Esma Sultan Yalisi

Sakari Viika/Pyrstotahti

the good old tricks, for one last time.
he’s here and he’s gone.

Memorial Event for Hüseyin Bahri Alptekin [1957 - 2007]
March 15, 2008, from 18:00 on

Esma Sultan Yalısı
Ortaköy, Istanbul

On Saturday, March 15th, a memorial will be held for Hüseyin Bahri Alptekin who passed away in his studio on the last day of 2007.

The evening will include talks, video and photo screenings, and the performance of original musical scores composed in his memory.

Alptekin was an artist, writer, educator and curator. In 1990, Alptekin began to make art, fusing associative images and objects in installations. Befitting a philosopher turned artist, Alptekin’s oeuvre is unified by an ambitious set of themes. In grandly staged installations, neon signs and photographic series, Alptekin freely borrowed images and phrases without declaring them his own. The core of his artistic practice was his consideration of the universe from the viewpoint of an anonymous and plural author working in an unmediated, intercultural and intertextual society. Alptekin never resorted to representation, or false empathy, by peeking into peoples’ lives. Never permitting himself moral superiority, he strove to attain a flawless ethics in his art.

Alptekin represented Turkey in the Arsenale at the 52nd Venice Biennale, presenting Don’t Complain (2007). He took part in numerous international exhibitions including the Istanbul Biennial in 1995 and 2005, the Bienal de São Paulo in 1998, the 2002 Cetinje Biennale in Montenegro, the Tirana Biennial in 2003 and 2005 and Manifesta 5 in 2004. Alptekin won a UNESCO prize for his work in the Cetinje Biennale, and the M. Mulliqi Prize at the 3rd International Exhibition at Kosovo Art Gallery, Prishtina, in 2005. As a curator, he organized exhibitions and events in Istanbul, Tirana, Havana and Helsinki.

Those who wish to join us in memory of Hüseyin Bahri Alptekin, please contact: huseyinsfriends2@gmail.com

New Museum

Martha Rosler, Semiotics of the Kitchen, 1975
Video still
Courtesy the artist

Night School Public Seminar 2:
Martha Rosler
Art & Social Life; The Case of Video Art
Free with Museum admission but
tickets are required*

New Museum
235 Bowery
New York, NY 10002
212.219.1222
http://www.newmuseum.org

Seminar schedule:
Thursday, February 28, 7:30 p.m.
Friday, February 29, 7:30 p.m.
Saturday, March 1, 3 p.m.

Martha Rosler
Art & Social Life; The Case of Video Art

The early history of autonomous video art is a pivotal point in the internal culture wars of the art world. Starting in the late 1960s through the early 1970s, artists with quite diverse practices experimented with the new (but not yet widely available) portable video apparatuses.

Film had by mid-century superseded both architecture and music as the queen of the arts. But by the 1950s the broadcast television industry and its structures of celebrity were challenging the social status of high art. Television was a problem…and then the Portapak was invented. Video suggested varieties of freedom to artists restive about or dismissive of traditional studio practices. Video promised a sort of gesamtkunstwerk on the ruins of a high modernism that had demanded a strict separation between forms. Video offered not just the experience of time married to the illusion of space accompanied by sound; because of poor image quality, video also offered relative freedom even from the concerns of cinema, art film, and movies. It provided the opportunity to sketch or to perform, to record a gesture or a narrative, to sing in the shower or dance in the studio, abetted by simple in-camera edits. Artists could, without commitment, break free of the studio if they chose, an
d, in the political ferment and upheavals of the era, take a look around, report, raise a voice, show a face, register anger, offer an opinion, analyze social structures and events, tell a joke, join with friends, and yell back at the mind-melting products of broadcast television while nevertheless making use of television’s capacity for instantaneous, unrecorded transmission and endless flow, or they could take advantage of a recorded format that was easily reproducible and could be widely disseminated. The international potentials of this form were immediately obvious to artists and even museum administrators, to judge by the range of international “video opens” of the mid-1970s.

The wide-open field of early video may arguably be the typical condition of a medium at birth (compare the Internet, on its way from being a utopian arena of activity to a gated compound locked down by corporate toll takers, if they get their way). Despite the competition of sites like YouTube, video as an art form has become, by definition, an expensive captive of the gallery and museum, the black box inside the white box. But the transformative impulses that drove utopian hopes in the earliest days have not completely evaporated. It is absolutely vital to revisit early video works and their context (including the texts of the era), to provide a deep slice into the moment of origin and see what may be refurbished and adapted for the present-beyond the stylish appropriations of the 1970s “look.” In the face of the Society of the Spectacle, taking back/talking back to the media was a watchword of the era, offering the hope of social transformation through art, activism, and co
mmunity interventions. This hope animates many today, in whatever form and medium it may be furthered.

Video screenings related to this seminar will occur during the week of the seminar and the following week. A complete schedule of screenings will be available at http://www.newmuseum.org/events starting Monday, February 25.

Night School is an artist’s project by Anton Vidokle in the form of a temporary school. A yearlong program of monthly seminars and workshops, Night School draws upon a group of local and international artists, writers, and theorists to conceptualize and conduct the program.

