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FOR IMMEDIATE RELEASE:

What: “CATHARTIC”, an Interactive Installation, by Debra Holt (thru October 31st, 2007)
When: Opening Reception with Cocktails, Saturday, Sept. 8th 2007 7-11pm during the Wynwood Second Saturday Gallery Walk / Special Viewing on September 11th, 2007, 10am to 10pm
Where: Abba Fine Art, 233 NW 36th Street, Wynwood Art District, Miami FL 33127

Gallery Contact: 305.576.4278 www.abbafineart.com
Press Contact: dnaspaces@comcast.net

Exhibition Info:

Six years in the making, Debra Holt, a former New York City resident, incorporates her memories of the city into Cathartic. This installation focuses on the tragic events of September 11, 2001, and stands as an emblem for faith in humanity in hope that people can one day co-exist without conflict, regardless of their beliefs.

The room is unified by common themes- flowers, religious symbols of hope, and photographs of individuals that perished that day. A central altar containing objects of Holt’s personal memories of New York and objects related to the events that unfolded. They linger in order to deliver a clear message: we must move on, though we should not forget.

A Heroes’ Wall pays tribute to the men and women of the New York City Fire and Police Departments. The Prayer Wall combines religious symbols from three religions: Christianity, Judaism and Islam- symbolizing the need for unity among the three religions. The Grief Wall allows viewers to express their own emotions and purge themselves of the negativity that took hold of the world on that day by inviting visitors and art patrons to add their own artistic expressions on the wall.

Like the show’s title implies, Cathartic aims to alleviate the world of its emotional tension through art in order to make room for a more positive reconstruction…. at the physical site of the World Trade Center, and within ourselves.

Holt has also invited acclaimed local art performer Jasmine Kastel to add to the interactive aspect of this installation. This special one time performance will begin sharply at 9:45 pm and will be sure to captivate the viewers.

The gallery hours of operation are 12 p.m. to 5 p.m., Tuesday through Saturday, and by appointment. For further information about this exhibition or for a private viewing, please contact the gallery at (305) 576-4278 or via email at art@abbafineart.com.

About Abba Fine Art:

Abba Fine Art’s objective is to showcase samples of the diversity found in the creative flow of today’s contemporary art scene. The gallery stable includes works from artists that deal with different aesthetics as well as ideological dynamics. The subjects represent different aspects of life, ranging from the organic and natural to the psychological, figurative and pop culture references.

About the Artist:

Debra Holt’s work has been exhibited in New York and Miami galleries and museums. She graduated with a Masters of Fine Arts from Pratt Institute, New York, and received a Bachelor of Fine Arts from Florida International University. Her extensive travel experiences in both United States and abroad have influenced the development of her artistic expressions. She has been the recipient of various awards and grants including the National Sculpture Society Grant, The Nancy McGrath Award, Lucrezia Bori Foundation Prize, Albert H. Hallgarten Traveling Fellowship, and the Artists’ Fellowship, Inc., Grant.

The Interactive Installation, “Cathartic” is on display at Abba Fine Art, NW 36th Street, Miami FL 33127 7:00 pm-11 pm. Viewable through the end of October. For more information, go to abbafineart.com.

Press inquiries and image requests please contact dnaspaces@comcast.net

The Museum of Fine Arts, Houston

Concretismo and Neoconcretismo: Fifty Years Later.
A two-day international colloquium

SAVE THE DATE
September 13-14, 2007
9:30am - 6pm

Place:
The Museum of Fine Arts, Houston
American General
Special Events Room
Mezzanine level
The Audrey Jones Beck Building

General Information:
For information the public may call 713-639-7308

http://www.mfah.org

On the occasion of the recent acquisition of The Adolpho Leirner Collection of Brazilian Constructive Art by the MFAH, Concretismo and Neoconcretismo: Fifty Years Later assesses the state of research on the avant-garde artists and groups that constituted this critical chapter of post-War art in Brazil. The art world’s discovery of Lygia Clark and Hélio Oiticica in the 1990s has led to a greater interest and exploration of less well-known artists and movements that have shaped this historic period. In addition, there has been an increased urgency for more critical research on this important period of Brazilian avant-garde art.

Bringing together a distinguished group artists, critics, and scholars, Concretismo and Neoconcretismo seeks to generate updated frameworks and new lines of investigation for the interpretation of these interrelated tendencies. The starting point for this historiographic revision will be the testimonies presented by some of the earliest participants of these groups as well as by the critics who first identified their contributions in relation to both the Latin American avant-garde and international modes of abstraction.

