Artipedia - Arts News

Exit Art

Brandon Ballengée, Malamp UK, 2008

E.P.A (Environmental Performance Actions)
March 15 - May 3, 2008

Exit Art
475 Tenth Avenue
New York, NY 10018

http://www.exitart.org

Brandon Ballengée, Vaughn Bell/Sarah Kavage/Nicole Kistler, Mark Brest van Kempen, Carissa Carman/ Joanna Lake, The Center for Tactical Magic, Susanne Cockrell/Ted Purves, Xavier Cortada, Carrie Dashow/Jesse Pearlman Karlsberg, Erica Fielder, Ozzie Forbes, Futurefarmers, Fritz Haeg, Amy Howden-Chapman, Basia Irland, Scot Kaplan, Carolyn Lambert, Robin Lasser, Kathryn Miller, Miss Rockaway Armada, Matthew Moore, Eve S. Mosher, EcoArtTech: Cary Peppermint/Christine Nadir, Andrea Polli and Joe Gimore with Dr. Patrick Market, Rapid Response (Cobb/Fend/Fischer/Meyer), Agents of Change Project Leader James Reed and Social Sculpture Research Unit/Earth Agenda Projects, Austin Shull, Brooke Singer/Brian Rigney Hubbard, Anne-Katrin Spiess, Chris Sollars

E.P.A. (Environmental Performance Actions) is a group exhibition surveying recent performance works that take as their cues the spontaneous situations and intermedia of the Happenings and Fluxus movements, and the impassioned energy of environmental activism. Environmental performance actions began in the 1960s when artists, responding to a host of environmental crises and concerns, began organizing both guerilla actions and planned performances to draw attention to those issues and suggest solutions. The legacy of those pioneering artists, like Joseph Beuys, Hans Haacke, Alan Sonfist and Agnes Denes, inspired a second, and now a third, generation of artists to explore the interstice of humans and nature. The documentation of their activities, performed mostly outdoors with a limited audience, has evolved with technological innovations in photography and video, allowing a larger audience to engage in the dialogue created from these artists’ actions. E.P.A. includes a range
of ephemera, artifacts and documentation from thirty recent actions. The works range from theatrical to documentary and capture the multifarious strategies that artists are using to address issues such as climate change, watersheds, urbanization and, ultimately, human survival.

E.P.A. is the first project of S.E.A. (Social-Environmental Aesthetics), an exhibition program and archive of artworks that address social and environmental concerns. It will assemble artists, activists, scientists and scholars to address these issues through presentations of visual art, performances, panels and lecture series. Central to the mission of S.E.A. is to provide a vehicle through which the public can be made aware of this kind of work, to provide a forum for collaboration between artists and ecologists and to inspire them to continue the tradition of work that S.E.A. presents. The S.E.A. Archive will be a permanent catalog of information, images and videos that will be a searchable database for scholars and researchers. S.E.A., E.P.A., and all future projects will occupy a permanent space in Exit Underground, a multimedia performance, film, and exhibition venue underneath Exit Art’s main
gallery space.

This project was curated by Exit Art, ecoartspace curator Amy Lipton, and founder/co-curator Patricia Watts. The S.E.A. initiative and E.P.A. exhibition were conceived by Papo Colo and Jeanette Ingberman.

PUBLIC PROGRAM

Wednesday, March 26, 7pm
HUMAN/NATURE:

Panel discussion with:
Eve Mosher, artist
David Van Luven, climate change scientist and Hudson River program director at
The Nature Conservancy

Moderator:
Patricia Watts, founder and co-curator of ecoartspace

Presented in collaboration with ecoartspace and The Nature Conservancy

Mosher’s yearlong public art project HighWaterLine involved the artist marking ten-feet above sea level along the New York waterfront with a chalk line to bring attention to the dangers of flooding brought on by climate change. Join us as we discuss the implications of climate change on New York City’s landscape and community – and explore how art can connect human beings with the awareness of larger environmental issues.

ABOUT EXIT ART
Exit Art is an independent vision of contemporary culture. We are prepared to react immediately to important issues that affect our lives. We do experimental, historical and unique presentations of aesthetic, social, political and environmental issues. We absorb cultural differences that become prototype exhibitions. We are a center for multiple disciplines. Exit Art is a 25 year old cultural center in New York City founded by Directors Jeanette Ingberman and Papo Colo, that has grown from a pioneering alternative art space, into a model artistic center for the 21st century committed to supporting artists whose quality of work reflects the transformations of our culture. Exit Art is internationally recognized for its unmatched spirit of inventiveness and consistent ability to anticipate the newest trends in the culture. With a substantial reputation for curatorial innovation and depth of programming in diverse media, Exit Art is always on the verge of change.