Martha Rosler was born in Brooklyn, New York, where she now lives, after spending the 1970s in California. She works in video, photo-text, installation, sculpture, and performance, and writes on aspects of culture. She is a renowned teacher and has lectured widely, nationally and internationally. Rosler’s work is centered on everyday life and the public sphere, often with an eye to women’s experience. Recurrent concerns are the media and war as well as architecture and the built environment, from housing and homelessness to systems of transport. Her work has been seen in the Venice Biennale of 2003; the Liverpool Biennial and the Taipei Biennial (both 2004); documenta 12 and SkultpturProjekte Münster (2007); as well as many major international survey shows, including several Whitney biennials. She has had numerous solo exhibitions. A retrospective of her work, Positions in the Life World (1998-2000), was shown in five European cities and at the New Museum and the Internation
al Center of Photography (both in New York), concurrently. Rosler has published fifteen books of photography, art, and writing, most recently Imágines públicas: La funcíon política de la imagen (Gustavo Gili, Barcelona, 2007). Decoys and Disruptions: Selected Essays 1975-2001 was published by MIT Press in 2004. Books of her photographs include Passionate Signals (Cantz, 2005), In the Place of the Public: Airport Series (Cantz, 1997), and Rites of Passage (NYFA, 1995). If You Lived Here (Free Press, 1991) addresses her Dia project on housing, homelessness, and urban life. Rosler has been awarded the Spectrum International Prize in Photography for 2005, the Oskar-Kokoschka Prize in 2006, and Anonymous Was a Woman award in 2007. She teaches at the Städelschule in Frankfurt and Rutgers University.

Screening schedule:
Wednesday, February 27-Friday, February 29, 12:30-6 p.m.
Wednesday, March 5-Friday, March 7, 12:30-6 p.m.

Films to be screened include:
Vito Acconci Red Tapes Part 1
Max Almy Leaving the 20th Century
Max Almy Perfect Leader – Static Episodes
Nancy Angelo & Candace Compton Nun and Deviant
Ant Farm & T.R. Uthco Eternal Frame
Eleanor Antin The Nurse and the Hijackers
Sadie Benning It Wasn’t Love
Dara Birnbaum Technology/Transformation
Dara Birnbaum Kiss the Girls: Make Them Cry
Gregg Bordowitz Fast Trip, Long Drop
Joan Braderman Joan Does Dynasty
Nancy Buchanan Selected Works
Christine Choy & Renee Tajima Who Killed Vincent Chin?
Cecelia Condit Possibly in Michigan
David Cort & Curtis Radcliffe Mayday Realtime
Sara Diamond 10 Dollars or Nothing
Juan Downey The Laughing Alligator
Hermine Freed Art Herstory
Kip Fulbeck Banana Split
Paul Garrin Man With a Video Camera
Paul Garrin By Any Means Necessary
Vanalyne Green Trick or Drink
John Greyson Jungle Boy
Julie Gustafson The Politics of Intimacy
Joan Jonas Vertical Roll
Shigeko Kubota My Father
Stashu Kybartas Danny
Suzanne Lacy, Learn Where the Meat Comes From
Fred Lonidier Confessions of the Peace Corps
Yolanda M. Lopez When You Think of Mexico
Susan Mogul Take Off
Linda Montano Mitchell’s Death
Olhar Eletronico Varela in Xingu
Howardina Pindell Free, White and 21
Portable Channel Attica Interviews
Millie Reyes 2371 2nd Avenue: An East Harlem Story
Hector Sanchez Life in the G: Gowanus Gentrified
Richard Serra Boomerang
Richard Serra & Carlota Fay Schoolman Television Delivers People
Shelly Silver Things I Forgot to Tell Myself
Jason Simon Production Notes: Fast Food For Thought
Valerie Soe All Orientals Look the Same
Lisa Steele The Gloria Tapes
Janice Tanaka Who’s Going to Pay for These Donuts, Anyway?
White American Political Association Race and Reason

All events are free with Museum admission but tickets are required. Tickets can be reserved online or at the Museum one week before the seminar’s start; a limited number of tickets will be available one hour before each event’s start. Tickets are limited, distributed on a first-come-first-serve basis, and must be collected prior to the event’s start time. Unclaimed tickets will be released promptly at the event’s start time. Please check individual events below for tickets and more information.

For tickets see http://www.newmuseum.org/events

Night School is part of the Museum as Hub, which is made possible by the Third Millennium Foundation.

With additional generous support from the Metlife Foundation

Additional support is provided by the National Endowment for the Arts, the New York City Department of Cultural Affairs, and the New York State Council on the Arts.

Endowment support is provided by the Rockefeller Brothers Fund, the Skadden, Arps Education Programs Fund and the William Randolph Hearst Endowed Fund for Education Programs at the
New Museum.

Generous support also provided by the Charlotte and Bill Ford Artist Talks Fund.

Scottsdale Museum of Contemporary Art [SMoCA]

Lyle Ashton Harris
Unitled (Kokrobitey #3), 2005
Working image.
Courtesy of the artist
and CRG Gallery, New York.

