Canadian Art Magazine

Mark Dion

Canadian Art magazine
RE-LAUNCHES NEW WEBSITE

http://www.canadianart.ca features the American artist Mark Dion in an exclusive audiocast.

Mark Dion’s installations bring together art, science and natural history by playing off the human impulse to classify and order phenomena. Dion gave the first 2008 talk in the Canadian Art International Lecture Series on January 18th in Toronto. Listen in as he discusses the development of his work over the past ten years.

http://www.canadianart.ca/

http://www.canadianart.ca is an in-depth, easy-to-navigate resource guide that is updated weekly with exclusive online-only features on international artists, behind-the-scenes stories and audiocasts from the International Lecture Series.

Sign up for weekly e-bulletins that bring you the latest in Canadian and international exhibition openings, art-world news, audiocasts and information on Canadian Art programs, including:

• The Anne Lind International Program, which brings visiting artists, curators and critics to Toronto. Recent guests have included Martin Kersels, Jessica Morgan and Jens Hoffmann

• The Reel Artists Film Festival (February 21–24, 2008), which will screen world premieres of films about Jeff Wall and Takashi Murakami

Canadian Art is Canada’s most widely read visual-arts magazine. Canadian Art reflects the vitality of the visual-arts scene in Canada and internationally through intelligent, perceptive writing, artist profiles, special themed issues and extensive coverage of events and exhibitions.

Established in 1991, the Canadian Art Foundation is a charitable non-profit organization that fosters and supports the visual arts in Canada. The foundation’s nationwide educational program includes events, lectures, competitions, publications and other initiatives. Canadian Art magazine is the flagship project of the Canadian Art Foundation.

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Schirn Kunsthalle Frankfurt

HO-YEOL RYU
Flughafen, 2005
Ca. 100 x 150 cm
Digital Print
Courtesy Ho-Yeol Ryu

ALL-INCLUSIVE
A TOURIST WORLD
30 January 2008 - 04 May 2008

SCHIRN KUNSTHALLE FRANKFURT
Römerberg
60311 Frankfurt, Germany
phone: (+49) 69 29 98 82-0
fax: (+49) 69 29 98 82-240
welcome@schirn.de
http://www.schirn.de

Tourism has long since become a crucial phenomenon of today’s mobile world society. The traces left by travelers all over the Earth give evidence of a continually growing tourist industry and mark the beginning of a global movement that drastically transforms present-day man and the spaces he passes through. The exhibition “All-Inclusive. A Tourist World,” on show at the Schirn from 30 January to 4 May 2008, presents numerous works depicting and critically questioning various tourist phenomena. Documentations, parodies and defamiliarizations of traditional tourist motifs, and dream images interlink with subjects like migration, tourist industry, and global communication. The project curated by Matthias Ulrich assembles works by about 30 internationally renowned artists such as Michael Elmgreen and Ingar Dragset, Ayse Erkmen, Peter Fischli and David Weiss, Tracey Moffatt, Jonathan Monk, Santiago Sierra, and Thomas Struth.

Tourism is a desideratum full of steadily recurring images of beauty, longing, recreation, and adventure. The tourist is on his way to these images to confirm, to duplicate, and to archive them as the résumé of his vacation. The British artist Martin Parr’s photographs, for example, depict tourist patterns of behavior frozen to clichés, as it were, and unfold a picture of the vacation activities of an underprivileged class primarily centered on his native Britain. The artificial tourist landscapes of the Austrian artist Reiner Riedler’s photo series “Fake Holidays” are based on similar stereotypes. They too confirm Peter D. Osborne’s theory that tourist photography mainly serves the purpose of confirmation and not of discovery.

Yet, the pictures’ appeal also changes their subjects. In accordance with the prevailing images, trite places turn into interesting destinations, and famous sights are used for whatever objective: there are world parks like the Shenzhen Window of the World with sights from all over the Earth or projects like in Las Vegas and Dubai with cliché elements from famous cities and cultures. Perfectly orchestrated places where you can ski in summer and get some Caribbean sun in winter are no less artificial and, at the same time, serve as bearers of desires.

