Artipedia - Arts News

New Museum

Steven Shearer, Bubbles, 2004.
Crayon on paper.
Collection Barbara and Franco Noero, Turin.

Spring Exhibitions
New Museum
235 Bowery
New York, NY 10002
212.219.1222

http://www.newmuseum.org

SANAA: WORKS 1998-2008 MARCH 28 THROUGH JUNE 15
The highly regarded firm Kazuyo Sejima + Ryue Nishizawa / SANAA, designers of the New Museum’s recently opened building on the Bowery, are the subjects of this exhibition exploring present commissions and projects spanning the last decade, a highly productive period when their projects like the 21st Century Museum of Contemporary Art, Kanazawa; the Glass Pavilion at the Toledo Museum of Art; and the new New Museum in New York won them considerable critical acclaim and public recognition. The exhibition will take the form of an environment rather than a traditional exhibition, exploiting and further exploring Sejima and Nishizawa’s vision of the Museum lobby as, in their words, “a kind of constantly animated public-private living room where visitors can look, eat, read, shop, discover, and reflect among new art and new ideas.” The exhibition is a collaboration between the New Museum’s Lisa Phillips, Toby Devan Lewis Director and Karen Wong, Director of External Affai
rs,
and SANAA.

TOMMA ABTS APRIL 9 THROUGH JUNE 29
London-based artist Tomma Abts creates paintings that confound expectation. Small, severe, and abstract, Abts’ work is an antidote to the florid figuration that has dominated the contemporary painting discourse for the last decade. As one of the leaders of a resurgent abstract vocabulary, she has found a language that is not merely abstract, but also absolutist and visionary. This is the first major U.S. solo exhibition of paintings by Abts and includes fifteen paintings created over the past ten years. The exhibition is curated by Laura Hoptman, Kraus Family Senior Curator.

PAUL CHAN: THE 7 LIGHTS APRIL 9 THROUGH JUNE 29
This is the first major exhibition in America and the U.S. premiere of New York-based artist Paul Chan’s “The 7 Lights” (2005-2007), a series of large-scale digital projections and drawings that compose an hallucinated version of the seven days of creation. “The 7 Lights” series will be accompanied by other examples of Chan’s work, including new videos and sculptures. A specially conceived project will extend the show beyond the Museum’s walls, as Chan anonymously spreads thousands of posters throughout Manhattan and Brooklyn. The exhibition is curated by Massimiliano Gioni, Director of Special Exhibitions.

DOUBLE ALBUM: DANIEL GUZMÁN AND STEVEN SHEARER APRIL 23 THROUGH JULY 6
“Double Album: Daniel Guzmán and Steven Shearer” brings together two artists—Daniel Guzmán, born in Mexico in 1964, and Steven Shearer, born in Canada, in 1968—who use an array of visual media to explore the overwhelmingly male world of rock ‘n’ roll and popular subcultures as a way to look inward at themselves. With both artists creating works across a variety of mediums, including sculpture, painting, photography, and video, “Double Album” allows for Guzmán’s and Shearer’s bodies of work to be explored independently, as well as in relation to each other’s practices. The exhibition is curated by the New Museum’s Chief Curator, Richard Flood.

ABOUT THE NEW MUSEUM
Founded in 1977, the New Museum is the first and only contemporary art museum in New York City and among the most respected internationally, with a curatorial program unrivaled in the United States in its global scope and adventurousness. With the inauguration of our new, state-of-the-art building on the Bowery, the New Museum is the destination for new art and new ideas. Visit http://www.newmuseum.org for more information.