This international colloquium is presented in conjunction with the exhibition Dimensions of Constructive Art in Brazil: The Adolpho Leirner Collection, on view at the MFAH through Sunday, September 23, 2007, that gathers together more than a hundred artworks.

Colloquium Chairs:
Ana María Belluzzo, Universidade de São Paulo and FAPESP, São Paulo
Mari Carmen Ramírez, the Wortham Curator of Latin American Art and Director, International Center for the Arts of the Americas at the MFAH

Participants:
Francisco Alambert, Universidade de São Paulo
Aracy Amaral, independent scholar and curator, São Paulo
Yve-Alain Bois, Institute for Advanced Studies, Princeton University, New Jersey
Ronaldo Brito, Pontifícia Universidade Católica do Rio de Janeiro
Paulo Sérgio Duarte, Universidade Cândido Mendes, Rio de Janeiro
María Amalia García, Universidad de Buenos Aires/CONICET
Héctor Olea, writer and ICAA Publications and Translations Editor, Houston
Luiz Camilo Osório, Pontifícia Universidade Católica do Rio de Janeiro
Ann Reynolds, The University of Texas at Austin
Nicolau Sevcenko, Universidade de São Paulo and Harvard University
Paulo Venâncio Filho, Universidade Federal do Rio de Janeiro
Alexander Wollner, artist and graphic designer, São Paulo

The presentations will be delivered in English, Portuguese or Spanish. Simultaneous translation will be available.

Reserved seating only, registration is required. For more information, reservations, and travel information, please contact Sonia Montoya at 713-639-7308, or by e-mail at smontoya@mfah.org.

Concretismo and Neoconcretismo: Fifty Years Later is organized by The International Center for the Arts of the Americas (ICAA) at the Museum of Fine Arts, Houston and Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP), Brazil.

Concretismo and Neoconcretismo receives generous funding from
Fulbright & Jaworski L.L.P.
Dean of Humanities, Rice University

The exhibition Dimensions of Constructive Art in Brazil: The Adolpho Leirner Collection is organized by the MFAH. Generous support is provided by Mr. Samuel F. Gorman and Macy’s.

Courtesy Photo: Maurício Nogueira Lima, Objeto rítmico no 2 (segunda versão) [Rhythmic Object (second version)], 1953, the Adolpho Leirner Collection of Brazilian Constructive Art, The Museum of Fine Arts, Houston, museum purchase with funds provided by the Caroline Weiss Law Accessions Endowment Fund. Copyright: Maurício Nogueira Lima

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

locus athens

Disco Coppertone
Opening 07.09.2007, 19:00
Megaron OLP, Akti Miaouli 10, Piraeus
From 07.09.2007 to 12.10.2007

Nikos Alexiou, Carolina Caycedo,
Mario Garcia Torres, Ian Kiaer, Aleksandra Mir,
Olaf Nicolai, Christodoulos Panayiotou

http://www.locusathens.com

Disco Coppertone: beach bars, sand in your ears, cicadas, the taste of salt on your skin, a good long siesta, a stroll through a sunlit museum, a trip by sea watching a port appear slowly in the horizon, a different sense of time. The associations are endless as most people reminisce their holidays or hope once again to break away from their daily routine, to come closer to nature and to take time off.

Tourism is a booming industry, providing a setting for people to live out their fantasies and escape. In reality it provides little in terms of a break from the norm, simply allowing people to consume and purchase another life style for a few days a year. Holiday destinations and indeed whole countries re-brand themselves in a saturated and competitive economy. Tourism is no longer necessarily about difference but instead a provider of the same, albeit with a slightly altered flavor. Hotel complexes and indeed whole cities are born, taking over more and more space, serving up what is desired rather than providing what already exists. Brochures and holiday planners direct your vision of what is worth seeing. Tourists’ insatiable gazes consume places and people, leaving behind a series of snap shots of flattened experiences. Nature is no longer left as it is — instead it is framed and contextualized within the preconceptions of a given culture, often to the sound of happy musi
c.

locus athens invited seven artists to explore with their projects both the nostalgia and ephemeral pleasures of holidays as well as the utopian basis but also cynical strategies of the tourist industry.

Their projects work in tandem with the exhibition space, the cruise ship departure lounge in Piraeus in the port of Athens, accompanying visitors on their way to their holiday destinations and on their trip on the Aegean sea.