Tourism is of global importance, mobilizing by calling for mobility and making it possible – from the individual setting out into the unknown and making new experiences to entire regions transformed into sights such as the Basque city of Bilbao under its Guggenheim Museum’s influence. The comical, sometimes absurd mise-en-scène of a Nepalese landscape untouched by tourism in the American artist Stuart Hawkins’s film “Souvenir” or one of the provocative works by the Spanish artist Santiago Sierra realized on the vacation island of Mallorca in 2001 are set against this background.

Present-day tourism constitutes itself through networks exceeding the borders between different cultures and nations – a fact that necessarily calls into question certain binary notions like host and guest, native and foreigner, rooted and nomadic. Travelers find themselves confronted with other people living in the global city rather than with the specific circumstances of a place.

Traveling has also become an everyday routine for many contemporary artists. Much of it finds immediate expression in their works, like in the baggage conveyor belt turning around its own axis by the Scandinavian artist duo Michael Elmgreen and Ingar Dragset or the huge archive of vacation photos by the Swiss artists Peter Fischli and David Weiss. The experience of certain places and spheres such as airports and hotels is anything but limited to tourists today. The individual’s mobility informs the character of working life in the capitalist economic system, which brings about an organization and design of large parts of the word tailored to mobility. Because of this wave of mobilization, escape as the tourist’s motive to get rid of everyday dictates and devote himself to a paradisiacal life has to be dealt with in a new context. For a different movement often occurs on the paths of tourism – a movement grounded in political and economic circumstances: migration as the
stagnating traffic counter to tourism. The Moroccan artist Yto Barrada, who was born in France, has impressively captured this dualism in her photographs about Tangier and the Straits of Gibraltar, for example. The London-based Bulgarian artist Ergin Çavusoglu aims at something similar in his film “Point of Departure,” in which the transit zones and travel spaces of Stansted and Trabzon, a Western and an Eastern European airport, cross each other.

LIST OF ARTISTS: Franz Ackermann, Atelier Morales, Yto Barrada, Guy Ben-Ner, Ergin Çavusoglu, Ingar Elmgreen und Michael Dragset, Ayse Erkmen, Peter Fischli und David Weiss, Eva Grubinger, Stuart Hawkins, Mark Hosking, Richard Hughes, Christoph Keller, Won Ju Lim, Andreas Lorenschat, Kris Martin, Lee Mingwei, Tracey Moffatt, Jonathan Monk, Walter Niedermayr, NL Architects, Martin Parr, Philippe Parreno, Sascha Pohle, Reiner Riedler, Damien Roach, RothStauffenberg, Ho-Yeol Ryu, Santiago Sierra, Thomas Struth, Sislej Xhafa, Yin Xiuzhen.

CATALOGUE: “All-Inclusive. A Tourist World” Edited by Max Hollein and Matthias Ulrich. With a preface by Max Hollein and ten texts that have emerged from a public literary contest on the subject of tourism. In addition, all works in the exhibition are described in short essays by April Elizabeth Lamm, Jessica Morgan, and Matthias Ulrich. 236 pages with ca. 150 illustrations, German. SNOECK Verlag, Cologne. ISBN 978-3-936859-81-2.

SPONSORS: The exhibition “All-Inclusive. A Tourist World” is sponsored by Messe Frankfurt GmbH, Verein der Freunde der Schirn Kunsthalle e. V., and Smiths Heimann GmbH.

DIRECTOR: Max Hollein

CURATOR: Matthias Ulrich (Schirn)

OPENING HOURS: Tue., Fri.- Sun. 10 a.m. - 7 p.m., Wed. and Thur. 10 a.m. - 10 p.m.

INFORMATION: http://www.schirn.de

PRESS CONTACT: Dorothea Apovnik, phone: (+49-69) 29 98 82-118, fax: (+49-69) 29 98 82-240, e-mail: dorothea.apovnik@schirn.de, http://www.schirn.de (texts and images for download under PRESS).