Lyle Ashton Harris:
Blow Up
8 February 2008 to 27 May 2008

Scottsdale Museum of Contemporary Art [SMoCA]
7380 E. 2nd Street
Scottsdale, AZ 85251, U.S.A.
Phone: 480-874-4666

http://www.smoca.org

EXHIBITION:
Lyle Ashton Harris: Blow Up

This first museum survey of Lyle Ashton Harris’s art spans nearly twenty years of his art, from the formal studio self-portraits for which he first gained acclaim in the late 1980s to the large-scale constructions featured in the 2007 Venice Biennale. Harris approaches photography as a social performance. He “blows up” preconceptions of portraiture, mass-media imagery and street photography as he zeroes in on the viewers’ role as a reader of images—images that are also evidence of one’s sense of self, gender and race. This exhibition is structured as a vast collage of imagery that weaves back and forth over time and reveals the artist’s dynamic, recombinant creative process.

Harris has moved from the self-as-subject to a broader interest in the anthropology of images. He is an assistant professor at New York University (and teaches in its study-abroad program in Accra, Ghana) as well as a photojournalist for periodicals such as the New York Times, expertise that informs his thinking about the potential of photography amid globalization. His creative use of collage on a grand scale in this exhibition both documents the expansive course of his vision and reveals his intellectual methodology. Harris’s collages recall the art-historical traditions of collage as a form of social commentary, as seen in the work of Hannah Höch and Robert Rauschenberg, for example.

With this exhibition, SMoCA debuts Harris’s first installation inspired by his sojourns in Ghana, as well as his use of video in conjunction with his collage work. The monumental Accra My Love, 2007-08, includes hundreds of Harris’s photographs and extensive video footage shot in Ghana, alongside found imagery: it reflects the tensions, seen on the public stage, between traditional African art and the infiltration of Western popular culture.

Organized by the Scottsdale Museum of Contemporary Art.

Sponsored by Yvette Craddock; Janis Leonard; Linda and Sherman Saperstein; Mikki and Stanley Weithorn; and the SMoCA Salon.

TOUR:
Lyle Ashton Harris: Blow Up will travel to the UB Art Gallery, Center for the Arts, University at Buffalo, The State University of New York, Aug 26 through Oct 18, 2008.

This exhibition is available for travel beginning in November, 2008. To receive a full exhibition proposal packet please contact exhibition curator Cassandra Coblentz, 480-874-4637, or cassandrac@sccarts.org

PUBLICATION:
Lyle Ashton Harris: Blow Up Available by March 5th, 2008
The exhibition is accompanied by a book co-published with Gregory R. Miller & Co., New York and distributed internationally by DAP. It includes essays by Cassandra Coblentz (associate curator, SMoCA), noted Ghanaian scholar Kwame Anthony Appiah (Laurance S. Rockefeller University Professor of Philosophy, Princeton University, New Jersey) and art historian Sarah Elizabeth Lewis (former curatorial assistant, Museum of Modern Art, New York, and a Ph.D. candidate at Yale University, New Haven, Connecticut), and a conversation between the artist and writer Senam Okudzeto.

RELATED PROGRAM:
Wednesday, 5 March, 7:00 pm: Discussion with artists Lyle Ashton Harris and Liz Cohen on their use of photography, performance and the body. Stage 2 Theater (adjacent to SMoCA), SMoCA members. Tickets at: 480-994-ARTS (2787)

For further information please visit our website http://www.smoca.org

Scottsdale Museum of Contemporary Art [SMoCA]
7380 E. 2nd Street
Scottsdale, AZ 85251
U.S.A.

Phone: 480-874-4666
Fax: 480-874-4655
e-mail: smoca@sccarts.org

Museum hours: Tue, Wed, Fri + Sat: 10am - 5pm; Thurs 10am - 8pm; Sun 12 noon- 5pm
closed on Mondays

DIVA

DIVA – Artist-in-residence program in Denmark 2009

Application deadline: August 15 2008

http://www.danishvisualarts.info

To promote creative exchange between Danish and foreign artists and art institutions, The Danish Arts Council has established an artist-in-residence program in Denmark. The program makes it possible to invite artists from abroad to stay and work in Denmark for extended periods.

The Danish Arts Council will let individuals or institutions within the Danish art world propose candidate artists from abroad – preferably with a view of working together with the artists during their staying in Denmark on projects such as exhibitions, workshops, public talks, and the like. Based on the proposals submitted, The Danish Arts Council’s Committee for International Visual Art will decide whom to invite.

What the Artists are Offered

In 2009, the program offers residencies ranging from 3-6 months, but application for shorter periods of residency is also possible.

In Copenhagen, The Visual Arts Centre will provide the residents with living space and studios free of charge. The program also allows individuals or institutions outside of Copenhagen to organize one or more artist residencies of 3-6 months of duration – perhaps linked to the location in question. In the case of a residency outside of Copenhagen, it is up to the applying institution or individuals to find accommodations and studio space for the artist, subsequently financed by the program within an economic framework agreed upon in advance. The program does not cover the accommodation or expenses of accompanying family members.

