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Artforum

March 2008 in Artforum
Artforum
350 Seventh Ave, 19th Floor
New York, New York 10001
t: 212.475-4000 f: 212.529-1257

http://www.artforum.com

This month in Artforum: “Mirror Displacements: The Art of Zoe Leonard.” On the occasion of the artist’s recent retrospective at Fotomuseum Winterthur—and on the heels of Documenta 12’s presentation of Analogue, 1998–2007, her archive of some four hundred pictures depicting small independent shops, the likes of which are disappearing from urban centers throughout the world—Mark Godfrey looks at a body of work that is traditional in method, materiality, appearance, and iconography even while it challenges artistic orthodoxies.

“Leonard’s sculptures can now be seen to relate to her most recent body of images—not just because the sculptures use obsolete objects, but because they stage the desire to hold on to what is everywhere being lost. Considered in light of this genealogy of mourning, it becomes even clearer that Analogue is one of the major photographic projects of the past thirty years.” —Mark Godfrey

And: “Music of the Spheres.” When Karlheinz Stockhausen died last December, his fame as a composer of startlingly original and uncompromising music—groundbreaking experiments in electronic sound, innovative manipulations of traditional instrumentation, unorthodox approaches to the human voice—had long since peaked, and his work was perhaps spoken of more eagerly than it was performed. Yet he figures among the most influential composers of the postwar era. Offering reflections on Stockhausen’s legacy is a diverse group with deep ties to his work: composers Robin Maconie, La Monte Young, Morton Subotnick, and Maryanne Amacher; violinist Irvine Arditti and pianist Pierre-Laurent Aimard; and singer-songwriter Björk.

“For Stockhausen, the issue was not just how art in the modern world can respond to the presence of evil but whether art deserves to survive.” —Robin Maconie

“i remember very well sitting in his studio in cologne , surrounded by twelve speakers ( four in the four top corners , four in the middle , and four in the bottom corners ) , him creating a current traveling up and down , swirling around us as the force of nature electricity is . god of thunder .” —Björk

Plus: “Signs of the Times.” Theorist Boris Groys and art historian and curator Margarita Tupitsyn look at La Maison Rouge’s “Sots Art: Political Art in Russia from 1972 to Today” and consider the strategies and legacies of this movement’s paradoxical intermingling of the iconography of Soviet socialist realism and Western consumer fantasy.

“Contemporary post-Soviet culture is an effect of the profanation and secularization of the Communist past—not of its disappearance. And it is precisely this secularization that was anticipated and effectuated . . . by Sots art.” —Boris Groys

Plus: Pamela M. Lee introduces a portfolio of images assembled by Willem de Rooij based on his work with Jeroen de Rijke; Paul Sietsema discusses his latest film, Figure 3, which premieres at the San Francisco Museum of Modern Art this month; Sarah K. Rich revisits the postwar artistic clash between France and America in “Be-Bomb” at Museu d’Art Contemporani de Barcelona; Martin Herbert compares “The World as a Stage” at Tate Modern, London, with “A Theatre Without Theatre” at Lisbon’s Berardo Collection; Amy Taubin discusses Gus Van Sant’s latest film, Paranoid Park; Sven Lütticken encounters Werner Herzog’s cool, comedic eye in Antarctica; Damon Krukowski plumbs the depths of UbuWeb; Brian Sholis reports on US regional nonprofit art spaces operating outside the glare of New York and Los Angeles; Virginia Rutledge takes up the case of Christoph Büchel v. Mass MoCA; Michael Archer considers the sculpture of Karla Black; and Nick Mauss and Ken Okiishi cou
nt down their Top Ten.

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PROCESS AS WORK:
Roy Kiyooka, Damian Moppett, Jerry Pethick, Ian Wallace

Catriona Jeffries, Vancouver
29 February – 29 March 2008
Opening Friday 29 February, 7 – 9pm

Catriona Jeffries is pleased to present the forthcoming exhibition of work by Roy Kiyooka, Damian Moppett, Jerry Pethick and Ian Wallace. Process as Work presents a significant body of work by each artist, calling attention to the unique working processes that mark their practices. The work in this exhibition is representative of the four artists’ commitment to continuous and rigorous production and their constant manipulation of ideas, often through serial works. The materiality of the artist’s working process in some cases manifests itself as studies for final works, but congruously exists as completed works which are continually being developed upon through the use of reoccurring motifs and an ever-present referencing between works. The exhibition positions the processes of this inter-generational group of artists in relation to one another and in relation to a broader context of international discourse about approaches to sculpture, painting and photography.

In a complete body of painting/collage works on paper by Ian Wallace from his New York series, created between 1993 and 2001 and never exhibited before, we see Wallace working towards his large format New York photo-monochrome paintings of 2001, from which Jazz Street II will be shown here. Wallace and Pethick have both been intensely interested in the motif of the intersection throughout their practices. Since the 1970s Wallace has explored the social theatre of urban intersections through the juxtaposition of the painted monochrome and photographs which focus on the meeting point of dynamic urban relations: pedestrians, traffic, signage and architecture. In the New York series, Wallace situates the history of the jazz scene in New York on the Broadway Boogie Woogie strip while recalling the minimalism of Mondrian. In what Wallace has termed a practice of “melancholic modernism,” there is a tension between the everyday scenes of the photograph and the absence of referential subject in the monochrome, wherein the white lines of the crosswalk and the painted canvas interplay as real and abstract space.

