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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

Centre de Cultura Contemporània de Barcelona

APARTHEID
The South African Mirror
26th September, 2007 -
13th January, 2008

Press conference: Wednesday, 26th September at 12:00
Inauguration: Wednesday, 26th September at 19:00

Centre de Cultura
Contemporània de Barcelona
Montalegre, 5
08001 Barcelona
Phone 93 306 41 00
Fax 93 306 41 01
global@cccb.org

http://www.cccb.org

"Apartheid in South Africa can be seen, not only as an extreme manifestation of old, deeply-rooted Western racism, but also as a dramatic but clear precedent, metaphor and paradigm of some fundamentally inherent aspects of the current world order."
Pep Subirós, curator

The CCCB presents Apartheid. The South African Mirror, a conceptual and visual approach to the old and new forms of prejudice and racial discrimination, based on a wide selection of original artworks and documentary material.

The exhibition documents the main stages and characteristics of a tragically famous history and scenario which speak not only of the South African experience, but also of its European legacy, of racial ideologies and of the racist clichés and practices fed by Western modernism, and how these prejudices constitute even today a powerful instrument for justifying and maintaining the most arbitrary injustices as well as an important, almost impenetrable barrier for the construction of a cooperative social order, which is egalitarian and ultimately socially sustainable.

The exhibition begins with a historical approximation to racism, and documents the development of the ideologies and practices that establish different categories of human beings –the "races"– in the same period, paradoxically, in which modern ideas are established with regard to dignity and equal rights for all individuals.

Following this, and as its central part, the exhibition shows in detail the social, political, economic, cultural and territorial system of apartheid in force in South Africa between 1948 and 1994. Apartheid as an extreme and transparent form of deeply-rooted Western racism.

Finally, the exhibition argues that over the last two decades new forms of racism and racial segregation have developed on a large scale, both within our democratic societies as well as, and especially, in the relationship between rich and poor nations.

To illustrate this historical narrative, Apartheid. The South African Mirror presents a wide selection of South African artworks from the nineteenth century to the present day, paying special attention to the period of Apartheid. As well as offering a panoramic view of the sensitivities and attitudes of the finest creators in relation to the themes addressed in the exhibition, it brings attention to how artistic creation has had and still has a major responsibility in and impact on the construction and consolidation of or the fight against prejudices and practices which, in the long term, dehumanize not only the victims, but especially, those who promote and are responsible for these attitudes.

The exhibition includes key works by the most internationally acclaimed South African artists - Jane Alexander, David Goldblatt, William Kentridge, Zwelethu Mthethwa, Santu Mofokeng, Berni Searle, Penny Siopis, Paul Stopforth, Sue Williamson, etc.–, but also many others of extraordinary importance and quality barely known outside South Africa: Albert Adams, Peter Clarke, Ernest Cole, Dumile Feni, Billy Mandindi, Ephrain Ngatane, Gerard Sekoto and Durant Sihlali, among others. The final sections of the exhibition include works by artists from the most recent generations, such as Conrad Botes, Churchill Madikida, Johannes Phokela, Nandipha Mntambo, Tracey Rose, Lolo Veleko and Donovan Ward, which demonstrate the continuous vitality of the South African art scene and the renewed commitment by many artists to their historical context. Some of the works, such as in the case of Jane Alexander, Conrad Botes, Nandipha Mntambo, Zwelethu Mthethwa and Peter McKenzie, have been especial
ly produced for this exhibition.

Apartheid. The South African mirror is a co-production of the Centre de Cultura Contemporània de Barcelona and Bancaja. The exhibition is showing at the CCCB from 26th September, 2007 to 13th January, 2008. It has been organized by the writer, Pep Subirós.

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

Foksal Gallery Foundation

Edward Krasinski Studio opening / Warsaw

Inaugural conference Avant-garde in the Bloc: Aspects of the Oeuvre and Studio of Henryk Stazewski and Edward Krasinski.
5-6th October 2007, Warsaw

Foksal Gallery Foundation
Gorskiego 1A
00-033 Warsaw
T/F + 48 22 826 50 81
mail@fgf.com.pl

http://www.instytutawangardy.org

Foksal Gallery Foundation is proud to present the conference Avant-garde in the Bloc: Aspects of the Oeuvre and Studio of Henryk Stazewski and Edward Krasinski, inaugurating the public opening of Edward Krasinski’s studio under the name Avant-garde Institute.

