Artipedia - Arts News

Japan Society Gallery

Installation view of Making a Home: Japanese
Contemporary Artists in New York at Japan Society Gallery
FLOWER gallery (2007) by ON megumi Akiyoshi
Photo: Richard P. Goodbody

MAKING A HOME: JAPANESE CONTEMPORARY ARTISTS
IN NEW YORK
October 5, 2007 - January 13, 2008
JAPAN SOCIETY
333 East 47th Street
New York, NY 10017

http://www.japansociety.org

FEATURED EXHIBITION OF THE CENTENNIAL PROGRAM
JAPAN100: CELEBRATING A CENTURY (1907 - 2007)

To celebrate the strong and historic cultural links between Japan and New York, Japan Society Gallery presents Making a Home: Japanese Contemporary Artists in New York from October 5, 2007 to January 13, 2008. The second featured exhibition of Japan Society’s 2007-08 centennial celebration, Making a Home is a large-scale group exhibition featuring the work of 33 Japanese contemporary artists who call New York City home. The show not only includes a broad range of media–from painting, sculpture, and photography to fashion, architecture, and sound art–but also covers diverse age groups, identities, experiences, and styles that display the breadth and depth of Japanese contemporary art as developed, practiced, and presented in New York. Although their individual practices are unique, these artists share the common trait of venturing from their homes in Japan to stake claim to the capital of the international art world, New York City, where each has created a new aesthetic vo
cabulary influenced by Japan, New York, and the world beyond. Ranging from Misaki Kawai’s playful sculptures that capture the artist’s interior fantasy world to the renowned artist Yoko Ono’s poignant conceptualism, the artists and works included in the exhibition provide insight into ideas and processes stimulated by the confluence of cultures that is New York City.

The exhibition, curated by Eric C. Shiner, is divided into six sections, each closely connected to the notion of what separates a mere “place� from a “home�: “Building Environments,� “Intimacy and Identity,� “Coping with Loss,� “Meditative Space,� “The Process of Making,� and “Referencing
the Landscape.�

Artists featured in Making a Home are: ON megumi Akiyoshi, Noriko Ambe, Ei Arakawa, Satoru Eguchi, Ayakoh Furukawa, Toru Hayashi, Noritoshi Hirakawa, Yoshiaki Kaihatsu, Takahiro Kaneyama, Emiko Kasahara, Misaki Kawai, Miwa Koizumi, Yumi Kori, Nobuho Nagasawa, Hiroyuki Nakamura, Yoko Ono, Hiroki Otsuka, Katsuhiro Saiki, Kyoko Sera, Noriko Shinohara, Ushio Shinohara, Go Sugimoto, Kunie Sugiura, Hiroshi Sunairi, Mayumi Terada, Yuken Teruya, Yasunao Tone, Momoyo Torimitsu, United Bamboo, Aya Uekawa, Junko Yoda, Toshihisa Yoda and Yoichiro Yoda.

A full-color catalogue authored by Eric Shiner and Reiko Tomii, a leading scholar of contemporary Japanese art who has worked on many previous Japan Society exhibitions, is available.

RELATED PROGRAMMING:
Centennial Speaker, Martha Stewart: A Passion for Making a Home
Wednesday, November 14, 2007 at 6:30 pm

A talk exploring her life-long passion for “making a home” as well as her interest in Japan and Japanese contemporary art. Followed by a reception.

ABOUT JAPAN100: CELEBRATING A CENTURY (1907 - 2007)
Japan Society celebrates the 100th anniversary of its founding with an unprecedented array of high-profile programming in 2007-08. The celebration occurs throughout New York City and in Japan with further national and international exposure through traveling exhibitions, performing arts tours, symposia, fellowships, and exchanges. Visit http://www.japan100.org for more information on centennial events and a historical tour of the Society.

GALLERY HOURS:
Tuesday through Thursday, 11:00 a.m. - 6:00 p.m.; Friday, 11:00 a.m. - 9:00 p.m.; Saturday and Sunday, 11:00 a.m. - 5:00 p.m.; the Gallery is closed on Mondays and major holidays.

ADMISSION:
Japan Society members and children under 16 free. Admission is free to all on Friday nights, 6:00 p.m. - 9:00 p.m.

