Artipedia - Arts News

Dimitri Tolstoï / Ginger / photography, lambda print covered with plexiglas

SEASON 2 of “Still” life… not exactly
April 12 - May 9, 2008

“Humans are aware of their godliness and rightfully so, for God lives in each of them. Humans are also aware that they are pigs, and with reason, for there is a bit of pig in them as well… but they’re dangerously wrong to mistake the pig for a god” Leo Tolstoy

After numerous petitions from fans and art collectors, ART ROUGE GALLERY is delighted to present season 2 of ”Still” Life… not exactly a unique art exhibition by Paris based contemporary photographer Count Dimitri Tolstoï, great grandson of legendary Russian writer Leo Tolstoy. The collection will be on display from April 12 to May 9, 2008 in the very much acclaimed Art Rouge space in Miami’s famous Wynwood Art District. Located exactly at 46 NW 36 St, the space is just one block west from the new Midtown Mall. The coordination of the opening reception - which will take place on April 12 from 7:00 to 11:00 PM - will be in charge of celebrated event producer Alan Solis, owner and director of URBAN ICONS. The guests will be able to enjoy Tolstoï’s edgy art within a cool atmosphere with great music and cocktail.

The emotion generated by Dimitri Tolstoï art photographs is born of the union between two very distant and yet equally genuine realities. He brings together several images to create an entirely new one. This unusual combination fuels an immediate emotional response, evoking extraordinary associations and raising intriguing questions.

Like the Greek mythological poet Orpheus, Dimitri Tolstoï tries to resist death by facing it head on. Though he cannot destroy it, he artfully “sticks his tongue out at it”; successfully mocking it and making us smile with his great sense of humor. The “piercings”, like post-mortem exorcism, attempt to penetrate and unveil the mystery of death. A rooster’s foot, taken from a Voodoo ritual symbolizing the clutch of death, becomes flirtatious only by applying a sensual color of nail polish on the claws; playing down in this way the terrifying aspect of death’s grip and giving it a more humanize side. Through this final pirouette… the seduction is complete.

For more information about the exhibition please contact Art Rouge Gallery via info@artrouge.com or call 305-448-2060.

arteaméricas

Raul Pavlotzky, Construccion C, 1958
Iron, 28 x 11 cms.
Courtesy of Sammer Gallery, Miami, US.

arteaméricas
March 28 - March 31, 2008

Friday, March 28: 12 p.m. - 9 p.m.
Saturday, March 29: 12 p.m. - 9 p.m.
Sunday, March 30: 12 p.m. - 7 p.m.
Monday, March 31: 12 p.m. - 5 p.m.

http://www.arteamericas.com

THE LATEST ART OF LATIN AMERICA
IN MERRILL LYNCH ARTEAMERICAS 2008

Spaces curated by renowned professionals and the works of 400 artists represented by 78 recognized galleries of Latin America, the United States and Spain will show the contemporary trends of the continent.

At Merrill Lynch arteamericas 2008, the spaces of the most important worldwide collections of Latin American art will interlace the artistic scenes of America and Europe in recent years. Seventy-eight galleries of fourteen countries will exhibit the work of the region’s 400 great masters, contemporary artists and young talents. The fresh work of senior students of three Miami art schools, as well as art proposals from innovative and renowned curators, will show today the artists of tomorrow. From March 28th through March 31st, at the Miami Beach Convention Center, Hall A, Latin American art will be appreciated in the sixth edition of this fair, which will exhibit all visual arts disciplines such as painting, sculpture, photography and multimedia art.

The new tendencies in video-art, photography and painting will be present in a selection curated by Cecilia Fajardo-Hill of 14 artists from Mexico, Venezuela, Colombia, Brazil and Guatemala, who have been awarded CIFO (Cisneros Fontanals Art Foundation) Grants and Commissions since the
year 2006.

The works specially chosen by curator Ariel Jimenez from the Colección Patricia Phelps de Cisneros (CPPC) seek to materialize some of the numerous points of contact that can be found between the most representative artists from Latin America and the broad artistic traditions of Europe and the United States. While Maria del Carmen Gonzalez, Curator of CPPC’s international educational program –Piensa en Arte- will show its particular methods in the continent.

The economic and social reality of this region will be the link between Latin American and Caribbean artworks selected by curator and director Felix Angel of the Inter-American Development Bank Cultural Center (IDB) collection.