The studio, situated on the 11th floor of an apartment block in downtown Warsaw, discloses an unwritten history of local modernist tendencies that blurs the binary oppositions between private and public, history and memory, exterior and interior, illusion and reality.

From 1962 on, Henryk Stazewski shared the studio with Maria Ewa Lunkiewicz-Rogoyska and Jan Rogoyski, and from the beginning of the 70s with Edward Krasinski. The studio became an important venue for Polish avant-garde artists and critics of different generations, a space for meetings, discussions and artistic interventions. In 1974 Daniel Buren taped his in-situ striped panels onto the studio’s windows. After Stazewski’s death in 1988, the studio became an important element of Edward Krasinski’s work, a surface inscribed with his signature blue scotch tape that connects objects, representations and memory traces. After Edward Krasinski’s death in 2004, Foksal Gallery Foundation decided to maintain the space almost unchanged, but have commissioned from the architectural studio BAR an extension of the apartment’s terrace that will serve as a multifunctional pavilion, housing exhibitions and seminars, and serving as a studio for visiting artists.

The aims of the inaugural conference are threefold: to summarize research on Krasinski and Stazewski’s oeuvres, and to challenge them with contemporary approaches; to reflect on the artistic and social phenomenon of an artists’ studio; and to discuss the potential of this new institution focused on counter-education and counter-distribution of knowledge.

Conference Program:

5 October 2007 (Friday)
10. 15. Andrzej Przywara (Foksal Gallery Foundation, Warsaw), Welcome of conference participants and guests. Introduction.
10.30. Sabine Breitwieser (Generali Foundation, Vienna), Edward Krasinski: Les mises en scène.
11.00. Blake Stimson (University of California, Davis), Krasinski and Totality.
11.30. Adam Szymczyk (Kunsthalle Basel)
12.00.-13.00. discussion, coffee break

13.00.-15.00. break

15.00. Maria Matuszkiewicz (University of Warsaw), Karol Sienkiewicz, Alternative Topographies. Henryk Stazewski and Edward Krasinski — Between the Studio, Gallery and Café.
15.30. Anka Ptaszkowska, A few secrets of continuity and temporariness
- from the artists who lived in this place,
- for those, who are here.
16.15. Rachel Haidu (University of Rochester), Edward Krasinski’s Home Work.
16.45. - 17.45. discussion

18.30. Public opening of Henryk Stazewski’s and Edward Krasinski’s studio.

6 October 2007 (Saturday)
10.00. Pawel Polit (Centre for Contemporary Art Ujazdowski Castle, Warsaw), Rhetoric of the Blue Stripe.
10.30. Luiza Nader (University of Warsaw), Heterology of the Blue Line.
11.00. Klara Kemp-Welch (University College London), Articulating the "Between": Stazewski’s Critical Spaces.
11.30.-12.30. discussion, coffee break
12.30. Piotr Juszkiewicz (Adam Mickiewicz University, Poznan), Life line. From Clair-voyance to blindness.
13.00. Alexander Alberro (University of Florida, Gainsville), Edward Krasinski’s Dynamic Line.
13.30. - 14.00. discussion

14.00.-15.30. break

15.30. Andrzej Turowski (Université de Bourgogne, Dijon), From Zmijewski, to Stazewski
16.15. Museum in the Bloc. Discussion.
Moderator: Joanna Mytkowska (Museum of Modern Art, Warsaw)
Participants: Charles Esche (Van Abbemuseum, Eindhoven), Maria Hlavajova (BAK, Utrecht), Joanna Tokarska-Bakir (University of Warsaw, Collegium Civitas, Warsaw), Artur Zmijewski

Place: Kino Paradiso, Al. Niepodleglosci 62, Warsaw

The conference Avant-garde in the Bloc is organized by Foksal Gallery Foundation and supported by the Polish Ministry of Culture and National Heritage founds, in the framework of the programme Cultural Education and Popularization of Culture.