MEDIA CONTACTS:

Kellie Honeycutt
Blue Medium, Inc.
T: (212) 675-1800
E: kellie@bluemedium.com

Shannon Jowett
Japan Society
T: (212) 715-1205
E:sjowett@japansociety.org

Lund Konsthall

Nicolae Maniu: Portrait of Nicolae Ceausescu
Collection of MNAC, Bucharest

See Us Act
Harun Farocki/Andrei Ujica,
Melik Ohanian
22 September - 11 November 2007

Portraits of Nicolae Ceausescu from the National Museum of Contemporary Art in Bucharest
Lund Konsthall
MÃ¥rtenstorget 3
SE-223 51 Lund, Sweden
Phone: +46(0)46-35 52 94
Fax: +46(0)46-18 45 21
http://www.lundskonsthall.se

How do individuals act in extreme political situations? This autumn’s first exhibition at Lund Konsthall is about revolution. It articulates issues of political action, political power, political upheaval.

The title is a paraphrase of the Latin expression spectemur agendo, which the philosopher Hannah Arendt translates as ‘let us be seen in action, let us have a space where we are seen and can act.’ Political action, for her, starts with our use of language to influence and convince each other. Such action makes us visible as political beings, and is therefore a liberating force. Revolutions, Arendt says, are finally always about freedom.

The artworks in the exhibition allow viewers to experience political action. They use different methods to let us see other people act. But isn’t our viewing also an act?

In the film Videogrammes of a Revolution (1992) by the German experimental filmmaker Harun Farocki and his Romanian colleague Andrei Ujica we are catapulted back into the events in Romania in December 1989, which led to the execution of the dictator Nicolae Ceausescu. Yet the film shows that what we don’t see may be just as important as what we see. No one can tell for sure what actually happened during the ‘Romanian Revolution’.

The installation September 11, 1973_Santiago de Chile 2007 (2007) by the French artist Melik Ohanian juxtaposes the sound track from The Battle of Chile (1976) by the Chilean documentary filmmaker Patricio Guzmán and Ohanian’s own footage from today’s Santiago. The work, premiered at the Venice Biennial this summer, creates a space that allows us to travel between two points in time.

We have also been able to borrow some thirty official portrait paintings of the Romanian dictator Ceausescu from the National Museum of Contemporary Art (MNAC) in Bucharest. They have been selected by Mihnea Mircan, Curator at MNAC. Today these portraits have become interesting historical documents, but they also remind us of what happens to art when politics is forced on it.

Our warmest thanks to the Romanian Cultural Institute in Stockholm for the collaboration and their generous support for this exhibition.

The filmmaker and artist Andrei Ujica will lecture at Lund Konsthall during the last weekend of the exhibition, 10-11 November. Please contact us for the exact time.

LAXART

Adrià Julià, A Means of Passing the Time (film still), 2007, 16mm single-channel film installation,
6:00 minute loop, courtesy of the artist and LAXART

BENEFIT AUCTION
SUNDAY NOVEMBER 4, 2007
LAXART
2640 S. La Cienega Blvd.
Los Angeles, CA 90034
T.310.559.0166
F.310.559.0167
office@laxart.org
Tuesday through Saturday 11am - 6pm
http://www.laxart.org

PRESENTED BY HERMÈS
SILENT AND LIVE AUCTION AT LAXART
2640 SOUTH LA CIENEGA BOULEVARD
LOS ANGELES CALIFORNIA 90034

VIP RECEPTION AND EXCLUSIVE PREVIEW
4pm to 6pm

LIVE AUCTION WITH CHRISTIE’S AUCTIONEER ANDREA FIUCZYNSKI
6pm to 7pm

SILENT AUCTION
7pm to 9pm

To Benefit LAXART’s Future Exhibitions, Public Projects, and Publications
For more information visit http://www.laxart.org/auction/

PURCHASE TICKETS NOW
LIMITED NUMBER OF PRESALE VIP TICKETS AVAILABLE
VIP ticket includes cocktail reception and preview presented by HERMÈS, “buy it now� option, and access to live auction

SILENT BENEFIT AUCTION TICKETS
Ticket includes entry to silent auction

To purchase tickets contact Aram Moshayedi at T.310.559.0166 or benefit@laxart.org or send check to LAXART 2640 South La Cienega Blvd, Los Angeles, CA 90034