Sponsors: Deutsche Bank, MG Capital Advisors SA,
ALMI Marine Management SA, Lavrentiadis Group of Companies
Neptune Lines

Supported by: OLP Port of Piraeus, Classical Hotels, Karavias & Associates/art, Group 4 Securicor, British Council

Information: Maria-Thalia Carras or Sophia Tournikiotis
locus@locusathens.com

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

U-TURN

Taliesin Thomas | Director
AW ASIA
545 West 25th Street
7th floor
New York, NY 10001
917.667.6473
Taliesin@awasiany.com

Office for Discourse Engineering
207 Parkview Center
5 Fang Yuan Xi Lu
Chaoyang, Beijing 100016
CHINA
+86 10 6438 8582
uturn.ode@gmail.com

http://www.awasiany.org

U-TURN is a new periodical that presents a direct and in-depth history of Chinese contemporary art. Edited by writer and curator Philip Tinari, produced by Office for Discourse Engineering in Beijing, and published by AW ASIA in New York, U-TURN seeks to return to the moments and movements that have shaped contemporary art in China since 1978, covering them in stand-alone foldout treatments that are released in sets of five, each issue focusing on a particular five-year period. The title "U-TURN" draws on the "No U-Turn" logo adopted by Chinese artists in the lead-up to the China/Avant-Garde exhibition that took place at the National Art Museum of China in February 1989.

U-TURN 1, covering the period between 1978 and 1982, was launched at the recent Art Basel. It includes segments on the Stars Group, No Name Painting Society, April Photographic Society, and Scar Art, which together comprise the first stirrings of a contemporary art scene in post-Cultural Revolution China. The No Name painting society prefigured a return to non-political art through its resolute commitment to seemingly "harmless" post-Impressionist landscape painting. The Stars Group declared the importance of individual creativity and gave rise to a group of individual artists still active today, including Ai Weiwei, Wang Keping, and Huang Rui. The April Photographic Society staged a series of widely attended photographic exhibitions in 1979 through which the medium began to transcend its journalistic roots. The Scar Art movement turned the techniques of social realism onto the baggage of the Cultural Revolution.

U-TURN 2, to be released at the ShContemporary fair in Shanghai next month, will focus on the critical period between 1983 and 1987 known as the "’85 Art New Wave," with analysis of the Northern Art Group, Southwest Painting Research Society, Xiamen Dada, and the ‘85 Art New Space exhibition in Hangzhou. Coming editions of U-TURN will profile additional groups and movements including the 1989 China/Avant-Garde exhibition, Gu Dexin’s early-1990s New Analysts group, artist villages including Yuanmingyuan and the East Village, Guangzhou’s first contemporary collective of the Big Tail Elephant group, the body art of Post-Sense Sensibility in the late 1990s, and the official "legitimization" of the contemporary art scene in the early 2000s.

U-TURN moves forward chronologically toward the present in five-year intervals, for a total of six issues covering the three decades between 1978 and 2008. Each eight-to-twelve page U-TURN pamphlet presents a specific group or movement, publishing previously uncirculated photographs, and re-creating key exhibitions through diagrams and documentary materials. Each issue features four overviews of significant groups and movements, bundled with a separate chronology to tie these movements to each other and to the broader social circumstances of the era. The project aims to educate and enlighten art professionals, institutions, and collectors on the history and importance of Chinese contemporary art.

U-TURN is published by AW ASIA and will be released three times a year for a total of six issues. AW ASIA is a private office and exhibition space in New York initiated by collector, publisher, and Museums Magazine founder Larry Warsh. Located in the heart of the NYC Chelsea art district, AW ASIA is promoting contemporary art from China and Asia by means of exhibitions, publishing, and public programs.

U-TURN is edited and produced by Office for Discourse Engineering, a Beijing-based editorial studio dedicated to research and publishing on contemporary Chinese art. It is designed by Imagine Wong. Contributing writers include Kris Ercums, Michael Hatch, and Stephanie Tung.

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

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.

Visit Artforum online at http://www.artforum.com

To subscribe, visit http://www.artforum.com/subscribe

Visit artguide–Artforum’s free directory of the international art world, listing art fairs, auctions, and current gallery and museum shows in more than four hundred cities–at http://www.artforum.com/guide

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

Contemporary Art Centre (CAC), Vilnius

New Season Exhibitions:
Autumn 2007

CAC
Vokieciu g. 2, LT-01130 Vilnius
Lithuania
T: +370 5 262 3476
F: +370 5 262 3954
info@cac.lt

http://www.cac.lt

The reappraisal of feminism and feminist art has been a hot topic of 2007 in international academic, art, and publishing circles. The CAC is pleased to be lobbing into the discussion with its new season of exhibitions of art made by women:

Chicks On Speed: Shoe Fuck!
7 September - 28 October
Among Us: six Lithuanian women artists in their thirties
The Joy Is Not Mentioned: Egle Budvytyte, Goda Budvytyte, and Ieva Miseviciute
14 September - 28 October

