Archive for January 31st, 2008

BRAINWAVE: Common Senses

Thursday, January 31st, 2008

Magic Forest 003.jpg
Andrew Carnie, Magic Forest, 2002

February 16 – April 19, 2008
Opening: Saturday, February 16, 7 – 10pm

BRAINWAVE: Common Senses responds to current advancements in neurological research by visualizing and investigating the brain’s capacity for sense perception, memory, emotion and logic. The artists in this exhibition redefine this research in a different way, abandoning literal representations of the brain and categorical analysis in favor of works that take, as starting points, elements from neuroscience and flipping these ideas on their heads.

Suzanne Anker, David Bowen, Steve Budington, Phil Buehler, Andrew Carnie, George Jenne, Daniel Marguiles and Chris Sharp, Fernando Orellana and Brendan Burns, Jamie O’Shea, SERU, Devorah Sperber, Naho Taruishi, Dustin Wenzel

BRAINWAVE is a collaboration with five other Manhattan-based cultural organizations: Rubin Museum of Art; Science & the Arts at the Graduate Center of the City University of New York; The Philoctetes Center at the New York Psychoanalytic Institute; and the School of Visual Arts; and is presented in association with the American Museum of Natural History. For more information on other BRAINWAVE programs, visit www.brainwavenyc.org.

Exit Art
475 Tenth Avenue
(at 36th Street)
www.exitart.org
A C E at 34th Street/Penn Station
212-966-7745

Matthew Buckingham at Index the Swedish Contemporary Art Foundation

Thursday, January 31st, 2008

Artipedia - Arts News
Index the Swedish
Contemporary Art Foundation

Matthew Buckingham
Wednesday, February 6, 2008, 5-8pm
February 7 - April 6, 2008

Tue - Fri 12-4pm
Sat - Sun 12-5pm

Index the Swedish
Contemporary Art Foundation
Kungsbro strand 19
SE-11226 Stockholm
T +46-8/5021 98 38
index@algonet.se

http://www.indexfoundation.se

What separates the firm document from what history randomly will preserve? What remains of a story when first hand accounts and visual representation is no longer imminent? The works of Matthew Buckingham (born 1963, Nevada, Iowa) reveals an interest in the construction of historical reality, and how genres like film and literature connect to notions of history and its underlying narratives. Here, such conceptions are put under scrutiny and given a visual representation, whilst narrative structures are made meaningful by elements of voice-over.

In the artist’s solo exhibition at Index, Buckingham juxtaposes Image of Absalon to Be Projected Until it Vanishes (2001) and False Future (2007), two works addressing ideas of historical presence versus the nonappearance. False Future, a 16 mm film installation tells the story of Louis Le Prince, the French inventor who, after his technological invention consisting of an eight-lens camera, mysteriously disappears after stepping onto a train in 1890. Was the surviving footage of the protagonist’s 1888 film photographic experiment – a split-second showing horses, carts and pedestrians crossing Leeds Bridge – an ambition to record moving images? With Buckingham’s returning to the historical site and his recreation of the motive, it becomes a ten-minute cinematic short story which seeks to unearth a forgotten or lost story hidden beneath its archival surface.

Buckingham’s slide piece Image of Absalon to Be Projected Until it Vanishes portrays the statue of Copenhagen’s mythical founder Absalon towards a wide open sky – shot from behind, almost disappearing and out of frame. The fact that the slide is slowly fading away due to the heat of the projected light contributes to the work’s transitional nature – an image and a legend returning to point zero where meaning has to be rediscovered.

Matthew Buckingham received his B.A. in film production and film studies from the University of Iowa in 1988, and in 1996 he completed an M.F.A. at Bard College. In 1997, he participated in the Whitney Independent Study Program, New York.

The exhibition at Index will be accompanied by the following events:

Wednesday, February 27, 2008
6pm: Lecture Trond Lundemo: “Immersion and Absence in Early Cinema”, in English

Wednesday, March 12, 2008
8pm: Lecture Work Method (Guillaume Désanges and François Piron): ”Work and Method presents: Appropriate answers to various situations in the field of curatorial practice”, in English

Carlos Motta at the Institute of Contemporary Art

Thursday, January 31st, 2008

Artipedia - Arts News
Institute of
Contemporary Art (ICA)

Carlos Motta, The Good Life, video still
Tegucigalpa, Honduras, 2005-2008

CARLOS MOTTA: THE GOOD LIFE
January 18 - March 30, 2008

INSTITUTE OF
CONTEMPORARY ART
University of Pennsylvania
118 S. 36th Street
Philadelphia, PA 19104

http://www.icaphila.org

The Institute of Contemporary Art (ICA) is pleased to present “Carlos Motta: The Good Life,” the first museum presentation of an ambitious work by Carlos Motta, on view January 18 - March 30, 2008. “The Good Life,” a long-term, in-progress, experimental documentary project, engages and critiques documentary practice itself. It is a relevant examination of the regional history, perception and effects of US interventionist policies in Latin America, at a time of global critical awareness of those politics.