Grants

Each artist receives a grant of 10.000 DKK per month to cover expenses.

Who May Apply and What is the Procedure

1. Individuals as well as institutions, galleries or other members of the Danish art world may propose artists from abroad for the program.

2. Before a proposal is made, the artist must be contacted to ensure that he or she is interested in and able to accept a residency in Denmark of the proposed duration. Residency outside Copenhagen furthermore requires securing accommodations and studio facilities for the artist in advance.

A well-founded proposal must be forwarded by mail, containing the following:
- a presentation of the artist and his or her artistic work
- descriptions of plans you may have for collaborations with the artist (exhibitions, public talks, workshops, or the like.)
- information on when the artist wants to arrive and the term of residence (3-6 months)
- a budget including travel expenses and – in the case of proposals for residency outside Copenhagen - expenses for the artist’s accommodations and studio facilities to be financed by the program
- information on how the artist can be contacted

Deadline for Proposals and Replies

Proposals for residency during 2009 must be received prior to August 15 2008. Replies can be expected within 10 weeks after the deadline.

Address

Please send proposals to
The Danish Arts Council’s International Committee for International Visual Arts

The Danish Arts Agency, The Visual Arts Centre HC. Andersens Boulevard 2
DK-1553 Copenhagen V

Further information on DIVA can be found on the website http://www.danishvisualarts.info or please contact Merete Jankowski, email: merjan@danish-arts.dk or phone: +4533744527

Americas Society

Graciela Iturbide, Ciudad de Panamá, 1974
Pigment on archival rag paper
Courtesy of the artist

Dialogue between Graciela Iturbide and Cuauhtémoc Medina
Thursday, February 28, 6:30 PM

Americas Society
680 Park Avenue
New York, NY 10021
T: (212) 249 8950
F: (212) 249 5868
Free Admission

http://www.americas-society.org

Graciela Iturbide is internationally recognized for her iconic images of Mexico. The artist will discuss her work with Cuauhtémoc Medina, a Mexico City-based critic and art historian, and Associated Curator of Latin American art at the Tate Modern, London.

Graciela Iturbide was born on May 16, 1942 in Mexico City. She studied filmmaking with a special interest in scriptwriting and later still photography at the Centro Universitario de Estudios Cinematográficos, at the Universidad Nacional Autónoma de México from 1969 to 1972. It was there she met Manuel Álvarez Bravo, and in 1970 and 1971 she apprenticed with him. Solo exhibitions of her work have been held around the world, including Centre Georges Pompidou, Paris; J. Paul Getty Museum, Los Angeles; San Francisco Museum of Modern Art; and Casa del Lago, New Mexico. Major retrospectives of her work have been held at Museo de Arte Contemporáneo de Monterrey, Mexico (1996) and at the Philadelphia Museum of Art (1997-98). She is the recipient of a Eugene Smith Grant in Humanistic Photography (1987) and a John Simon Guggenheim Memorial Felloswhip (1988). Iturbide lives and works in Coyoacán, Mexico.

Cuauhtémoc Medina has an international reputation as an independent art critic, curator and historian. He studied for his PhD at the University of Essex and is on the International Advisory Board of the University of Essex Collection of Latin American Art (UECLAA). Since 1992 he has been a full time researcher at the Instituto de Investigaciones Estéticas at the National University of Mexico. He is based in Mexico City and is on the advisory committee for the 2004 Carnegie International. He has served as a visiting professor at the Center for Curatorial Studies at Bard College (New York State, USA), and is the associate curator of Latin American Art of the Tate Modern, London.

This public program accompanies the Torrijos: The Man and The Myth. Photographs by Graciela Iturbide currently on view at the Americas Society’s gallery.

In this exhibition, artist Graciela Iturbide explores in an intensely personal homage an era of contemporary Latin American life through the persona of a single man whose changing role in that history is emblematic of the times. She establishes both place and identity not only of her distinguished subject but the context of country, the land itself, in aesthetic and vernacular style alike. Presented for the first time, this complex body of work redefines the photographic image of General Omar Torrijos by looking at it as a document and metaphor, often deconstructing and reconstructing Iturbide’s own personal intersections with her subject. The symbolic and expressive imagery of the works, produced three decades ago, offer a visual paradigm that calls on memory, and a re-presentation of facts that conjure an emotional bond between subject and viewer, whether affirmative or oppositional.

Torrijos was a charismatic political and military leader who died tragically in a 1981 plane crash. The Torrijos legend is of a man of action, yet an idealist strategist and a polemic figure. The recent populist shift in Latin America recalls an examination of this earlier period of history, making the personality of Torrijos newly relevant. Iturbide provides an insightful portrait of Torrijos as a popular myth that blends tradition and modernity.

This exhibition is curated by Nan Richardson and is organized by the Americas Society in conjunction with Umbrage Editions. Americas Society gratefully acknowledges the generous support of Galería Emma Molina, Graciela Iturbide, the Bruce T. Halle Family Foundation and La Fundación/Colección Jumex. Additional support has been provided by the Mexican Cultural Institute of New York.

