Artipedia - Arts News

Karpilewitz im Birkenwald

Maxim Fon Volff-Kiselev
»Karpilewitz im Birkenwald« – meinen Toten in Russland gewidmet
geboren in Moskau, 1994 Studium an der Akademie der Bildenden Künste München bei Prof. Reipka und Prof. Berger

Ein Betrachter, der ich Karpilewitz bin, ist (eben) Karpilewitz, alias Birkenwald.

In einem Wald, einem Birkenwald verfahren schleicht der eingelebte und frustrierte Karpilewitz zwischen den Bäumen herum und sucht, abgesehen vom Fehlen des Such-Instrumentariums jeglicher Art schlechthin, schon lange nicht mehr nach einer anderen Landschaft. Und der vermisste Rote Faden des Erzählens setzt obendrein noch zu: entrollt sich unsichtbar außer- bzw. unterhalb der da-sein-müssenden Horizont-Linie gebührlich episch vor sich hin. Selbst diese lässt sich nicht einmal als Bindestrich erblicken, da vom Birkenwald gänzlich zugeholzt (in Szene gesetzt vermittels der Papierarbeiten). Vom Karpilewitz belassen. Was übrig bleibt: Blickfang-Träger (in Szene gesetzt vermittels der Präsentationsweise der Papierarbeiten an den Wänden und der auf dem Fußboden der Galerie freistehenden Objekte) als nicht anstrengend anzusehen und sie zu betrachten. Dabei nicht agieren, nicht intervenieren, bringt nichts.

Papierarbeiten
Der Großteil der Blätter besteht aus den in Moskau in den Jahren 2004 bis 2006 angefertigten Relief-Zeichnungen. Außerdem werden Zeichnungen, Monotopien und monotypisch bedruckte Zeichnungen, die in München zwischen 2006 und 2007 entstanden, gezeigt. Die Arbeiten sind hauptsächlich in Öl auf Starkpapier kleineren Formats gemalt.

Raumbezogene Arbeiten
Fünf in der Art der Ausführung unterschiedliche Objekte animieren beziehungsweise unterstützen die Szenerie.
Die Ausstellungseröffnung findet am 13.09.07 um 20:00 Uhr in der Galerie GOETHE´53 durch Stadträtin Stefanie Jahn statt. Einführung durch Andreas Ohrenschall (Maler und Bühnenbildner). Der Künstler ist anwesend.

Galerie Goethe’53
Goethestr. 53
80336 München
Tel. (089) 233-23536
Ausstellungsdauer
14. September - 05. Oktober
Öffnungszeiten
Mo - Fr 11:00 - 18:00 Uhr
(An Feiertagen geschlossen)

Portland Art Focus 2007

Portland Art Focus
SEPTEMBER 2007

Experience international artists,
adventurous curators and
cutting-edge performances.

The world is coming to Portland.
You should too.

http://www.portlandartfocus.net

Portland Art Dealers Association (PADA)
Exhibitions September 4 - 29

Leading Portland’s gallery scene is the First Thursday art walk hosted by the Portland Art Dealers Association. Started in 1986, these monthly exhibition tours are the driving force behind Portland’s vibrant and distinctive fine arts movement. Throngs fill the streets, for the see-and-be-seen citywide event. In Portland you will find the Pacific Northwest’s leading artists exhibiting alongside those from around the globe. Experience international artists, adventurous curators, cutting edge performance and never-before-seen treasures.

Visit Portland’s premier fine art galleries: Augen Gallery, Blackfish Gallery, Bullseye Gallery, Butters Gallery Ltd, Froelick Gallery, Elizabeth Leach Gallery, New American Art Union, PDX Contemporary Art, Pulliam Deffenbaugh Gallery, Quintana Galleries, Laura Russo Gallery and Mark Woolley Gallery.

Hoffman Gallery
Oregon College of Art and Craft
Craft Biennial: A Review of Northwest Art and Craft
August 2 - September 27

Featuring work by more than 60 artists, this juried exhibition examines the state of modern craft in the Pacific Northwest.

Portland Art Museum
Ursula von Rydingsvard
September 1 - December 30, 2007

The latest installation in the Miller Meigs Contemporary Art series features a monumental, carved cedar sculpture by the German-born artist and recipient of the 2007 Rome Prize.