Since 2005, Carlos Motta has recorded over 300 video interviews with civilians on the streets of twelve cities in Latin America. The questions he asked, on individual perceptions of US interventionism and foreign policy, democracy, leadership, and social inequality, resulted in an extremely wide spectrum of opinion, which varies according to local situations and forms of government in each country. The resulting footage is the basis of “The Good Life.” Informed by conceptual documentary traditions the project references the approach of cinema vérité classics such as Chris Marker’s Le Jolie Mai (1963) and Vilgot Sjöman’s I am curious (Yellow) (1967), which began to study the notion of public opinion as mediated construction.

In this iteration, created for the Project Space, Motta’s interviews with persons in Bogota, Buenos Aires, Managua, Mexico City, Santiago and Tegucigalpa, serve as both a conceptual and formal framework. Arranged in an open structure that evokes a classical space for the exercising of democracy, these conversations shed light on the effects of political intervention, and the public perception of political concepts, on the formation of national and individual subjectivities. The exhibition also comprises a series of accompanying photographs, shot during visits to each city, and a takeaway poster featuring texts commissioned from artists Ashley Hunt, Naeem Mohaiemen and Oliver Ressler; and political philosopher Maria Mercedes Gómez that answer the question, “What is democracy to you?”

Carlos Motta (b. Bogotá, Colombia, 1978, lives in New York) was a participant in the Whitney Independent Study Program, (2005-2006), and completed his MFA at Bard College in 2003. Working primarily in photography and video installation, he uses strategies from documentary and sociology to engage with specific political events in an attempt to observe their effects and suggest alternative ways to write and read these histories.

Motta’s upcoming and past solo exhibitions include Art in General, Lower Manhattan Cultural Council and Winkleman Gallery in New York, NY; rum46, Aarhus, Denmark; Real Art Ways, Hartford, CT; Kevin Bruk Gallery, Miami, FL; and La Alianza Francesa, Bogotá, Colombia. He has been included in group exhibitions at venues such as CCS Bard Hessel Museum of Art, Annandale-on-Hudson, NY; Fries Museum, Groningen, Holland; Palazzo delle Papesse, Siena, Italy; Musée de Elysée, Lausanne, Switzerland; Artists Space, New York, NY; TEOR/éTica, San Jose, Costa Rica; Cisneros Fontanals Foundation, Miami, FL; El Museo, New York, NY; Museo de Arte de Puerto Rico, San Juan, Puerto Rico; SF CameraWork, San Francisco, CA; Biblioteca Luis Angel Arango, Bogotá, Colombia and IASPIS, Stockholm, Sweden.

Motta is the editor of http://www.artwurl.org and faculty at the International Center of Photography and Parsons The New School of Design in New York.

This exhibition is organized by 2007-2008 Whitney Lauder Curatorial Fellow Stamatina Gregory and will be accompanied by a brochure publication.

Related Events:

Conversation: Carlos Motta and Ann Farnsworth-Alvear
February 27, 7PM

Join us for a conversation between historian Ann Farnsworth-Alvear, director of Penn’s Program in Latin American Studies, and artist Carlos Motta, as they discuss their respective explorations of Latin American history and politics through scholarship and art.

Workshop: What is Democracy to You?
March 7 - 9, 1PM

In conjunction with this exhibition, artist Carlos Motta and curator Stamatina Gregory will lead a three-day workshop with a group of interested participants. Together we will approach the question “What is democracy to you?” from a variety of perspectives in an attempt to create a set of meanings, responses, problems and solutions around this concept. If you would like to participate, can commit to all sessions, and have ideas to contribute, let us know why this question is important to you (one page or less) at sgregory@upenn.pobox.edu by February 20. The program is limited to 10 core participants, who will be selected to represent a diversity of opinions and interests. This event however is also open to the general public.

ICA is grateful for funding provided by The Horace W. Goldsmith Foundation, the Commonwealth of Pennsylvania Council on the Arts, The Dietrich Foundation, Inc., the Overseers Board for the Institute of Contemporary Art, friends and members of ICA, and the University of Pennsylvania. (Information complete as of 12/21/07.)

The artist wishes to thank Kevin Bruk (Kevin Bruk Gallery), Alberto Chehebar, Ella Fontanals-Cisneros, and Solita Mishaan for their generous support for this exhibition.

ALL PROGRAMS SUBJECT TO CHANGE. PLEASE VISIT THE ICA WEBSITE, http://www.icaphila.org FOR MORE INFORMATION ON PROGRAMS IN CONJUNCTION WITH “CARLOS MOTTA: THE GOOD LIFE.”