The listed event is free, open to the public and will take place at Americas Society.
We are located at 680 Park Avenue at 68th Street, in New York City.
For wheelchair access, kindly call in advance.

Reservations are mandatory, so please RSVP to: (212) 277-8359 or
culture@americas-society.org

For more information, visit http://www.americas-society.org If you have questions or comments, please email us at culture@americas-society.org

Albertini Arts in The Wynwood Art District — Featured Works By A. Moussawel

Is femininity part of nature? Or is it something we’ve cultivated?

“The pieces are untitled, so that interpretations are not influenced or directed… Ultimately, my work is a question: Is femininity an instinctual or conditioned characteristic?
- A. Moussawel

On view: Tuesday through Friday 11am - 5pm and Saturdays 12 noon - 7pm.

‘7 WOMEN - 1 MAN’ Is a group exhibit featuring Miami based artists: A. Moussawel, G. Saiz, H. Martin-Owen, J. Valentine,
J.M. Cabrera, K. Steffner, N. Rodriguez and S. Ballard

Albertini Arts is located at 190 NW 36 Street in ‘The Wynwood Art District’ just south ‘The Miami Design District’ and 2-blocks west of ‘The Midtown Mall’.

For press inquiries or image requests please call (305) 576-ART1, email AlbertiniArts@gmail.com, or visit http://www.AlbertiniArts.com

“By the Train Window” 2008 Oil and Casein on Canvas on Board 24 x 24 in.

PRESS RELEASE
FOR IMMEDIATE RELEASE

Eric Le Ménédeu
ACROSS
New Paintings
March 1 –22, 2008

On Saturday, March 1st, the Mira Godard Gallery opens an exhibition of new landscape paintings by Éric Le Ménédeu. The artist will be in attendance.

Eric Le Ménédeu was born in Paris, France in 1962. A graduate of the Ecole Nationale Supérieure des Arts Décoratifs (Paris), he has lived and worked in Montreal since 1994. In 2001, he received RBC Investment’s Third Annual Canadian Painting Competition Award for Eastern Canada.
Le Ménédeu’s work can be found in important corporate collections including Alcan, Gildan, RBC Financial Group, Colart Collection, as well as numerous private collections.

“When I travel, especially when I return to France where I spent my childhood, I photograph the landscape – often without stopping, in passing. Later, in my studio, I paint inspired by these images. Nearly immobile, I paint these ideas of passage. I paint here, the other country over there. I paint now what formed me yesterday. I look at the other side. Once again, I move across the space and time that separate me from my memories.”
-Éric Le Ménédeu

For further information, please contact the gallery at (416) 964-8197, via e-mail at godard@godardgallery.com, or visit our web site:

http://www.godardgallery.com

berlin biennial
for contemporary art

Babette Mangolte
(NOW) or maintenant entre parantheses
1976
16 mm film/DVD, 10 MIN
Photo Copyright: 1976 Babette Mangolte
Courtesy BROADWAY 1602

5th berlin biennial for contemporary art
05.04 - 15.06.2008

When things cast no shadow

http://www.berlinbiennale.de

When things cast no shadow, the 5th berlin biennial for contemporary art, curated by Adam Szymczyk and Elena Filipovic, brings together artists from different generations and nationalities in an exhibition by day and night that aims to trace the diversity of art practices today.

Eschewing a singular theme, form, or temporality, and determined instead by a critical engagement with artists’ processes, When things cast no shadow could be said to take the form of an open structure in five movements without a plot.

The day part of the 5th berlin biennial will be on view at four distinct venues and include mostly newly commissioned works by 50 artists, while the night part of the show will feature still more artists and cultural producers in 63 nightly events taking place in locations spread across the once-divided city.

The exhibition spaces of KW Institute for Contemporary Art, founded in 1991 in Berlin-Mitte will hold, among other projects, films by Babette Mangolte, Michel Auder, and Patricia Esquivias as well as an intervention by Ahmet Ögüt that comments on state power and its means of control. The attic will be turned into a studio/installation activated by Tris Vonna-Michell’s storytelling.

The iconic glass hall of Mies van der Rohe’s ultra-modernist Neue Nationalgalerie in former West Berlin has inspired various responses from artists. Among them, a film installation by Susanne M. Winterling explores the water condensation that flaws van der Rohe’s masterpiece, while Gabriel Kuri builds up a participatory sculpture that reorganizes one of the building’s regular service operations. Cyprien Gaillard brings an unpretentious public sculpture from a housing project in Paris to the terrace of the museum where it is displayed next to the masterpieces of Henry Moore and Alexander Calder.

The outdoor exhibition site of the Skulpturenpark Berlin_Zentrum, in the area formerly adjoining the Berlin Wall, presents, among other works, a new community-based project by Katerina Sedá, who goes over the fences that separate neighbors in her home village of Lisen in the Czech Republic. Lars Laumann screens a film about a woman who married the Berlin Wall, while Ania Molska installs a sculpture used as a prop in her new film.