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

Kunstverein in Hamburg

GESELLSCHAFTSBILDER.
ZEITGENÖSSISCHE MALEREI
(Images of Society. Contemporary Painting) Minerva Cuevas, Caroline von Grone, Eberhard Havekost, Victor Man, Gunter Reski, Wilhelm Sasnal, Dierk Schmidt, Wawrzyniec Tokarski, Corinne Wasmuht and Johannes Wohnseifer
through 30 December 2007

David Maljkovic. Almost Here
through 18 November 2007

Insert 5: Olaf Nicolai
Considering a multiplicity of appearances in light of a particular aspect of relevance. Or: Can art be concrete?
through 28 October 2007

http://www.kunstverein.de

GESELLSCHAFTBILDER. ZEITGENÖSSISCHE MALEREI
(Images of Society. Contemporary Painting)

The concern of the exhibition GESELLSCHAFTSBILDER. ZEITGENÖSSISCHE MALEREI (Images of Society. Contemporary Painting) is to explore the relation of painting to society. To what extent art represents society, or subjects it to documentary treatment, or resorts interventionistically to social strategies are some of the questions it raises. The works exhibited include politically motivated murals in the tradition of Latin American mural painting, pictures that take their lead from history painting, and projects in public space. While the murals of the ’20s and ’30s still communicate unambiguous, sometimes party-political messages, the pictures of the young artists shown here, applied direct to the exhibition space walls, have the character of an appeal but resist being pressed into the service of a definitive statement. The works that engage with the tradition of history painting do so at various levels. Yet they consciously repudiate historicizing detachment to examine eve
nts for their current political relevance. The documentary content of what is depicted is not thereby denied, but its claim to authenticity is relativized and receives media-critical scrutiny. That painting arises not only in and for the immediate art context is evident from the urban projects, whose approach in the plein air tradition is nevertheless tested for its social potential.Whether easel paintings, murals, or installational arrangements, all of the exhibited works draw their subjects from daily life, science, and politics, often translating them, despite the recognizably non-subjective nature of their contents, into the artists’ sometimes highly subjective worlds. The involvement developed in the process goes beyond documentarism of the present, countering the official visual language of the mass media with artistic positions that have a clear social underpinning.Curated by Yilmaz Dziewior

David Maljkovic. Almost Here

In his installations, videos and collages, the artist, David Maljkovic, born in 1973 at Rijeka in Croatia, engages with aspects of the chequered history of his country. Above all, the far-reaching consequences of the transformation from a communist form of society to a capitalist one, and the associated economic and cultural ramifications, form the subtext of his artistic production. The places to be seen in his works are frequently deserted buildings and monuments from the 1980s which impressively reflect the promise of a better future and, simultaneously, because of their ruinous state today, also the melancholy failure of this promise.

The presentation Almost Here unites the tripartite video series, Scene for New Heritage, in a large, encompassing installation which has been especially conceived for it. In addition, it is presenting his collages that have arisen in this context, along with two architectural models from the 1970s of the monument of the Petrova Gora Park, which is to be seen prominently in the videos and collages. The combination of the historical models with his own, present-day works makes an exemplary basic trait of David Maljkovic’s procedure apparent, for which the integration of research also counts, along with the interweaving of past, present and future.

A catalogue will be published by DuMont Literatur und Kunstverlag containing articles by Yilmaz
Dziewior and Anselm Franke, as well as an interview by Natasa Ilic.

The exhibition and catalogue are being sponsored by the Alfried Krupp von Bohlen und Halbach Stiftung.

