switzerland. Each year, five independent, world-renowned curatorial advisors will submit artist nominations.

For this year’s launch of the Zurich Prize, the Zurich Group and Haus Konstruktiv decided to give it a clear profile by awarding the prize to Carsten Nicolai. To quote Dorothea Strauss, Director of Haus Konstruktiv, ‘Carsten Nicolai meets our award criteria to an exemplary and extraordinary degree. Reflecting the Classical Avantgarde’s universalist and societally relevant positions, his works are a perfectly contemporary treatment of these issues.’

alva noto — xerrox
concert at Haus Konstruktiv
July 13tth, 2007, 7.30 pm

Sound artist Carsten Nicolai — also known as alva noto - has established himself as a leading member in the realm of electronic sound and visual designers whom are using art and music as hybrid tools to create microscopic views of creative processes.

0riginals are unique, be it genetic codes or image and sound documents. Their copies are mere means of distribution. to secure these originals from misuse is the main issue today. The essence and potential of the copy mostly is disregarded. We live in a world of constant reproduction where only the replication counts as original, the single object is a sheer copy of the prefiguration, which is abstract and becomes an icon. By the technique of copying the copy also often contains mistakes and abstractions, that differ from the original. These simplifications and deformations inherent to the copy process lead to a gradual loss of its connection to the original and results in a substantial change of meaning.

On ‘xerrox’, alva noto works with samples from muzak, advertising, soundtracks and entertainment programs. These sounds we hear randomly in everyday life and thereby they become an always present and available public domain. With ‘xerrox’ alva noto manipulates these recognizable melodic (micro) structures by the process of copying. He alienates them beyond recognition so the results manifest their connection to the original only suggestively. In this respect: the original is copied to the original.

The concert is being sponsored by the Zurich Group.

For further information concerning the exhibition and the concert see also:
http://www.carstennicolai.de
http://www.alvanoto.com

For more information go to: http://www.hauskonstruktiv.ch

Circa Art Magazine

Circa Issue 120, Summer 2007

Circa Art Magazine
43 / 44 Temple Bar
Dublin 2
Ireland
Phone: +353 1 67 97 388
editor@recirca.com
http://www.recirca.com

subscriptions / purchase / PDFs:
http://www.recirca.com/subscribe

The summer issue of Ireland’s leading magazine for contemporary visual art is now on sale. The 112 full-colour pages include news, feature articles, reviews, projects, a host of images, and advertising from Ireland’s main art spaces.

Feature articles

Gobal enterprise: Gerard Byrne and Willie Doherty at the 2007 Venice Biennale Gavin Murphy looks at the Venice phenomenon, and the two ‘pavilions’ from Ireland | New-media art: An Irish context Paul O’Brien looks at some key players in the field of new-media art in Ireland | The gender gap revisited Cristina Martín de Vidales and Sophie Nellis examine Circa’s performance in relation to gender bias in coverage | What exactly is your reader profile anyway? Peter FitzGerald gives the results of a recent Circa reader survey | Well, speak of the devil! Art-world spectacle from Dubai to Dublin Joan Fowler tackles spectacle and chicness in contemporary art | Letter from Vancouver Jason McCaffrey gives a tour d’horizon from Canada’s west coast |

Reviews

Belfast Joanna Karolini The Bath is hot Slavka Sverakova | Julie Westerman Thinly veiled and barely | ev+a 2007 Fergal Gaynor | London Brian Hand A Decision to love Isobel Harbison | New York Armory Gemma Tipton | Paris Samuel Beckett Judith Wilkinson | Portadown Rita Duffy and Paul Muldoon Cuchulain comforted and Cloth - two visual and verbal collaborations David Hughes | Tasmania An other place Maria Kunda |

Project

Gareth Kennedy and Sarah Browne: Episode 306: Dallas, Belfast

Also available for online purchase: Space: Architecture for Art, a Circa book on the theory and practice of art spaces; it includes a comprehensive directory to visual-arts spaces throughout the island of Ireland. More information at http://www.recirca.com/space

Buy or subscribe to Circa Art Magazine at http://www.recirca.com/subscribe (you can also buy gift subscriptions and PDFs here).