The first of five alternating, artist-curated solo shows at the Schinkel Pavillon will feature works of Paris-based Swiss-born designer Janette Laverrière, presented by Nairy Baghramian. It will open on March 20, 2008, preceding the official opening of the 5th berlin biennial on April 5 and upsetting the demand for a single, spectacular biennial beginning.

The night part of the biennial, entitled Mes nuits sont plus belles que vos jours (My nights are more beautiful than your days), comprises 63 nocturnal acts involving artists and other thinkers and takes place throughout the city. Neuro-scientist Olaf Blanke demonstrates an out-of-body experiment, at the encouragement of artist Melvin Moti. The curatorial collective WHW holds a lecture on Modernism in the former Yugoslavia, and Augusto Boal, founder of the Theater of the Oppressed and this year’s Nobel Peace Prize candidate, runs a workshop according to his context-sensitive teaching method. Cameron Jamie screens his recent film JO at the Volksbühne am Rosa-Luxemburg-Platz with a live score by Japanese noise artist Keiji Haino, and more, night after night.

A comprehensive publication has been conceived as an interpretative tool in parallel with the 5th berlin biennial. It includes a visual and textual anthology of source material submitted by participating artists.

The visitors guided tours program Secret Service offers diverse formats of made-to-measure exhibition tours that enable the visitors to investigate the biennial from different angles. Further information and booking at http://www.berlinbiennale.de

Venues:
KW Institute for Contemporary Art
Auguststraße 69
10117 Berlin-Mitte

Neue Nationalgalerie
Potsdamer Straße 50
10785 Berlin-Kreuzberg

Skulpturenpark Berlin_Zentrum
Kommandantenstraße / Neue Grünstraße
10969 Berlin-Kreuzberg

Schinkel Pavillon
Oberwallstraße 1
10117 Berlin-Mitte

Mes nuits sont plus belles que vos jours
Every night except Mondays at various places in Berlin.
Detailed program available soon at http://www.berlinbiennale.de

Curators: Adam Szymczyk and Elena Filipovic

Director: Gabriele Horn

The presence of the 5th berlin biennial for contemporary art at its various venues is made possible by a co-operation between Kunst-Werke Berlin e. V. and the Staatliche Museen zu Berlin – Stiftung Preußischer Kulturbesitz (for the Neue Nationalgalerie), KUNSTrePUBLIK e. V. (for the Skulpturenpark Berlin_Zentrum), and the organizers of the Schinkel Pavillon (for the Schinkel Pavillon).

The 5th berlin biennial for contemporary art is organized by KW Institute for Contemporary Art and is funded by the Kulturstiftung des Bundes/German Federal Cultural Foundation.

The publications accompanying the 5th berlin biennial for contemporary art are generously supported by the LUMA Foundation.

Mes nuits sont plus belles que vos jours, the night part of the 5th berlin biennial for contemporary art, is kindly supported by the Fundación Almine y Bernard Ruiz-Picasso para el Arte (FABA).

The 5th berlin biennial for contemporary art is supported by Peter Marino Architect.

Further information:
Maike Cruse
T +49 [30] 2434 59 42
press@berlinbiennale.de
http://www.berlinbiennale.de

OPEN SPACE

OPEN CITIES.
OPEN SPACE AT ART COLOGNE
April, 16 - 20 2008

http://www.openspace-cologne.com

In 2005 OPEN SPACE was launched as an experimental, project related platform and unique environment, embedded in the very center of the Art Cologne. It was one of the first attempts to rethink and reinvent the framework of an art fair apart from standard booth settings.

The fourth edition of OPEN SPACE at the 42nd ART COLOGNE will present a selection of strong art scenes from global cities with a joint presentation of international galleries, artists and projects of contemporary art.

OPEN SPACE is also continuing as a platform for art related projects. This year OPEN SPACE has invited various projects from different urban contexts. Non profit space „Studio Voltaire“ from London will display their way to work with a presentation by Spartacus Chetwynd. The independent „Para/Site“ Art Space from Hong Kong has involved its founding member, Hong Kong artist Leung Chi Wo, to investigate the Asian Art Knots and to bring them into a joint presentation. The web-based Vernissage TV will open a TV studio on OPEN SPACE to produce a special program from there.