Curated by Yilmaz Dziewior

Insert 5: Olaf Nicolai
Considering a multiplicity of appearances in light of a particular aspect of relevance. Or: Can art be concrete?
A room as display
Interior design in collaboration with KUEHN MALVEZZI

For Insert 5 Olaf Nicolai chose the title of the work he presents, Considering a multiplicity of appearances in light of a particular aspect of relevance, Or: Can art be concrete? (2007), in its iridescent form between statement and question, as the motto for a room as a display for various forms of activity. The furniture and basic design of the room which came about in collaboration with KUEHN MALVEZZI, refers to the work by Max Bill System with Five Coloured Centres (1979). In the room, Olaf Nicolai’s work, Considering a multiplicity of appearances in light of a particular aspect of relevance. Or: Can art be concrete? (2007) is presented, an installation consisting of books and posters made using iris printing technique. As a further fixed element of the installation, Bruno J. Böttges’ film, I See It That Way from 1958, is shown, an animated film from the Defa Studios in Dresden whose subject is the transition from education to workers’ education.

The room is conceived as a display for a series of interventions for which the title, Considering a multiplicity of appearances in light of a particular aspect of relevance. Or: Can art be concrete? poses the question whether the ‘concrete’ element of art can be its commitment, its politics, its autonomy or a new configuration of experience and perception. To this end, persons from the areas of production of art, design, literature and politics have been invited to lectures and discussions. Each of the events will be recorded and later integrated into the room as a further position.

Conception by Olaf Nicolai, Maria Muhle and Corinna Koch

Kunstverein in Hamburg
Klosterwall 23
20095 Hamburg
phone +49-40-33 83 44
fax +49-40-32 21 59
Tuesday - Sunday 11 am - 18 pm
Thursday 11 am - 21 pm
hamburg@kunstverein.de
http://www.kunstverein.de

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

Afterall

Afterall Books Benefit Auction
Saturday, 13 October 2007, from 7pm

The Arts Club
40 Dover Street
London W1S 4NP

To view the works, please visit http://www.afterall.org/auction For information on advance, telephone or proxy bidding, please contact auction@afterall.org or call +44 (0)20 7514 8173.

Participating artists include:
Pawel Althamer, Ibon Aranberri, Monica Baer, Jennifer Bornstein, Pablo Bronstein, Gerard Byrne, Marc Camille Chaimowicz, Spartacus Chetwynd, Phil Collins, Martin Creed, Enrico David, Trisha Donnelly, Maria Eichhorn, Ryan Gander, Isa Genzken, Douglas Gordon, Rachel Harrison, Richard Hawkins, Mary Heilmann, Roger Hiorns, IRWIN, Sanja Ivekovic, Joan Jonas, Ilya Kabakov, Janice Kerbel, David Lamelas, Louise Lawler, Sharon Lockhart, Richard Long, Christina Mackie, David Maljkovic, Daria Martin, Julie Mehretu, Alan Michael, Jonathan Monk, Rosalind Nashashibi, Olaf Nicolai, Nils Norman, Seb Patane, Dan Perjovschi, Manfred Pernice, Marjetica Potrc, Richard Prince, Alessandro Raho, Yvonne Rainer, Anri Sala, Wilhelm Sasnal, David Schnell, Maaike Schoorel, Yinka Shonibare MBE, Sean Snyder, Nedko Solakov, Wolfgang Tillmans, Hayley Tompkins, Sue Tompkins, Rosemarie Trockel, Jeff Wall, Chris Wainwright, TJ Wilcox, Christopher Williams, Jane and Louise Wilson, Cerith Wyn Evans

All works will be on display at from Thursday 11 October to Saturday 13 October at The Arts Club. Silent bids are accepted throughout.

This auction is for the benefit of Afterall Books. All proceeds will be used to commission and publish new writing on contemporary art. Afterall is a non-profit organisation. For more information on Afterall, please visit http://www.afterall.org

Our most sincere thanks to all the artists who have donated work and those participating, as well as to all those who are helping with the organisation of the event.

For more information go to: http://www.afterall.org/auction

Generali Foundation

Anna Oppermann. Ensembles
27 September through 16 December 2007

Generali Foundation
Wiedner Hauptstrasse 15
1040 Vienna, Austria
phone: +43 1 504 98 80-24
e-mail: foundation@generali.at
Opening hours: Tuesday to Sunday 11 a.m. to 6 p.m.,
Thursday to 8 p.m.

http://foundation.generali.at

The Generali Foundation presents the first comprehensive solo exhibition of the works of German artist Anna Oppermann (1940-1993) in Austria. Seven large Ensembles that demonstrate both her artistic development and the substantial interconnections that integrate her oeuvre are on view.

