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University of California BAM/PFA

Rosalind Nashashibi:
Bachelor Machines Part I
August 26 through November 3, 2007

University of California
Berkeley Art Museum and
Pacific Film Archive
2626 Bancroft Way
Berkeley CA 94720

http://bampfa.berkeley.edu

The University of California, Berkeley Art Museum and Pacific Film Archive (BAM/PFA) presents Rosalind Nashashibi: Bachelor Machines Part I, a film installation that chronicles the voyage of the cargo vessel Gran Bretagna and its crew as they venture from Italy to the Baltic Sea. The exhibition, which is part of BAM/PF’s MATRIX Program for Contemporary Art, opens at the museum on August 26 and runs through November 3, 2007. Nashashibi will appear in person to discuss the film on
October 4, 2007, at 6 p.m.

Artist Rosalind Nashashibi has garnered international attention for creating films that concentrate on the incidental details of everyday life. In Bachelor Machines Part I (2007), she uses a contemplative series of images to tell the story of the captain and crew of a large ocean-going cargo ship. The men speak, but not in English, so their story is subtly revealed to the viewer through facial expressions and bodily cues as they go about their work and recreation. Along with the men, the sea, with its eternity of lapping waves, and the vessel itself become characters in the film. This relationship of men, ships, and sea recalls the timeless mythology of seafaring in literature and painting, but it also connects back to the present-day context. Far from our expected images of accelerated commerce in an ever-shrinking world, and our jet-fueled notions of the global economy, Bachelor Machines Part I reminds us that most goods are still transported across the globe on slow, hulki
ng machines operated by ordinary people. Although Nashashibi’s films have a narrative structure and feature real people, they are not documentaries in the usual sense. Referencing avant-garde structuralist film, she shoots on 16mm, and uses long, sustained takes and often static camera angles to present, as she says, "a particular way of seeing things." Past works have focused on a group of model-airplane enthusiasts flying their toys in Omaha, Nebraska (Midwest: Field, 2002); old women having lunch at a Salvation Army (Blood and Fire, 2003); and a family of Palestinians living in Israel, chatting as they prepare a meal (Hreash Housing, 2004). (Nashashibi herself is of part Palestinian and part Irish descent.)

Nashashibi was born in 1973 and lives and works in London. Her work has been shown in exhibitions internationally, including the ICA in London, the UCLA Hammer Museum in Los Angeles, Momentum 2006: Nordic Festival of Contemporary Art, and the Scottish Pavilion at the 2007 Venice Biennale. Solo presentations of her work have been mounted at Tate Britain, London; Art and Industry Biennial, Christchurch, New Zealand; Kunsthalle Basel; and Chisenhale Gallery, London, for which Bachelor Machines was originally commissioned. In 2003 she was the first woman to win the prestigious Beck’s Futures Award for young British artists.

Rosalind Nashashibi: Bachelor Machines Part I is curated by Elizabeth Thomas, Phyllis Wattis MATRIX curator. Bachelor Machines Part 1 was originally commissioned by Chisenhale Gallery, London, and Picture This, Bristol.

University of California, Berkeley Art Museum and Pacific Film Archive
2626 Bancroft Way, Berkeley CA 94720
http://bampfa.berkeley.edu

Gallery Hours:
Wednesday and Friday to Sunday, 11 to 5; Thursday 11 to 7.
Closed Monday and Tuesday.

Information:
t. (510) 642-0808
f. (510) 642-4889
TDD: (510) 642-8734

Press contact
Rod Macneil rmacneil@berkeley.edu

For more information go to: http://bampfa.berkeley.edu

House of World Cultures

NEW YORK STATES OF MIND
Exhibition, Film Programme and publication
curated by Shaheen Merali
August 24 to November 4, 2007
Tue - Sun 12 - 8 pm

House of World Cultures
John-Foster-Dulles-Allee 10
D-10557 Berlin

http://www.hkw.de

The House of World Cultures in Berlin reopens after a year’s absence, in which it has upgraded its exhibition spaces to museum standard, with an interdisciplinary programme dedicated to the
city of New York.

The overall programme features a number of prominent artists whose work has influenced American art as a whole, as well as having been highly influential within the global context.