Scans of the pages of the first 110 issues of Circa are now accessible online at http://www.recirca.com/scans

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

Kunstmuseum Stuttgart

JOSEPHINE MECKSEPER
July 14 to October 28, 2007
Curator: Dr. Simone Schimpf

KUNSTMUSEUM STUTTGART
Kleiner Schlossplatz 1
70173 Stuttgart
Tel.: +49 (0) 711 - 216 21 88
Fax: +49 (0) 711 - 216 78 20
Tue to Sun 10 a.m. - 6 p.m.
Wed and Fri 10 a.m. - 9 p.m.
Mon closed
info@kunstmuseum-stuttgart.de

http://www.kunstmuseum-stuttgart.de

The Kunstmuseum Stuttgart is honored to present the first extensive mid-career survey of Josephine Meckseper’s multimedia work. The exhibition will span four floors of the museum. It will be accompanied by a comprehensive catalogue, published by Hatje Cantz Verlag, featuring essays by Okwui Enwezor and Christian H&ouml;ller.

Josephine Meckseper was born in Germany and received her MFA from the California Institute of the Arts in 1992. Meckseper is an internationally recognized artist, participating in such recent exhibitions as Resistance Is at the Whitney Museum of American Art, the Second Moscow Biennale of Contemporary Art, Media Burn at Tate Modern, the Biennial of Contemporary Art of Seville, USA Today at the Royal Academy, traveling to the State Hermitage Museum, St. Petersburg, and the Whitney Biennial 2006: Day for Night. She lives and works in New York.

"… Josephine Meckseper’s artistic projects have stringently focused on addressing the politics of power and violence that undergird the current global imperium. Using a wide array of methodologies: film, video, photography, painting, graphic and product design, installation, and architectural fragments, Meckseper has invented an amalgam of display surfaces - in reference to both Warhol’s pop ironies and to the rhetoric of negation at the heart of the work of artists as disparate as John Heartfield, Raymond Hains, Asger Jorn, David Hammons, Barbara Kruger, Jenny Holzer - as critical armatures for the interrogation of global geopolitics, protest, contestation, and empowerment. In her sculptures, paintings, films, photographs, collages, and posters, she draws a direct correlation to the way consumer culture defines and circumvents subjectivity, and as such sublimates the key instruments of individual political agency as part of the world of the commodity." Okwui Enwezo
r, 2007

PRESS CONTACT
Kunstmuseum Stuttgart
Dr. Eva Klingenstein
Kleiner Schlossplatz 1
70173 Stuttgart
Tel.: +49 (0) 711 - 216 19 32
Fax: +49 (0) 711 - 216 78 20
eva.klingenstein@kunstmuseum-stuttgart.de
www.kunstmuseum-stuttgart.de/presse

For more information go to: http://www.kunstmuseum-stuttgart.de

Savannah College of Art and Design

Afterglow
6 July - 28 August 2007

Savannah College of Art and Design
Lacoste
Rue du Four
84480 Lacoste, France
Monday-Sunday,10a.m.-5p.m.
exhibitions@scad.edu

http://www.scadexhibitions.com

The Savannah College of Art and Design-Lacoste presents "Afterglow," an exploration of light as an aesthetic, material, conceptual and poetic phenomenon by artists Ghada Amer, Patrick Blanc, Maja Godlewska, Hervé Half, Alfredo Jaar, Ju-Yeon Kim and Bill Viola July 6-August 28. The exhibition seeks to provide an atmospheric experience with installations throughout SCAD-Lacoste, including in the main gallery, Galerie Pfriem, located at Rue du Four. All exhibition spaces are free and open to the public Monday-Sunday, 10 a.m.-5 p.m.

"Afterglow" pays homage to a history of art that has responded to the sun-drenched, panoramic vistas of the Provençal landscape. It reveals the manifold and nuanced ways that artists sense, articulate and experience light.

Ghada Amer’s "Love Park" (1997) is installed throughout numerous terraces and gardens in Lacoste, inviting lovers to sit and bathe in sunlight. Yet Amer’s ‘park for lovers’ is full of irony as the potential for intimacy is thwarted by her construction of ‘anti-love’ seats: seats that are conjoined but face opposite directions.

Patrick Blanc, the internationally renowned French botanist known for his ‘vertical gardens,’ has been commissioned by SCAD to produce his first permanent, site-specific sculpture. Blanc’s grand yet delicate spiral sculpture is covered in perennial plants that are biologically diverse and require minimal water. For the "Green Vortex," the hot, Proven&ccedil;al sunlight is the source of its existence.

Maja Godlewska’s work uses light to explore ephemeral vision and tension between formlessness and form. Her "Templates of Clouds" series, consisting of 20 painted polyester mesh banners installed on the Park Terrace, simulates the contradiction between the illusion of the physical and the reality of weightlessness in cumulonimbus clouds.