Presentation House Gallery

Anne Collier, Double Marilyn, 2007,
C-Print. 123.2 x 161.6 cm
Courtesy the artist, Marc Foxx, Los Angeles,
Corvi-Mora, London & Anton Kern Gallery, New York.

Anne Collier
January 26 to March 2, 2008

Presentation House Gallery
333 Chesterfield Avenue
North Vancouver, BC Canada
V7M 3G9
Tel 604 986 1351

http://www.presentationhousegall.com

Presentation House Gallery, Vancouver, is pleased to present the first comprehensive survey exhibition of work by New York based artist Anne Collier.

Over the past decade Anne Collier has forged a rigorous body of works that engage in a unique dialogue with contemporary photography. Collier produces tight, sparely formalized compositions often using a technique of re-photography. Her interest in mass market and pop culture imagery from the 1970s is expressed in carefully staged found photographs, and she has used diverse sources ranging from advertisements and posters, to art magazines and 70s vinyl LP covers. Her biting, dryly humorous compositions–some subtly self-reflexive–frame recurrent tensions of power and gender.

A full colour publication will be released in conjunction with the exhibition, available in March 2008. It will be the first to document Collier’s practice, and will include texts by NY based curator Bob Nickas and German critic Jan Verwoert, with an introduction by exhibition curator Reid Shier.

Hours: Wednesday to Sunday, 12 to 5pm and Thursdays open till 8pm

Landesmuseum
Joanneum

Pedro Cabrita Reis
True Gardens #6 (Graz)
Curators: Adam Budak, Peter Pakesch

Opening: Friday, February 1, 2008, 7pm
February 2 - May 18, 2008
Tue - Sun 10am-6pm

Kunsthaus Graz am
Landesmuseum Joanneum
Lendkai 1, A-8020 Graz

T +43-316/8017-9200, F -9212
info@kunsthausgraz.at

http://www.kunsthausgraz.at

Pedro Cabrita Reis (born 1956, Lisbon) is a master of cohabitation: his impressive œuvre consists of architectural, sculptural and painterly body of work, woven of a fabric of the everyday life, commonplace surroundings, construction materials and architectural semantic appropriated from an existing reality and miraculously transformed into altars of an almost spiritual experience. Practicing his alchemy of the everyday, the artist turns the familiar into sublime, the trivial into a precious and valuable, achieving the noble levels of human perception, emotion and appreciation of the world.

Pedro Cabrita Reis’ ongoing – conceptually nomadic – architecture-cross-installation-cross-sculpture project, “True Gardens” further explores a micro-cosmos of primordial matters as confronted by specificities of local settings and their parameters. The previous versions, realized in Crestet, Stockholm, Dijon and London were entering in a particular, extremely personal relationship with a given site and its exceptional genius loci. “True Gardens #1 (Crestet)” (2000), for instance, included a collection of mirrors, interrupted by two enamelled panels and placed on a wooden platform in the Art Centre’s patio, thus generating a synergy between the natural environment and the application of industrial materials, while “True Gardens #3 (Dijon)” (2004) built up an inner landscape of light whose intensity conspired with the interior’s own volume thus producing a polyphonic spatial experience of omni-sensorial nature.

Developed especially for the Kunsthaus Graz, Cabrita Reis’ “True Gardens #6 (Graz)” is the artist’s yet another chapter in this specific fashion of “garden design”. Here, the organic and the biomorphic but also the utopian and the futuristic of the Cook&Fournier’s architecture converse with the seemingly minimal, still and sublime structure. “True Gardens #6 (Graz)” marks a bold and radical attempt at conquering and simultaneously taming the resistant and subversive space of the Kunsthaus Graz. Pedro Cabrita Reis enters the almost neo-baroque upper floor with a particular modesty and humility: his monumental installation is a maze of light and glass, supported by wooden blocks and distributed regularly through the open curvilinear surface of Space01. “True Gardens # 6 (Graz)” is composed of 88 individual elements, each of them having a similar basic structure: a labyrinthine box-like construction (approx. 25×200x125cm) made of yellow doka wood, accommoda
ting 3-4 standard fluorescent lights, and covered by a large transparent glass (laminated, 8mm thick sheets of 250×125cm). Each box includes too 1 or 2 painted with different colours sheets of glass of slightly smaller dimensions.