GALLERIES, ARTISTS
Adamski, Aachen/Berlin · T. Kelly Mason – BQ, Cologne · Alexandra Bircken – Lena Brüning, Berlin · Alicja Kwade – Sandra Bürgel, Berlin · Thomas Schroeren – Charim, Vienna · Daniel Pitin – Crone, Berlin · Heinz Peter Knes – Croy/Nielsen, Berlin · Wolfgang Breuer – Doggerfisher, Edinburgh · Sally Osborne – Figge von Rosen, Cologne · Anna Malagrida/Liza Nguyen/Sarah Ortmeyer – Carl Freedman Gallery, London · Fergal Stapleton – Vera Gliem, Cologne & Stella Lohaus, Antwerp · Sven ’T Jolle – Hammelehle & Ahrens, Cologne · Thomas Arnolds – The Happy Lion, Los Angeles · Kristian Burford – Johann König, Berlin & Hauser & Wirth, Zurich · David Zink Yi – Kai Hölzner, Berlin · Stephan Gripp – Daniel Hug, Los Angeles · Hanna Mari Blencke – Johnen + Schöttle, Cologne & Maureen Paley, London · Andrew Grassie – Iris Kadel, Karlsruhe & Francesca Minini, Milano · Riccardo Previdi – Joanna Kamm, Berlin · Simon Dybbroe Møller – Be
n Kaufmann, Berlin · Andreas Bunte – Dennis Kimmerich, Dusseldorf & Anton Kern, New York · Lothar Hempel/Dirk Stewen – Kontainer Gallery, Los Angeles · Adrian Ghenie/Ciprian Muresan/Serban Savu – David Kordansky, Los Angeles · William Jones – Krobath Wimmer, Vienna · Esther Stocker – LayrWüstenhagen, Vienna · Fabian Seiz – Linn Lühn, Cologne · Linder – Madonna Fust, Bern · Jérôme Leuba – Mirko Mayer, Cologne · Boaz Kaizman – Mezzanin, Vienna · Marzena Nowak; Mot International Ltd., London · Richard Forster; Christian Nagel, Cologne/Berlin · Kader Attia – Nosbaum & Reding, Luxembourg · Marcel Berlanger – Thomas Rehbein, Cologne · Thomas Erdelmeier – Rental Gallery, New York shows: Andrew Kreps, New York, Ritter Zamet, London & Sister Gallery, Los Angeles – Jette Rudolph, Berlin · Natalie Czech – Schmidt & Maczollek, Cologne · Steffen Lenk – Schnittraum/ Lutz Becker, Cologne · Daniel Andersson – Micky Schubert, Berlin & Karma International, Zurich · Alexis Hunter/Stephen Sutcliffe – Gabriele Senn, Vienna & NEU, Berlin · Kitty Kraus – September, Berlin · Nikolaus Utermöhlen – Solway Jones, Los Angeles · Channa Horwitz – Vartai, Vilnius · Kaido Ole – Michael Wiesehöfer, Cologne · Aglaia Konrad – Eva Winkeler, Frankfurt · Matthias Meyer – Workplace Gallery, Newcastle ·
Eric Bainbridge

PROJECTS ParaSite, Hong Kong ⋅ Texte zur Kunst, Berlin ⋅ Studio Voltaire, London ⋅ Vernissage
TV, Basel ⋅
INSTITUTIONS European Kunsthalle ⋅ Gesellschaft für Moderne Kunst am Museum Ludwig ⋅ Kölnischer Kunstverein, Cologne

PROJECT MANAGEMENT Adelheid Teuber and Meyer Voggenreiter
PROJECT CONSULTING Christian Nagel (Cologne, Berlin)
ARCHITECTURE meyer voggenreiter projekte and Sebastian Hauser
Commissioned by ART COLOGNE/Koelnmesse
PROJECT IDEA by Neumann Luz, Cologne
LOCATION Hall 4 (lower level)
DATESApril, 16 – 20 2008 OPENING together with ART COLOGNE on Tuesday, April, 15 2008 at 12 am PROFESSIONAL PREVIEW and VERNISSAGE at 5 pm
CONTACT office@openspace-cologne.com
INTERNET http://www.openspace-cologne.com , http://www.artcologne.de

PULSE New York

Magdalena Correa
Mantos Blancos (2008)
Color photography on glossy paper
Courtesy of Galeria Antonio de Barnola.

PULSE New York
Thursday, March 27 - Sunday, March 30

http://www.pulse-art.com

NEW LOCATION:
Pier 40, West Side Highway at West Houston Street

FAIR HOURS:
Thursday, March 27: 12-8pm
Friday, March 28: 12-8pm
Saturday, March 29: 12-8pm
Sunday, March 30: 12-5pm

COMPLIMENTARY SHUTTLE SERVICE:
PULSE is pleased to provide complimentary shuttle service to and from the following locations:

- The Armory Show, Pier 94 (Twelfth Avenue at 55th Street)
- VOLTA NY, 5th Avenue at 34th Street
- The Chelsea Gallery District (Locations available at http://www.pulse-art.com )

PULSE Contemporary Art Fair announced that its third New York edition would be held at Pier 40 on the West Side Highway at West Houston Street from March 27-30, 2008, concurrently with The Armory Show. The Fair will feature a highly selective presentation of contemporary works by more than 80 international galleries; an expanded set of programs, including the second edition of PULSE PLAY, the video and new technology lounge that debuted in Miami last December; plus the introduction of PULSE PERFORMANCE, a new section of the fair dedicated to the presentation of performance art, featuring Chez Bushwick. Also debuting, PULSE PAUSE, a reading room designed by independent curator Jeffrey Walkowiak with selected students from the MFA Program in Fine Arts at Parsons The New School
for Design.