Exit Art is located at 475 Tenth Avenue, corner of 36th Street. Exit Art is open each Tuesday through Thursday, 10 am - 6 pm; Friday, 10 am - 8 pm; Saturday, noon - 8 pm. Closed Sunday and Monday.

For more information please call 212-966-7745 or visit http://www.exitart.org

New Museum

Night School, Public Seminar 3
Liam Gillick: Three Short Texts on the Necessity of Creating an Economy of Equivalence

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

Three one-hour lectures. The outline of a possible text. Five parts will be tested and developed quickly.

Thursday, March 27, 7:30 p.m.: The night before closure of an experimental factory.
Friday, March 28, 7:30 p.m.: Redundancy following the promise of infinite flexibility.
Saturday, March 29, 3 p.m.: Reoccupation, recuperation and pointless renovation.

A QUESTION OF WHERE TO COMMENCE NEW STRUCTURES IN LIGHT OF SOME RETURNS
AND EMERGENCES:

THE POSTWAR AS A FINISHED MOMENT: IN THE EUROPEAN CONTEXT AND GLOBAL CONTEXT VIA COLD-WAR INDENTIFICATIONS (E.G. ILLUSION OF IDEOLOGICAL VICTORY OF THE RIGHT…)

THE INABILITY OF THE ART CONTEXT TO IDENTIFY WITH THE NEW CONDITIONS.

COALESCENCE OF INDUSTRIAL LABOUR IN CHINA (AMONG OTHER THINGS). THE FRAGMENTATION OF LABOUR IN DETAIL. SPECIFICALLY IN LIGHT OF VARIED SO-CALLED FREE-TRADE AGREEMENTS.

THE NECESSITY TO POSIT A NEW FRAMEWORK OF ACTION THAT CAN ACCOUNT FOR THESE LOSSES AND GAINS AND PREVENT THE MOST DYNAMIC WORK FROM BEING UNDERSTOOD AS OPERATING WITHIN AN INSTRUMENTALIZED TERRAIN. (THAT MAY OR MAY NOT ONLY BE CONNECTED TO THE NOTION OF “POST-WAR” SOCIAL DEMOCRACY)

THE BOOK (THE TEXT AS OBJECT VERSUS THE FILE TO BE EXCHANGED.)

IMMATERIAL LABOUR (CULTURAL CONTEXT OF THE COMMODITY)

ANALOGOUS MAPPING (WHERE DO THE DISCURSIVE MODELS EMERGE FROM IN A HEAVILY INSTRUMENTALISED CULTURAL ENVIRONMENT)

CULTURAL ECHOES (WHAT ARE THE DANGEROUS ECHOES OR PARALLEL MODELS: THE JIM
JONES EFFECT?)

SITES OF PRODUCTION (THE SITES OF PRODUCTION STILL REQUIRE WORK. THIS IS THE REASON FOR MISUNDERSTANDINGS AND HIERARCHIES WITHIN EVEN THE MOST DYNAMIC DISCURSIVE MODELS)

AGENCY IN RELATION TO ECO-POLITICS (CARBON EXCHANGE: THE LUKACS QUALITY OF ECO-SELF-CONSCIOUSNESS. THE OVER-RIDING OF THE POLITICSISZED DISCOURSE)

COALESCENCE/RETURN OF CLASSICAL RELATIONS OF PRODUCTION (+ THEIR ERASURE IN A DEVELOPED SENSE – DE-UNIONISZM ETC.)

CONSENSUS MODELS AS A PHANTOM PARALLEL (MODEL OF SOCIALLY RESPONSIBLE BUSINESS – AMELIORATED WORKING ENVIRONMENT…)

DETAILED WORK IN THE CULTURAL FRAME (WHO IS DOING IT? WHERE IS THE CONTEMPORARAY DYNAMIC LOCATED? ART CURATING THEORETICAL FOCUS)

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.