Synchronies. Pioneer talents from Colombia, Brazil and Mexico, might well be responsible for developing the most lucid proposals in the coming years, have been curated by Colombian Maria Iovino. The works of these young artists focuses on lines of work and creative exploration aimed at highlighting and strengthening the fields of video art, drawing and the re-interpretation of technological languages.

Curator Milagros Bello presents the work of twenty Miami based artists that interpret the spirit of contemporary times. In Trends the artists show their creative impetus and prove their accomplishment through diverse approaches to post-contemporary art, including installation, digital photography and performance. This year’s edition includes a special edition of Video Art.

Six of the most prestigious museums of the United States will support this sixth edition of arteamericas. Among them: Bass Museum of Arts, Frost Art Museum at FIU, Lowe Art Museum, MoLAA of California. MOCA, the Museum of Contemporary Art of North Miami, will dedicate its space to the surrealistic world of Cuban artist Pablo Cano. Miami Art Museum / MAM will exhibit the model of its new building designed by the well known architects Herzog and De Meuron, and also MAM’s most recent photography acquisitions.

Merrill Lynch arteamericas will be the stage for many young artists from three Miami art schools to showcase their work to the world. Curators Carol Damian and Juan Martinez will show the artwork of senior students of Florida International University (FIU), while curator Aramis O’Reilly proposes the works of the students of New World School of the Arts (NWSA). Art gallery owners will award a prize to the best works. Young talented students of the Design & Architecture Senior High School (DASH) will be sponsored by Cadillac.

Two panel discussions will take place every day in arteamericas, with renowned members of the art community, such as curators Julia Herzberg and Pedro Querejazu , art collectors Dennis Scholl and Ignacio Oberto and Sotheby’s director for Latin America, Axel Stein, among others.

Art galleries participating in Merrill Lynch arteaméricas 2008
ARGENTINA Aldo de Sousa, Alvear Arte, Fundación Alfonso y Luz Castillo / Arte x Arte, Archimboldo, Del Infinito Arte, Dharma Galería, Fundación Leopoldo Torres Agüero, GM Espacio de Arte, Pabellón 4, Javier Balina, RO Galería , Van Eyck Galeria de Arte, and Via Margutta Arte Contemporáneo;
BOLIVIA Fundación Es Art and Salar Galeria de Arte;
COLOMBIA Alonso Arte, Galería El Museo, Galeria Entrearte and Galería Sextante;
COSTA RICA Galería Jacob Karpio;
ECUADOR dpm Arte Contemporáneo;
ESPAÑA Galería Fernando Pradilla and Joan Guaita;
HAITI Galerie Bourbon-Lally and Galerie Marassa
MEXICO Alfredo Ginocchio, Aqua Gallery, EDS Galería and Quetzalli;
PANAMA Galería Arteconsult, Aleman & Grimberg;
PERU Artco Galería, Enlace and La Galería;
REPUBLICA DOMINICANA Alinka Arte Contemporáneo, Arawack, Arte Berri and Lyle O. Reitzel Gallery;
URUGUAY Galería Sur;
VENEZUELA Artepuy, Galería Blasini, Galería Durban Segnini, Galería Okyo and Juan Ruiz Galeria.
UNITED STATES: Aldo Castillo Art Gallery, PanAmerican Art Projects, Alejandra von Hartz Fine Art, Amat Gallery, Arévalo Arte, ArtSpace / Virginia Miller, Beaux Arts, Cernuda Arte, Dot Fifty One, Hardcore Art Contemporary Space, Diana Lowenstein Fine Art, Durban Segnini Gallery, dpm Arte Contemporaneo, Latin Art Core, PanAmerican Art Projects, Praxis International Art, Sammer Gallery, Signature Art , The Americas Collection, Tresart, Cecilia de Torres LTD, Galería Solar, Latin Collector, Leon Tovar Gallery, A. Cueto, Gómez Fine Art, Latitude Art Project, Ruiz-Healy Art and Blue
Morphos Gallery.