"Ensembles" is the title that German artist Anna Oppermann gave to her large-scale installations, which she developed over the course of years. She first presented these strictly methodical arrangements of drawings, photographs, objects, things she found, and painted canvases in Hamburg and Trier in the early 1970s. This special mix of conceptual, processual, graphical, and spatial art quickly gained the artist international recognition. Oppermann participated, among other important exhibitions, in documenta 6 and documenta 8, as well as the biennials in Venice (1980) and Sydney (1984), and received prestigious awards.

Anna Oppermann’s œuvre is exemplary of, and at the same time stands unique among, the art of the 1970s. Today, her installations have come to be most timely, as the artist early on anticipated present-day practices and themes. She saw the world and human relations as "Ensembles," as mutable constellations of perception and reflection, of norms, stories, emotions, and theories. She believed that "complexity must still have value somewhere in this world." Observing her private and social everyday life in detail, she sought to find objects, images, and concepts that seemed to her to encapsulate its abysses, absurdities, and areas of conflict. She made drawings, photographs, paintings, described what she found, she collected texts and quotations, and arranged all these components in Ensembles. These installations were photographed from various perspectives and in changing constellations and the photographs were then in turn integrated in new stagings, lending
her works their unique openness.

The individual Ensembles develop not in a linear way but in ramified and cross-linked episodes; they grow in time and space and obey no clear chronology, nor is such a chronology palpable in Anna Oppermann’s œuvre as a whole. The exhibition reinterprets and thus restages seven Ensembles that display some of the artist’s central themes and her diverse strategies, and document mutual references and formal developments between the works ranging from 1968 to 1992.

Her engagement with the relation between appearance, reality, and I/Self, which shapes Anna Oppermann’s entire artistic work, is the dominant theme in her early Mirror Ensemble (1968–1989) as well as her last large scale work, Paradoxical Intentions (1988-1992), which face each other in the exhibition. A second pair is formed by the Ensembles Being Different (1970-1986) and Being an Artist–On the Method (1978-1985), which revolve around themes such as the state of being an outsider, norms and their violation, inclusion and exclusion. The work programmatically entitled The Artist’s Task to Solve Problems (1978-1984) presents Anna Oppermann’s attempt at a poetic-ironical exploration of space. The ivory tower, as the site to which artists and scientists retreat, is contrasted with divergent models of social space. Portrait of Mr. S. (1969-1989), with its baroque colors, shapes, and naked bodies, represents another thematic threat: relations with others, with strangers and frien
ds, and between the genders. The Ensemble Gesture of Pathos–MGSMO (1984-1992) is a result of Oppermann’s reflections upon the economic aspects of making art and of the art market. In addition, the Generali Foundation is showing the nine-part image series Dilemma of Communication (1979), in which Anna Oppermann represents, with polemical irony, the problems she often faced in presenting and mediating her works.

Artistic and Managing Director: Sabine Breitwieser
Guest Curator for this exhibition: Ute Vorkoeper
Curatorial Assistance, Exhibition Production: Georgia Holz

A project initiative of the Württembergischer Kunstverein.
Supported by: Kulturstiftung des Bundes

For more information go to: http://foundation.generali.at

Portland Art Focus 2007

Portland Art Museum

Chuck Close Prints
Process and Collaboration
October 6, 2007 - January 6, 2008

In his continuing investigation into the principles of perception, Chuck Close has pushed the boundaries of traditional printmaking. This landmark survey features 143 works from 1972 to 2004, including several series of progressive proofs and printing matrices such as intaglio plates and hand-carved woodblocks.

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.

Portland Art Dealers Association (PADA)
Oregon’s foremost contemporary art galleries present regional and international exhibits year-round. Members are: Augen, Blackfish, Bullseye, Butters, Froelick, Elizabeth Leach, New American Art Union, PDX Contemporary Art, Pulliam Deffenbaugh, Quintana, Laura Russo, Mark Woolley. Public receptions are held the first Thursday evening of every month.