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° On Xenophobia Redux, March 25th – April 19 2008

Opening
25.03.08, between 19.00 – 21.30

Project curator: Anne-Britt Rage and David Rych

Participant artist: expanding database project

Lectures/presentations

26.03 Lectures/presentations (language: English)
18.00 Anne-Britt Rage and David Rych in conversation with Gulsen Bal
19:00 Grada Kilomba
20:00 Mara Traumane

27.03 Lectures/presentations (language: German)
18.00 Kerstin Kellermann
19:00 Petja Dimitrova
20:00 Martin Krenn

Open Workspace / Redaktion (language: English, German)

28.03 - 03.04, 10.30 – 15.00

On Xenophobia Redux

Xenophobia has long been a part of our history. It is at the nucleus of the disciplinary apparatus of the national body, encapsulated through rigid control on the outer expanding borders of the European territory. New forms of xenophobia arise in association with certain scientific developments and geopolitical processes
 How are we to understand xenophobic tendencies and how to react to them?


The xeno.no project aims to engage as an online platform and database for contemporary cultural reflection on a phenomenon, which is not a static ideological pattern, but takes on different faces, agendas and forms of establishment. Especially with recent external consolidations of borders and internal discrimination, this issue is gaining actuality.

The site will function as a online database of theory and visual and time-based art to create a readability of existing positions on, about, around and against the normative tendencies within Europe (and beyond). An editorial board intends to collaborate with groups and individuals from the cultural sector in assembling a variety of approaches to collectively create an advanced tool of analysis and encouragement for educational research of critical culture. The general structure is an online accessible archive, segmented in Art, Theory and News. However there is no endeavour to create a complete anthology in such a complex matter.

The list that of the participating artists and authors is not complete at this time, since the process of continuous addition is the focus of several following workshops. The contributing artists and authors are either personally contacted to participate, or invited to respond to open calls. Over the duration of the following year the extension of the database will be carried on, in order to compile a broad listing of already existent art and text contributions on the subject of xenophobia.

Further a series of lectures and artistic presentations will be organized at different venues in the frame of the xeno.no project, with consideration of local emphasis in the European context, on which base artists and theoreticians are requested to participate.

During the program in the Open Space, a presentation of the project will take place - on two further evenings invited speakers will talk about specific topics and/or their artistic work in relation to Xenophobia.

° Open Work Space at Open Space

During the presentation of “On Xenophobia Redux – Art and critical writing on European exclusionism” we will offer the audience an open workspace from the 28th of March to 3rd of April from 10 o’clock to 15 o’clock.

As part of the collection process of the database on Xenophobia Redux the editorial board intends to collaborate with groups and individuals from the cultural sector in assembling a variety of approaches to collectively create an advanced tool of analysis and encouragement for educational research.

Thus the open workspace deals with discussions on the content of the presented database and its already existing format. It furthermore has as a goal to engage the number of participants both in sheer quantity and definitely in terms of positions offered in the website.

The open workspace includes practical work such as readings and contact with artists and theoreticians. It aims to lay the ground for a reader to be presented at later venues.

Anne-Britt Rage from the editorial board will be present during the open workspace. Both German and English language will be used.

Sponsored and kind support provided by

Norwegian Art Council
Wien Kultur

° Visit us
Open Space - Zentrum für Kunstprojekte aims to create the most vital facilities on non-profit base for contemporary art concerned with contributing a model strategy for cross-border and interregional projects on the basis of improving new approach.

Open appointment only unless stated otherwise
Admission free

Open Space
Zentrum für Kunstprojekte
Lassingleithnerplatz 2
Schwedenplatz
1020 Wien
Austria

For more info please contact: office@openspace-zkp.org

http://www.openspace-zkp.org

Strawberry 33×33cm

Photographing liquid at the time of impact is a fascinating practice. At the exact instant in which impact occurs, the so called “splashes” move at a speed far beyond what the human eye can perceive. Consequently, it is only after the image has been frozen photographically, that one can examine their finest details. One will then find after close observation that each splash is completely unique. The uniqueness of the splash depends on the intensity of the impact, which generates the crown around the liquid. Therefore, intensity of both speed and impact make it very difficult for a photographer to produce two similar shots.

The challenge for the photographer lies within the techniques used to achieve the desired effect. One shot may be done simply by natural means, without retouching, like a strawberry thrown in a spoonful of milk. Another project, however, may require an extremely sophisticated approach as in “Brazilian Soccer”. In this case, a few shots were taken in view of the concept, ahead of the final digital work.