Each of the exhibitions looks towards a different decade–the 1970s, 1980s, and 1990s–for its conceptual impetus and considers its affects from a new millennial perspective. In their largest-scale gallery exhibition to date the all-girl band, performance ensemble and artist collective the Chicks On Speed reprise a number of strategies associated with art and music hailing from the 1970s and Punk. Punk was a movement and moment when women started rocking for themselves, incorporating explicit post-feminist political and performance strategies into their stage-personas, costuming, and stage-productions; high among them being raw sexuality, nudity, inflammatory language and sloganeering. It’s all on show in Shoe Fuck! including one of the symbols of late-capitalist women’s empowerment–a classic Chanel pump–being put to the test in the exhibition’s eponymous work. Part full-throttle commodity fetishism and part transgressive act the work, and the exhibition as a whole, questio
ns whether space for political activism/resistance exists for women in the age of consumerism.

Music is also to the fore in The Joy Is Not Mentioned the latest installment of the CAC’s ongoing ‘young Lithuanian artists’ series. The three artists ask "what if the 1980s never happened?" And their answer is; "no Hip-Hop and no street-culture" (that entered mass culture during the decade). Or at least a national pop-culture having difficulty coming to grips with one of the world’s dominant cultural and musical forms. This is the predicament of Lithuania–and of all the former soviet-states. To remedy the situation the artists will be re-staging the Hip-Hop and Street Dance 1980s in Vilnius for the duration of the exhibition. Two radio stations will be broadcasting special programs, and the artists, with the participation of members from the local street-culture community as well as trained dancers, will be turning up with boom-boxes, mics, and rolls of vinyl at street-corners and hang-out spots around the city. It’ll be the Bronx in the Baltic.

Among Us presents newly commissioned work by: Jurgita Remeikyte, Alma Skersyte, Irma Stanaityte, Laura Stasiulyte, Vilma Sileikiene and Kristina Inciuraite. The exhibition compares and contrasts coincidences and divergences in the artists’ practice, set against prescient developments in Lithuanian art and society since the 1990s. It was at the end of the decade marked by independence from the USSR (1991) that a higher number of women started entering the field of contemporary art; as part of a broader entrance of women into public life–including the fields of business and politics. The exhibition’s title, Among Us, was inspired by a series of discussions between the participating artists that identified the exhibition’s salient and shared concerns; collective historical memory and the recent transformations of Lithuanian identity. The artists analyze visual codes that have come from the past and question whether they are still recognizable, if they are still being exploited
or if they’ve already been forgotten? They study the influence of increasingly dynamic lifestyle on identity, and the collective unconscious in work that reflects upon their personal experience and environment.

Chicks on Speed will perform at the opening of their exhibition at 8.00pm on Friday 7 September
In association with The Joy Is Not Mentioned, dance floors will be formed on the streets of central Vilnius between 8.00pm-1.00am on Thursday 6 and Friday 7, September

Also at the CAC in autumn:
DIGITAL HERITAGE: Video Art in Germany >From 1963 to the Present, 12-21 October,
with a special lecture by Marcel Odenbach on Friday 19 October

Nomeda & Gediminas Urbonas at the Lithuanian Pavilion at the 52nd International Art Exhibition — La Biennale di Venezia, until 21 November, see: http://www.villalituania.lt

For press information about CAC projects contact Renata Dubinskaite at: renata@cac.lt

For more information go to: http://www.cac.lt

frieze

frieze issue 109 out now

Subscribe at http://www.frieze.com
to receive this issue and subsequent issues
as soon as they are published.

‘Robert Storr’s Venice Biennale was characterized by conscientiousness and fairness rather than provocation.’ Alex Farquharson

‘In the end documenta 12 did not carry the day; it did not commit itself to memory; it failed to spark the fundamental engine of aesthetic experience — curiosity. If this feels harsh, it is — but it’s not the art’s fault.’ Helen Molesworth

‘Sculpture Projects Muenster crucially has pace — a fluid rhythm to the way you encounter the works, played out through contrast in scale, medium and location.’ Polly Staple

In the September issue of frieze, eleven writers respond to the 52nd Venice Biennale, documenta 12 and Sculpture Projects Muenster 07, three of the most important exhibitions in the international art calendar. With contributions from Diedrich Diederichsen, Jennifer Doyle, Kodwo Eshun, Alex Farquharson, Jörg Heiser, Caoimhín Mac Giolla Léith, Helen Molesworth, Olu Oguibe, Daniel Palmer, Polly Staple and Tirdad Zolghadr.