The programme includes works by 30 artists and two artist collectives in five categories and a further 63 films by 56 directors, concentrating on different themes and realms of vision. The range of artists represented within the exhibition include historically important figures from the iconic, Marcel Duchamp, Mary Ellen Mark and David Hammons, to a younger emerging group of artists which includes Tavares Strachan, Iona Rozeal Brown and Laura Carton. The film programme traces the growth and the inter-relationship between the city as a subject and the city as a space for mediating difference. Both the extensive film programme and the exhibition programme are supported by a related publication, New York States of Mind, Art in the City, including interviews with the artists, essays and an extended section devoted to the film programme.

Embedded within NEW YORK STATES OF MIND is a series of performances, installations / screenings entitled Shangri-La, with a new performance commissioned for this occasion by Patty Chang and Terence Koh. Michael Joo is represented by a recantation of three video works framed within a new installation and Nikki S. Lee is presenting her recent film work a.k.a. nikki s. lee.

The artists from the Shangri-La category, together with Berlin based artists, will discuss their personal views in the first of the two panel discussions during the conference, Art and Economy. The second panel, entitled The Metanarratives will bring together five key individual voices from the curatorial, academic and collector’s viewpoint.

A further satellite project, located in the heart of Berlin-Mitte, is In Neuem Kontext, which emerges out of the negotiated reconfigurations by young Asian artists who live in Berlin. For two weeks the six artists, Helen Cho, Hanayo, Yoon Lee, Yudi Noor, Yuka Oyama and Yukihiro Taguchi will transform the St. Johannes-Evangelist-Kirche’s neo-Romanesque church architecture into installations accompanied by performances and workshops. This project has been co-curated by Tereza de Arruda, Carson Chan and Shaheen Merali assisted by Paige Johnstone.

Publication:
New York States of Mind, Art in the City, Saqi Books 2007
Edited by Shaheen Merali
ISBN: 0863566073
ISBN13: 9780863566073
360 Pages

Exhibition NEW YORK STATES OF MIND
Iona Rozeal Brown, Ian Burns, Laura Carton, Carolina Caycedo, CUP, Marcel Duchamp, Rainer Ganahl, Hans Haacke, David Hammons, Jonathan Horowitz, Tehching Hsieh, Kim Jones, Jon Kessler, Mark Lombardi, Mary Ellen Mark, Sarah Morris, Gordon Matta-Clark, Josephine Meckseper, Ana Mendieta, William Pope.L, Printed Matter, Inc., Elaine Reichek, Carolee Schneemann, Ward Shelley, Tavares Strachan, Kehinde Wiley, Fred Wilson, Jordan Wolfson.

The exhibition tours to Queens Museum of Art, New York (16/12/2007 - 23/3/ 2008)

SHANGRI-LA
Patty Chang, Terence Koh, Michael Joo, Nikki S.Lee
All talks moderated by Shaheen Merali

Wed, 12 Sept - Sun, 16 Sept, Installation
Opening Wed, 12 Sept, 7:30 pm
Michael Joo: White Suite (Horizonless)

Thu, 13 Sept, 7 pm, Talk with the artist

Sun, 16 Sept, 6:30 pm, Performance
Terence Koh: The Sun
7:30 pm, Film
Nikki S. Lee: a.k.a. nikki s. lee, 2006, OV
9 pm, Talk with the artists

Sun, 23 Sept, 6 pm, Performance
Patty Chang: Touch Would
Followed by Talk with the artists

ART AND ECONOMY: CONFERENCE
Sun, 16. Sept
12 am - 3 pm
The Narrative and The Metanarratives panels

IN NEUEM KONTEXT
co-curated by Tereza de Arruda, Carson Chan and Shaheen Merali

Location : St. Johannes-Evangelist-Kirche, Auguststrasse 90, Berlin-Mitte
Admission: free

Exhibition
11 - 23 Sept
Tues - Fri, 12 am - 7 pm; Sat, 12 am - 10 pm; Sun, 12 am - 6 pm
Opening: Sun, 9 Sept, 4 pm

Performances
Sat, 15 Sept, 8 pm Hanayo
Sat, 22 Sept, 8 pm Yudi Noor
Followed by: Talk with the artists and curators

Workshops
Berlin Flowers by Yuka Oyama
Wed, 11 - Fri, 14 Sept, 11 am - 5 pm, Admission: free
Sat, 15 Sep + Sun, 16 Sep, 2 - 5 pm, in co-operation with NEXT
Location: House of World Cultures

Exhibition "New York States of Mind" and catalogue funded by Hauptstadtkulturfonds. The "New York" festival is funded by the State Minister at the Federal Chancellery for Culture and Media, the Federal Foreign Office, DaimlerChrysler AG and Bayer AG.