Tony Genérico is one of these persons for whom the verb, “to move,” sounds like music and challenges are actual doors to new discoveries. In the name of photography, he has been Holiday on Ice´s prop maker in the effervescent sixties, and a barman in New York, where he used to drink and eat photography from the hands of masters like Philippe Halsman, from whom he learned the art of portraiture, and was part also of the group that had put together the Soho Gallery in 1972.

Until April 19, from 1:30 PM To 5:30 PM

Colorida Art Gallery
Costa do Castelo 63, Lisbon - Portugal
Tel 351 211 512 142
http://www.colorida.pt

Public transportation: Metro linha verde Martim Moniz, Eléctrico 28, Eléctrico 12
Parking: Portas do Sol - Alfama

Follow Fluxus - After Fluxus

Emily Wardill
is the first laureate of the
Follow Fluxus–After Fluxus grant!

Follow Fluxus - After Fluxus
ll NKV
nassauischer kunstverein wiesbaden
wilhelmstr 15
65185 wiesbaden
germany
info@kunstverein-wiesbaden.de
http://www.kunstverein-wiesbaden.de

The first ever Follow Fluxus – After Fluxus grant for young contemporary art called by the NKV nassauischer kunstverein wiesbaden and the State Capital of Wiesbaden and doted with 10.000 Euro goes to British video and performance artist Emily Wardill.

Follow Fluxus – After Fluxus /

Follow Fluxus – After Fluxus supports young international artists whose work suggests ideas inherent to the Fluxus art movement in order to keep the art current alive. The establishment of the grant was inspired by the “Fluxus Festival of Very New Music” which took place in Wiesbaden in 1962. This Fluxus event provided the first real broad impact for the new art movement and started off what is now seen as the first international movement operating in a global network.

The endowment of 10,000 Euro is provided annually for a residency in Wiesbaden from June through August. Living quarters and studio space is provided by NKV during this time. The work stipend concludes with an exhibition of the artist’s created work in the following year between September and May and includes a publication. The grant holder should reside predominantly in Wiesbaden for the duration of the grant period.

Emily Wardill /

Emily Wardill’s fresh and insistent pictorial language and her ambition to tap the full potential of the medium film convinced the jury to elect her as the first ever Follow Fluxus – After Fluxus laureate of the NKV and the State Capital of Wiesbaden.

Following sources of philosophy, science and culture, in her films Emily Wardill recomposes text and image material from the history of ideas – such as the motives of medieval church windows or theoretical treatises from Ruskin to Rancière – and develops a many layered and intense meshwork of autonomous statements and concepts. Her work is concerned with strategies of communication and the implicit connection between the structure of a language and the media conversion of the pre-existent text and image material.

Based on one single metaphor, one carefully chosen motif, Wardill plays with the sensuous possibilities of filmic narrative. With the thus surging social and psychological implications, she pulls the spectator into an intense tableau vivant. The expectation of a complex overall meaning is fed by hidden leads and encoded clues for possible interpretations: The visitor’s perception is wooed along a labyrinthine path of intellectual seduction.

This is where the jury sees the point of contact in the further development of George Maciunas’ ideas. Primal for the jury’s decision was not an artist’s self-image as an heir of historical Fluxus but rather a body of work which transpires the Fluxus spirit, free of any categorical boundaries.

The Jury 2008

/ Prof. Thomas Bayrle, artist and Professor at the Staedelschule Frankfurt
/ Michael Berger, Collection Berger, Wiesbaden
/ René Block, Curator of the Fluxus Trilogy Wiesbaden 1982 - 1992 - 2002
/ Rita Thies, Head of Cultural Department of the city of Wiesbaden
/ Elke Gruhn, Director and Curator of NKV and Dr. Ursula Schaumburg-Terner, Board Member of NKV

Follow Fluxus – After Fluxus is a cooperation of the ll NKV nassauischer kunstverein wiesbaden and the State Capital of the City of Wiesbaden.

