Visual Arts News - Call for entries, Exhibition Announcements, Press Releases
J. Fekner
Spaces Into Places
September 14 - October 20, 2007
lloyd dobler
1545 W. Division Street
Second Floor
Chicago, IL 60622
Organized by Rachel Adams, Patricia Courson
Works by John Fekner, Don Leicht, Object Orange, 11 Spring Street Project, Caroline Voagen Nelson, Ben Polsky, and Kyong Park.
Printed Matter, Inc.
Printed Matter, Inc.
The NY Art Book Fair
September 28 - 30, 2007
Benefit Preview September 27
548 West 22nd Street
Printed Matter, Inc. presents The NY Art Book Fair, New York City’s annual fair devoted to contemporary art books, art catalogues, artists’ books, art periodicals, and ‘zines. Over 120 international exhibitors, from major distributors and antiquarian dealers to independent publishers and artists, occupy a dual-level 20,000 square foot space. The Fair takes place 28 through 30 September, 2007, in the heart of Chelsea’s gallery district at 548 West 22nd Street. A ticketed Benefit Preview on Thursday, 27 September, 6-9 pm, benefits Printed Matter, Inc. Admission to the fair and
events is FREE.
Exhibitors and participants from New York City to Oslo and Moscow to Tokyo are convening to share their involvement and activities with contemporary art books. Back by popular demand, Friendly Fire, a curated zone of artists and independent publishers, features artists and art collectives who self-publish in a free-spirited range of forms from books and ‘zines to CDs and DVDs.
Events including book launches, signings, screenings, music performances, and bookmaking workshops take place each day of the fair. Artists present for book signings include Marilyn Minter, Tracey Moffat, and Sam Prekop, among others.
PERFORMA, ANP Quarterly, and DADDY THE MAGAZINE present publication launches and performances including a reading by Ian Svenonius and music by Soiled Mattress and the Springs. Pablo Helguera signs the Pablo Helguera Manual of Contemporary Art Style and sings some of his favorite tunes. Deep Dish TV/Paper Tiger Television present three days of video screenings, and Brooklyn artist j. Morrison presents a performative silkscreening station. Lovely Daze (Charwei Tsai) hosts the fair closing party with the launch of a new issue, a performance by Bec Stupak, and music by Crystal Understanding and First Nation. Installations include a Lawrence Weiner bookcase from onestar press, a large-scale photographic installation by Dean Sameshima, and posters from Slavs and Tatars.
Refocus, Re-title, Release: the Books of Martin Kippenberger is this year’s feature exhibition. Curated by Philip Aarons and AA Bronson, this comprehensive exhibition presents over 150 publications by Martin Kippenberger.
Artists Ed Ruscha, Josephine Meckseper, and David Shrigley have created new limited editions for the fair’s opening night Benefit Preview. Tickets are available at three price tiers and each level of admission is accompanied by a limited edition artwork. Visit http://www.nyartbookfair.com for images and details.
Exhibitors: 2nd Cannons Publications; ANARTIST; Andrew Roth; ANP Quarterly; ARTFORUM; Art Metropole; Art Monthly; The Art Newspaper; Art on Paper; A.R.T. Press; ArtReview; Artspeak; Autonomedia; Back East Press (James Prez); Banana Books; Boekie Woekie books by artists; BOOKFORUM; Book Works; Booklyn; Border Crossings; Bread and Puppet Press; Eleanor Brown; BUTT Magazine; Bywater Bros. Editions; Cabinet; Carolina Nitsch Contemporary Art; Centre des livres d’artistes; The Center for Book Arts; Charles H. Scott Gallery; Circuit; Cinders Gallery; Creative Time; DADDY THE MAGAZINE; D.A.P/ Distributed Art Publishers, Inc.; Dale Wittig; Dalhousie Art Gallery; Darin Klein; David Krut Publishing; Deep Dish TV; Denis Ozanne; Dexter Sinister; Dia Art Foundation; Dobbin Books; The Drawing Center; Ecart Publications / Villa Magica; Edie Fake; Emily Carr Institute Press; Evil Twin Publications; Exit Art; Eye Level Gallery; The Fillip Review; Fluens Forlag (Jasper Sebastian Stürup); f