Brian Dillon reflects on the work of Susan Hiller, whose work over three decades has inhabited a space between knowledge and emotion, exploring histories of Modernism, photography and the occult, whilst Robert Enright talks to Canadian artist and filmmaker Stan Douglas on the occasion of his first major retrospective.

Illustrated with specially commissioned photographs by Nigel Shafran, Emily King visits the Milan studio of Achille Castiglioni, one of the most playful, inventive and audacious designers of the 20th century. Mexican artist Damián Ortega responds to the frieze questionnaire.

Plus Focus pieces on Dutch artist Gabriel Lester by Vivian Rehberg, British artist Emily Wardill by Melissa Gronlund, Mexican artist Mario Garcia Torres by Catrin Lorch and German artist Judith Hopf by Kirsty Bell.

In the front section, Director of the Venice Biennale, Robert Storr, enjoys his escape from the madding crowds, and Brian Dillon welcomes a resurgent wave of British nature writers. Tirdad Zolghadr writes in praise of the gimmick, and Martin Herbert investigates the politics behind the choice of artists for the national pavilions at the Venice Biennale.

Also, Jennifer Allen discovers how a guide to talking about books you haven’t read can help you talk about artworks you haven’t seen, and for our regular ‘Life in Film’ column, British artist Steve McQueen reflects on the movies that have influenced him. Plus reviews of the latest in books, events and music.

The back section includes reviews from Belgium, France, Germany, Italy, the Netherlands, South Africa, Sweden, Switzerland, Thailand, the UK and the USA, including ‘Il Tempo del Postino’, Frances Stark, Gordon Matta-Clark, Damien Hirst, ‘Airs de Paris’, ‘CAPE 07′, ‘If Everybody Had an Ocean’, Dash Snow, Banks Violette, ‘Memorial to the Iraq War’, ‘Between Two Deaths’, Colter Jacobsen, Keith Arnatt, Danh Vo, T. Kelly Mason & Diana Thater, ‘Stay Forever & Ever & Ever’, Michael Auder, ‘Museo de Reproducciones Fotográficas’, ‘Cult Fiction’, Josef Strau, Mitzi Pederson, Rachel Feinstein, Mamma Andersson, Carter and ‘Don’t Be Happy Do Be Worried’.

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Wings Projects Art Space

For the Love of Country
Justin Richel

Curated by Sarah Schuster
Produced by Victoria Preston

August 31 - October 31, 2007
(Fri, Sat, Sun, 14.00 - 18.00 or by appointment)
Private View August 30 2007 19.00 - 21.00

Wings Projects Art Space
Ch. de la Moraine, 36
1162 St. Prex
Switzerland

http://www.wingsprojects.com

For the Love of Country, the first European solo show of American painter Justin Richel, explores early American history infused with a highly contemporary message.

The Historyseries focuses on early American presidents. Taking his moniker as "Father of the Nation" as a literal option, we follow George Washington as he goes about inseminating the architectural icons of colonial America. Lincoln appears in recognizable format as the face of the $5 bill, but the face has become that of a black man. Referring to Lincoln’s most famous act of abolishing slavery, Richel asks us to acknowledge that some 150 years later, America has yet to elect a black president.

Forgoing the portrayal of well-known figures, the Big Wigs series uses the qualities and symbols of historical portraiture to communicate the subjects’ importance. Acknowledging the role of the wig as an indicator of social and political status in early America, Richel proceeds to mock, and thus deconstruct, this icon, as we see wigs entangled with chairs, nested by birds, or dangerously enflamed. Whatever malady threatens their wigs, these gentleman never break pose, concerned only with the construction of their own image, and place in history.

In the Sweets series, temptation calls us in the form of tornadoes of swirling doughnuts, tsunamis of gumdrops and frostings, and cakes and cookies clamouring to reach the top of a sticky mountain. Even as the child in us prepares to plunge into all this gooey goodness, the adult-self begins to recoil. The term "conspicuous consumption" comes to mind, in a society where success is measured largely by one’s relative ability to consume.

Richel’s work forms a rich dialogue. Whilst his ideas are specific, he is careful to leave a generous depth of space for viewers to develop their own interpretations of the work, always offering
fresh new insight.

Note to the editors:

Sarah Schuster is an independent curator working in London.

Wings Projects Art Space is a not-for-profit gallery. It puts on exhibitions by international contemporary artists and invites young curators to produce shows. Visitors are always welcome.

A fully illustrated exhibition guide will be published.

London: For press images and further information, contact Sarah Schuster +44 7881 426 813 or sarahschuster@hotmail.co.uk

Switzerland and rest of the world: For press images and further information, contact Victoria Preston, +41 21 806 3819 or info@wingsprojects.com

Supported by Maine College of Art, Portland, Maine

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