Artipedia - Arts News

The Power Plant

Simon Starling, Proposal for Lake Ontario-Infestation Piece/Warrior with Shield vs. The Zebra Mussel, 2005-06, collage. Courtesy of the artist, the Modern Institute/Toby Webster Ltd., Glasgow.

SIMON STARLING Cuttings (Supplement)
SADIE BENNING Play Pause
1 March - 11 May 2008

The Power Plant
231 Queens Quay West
Toronto ON Canada M5J 2G8

http://www.thepowerplant.org

SIMON STARLING ‘Cuttings (Supplement)’
‘Cuttings (Supplement)’ is Simon Starling’s largest exhibition since winning the 2005 Turner Prize and his exhibition ‘Cuttings’ at Museum für Gegenwartskunst in Basel. ‘Cuttings (Supplement)’ features nine major works from 2002-07, including The Power Plant’s new Henry Moore-related commission Infestation Piece (Musselled Moore), that in different ways address the various ecologies that Starling’s works engage. Also included is Island for Weeds–Starling’s work from the Venice Biennale in 2003 when he represented Scotland–as well as Bird in Space 2004, By Night, Nachbau, Autoxylopyrocycloboros, 24 hr Tangenziale, Tabernas Desert Run, and Los Angeles, 3rd-5th March
1969 // To indefinite expansion.

An interest in systems lies at the heart of Starling’s practice. His work explores the contemporary interdependence of cultural, political, economic, and environmental conditions, and the ramifications of such interdependence for a critically effective sculptural practice.

Working almost like a novelist, Starling’s approach embodies active narration. This tendency emerges strongly in the new commission, Infestation Piece (Musselled Moore). Evoking the heated reception to Henry Moore’s work in 1960s Toronto, the sculpture also evokes the impact of the zebra mussel, native to the Black Sea, on the Great Lakes’ ecosystem. It also reflects upon the art object at its most elemental. As in this work, Starling often melds two or more stories. The exhibition’s title plays on both the botanical practice of grafting and the idea of recovering sections that have been omitted from a story. Throughout Starling’s practice, narratives multiply, inform and are grafted onto subsequent works. ‘Cuttings (Supplement)’ explores these overlapping concerns, taking Infestation Piece (Musselled Moore) as its starting point.

Born in 1967 in Epsom, England, Simon Starling graduated from the Glasgow School of Art. He won the Turner Prize in 2005 and was short-listed for the Hugo Boss Prize in 2004. He lives in Copenhagen and is Professor of Fine Arts at the Staedelschule in Frankfurt. Starling has exhibited widely including the Bienal de Sao Paulo and the Busan Biennale in 2004. Recently he has made exhibitions at Villa Arson, France, MACRO, Rome, Dundee Contemporary Arts, Dundee, and Museum of Contemporary Art
in Sydney.

The exhibition was curated by Director Gregory Burke with assistance from Pamela Meredith and Swapna Tamhane. The commission was initiated by Reid Shier, former curator at The Power Plant. The exhibition is accompanied by a new publication, Cuttings (Supplement), with essays by Gregory Burke, Mark Godfrey, Reid Shier, and Sarah Stanners.

‘Cuttings (Supplement)’ is proudly sponsored by Exclusive Presenting Sponsor BMO Financial Group; Lead Donors Jay Smith and Laura Rapp; and Support Donor Jeanne Parkin. The Power Plant gratefully acknowledges the support of the 2006 Founding Commissioners: Lonti Ebers and Bruce Flatt, Yvonne and David Fleck, The Latner Family, Phil Lind, Garnet and Evan Siddall.

SADIE BENNING ‘Play Pause’
At age fifteen, Sadie Benning sparked international attention with videos she had made with a Fisher-Price Pixelvision toy camera. Shot in her bedroom and featuring herself, these intimate, funny and revealing missives explored Benning’s emerging lesbian consciousness.

Play Pause (2006) differs in many ways from Benning’s early single-channel videos. A two-screen video installation made from hundreds of drawings and with a soundtrack culled from hours of ambient recordings, the work weaves in and out of public and private urban spaces. Play Pause also, however, relates in interesting ways to Benning’s teenage oeuvre. As it leaps between anonymous urban figures, its characters are not dissimilar to those in Benning’s earlier works–isolated, lonely and wandering through the world as they explore and come to terms with their sexual and cultural identities.

Play Pause was directed in collaboration with Solveig Nelson.

Sadie Benning was born in Madison, Wisconsin, in 1973, and started making films when she was fifteen. Her films appeared in the 2003 Whitney Biennial when she was aged twenty; she was included again in 2000. Benning received a Rockefeller grant when she was nineteen. She is also a former member/co-founder of the band Le Tigre. Recently she has expanded her practice to include drawing and painting. In 2007 the Wexner Center organized ‘Sadie Benning: Suspended Animation’, her first museum retrospective, which included the debut of Play Pause.

Play Pause is programmed by and presented in conjunction with the 21st Images Festival, 3-12 April, 2008, http://www.imagesfestival.com

Fruitmarket Gallery

Douglas Gordon
Five Year Drive-By (The Searchers), 1998
Video projection
Copyright: Douglas Gordon.
Courtesy Gagosian Gallery from The Searchers,
1956, dir. John Ford, Warner Bros. Studios
Copyright: Warner Home Video

Print the Legend
The Myth of the West
1 March - 4 May 2008

Curated by Patricia Bickers

Adam Chodzko, Peter Granser, Douglas Gordon, Isaac Julien, Mike Nelson, Cornelia Parker, Simon Patterson, Salla Tykkä and Gillian Wearing

http://www.fruitmarket.co.uk

The Fruitmarket Gallery’s major spring exhibition is a group show which presents a selection of northern European sculpture, photography, installation and film in the context of the western and its role in the creation of the myth of the American West.

Curated by art historian, lecturer, writer and the editor of Art Monthly Patricia Bickers, the exhibition has its origins in her long-standing fascination for westerns takes its title from the final scene of the film The Man Who Shot Liberty Valance:‘Sir, this is the West. When the legend becomes fact, print the legend’. Arguing that the western is a key component in the construction of the myth of the American West, and that this myth is as politically and culturally relevant now as it has ever been, Bickers uses the western as a lens through which to look at work by Adam Chodzko, Peter Granser, Douglas Gordon, Isaac Julien, Mike Nelson, Cornelia Parker, Simon Patterson, Salla Tykkä and Gillian Wearing.