ree103point9; FREIGHT + VOLUME; GAGARIN THE ARTISTS IN THEIR OWN WORDS; Galerie A; Hard Hat; Heavy Tapes; information as material; Islands Fold; J&L Books; j. morrison; Jack Hanley Gallery; John McWhinnie @ Glenn Horowitz Bookseller; the journal; Librairie 213; lightreading, inc.; Lovely Daze (Charwei Tsai); LTTR; Marcus Campbell Art Books; Michael Lowe Gallery; Michalis Pichler; The MIT Press; modlitbooks; Mount Saint Vincent University Art Gallery; Nieves; onestar press; Our Mouth; Paper Tiger Television; Parkett Publishers; Passenger Books; Peres Projects; Perro Verlag; PictureBox, Inc.; Plug In ICA/Plug In Editions; Pork Salad Press; Presentation House Gallery; The Press of the Nova Scotia College of Art and Design (NSCAD University); PRESSPOP, Inc.; primary information; Printed Matter, Inc.; Purgatory Pie Press; r.a.m. publications + distribution, inc.; Red76; Regency Arts Press; Revolver; Retard Riot (Noah Lyon); Saint Mary’s University Art Gallery; Sara Ranchouse Publishing; Scott McCarney VisualBooks / Keith Smith Books; Seems; Slavs and Tatars; Soft Targets; Specific Object; spike Art Quarterly; Spoonbill & Sugartown Booksellers; Steven Leiber; stop over press; TASCHEN; TEXTE ZUR KUNST; THEY SHOOT HOMOS, DON’T THEY?; Three Star Books; Torpedo; USELESS; Virginia L. Green Rare Books, Inc.; Visual Studies Workshop Press; White Columns; William Allen; World War 3 Illustrated; Yuri Shibuya; YYZBOOKS; Zucker Art Books.
For benefit ticket inquires and more information, contact Savannah Gorton, NY Art Book Fair Manager and Programming Coordinator, at 212.925.0325, or sgorton@printedmatter.org
For more information go to: http://www.nyartbookfair.com
Biennale of Young Artists, Tallinn 2007
Biennale of Young Artists, Tallinn 2007
Consequences and Proposals
28.09-11.11.2007
Rüütelkonna building, Kiriku plats 1,
Tallinn, Estonia
Curators: Rael Artel, Anneli Porri
Participating artists: Akvile Anglickaite (Vilnius), Coolturistes (Vilnius), Nanna Debois-Buhl (Copenhagen/New York), Evelina Deicmane (Riga/Berlin) and Theo Mercier (Paris/Berlin), Gintaras Didziapetris (Vilnius), Nathalie Djurberg (Berlin), Merike Estna (Tallinn/London), Elin Hansdottir (Reykjavík/Berlin), Tellervo Kalleinen and Oliver Kochta-Kalleinen (Helsinki), Emma Kihl (Stockholm), Karl Larsson (Stockholm), Juozas Laivys (Vilnius), Johanna Lecklin (Helsinki), Rudolfas Levulis (Vilnius), Barthol Lo Mejor (Tartu), Andreas Mangione and Hanna Dagerskog (Stockholm), Marge Monko (Tallinn), John Phillip Mäkinen (Helsinki), Tanja Muravskaja (Tallinn), Kristina Norman (Tallinn), Stas Polnarev (Moscow), Karol Radziszewski (Warsaw), Alexander Raevski (Chisinau), R.E.P. — Ksenia Gnilitskaya, Nikita Kadan, Janna Kadyrova, Lesia Khomenko, Vladimir Kuznetsov, Lada Nakonechnaya (Kyev), Hans Rosenström (Helsinki), Pilvi Takala (Amsterdam/Helsinki), Sigrid Viir (Tallin
n), Julia Wolff (Berlin).
http://www.biennaleofyoungartists.org
Consequences and Proposals, the Biennale of Young Artists, Tallinn 2007, deals with the results of decisions made in the past and envisages possible future directions. The artists are involved as an active creative force whose role is to analyse and imagine, while standing between the fragments of dispersed histories–personal and collective, past and future.
Consequences and Proposals consists of two separate shows in one space. The first, curated by Anneli Porri, investigates silent moments in the recent history of the Baltic Sea region, addressing, often hushed up, relatively underground and invisible processes in a transforming society. This part of the exhibition questions the current state of society in the light of subjective memory. The second part of the show, curated by Rael Artel, proposes different approaches to imagining the immediate future, while hesitating between optimistic and pessimistic scenarios. Originating from the idea that all art making is political, a variety of perspectives are envisioned through a more or less political prism.
The exhibition is an open structure filled with various positions, points of view, propositions and opinions, rather than a clearly defined and closed show dealing with a defined set of themes. There are no easy take-away solutions here — the viewer is invited to think along with us.