Following its enormous success in Miami, which drew a record 16,000 visitors, PULSE New York promises to offer a vibrant experience. The significantly larger new venue at Pier 40 allows for more spacious and innovative booth displays as well as wider aisles to view the art, visually enhancing the experience for collectors and visitors. According to Director Helen Allen, “Our new venue at Pier 40 provides us with extraordinary opportunities. The larger space will permit us to expand our programming and open up new avenues for discourse in contemporary art.”

Original installations at PULSE New York will include The Lounge Of Ethereal Fun, a children’s VIP lounge created by artist Jenny Marketou along with works by Andy Yoder, Jennifer Burkley Vasher, Graham Caldwell, castaneda/reiman, Ryan Humphrey, Nathaniel Rackowe, Paul Mpagi Sepuya, Federico Solmi, Gabriel Asgar, Mark Anstee, Lucas Lenglet, Mark Shetabi and John Kalymnios.

PULSE NEW YORK 08 EXHIBITORS
ARTWARE editions (New York), Jeff Bailey Gallery (New York), Galeria Baró Cruz (Sao Paulo), ANNE BARRAULT (Paris), Galerie Anita Beckers (Frankfurt), Boneli Contemporary (Mantua), RENA BRANSTEN GALLERY (San Francisco), Changing Role Gallery (Naples), Catharine Clark Gallery (San Francisco) CONNER CONTEMPORARY ART (Washington, DC), galerie conrads (Düsseldorf), DCKT Contemporary, Inc. (New York) DNA (Berlin), envoy (New York), FARSCHOU COPENHAGEN AND BEIJING (Copenhagen/Beijing), Lukas Feichtner Gallery (Vienna), Rosamund Felsen Gallery (Santa Monica), fiedler contemporary (Cologne), Finesilver Gallery (Houston), Enrico Fornello (Prato), Espacio Liquido (Gijón), Freight + Volume (New York), GALERÍA FÚCARES (Madrid), Caren Golden Fine Art (New York), Carl Hammer Gallery (Chicago), KNOLL GALLERIES (Vienna/Budapest), Galerie Ernst Hilger/Hilger Contemporary (Vienna), iCI (New York), Inman Gallery (Houston), Priska C. Juschka Fine Art (New York) KINZ, TILLOU + FEIGEN (New Yor
k), Bernhard Knaus Fine Art (Frankfurt), NATHAN LARRAMENDY GALLERY (Ojai), Richard Levy Gallery (Albuquerque), Lyons Wier Ortt Gallery (New York), Walter Maciel Gallery (Los Angeles), Magnan Projects (New York), nina menocal (Mexico City), Nicholas Metivier Gallery (Toronto), Yossi Milo Gallery (New York), Mixed Greens (New York), moniquemeloche (Chicago), Mark Moore Gallery (Santa Monica), magnus müller (Berlin), MUMMERY + SCHNELLE (London), New York Foundation for the Arts (New York), ALEXANDER OCHS GALLERY BERLIN | BEIJING, One in the Other (London), P.P.O.W. (New York), Parker’s Box (Brooklyn), perugi artecontemporanea (Padua), Galerie Stefan Röpke (Cologne), Monya Rowe (New York), Julie Saul Gallery (New York), Schroeder Romero (New York), Michael Schultz Gallery Beijing/Seoul/Berlin, Carrie Secrist Gallery (Chicago), galleria SENDA/Espai 2nou2 (Barcelona), SPRINGER & WINCKLER GALERIE (Berlin), Galerie Tanit (Munich), Margaret Thatcher Projects (New York), Torch gallery (Amsterdam), UNION (London), Virgil de Voldere Gallery (New York), Von Lintel Gallery (New York), Winkleman Gallery (New York), Galerie Zürcher (Paris)

IMPULSE NEW YORK 08 EXHIBITORS
Artrepco (Zürich), ASPN (Leipzig), Masssimo Audiello (New York), Galería Antonio de Barnola (Barcelona), BISCHOFF/WEISS (London), Braverman Gallery (Tel Aviv), d.e.n. contemporary art (Culver City), GALERIE MAGDA DANYSZ (Paris), FOLEYgallery (New York), G FINE ART (Washington, D.C.), galerieKleindienst (Liepzig), Horrach Moyà (Palma de Mallorca), Rebecca Ibel Gallery, (Columbus), LOUNGE/Monika Bobinska (London), Madder139 (London), MORGAN LEHMAN (New York), NANZUKA UNDERGROUND (Tokyo), RuArts Gallery (Moscow), SALTWORKS (Atlanta), SOLLERTIS (Toulouse), SPACE (Bratislava), Spinello Gallery (Miami), TACHE-LEVY GALLERY (Brussels), Vane (Newcastle upon Tyne), GITTE WEISE GALLERY (Berlin), Marcia Wood Gallery (Atlanta)

For more information about PULSE, please visit http://www.pulse-art.com or call
(212) 255-2327.

Note to the media:
Advance registration is required for access to the press preview and may be obtained online by completing and returning the form available at: http://www.pulse-art.com/newyork/press.htm

Media contact:
For more information, images or interviews please contact:
Andy Cushman
Blue Medium, Inc.
T: (212) 675-1800
F: (212) 675-1855
E: andy@bluemedium.com