Douglas F. Cooley Memorial Art Gallery
Reed College
Marko Lulic / Peter Kreider
A part of PICA’s Time-Based Art Festival
Curators Stephanie Snyder / Reed + Kristan Kennedy / PICA
September 4 - December 9

This commissioned installation brings together two artists who explore the material and social repercussions of modernism’s cultural cycles and cross-pollinations. Austrian artist Marko Lulic explores the repercussions of modernism and monumentality; and New York City artist Peter Kreider explores the unholy marriage of the ordinary and the extraordinary. Catalog published by Reed College and PICA.

Portland Institute for Contemporary Art
2007 Time-Based Art Festival
September 6 - 16

A contemporary art festival of more than 200 regional, national and international artists presenting performance, dance, music, new media and visual arts projects. Join us for moments of movement and imagery throughout Portland, Oregon.

Portland Art Center
Multimedia Installations in three galleries
September 6 - 28

Piece Process; a national traveling exhibition by artists of Middle Eastern descent, working in America, Europe and the Middle East. Preparations by Mack McFarland; experiments in color, touch,
sound and smell.

Feldman Gallery + Project Space
Pacific Northwest College of Art
Regina Silveira
Part of PICA’s Time-Based Art Festival
September 6 - October 21

In Outgrown (Tracks and Shadows) Regina Silveira utilizes the white cube of the gallery as the backdrop for her spatial experiments, composed of poetically profound, stark, black images applied directly to the gallery walls.

Affair at the Jupiter Hotel 2007
Organized by Stuart Horodner & Laurel Gitlen
September 14 - 16

Forty rooms of contemporary art; adventurous and thoughtful dealers, curators, collectors and artists meet for an intimate art fair. Special exhibitions, tours of local collections, discussions and parties animate this immersive art weekend.

Museum of Contemporary Craft
The Living Room
October 11, 2007 - March 23, 2008

Challenging notions of how a museum typically displays its collection, The Living Room re-contextualizes objects from the Museum’s collection within a contemporary domestic setting. The installation examines a cultural trend in which vintage garage sale finds, mid-century classics and fine craft mingle within the 21st century home, highlighting the resurgent interest in mid-century modern design, ornamentation and eco-consciousness.

Portland Art Focus travel packages available with The Jacobs Group
Packages include three-night deluxe hotel accommodations, tickets to art events, unique and exclusive events, select transportation and a VIP concierge service to help tailor your package to your tastes. http://www.thejacobsgroup.net / 866.362.1039

For more information about Portland Art Focus, visit: http://www.portlandartfocus.net

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

Astrup Fearnley Museum of Modern Art

China Power Station
Part II
8 September - 2 December 2007

Astrup Fearnley Museum of Modern Art
Dronningens gt 4
0107 Oslo
Norway

http://www.afmuseet.no

The exhibition ‘China Power Station: Part II’ includes some of today’s most significant young artists from China. Astrup Fearnley Museum of Modern Art in collaboration with Serpentine Gallery in London initiated this evolving project, of which the first part was shown at Battersea Power Station in London last autumn.

The artists presented in the exhibition in Oslo are Cao Fei, Chen Qiulin, Chu Yun, Duan Jianyu, Hu Xiangqian, Ji Weiyu, Kan Xuan, Liang Yue, Liu Chuang, Liu Ding, Liu Wei, Liu Weijian, Lu Chunsheng, Ou Ning, Pak Sheung Chuen, Qiu Anxiong, Song Tao, Sun Xun, Xu Zhen, Xue Tao, Yang Fudong, Zhang Ding, Zhou Tao and Zhou Zixi.

The curators are Gunnar B. Kvaran (Astrup Fearnley Museum of Modern Art), Hans Ulrich Obrist (Serpentine Gallery) and Julia Peyton-Jones (Serpentine Gallery).

In an event-driven culture, sustainability and legacy are at the core of what an art institution should be. For this precise reason, China Power Station was conceived from the outset as an evolutive form, a multivalent project that shifts according to contexts in its host locales. London never had Chinese contemporary art exhibition of critical mass before China Power Staion: Part I premiered in the UK last Autumn. Oslo, on the other hand, has had a comparatively denser history of exhibitions on art and culture in China, so the current version is more the result of fine-tuning. This is evident in the decision to focus on a younger generation of artists to emerge post-2000.

During the 1980s there was an explosion of creativity in China which produced a pioneering generation of artists including Ai Weiwei, Huang Yong Ping and Chen Zhen. These figures came out of an elongated period of cultural isolation and operated in a closed regional context characterised by a highly traditional way of conceiving and appreciating art. They were also the product of a very particular socio-political situation, not unlike that of the USA and Europe during the 1960s. In the wake of the Tiananmen Square riots, a different kind of cultural revolution was brewing and a true awareness of the avant-garde had arrived.