Print the Legend offers an opportunity to see some great works of art in a new context. Some, such as Adam Chodzko’s Better Scenery (two photographs of signs, one in London describing a site in Arizona and the other in Arizona describing a site in London), play on the idea of the American West as a semi-fictional construct. Others, such as Salla Tykkä’s film Lasso, emphasise the enthralling power of this construct – the central image of Tykkä’s film is that of a young man spinning a lasso inside his house in suburban Finland. Both Peter Granser and Gillian Wearing deal with the modern compulsion to dress up as cowboys, while Isaac Julien’s complex three-screen film installation The Road to Mazatlán looks at longing and desire and the homoerotic potential of the western.

Three ambitious installations in the exhibition directly reference particular westerns. A wall drawing by Simon Patterson takes its structure from the shootout in The Man Who Shot Liberty Valance. Douglas Gordon’s Five Year Drive-By (The Searchers) is a projection of the film The Searchers, slowed down so that the running of the movie matches the five-year fictional duration of the action, the frame changing at a rate of approximately one every 23 minutes. Faithful to the spirit of the drive-in (or drive-by) movie, this work is projected in the site opposite the Gallery. It runs continuously throughout the exhibition, the image coming up as the sun goes down. The Fruitmarket Gallery are particularly pleased to have commissioned Mike Nelson to make a new work, inspired by the climax of Clint Eastwood’s High Plains Drifter. Echoing the film, Nelson has painted a part of the Gallery not normally open to the public an unforgiving and hellish red. Thus enticing the audience in
to the unknown and completely immersing them in the artwork/fiction.

Print the Legend is part of an ongoing series of group exhibitions at The Fruitmarket Gallery, in which artists, academics, art historians and writers working outside the Gallery’s structure are invited to bring their expertise into the programme. Like all the exhibitions in this series (which includes David Hopkins’s popular Dada’s Boys of 2006), Print the Legend is unashamedly ideas-driven, and begins with Patricia Bickers’s position as a long-term western fan. Nonetheless, it ultimately cedes the floor to artists, providing a new context in which we can begin thinking about the work, but allowing the art itself, endlessly inventive, the final say.

The Fruitmarket Gallery
45 Market Street,
Edinburgh EH11DF, Scotland
+44 [0] 131 225 2383
+44 [0] 131 220 3130
info@fruitmarket.co.uk
http://www.fruitmarket.co.uk

Fondazione Sandretto
Re Rebaudengo

Cyprien Gaillard
Nouveau pittoresque/The New Picturesque, 2007
Acrylic paint and enamel on canvas
50 x 60 cm each
Courtesy of the artist and Cosmic Galerie, Paris

GREENWASHING
Environment: Perils, Promises
and Perplexities
29 February - 18 May 2008

Fondazione Sandretto
Re Rebaudengo
Turin, Italy
+39 011 3797600
info@fondsrr.org
http://www.fondsrr.org

Curators: Ilaria Bonacossa and Latitudes (Max Andrews & Mariana Cánepa Luna)

Artists: Jennifer Allora & Guillermo Calzadilla, Lara Almárcegui, Maria Thereza Alves, Ibon Aranberri, Amy Balkin, The Bruce High Quality Foundation, Chu Yun, A Constructed World, Minerva Cuevas, Ettore Favini, Cyprien Gaillard, Tue Greenfort, Norma Jeane, Cornelia Parker, Jorge Peris, Wilfredo Prieto, RAF/Reduce Art Flights, Tomás Saraceno, Santiago Sierra, Simon Starling, Fiona Tan, Nikola Uzunovski, Sergio Vega, Wang Jianwei,
James Yamada.

“As rockets go to the moon the darkness around the Earth grows deeper and darker”
Robert Smithson

GREENWASHING presents the work of 25 international artists and artist-groups whose practice suggests that the literalism embedded in old-fashioned concepts such as ‘environmentalism’ and ‘nature’ is not equipped to comprehend the ecological territory of our time. Today we negotiate an evermore urgent and pervasive ecological (and thereby cultural, political, social and economic) arena that is darkly shadowed by potentially catastrophic ecosystemic collapse. Yet in the face of a constant bombardment of eco-economic guilt, corporate agendas and political point-scoring, what might emerge are genuine perplexities and false promises instead of the possibilities for unleashing creative change.

The terminology and agency around ‘the environment’ and sustainability has become increasingly asymmetric and immaterial. Emissions’ offsetting, food miles, environmental marketing, carbon debt, ecological footprints, and so on, are all recently-coined terms, tied to the anxious sense that the processes and practices of modernisation and globalisation, industrialisation and urbanisation have induced unprecedented deprivations and intrusions on the planet. Consequently there is the familiar refrain to limit growth, particularly in the developing world. Yet how do we reconcile this with the observation that ecological concerns are far greater in affluent societies where more basic needs have been met? And how can we more generally balance personal responsibility with collective consensus, local with global, or short-term remedies with visionary strategies? This exhibition sets out to pose
such questions.

The artists presented in GREENWASHING often adopt process-based and speculative approaches in order to articulate energy and material transformations—fundamental ecological processes. Likewise, several works in the exhibition consider repositories of energy—whether waste, water, or oil—in ways that reveal previously obscured patterns, while similarly ‘upcycling’ meaning.

The diverse practices represented in the exhibition share a strategy in that they do not just passively lament the degradation of our planet, or only provide sound technical solutions. Instead they actively articulate the contradictions and responsibilities that we encounter personally and as a society. Art here does not necessarily proclaim a ‘correct’ ethical or green choice, but allows the possibility for broadening and analysing our perceptions and actions. It sets a critical attitude into motion that intervenes and infiltrates, re-interprets and decodes humans’ relation to non-human life, as well as to each other.

A catalogue to the exhibition will be published by The Bookmakers, Ed.

GREENWASHING will run at the Fondazione Sandretto Re Rebaudengo centre for contemporary art in via Modane 16, Turin, Italy from 29 Feb. to 11 May 2008: Tue/Sun, midday-8pm, Thurs midday-11pm. Closed on Mondays.