FEATURING OVER 100 WORKS FROM ESTABLISHED AND EMERGING ARTISTS

Edgar Arceneaux, Kamrooz Aram, Ethan Ayer, John Baldessari, Kelly Barrie, Justin Beal, Whitney Bedford, Walead Beshty, Andrea Bowers, Mark Bradford, Brian Bress, Kimberly Brooks, Jedediah Caesar, Jeff Chabot, Terry Chatkupt, William Cordova, Meg Cranston, Gregory Crewdson, Zoe Crosher, Krysten Cunningham, Francesca DiMattio, George Dinhaupt, Sam Durant, Brad Eberhard, Shannon Ebner, Lisa Eisner, Kirsten Everberg, Rob Fischer, Harrell Fletcher, Eve Fowler, John Furmanski, Charles Gaines, Shelly George, Ken Gonzales-Day, Joe Goode, Alexandra Grant, Sherin Guirguis, Wade Guyton, Terry Haggerty, Karl Haendel, Marc Handelman, Micol Hebron, Drew Heitzler, Leslie Hewitt, Evan Holloway, Salomon Huerta, Marie Jager, Danny Jauregui, Vishal Jugdeo, Adrià Julià, Isaac Julien, Glenn Kaino, Matt Keegan, Mary Kelly, Karen Kimmel, John Kleckner, Marcus Knupp, Terence Koh, Alice Konitz, Jason Kraus, Elad Lassry, Lauren Lavitt, Thomas Lawson, Glenn Ligon, Kalup Linzy, Mara Lonner, Michelle L
opez, Matt Lucero, Shana Lutker, Nathan Mabry, Euan MacDonald, Erlea Maneros, Daniel Joseph Martinez, Alexander May, Kevin McCarty, Julie Mehretu, Yunhee Min, Julio Cesar Morales, Kori Newkirk, Eric Niebuhr, David Noonan, Chris Oatey, Ruben Ochoa, Yoshua Okon, Chris Oliveria, Catherine Opie, Eamon Ore-Giron, Arthur Ou, Virginia Overton, Laura Owens, Marlo Pascual, Florencia Pita, Raymond Pettibon, Paul Pfeiffer, Antonio Puleo, Michael Queenland, Michael Rashkow, Marco Rios, Amanda Ross-Ho, Peter Rostovsky, Allen Ruppersberg, Robert Russell, Analia Saban, Dean Sameshima, Eduardo Sarabia, Matt Saunders, Julia Scher, Maya Schindler, Kim Schoenstadt, Anna Sew Hoy, Alex Slade, Meredyth Sparks, Greer Howland Smith, Lisa Tan, Joel Tauber, Mungo Thomson, Lesley Vance, Mark Verabioff, Kelley Walker, Jim Welling, Mary Weatherford, Mark Wyse, Liat Yossifor, Brenna Youngblood, Carrie Yuri (list in progress)

San Francisco Art Institute

Still from Allora & Calzadilla’s Returning a Sound, 2004.
Single-channel video projection with sound (5:42 min.).

New Work by Allora &
Calzadilla at SFAI
until 15 December 2007
San Francisco Art Institute
800 Chestnut Street
San Francisco, CA 94133
800 345 SFAI / 415 749 4500

http://www.sfai.edu

The third and final movement in a trilogy of site-specific sound-focused installations, Sediments, Sentiments (Figures of Speech), on view until 15 December 2007 at SFAI’s Walter and McBean Galleries, carries forward lines of investigation Puerto Rico–based artists Jennifer Allora and Guillermo Calzadilla opened first in Clamor (at the Moore Space in Miami in 2006) and then in Wake Up (at the Renaissance Society at the University of Chicago in the spring of 2007). The trilogy of exhibitions comprises a series of works that counterpose militarism and war with adroit manipulations of sound, music, and–in this new project for the first time–spoken word.

Strategically seeking out the sounds of combat as their sonic media, Allora & Calzadilla redeploy petrified, if still petrifying, riffs like reveille in ways that fundamentally challenge the ostensible glories the drumbeats of war traditionally encode. Part of their collaborative task has been to track such martial sound effects to their precognitive hideouts “under the skin,â€? where the body is agitated and stirred before the mind has had a chance to reflect–the hangouts, in short, of an unthinking patriotism. Allora & Calzadilla’s endeavor to reissue sounds whose meanings have grown far too familiar is an effort to restructure, at the source, those corporeal conformities, always marked in and on the body already, through which violent and potentially devastating action first becomes possible. In the new work for the Walter and McBean Galleries, this same system of undoing is set in motion against the equally inured fixations of the word–from the grain of the speaking
voice to the artificial diction of operatic language and political oration.