As such, with its rigor of horizontality and flatness, it recalls a painterly tableau of possible narratives that performs both a harmony and a contrast, and acts simultaneously as a gesture of disagreement and embrace towards its hosting site and its dynamic geometry. The industrial materials (neon tubes, glass sheets, rough wooden modules, meters of electric wires) and the visible signs of working process turn the space into a massive construction site where mental and physical labours contribute to reveal a meaning and a mystery of the inner and outer worlds. Cabrita Reis’ performative installation radiates with the intensity of light, and the silence which mutates into an almost disquieting stillness generates a poetic dimension which transforms the space into a site of contemplation and a melancholic palace of spatial communion.

According to Cabrita Reis, gardens are the geometry for nature. They express the artist’s utopian search for a clarity and order in a world dominated by aggressive discourses and superficial emptied rhetoric. In such mythological shelter, a locus of truth resides: transparent, reflective, naked, a landscape of elemental passions and basic knowledge, a residue of emotions and an assemblage
of memories.

The catalogue which has been published at the occasion of the exhibition includes essays by Jose Miranda Justo, Alessandra Ponte and Georges Teyssot, Felicity D. Scott, Philip Ursprung, Adam Budak as well as a conversation between Pedro Cabrita Reis and Peter Pakesch and rich visual material, composed of a documentation of previous versions of “True Gardens” and “True Gardens #6 (Graz)” installation shots from Kunsthaus Graz.

The exhibition is accompanied by the following events:

Friday, February 1, 2008
3pm: Artist talk Pedro Cabrita Reis: “Considerations on
Gardens and Few Other Things”, Needle, in English

Tuesday, February 12, 2008/7pm, Space04/Film screening
The Draughtman’s Contract (1982, dir. by Peter Greenaway),
and a selected short film by Archigram

Tuesday, April 22, 2008/7pm, Space04/Film screening
L‘Année Dernière à Marienbad/ Last Year in Marienbad
(1961, dir. by Alain Resnais), and a selected short film
by Archigram

Tuesday, April 29, 2008/7pm, Space04/Lectures
Felicity D. Scott: One or Many Truths
Philip Ursprung: “Ruins in Reverse”. The Art of Pedro
Cabrita Reis and the Eternal Present

More exhibitions in Kunsthaus Graz:

Hanspeter Hofmann
Bonheur automatique
January 19 – February 3, 2008
Finissage on Friday, February 1, 2008, 7pm

Swiss artist Hanspeter Hofmann will be exploring the interaction of mass media and auratic images during a two-week printing workshop he is running in Space04. Starting from existing graphics that the artist will rework with the assistance of a printing machine, information and images arising on a daily basis will be integrated and processed in a performative act.

Manuel Knapp
Stroboscopic Noise~
January 26– February 10, 2008/Space02, BIX façade
Opening: Friday, January 25, 7pm

In his video work Stroboscopic Noise~, Manuel Knapp investigates the aesthetic possibilities of a line choreographed in a reduced formal environment. The after-images created by strobos-copic effects constitute a complex architecture where the animation is accompanied by a subtle sound of various sinusoidal oscillations. Stroboscopic Noise~ will be shown in adapted forms as a trailer at the Diagonale film festival and on the BIX façade.