The Aldrich Contemporary
Art Museum

David Claerbout, The Bordeaux Piece, 2004
Courtesy of the artist and Yvon Lambert, Paris/New York
On View at The Aldrich Contemporary Art Museum (Ridgefield, CT)

Opening at The Aldrich: Painting the Glass House: Artists Revisit Modern Architecture
Sunday, March 9, 2008; 3 to 5 pm, 2 pm Panel Discussion
Round-Trip Transportation from NYC Available
http://www.aldrichart.org/contact/mail/mailings/PtGHeBlast3.html

The Aldrich Contemporary Art Museum
258 Main Street
Ridgefield, CT 06877
http://www.aldrichart.org

THE ALDRICH PRESENTS PAINTING THE GLASS HOUSE: ARTISTS REVISIT
MODERN ARCHITECTURE

Painting the Glass House: Artists Revisit Modern Architecture—curated by Jessica Hough and Mónica Ramírez-Montagut—will open at The Aldrich on Sunday, March 9, 2008.

The exhibition brings together two-dimensional works (including video) in various media by Alexander Apóstol, Daniel Arsham, Gordon Cheung, David Claerbout, Angela Dufresne, Mark Dziewulski, Christine Erhard, Cyprien Gaillard, Terence Gower, Angelina Gualdoni, Natasha Kissell, Luisa Lambri, Dorit Margreiter, Russell Nachman, Enoc Perez, and Lucy Williams—a collection that explores an interest among emerging artists in architecture of the modern period.

Modern architecture is generally identified with buildings by Le Corbusier, Philip Johnson, Mies van der Rohe, and Frank Lloyd Wright, which represent a period driven by developments in technology, engineering, and the introduction of industrial materials such as iron, steel, concrete, and glass. Architects at this time engaged in a practice that not only incorporated structural innovations, but also encouraged social change.

The artists featured in the exhibition are interested not only in the potential of utopian ideas, but also the sense of a passing idealism that modern architecture now embodies. Hough comments, “The artists are less interested in the built structures themselves and what it might feel like to be inside one, and more interested in the philosophy and idealism they represent. The way in which the buildings signal a possibility of utopia is essential—a future that could have been. Sentimentality runs through much of the work.”

Ramírez-Montagut adds, “This melancholic remembrance comes at a time when great works of modern architecture are at risk due to neglect, deterioration, and demolition. Underlying all the artworks is a feeling of deep admiration for the architects who sought to elevate culture and bring it to the broad masses, yet their sense of failure is also prevalent; the artists’ knowledge of modern architecture’s crisis and demise tints their works with some kind of nostalgia.”

The Aldrich will host an Exhibition Reception on Sunday, March 9, 2008, from 3 to 5 pm. Prior to the opening there will be a 2 pm Panel Discussion: Painting the Glass House: Artists Revisit Modern Architecture, with curators Jessica Hough and Mónica Ramírez-Montagut, along with artists Daniel Arsham, Angela Dufresne, and Terence Gower. The reception is FREE for members. Refreshments will be served. Round-trip transportation from New York City is available; please call the Museum at 203.438.4519 for reservations. Please note that the bus will not arrive in time for the panel discussion. The reception and panel will take place at the Museum located at 258 Main Street, Ridgefield.

A book related to the exhibition is being co-published by The Aldrich Contemporary Art Museum, Mills College Art Museum, and Yale University Press, and is scheduled for a fall 2008 release.

Painting the Glass House: Artists Revisit Modern Architecture has been organized by The Aldrich Contemporary Art Museum with the Yale School of Architecture Gallery. Both The Aldrich and Yale will present a portion of the exhibition in their galleries. The exhibition will travel to Mills College Art Museum in California following its Connecticut debut. Exhibition dates: Yale School of Architecture Gallery (New Haven, CT): February 11 to May 9, 2008; The Aldrich Contemporary Art Museum (Ridgefield, CT): March 9 to July 27, 2008; Mills College Art Museum (Oakland, CA): January 14 to March 22, 2009.

ALSO OPENING AT THE ALDRICH ON SUNDAY, MARCH 9, 2008:
Halsey Burgund: ROUND (on view through July 27, 2008); Gary Panter: Daydream Trap (on view through August 31, 2008); Ester Partegàs: The Invisible (on view through August 10, 2008).

ABOUT THE MUSEUM:
The Aldrich is one of the few non-collecting contemporary art museums in the United States. Founded on Ridgefield’s historic Main Street in 1964, the Museum enjoys the curatorial independence of an alternative space while maintaining the registrarial and art-handling standards of a national institution. Exhibitions feature work by emerging and mid-career artists, and education programs help adults and children to connect to today’s world through contemporary art. The Museum is located at 258 Main Street, Ridgefield, CT 06877. All exhibitions and programs are handicapped accessible. Regular Museum hours are Tuesday through Sunday, 12:00 noon to 5:00 pm. For more information call 203.438.4519.

Contact: Pamela Ruggio
Phone: 203.438.4519
Email: pruggio@aldrichart.org

e v + a 2008

Ruth LeGear
tear drops in wonderscape
mixed media installation

OPEN / INVITED e v + a 2008

Too Early For Vacation

CURATOR: HOU HANRU

March 7 - May 25, 2008
City-wide venues in Limerick City, Ireland

http://www.eva.ie

OPEN / INVITED e v + a 2008, Ireland’s pre-eminent annual exhibition of contemporary art, opens to the public on March 7th in Limerick City. Selected by Hou Hanru the exhibition will present the work of 45 artists (28 OPEN and 17 INVITED) drawn from 17 countries of Continental Europe, Africa, Asia and the Americas.

Too Early For Vacation A short introduction by Hou Hanru

Conventionally, Ireland has been seen as an exotic, idyllic and even somehow a spiritual destination for a vacation… Limerick, a “remote” city situated in the Mid-West of the country, is certainly one of the most desired places on the tourist map. For the last decade, this city and the surrounding region, like the whole country itself, have entered a process of renaissance, thanks to their embracing of new technologies and their integration into the global economy. But, few have imagined that this rather small city can be a vibrant site of production of contemporary art.

However, for the last three decades, Limerick has been holding the most significant contemporary art event in Ireland. Over the years, e v+ a has become a major and unique international exhibition. Yet as an event it has remained persistently rooted in the local context, at once modest, intimate, ambitious and generous as it constantly negotiates global influences including the new ideas, projects and energies that have been brought in by artists and curators from different parts of the world.

The fundamental change in the nature of contemporary art from quasi-underground, activist and avant-garde activities in the 1970s when e v+ a was founded to becoming a part of the late-Capitalist and consumerist cultural establishment has actually launched an intellectual, ethic and even political challenge to the art world itself. Then, what’s the real social significance of contemporary art today? How can a firmly grass-rooted event like e v+ a still make sense in the age of globalisation, dominated by certain established but limited models of production, representation and consumption, and yet continue, as well, to engage itself in the transformation of local reality?