Never limiting themselves to a single medium, Allora & Calzadilla complement their far-resonating, site-sensitive interrogations of sound and word with a suite of recent works in video: Returning a Sound (2004), Under Discussion (2005), Amphibious (2005), Sweat Glands, Sweat Lands (2006), Unrealizable Goals (2007), and There Is More Than One Way to Skin a Sheep (2007), the last of which recently premiered at the 10th International Istanbul Biennial. As a literal testimony to their thematic precedence in Allora & Calzadilla’s oeuvre, these videos were placed on view starting 2 October in the Walter and McBean Galleries, two weeks before the opening reception of the exhibition itself on 18 October (the reception included, as a prelude integral to the full unfolding of the exhibition, a live operatic interpretation of texts selected by the artists and performed by students from the San Francisco Conservatory of Music). The preemptive presence and visibility of Allora & Calzadi
lla’s video work–in particular, Returning a Sound–were meant to reinforce the deeper context of the ensuing installation, namely, Allora & Calzadilla’s active participation, from 2001 to 2004, in the acts of civil disobedience in Vieques (the island off Puerto Rico used by the US Navy as a weapons-testing range from 1941 to 2003) that eventually led to its partial evacuation by the US government.

Consistent with the comprehensive rearticulation of SFAI’s Exhibitions and Public Programs, which look beyond the traditional histories and narratives of exhibition and curatorial practice, Allora & Calzadilla were invited to exploit, as fully as possible, the intricacies of the SFAI campus, to conceive of it, in other words, as what Hou Hanru, SFAI’s director of Exhibitions and Public Programs, has called “a dynamic site of production instead of a static venue for mere representation.�

Sediments, Sentiments (Figures of Speech) occurs under the Global Figures component of SFAI’s Exhibitions and Public Programs, which is divided into five discrete but intersecting directions for investigating current constructions of contemporary global culture. Global Figures presents solo exhibitions of major artists from different cultures who have importantly influenced the current global art scene. The third and final movement in an ideologically critical, three-city trilogy, Sediments, Sentiments (Figures of Speech) could literally not have assumed the concrete, site-specific form it has in fact assumed anywhere else than at the Walter and McBean Galleries. The entire project will be captured and reflected upon in a joint publication slated to appear in 2008.

In addition to the installation in the Walter and McBean Galleries, Allora & Calzadilla gave a talk on 17 October as part of SFAI’s Visiting Artists and Scholars Lecture Series.

Allora & Calzadilla first exhibited internationally in 1998 at the 24th São Paulo Biennial. In group exhibitions they have shown at the Tate Modern in 2003, the 2005 Venice Biennial, and the 2006 Whitney Biennial. In solo exhibitions they have shown or will show at the Walker Art Center in Minneapolis (2004); the ICA in Boston (2004); the Palais de Tokyo in Paris (2006); the Serpentine Gallery in London (2007); the Renaissance Society at the University of Chicago (2007); the Whitechapel Laboratory in London (2007); the 10th International Istanbul Biennial (2007); and the
Lyon Biennial (2007).

Allora & Calzadilla’s work can be found in major public collections at the Tate Modern; the Fonds Municipal d’Art Contemporain (FMAC) in Paris; the Centre Pompidou in Paris; the Musée d’Art Moderne de la Ville de Paris/ARC in Paris; the Stedelijk Museum voor Actuele Kunst (SMAK) in Ghent (Belgium); the Dallas Museum of Art (Texas, USA); and the Cleveland Museum of Art (Ohio, USA).

SFAI’s exhibitions and public programs are supported in part by the Andy Warhol Foundation for the Visual Arts, the Peter Norton Family Foundation, and the Grants for the Arts/San Francisco Hotel Tax Fund. Sediments, Sentiments (Figures of Speech) is sponsored by the Franco Soffiantino Gallery in Turin, Italy, and is presented in collaboration with the Renaissance Society at the University of Chicago and the Moore Space in Miami. It is also presented concurrently with the exhibition Apocalypse Now: The Theater of War, co-curated by Jennifer Allora, Guillermo Calzadilla, and Jens Hoffmann at CCA Wattis Institute in San Francisco, on view from 30 November 2007 to 26 January 2008.

San Francisco Art Institute

Founded in 1871, SFAI is one of the oldest and most prestigious schools of higher education in contemporary art in the US. Focusing on the interdependence of thinking, making, and learning, SFAI’s academic and public programs are dedicated to excellence and diversity.

