Artipedia - Arts News

ART LA

ART LA 2008
The New Los Angeles International Contemporary
Art Fair
January 25 - 27, 2008
Location
Santa Monica Civic Auditorium
1855 Main Street
Santa Monica, CA 90401-3209

DATES & TIMES
Friday, January 25, 12 - 8pm
Saturday, January 26, 12 - 8pm
Sunday, January 27, 12 - 6pm

BENEFIT RECEPTION
Thursday, January 24 6:30-10:30pm
The ART LA 2008 opening night reception benefits the Hammer Museum’s Hammer Projects. Advanced tickets for the opening reception may be purchased by contacting the Hammer Museum at 310-443-7026 or events@hammer.ucla.edu To purchase opening night tickets online, visit http://www.hammer.ucla.edu

Contact Info
323.937.4659
http://www.artfairsinc.com
info@artfairsinc.com

ART LA, the New Los Angeles International Contemporary Art Fair, takes place at the Santa Monica Civic Auditorium, January 25 - 27 2008. The fair presents 64 top international and Los Angeles based galleries representing an informed cross-section of today’s contemporary art trends and directions.

The exhibiting galleries at ART LA are an even balance of established blue chip and emerging galleries, all presenting the most progressive, international art work being produced today. Half of the exhibitors hail from the immediate Los Angeles area, and half are from the rest of the United States and abroad.

The fair is designed to spotlight the Los Angeles art scene, its prominence within current international artistic trends, while bringing influential international galleries and their artists work for the interested art patron and collector alike to enjoy. The finest examples of contemporary art work will be available for view and sale.

ART LA 2008 is proud to be held during the Santa Monica Civic Auditorium’s impressive
50th anniversary.

Exhibitors
1301PE, Los Angeles | Ace Gallery, Los Angeles | Adamski, Aachen / Berlin | Angles Gallery, Santa Monica | The Balmoral, Venice | Galerie Catherine Bastide, Brussels | Galerie Guido W. Baudach, Berlin | Blow de la Barra, London | Bortolami, New York | Broadway 1602, New York | Gavin Brown’s Enterprise, New York | Canada, New York | Cherry and Martin, Los Angeles | China Art Objects Galleries, Los Angeles | Dicksmith Gallery, London | Eleven Rivington, New York | Honor Fraser Gallery, Los Angeles | James Fuentes, New York | Mary Goldman Gallery, Los Angeles | Jack Hanley Gallery, San Francisco / Los Angeles / New York | The Happy Lion, Los Angeles | Haunch of Venison, London / Zürich / Berlin | Anna Helwing Gallery, Los Angeles | Herald St, London | Hotel, London | Daniel Hug, Los Angeles | Taka Ishii Gallery, Tokyo | Michael Janssen, Cologne / Berlin | Galerie Ben Kaufmann, Berlin | Rowley Kennerk Gallery, Chicago | Anton Kern Gallery, New York | Michael Kohn Gallery, Los An
geles | Johann König, Berlin | Kontainer, Los Angeles | David Kordansky Gallery, Los Angeles | Tomio Koyama Gallery, Tokyo | Andrew Kreps Gallery, New York | Kurimanzutto, Mexico City | Michael Lett, Auckland | Kim Light / Lightbox, Los Angeles | Patricia Low Contemporary, Gstaad | The Modern Institute / Toby Webster, Glasgow | Galerie Christian Nagel, Cologne / Berlin | Lizabeth Oliveria Gallery, Los Angeles | Ooga Booga, Los Angeles | Patrick Painter, Santa Monica | Participant, Inc., New York | Peres Projects, Los Angeles / Berlin / Athens | Galerie Emmanuel Perrotin, Paris / Miami | Ratio 3, San Francisco | Redling Fine Art, Los Angeles | Regen Projects, Los Angeles | Rental Gallery, New York | Roberts & Tilton, Los Angeles | Salon 94, New York | Sandroni Rey, Los Angeles | Marc Selwyn Fine Art, Los Angeles | Fredric Snitzer Gallery, Miami | Reena Spaulings, New York | Taxter & Spengemann, New York | Richard Telles Fine Art, Los Angeles | Susanne Vielmetter, Los Angeles / Berlin | Wallspace, New York | West of Rome, Pasadena

Bookstore
D.A.P. (Distributed Art Publishers) will be running the ART LA bookstore in the front of the hall, as well as programming a series of artist book signings. Please visit our website for updates.