In this context, coming to work for, visit and appreciate e v+ a today needs an even more intimate and active engagement with the local reality, both physical and cultural, both personal and social… Certainly it involves travels from different parts of the world and contacts with various forms of creation. However, it’s by no means merely a simple vacation to be spent in this beautiful town of Ireland – a vacation has a double implication: holidays and vacating (escaping) from reality. Instead, it must be actions of engagement… Pressing issues related to the transformation of today’s globe such as border crossing, migration, travel, exchange with the ‘other’, cultural and geopolitical confrontation and dialogue, etc. are obviously the issues that occupy the centre of this kind of local-based intervention.

Welcome to Limerick. But, it’s too early for vacation… or - it’ll never be a vacation.

Participating artists:

INVITED e v+ a 2008 - Artists

Jennifer Allora & Guillermo Calzadilla (USA/Cuba)
Chen Shaoxiong, Gimhongsok, Tsuyoshi Ozawa (China, Korea, Japan)
Chen Wenbo (China)
Allan de Souza (Kenya/UK/USA)
Latifa Echakhch (Morocco/FR)
Malaki Farrell (IRL/FR)
Seamus Farrell (IRL/FR)
Ni Haifeng (China/Netherlands)
Yang Jiechang (China/FR)
Ian Kiaer (UK)
Adrian Paci (Albania/Italy)
Taro Shinoda (Japan)
Shahzia Sikander (Pakistan/USA/Germany)
Hague Yang (Korea/Germany)

OPEN e v+ a 2008 - Artists

Alan Bulfin (IRL)
Mark Clare (IRL)
Martina Cleary (IRL)
Common Culture (UK) – Ian Brown, David Campbell, Mark Durden
Angela Darby & Robert Peters (NI)
Aideen Doran (NI)
James Gormley (IRL)
Ailbhe Greaney (IRL)
Fiona Hackett (IRL)
Henna-Rikka Halonen (Finland/UK)
James Hayes (IRL)
Catherine Hearne (IRL)
Nina Höchtl (Austria)
Emma Houlihan (IRL)
Sarah Hurl (IRL)
Ruth Le Gear (IRL)
Terry Markey (IRL)
Tricia McCarthy & Vertigo Smyth (IRL)
Mairéad McClean (UK)
Maeve McElligott (IRL)
Dara McGrath (IRL)
David O’Kane (IRL)
John Reardon (UK)

About the Curator

Hou Hanru, is a Paris – San Francisco based critic and curator. Director of Exhibitions and Public Programs and Chair of Exhibition Studies and Museology at San Francisco Art Institute.. Born in 1963 in China and moved to Paris in 1990s, he is an Advisor (professor) at the Rijksakademie van Beeldende Kunsten, Amsterdam, Netherlands. Visiting Professor at HISK, Hoger Instituut voor Shone Kunsten, Antwerp, Beligium, Member of Advisory Committee of De Appel Foundation, Amsterdam, French correspondent of “Flash Art International”. He was also a member of Global Advisory Committee of Walker Arts Center, Minneapolis

The e v + a story
A group of Limerick artists began e v + a in 1977 as a way of bringing their work as contemporary artists into mutual close encounters with audiences so that, together, sense and meaning could be made in and of the world all shared. More than three decades on e v + a is still an artist centered exhibition and has become the Republic of Ireland’s premier annual exhibition of contemporary art. Previous e v + a curators include Klaus Ottmann (2007), Katerina Gregos (2006), Dan Cameron (2005), Zdenka Badovinac (2004), Virginia Perez-Ratton (2003), Apinan Poshyananda (2003), Salah M. Hassan (2001), and Rosa Martinez (2000).

e v + a 2007 - Sponsors & Patrons
The Arts Council, Limerick City Council, Limerick City Gallery of Art, Sisk, Fáilte Ireland, The Belltable Arts Centre, The Hunt Museum, The Bourn Vincent Gallery, St. Mary’s Cathedral, Philips Ireland, Clancy Co. Ltd.

Contact person for press or further information;
Paul O’Reilly; e v + a administrator,
Tel : 353 (0)61 318240 or 353 (0) 87 9477042
Email : info@eva.ie
Web site http://www.eva.ie

Afterall

Afterall
Issue 17 is available now

Subscribe online at http://www.afterall.org

Afterall Issue 17
Spring 2008

Essays:
Marta Kuzma on whatever happened to sex in Scandinavia
Walead Beshty on the failure of the readymade

Artists
Lutz Bacher by Lia Gangitano and Anthony Huberman
Gerard Byrne by Bettina Funcke and Maria Muhle
Hans-Peter Feldmann by Ruth Horak and Dieter Roelstraete
Bjarne Melgaard by Ina Blom and Bart De Baere

Events, Works, Exhibitions:
David Bussel on Öyvind Fahlström’s Mao-Hope March
Annie Fletcher on art and feminism
Stephan Pascher on Michael Asher’s Münster caravan project

This issue begins with Marta Kuzma’s exploration of sexual liberation movements in the 1960s in Scandinavia and the United States. Her reflections on the contradictory outcomes of these initiatives, within both cultural and social contexts, open onto a broader discussion in the rest of the journal about the legacy of the revolutionary politics of the late 1960s and 70s.

Gerard Byrne’s reworkings of 1960s utopian visions and Lutz Bacher and Hans-Peter Feldmann’s ironic and humanist appropriations of extant imagery from that time offer distinct takes on what our relationship to that period and its political project is or perhaps should be. Along similar lines, Annie Fletcher’s discussion of recent curatorial approaches to feminist art practice, Stephan Pascher’s look at Michael Asher’s Münster caravan project and David Bussel’s reconsideration of Öyvind Fahlström’s 1966 Mao-Hope March show different possible ways of relating artworks to both their specific histories, often political, and today’s circumstances.

Elsewhere in the issue, the effects of history are considered by Walead Beshty in relation to the advent of the readymade. Beshty characterises this history as that of a trap from which several artists, including Paul McCarthy and Jason Rhoades, have attempted to escape. Apparently similar at first glance, Bjarne Melgaard’s work, thanks to its distinct sensibility and intensity, appears in this issue as both a complement and a point of contrast.

Afterall journal is co-published by Central Saint Martins College of Art & Design, London and the School of Art at the California Institute of the Arts, Los Angeles, in association with MuHKA, Antwerp.