SFAI’s School of Studio Practice concentrates on developing the artist’s vision through studio experiments and is based on the belief that artists are an essential part of society. It offers a BFA, an MFA, and a Post-Baccalaureate certificate in Design+Technology, Film, New Genres, Painting, Photography, Printmaking, and Sculpture/Ceramics.

SFAI’s School of Interdisciplinary Studies is motivated by the premise that critical thinking and writing, informed by an in-depth understanding of theory and practice, are essential for engaging contemporary global society. It offers degree programs in History and Theory of Contemporary Art (BA and MA), Urban Studies (BA and MA), and Exhibition and Museum Studies (MA only).

For more information about this exhibition and other public programs at SFAI, please go to http://www.sfai.edu or call 415 749 4563.

The Ministry of Culture of Spain

The Ministry of Culture of Spain
is pleased to announce the opening of a contest to select the Director of the:
Museo Nacional Centro de Arte Reina Sofía
Contest conditions and qualification requirements are available on:
http://www.mcu.es
http://www.museoreinasofia.es

The Ministry of Culture of Spain announces the opening of a contest to select the Director of Museo Nacional Centro de Arte Reina Sofía.

Requirements and merits of the candidates
The candidates will have to fulfil the following requirements and merits:

a) To be Spanish or national of a country member of the European Union. In the case of nationals of countries non-members of the European Union, the appointment will be conditional to the obtaining of the legal residence in Spain.

b) To be in possession of a university degree with the graduate level or equivalent.

c) To accredit a significant trajectory and experience of direction or management of museums or centers of modern and contemporary art.

d) To accredit sufficiently the possession of knowledge as a specialist in modern and contemporary art, universal and Spanish, that guarantees the fulfilment on the part of the MNCARS of their function of support to the contemporary artistic creation, and to be able to turn the institution in a research center of international reference, able to develop a publication policy and exhibitions of excellence, within the scope of its specialty and its collections and in narrow collaboration with other scientific and museum institutions.

e) To accredit abilities of leadership, as well as dowries for the communication and negotiation, planning, determination of priorities, taking decisions, conflict resolution and evaluation of the efficiency and the organizational effectiveness.

f) To accredit sufficient knowledge of the economic agents susceptible to contribute with financial, human and cultural resources to the institution, as well as the capacity to develop programs that stimulate their sponsorship.

g) To present, in Spanish or anyone of the co-official languages in the Independent Communities, or English or French, the main lines of the Museum Plan for the Institution.

h) Excellent level of Spanish.

i) To have the knowledge and the capacity of negotiation and leadership necessary to articulate and to put into practice with the employees and the departments of the Museum the proposed Museum Plan, and to complete it organizing the Programs and the performance lines according to high-priority objectives and identifying the paper of the diverse departments in the attainment coordinated of such.

j) It will be the capacity to represent the Museum in the amplest spectre of scopes, to work in narrow relation with the Royal Patronage, and to construct and to develop networks of internal as well as external relations.

k) The knowledge of English and French, as well as of any other language will be valued.

Presentation of candidacies
The candidates will have to present all the documentation required in the notification, properly contrasted, directing it nominally to the President of the Committee of Experts, in a sealed envelope in which “Process of selection of the Director of the MNCARS” is indicated and that will be sent by certified mail to the following direction: Plaza del Rey, 1. 28004. Madrid, or presenting it directly in the Document Record Department of the Ministry of Culture (Plaza del Rey, 1. Madrid) or in the rest of the ways anticipated in the article 38,4 of Law 30/1992, of November 26th, of a Legal Regime of the Public Administrations and of common Administrative Procedure, modified by the Law 4/1999, of January 13th.
The dead line for the presentation of the proposals ends on November 15th 2007.

Further information on the contest conditions is available on: http://www.mcu.es and http://www.museoreinasofia.es

Zacheta National Gallery of Art

Janek Simon, Cracow Bread, 2006
Robot VJ Mixing One and Two, 2007
Zacheta National Gallery of Art

Janek Simon
Winner of the 3rd Edition of
the Competition:
Views 2007 - Deutsche Bank Foundation Award
Zacheta National Gallery of Art
pl. Malachowskiego 3, 00-916 Warsaw
phone (48 22) 827 58 54
Press: rzecznik@zacheta.art.pl
http://www.zacheta.art.pl

On 22nd October 2007, on the decision of the international Competition Jury, Janek Simon was awarded the title of the most interesting young artist of the Polish artistic scene. The winner receives an award of 10 000 Euros.