CAPC, Musée d’art contemporain

If Everybody had an Ocean:
Brian Wilson, an art exhibition
Until March 9, 2008

CAPC
Musée d’art contemporain
de Bordeaux
Entrepôt Lainé. 7, rue Ferrère
F-33000 Bordeaux
France
http://www.bordeaux.fr

In this exhibition, Brian Wilson’s life and music becomes a lens through which to reconsider various developments in art since the 60s, particularly as they relate to their social, urban and popular cultural contexts, especially as manifested in southern California. At the same time, art becomes a means of considering the contradictions between the popular image of the Beach Boys and Wilson’s complex musical aspirations and legacy. By focusing on works in which Pop Art, abstract painting, Minimalism and Conceptual art variously converge - a recurring phenomenon in art from the West Coast - the exhibition implicitly questions the mutual exclusivity of these art historical categories. These convergences find a parallel in Brian Wilson’s suturing of rock n roll, jazz, classical music, folk and the avant-garde (e.g. musique concrete) in his pioneering production work of the mid 60s. They also complicate, rather than altogether refute, the binary, antagonistic ways with whic
h many Modernist thinkers have framed the relationship between the avant-garde and popular culture (e.g. Theodor Adorno, Guy Debord and Clement Greenberg). Brian Wilson, himself, was something of a victim of this antagonism, paying a high psychological price for his dual identity as both pop star and
avant-garde artist.

The focus of the exhibition is that brief and prolific period from 1962 to 1967 when Wilson was the principal creative force behind the Beach Boys. The works are arranged somewhat episodically to suggest a loose biographical and historical arc. ‘Loose’ because few of the art works were made with Brian Wilson or the Beach Boys in mind. Generally, they were chosen to evoke the feel and form of the music, or something of the social, cultural and psychological circumstances from which it arose. The exhibition plays off the conventions of thematic exhibitions - biography being a particularly circumscribed thematic genre - by behaving in untypically ambiguous, multivalent ways; the emphasis is on free association rather than representation. Nevertheless, the project arose from the conviction that Brian Wilson offers an unexpectedly coherent organising principal for a disparate collection of post-1960s art.

Exhibition organized in association with Tate St-Ives, Cornwall, UK
Guest curator : Alex Farquharson

List of the artists : Trevor Bell, Billy Al Bengston, Peter Blake, Mel Bochner, John Cage, Brian Calvin, Vija Celmins, Russell Crotty, Thomas Demand, Kaye Donachie, Isa Genzken, Liam Gillick, Jeremy Glogan, Joe Goode, George Greenough, Rodney Graham, Richard Hawkins, Roger Hiorns, Jim Isermann, sister Corita Kent, Roy Lichtenstein, John McCracken, Lee Mullican, Kaz Oshiro, Bruno Peinado, Raymond Pettibon, Richard Pettibone, Ken Price, Martial Raysse, Bridget Riley, Allen Ruppersberg, Ed Ruscha, Jim Shaw, Fred Tomaselli, Jennifer West, Pae White, Daria Wilson,
Isaac Witkin

Information
Phone : 33 5 56 00 81 50
Press Info : 33 5 56 00 81 70
capc@mairie-bordeaux.fr
http://www.rosab.net
http://www.bordeaux.fr

Love is a Rose

Since 1996 Regan has been creating whimsical paintings by drawing inspiration from the beautiful places she’s seen. Regan’s work is admired for the fantastic detail painted into every scene created.

Currently Regan’s paintings hang in The Nassau County Museum of Art and can be purchased there.

http://www.regantausch.com/NCMAinformation.html

Grüner VW-Transporter, Helfenberg , 2002

Galerie Lionel HUSTINX will be featuring the work of the Austrian photographer Bernhard FUCHS, in the frame of the 6th Internation Biennial of Photography, Liège

Opening: Friday 01 February 2008
Exhibition dates: Saturday 02 February - Saturday 15 March 2008

Galerie Lionel HUSTINX
Place du XX Août, 17
4000 Liège
BELGIUM
+32 (0)4.223.33.10
info@hustinx-ac.be
www.hustinx-ac.be

Palais de Tokyo

Loris Gréaud and DGZ Research (Dölger, Gréaud, Ziakovic), 2008, modelling of Cellar Door, Courtesy Yvon Lambert Paris, New York.