Tickets
1-day pass
3-day pass
Tickets are available for purchase at the box office during the run of the fair.
Advanced tickets may be purchased on-line by clicking here. http://www.acteva.com/booking.cfm?binid=1&bevaID=144450

VIP Services
Please contact Jen Haybach at jen@artfairsinc.com for all VIP inquiries.

Press Contact
Melissa Goldberg
ForYourArt
P: 323 951 9790
F: 323 951 9550
E: artla@foryourart.com

Pavel Braila, Undressing the Bride, video, 2006

TIME CODE project
curated by Fabiola Naldi and Alessandra Pioselli
November 15, 2007 – June 12, 2008

Time Code i s a project dedicated to explore one of the elements most strictly connected to the medium of video: temporality.
From November 15, 2007 throug June 12, 2008 TIME CODE will display sixteen selected videos of international artists with the intent to highlighting and analyzing the multiple temporal structure inherent to the medium and successive processes able to form, perceive and interpret them.
In each event, the works of the artists will be on show in different spaces of the museum to create dialogue with the complex architectural structure of the new Museo d’Arte Moderna di Bologna.
Each session consists of: a public conference with the artists and curators, based on the featured content of TIME CODE; the presentation of two videos (which will be on display until the following appointment)

Featured artists: Knut Asdam, Riccardo Benassi, Pavel Braila, Loulou Cherinet, Pierre Coulibeuf, Simonetta Fadda, Shona Illingworth, Tellero e Oliver Kalleinen, Almagul Menlibayeva, Ottonella Mocellin e Nicola Pellegrini, Frédéric Moser e Philippe Schwinger, Roberta Piccioni, Sara Rossi, Martin Sastre, Kjersti Sundland, Alejandro Vidal.

www.mambo-bologna.org

PAVILION

Flexicover, 14.5 x 19.5 cm (6.6 x 8.9 in.),
English, 288 pages.

PAVILION NO. 11:
“WHAT WAS SOCIALISM, AND WHAT COMES NEXT”
Editors: Razvan Ion & Eugen Radescu
PAVILION is the producer of BUCHAREST BIENNALE

Cover: Dan Perjovschi, The Right Socialism, 9 drawings, artist project for Pavilion.
http://www.pavilionmagazine.org

“Taken as a whole, What Was Socialism, and What Comes Next? constitutes a dissent from the prevailing directions of much transitological writing. It not only employs an understanding of socialism’s workings that is far from widespread in scholarship about the region but also views the central concepts of research into post-socialism with a skeptical eye. This skepticism comes from being not at all sure about what those central concepts-private property, democracy, markets, citizenship and civil society-actually mean. They are symbols in the constitution of our own “western” identity, and their real content becomes ever more elusive as we inspect how they are supposedly taking shape in the former Soviet bloc. Perhaps this is because the world in which these foundational concepts have defined “the West” is itself changing-something of which socialism’s collapse is a symptom (not a cause). The changes of 1989 did more than disturb western complacency about the “new world orde
r” and preempt the imagined fraternity of a new European Union: they signaled that a thorough-going reorganization of the globe is in course. In that case, we might wonder at the effort to implant perhaps-obsolescent western forms in “the East.” This is what I mean: what comes next is anybody’s guess.”
Katherine Verdery

In this issue
Free download the pdf version of the issue at http://www.pavilionmagazine.org/pavilion10_11.pdf

COLUMN

What Was Socialism, and What Comes Next? by Katherine Verdery

AROUND

Adorno On Late Capitalism: Totalitarianism and the Welfare State by Deborah Cook
The Attitude of Classical Marxism Toward Art by David Walsh
The Gataia Experiment by Ovidiu Pecican
Socialism, Avant-Garde, and the Western Europeans by Tincuta Pârv
Denationalized States and Global Assemblages by Magnus Wennerhag in dialogue with Saskia Sassen
A Portrait of the Rebel Consumer Opressed by Life by Pascal Bruckner

WHAT WAS SOCIALISM, AND WHAT COMES NEXT

Synthesis: Retro-Avant Garde Or Mapping Post-Socialism by Marina Grzinic
Marxism News by Cosmin Gabriel Marian
Lenin’s Century: Bolshevism, Marxism, and the Russian Tradition by Vladimir Tismaneanu
Of Butchers and Policemen: Law, Justice and Economies of Anxiety by Gunalan Nadarajan
Can Lenin Tell Us About Freedom Today? by Slavoj Zizek
The Bipolar World Has Ended. What Comes After? by Chantal Mouffe
Apocalyptic Spirits: Art In Postsocialist Era by Misko Suvakovic
Empty Pedestals by Ana Peraica
Numismatics of the Sensual, Calculus of the Image: The Pyrotechnics of Control by Jonathan L. Beller
The Theory of Revolution in The Manifest of The Comunist Party by Catalin Avramescu