The show takes place in the Rüütelkonna building — an architectural piece from the 19th century, which has served as the House of the Knighthood, the Ministry of Foreign Affairs of the Republic of Estonia, the National Library of Estonia, and the exhibition hall of the Art Museum of Estonia. The venue is located in the historic precinct of Tallinn’s Old Town.
The Biennale of Young Artists, Tallinn 2007 has been commissioned and produced by the Center for Contemporary Arts, Estonia.
Background information:
The independent NGO, Biennale of Young Artists, has initiated a pioneer international project entitled Public Preparation, which, in parallel with the exhibition, will form a platform for knowledge production in support of the process of organising the biennale. Public Preparation has been realised by Rael Artel and Airi Triisberg, and as a project will exist as part of the exhibition via the Public Preparation Social Club (PPSC), a space for comment, contextualizing and problematizing the key concepts and issues of the biennale. PPSC consists of a small archive for documenting events, as well as series of talks by artists, discussions, filmscreenings and think tanks that link in one way or another with Consequences and Proposals.
More about the curators:
Rael Artel (b. 1980) is an independent curator and art critic based in Pärnu, Estonia. She graduated from the Institute of Art History in the Estonian Academy of Arts in 2003. She participated in a Curatorial Training Programme at De Appel, Amsterdam (2004/2005), and since 2000, she has contributed to a number of magazines in Estonia and elsewhere and curated shows in Estonia as well as in Lisbon, New York, Amsterdam and Warsaw. Since 2004, she has run and moderated her project space entitled Rael Artel Gallery: Non-Profit Project Space (Pärnu, Tartu).
Anneli Porri (b. 1980) is an art critic, lecturer and curator based in Tallinn, Estonia. She graduated from the Institute of Art History in the Estonian Academy of Arts in 2003. Currently, she participates in the workgroups of the Nordic Baltic Curatorial Platform, organized by FRAME — Finnish Fund for Art Exchange (Helsinki). She has curated satellite projects for the 13th Tallinn Print Triennial (2004), the 4th Tallinn Applied Art Triennial (2006), and special projects for young Estonian artists in Narva and Võru. Since 2004, she has worked as a lecturer at the Old Town Educational College, Tallinn and at the Estonian Academy of Arts.
For further information please contact:
Rael Artel, co-curator for the Biennale of Young Artists, Tallinn 2007
e-mail: moskva80@moskva80.com
Anneli Porri, co-curator for the Biennale of Young Artists, Tallinn 2007
e-mail: 0322@hot.ee
Elin Kard, project coordinator, Center for Contemporary Arts, Estonia
e-mail: elin@cca.ee
The Biennale of Young Artists, Tallinn 2007 and Center for Contemporary Arts, Estonia wish to thank the following for their support: Centre for Contemporary Art, Ujazdowski Castle / Contemporary Art Information Center — Lithuanian Art Museum / The Contemporary Art Centre, Vilnius / Cultural Endowment of Estonia / Estonian Academy of Arts / FRAME — Finnish Fund for Art Exchange / IASPIS — International Artists Studio Program in Sweden / Kesseum Foundation / kunst.ee — Estonian quarterly of art and visual culture / The Latvian Centre for Contemporary Art / Lithuanian Institute / Ministry of Culture of the Republic of Estonia / Pärnu City Government / Sekcja — arts magazine / Tatari 53 Hotel
For more information go to: http://www.biennaleofyoungartists.org
EFA Gallery
The Price of Nothing:
luxury after The Real Estate Show
Curated by Jason Murison
Iris Bernblum, John Fekner, Adam Putnam, Michael Smith and Joshua White, Rory Posin, Jessica Rohrer, Christy Rupp, George Rush, Sharp, Roger White, David Wojnarowicz, and Martin Wong. Films by: Charlie Ahearn, Anders Grafstrom, Eric Mitchell, James Nares, and Amos Poe
September 14 - October 27, 2007
Opening reception September 14, 6-8 pm "No Wave" film screening will be held October 17, 7pm
EFA Gallery
EFA Studio Center
323 West 39th Street, 2nd Floor
New York, NY 10018
between 8th and 9th Avenues
http://www.efa1.org
Gallery Hours: Wed through Sat, 12-6 PM
For further information:
Elaine Tin Nyo, Director
T. 212-563-5855 x203, F. 212-563-1875
elaine@efa1.org
The Elizabeth Foundation is delighted to announce their opening exhibition for the fall: The Price of Nothing: luxury after The Real Estate Show, curated by Jason Murison. Essay published in conjunction with Paper Monument.