Hervé Half’s densely layered and light-infused paintings are products of an aggressive technique. Beginning with a representational composition, often of landscapes, in paint and varnish, he obscures the image by burning it with a welding torch, then seeks to retrieve the original form by stripping, rubbing or blasting with a water-jet.

Critically acclaimed Chilean artist Alfredo Jaar frequently uses light as a means to query the human ability to be moved by images. In his own words, he makes light for "communities that lack images," seeking to bring to mind reflection and contemplation upon universal themes of social injustice. In "Epilogue" (1998), a projected video installation, a brilliant light slowly reveals a portrait of an elderly Rwandan refugee, whose image subsequently withdraws and returns to luminescence.

Ju-Yeon Kim, an artist-in-residence at SCAD, is concerned with how Eastern and Western philosophies function side by side. Kim is interested in the contradictory perception of white in different cultural contexts: In her native Korea, white can symbolize fragility and death, but paradoxically, in the Western context, it evokes purity and simplicity.

Internationally recognized for his work in video and sound installation, Bill Viola describes video as treating "light like water." Inspired by Buddhist notions of "pure seeing," Viola uses light as a means of concentrating vision to stimulate a shift in consciousness. "Old Oak (Study)" (2005) is from a video series originally made for a production of Wagner’s "Tristan and Isolde," directed by Peter Sellers, which premiered in April 2005 at the Paris Opera. Viola translates the story of two doomed lovers into a universal evocation of love and loss.

"Old Oak (Study)" is a time-lapse video of a California oak tree on a hillside. As in many of Viola’s pieces, light becomes the source of a meditative experience through which the viewer considers the divine and the universal paradox of endless cycles of life.

Through a series of site-specific and gallery installations by invited artists, SCAD’s summer show in Lacoste considers the ambient and emotive qualities of light. The show features commissioned and selected existing pieces, and addresses the village holistically by engaging with its intricate spaces. The exposure to multiple light sources creates a warm "Afterglow," or enduring impression, that lingers with viewers long after the creations experience.

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

PORTIKUS

The Rausch Collection /
Maurizio Cattelan
Opening: July 13, 2007, 8 pm
Exhibition on view: July 14, 2007 - September 9, 2007
Press conversation:
July 13, 2007, 11 am

PORTIKUS
Alte Br&uuml;cke 2 Maininsel
60594 Frankfurt am Main, Germany
Telephone: 49 69 962 44 54-0
Fax: 49 69 962 44 54-24

http://www.portikus.de

As the caretakers at the St&auml;delschule, Helga and Hartmut Rausch have been collecting works by students and teachers at this school for 14 years. Their collection now comprises almost 400 paintings, drawings, photographs, objects, and videos by more than 200 students, graduates, and professors. Artists Thilo Heinzmann and Hans Petri presented two works to Hartmut Rausch on the occasion of his 50th birthday. The Rausch Collection is founded on lasting friendships and continues to grow. The caretakers’ apartment resembles an inexhaustible storehouse of unique and highly contrasting works. What makes the collection unlike any other is that each individual work derives from a personal story, a memory from everyday life at the St&auml;delschule, and from immediate lived experience.

In the last years, no other school of the arts in Germany has educated more artists who went on to gain international recognition. This fact is clearly visible in the large-scale exhibitions of the summer of 2007, such as the show "Made in Germany" in Hanover. Many of its artists have graduated from the St&auml;delschule, and the viewer will discover more of their work in the Rausch Collection.

Internationally renowned artists such as Ayse Erkmen, Christa N&auml;her, Hermann Nitsch, Heimo Zobernig, Tobias Rehberger, Michael Krebber, and Thomas Bayrle are included in this unique panorama of contemporary art in Frankfurt, as are younger positions such as Thomas Zipp, Kirsten Pieroth, Simon Dybbroe Moller, Sergej Jensen, Nora Schultz, Martin Neumeier, and Kerstin Cmelka, to name only a few. In the 20th year of its existence, the Portikus is also using the opportunity of this show to present an immediate portrait of its artistic environment during the past two decades.

Accompanying the exhibition at the Portikus, a book of ca. 400 pages has been published by Buchhandlung Walther K&ouml;nig.

The exhibition and the collection catalogue were generously supported by the Hessian Ministry of Higher Education, Research, and the Arts, and by the Department of Culture of the City of Frankfurt am Main.

During the summer of 2007, the Portikus also presents a new site-specific work by Maurizio Cattelan hovering above the island: "Frau C."

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