EXTENT

Mud by Xavier Ribas (with a text by Felix Vogel)
End Station by Elmgreen and Dragset (with a text by Dana Altman)
The Right Socialism by Dan Perjovschi
Notes on the Disappeared: Towards a Visual Language of Resistance by Chitra Ganesh+Mariam Ghani
Monumental and Personal Modernism by Marjetica Potrc
La Inmovilidad by Vincent Delbrouck
Corrections by Rassim (with a text by Iara Boubnova & Luchezar Boyadjiev)
Machine Shall be the Slave of Man but Man Shall not Slave for Machine by Olivia Plender
¡Protesta! by Taller Popular de Serigrafia
Incident by Hüseyin Alptekin (with a text by Raluca Voinea)
Sartre kommt nach Stammheim by Naeem Mohaiemen
NSK State by Irwin (with a text by Juliane Debeusscher)
Pioneers by Ciprian Muresan
(another) point of view by Olga Kisseleva

Z33

‘SLOW’, Marina Yee, 2007; photographer: Kristof Vrancken for Z33.

N° 17 SLOW
Looking at things differently.
based on a concept by Marina Yee
from 25.11.07 until 10.02.08
Z33
Zuivelmarkt 33
B-3500 HASSELT

http://www.z33.be

Z33 invited Marina Yee as a guest curator for its upcoming exhibition project. The result is an exhibition that concentrates on experience, presenting work by Marina Yee herself and selected works by artists that inspire her.

Marina Yee (°1958, Temse, Belgium) feels the need to have us dwell upon the beauty of things around us. She creates at a slow, more conscious pace. With this attitude she places herself outside her original environment, that is to say, outside the regular fashion circuit.

Under the title SLOW, Marina Yee created six installations for Z33 — five video-installations and a colour installation — that illustrate her consciously chosen attitude. It is about a global attitude, each reference to the fashion world is missing here.

With the visual material Marina Yee made and collected over the years, but never showed, she wants to shed a different light on everyday objects. At a slow and sensory pace, the audience can discover and experience the esthetical value of those things.

In dialogue with her own installations Marina Yee presents works of other artists that are a source of inspiration to her own work. Johan Mangelschots (BE), Florence Mascia (FR/BE) and Erik Verdonck (BE) were commissioned to create a new work for SLOW.

Marina Yee and Z33 also selected works by David Claerbout (BE), Lionel Estève (FR/BE), Ann Veronica Janssens (BE), Mariëlle Soons (NL), Léon Spilliaert (BE), Anu Tuominen (FI), Luc Tuymans (BE), Carole Vanderlinden (BE) and Hans Wuyts & Leon Vranken (BE).

Practical information
In Z33, vleugel ‘58
Zuivelmarkt 33
B-3500 Hasselt
t: +32 (0)11 29 59 60
http://www.z33.be
info@z33.be

free admission

opening hours exhibition
Tuesday, Wednesday, Friday, Saturday: 11am - 6pm
Thursday - late night opening!: 11am - 10pm
Sunday and public holidays: 2 pm - 5pm
Closed on December 25th and January 1st.

photo l.a. 2008

photo l.a. 2008
Location
Barker Hangar
3021 Airport Avenue
Santa Monica, CA 90405

http://www.artfairsinc.com

DATES & TIMES
Friday, January 11th, 12pm - 8pm
Saturday, January 12th, 12pm - 8pm
Sunday, January 13th, 12pm - 6pm

BENEFIT RECEPTION
To honor Julius Shulman and Benefit the
Photography Department of the Los Angeles County Museum of Art
Thursday, January 10th, 6-9 pm
For more information on Benefit Reception tickets please email photola@lacma.org or call 323.936.5846

artfairs inc., producer of the highly acclaimed art fairs photo Miami, ART LA, photo san Francisco and photo new york, is pleased to announce that photo l.a. 2008, the 17th Annual International Los Angeles Photographic Art Exposition, which will take place January 10-13, 2008. artfairs inc. also announces that this highly anticipated event–popular among collectors and curators alike–is moving to a larger location: the 35,000 square foot Barker Hangar at the Santa Monica Airport. The new event space will allow for larger booths and an improved lighting system, producing a clean, modern backdrop against which to display more photo-based art, including digital and video than ever before. The Barker Hangar, located at 3021 Airport Avenue in Santa Monica, also will comfortably accommodate a crowd in excess of 10,000 people–a necessity as photo l.a. has become one of the country’s most popular art fairs and will coincide with Golden Globes week in January 2008. The exhibit
ion will be open to the public Friday, January 11 and Saturday, January 12 from 11:00 to 7:00 p.m., and Sunday, January 13 from 11:00 to 6:00 p.m.