More recently, we witnessed the emergence of a generation of artists born in late 1970s and throughout the 1980s who have come of age in this era of avant-garde identity. In general, they are well educated, versed in the lessons of both Western and Eastern art history and benefit from the freedom to travel, which have enabled them to build extensive international relationships. Not only are these the first ‘post-Mao children’, but they are also a mobile generation of artists connected across the globe.

Despite their mobility and the tendency of their predecessors to go into exile overseas, this younger group chose to stay in China. One reason for this may be because of the sometimes advantageous working conditions and beneficial economic situations that can arise and which are helpful in the production of their work. Additionally, China is a sign of a power, resilience and dynamism in the new millennium: it has shifted globally from the cultural periphery to the centre, and the artists wants to stay in the country of their birth because they are intrigued by their homeland and are eager to be a part of its future development.

Though Western artists still have innumerable issues with which to engage, and to even contest, these concerns are arguably heightened in China. In other words, Chinese artists are implicated in a habitual struggle not only to produce work but to negotiate the challenging reality of the social, economic and political landscape in which they live. One goal of China Power Station: Part II, therefore, is to shed light on these struggles and to uncover some of the most innovative responses that are currently being generated in relation to this territory that provides such a rich terrain for artistic exploration.

As an exhibition, China Power Station must also be seen against the backdrop of the extraordinary development of museums and galleries in China in recent years. Indeed, collections are presently being built at speed, and culture is being written as it takes place. Yet China Power Station: Part II is not merely a knee-jerk reaction to this state of affairs, but rather a considered response. Above all, it is the curators intentions that China Power Station serves to complement the programmes of these burgeoning institutions in China, and to open more dynamic ways of thinking about this new generation of Chinese artwork, exhibited by the Serpentine Gallery, London — autumn 2006 (Part I), at the Astrup Fearnley Museum, Oslo — 8.9-2.12.07 (Part II), at MUDAM: Musée d’Art Moderne Grand-Duc Jean, Luxembourg — spring 2008 (Part III), and finally brought back to China and shown in Beijing — autumn 2008 (Part IV).

China Power Station, Part I and II is initiated by Astrup Fearnley Museum of Modern Art and Serpentine Gallery and supported by The Red Mansion Foundation.

The Astrup Fearnley Museum of Modern Art is generously supported by the Thomas Fearnley, Heddy and Nils Astrup Foundation, and Astrup Fearnley AS

For more information go to: http://www.afmuseet.no

Terminator

Tomaso Marcolla esporrà alla 14^ triennale di Tallin (Estonia).
Alla selezione hanno partecipato 514 artisti dei quali ne sono stati selezionati 102 che parteciperanno all’esposizione dal 17 ottobre al 27 novembre 2007 presso il Kumu Art Museum.
Tomaso Marcolla è l’unico italiano che esporrà alla Triennale.

Il tema della 14^ triennale: “Political and Poetical”

Marcolla ha presentato una nuova opera intitolata: Terminator. Rappresenta il famoso personaggio dei fumetti, Tex, con il viso di Bush. L’opera è stata realizzata partendo da un disegno a penna successivamente digitalizzato ed elaborato al computer.
Bush, per cammuffare i suoi veri scopi, veste i “panni” di Tex (paladino dei più deboli) per apparire ai nostri occhi come un benefattore che lotta contro il male. Un aspetto che accomuna Bush e Tex è l’uso delle armi.

I membri della giuria:
Richard Anderton – University of the West of England, Bristol, UK;
Arunas Gelunas – Vilnius Academy of Fine Arts, Lithuania;
Anders Härm – Tallinn Art Academy, Estonia;
Eha Komissarov – Kumu Art Museum, Estonia;
Cecilia Mandrile – artist, Argentina;
Teemu Mäki – artist, Finland;
Lilijana Stepancic – The International Centre of Graphic Arts, Slovenia.

Cordiali saluti, Tomaso Marcolla
http://www.marcolla.it/

Il sito della triennale:
http://www.triennial.ee/en/

Il sito del Kumu art Museum
http://www.ekm.ee/eng/kumu.php

monografik éditions

monografik éditions presents

Eric Duyckaerts - Belgian Pavilion
Catalog (Biennale di Venezia)
Authors : Eric Duyckaerts, Jacques Dubois,
Christine Macel, Hans-Ulrich Obrist
Graphic Designers : M/M paris

Tours Architectures -
Philippe Chiambaretta
Authors : Marie-Ange Brayer, Clément Dirié,
Alain-Julien Laferrière, Aurélien Gillier
Graphic Designer : Yann Rondeau