Afterall can be purchased in bookshops across the UK, Europe and America. Issue 18 will be published in June 2008.

For more information on Afterall or to subscribe, visit http://www.afterall.org

Cleotronica a media festival set in Egypt’s second largest city

CLEOTRONICA 08 MARCH PROGRAM

What is Cleotronica 08?
Cleotronica 08 is the inaugural version of Cleotronica a festival for media, art, and socio-culture organized by Alexandria Contemporary Arts Forum (ACAF) an alternative initiative for art and culture based in Egypt’s second largest city. Cleotronica 08 is planned as a monthly series of public art projects, workshops, lectures, performances, and exhibitions that commence in January 2008 gradually building up to an international symposium in May. The festival presents a diverse set of projects, mediums, and issues, ranging from net art to tactical media and from public intervention to design. Apart from being an international festival, Cleotronica is critically involved with and conditioned to its locality, striving to make a distinct contribution to it by extensively interacting with university students and recent art graduates in its projects. While showcasing a broad range of media related art, the festival is particularly reflective of practices that stimulate media, tech!
nology,
art, and public socio-cultural activity to come together.

/ MARCH /

Cleotronica 08 Project # 4
The Silent Ornamental Revolution
A Public Art Project by Jan Robert Leegte (NL)
Date: Viewable starting 9 March 2008
Location: Selected public locations all over Alexandria, Egypt

The Silent Ornamental Revolution is a public art project that uses a series of minimal posters created by Jan Robert Leegte based on his work and text developed in Vienna in 2006, it builds on the idea of the ornament as “sublime” intervention, the ornaments Leegte readapts are derived from popular computer interfaces such as the Windows operating system. The works made in 2006 were video collages simulation ideas of ornamental interventions. The project in Alexandria is a true intervention, using modular posters to build endless ornamental patterns. There will be two types of posters, one based on the artist’s “selection” series, and the other based on his “scrollbar” series, using bevels. Basically any urban structure will be selectable, and any surface can be transformed to a minimal or hysterically ornamented facade. Art students from Alexandria will play a vital role in assisting Leegte with this series of interventions in public space. Links to the original text by L!
eegte
can be found here: http://www.leegte.org/works/text/ornaments/index.htm
Bio
Jan Robert Leegte (1973) studied Fine Arts at the Willem de Kooning Academy in Rotterdam after having studied Architecture at the University of Delft. Inspired by artists like Bruce Nauman and Fischli & Weiss, Leegte probes the surface of our surrounding world, aiming to reveal the underlying materials. Fascinated by the world behind the computer screen, he explored the sculptural possibilities of the Internet as from 1997. In 2002 he shifted back to the gallery space, taking along his newly discovered favorite materials with him. Recently Leegte is exploring more “embedded” possibilities out of the gallery space into the endlessly deep contexts of the outside world. His work has been exhibited at a widespread selection of international shows and festivals. Leegte lives and works in Amsterdam. Website: www.leegte.org

Cleotronica 08 Project # 5
Stammer: A Lecture in Theory
A Live Performance and Video Installation by Shady El Noshokaty (EG)
Dates
Performance: Stammer Live Performance by Shady El Noshokaty, 9 March, Starts 7 pm
Exhibition: Stammer Video Installation Exhibition: 9 -16 March opening directly after live performance
Location: Alexandria Contemporary Arts Forum (ACAF), 10 Hussein Hassab Street, Azarita, Alexandria

The property dualism theory asserts that humans are made of only physical substances; these physical substances are the carriers of two kinds of properties, physical properties and mental properties. El Noshokaty’s new performance and related video portrays an educator (El Noshokaty himself) at a decisive moment in a theory lecture he is delivering. Personal emotions, desires and symbolisms interfere with the logical stream of thought usually attributed to lectures. This interference causes an overlapping of the mental properties into the physical, jamming the educator’s speech and teaching abilities and causing the closest effect in humans to when a digital satellite receiver delivers a poor signal leading to the pixilation and freezing of the picture, thus the phrase El Noshokaty uses in the lecture “The Mind is a Digital Computer”
Bio
Shady El Noshokaty (1971) is a Cairo based artist and a teacher at the Faculty of Art Education, Helwan University. With a Fulbright grant, he studied avant-garde cinema and video art at The School of the Art Institute of Chicago. As of 2000, El Noshokaty organized and supervised the annual experimental media art workshop in the Faculty of Art Education until its 5th edition in 2005. His work has been exhibited in numerous local and international institutions including the Kunstmuseum Bonn, Mori Art Museum, Tokyo, and the Hayward Gallery, London.

Cleotronica 08 Project # 6
Tactical Media Club Alexandria
A Participatory Club for Tactical Media Moderated by Joanne Richardson (RO) and Francesca Bria (IT)
Dates
CLUB MEETINGS: 20-22 March 2008 at ACAF
Lecture1: Tactical Media: Past, Present, and Future by Joanne Richardson, Friday 21 March, 7 pm
Lecture 2: Social Media, Shared Culture, and the Hacker Movement in Italy by Francesca Bria, Sunday 23 March, 7 pm
Location: Alexandria Contemporary Arts Forum (ACAF), 10 Hussein Hassab Street, Azarita, Alexandria

Tactical Media is a concept and set of practices that emerged around the Next Five Minutes festivals in Amsterdam from 1993 to 2003. What is common to these practices, that are now practiced worldwide, is the artistic use of media technologies to subvert power. As part of the Cleotronica 2008 festival Alexandria Contemporary Arts Forum (ACAF) will set up a transient club for ‘Tactical Media’ inside its space. The club seeks to collectively explore ‘Tactical Media’ practices in the different contexts of Europe and Egypt, and conduct brainstorming sessions that investigate the possibility of new intersections between art, media, activism, and theory. Artists, activists, and collectives are invited to be members of the club and participate in its discussion and debate group meetings that will be moderated by Joanne Richardson (Romania) and Francesca Bria (Italy). To become a member and participate in the club’s sessions please send us a brief paragraph about yourself and your
interests or your collective in English or Arabic to office@acafspace.org, please include your complete contact info and write “club” in the subject box. The meetings will be carried out on the 20, 21, and 22 of March. In addition to the club meetings Joanne Richardson will be delivering a public lecture on the past, present and future of Tactical Media at ACAF on Friday 21 March, while Francesca Bria will talk about social media, shared culture and the hacker movement in Italy on Sunday 23 March, both lectures will feature live Arabic translation and start at 7 pm.
Bios
Joanne Richardson
Born in Bucharest, grew up in New York, currently living between Cluj, Romania and Berlin. Founder of D Media (http://www.dmedia.ro) in Romania, an NGO for the production and dissemination of art and digital culture. Editor of Subsol webzine (http://subsol.c3.hu), and author of essays on social movements, postcommunism, immaterial labor, copyleft, tactical media, the history of the avant-gardes, and experimental film & video in Eastern Europe. Recent videos on nationalism, delocalization, migration, activism, precarity and borders.
Francesca Bria
Film Maker, journalist and Independent Network Activist. Born and currently living in Rome . She teaches digital media and video journalism in Rome and she is active as a free lance video journalist.She is counsultant and expert on access to knowledge policy for the Region of Lazio and the European Commission. She has been coordinating an international cooperation project between Italy and Brazil on Digital Culture and she’s currently coordinating a cooperation project on free software in Venezuela. She is the author of different video documentaries and short experimental films on digital media technology, free knowledge, politics, precarity, migration and social justice. She’s active in different networking and grassroot projects for the promotion of shared culture and free technology.