At the opening night reception scheduled for Thursday, January 10 from 6:00 to 9:00 p.m., artfairs, inc. will welcome to Los Angeles, and photo l.a. 2008, the new Department Head and Curator of Photography at LACMA, Charlotte Cotton. Renowned architectural photographer Julius Shulman will be honored with photo l.a.’s inaugural lifetime achievement award in association with The Center — a nonprofit organization that honors, supports and provides opportunity for gifted and committed photographers. Proceeds from the opening night reception will benefit the Photography Department of the Los Angeles County Museum of Art.

For more information about photo l.a. 2008, including special programming schedule, visit http://www.artfairsinc.com

Contact Info
info@artfairsinc.com / (323) 937-4659

Exhibitors
Gallery 19/21
21st Editions
ACE Gallery
AndrewShire Gallery
Aperture
Joseph Bellows Gallery
Benham Gallery
Robert Berman Gallery
Bondi Books
Vincent Borrelli, Bookseller
Brancolini Grimaldi Arte Contemporanea
China Square
Circus Gallery
ClampArt
DAM / Berlin
Monte Clark Gallery
John Cleary Gallery
Stephen Cohen Gallery
Contemporary Works / Vintage Works, Ltd.
Czech Center of Photography
D.A.P.
Stephen Daiter Gallery / Daiter Contemporary
David Gallery
Michael Dawson Gallery
de Soto
Katrina Doerner
Linda Durham Contemporary Art
Gary Edwards Gallery
Etherton Gallery
Henry Feldstein
Peter Fetterman Gallery
Fotovision
Gitterman Gallery
Charles Guice Contemporary
The Halsted Gallery
Harper’s Books
Guy Hepner Contemporary
Paul M. Hertzmann, Inc.
Rebecca Hossack Gallery
Hous Projects
Jail
Lodima Press
Louis Klaitman
Paul Kopeikin Gallery
Craig Krull Gallery
LeadApron
Lee Gallery
Luminous Lint
Gallery Luisotti
GALLERY M
M+B
Magnum Photos
Carl Mautz Vintage Photography
Andrea Meislin Gallery
Duncan Miller Gallery
Modernbook Gallery
Monroe Gallery of Photography
Richard Moore Photographs
Nazraeli Press
Scott Nichols Gallery
Oswald Gallery
Peer Gallery
photo-eye Gallery
photokunst
Queensland Centre for Photography
A.M. Richard Fine Art
Scalo|Guye Gallery
Schaden Books
Select Vernacular / Norman Kulkin
Galeria Sicart
Barry Singer Gallery
Janet Sirmon Fine Art
Skew Gallery — Calgary
Susan Spiritus Gallery
Joel Soroka Gallery
Steidl Editions
Studio 391
Robert Tat Gallery
Verso Limited Editions
The View From Here
wall space

Tickets
To purchase tickets, please click here

VIP Services
Please contact Jen Haybach at jen@artfairsinc.com

Press Contact
Jeannine Schechter
Fresh PR
310.482.3461
jeannine@freshpr.net

Yerba Buena Center
for the Arts (YBCA)

Just Announced: Director of Visual Arts

Yerba Buena Center for the Arts (YBCA), San Francisco’s premiere contemporary arts center, seeks a dynamic individual to provide leadership and creative direction for its renowned visual arts program. We’re looking for a dynamic, visionary curator who has the skills and ability to take an already highly regarded visual arts program to the next level of innovation and impact not only locally, but also nationally
and internationally.

Who We Are
YBCA is a 15-year-old multidisciplinary arts center that anchors the dynamic Yerba Buena Cultural District in downtown San Francisco. YBCA works continuously to break new ground with its programs in visual art, performance and film/video, and to connect our programs to a broad cross section of the community, not just the art elite. Our facilities are comprised of two landmark buildings with 12,000 square feet of gallery space, a 94-seat Screening Room, flexible performance/meeting space and a 750-seat Theater. Institutionally, we are committed to innovation in our practices, exceptional diversity in our range of work and the engagement of audiences with art that speaks to the ideas and issues of the contemporary world. The YBCA curatorial team works collaboratively to develop organization-wide thematics, around which performances, exhibitions, films and public programs are curated and created. The opportunity and expectation exists for the Visual Arts program be a significant
cornerstone of that endeavor.