For more information go to: http://www.hkw.de/en/programm2007/new_york/_new_york/projekt-detail_3_14905.php

Artforum

September 2007 in Artforum

Artforum
350 Seventh Ave, 19th Floor
New York, New York 10001
t: 212.475-4000 f: 212.529-1257

http://www.Artforum.com

This month in Artforum: “The Grand Tour.” This summer, for only the fourth time ever, three major European shows engaging the global conditions of contemporary artmaking took place simultaneously: the Venice Biennale, Documenta, and Skulptur Projekte Münster. To take stock of the once-in-a-decade constellation of events, Artforum asked a number of regular contributors, as well as past curators, to offer their views: Okwui Enwezor, curator of Documenta 11, opens the suite of essays with a broad reflection on the continental trek and the implied fate of the globally minded show; contributing editor Katy Siegel, Tate Modern curator Jessica Morgan, and 2003 Venice Biennale curator Francesco Bonami consider the current version of the venerable Italian exposition, while Tate Modern curator Mark Godfrey and art historian Sven Lütticken look at two of its satellite shows, “Artempo” at the Palazzo Fortuny and Thomas Demand’s “Processo Grottesco” at the Giorgio Cini Foundati
on; contributing editor Daniel Birnbaum and critics Tom Holert and Claire Bishop survey Documenta 12; and, finally, Barbican director Kate Bush and Artforum editor Tim Griffin gain vantages on the art and public spaces of Münster.

“Does the money-drenched condition of contemporary art spell the end for the kind of curatorial irreverence and ingenuity that transformed the art world in the ’90s into a truly global affair? Do the mordant and even hostile responses to this year’s Venice Biennale, Documenta, and Skulptur Projekte Münster on the part of professionals and general audiences alike signal that the paradigm of the large-scale show has hit an iceberg and is about to sink?” –Okwui Enwezor

And: Artist Charles Ray talks to Rachel Kushner about Hinoki, 2007. Recently on view at Regen Projects in Los Angeles, the carved-wood sculpture re-creates a found (and then stolen) thirty-two-foot-long fallen tree. The artist recounts the decadelong creative process, from the initial inspiration to the traces of “all these different people’s hands” left on the final work.

“People talk about architecture, placement in a room, but I think the artfulness of a work is how it’s spatially embedded. There are some great David Smiths whose spatial embedment makes you feel that if you were to turn them, the whole world would turn with them. Maybe the tree is like that.” –Charles Ray

Also in September: “Testing Your Patience.” Scott MacDonald interviews filmmaker James Benning, whose practice grows out of structural film. Benning discusses his recent works, including casting a glance, a 16-mm film about Robert Smithson’s Spiral Jetty that debuts at Documenta 12 this month.

“It always pleased me when people would tell me they’d almost left my film but instead had stayed and felt that the experience had taught them to look differently, to become more proactive as a viewer.” –James Benning

In addition: Martin Herbert and Daniel Birnbaum have an entertaining time at Philippe Parreno and Hans-Ulrich Obrist’s “Il Tempo del Postino,” at Manchester’s Opera House; Philip Tinari considers the latest overview of contemporary Chinese art, Tate Liverpool’s “The Real Thing”; Pamela Kort enters the colorful world of Anton Henning at SMAK in Ghent, Belgium; Bob Nickas remarks on the three-part Steven Parrino retrospective “La Marque Noire” at Palais de Tokyo, Paris; Diana Baldon takes a seat at Tobias Rehberger’s deconstructed cinema at the Fondazione Prada, Milan; Artforum contributing editor Bruce Hainley is moved by Robert Rauschenberg’s boxes in “Cardboards and Related Works,” at the Menil Collection, Houston; Sven Lütticken reviews philosopher Gerald Raunig’s Art and Revolution; P. Adams Sitney discusses Robert Beavers’s new film, Pitcher of Color Light; and Pamela Kort remembers artist Jörg Immendorff.

Plus: Artforum looks ahead to the fall season with previews of almost sixty shows opening worldwide, from Takashi Murakami in Los Angeles and Richard Prince in New York to Louise Bourgeois in London and Mark Manders in Hannover, with first glimpses of the new New Museum of Contemporary Art in New York and Edward Krasinski’s studio in Warsaw.

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