For Jerry Pethick, the intersection was a meeting point of optical perception. He referenced the intersection in numerous works, pointing to the influence of technology on visual perception through the use of lenses and television tubes as optical devices and recording the occurrence of exes in nature, such as the outgrowth of a tree branch from a tree trunk. Pethick’s opposing coloured vinyl tape markings in the wall installation Intersection, 1971, are the beginning of a series of experiments which he continued to develop in his explorations of holographic space and large format array photographs. The intersecting marks appear again in a series of drawings and sculptural collages from 1965 and culminate in the array camera he created in the 1980s. This camera enabled Pethick to take multiple images of one shot and to create a prolific series of photographic arrays which investigated the intersection of points as a means for calling attention to the way we perceive what we are seeing. This exhibition of a significant body of Jerry Pethick’s work anticipates an important forthcoming solo exhibition at the Catriona Jeffries Gallery to be presented in 2008.

Roy Kiyooka also continually embarked on experiments which led one work into the next, through performance, film and photography. Kiyooka’s work is situated in the everyday. Documenting a road trip he took with students to the interior of British Columbia in 1977 and his stay in a hotel room in Mission, B.C. in 1978, he intertwines poetry and symbolism within these localized moments from daily life, producing scenes which question notions of identity and place. Kiyooka’s subjective snapshots of family and friends configured in grid formats attenuate distinctions between amateur and professional, art and non-art; they are inscribed with a tension between the universality of modernism and the radicalism of the avant-garde. In a series of photographs in which the mask is the main character, there is a relationship to earth art practices through the marking and staging of performances in the snow. At the same time, Kiyooka’s use of multiple still images imparts a cinematic quality which links to his original performative actions and film works.

In Damian Moppett’s ongoing series of drawings and watercolours he works through sculptural forms using one dimensional strategies, drawing attention to the constant interplay between the two. Moppett probes notions of corrupted ideas and imprecision, emphasizing process, not the end product. In his configurations, he plays with our expectation of resolve through the production of studies that are also complete works in themselves, continually disrupting distinctions between high and low art. Recalling Wallace’s photographs taken in his studio, Moppett offers up the messes of his working environment in his drawings, recording the process of working towards his modernist assemblage sculptures, one of which will be presented in the exhibition.

For further information please contact Catriona Jeffries or Charo Neville at (01) 604.736.1554

Forthcoming exhibitions: Germaine Koh: 11 April – 10 May, 2008 Ron Terada: 23 May – 28 June, 2008 Art Basel 39: 4 – 8 June, 2008

Palomino under the Stars

Since 1995 Regan has been creating her charming scenes, in her own unique style.

Now Regan has joined the ACEO Artists on Ebay, in offering charming collectable mini paintings.

3 new paintings by Artist Regan Tausch available starting Febuary 29th 2008

here is a link to my Ebay Auctions.
http://members.ebay.com/ws/eBayISAPI.dll?ViewUserPage&userid=artbyregan

Regan’s larger paintings are available at the
Nassau County Museum of Art in Roslyn NY year round.
for more information link below
http://www.regantausch.com/NCMAinformation.html

Daimler Contemporary

Ill.: Ill.: Domnick Foundation in the Staatsgalerie Stuttgart, 1952. Photograph: Dr. Seifert Stuttgart

Classical : Modern II
Abstraction, Informel, Stuttgart and Karlsruhe Painting School
March 7 - June 1, 2008

Daimler Contemporary
Haus Huth
Alte Potsdamer Straße 5
10785 Berlin
Germany
Open daily 11 a.m. to 6 p.m.
Admission free
http://www.collection.daimler.com

The Daimler Collection is pleased to announce the exhibition “Classical Modern II” at Daimler Contemporary, Haus Huth, Potsdamer Platz in Berlin. The “Classical : Modern I” exhibition, 2006, largely presented concrete and constructive tendencies in the Daimler Collection from Classical Modernism up to the post-war art period, while the second part of the series intends to introduce the complementary areas of the collection. The exhibition shows post-war tendencies, mainly from South Germany. Art history groups the names of the artists, about forty in all, from Ackermann to Zangs, under headings such as ‘Lyrical Abstraction’, ‘Informel’, ‘Tachism’, the ‘Stuttgart’ and Karlsruhe’ schools, ‘New Figuration’ ‘Zero’ and ‘Zen 49’. The show features about 80 works and is also presenting current work that can be related back to these earlier artists.