Janek Simon was born in 1977 in Cracow. From 1999-2001 he studied in the Sociology Department of the Jagiellonian University, and from 1997-2001 he also studied in the Psychology Department of the same university.

The artist creates surrealist mechanisms which relate to the wealth of absurdity that surrounds us. His calculators cheat us, and his printers are loaded with document destroyers and produce rubbish. He generates nonsense, organising for example the Polish Year in Madagascar, while the works he makes are synonyms of independence.

Janek Simon makes use of his constructor’s abilities in ever more unusual projects. Thus emerged the walking Cracow Bread, where single loaves, reminiscent of insects, helplessly walk around the other work he presented in Zacheta, Robot VJ Mixing Television Channels 1 and 2, an installation whose principal elements are an old television set and a video mixer: an object belonging to club culture which in the 1980s was an unattainable object of desire for school-kids. The mixer produces a mix of two television channels (in those days there were only two and it was they that formed the shape of the world). The mixing creates the impression of a shifting of reality, of a psychedelic disturbance of the obvious and everyday. Perhaps this work makes obvious reference to political realia and the metaphor of manipulation, but more important seems the theme of an experimentation with the everyday, of an activity beyond schemata. An activity which enchants the space of art, making of
the artist someone who moves in between, consciously avoiding easy definitions, who lives beyond the system…

5 individual artists and 2 artistic groups were nominated for this year’s edition of the competition:
- Galeria Rusz (Joanna Górska, Rafal Góralski)
- Rafal Jakubowicz
- Olga Lewicka
- Karol Radziszewski
- Sedzia Glówny (Aleksandra Kubiak, Karolina Wiktor)
- Janek Simon
- Michal Stachyra

Works by all the artists, prepared specially for this occasion, can be seen at the exhibition presented in Zacheta from 15th September to 11th November 2007. The exhibition curator is Monika Szewczyk — director of the “Arsenalâ€� Gallery in Bialystok.

The exhibition is organised by the Deutsche Bank Foundation, Deutsche Bank Polska S.A. and Zacheta National Gallery of Art, under the honorary patronage of the Minister of Culture and National Heritage.

The Zacheta Gallery public also selected its favourite of the current edition of the competition. Their vote for the Public Award went to

Michal Stachyra

Michal Stachyra was born in 1981 in Lublin, where he still lives and works. He graduated from the Painting Studio in the Art Department of the Marie Curie-Sklodowska University in Lublin in 2006.

Deutsche Guggenheim

SPACE IN FLUX

10th ANNIVERSARY
DEUTSCHE BANK & SOLOMON R. GUGGENHEIM FOUNDATION
November 3 - 9, 2007
http://www.deutsche-guggenheim.de

Be invited to celebrate with Deutsche Guggenheim the unique partnership between Deutsche Bank and the Solomon R. Guggenheim Foundation from November 3rd to 9th. In the past ten years, the institution with its adaptable 350-square-meter gallery space has attracted nearly 1.5 million visitors with forty high-quality exhibitions of 20th- and 21st-century art. Inaugurating the jubilee week Deutsche Guggenheim organizes the panel discussion

ART SPACES FOR TOMORROW
November 3, 4 p.m.

Nowadays, art is leaving its traditional protective housing and has begun permeating all spheres of social life. It serves increasingly less as the cultural heritage of a bourgeois elite and is instead conquering more and more social classes as a lifestyle element. There is no doubt that art has democratized itself, yet at the same time it is more out of reach than ever for many due to the astronomical prices. Contemporary art, in particular, offers glamour one can partake in, while in the art business the audience follows the bizarre spectacle of hardly comprehensible, record-breaking prices. Exhibitions have become events targeting a mass audience with an enormous marketing effort. But what role does the museum play today? What kind of spaces does art require? How can public and private interests be combined in a sensible way?

Deutsche Guggenheim, as a joint venture of Deutsche Bank and the Guggenheim Foundation, is looking forward to contributing its own experiences to the international debate on art spaces with this
panel discussion.

Panel: Walter Grasskamp (Art Critic), Max Hollein (Schirn Kunsthalle & Städelsches Kunstinstitut), Thomas Krens (Solomon R. Guggenheim Foundation), Ernst W. Veen (Hermitage Amsterdam)

ANNIVERSARY PROGRAM
Find all details on the program at http://www.deutsche-guggenheim.de

On View:
Jeff Wall: Exposure
November 3, 2007 - January 20, 2008
ARTIST’S TALK November 3, 11.30 a.m.