Lucas Lenglet - Stair caises
Authors : Lucas Lenglet
Graphic Designer : Yvonne van Versendaal

Available on :
http://www.monografik-editions.com

ERIC DUYCKAERTS - Belgian Pavilion - Venice 2007 :

In 2007, the artist representing the Belgian pavilion at the Venice Biennale 52nd International Art Exhibition was Éric Duyckaerts. Since the mid-80s, this Belgian artist has developed a body of work blending performance and video, and more recently objects and installations, to flesh out his conferences. The artist offers demonstrations that lead to hare-brained and illogical conclusions, the whole of it shored up by apparently meticulous research and an abundance of references. His interest lies more in analyzing the figure of the educator and its symbolism than in the conclusions drawn by his demonstrations.

This catalogue, published for the Venice Biennale, chronicles the artist’s trajectory and presents his major works. It also acquaints the reader with the performance entitled "Palais des glaces et de la découverte", the work created especially for the Belgian pavilion.

Éric Duyckaerts has joined forces with graphic art duo M/M Paris, Michaël Amzalag and Mathias Augustyniak. Besides the catalogue, the Parisian graphic artists have also designed special PR materials for the project, all under the auspices of the Belgian pavilion commissioner, Christine Macel. The catalogue includes numerous illustrations and critical texts by Christine Macel (Contemporary Art Curator, Centre Pompidou, Paris) and Jacques Dubois (Philosoph, Brussel), as well as a long interview conducted by critic Hans Ulrich Obrist (Co-director Serpentine Gallery, London).

PHILIPPE CHIAMBARETTA - Tours Architectures

In the framework of his research in contemporary art and architecture, architect Philippe Chiambaretta/PCA has been led to reflect upon the communicating functions of a façade for the Centre de Création Contemporaine (CCC) in the city of Tours (France). Designed to be a process that generates an irrational, virtual shape, the CCC façade calls out to the city, offering visitors multiple viewpoints that waves between optical and physical effects. The same process was used in a demolition/reconstruction project at La Défense (Paris’ business district). An example of theoretical research made concrete on a large scale.

LUCAS LENGLET - Lucas Lenglet

Edited for his first exhibition in France at Palais de Tokyo, Paris, Lucas Lenglet’s book goes further than the exhibition in showing forgotten spaces like staircases. Designed and thought as an artist book, this book is a limited edition of 500 copies.

PARTERNSHIPS of monografik éditions :

Diffusion :
Paris Musées Worldwide diffusion- pmagnani@paris-musees.asso.fr

Press Partner :
art press newspaper - http://www.artpress.com

Editorial Partners :
Belgian Pavilion, Venice 2007 ;
Musée d’art contemporain, Rochechouart ;
Musée des Beaux-arts, Angers ;
Galerie Chez Valentin, Paris ;
Galerie Magda Danysz, Paris ;
Galerie Fernand Léger - Centre d’Art, Ivry ;
Galerie Hervé Loevenbruck, Paris ;
Mondriaan Stichting (Mondriaan Foundation), Amsterdam ;
Ecole Supérieure des Beaux-Arts, Rennes ;
ShowOff Fair, Paris ;
Groupe Foncière des Régions (European Real Estate Group), Paris ;
Les Maçons Parisiens, Massy ;
Centre de Création Contemporaine, Tours ;
Villa Arson, Nice.

Forthcoming books from Monografik:
Anthony McCall / elements for a retrospective 1972-1979/2003… ;
Guillaume Leblon / Vade-mecum ;
Catherine Ikam / Digital Diaries ;
ECDM / Immeuble Louis Blanc Paris ;
Architectonomes Vol. 01 / "Doudou" Workshop ;
Hervé TTrioreau / BP 297 bis ;
Pascale Kaparis / Parce que je ne rêve pas ;
Pascal Broccolichi / Sounds & Spaces ;
Pierre Besson / Inner ;
Paul Ardenne & Régis Durand / Images Mondes ;
Alexandre Castant / Planètes Sonores ;
The Villa Arson Book.

Recent & Backlist :
Icon Tada / Digitals Paintings ;
Gabor ösz / Camera Architectura ;
Olivier Dollinger / Low Commotion ;
Ultralab / Samaran 2 ;
ShowOffParis06 - The Book.

For enquiries and informations
monografik éditions
6 place de l’église
49160 Blou
France (Anjou)
T +33 (0)6 26 02 94 44
E le-gac@monografik-editions.com
http://www.monografik-editions.com

For more information go to: http://www.monografik-editions.com