Participating artists:
Max Ackermann, Horst Antes, Willi Baumeister, Bernd Berner, Erdmut Bramke, Peter Brüning, Karl Fred Dahmen, Herbert Egl, Günter Fruhtrunk, Rupprecht Geiger, HAP Grieshaber, Otto Herbert Hajek, Bernhard Heiliger, Jan Henderikse, Gerhard Hoehme, Alfonso Hüppi, Norbert Kricke, Dieter Krieg, Uwe Lausen, Thomas Lenk, Heinz Mack, Georg Meistermann, Georg Karl Pfahler, Charlotte Posenenske, Lothar Quinte, Otto Herbert Ritschl, Rudolf Schoofs, K.R.H. Sonderborg, Walter Stöhrer, Artur Stoll, Heinrich Wildemann, Christa Winter, Fritz Winter, Lambert Maria Wintersberger, Herbert Zangs

The exhibition will be accompanied by a comprehensive program, including artist talks, lectures and discussions with artists as well as thematic guided tours: These tours are available on every first Saturday of a month at 4 p.m. (March 08 / April 05 / May 03). Guided tours “Art and Architecture on Potsdamer Platz” can be booked on request. Please check our website regularly for updates
and announcements.

Exhibition catalogues are available at Daimler Contemporary, at our co-operating bookshop Bücherbogen am Savignyplatz and further more can be ordered online at: http://collection.daimler.com/publikationen/publikationen_e.php

Contact:

Daimler Contemporary
Haus Huth
Alte Potsdamer Straße 5
10785 Berlin
Germany

Phone: +49 (0)30 259 41 42 0
E-Mail: kunst.sammlung@daimler.com

http://www.collection.daimler.com

Seventh Shanghai Biennale

Seventh Shanghai Biennale

TRANSLOCALMOTION

Opening Ceremomy: 8 September 2008

Duration: 9 September - 16 November 2008

Artistic Director: Zhang Qing

Curators: Julian Heynen, Henk Slager

http://www.shanghaibiennale.com

Since its inauguration the Shanghai Biennale has repeatedly taken the city itself and its urban conditions as a starting point for its artistic explorations. In line with this inner logic, the curatorial team of the 2008 edition proposes to focus on one of the most import cornerstones of urban design: the public square which is a prime location of transfer, connection, connectivity, meeting, social and
economical exchange.

TRANSLOCALMOTION

As a starting point for the Seventh Shanghai Biennale the curatorial team suggested utilizing People’s Square, of which the Shanghai Art Museum is actually part of. This public square seems to contain on a small-scale level a lot of crucial issues that the current Chinese society faces today. One of the most significant aspects of these is the migration from underdeveloped rural areas to developed urban spaces, in search of opportunities amidst the drastic social and economic changes in China. The nation is rapidly developing from an agricultural society to an industrialized and digitized one, and from planned economy to market economy. At People’s Square the curatorial team found many issues related to the transition, such as the topical capitalism, the ultramodern architecture that express a spirit of optimism, the desire for a better life envisioned by for example the Grand Theater and the Museum for Urban Planning, as well as the numerous small stands operated by migr
ants.

PROJECT

For the 2008 Shanghai Biennale the curatorial team would like to connect the Shanghai Art Museum directly to People’s Square. For this reason, twenty emerging and established artists have been invited to take People’s Square as visual metaphor for the complex dynamics of the people’s mobility. Their work will be displayed on various media within and outside of the museum. Works that are shown outside were created with an intent to interact with the environment or the public. Each artist will also create an additional piece to be shown on the ground floor of the museum.

KEYNOTES

On the second floor, the curatorial team will focus on solo-exhibitions of three prominent artists. This rather unusual proposal was conceived in reaction to a tendency among many Biennales to present a vast number of hardly distinguishable artistic positions. As a guideline for the choice of artists in this section a more reflective and general attitude towards the issue of mobility related to the urban, economical and social development should be apparent in their artistic production.

CONTEXT

On the third floor, under the same theme, another twenty artists will be showing their work using non-shanghainese elements, to explore and discuss mobility issues in Asia, Europe and the Americas.

PUBLICATION: SHANGHAI PAPERS

Besides the standard exhibition catalogue the curatorial team will produce a sourcebook that consists of texts by the participating artists. These texts should present the artists’ views on their artistic research within the context of the exhibition’s theme.

CURATORIAL TEAM

Zhang Qing (artistic director), Deputy Director of Shanghai Art Museum. http://www.shanghaibiennale.com

Julian Heynen (curator), Artistic Director of K21 Kunstsammlung Nordrhein-Westfahlen in Dusseldorf, Germany, http://www.kunstsammlung.de

Henk Slager (curator), Dean Utrecht Graduate School of Visual Art and Design, Utrecht, The Netherlands, http://www.mahku.nl

Xiang Liping (assistant curator), coordinator Shanghai Biennale Office

Li Ning (assistant curator), curator Shanghai Art Museum.

PRESS CONFERENCE

Ifa Gallery Berlin, Linienstrasse 139-141, April 4, 1-2 PM

CONTACT

Shanghai Art Museum
325, Nanjing Road West
Shanghai 200003, China
Tel: 86 21 632272829257
http://www.shanghaibiennale.com