CELLAR DOOR
AN EXHIBITION BY LORIS GREAUD
February 14 - April 27, 2008

Opening February 14, 2008
8pm to midnight

PALAIS DE TOKYO
13 avenue du Président Wilson
75116 PARIS
33 (1) 47 23 54 01/36 86
Open everyday from noon to midnight, except Monday.
http://www.palaisdetokyo.com

4000m square, 30 YEARS OLD, 3 MONTHS

Loris Gréaud’s CELLAR DOOR marks a unique occasion in the history of the Palais de Tokyo. For the first time, its entire 4000 square meter surface will be occupied by a French artist under 30. This daring wager demonstrates the Palais de Tokyo’s commitment to emerging artistic creation in France and to Loris Gréaud, who has considerably upped the ante with his already impressive body of work.

SPACE OPERA

CELLAR DOOR is an ambitious artistic enterprise: a colossal organism engendered by an original music score that distends through space and time. This mutant form of exhibition is guided in real time by a studio and an engineer located at the heart of the display; they activate the artworks, produce the assemblage of sounds, and prompt its accelerations and retractions.

WELCOME TO CELLAR DOOR!

Where gigantic fireworks are shot off underground… Where perspectives crumple like paper balls… Where stars draft intergalactic drawings calculated in light-years… Where spatio-temporal rifts split open beneath your feet… Where sculptures form before your very eyes!…

THURSDAYS /
ON THE IMMATERIAL

CELLAR DOOR
Meeting with Loris Gréaud,Thomas Roussel, Raimundas Malasauskas,
Aaron Schuster, Marc Dölger, Damien Ziakovic.
FEB 21, 2008 / 7:30pm

DES IMMATERIAUX
Legacy of Jean-François Lyotard, with Bernard Blistène, Stéphanie Moisdon, Orlan and Daniel Soutif. Debate preceded by the screening of Paule Zajdermann and Daniel Soutif Les Immatériaux (1985).
FEB 28, 2008 / 7:30pm

PULSAR
Screening of Klonaris and Thomadaki.
MARCH 6, 2008 / 7:30pm

FILMS / SLAMS / SONS
Lead singer of Diabologum in the 1990’s and of Programme, Arnaud Michniak comes forward with a performance mixing videos, music, poetry and new songs from his last album Poing Perdu.
MARCH 13, 2008 / 8:30pm

GREY GOO
A talk on nanosciences of Christian Joachim and Laurence Plévert
On the occasion of Nanosciences, la révolution invisible (Editions du Seuil) publication.
MARCH 20, 2008 / 7:30pm

INTOX / GOSSIP / BLUFF
Une rumeur de l’esthétique
An idea of Claire Moulène and Mathilde Villeneuve.
MARCH 27, 2008 / 7:30pm

AUDIOGUIDE
A guided tour through Cellar Door with Bruno Latour and guests. By Jean-Max Colard,
in partnership with Les Inrockuptibles.
APRIL 3, 2008 / 8:00pm to midnight

GLOBAL PARANOÏA
Two days of lectures on surveillance technologies programmed by Eric Sadin and Ec/arts.
FRIDAY 11 APRIL - SATURDAY 12 APRIL, 2008 / 2pm to 8pm

BORDER LINE
Pascal Rousseau invites Erik Davis, author of TechGnosis – Myth, Magic and Mysticism
In the Age of Information.
APRIL 17, 2008 / 7:30pm

BUCKY
Posterity of Buckminster Fuller. Valérie Châtelet invites Antoine Picon, architecture teacher at Harvard and Michael Hays, the Buckminster Fuller exhibition curator, Starting the universe (Whitney, June 2008). Skylab programming.
TUESDAY 22 APRIL, 2008 / 7:30pm

CELLAR DOOR / CD
The recording of Cellar Door Opera, composed by Thomas Roussel, on a libretto by Raimundas Malasauskas and Aaron Schuster, performed by the Orchestre Philarmonique de Radio France (direction: Jean Deroyer. Soprano: Marie Devellereau). La Manufacture du disque.

CELLAR DOOR / LIBRETTO
Cellar Door booklet / published by JRP Ringier

Open Eye Gallery

Naia del Castillo, Retratos I, 2000.