Cleotronica 08 Project # 7
RECYCLIZER
A Workshop on Sampling in Animation and Solo Show by Jan van Nuenen (NL)
Dates
Workshop: Sampling Animation Workshop 29-31 March 2008
Exhibition: Jan van Nuenen Solo Show 28 March – 6 April, Opening: Friday 28 March 7 pm
Lecture: Sampling in Contemporary Animation, Sunday 30 March 7 pm
Location: Alexandria Contemporary Arts Forum (ACAF), 10 Hussein Hassab Street, Azarita, Alexandria

RECYCLIZER is a 3 part project by Jan van Nuenen. The exhibition showcases screenings of van Nuenen’s sample-constructed animated worlds of automatons, works that can be seen as the descendants of Bosch aesthetics and imagery in the digital age. The workshop on 29, 30, 31 will concentrate on creating a collectively made animated video that will be put up on You Tube, the video will be created using samples collected by the workshop’s participants. Please apply to the Workshop by sending a brief e-mail that includes your CV/Bio to office@acafspace.org , write “workshop” in subject box, basic knowledge of some graphics/animation programs required. Finally the talk on 30 March will summarize the idea and culture of sampling in Animation and its industry today, live Arabic translation will be available.
Bio
Jan van Nuenen (1978) is a video artist and animator based in Rotterdam, the Netherlands. He studied audio-visual design at the art academy St. Joost in Breda, the Netherlands. He has been working on short, experimental animation films and video-installations since 2002. His works are mainly animated collages of found-footage video and photographical material or samples, cut up, combined and edited with the computer and different types of animation software. The films are characterized by a complex and combined action of loops, repetitions and rhythms, where sound plays a vital role. His works have been shown at different international film, video and art festivals. Van Nuenen also creates electronic music some of which is used in his films. Website: http://www.janvannuenen.com/

Alexandria Contemporary Arts Forum (ACAF)
10 Hussein Hassab Street, Flat 6, Azarita, Alexandria, Egypt
T: +20 (0)3 480 41 45 E: office@acafspace.org
Opening times: Tuesday – Sunday, 3 – 9 pm, Closed on Mondays and most official holidays

Musée départemental d’art
contemporain de Rochechouart

Jean-Pascal Flavien
under star (or stare)
2007
red pencil on paper, 50×70cm
private collection
courtesy gallery Catherine Bastide, Bruxelles

New from Mount Analogue
March 1st-18th May

Jean-Pascal Flavien
March 1st - 2nd June

Musée départemental d’art contemporain de Rochechouart
Place du Château
87600 Rochechouart
tel. +33 5 55 03 77 77
fax. + 33 5 55 03 72 40
http://www.musee-rochechouart.com

On March 1st Rochechouart Museum of Contemporary Art reopens with two new exhibitions

Jean-Pascal Flavien
Forgotten times & moments

Flavien’s works encompass a wide range of forms, from drawing and architecture to poetry and publishing. Their force derives from an unbounded imagination, fascination with strange events and temporal accidents. Ever since 2002, the enigmatic presence of dinosaurs have haunted a cycle of works he is currently still engaged in making: “[Dinosaurs] mainly interest me because of what they enable me to build and think, and what I can contribute myself. They only emerged in my work because they come from a totally alien world, outside anything I’ve made before or lived through. They continue to constitute an alien world, or rather this alien world never stops making itself. Their distance from us, helps me re-examine my own ways of working. It facilitates the elaboration of an architecture suited to their existence and the development of ways to exhibit it that correspond to the time scale they inhabited. Each drawing, sculpture or intervention is an attempt to alienate myself
from our familiar environment… to create a world where we don’t exist.”

For what is his first solo exhibition in a public museum, Jean-Pascal Flavien has chosen to show over sixty drawings, models and films from Viewer, a fictional yet functional architectural structure recently completed in Brazil. The exhibition is accompanied by the printing of a new publication edited by the Devonian Press, jointly founded and run by Jean-Pascal Flavien and Julien Bismuth.

News from Mount Analogue

The surrealist writer René Daumal (1908-1944) left his novel, Mount Analogue, unfinished. Its full title was A Tale of Non-Euclidian and Symbolically Authentic Mountaineering Adventures and it described the discovery of an island in the middle of which stood the world’s tallest mountain, “linking heaven and earth”. Even though the summit seemed beyond reach, its lower slopes could be climbed since according to Daumel, “the doorway to the invisible must be visible”.

In the early seventies, Slovak artist Július Koller (1939-2007) founded the “U.F.O. Gallery Ganek” on the Ganek Peak of the Upper Tatras Mountains in Slovakia, a place situated between “heaven and earth”. Physically inaccessible, the gallery was only partially fictional because exhibiting artists could build it in their mind’s eye, turning it into an intellectual refuge, a space of freedom devoid of any frontiers. The exhibition at Rochechouart underlines parallels between Daumal’s novel and Koller’s project (the museum has recently acquired a large collection of the latter’s works), and may be read as a homage to the artist and his utopian vision. More than thirty pieces drawn from the museum’s collection or loaned by other galleries provide a survey of invisible subjective Utopian or fictional spaces that can nevertheless be shared or inhabited by our own thoughts. Included are works by Robert Barry, Marius Boezem, Céleste Boursier-Mougenot, Ian Hamilton Finlay, D
ora Garcia, Mario Garcia-Torres, Felix Gonzalez-Torres, Douglas Gordon, Raoul Hausmann, Július Koller, Marcel Märien, Roman Ondak, Nam June Paik, Michelangelo Pistoletto, Tobias Rehberger, Ed Ruscha, a set of artists’ books by Seth Siegelaub plus the secret door used by 18th century French economist and statesman Anne Robert Jacques Turgot.