What We Are Looking For
The ideal candidate will possess strong experience with and knowledge of contemporary art practice throughout the world, with a history of creating innovative and provocative exhibitions. A commitment to the full range of contemporary art is especially crucial, including the recognition that artists are breaking boundaries among disciplines and that contemporary artistic expression emanates from all cultures, including and especially, those of the Pacific Rim of which YBCA and San Francisco are a part. Institutionally, we are particularly interested in placing Bay Area artists in dialogue with artists nationally and internationally.

The position requires an inspiring leader who can articulate and advocate strongly for visual art projects, while developing and sustaining a collaborative relationship with the other curators. An ability to engage in artistic discourse in an expansive and generous manner is particularly important. Essential to the position as well, is an intellect that can absorb, discuss and explicate the ideas and aesthetics of contemporary art; the ability to write intelligently but without jargon about contemporary art; the capability to be a charismatic public speaker who can inspire audiences and stimulate donors to fund innovative projects; and a commitment to placing contemporary art at the heart of contemporary life.

JOB DESCRIPTION
The Director of Visual Arts has primary responsibility for the design and execution of the Visual Arts program at YBCA. Working under the supervision of the Executive Director and in collaboration with the curatorial team, the Director shapes the artistic agenda for the Visual Arts program through curated exhibitions and projects. Implementation of that vision is also the Director’s responsibility, which includes directing the visual arts staff to accomplish departmental objectives. As a senior member of the organizational management team, the Director plays a vital role in determining and defining the organizational culture at YBCA; participates in strategic planning and budgeting; provides leadership to the Visual Arts department and collaborates closely with other departments to the benefit of the Visual Arts program and YBCA.

Department: Visual Arts
Reports to: Executive Director
Direct Reports: Five (5)
Work Schedule: Full Time (37.5 hours/week), Evenings and Weekends as Necessary

Specific Responsibilities
• Curate and create the visual arts program at YBCA. Oversee the design and direct the installation of all YBCA exhibitions
• Collaborate with the other YBCA curators to determine curatorial direction for the institution and create specific projects that are multi disciplinary or interdisciplinary in nature

• Take a leadership role in the Development area by participating in a full range of activities thatsupport the Visual Arts department specifically and YBCA generally, including cultivation events and building relationships with individual donors

• Collaborate with Marketing and Community Engagement departments to develop and support a broad base of community participation in the exhibitions program and YBCA in general

• Supervise and manage the Visual Arts department including associate curator(s) and exhibitions staff

• Overall budgetary responsibility for the department and as part of the senior management team

• Direct the traveling exhibition program as a source of both revenue generation and extension of the YBCA brand nationally and internationally

• Other duties as assigned by the Executive Director

Minimum Qualifications
• BA degree in a Visual Arts field

• Minimum 5 years experience as a curator in a visual arts institution of note and/or independent curator of notable exhibitions

• Extensive background in and knowledge of contemporary art

• Knowledge of best practices of contemporary art museums and arts centers

• Demonstrated leadership and management ability

• Demonstrated ability to work effectively in partnership with people of diverse backgrounds

• Commitment to working collaboratively, including artistic and curatorial collaborations

• Excellent interpersonal skills; verbal and written communication skills; ability to do public presentations

How to Apply
Potential applicants are requested to send a cover letter addressing the issues and ideas raised in “What We Are Looking For” above, and a resume to jobs@ybca.org Please include “Visual Art Director E-Flux” in the subject line.

Please do not send supporting materials at this time.

Guerra de la Paz, The Kiss (from the GI Joe Series), digital print, 2006

Jakob Boeskov, Margot Herster, Tessa Hughes-Freeland, Fawad Khan, Ellen Lake, Rebecca Loyche, Guerra de la Paz, Francesco Simeti, Nick Waplington

Exit Art wants to tell you war stories through the vision of nine international artists. Love/War/Sex considers memory, history, weapons and personal stories. As a cultural center, it is our mission to reflect what is going on in our society. We want to respond to current global conflicts by presenting this exhibition, Love/War/Sex, a comment on our culture’s fascination with, and addiction to, war. The title itself demonstrates the paradox of what war is, a combination of emotions, passions and idealistic convictions. Love/War/Sex considers the conflation of those basic human instincts—a toxic combination manifested in images and stories coming out of Iraq. This exhibition connects longing with violence and love with war, imagining the business of war in all its sensual manifestations. War, love and sex demand the same thing - commitment, and the purpose of this exhibition is to tell the story of these relationships.