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.

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
Visual arts projects through October 6

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.

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

Americas Society

On view from September 28, 2007 to January 5, 2008
Gallery Hours: Wednesday - Saturday 12-6 PM

Exhibition Opening: Friday, September 28, 6:30-9:00 PM
Visual Arts: Curatorial dialogue with participating artists: 6:30 PM
Opening reception: 7:30 - 9:00 PM

Free Admission

About the exhibition:

Guest curated by Victoria Noorthoorn, the exhibition is divided into two distinct sections.
The first, a selection of action-based projects by artists working in Buenos Aires; the second, a documentary section exploring the rich historical foundations that link these projects to the 1960s and 1970s.

Taken together, the projects included in the exhibition formulate politics of intimacy. They attempt to offer a poetic vision of reality in which fiction, and in some cases humor, are the catalysts for creating new situations or unforeseen visions. The ideal of inserting a poetic gesture into a highly structured system reveals resistance; it also signals the will to construct the own utopia and affirms a local, community-oriented focus that operates by generating its own spaces of legitimacy and effecting decisive transformations in our ways of seeing.

Along the way, the contemporary artist’s gestures and actions explore the limit of the author-subject, which is either split, merged with the object or subject studied, or transformed into an other self; authorship is altered and dissolved in the process of exploration. Like their precursors, they locate the artistic practice in life.

The historical section is organized as a timeline from 1956 to 1976 that focuses on immediate actions and performing gestures of destruction and dematerialization that sought to confront and transform the art system during this time. In the timeline, the viewers will be able to access information on specific gestures and projects by Alberto Greco, Marta Minujín, Roberto Jacoby, the mass media art group (Eduardo Costa and Roberto Jacoby, Raúl Escari, and Juan Risuleo), Pablo Suárez, and Federico Manuel Peralta Ramos among others.

The contemporary section presents installations, performance projects and films that together propose a "politics of intimacy," by, for the most part, mid-generation artists, with the exception of Navarro and Tartaglia (emerging) and Jacoby (from a previous generation): Marina De Caro; Ana Gallardo; Graciela Hasper; Roberto Jacoby, in collaboration with Syd Krochmalny; Fabio Kacero; Fernanda Laguna; Patricio Larrambebere; Eduardo Navarro; Leandro Tartaglia; and Judi Werthein.

Exhibition catalogue available through Harvard University Press.

Upcoming Public Programs related to the exhibition:

Curatorial dialogue with participating Artists
Friday, September 28, 6:30 p.m.

Vis-à-vis: Dialogues between Artists and Curators from the Western Hemisphere with Analia Segal and Deborah Cullen
Thursday , October 25, 6:00 p.m.

This program is co-organized with El Museo del Barrio.

Artist’s talk with Roberto Jacoby
Wednesday, October 10, 6:00 p.m.

Panel Discussion: Alex Alberro and Ana Longoni on "Destruction in Argentine Art from the 1960s and 1970s"
Wednesday, November 14, 6:00 p.m.

Reservations are required
Please email culture@americas-society.org or call (212) 277 8359

We gratefully acknowledge the following donors for their generous support of Beginning with a Bang! From Confrontation to Intimacy: An Exhibition of Argentine Contemporary Artists, 1960 – 2007: Teresa de Bulgheroni; Banco Hipotecario; Falcon Properties; Fundación arteBA; Fundación Exportar, Secretary of Trade and International Economic Relations, Argentina; HaudenschildGarage, Eloisa and Chris Haudenschild; Pinta-Art, LLC; and Alejandro Quentin.

About Us

Americas Society is the premier forum dedicated to education, debate and dialogue in the Americas. Our mission is to foster an understanding of the contemporary political, social and economic issues confronting Latin America, the Caribbean and Canada, and to increase public awareness and appreciation of the diverse cultural heritage of the Americas and the importance of the inter-American relationship. Americas Society unites opinion leaders to exchange ideas and develop solutions to the challenges facing the Americas today.