The Musée départemental d’art contemporain de Rochechouart is an initiative of the Conseil général de la Haute-Vienne. Those exhibitions were made possible through the support of the Minister of Culture (DRAC Limousin).

Hours:
10am-12.30am/13.30pm-18pm
every day except Tuesday

PAC

unitednationsplaza Mexico DF
March 1 - 30, 2008

CASA REFUGIO
Citlaltépetl 25,
Col. Hipódromo Condesa 06170
Del. Cuauhtémoc, México D.F.

http://www.pac.org.mx/

El Patronato de Arte Contemporáneo, A.C. (PAC) is pleased to present unitednationsplaza Mexico DF, an exhibition in the form of a temporary school. For this project, artist Anton Vidokle is organizing a month long program of seminars and workshops that use the Casa Refugio as a site to shape a critically engaged public through art discourse. unitednationsplaza is presented by PAC (Patronato de Arte Contemporáneo A.C.) as part of its new curatorial residency program, and will run from March 1st through March 30th, 2008.

unitednationsplaza is thematically organized around a central topic: possibilities for artistic agency today. The program will comprise of a series of short seminars and workshops developed by a group of artists, writers, curators and theorists including Eduardo Abaroa, Minerva Cuevas, Anselm Franke, Liam Gillick, Boris Groys, Nikolaus Hirsch, Chus Martinez, Martha Rosler, Natascha Sadr Haghighian, Rirkrit Tiravanija, Jalal Toufic, Jan Verwoert and Tirdad Zolghadr. All topics will be addressed from the perspective of ongoing research and production, and as such will constitute the core structure of the school. The program will also feature discussions, screenings, performances and publications by a group of contributors including Julieta Aranda, Fia Backstrom, Regine Basha, Oksana Bulgakowa, Nico Dockx, Adriana Lara, Desiderio Navarro, Damian Ortega, Hila Peleg and Eduardo Sarabia. unitednationsplaza will operate a web-based radio station: WUNP, a project by Angel Nevarez and
Valerie Tevere.

For program and schedule please scroll below.

unitednationsplaza Mexico DF is the third in a series of art projects organized around a temporary school format, started by Anton Vidokle. Vidokle initiated his research into education as site for artistic practice for Manifesta 6, which was cancelled. In response to the cancellation, Vidokle set up an independent project in Berlin called Unitednationsplaza–a twelve-month exhibition as school involving more than a hundred artists, writers, philosophers, and diverse audiences. Located behind a supermarket in East Berlin, UNP’s program featured numerous seminars, lectures, screenings, book presentations and projects including the Martha Rosler Library. Starting January 2008, Vidokle is presenting a related year-long program, called Night School, at the New Museum in New York City.

El Patronato de Arte Contemporáneo, A.C. (PAC) is a non-profit organization formed by a group of individuals committed to promoting the development of contemporary art. PAC was founded in 2000 as an initiative to bring contemporary art closer to a larger audience by way of collaboration with museums, galleries, curators, publishers, critics and researches in the field of contemporary art. Its board of directors concentrates the voluntary efforts of an independent group of cultural professionals. PAC’s program is supported and enhanced thanks to the yearly contributions of individual and corporate donors.

Casa Refugio Citlaltépetl is a civic association based in Mexico City whose mission is to provide shelter and protection to prosecuted writers from any country. In addition, Casa Refugio also has an intensive public cultural program which includes publication of the quarterly magazine “Líneas de Fuga”, as well as the organization of conference cycles (known as “Literary Thursdays”); special events such as book launches and poetry readings, and literary workshops amongst other activities.

Admission is always free but space is limited. Please reserve a seat for each event by writing to magdalena@unitednationsplaza.org

PROGRAM March 1- 30th, 2008:

• March 1st, 7-10 PM

Liam Gillick: Two Short Texts on the Possibility of Creating an Economy of Equivalence,
Day 1: The day AFTER closure of an experimental factory.

• March 2nd, 4-7 PM

Liam Gillick: Two Short Texts on the Possibility of Creating an Economy of Equivalence,
Day 2: Reoccupation, recuperation and PRECISE renovation.

• March 3rd, 7-10 PM

Eduardo Abaroa: Cheap Nebula

• March 4th, 7-10 PM

Natasha Sadr Haghighian: 40 minutes between the boards

• March 6th, 6-8 PM

Rirkrit Tiravanija: The Land

• March 7th, 7-10 PM

Martha Rosler: Essays

Presentation of Imágines públicas: La funcíon política de la imagen
Editorial Gustavo Gili, Barcelona, 2007

• March 8th, 7-10 PM

Julieta Aranda & Regine Basha: Out of Tune.

• March 9th, 5-7:30 PM

Anselm Franke: From Animism to Animation: Moving Image in Modern Culture.

Introduction Anselm Franke
Guest speaker: Oksana Bulgakowa, Eisentstein in Mexico.
Film excerpts “Que Viva Mexico”

• March 10th, 7-10 PM

Anselm Franke: From Animism to Animation: Moving Image in Modern Culture.
Lecture by Anselm Franke

• March 11th, 7-10 pm

Jan Verwoert: Yes, No And Other Options.
Part 1

• March 12th, 7-10 PM

Jan Verwoert: Yes, No And Other Options.
Part 2

• March 13th, 7-10 PM

Tirdad Zolghadr: Kitchen Party: revisiting Class Hegemony, Ethnic Marketing and the unp.
Part 1

• March 14th, 7-10 PM

Tirdad Zolghadr: Kitchen Party: revisiting Class Hegemony, Ethnic Marketing and the unp.
Part 2

• March 15th, 1-10 pm (all day)

Nikolaus Hirsch: The Architecture of Education

• March 16th

4-6PM

Fia Backström: HERD INSTINCT 360° (2006)

6-9pm

Chus Martínez: Attitude Relativism: A session on the notion of the “contract” established between the artists and the audience.

• March 18th, 7-10 PM

Boris Groys: Art after Communism.