Exit Art is known for its unique exhibitions and installation designs that heighten the concepts of the shows. The installation of Love/War/Sex, conceived by Papo Colo, is an innovation in exhibition design and presentation, in part for its inclusion of real weapons of war. Choosing these objects, these “readymades”, and applying their historical contexts to the exhibition, creates an environment that provokes, surprises, assaults and confronts you with the real tools of war. They are not simply objects on display; they were intended to kill people in battle. Hearkening back to Leonardo da Vinci, who designed weapons for a living, by exhibiting the weapons as art one can experience both the extraordinary craftsmanship and design of these killing machines.

Another installation approach was to wallpaper the exhibition space with texts of personal experiences of the war. This allows the viewer/reader to evoke images from the text. Here, the force of the narrative replaces the object and gives the viewer another kind of visual imagination, creating a sacred space for meditation. Taken from newspapers, magazines and soldiers’ blogs, these chronicles make one think of war in terms of intimate personal stories.

The juxtaposition of these weapons and the wall papered texts creates a stage for the exhibition and the public. The exhibition incorporates video, sculpture, wallpaper, and a selection of weapons and military vehicles on loan from the Military Museum of Southern New England in Danbury, CT.

ARTISTS
Jakob Boeskov’s apocalyptic video War Wizard depicts lustful soldiers and their “wizard” enemy as they invade a little boy’s dreams. The “wizard”, who embodies at once Jesus, Osama bin Laden and an Iraqi prisoner, is tortured with sex and violence by dancing soldiers. Margot Herster presents an insider view of Guantanamo politics with This is an introduction tape, a video of the families of detainees telling their relatives to trust the lawyers representing them. Referencing sports and porn as stimulants, Tessa Hughes-Freeland’s ‘educational’ video Watch Out! explains how explicit films can warp the minds of young men. Fawad Khan fuses car culture with war imagery to create a sexy but violent wall painting that evokes the chaos of a suicide bombing. Ellen Lake’s short film Betty + Johnny combines digital video and home movies shot in the 1930s and 40s to tell the story of a love lost during World War II. Rebecca Loyche’s three-channel video installatio!
n,
All’s Fair in Love and War, is a disturbing portrait of a weapons specialist who teaches military personnel how to kill. The unnamed subject of the short videos describes in detail the tools and methods employed to kill during combat. Guerra de la Paz presents Crawl, a cloth sculpture of a dying soldier, and The Kiss, an intimate photograph of toy army men in an embrace. Francesco Simeti’s Watching the War combines explosion clouds and images of the war in Afghanistan to create deceptively ornate wallpaper. Nick Waplington’s photographs juxtapose images of war and the Iraqi landscape with keg parties and families in America to offer a telling glimpse into life at the war front and back at home.

Curated by Jeanette Ingberman and Papo Colo.

ABOUT EXIT ART
Exit Art is an independent vision of contemporary culture. We are prepared to react immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 25 year old cultural center in New York City founded by Directors Jeanette Ingberman and Papo Colo, that has grown from a pioneering alternative art space, into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always on the verge of change.

EXHIBITION SUPPORT
General exhibition support provided by Carnegie Corporation, Jerome Foundation, New York State Council on the Arts, Starry Night Fund at The Tides Foundation, Exit Art’s Board of Trustees and our members. Public programs support provided by The New York City Department of Cultural Affairs. Special thanks to Sam Johnson and the Military Museum of Southern New England in Danbury, Connecticut.

GENERAL INFORMATION
Exit Art is located at 475 Tenth Avenue, corner of 36th Street. Exit Art is open each Tuesday through Thursday, 10 am – 6 pm; Friday, 10 am – 8 pm; Saturday, noon – 8 pm.
Closed Sunday and Monday. There is a suggested donation of $5.