Govett-Brewster Art Gallery

Jayce Salloum
‘untitled’ part 4: terra (in)cognita
2005 (video still)

Bill Culbert, Francis Upritchard,
Jayce Salloum and Len Lye

Govett-Brewster Art Gallery
New Plymouth
Aotearoa New Zealand

http://www.govettbrewster.com

Jayce Salloum: International Artist in Residence
everything and nothing and other works from the ongoing project ‘untitled’ 1999-2008
Until 25 May 2008

Francis Upritchard: New Zealand Artist in Residence
Rainwob I
Until 18 May 2008

Bill Culbert: Groundworks
Until 18 May 2008

Len Lye: A Portrait Gallery
Until 18 May

The Govett-Brewster Art Gallery’s latest suite of exhibitions showcases new works by internationally acclaimed artists Bill Culbert, Francis Upritchard and Jayce Salloum.

Jayce Salloum: everything and nothing and other works from the ongoing project ‘untitled’ 1999-2008
Curated by Mercedes Vicente

Vancover-based Jayce Salloum presents the exhibition everything and nothing and other works from the ongoing project ‘untitled’ 1999-2008, which sees the continuation of this multi-channel video installation started in 1999. ‘untitled’ addresses the social and political realities of individuals and communities affected by conflict, nationalisms, borders, global political shifts, self-determination, and interstitial space and time. Documenting through oral histories the lives and subjectivities of people in places such as Lebanon and the former Yugoslavia, these works offer an insight into the conditions of living between polarities of culture, geography, history and ideology. Conceived as research or reading - ‘a living archive’-, ‘untitled’ is made of an ongoing series of individual video projects that build over time. A new work started during this residency chronicles stories of Maori communities and individuals, their relationship to the land in Aotearoa N
ew Zealand and the resonance of history in their lives. This work will be part 6 to ‘untitled’, following the elegiac accounts of the First Nations people of Western Canada collected in part 4.

Francis Upritchard: Rainwob I
Curated by Melanie Oliver

Gawky, abject and sentimental figurative sculptures populate a psychedelic visionary landscape in Francis Upritchard’s Rainwob I. For this new work developed during her residency, London-based Upritchard draws on the hallucinatory works of sixteenth-century figurative painters Hieronymus Bosch and Pieter Bruegel, countercultural rhetoric, utopian futurism and the fantasies of survivalists, millenarians and social exiles. Combining aspects of the familiar, antique and ultramodern, the figures model the faithfulness of spiritual and alternative lifestyles, yet they also allude to the futility and compromise inherent to dreams. Occupying a single platform that fills the gallery space, this world can also be viewed over one’s shoulder from a domestic seating arrangement incorporated into one end. As the landscape peels away behind the viewer, ideas around time, hope, social and evolutionary change are brought to the fore.

Rainwob II will be exhibited at Artspace, Sydney, 4 - 27 April and Gertrude Contemporary Art Spaces, Melbourne, 8 August – 5 September 2008.

The Govett-Brewster Art Gallery’s Artist in Residence programme is presented in partnership with the Western Institute of Technology at Taranaki and Creative New Zealand.

Bill Culbert: Groundworks
Curated by Rhana Devenport

As a conjurer of light, New Zealand-born, London-based Bill Culbert orchestrates the transformation of humble domestic objects into poetic vehicles for ideas and states of being. His installations harness everyday light sources – lamps and fluorescent tubes – and exist as reminders of the power of material transience and immaterial imagination.

His latest exhibition Groundworks experiments with thresholds of light. It premieres three works for New Zealand audiences; with two created especially for the Govett-Brewster. Each inhabits its own space in the Gallery. Flotsam 1992 – 2008 comprises a visual score that rescues the plastic detritus of domestic living to form willing counterpoints within a field of coloured fluorescent light. View West Taranaki 2008 was created at the Govett-Brewster and is a remembrance of the special light that hovers at sunset over the sea viewed from New Zealand’s West Coast. Flat Lighthouse 208, also made especially for this exhibition, is a meditation on the play of light as signs within buildings as it falls through the aperture of windows and radiates from artificial sources. All three works are filtered through the compression of the artist’s memory of place.