Liam Gillick is based in New York and London. Numerous solo exhibitions since 1989 include “Literally,” The Museum of Modern Art, New York, 2003; “Communes, bar and greenrooms,” The Powerplant Contemporary Art Gallery, Toronto, 2003; “The Wood Way,” Whitechapel Gallery, London, 2002; “A short text on the possibility of creating an economy of equivalence,” Palais de Tokyo, 2005. Selected group exhibitions include “Singular Forms,” Guggenheim Museum, 2004; 50th Venice Biennial, 2003; “What If,” Moderna Museet, Stockholm, 2000 and documenta X, 1997. Numerous public projects and interventions include Fort Lauderdale Airport in 2002; the new Home Office government building in London in 2005 and the Lufthansa Headquarters in Frankfurt in 2006. Since 1995 Gillick has published a number of books that function in parallel to his artwork including Literally No Place (Book Works, London, 2002); Five or Six (Lukas & Sternberg, New York, 1999); Discussion Island/Bi
g Conference Centre (Kunstverein Ludwigsburg, Ludwigsburg, and Orchard Gallery, Derry, 1997), Erasmus is Late (Book Works, London, 1995) and most recently PROXEMICS: SELECTED WRITINGS 1988–2006 (JRP|Ringier, Zurich, 2007). Gillick has contributed to many art magazines and journals including Artforum, Parkett, Frieze, Art Monthly, and he also writes a regular column for Metropolis M in Amsterdam. He has taught at Columbia University, New York, since 1997. A retrospective series of exhibitions opened in January 2008 at Witte de With and the Kunsthalle Zurich travels to the Kunstverein München in July, and ends at the Museum of Contemporary Art in Chicago in January 2009.

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.

PULSE New York

Alina and Jeff Bliumis
Language Barrier
2006
C-print
Courtesy of RuArts Gallery

Third PULSE New York Moves to Pier 40

Thursday, March 27 through
Sunday, March 30, 2008

West Side Highway at West Houston in Greenwich Village

http://www.pulse-art.com

Contemporary Art Fair to Feature Expanded Cultural Programming
Including the Debut of PULSE PERFORMANCE and PULSE PAUSE

PULSE Contemporary Art Fair will return to New York for the third year in a larger venue and with expanded cultural programming, offering the public a dynamic and extensive perspective on the latest developments in visual arts. Held at Pier 40 on the West Side Highway at West Houston from March 27 through March 30, 2008, the Fair will run concurrently with The Armory Show, and will present a selection of 90 established and emerging international galleries, its largest production to date. PULSE New York will also host a series of large-scale installations and sculptures, the debut of its experimental programs PULSE PERFORMANCE and PULSE PAUSE, and the return of PULSE PLAY.

Following its critical and commercial success in Miami, which drew a record 16,000 visitors and brought unprecedented sales, PULSE New York will take over Pier 40, an 80,000 square-foot space that allows for more spacious and innovative booth displays. Making their first appearances at the Fair will be CONRADS of Düsseldorf, Pippy Houldsworth Gallery of London, and Espacio Liquido of Gijón, as well as Monya Rowe, Yossi Milo, and envoy of New York, among many others. “We are very happy to welcome the new galleries on our distinguished list of exhibitors. PULSE Contemporary Art Fair will provide them with the most vibrant and professional environment to conduct their business”, says Helen Allen, Director of the Fair.

PULSE New York will also feature an array of cultural programs, which will be on view throughout the pier and will enhance the experience for collectors and the general public. “Our new home will provide us with a tremendous opportunity to introduce innovative programming and open up new avenues for discourse on contemporary art”, says Helen Allen. Among the highlights will be PULSE’s celebrated series of original installations and large-scale sculptures, which will include works by Mark Anstee, Jennifer Burkley Vasher, Graham Caldwell, castaneda/reiman, Leonardo Drew, Ryan Humphrey, John Kalymnios, Mike Latham & Arts Corporation, Lucas Lenglet, Nathaniel Rackowe, Paul Mpagi Sepuya, Mark Shetabi, Andy Yoder, and Almond Zigmund.

PULSE PERFORMANCE, featuring the Brooklyn dance troupe Chez Bushwick and artist Mary Coble will make its debut. Chez Bushwick will present The Invention of Minus One, a performance choreographed by Jonah Bokaer with music by Christian Marclay and interpreted by award winning dancers from the Merce Cunningham Dance Company. The product of a year of research using advanced motion-capture technology to study the movements of dancers, the work examines the erasure of the moving body and the trace of its presence.

Artist Mary Coble will perform Blood Script, an endurance act in which a list of graphic, hateful insults will be tattooed onto Coble’s skin without ink over the course of two six-hour long sessions. Contact prints of each word will be created and exhibited for the duration of the Fair.

PULSE PAUSE, a reading room produced in collaboration with Parsons The New School for Design will also debut at the Fair. The space, designed by a group of students from the MFA Program in Fine Arts selected by Independent curator Jeffrey Walkowiak, will serve as a place for relaxation, discussion, and contemplation. In addition to viewing artworks from the MFA Studios, visitors will therefore be offered an insight into the readings and interests of students in today’s art schools.