Guest speaker: Desiderio Navarro

• March 24th, 7-10 PM

Minerva Cuevas: Artistic Research

• March 26th, 7-10 PM

Jalal Toufic: You Said “Stay,” So I Stayed

• March 27th, 7-10 PM

Jalal Toufic: The Withdrawal of Tradition Past a Surpassing Disaster

• March 28th, 8PM

Mexico City Premiere: A Crime Against Art

A film by Hila Peleg
2007, Berlin/Madrid, 100 min.

With:
Defendants: Anton Vidokle and Tirdad Zolgdhar
Prosecutors: Vasif Kortun and Chus Martinez
Defense attorney: Charles Esche
Judge: Jan Verwoert
Expert witnesses: Maria Lind and Anselm Franke
Artist: Setareh Shabazi
Public: Keti Chukrov and Barnaby Drabble
With special contribution by Liam Gillick.

• March 30th

4-6 PM Damian Ortega: Book Presentation: MI CASA ES TU CASA
Selected Writings and Works of Lawrence Weiner.
Editorial Alias, 2008

7-9 PM Adriana Lara: A launch of a special issue of PAZMAKER for unitednationsplaza.

10 pm till the last person leaves!
SALON ALEMAN – UNPMX closing party with Tequila Sarabia by Eduardo Sarabia

Can’t come to Mexico? Tune in online: Angel Nevarez and Valerie Tevere will continue WUNP as a live internet broadcast stream from Casa Refugio, Mexico DF. Every Wednesday during the month of March. Schedule TBA; check the UNP website for more information: http://www.unitednationsplaza.org

*Please note that schedule is subject to change.

For full program information, abstracts and bios of participants, please go to http://www.pac.org.mx/unitednationsplaza_program.html

For further information please contact:

Viviana Kuri Haddad
Coordinadora
Patronato de Arte Contemporáneo, a.c.
Palmas 820 piso 3, Lomas de Chapultepec 11000
Mexico DF
t. (5255)55 40 8395 / 5284 0360 ext. 395
http://www.pac.org.mx

unitednationsplaza Mexico DF has been made possible with generous support from

- OMR Gallery
- Nina Menocal Gallery
- Kurimanzutto Gallery

Special thanks to Boris Hirmas and Alberto Fierro/Cultural Affairs at the Ministry of Foreign affairs.

The Red Mansion Foundation

LU CHUNSHENG
An Exhibition curated by
Hans Ulrich Obrist

6th February- 31st March 2008

The Red Mansion Foundation
46 Portland Place
London W1B 1NF
Phone: +44 (0) 207 323 3700
Fax: +44 (0) 207 323 0788

http://www.redmansion.co.uk

The Red Mansion Foundation is pleased to present its third exhibition at 46 Portland Place. The Foundation invited Hans Ulrich Obrist, Co-Director of Exhibitions and Programmes and Director of International Projects at the Serpentine Gallery, to curate the first solo retrospective exhibition of the work of the artist Lu Chunsheng. Lu Chunsheng graduated from the Department of Sculpture at the China National Academy of Fine Arts, and now focuses mostly on photography and video art. Since the late 1990’s his photographs, video and multimedia art works have been recognized on an international level, though he has been well respected and renowned for many years in China, where he is regarded as extremely influential within the new generation of Chinese artists. The Red Mansion Foundation is honoured to host his first solo retrospective exhibition, which will allow the viewer a more in-depth and profound understanding of his work than earlier group shows have warranted.

Lu Chunsheng’s work consists of brooding films and photographs which appear preoccupied with the Industrial Era and Communist History. However, the stories told via his films are more mystic than nostalgic. There is a surrealist attitude to his videos; using fixed camera positions, endless drawn-out shots and seemingly amateurish shooting techniques, he documents human behavior in inexplicable and often bizarre situations. Unlike most of his fellow artists emerging from the same generation, he does not focus on the estrangement following an accelerated urbanization (including its stream of rapidly moving images and perplexed inhabitants). Instead, he has developed an oeuvre where the characters depicted (either photographically or on video) find themselves in undoubtedly weird situations. The absurdity takes its form in a series of photos entitled ‘Water’ (2000), where we witness a man standing motionless in a female nightgown while increasingly a sea of water accumulat
es at his feet. This occurrence is documented in progressive stages without any recognizable plot and without further explanation. A correspondingly fantastic situation is articulated in the large-scale photo ‘I Want to Be a Gentleman’ (2000), which depicts nine men standing on tall plinths in front of a dilapidated building as if they were statues atop a pedestal in a museum.

Lu Chunsheng has exhibited widely in China and abroad. Today he lives and works in Shanghai. His recent exhibitions include “China Contemporary, Art, Architecture and Visual Culture” at Museum Boijmans van Beuningen, Rotterdam, The Netherlands (2006), “The Thirteen: Chinese Video Now”, P.S.1 Contemporary Art Center, Long Island City, NY, USA (2006), “Out of Sight”, De Appel Foundation, Amsterdam, The Netherlands (2005), “Double Vision”, 1st Lianzhou International Foto Festival, Culture Square Lianzhou, China (2005), and “Zooming into Focus: Chinese Contemporary Photography and Video from Haudenschild Collection at the National Art Museum”, Beijing, China 2005, and subsequently in Shanghai and Mexico City. More recently, the series ‘The History of Chemistry I & II’ (2004 and 2006), is the latest and the most spectacular achievement of his exploration of a familiar but remote world. As the artist himself puts it: “Modern chemistry is derived from ancie
nt Western alchemy. Pacific Asia today is like a big alchemist’s workshop; that’s why I selected this title for my video”.

The Red Mansion Foundation is a not-for-profit organisation, which promotes artistic exchange between China and the Great Britain through a programme of lectures, exhibitions, The Red Mansion Art Prize and Building Bridges, an exchange programme for established Artists. The Red Mansion Foundation is co-producer and co-sponsor of a series of exhibitions entitled China Power Station, held at Battersea Power Station, (a show in which Lu Chunsheng featured heavily), Oslo and Beijing, The Real Thing at Tate Liverpool, the Chinese Pavilion at the 52nd Venice Biennale and the 10th Istanbul Biennale in 2007.

Dates and Opening Hours:
Opening by invitation: 6 February 2008, 6 - 8.30pm
From 7 February 9 – 5.30pm, By Appointment

The Red Mansion Foundation
46 Portland Place
London W1B 1NF
Phone: +44 (0) 207 323 3700
Fax: +44 (0) 207 323 0788

For further information and images please contact us by email at:
Miss Asha Burchett at ab@redmansion.co.uk