Merrill Lynch arteaméricas is directed by Leslie Pantín, president; Emilio Calleja, vice-president; and Diego Costa Peuser, director. For six years in a row, Merrill Lynch will be the title sponsor of the fair. For more information: http://www.arteamericas.com

Communications and Public Relations Director:
Liana Pérez, liana@artcircuits.com, 305.661.0511
Press Contacts:
Sara Bradford, sara@thinkbsg.com, 305.929.9710
Carolina Ledezma, contacto@artcircuits.com, 347.901.6641

The Museum of Modern Art,
New York

Hans Richter. Still from Filmstudie. 1926.
35mm film transferred to video (black and white, silent).
Film in the permanent collection of
The Museum of Modern Art, New York

Geometry of Motion 1920s/1970s
March 19 - June 23, 2008

Exhibition organized by Klaus Biesenbach, Chief Curator, Department of Media, and Roxana Marcoci, Curator, Department of Photography

The Museum of Modern Art
11 West 53 Street
New York, NY 10019
(212) 708-9400
http://www.moma.org

The Museum of Modern Art presents Geometry of Motion 1920s/1970s, on view in the second-floor Yoshiko and Akio Morita Media Gallery from March 19 through June 23, 2008. The phrase “geometry of motion” in the exhibition’s title derives from the literal meaning of the French word cinématique. Taking cinematic experience as its point of departure, this exhibition uses fourteen historic works to trace the transformation of the art object from static image to fluid light projection within two artistic lineages: the unconventional optical techniques of the 1920s Neue Optik, or “New Vision,” generation of artists, among them El Lissitzky, László Moholy-Nagy, Hans Richter, and Marcel Duchamp; and the situational aesthetics advanced by Robert Irwin, Gordon Matta-Clark, Robert Smithson, and Anthony McCall in the 1970s. All of these artists have explored new perceptual propositions for the geometry of motion, conveying indelible filmic events.

From 1919 to 1923, Lissitzky developed his Prouns, paintings and works on paper of translucent and opaque abstract planes, some of which were intended to be rotated or hung in any direction, and which evolved into fully three-dimensional installations. A few years later, Moholy-Nagy conceived Light Prop for an Electric Stage (Light-Space Modulator), a mobile light mechanism that materialized its creator’s goal of “painting with light” into space. Also in the 1920s, Richter translated geometrical shapes into pure cinematic sensation. His pioneering abstract films, exemplified in the exhibition by the four-minute film Filmstudie (1926), codified a visual syntax based on rhythmical patterns of light and motion. Richter’s interest in experimental cinema was related to Duchamp’s abstract optical tests with rotary discs and afterimages that in 1926 resulted in Anémic Cinema (also on view at MoMA), a film alternating shots of rotating spirals with discs inscribed with ero
tic puns.

During the 1970s, a new generation of artists built on the earlier artistic experiments with light to tap into sensory perception. This is the case with Matta-Clark’s anarchitectural projects that carved unexpected, vertiginous apertures of light into abandoned buildings, and with Irwin’s light installations that heightened spatial perception. Concurrently, Smithson explored the idea of experiencing art as itinerant and filmic in his monumental Spiral Jetty, orchestrated in 1970 at the Great Salt Lake in Utah. The exhibition includes Smithson’s film of the completed sculpture taken from a helicopter, capturing the moment when the sun’s reflection hit the water at the exact center of the spiral. Looking directly into the sun is not unlike turning away from the screen in a movie theater to look into the film projector’s beam. McCall draws upon this accidental occurrence, fusing the properties of film and sculpture in his slide projection Miniature in Black and White (
1972), a precursor of his solid light films.

Geometry of Motion 1920s/1970s brings together historic light- and movement-capturing experiments that draw attention to the conditions and complexities of perception, both within the framework of institutional display and in outside surroundings. It also complements the survey exhibition Take your time: Olafur Eliasson (April 20 - June 30, at MoMA and P.S.1 Contemporary Art Center) by offering context to Eliasson’s protocinematic experiments with mechanisms of motion, projection, shadow, and reflection.

PUBLIC PROGRAM

Proto-Cinema: Contemporary Art and the Geometry of Motion
Tuesday, April 22, 6:30 p.m.
The Celeste Bartos Theater, 4 West 54th Street

From Andy Warhol’s conceptual use of filmmaking in Empire to Olafur Eliasson’s incorporation of cinematic effects in his environments and installations, the mechanics of the projected and perceived image have played a significant role in the art of recent decades. This program explores how contemporary artists address the interstice between film and photography by deconstructing these mediums. Participants include Kerry Brougher, Acting Director and Chief Curator, Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington D.C.; Chrissie Iles, Anne and Joel Ehrenkranz Curator, Whitney Museum of American Art; and Anthony McCall, artist. Moderated by Klaus Biesenbach and Roxana Marcoci.

Tickets can be purchased at the lobby information desk, the film desk, or online at http://www.moma.org/thinkmodern

For press inquiries, please contact Kim Donica at 212/708-9752 or kim_donica@moma.org