PULSE PLAY, the video and technology lounge, will return for its second edition, this year featuring Sameness, Difference and Desire, a series of works examining the human eye and its perception of desired objects. The program, curated by Bill Arning, Curator at the MIT List Visual Arts Center in Cambridge, will include videos by Ann Carlson and Mary Ellen Strom, Maria Friberg, Allen Grubesic, Danny Hobart, Sean M. Johnson, and Gabriel Martinez.

The Lounge of Ethereal Fun, the Children’s VIP Lounge by Jenny Marketou, is conceived as an appealing space designed with a welcoming mix of artwork and children’s artifacts to provide “red carpet” hospitality to children ages 6–14 who love to create and collect art. All children visiting PULSE New York will receive special VIP cards for the Lounge at the Fair’s entrance. The Lounge will feature floating drawings, video programs, easy tunes, artist magazines, a range of creative activities, the artist’s interviews of the children, plus exclusive ethereal guided tours of the Fair.

Malgorzata Romanska, President and CEO of MR Industries, will present the PULSE Prize New York 2008. The PULSE Prize is a cash grant awarded to an emerging artist selected from those exhibiting in the IMPULSE section of the Fair, without restriction on medium, to be selected by a committee comprised of international art professionals. Previous PULSE Prize recipients include: Duke Riley, Travis Somerville, Chris Natrop and Chen Chieh-Jen.

PULSE New York would like to thank the following for their generous support:
Austrian Airlines
New York Residence
Financial Times
ArtReview
Beautiful Decay
MutualArt.com
ARTWARE editions
Parsons The New School for Design
Chez Bushwick
The Hudson River Park Trust
Lavazza
IZZE
Christiania
lwin design
MR Industries
Grolsch, providing “swingtop” beers, is also a supporter of PULSE New York.

General Information:
PULSE New York will take place Thursday, March 27 through Sunday, March 30, 2008, at Pier 40 on the West Side Highway at West Houston in Greenwich Village.

Fair Hours:
Thursday, March 27: 12 noon - 8pm
Friday, March 28: 12 noon - 8pm
Saturday, March 29: 12 noon - 8pm
Sunday, March 30: 12 noon - 5pm

Complimentary shuttle service will be provided between PULSE New York and The Armory Show, VOLTA NY, and the Chelsea Gallery District ( Shuttle locations available at http://www.pulse-art.com ).

For more information about PULSE Contemporary Art Fairs, please visit http://www.pulse-art.com or call +1 (212) 255-2327

Media contact:
For further information, registration to the Fair, visuals, or interviews please contact:

Andy Cushman
Blue Medium, Inc.
T: 212-675-1800
E: andy@bluemedium.com

Kunstmuseum Wolfsburg

Philip Taaffe
Unit of Direction, 2003
Mixed media on canvas
306 x 306 cm
Essl Museum Klosterneuburg/Vienna
Copyright: 2008 Philip Taaffe

Philip Taaffe.
The Life of Forms.
Works 1980 - 2008
March 8, 2008 - June 29, 2008

Kunstmuseum Wolfsburg
Hollerplatz 1
38440 Wolfsburg
Germany
phone: +49-5361-2669-0
fax: +49-5361-2669-66
info@kunstmuseum-wolfsburg.de

http://www.kunstmuseum-wolfsburg.de

The exhibition surveys the entire oeuvre of American artist Philip Taaffe, who was born in 1955 in New Jersey. Having first gained international recognition in the early 1980s with the appropriation art movement, Taaffe has combined his own conception of abstract art with an exploration of ornamental imagery. In this sense Philip Taaffe is working towards a universal “global language of abstraction”, bringing together ornamental elements from different parts of the world and diverse cultures – Arabic, Celtic, pre-Columbian, Asian, Japanese etc. – into a “world ornament” on a square of canvas. In his aesthetic research by way of “visual poems” and “collective constructions” Taaffe delves deep into the history of forms and styles, employing a variety of artistic techniques to create paintings with elaborately layered surfaces. His works give insight into cultures around the world, which as borrowed ornaments in Taaffe’s paintings repeatedly enter into surp
rising dialogues. In a world dominated by globalization tendencies, Taaffe proves himself to be a mediator between the various cultures by emphasizing the respective singularity of each.

Opening hours:
Tuesday: 11 a.m. - 8 p.m.
Wednesday to Sunday: 11 a.m. - 6 p.m.
Monday: closed