Out of Body
25 January - 22 March 08

Private View: Thursday 24 Jan 08

Open Eye Gallery
28-32 Wood Street
Liverpool L1 4AQ
(T): +44 (0)151 709 9460

http://www.openeye.org.uk

Open Eye Gallery is proud to present Out of Body, an exhibition of photographs and moving image works that explore, manipulate and reflect upon the human body. The exhibition looks at the relationship between biological and photographic time, contrasting the continuous life cycle with the still photographic instant. Rejecting the rules of traditional portraiture, Out of Body does not attempt to capture the human body in a stable visual form. Instead it expresses the resistance of our bodies to being coded or pinned down as images, and the limitations of the technologies through which we attempt to do this.

During a trip to Tasmania, Yannick Demerle (France) made long-exposure photographs of himself in gloomy, TV-lit motel rooms. He now presents these images in negative, giving them a lingering, spectral feeling. Namiko Kitaura (Japan) takes us on another journey of self-exploration. She creates a digital animation of herself suspended in a ‘healing pool’, in which tiny fish remove the dead skin from her body. The stillness of this piece contrasts with the frantic movement of Douglas Gordon’s (UK) video in which isolated body parts take on a life of their own. Combining photography and sculpture, Naia del Castillo (Spain) focuses on the trapped body and its struggle for release, while Valie Export (Austria) tracks the image of the female body as it is transmitted, transferred and fragmented by various media.

For further information and/or images, please contact Stephanie Blundell, Gallery Co-ordinator
(T): +44 (0)151 709 9460 / (E): steph@openeye.org.uk

Gallery Events:

In Conversation: Naia del Castillo, Namiko Kitaura and Monica Nunez
Friday 25 Jan, 2pm
The two youngest artists featured in Out of Body will introduce their work and talk about their involvement in the exhibition with curator Monica Nunez.
Free event

Perspectives on Out of Body: Cathy Butterworth
Saturday 16 Feb, 2pm
An informal gallery talk by performance and live art specialist Cathy Butterworth. (formerly Live Art Curator at the Bluecoat and part-time lecturer at Liverpool John Moores University).
Free event

Still Cinema screening: Lightweights
Wednesday 6 Feb, 6.30pm
Valie Export, The Practice of Love (1984, 90mins.)
An extraordinary anti-romance thriller in which the human body serves as an improvised screen for projected images.
Free event

Biographies:

Naia del Castillo (b. 1975, Bilbao) graduated from the Chelsea College of Art and Design in 2000. Over the past few years, the artist has captured the attention of numerous important photography fairs and festivals including ARCO, Madrid; FIAC, Paris; MACO, Mexico; Printemps Festival, Toulouse; and PhotoEspana, Madrid.

Yannick Demmerle (b.1969, Sarreguemines) did his studies at the Ecole Supérieure des Arts Décoratifs, Strasburg. Upcoming and recent solo exhibitions include Arndt & Partner, Berlin; FRAC Alsace, Strasbourg; Chateau d’Oiron, Oiron and Galerie Aline Vidal, Paris.

Valie Export (b. 1940, Linz) has had a highly influential career, producing innovative work in a range of mediums—including film, video, installation, performance, photography, sculpture, and computer animation—for over forty years. Export’s work often focuses on the meaning, transformation and identity of signs, and the way they are interpreted and represented as reality by the
technological media.

Douglas Gordon (b. 1966, Glasgow) won the Turner Prize in 1996, followed by the top award at the Venice Biennale. In addition, he has had major showings at Manhattan’s Museum of Modern Art and at the Palais de Tokyo in Paris, as well as the Museum of Contemporary Art in Los Angeles.

Namiko Kitaura (b. 1977, Tokyo) uses photography to visualize the almost invisible aspects of human condition that lie below the physical. Formerly an artist-in-residency at La Fabrica, she now works as a freelance fashion photographer between Tokyo, London and Paris.