The story of "The Real Estate Show" (1979/80) is told like this:
On New Year’s Eve 1979 an anonymous group of artists organize a guerrilla-like protest exhibition entitled "The Real Estate Show" in an abandoned store-front on the Lower East Side. The object of this exhibition is to call attention to the gentrification of downtown neighborhoods and the practices and politics surrounding the Department of Housing Preservation and Development. The significance of the show is less in the works displayed than in the venue: the particular storefront is one of many in the area held vacant by the city, which has kept silent about its intentions for the property. On the morning of the 2nd of January, after a well-attended opening, the NYPD padlocks the space, effectively incarcerating all the works of art within and locking the artists and spectators out.
In response to the closure of the exhibition, the newly formed group known as Collaborative Projects (Colab) succeeds in generating a publicly watched protest followed by a short standoff with city lawyers. As a way to settle the debate, the city not only relents, relocating "The Real Estate Show" to a building down the street, but gifts a lease of another city-owned abandoned building (156 Rivington Street) to Colab. This space is later named ABC NO RIO.
Using the premise of "The Real Estate Show" as a springboard, The Price of Nothing: luxury after The Real Estate Show explores the rise of the luxury market with regard to both property and the art object since the late 70s. The exhibition plays the role of a time capsule, contemporary art works pit against works from the 80s and 90s that both reflect the life cycle of art and real estate. For example, George Rush’s painting Five Lamps (2007) centers the viewer within a contemporary luxury apartment, whereas Martin Wong’s painting Houston Street (1984) shuts the same viewer out at street level along the abandoned Lower East Side. Rush’s painting’s contemporary location could very well be in the same exact spot as Wong once depicted. Rush’s painting’s contemporary location could very well be in the same exact spot as Wong’s. John Feckner’s graffiti-like stencil DECAY, which illuminates the urban blight of the South Bronx circa 1980 (famously and ironically used by
the Regan Administration as a campaign stop), is politically and historically heightened when juxtaposed with Iris Bernblum’s photo-series Spokeswoman (2002), in which an aspiring spokeswoman in search of something to represent finds solace in the public spaces and fountains of midtown corporate office buildings.
The New York City of today and that of the 80s are seemingly two different cities. In today’s Greater New York, a gift of property to quell a protest (in the case of "The Real Estate Show") seems a preposterous prospect. As luxury housing development steamrolls from the Lower East Side throughout Brooklyn, local politics still flare — in the case of the battles over the Jets and the Nets stadium proposals — but the politics of decades past (such as the debate over gentrification) have been conspicuously absent. Ultimately, The Price of Nothing asks, "Does the achievement of gentrification in a given area give rise to a luxury market? And as the city becomes more professional, how does artwork change?"
The Price of Nothing: luxury after The Real Estate Show will feature five "No Wave" super-8 films made between the years 1977 to 1981. Each film will be available for screening in its entirety by selecting the works by title from the front desk. Films will include: Amos Poe’s The Foreigner (1978), James Nares’ Rome ‘78 (1978), Eric Mitchell’s Kidnapped (1978), Charlie Ahearns’ The Deadly Art of Survival (1979), Vivienne Dick’s Beauty Becomes the Beast (1980), and Anders Grafstrom’s The Long Island Four (1980).
A special "No Wave" film screening will be held October 17, 2007 with films to be announced.
Jason Murison, is the Gallery Manager for Friedrich Petzel Gallery, a curator, adjunct professor at School of Visual Arts and New York University, and is the former director of PPOW. He has contributed pieces to Brooklyn Rail. In conjunction with this exhibition his latest article "The Price of Nothing, 3 Stories about Real Estate" will be published in Paper Monument’s premier journal this fall. Last year he curated "How I Finally Accepted Fate" at the EFA Gallery.
This exhibition is presented by the EFA Gallery, a program of The Elizabeth Foundation for the Arts. The EFA Gallery is supported in part with public funds from the New York Department of Cultural Affairs and the New York State Council on the Arts. Private funding for the Gallery has been received from The Carnegie Corporation Inc., The Foundation for Contemporary Art The Helen Keeler Burke Charitable Foundation, Peter C. Gould, Materials for the Arts, and many generous individuals.
The EFA Gallery is a curatorial project space. Through the gallery, The Elizabeth Foundation for the Arts supports the creative work of independent curators. Curators build the framework in which we understand artists and the art they make. At their best, they redefine how we look at culture. The Elizabeth Foundation for the Arts believes in the essential importance of art in a civil society. The value of the artist’s creative spirit is not limited by age, race, nationality or acceptance by others.
For more information go to: http://www.efa1.org