For more information please call 212-966-7745 or visit http://www.exitart.org

Las Vegas Diaspora

http://www.lasvegasartmuseum.org/exhibitions.shtml

The Las Vegas Art Museum (LVAM) celebrates the arts in Las Vegas with the exhibition Las Vegas Diaspora: The Emergence of Contemporary Art from the Neon Homeland. The exhibition features artists who have been recognized for artistic achievement after earning degrees in studio art at UNLV (the University of Nevada, Las Vegas). Organized by Las Vegas critic and curator Dave Hickey, the exhibition will showcase a selection of artworks by 26 artists who work in a variety of media. All of the featured artists studied with Hickey between 1990 and 2001, when Hickey taught art theory and criticism in the Department of Art at UNLV. Hickey now serves in the English Department at UNLV as Schaeffer Professor of Modern Letters.
According to LVAM Director Libby Lumpkin, many of the artists included in the exhibition are highly accomplished: “The Museum of Modern Art in New York has acquired works by two of the artists for its permanent collection. Other Diaspora artists have had solo exhibitions at major museums, including the Tate Modern in London, the Los Angeles County Museum, Kemper Museum, UCLA’s Hammer Museum, and the Cue Foundation in New York. Most Diaspora artists exhibit their works in established galleries in New York or Los Angeles. Many show regularly in Paris, London, Cologne, Milan, Tokyo, and other international art centers.” Lumpkin adds, “Dave Hickey gave many of the artists their start by including them in exhibitions he organized around the country. He was the logical choice to organize the exhibition.”

The exhibition is accompanied by a catalog published by The Las Vegas Art Museum and BrightCity Books. The fully illustrated catalog features an essay by Dave Hickey, and individual artist entries.

The exhibition is made possible by LVAM’s Joyce Mack Exhibitions Fund and James and Michelle Zeiter Exhibitions Fund. Patron support is provided by Wally Goodman and Patrick Duffy, Robin and Danny Greenspun, Thomas and Bonnie Lawyer, Dana and Greg Lee - Eureka Casinos, Joyce Mack, Manpower of Southern Nevada, Inc., Blanche and Phil Meisel, Jim and Beverly Rogers, and Jim and Michelle Zeiter.

Casco. Office for Art,
Design and Theory

Casco Publications 2007/2008
Casco
Office for Art, Design and Theory
Nieuwekade 213-215
3511 RW Utrecht
The Netherlands

http://www.cascoprojects.org

Casco Issues X: The Great Method
This issue of Casco’s annual magazine addresses the question of methodology in artistic practice, focusing on the presence or absence of methods, their ideological connotations and historical backgrounds, in order to examine some of the conditions that surround contemporary art production.

Edited by Peio Aguirre and Emily Pethick
Contributions by Peio Aguirre, Stuart Bailey, Richardo Basbaum, Martin Beck, Copenhagen Free University, Stephan Dillemuth, Falke Pisano, Florian Pumhösl, Wendelien van Oldenborgh, Stephen Willats and Haegue Yang

Designed by Julia Born and Laurenz Brunner

Co-published by Casco and Revolver, Frankfurt http://www.revolverlag.de
ISBN 978-3-86588-407-7

The so-called utopia of the centre beaubourg — An interpretation
Luca Frei
Appearing in 1976 under the pseudonym Gustave Affeulpin, and coinciding with the inauguration of the Centre Beaubourg in Paris, Albert Meister’s fictional text imagines a radical libertarian space submerged beneath the newly erected centerpiece of French culture. This is the first translation and publication of the text in English, a project undertaken by the artist Luca Frei in order to revitalise a significant
cultural treatise.

Designed by Luca Frei

Co-published by Casco and Book Works, London http://www.bookworks.org.uk
ISBN 978 1 870699 99 0

About the Relative Size of Things in the Universe
Martin Beck
A document of Martin Beck’s video work of the same title showing the assembly and disassembly of the seminal 1948 Struc-Tube exhibition system by the American Designer George Nelson. The book contextualises the work within contemporary artistic practice and elaborate on aspects of sovereignty and control in modern exhibition history.

Texts by Martin Beck, Bill Horrigan and Emily Pethick

Designed by Martin Beck

Co-published by Casco and Four Corners Books, London http://www.fourcornersbooks.co.uk
ISBN: 978-0-9545025-5-3

COMING IN 2008

What’s Left to it’s own Devices (on reclamation)
Dave Hullfish Bailey
Using non-linear heuristic methods and experimental webs of information to draw links between the cities of Utrecht, and Slab City, California, USA, this book brings together speculative proposals that ask basic questions about public space, conceived as a physical and conversational sphere; thinking about how they are produced? To what ends might they be colonized? How they intersect the realization of personal freedoms? And how might ambiguous or unstable positions be opened up between them and ‘private’ spheres of thought or deed?

Texts by Lars Bang Larsen, Jan Tumlir and Emily Pethick

Designed by Stuart Bailey

Co-published by Casco and Sternberg Press, New York/Berlin http://www.sternbergpress.com
ISBN: 978-1-933128-36-8

Hidden Curriculum
Annette Krauss
A document of Annette Krauss’ project ‘Hidden Curriculum’ that looks at the unrecognized and unintended knowledge, values and beliefs that are part of the learning process in schools. Produced in collaboration with two groups of 15-17 year old students, it focuses on actions that go beyond existing norms and show creative and productive ways of navigating through everyday life in high school.