About Open Eye Gallery:

Open Eye Gallery is a photography gallery based in the centre of Liverpool. Since opening in 1977, the gallery has built a reputation for innovation and excellence. In addition to exhibitions, touring programmes, commissions and other artists’ projects, we offer an expanding range of educational activities and events. Through our artistic and education programmes we aim to present the photographic image in a rich context of critical and historical debate.

http://www.openeye.org.uk

Open Eye Gallery gratefully acknowledges sponsorship from C3 Imaging, Liverpool, towards printed material

Gallery opening hours: Tue – Sat, 10.30am – 5.30pm
Closed: Sundays, Mondays and Bank Holidays
Admission free

Galleria Civica di Modena

Runa Islam LOST CINEMA LOST Tobias Putrih
27th January - 30th March 2008

Palazzo Santa Margherita
c.so Canalgrande 103
Modena, Italy

http://www.comune.modena.it/galleria

The Galleria Civica di Modena is proud to present another first: a double solo exhibition housed simultaneously in the rooms of Palazzo Santa Margherita.

The exhibition will open in fact on 27th January at 12pm, under the title Runa Islam LOST CINEMA LOST Tobias Putrih, curated by Milovan Farronato, organised and produced by Galleria Civica di Modena and the Fondazione Cassa di Risparmio di Modena.

Runa Islam and Tobias Putrih here display a new series of works especially designed for this occasion. The two artists have thus set out on an unprecedented collaboration project aimed at offering two separate projects, yet ones which feed off an ongoing dialogue and a well-balanced co-habitation.

Runa Islam returns to Italy with three unseen works created in 2006/2007 and put on show in Modena for the first time, including the film Merchants of Venice, produced by the Galleria Civica di Modena and the Fondazione Cassa di Risparmio di Modena. The sense conveyed by the exhibition is completed with the presence of a number of previous works, both film works and sculptures, never seen before now
in Italy.

Tobias Putrih uses this venue to present two film theatres and a luminous installation. Art, architecture and the human dimension are still the key elements which characterise his work. Cinema theatres continue to interest him in terms of providing the physical space for personal annihilation in the search for satisfaction.

Lost Cinema Lost (the common title of the exhibitions), for Islam means the cinema of lost origins, that which through its elementary magic, managed to come up with new and unreal images simply through the overlapping of two stills. For Putrih on the other hand, lost cinema is one of a series of spaces (along with department stores, amusement parks and other non-spaces) which marked the collapse and failure of both an individual and a collective utopia.

Biographical Notes

Runa Islam was born in Dhaka, Bangladesh, in 1970. She lives and works in London, where she trained at the Royal College of Art. Among her numerous solo exhibitions: Dunkers Kulturhus, Helsingborg, Sweden (2005); Santa Monica Contemporary Arts Centre, Barcelona (2005); UCLA Hammer Museum, Los Angeles (2005); Camden Arts Centre, London (2005), Bergen Kunsthall, Bergen, Norway (2007). She has also taken part in a great number of biennial shows, such as that of Istanbul (2003), Venice (2005), Seville (2006) and Gwangju (2006).

Tobias Putrih was born in Kranj, Slovenia, in 1972. He lives and works in New York.

After training initially in the sciences, he studied visual arts at the Academy of Lubiana and at the Kunstakademie in Düsseldorf. His solo exhibitions include that at the Museum of Modern Art of Lubiana (2003), his one-man show at the Grazer Kunstverein, Graz (Austria, 2005), and Quasi-Random at the Neuberger Museum of Art, Purchase College, New York (2007). He has taken part in a great number of international exhibitions, including the 52nd Venice Biennale (2007) and Manifesta 4 (Frankfurt 2002).

Runa Islam LOST CINEMA LOST Tobias Putrih
Palazzo Santa Margherita, corso Canalgrande 103, Modena, Italy

Opening times
from Tuesday to Friday 10.30am -1pm; 3pm - 6pm
Saturday, Sunday and public holidays 10.30am - 6pm
Closed on Mondays
Monday 24th March, holiday opening from 10.30am - 6pm

Galleria Civica di Modena, c.so Canalgrande 103, 41100 Modena
tel. +39 059 2032911/2032940 - fax +39 059 2032932
http://www.comune.modena.it/galleria