For press information please contact phone: +49-30-202093-14/-21; e-mail: berlin.guggenheim@db.com

Deutsche Guggenheim
Unter den Linden 13/15
10117 Berlin
p +49-30-202093-0
f +49-30-202093-20
berlin.guggenheim@db.com
10 am-8pm; Thursdays 10am-10pm

Tate Modern

Ernie Gehr
Serene Velocity 1970
Copyright: Ernie Gehr

Ernie Gehr film season

All Programmes will take place in the Starr Auditorium, Tate Modern.
Tate Modern
Bankside
London SE1 9TG

Book online, or call +44 (0)20 7887 8888

http://www.tate.org.uk

Since he first began making films in the regular 8mm format during the 1960s, Ernie Gehr has developed into one of the most singular artists in the cinematic avant-garde. Considered ‘a filmmaker’s filmmaker’ by peers and critics such as J. Hoberman and P. Adams Sitney, Gehr produces lucid, rigorous, radiant films and digital media works that address the fundamental qualities of film as film, and the anxieties of cinematic representation. Gehr is recognized as one of the great cinema poets of the city, and has consistently sought dynamic new relationships between space and perception through his examination of the urban field. This series of five programmes includes work ranging from his 1970 shock corridor masterpiece, Serene Velocity, to dynamic city films such as Side/Walk/Shuttle (1991), and his most recent work in digital video. Don’t miss this long overdue London survey of Gehr’s transformative films.

Friday 2 November 2007, 19.00
Programme One
Wait, USA 1968, 16mm, 7’
Table, USA 1976, 16mm, 16’
Field, USA 1970, 16mm, 9’
Mirage, USA 1981, 16mm, 10’
Serene Velocity, USA 1970, 35 mm, 23’

Saturday 3 November 2007, 15.00
Programme Two
Rear Window, 1991, 16mm, 10’
This Side of Paradise, USA 1991, 16mm, 15’
Passage, USA 2003, 16mm, 14’
Side/Walk/Shuttle, USA 1991, 16mm, 40’

Saturday 3 November, 19.00
Program Three
Glider, USA 2001, Digital Video, 37’
The Astronomer’s Dream, USA 2004, digital video, 15’
Before the Olympics, USA 2006, digital video 15 ‘
Cinematic Fertilizer — 1, USA 2007, digital video, 5’
Cinematic Fertilizer — 2, USA 2007, digital video, 8’

Sunday 4 November, 15.00
Program Four
Reverberation, USA 1969, 16mm, 23’
Still, USA 1971, 16mm, 55’
Greene Street, USA 2004, digital video, 5’

Sunday 4 November, 17.30
Program Five
The Morse Code Operator (or The Monkey Wrench), USA 2006, digital video 25’
Cotton Candy, USA 2001, digital video, 54’

Studio Voltaire

Untitled, 2007
Paloma Varga Weisz
Lithograph
Courtesy of the artist and Sadie Coles HQ, London; Barbara Gladstone Gallery, London
and Konrad Fischer Gallery, Cologne.

Studio Voltaire Portfolio 2007

assume vivid astro focus/ Thea Djordjadze/ Daniel Sinsel/ Hayley Tompkins/ Paloma Varga Weisz/ Erika Verzutti
Available at:
NADA Art Fair, Miami
5 - 9 December 2007

http://www.studiovoltaire.org

Studio Voltaire is pleased to announce the launch of its latest limited edition portfolio. Published by Studio Voltaire and available at NADA Art Fair, the Portfolio will include specially commissioned artworks by six leading international contemporary artists.

Following the success of last year’s inaugural portfolio, which included prints by Turner Prize winner Jeremy Deller, and nominee Mark Titchner, this year’s portfolio will be the second in a series of collaborations with artists to publish innovative and affordable works. Studio Voltaire Portfolio 2007 will present a collection of works by a six of the most interesting artists working in Europe and internationally today.

An edition of 50, each individually signed and numbered by the artists, the set will include new works on paper and a specially commissioned sculpture by Brazilian artist, Erika Verzutti. Many of the artists featured in the Portfolio will be represented throughout this years’ Art Basel Miami Beach, including Daniel Sinsel who has produced his first ever editioned work for Studio Voltaire and Hayley Tompkins whose contribution will be an editioned series of unique watercolour paintings. The Portfolio will be available at this years’ NADA Art Fair for a limited period at a special launch price.

All profits from the sales of the portfolio will directly support further development of the Education, Exhibition and Studio Programmes and the continued running of the organisation.