Texts by Thomas Alkemeyer, Celine Condorelli, Fiona Parry, and a conversation between Annette Krauss, Marina Vishmidt and Emily Pethick

Designed by Julia Born and Laurenz Brunner

Co-published by Casco and Episode Publishers, Rotterdam http://www.episode-publishers.nl
ISBN: 978-90-5973-088-5

Orders can be made through the above-mentioned publishers

Casco’s publications have been supported by the America Center Foundation, Arts Council England, Bunderministerium für Kunst und Kultur, Fentener van Vlissingen Fonds, Fonds voor Amateur en Podiumkunsten, Gemeente Utrecht, Land Vorarlberg, Mondriaan Foundation, Prins
Bernhard Cultuurfonds

Mudam Luxembourg

João Tabarra, Moon Watcher’s defeat, 2007.
Video projection, Stereo sound.
Galeria Graçao Brandão-Porto-Lisboa

PORTUGAL AGORA — À propos des lieux d’origine
16 December 2007 to 7 April 2008
Musée d’Art Moderne
Grand-Duc Jean
Mudam Luxembourg
3, Park Dräi Eechelen
L-1499 Luxembourg
t. +352 45 37 85 1
info@mudam.lu

http://www.mudam.lu

Since the Carnation Revolution in 1974 which marked the end of an authoritarian regime that had been in place for more than forty years, artistic creation in Portugal has not ceased to evolve and accelerate. If migration was an essential condition to exist for the outstanding figures of the art scene of the 60s and 70s, things started to change in the 80s. Those years saw the emergence of tutelary figures who managed to break into the international scene without having to become exiles. Today, this reality continues to be stated through the singular identity of artists capable of constantly reinventing their own models. The necessity of settling elsewhere to exist has mutated into an active participation in contemporary debate, and if, henceforth, certain artists live in London, Berlin or Paris, they are no longer exiles but are integrated into a global artistic community.

The exhibition PORTUGAL AGORA — À propos des lieux d’origine provides an outside view of the contemporary scene of a country. The Portuguese community represents a significant proportion of the population of Luxembourg and greatly contributes to the dynamism of the Grand Duchy. However, it remains culturally under-represented and its contemporary production is too often ignored. Consequently, the creation of PORTUGAL AGORA seemed to be an obvious step as the quality, dynamism and diversity of current artistic production deserves more exposure. The guiding principle of this project, that brings together 38 artists, is about meeting, exchanging and the idea of opening. The exhibition offers a voyage through the work of artists from different generations and hailing from a variety of horizons. It proposes a succession of views that are critical, inspired, difficult or out of step but which are always pertinent and conscious of the issues that drive the contemporary world.

A catalogue created by Marco Godinho, a Portuguese artist who lives and works in Luxembourg, is being published for the exhibition. In this publication, conceived as a sketchbook, Godinho poses questions concerning place and origin, delocalisation and ties and establishes a cartography of artists participating in Portugal Agora. The book also includes texts by Natxo Checa, Oscar Faria, João Fernandes.

Exhibition curated by: Clément Minighetti, Marie-Claude Beaud, Björn Dahlström

Artists: Helena Almeida, Felipe Oliveira Baptista, Miguel Branco, Fernando Brízio, Pedro Cabrita Reis, Isabel Carvalho, Filipa César, Gil Heitor Cortesão, Pedro Costa, José Pedro Croft, Luísa Cunha, Alexandre Estrela, João Paulo Feliciano, Marco Godinho, Margarida Gouveia, João Maria Gusmão & Pedro Paiva, Ricardo Jacinto, Rui Moreira, Paulo Nozolino, João Onofre, Bruno Pacheco, Miguel Palma, João Penalva, João Queiroz, Jorge Queiroz, Paula Rego, Rigo 23, Miguel Ângelo Rocha, Mafalda Santos, Sancho Silva, Ângelo de Sousa, Pedro Sousa Vieira, João Tabarra, Rui Toscano, Franciso Tropa, João Pedro Vale, Joana Vasconcelos

With the support of Fondation Calouste Gulbenkian, TAP PORTUGAL and Instituto Camões Portugal.

Mudam thanks all the donors and sponsors, and particularly the Banque de Luxembourg, the Leir Foundation, Inc., KBL European Private Bankers and Cargolux for their generosity.

Opening hours
from 11am to 6pm
Wednesday from 11am to 8pm
closed Tuesday

Press contact
presse@mudam.lu