Visitors Info

For more information, visit http://www.americas-society.org If you have questions or comments, please email us at culture@americas-society.org

For more information go to: http://www.americas-society.org

Mucsarnok / Kunsthalle

!REVOLUTION?
September 28 - November 11, 2007

Mucsarnok / Kunsthalle
Dozsa Gyorgy ut 37.
H-1146 Budapest
Phone/Fax: ( 36 1) 460 7000
info@mucsarnok.hu

http://www.mucsarnok.hu
http://www.kunsthalle.hu

Mucsarnok / Kunsthalle, Budapest is pleased to present three new exhibitions: !REVOLUTION? and solo shows of Markéta Othová and Deimantas Narkevicius opening on September 27 at 19.00

Artists:
Balázs Bela Studio /Magyar Dezso, Alice Creischer/Andreas Siekmann, Latifa Echakhch, Raphael Grisey, Sandra Johnston, Khoór Lilla/Anna Artaker, Haraszti Gina/Kutvölgyi Lena/Bengt Sjölen, Tania Mouraud, Deimantas Narkevicius, Ines Schaber, Peter Watkins

Project documentation and films:
Bachman Gabor/Rajk Laszlo, Media Research Foundation, B. Revesz Laszlo, Muhi Klara/Der Andras

concept: Ulrike Kremeier, Livia Paldi
curator of the Budapest edition: Livia Paldi
exhibition design: Andreas Mueller

The exhibition presents works that, on the one hand, reflected on revolution as a phenomenon along with the modes of its representation in mass media, and, on the other hand, examined artistic modes of interpretation, (re)presentations in mass communication and the basic social conditions of revolution as a socio-politically definitive circumstance.

It connects the substantial issues and forms of manifestation (such as demonstrations, spontaneous forms of expression, the role of media, publicity and their symbolic appearance) of revolutions along a time axis with the events preceding and following 1956 (e.g.: the Paris Commune of 1871, the 1919 Soviet Republic of Hungary, the 1968 events in France and the political changes of 1989/1990) and with the current events of our days.

The selected works represent several methods which, with the help of formal and/or comparative analysis, endeavor to highlight some striking details in various correlations out of often baffling masses of information. At the same time, the artists direct attention at their own work, that is, artistic activity as a relevant political and social act, insomuch as they make the recipient conscious of the significant intermediary and social responsibility of their artistic activity.

The exhibition’s discursive endeavor is further emphasized by its architectural design, which gives ground to multiple interpretations of similar phenomena.

The Kunsthalle, Budapest hosts the third edition of the exhibition (after Collegium Hungaricum, Berlin and Centre d’art Passerelle, Brest), augmented with new artistic positions as well as historical documents and documentary films.

The exhibition has been supported by Bipolar - Kulturstiftung des Bundes and National Cultural Fund, Budapest

Deimantas Narkevicius
History continued

September 28 - November 11, 2007

Curator: Livia Paldi

The film and video work of Deimantas Narkevicius are centered on issues of history and the relation and representability of official and personal memory. His inquests about the politicization of memory and the potentials of representing historical/political events filtered through the personal merge with experiments and employment of diverse cinematic devices and filmic languages.

The exhibition in the Budapest Kunsthalle is the artist’s first solo show in Hungary, presenting a selection of video installations from the past 10 years, including one of his latest work, Revisiting Solaris (2007).

Markéta Othová
"You don’t know me, but I know you"

September 28 - November 11, 2007

Curators: Karel Cisar and Livia Paldi

Prague based Markéta Othová has been working with photography as a medium since the early 1990s and takes black and white photos almost exclusively. She arranges her large, unframed photographs - which draw from the genre of both documentarism and of classical art photography - in series resembling film sequences or in variable combinations, where juxtaposed empty interiors, everyday objects, still lifes, as well as street scenes may generate unexpected and even uncanny associations. While ceaselessly exploring the current potentials of photography as a medium, Othová’s works direct attention to the points of intersection and poetics of evocation and memory; reality and illusion; presentation and preservation.

For further information please contact:
Reka Csejdy at rcsejdy@mucsarnok.hu

For more information go to: http://www.mucsarnok.hu