For further information please visit: http://www.studiovoltaire.org/shop.htm

OTHER EDITIONS STILL AVAILABLE:

The Walk to Dover Special Edition
A film by Spartacus Chetwynd
Edition of 10 (+ 2APs)

Studio Voltaire Print Portfolio 2006
Spartacus Chetwynd/ Jeremy Deller/ Matthew Higgs/ Nils Norman/ Joanne Tatham & Tom O’Sullivan/ Mark Titchner/ Donald Urquhart
Edition of 70 (+ 10APs)

For further information or to order any of these editions, please contact
Studio Voltaire directly:

Studio Voltaire
1a Nelsons Row
London, SW4 7JR
United Kingdom

T: + 44 (0)207 622 1294
E: info@studiovoltaire.org
W: http://www.studiovoltaire.org

About us
As the first and only artist-led gallery and studio complex in South-West London, Studio Voltaire offers a unique service for local audiences, schools/community groups and artists that was not previously available. Through our Exhibition, Education and Studio Programmes, we aim to create access and participation in contemporary art practice and support artists’ projects, particularly those that may not be possible within conventional institutional frameworks.

Projects and commissions include TONIGHT curated by Paul O’Neill with newly commissioned works by Liam Gillick and Kathrin Böhm (2004); a major national touring project by Chris Evans (2006-07) and Possibility Nansen by Thea Djordjadze (2007). Our forthcoming programme includes solo projects by Thomas Ravens, Maria Pask and Cathy Wilkes, as well as an offsite project at White Columns, New York. We have gained a track record for supporting artists at a pivotal stage in their careers. Recent examples include Joanne Tatham & Tom O’Sullivan (Scottish Pavilion, Venice Biennial, 2005), Ruth Ewan (Winner - East International, 2006) and Spartacus Chetwynd (Migros Museum, 2007).

Alongside the Exhibition Programme, Studio Voltaire’s Education Programme offers multi-layered, innovative projects and activities for individuals and communities in the local area who have had little or no access to formal education, or may not be regular Gallery visitors.

Registered Charity No: 1082221 Registered Company No: 3426509

frieze

frieze issue 111 out now
http://www.frieze.com

In the November - December issue of frieze, Tom Morton examines the sculptures and installations of Charles Ray, whose new work continues to explore themes of space, objecthood and mimesis. Benjamin Weissman reflects on the humorous, psychological, abstract pictures of Christopher Wool.

Sam Thorne considers the seductively idiosyncratic practice of Michael Fullerton, and Melissa Gronlund discusses Lucy Skaer’s meditations on senselessness and beauty in drawings, films and sculptures. Peter Eleey looks back at the Artist Placement Group’s strategy of incorporating art into the world of business, whilst Bert Rebhandl is impressed by a new era of Romanian filmmaking. Santiago García Navarro looks at the socially oriented work of Argentinian artist Roberto Jacoby and Siobhán Hapaska responds to the back page questionnaire.

In the Front section Robert Storr admires Sol LeWitt’s approach to art and life, Brian Dillon explores Istanbul’s Atatürk Cultural Centre and Tirdad Zolghadr asks if Berlin is the new Cairo. Irene Cheng looks around the new New Museum, and Simon Reynolds reflects on the influence of the band Public Image Ltd. In Life in Film, frieze asks James Benning to reflect on the movies that have influenced him.

The Back section includes 25 reviews from Australia, China, Estonia, France, Germany, Greece, Ireland, Lithuania, Los Angeles, Mexico, Norway, the UK and the USA, including Wang Luyan, ‘Primavera’, Thea Djordjadze, Michael Raedecker, Minerva Cuevas, Peter Friedl, Chicks on Speed and David Adjaye.

frieze.com
Online this month at frieze.com Joerg Heiser discovers Ai Weiwei’s compound among the bustle of Beijing in a two-part China report and Daniel McClean considers ethical rights for artists in the polemical case of Mass MoCA v. Christoph Büchel. Daily reviews include: ‘Corporate Logo’ at Art in General, Enrico David at the ICA and ‘The Third Mind’ at the Palais de Tokyo. Video links to accompany articles in frieze 111 include works from, Haris Epaminonda, Torsten Lauschmann, Corey McCorkle and
Lucy Skaer.

To celebrate the launch of frieze.com, for a limited time visitors can also access the complete frieze archive for free — a unique research tool combining 16 years of monographs, features, reviews and images all searchable by writer, city, gallery or artist.