Artipedia - Arts News

Glaspaleis Heerlen

Kim Gordon / Image: Evan Young

International icon Kim Gordon
opens exclusive exhibition
Glaspaleis Heerlen – The Netherlands

http://www.glaspaleis.nl

At 18:00 hours on Friday 18th April, the Glaspaleis in Heerlen will open the unique exhibition ‘Sway: A Way In’ by the American artist, musician and exhibition organiser Kim Gordon, mainly known from her prominent role in the legendary band Sonic Youth. In her solo exhibition, she displays a new series of water colours as part of a larger installation. ‘Sway: A Way In’ is Kim Gordon’s first solo exhibition in the Netherlands. The exhibition can be seen in the Glaspaleis from Friday 18th April to Sunday 15th June. An artist’s book will appear at the exhibition in a limited edition.

In her new water colour series, Gordon shows a number of elusive, transparent portraits. Painted in subtle, thin water colour strokes, these volatile, ethereal images create the illusion of faces in an audience as seen from the perspective of a (performing) artist. The series will form part of a larger installation which Kim Gordon herself will realise on site. She uses a variety of materials, media and techniques and there is also an added musical dimension. A video production, which will be projected on the Glaspaleis facade during the evening, is the finishing touch of this unique solo presentation.

In her work, Kim Gordon expresses her interest in the interaction between the artist and the public and the uncontested power an artist seems to have on stage. Gordon was inspired to this series of water colours when she projected video clips of the public onto the podium while performing. As one can manipulate the focus of a video projector in order to blur all projected images, one can also look for the borders of outlining and abstraction and study how abstract the images of the public can be made without their faces losing their identifiable features, which Gordon made her challenge in these water colours. The use of metallic pigments creates the illusion of a spotlight being aimed at the audience which reverses the roles of the artist and the audience.

Kim Gordon is an important international icon of our times. She has lived and worked in New York and South Hampton since 1980. She studied at the Otis College of Art and Design in LA and in the early eighties she worked for various galleries including Annina Nosei Gallery and White Columns. As an art critic she has published in Art Forum, ZG Magazine, Real Life and various catalogues. In 1981, Gordon forms the band Sonic Youth together with Thurston Moore, Lee Ranaldo and Richard Edson, with whom she has since released numerous albums and played at all the important clubs and major festivals worldwide. In addition, she set up the band Freetime with Julie Cafritz in 1992. She also directed the video for The Breeders, coproduced Hole’s ‘Pretty On The Inside’ CD and started X Girl, a clothing line specialising in skater fashion for girls, in 1994. In 1996 Gordon participated in the ‘Baby Generation’ display in Parco Gallery in Tokyo, Japan, after which she continued wi
th the ‘I Love New York’ exhibition held at the Ludwig Museum in Cologne. Kim’s work, that can be defined as avant-garde, has since been exhibited in Japan, the US and parts of Europe. ‘Sway: A Way In’ is Kim Gordon’s first solo exhibition in the Netherlands. In 2000, as a guest curator, she created a group exhibition entitled ‘Kim’s bedroom’ for the MU in Eindhoven.

Vernissage: Friday 18th April, 18:00-20:00 hours. Kim Gordon will be present at the vernissage.

Free entrance. Opening hours: Tue-Fri: 11:00-17:00 hours I Thurs 11:00-20:00 hours | Sat-Sun: 13:00-17:00 hours

Glaspaleis Heerlen I Bongerd 18 I P.O. Box 1 I 6400 AA Heerlen
http://www.glaspaleis.nl

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Information for the press:

Kim Gordon will be present in Heerlen on Thursday 17th and Friday 18 th April. She will be available for interviews on these two days. For more information or to make an appointment, please contact Janneke Schmeitz or Charlotte Berkhout / Glaspaleis Heerlen.

Janneke Schmeitz: j.schmeitz@heerlen.nl / T : 0031 – (0)45 – 5772203
Charlotte Berkhout : c.berkhout@heerlen.nl / T : 0031 – (0)45 – 5772203

Ludwig Museum

FLUXUS EAST — FLUXUS NETWORKS IN CENTRAL EASTERN EUROPE
18 April - 1 June 2008

Opening:
Thursday, 17 April 2008, 6.00 pm.

Opening speech by
Petra Stegmann, Curator

Guided tour and press reception:
17 April 2008, 5 pm.

http://www.lumu.hu

Fluxus is well-known as an (anti-)artistic, international network with centres in the USA, Western Europe and Japan. But what about this “intermedia” art – art encompassing music, actions, poetry, objects and events – beyond the “Iron Curtain”? What echo did Fluxus find in the states of the former Eastern Bloc, and what parallel developments existed there? As a “programme of action”, Fluxus – according to its self-styled “chairman”, the exiled Lithuanian George Maciunas in a letter to Nikita Chruscev – was predestined to bring about unity between the “concretist” artists of the world and the “concretist” society of the USSR. Maciunas planned Fluxus as a collective based on the model of the Russian LEF (Left Front of the Arts). But these plans – e. g. for a performance tour by the artists on the Trans-Siberian Railway –, developed with polished communist rhetoric in manifestos and letters, were to remain no more than a utopia. After 1962, a
different Fluxus East developed through creative exchange between Fluxus artists and artists/musicians of the former Eastern Bloc, leading to events including concerts with Fluxus compositions broadcast by Polish Radio (1964), Fluxus concerts in Lithuania (1966), Prague (1966) and Budapest (1969), and later a Fluxus Festival in Poznan (1977). Fluxus East represents a first stocktaking of the diverse Fluxus activities in the former Eastern Bloc; the exhibition shows parallel developments and artistic practices inspired by Fluxus, which are still adopted by some young artists today. Besides the “classic” Fluxus objects, the display will include photographs, films, correspondence, secret police files, interviews and recordings of music that document the presence of Fluxus in the former Eastern Bloc. As an interactive exhibition, Fluxus East aims to facilitate a profound encounter with ideas, works and texts – some presented as facsimiles to permit intense study. It is possible to play at Flux Ping Pong, and visitors are also invited to explore the Poïpoïdrome by Robert Filliou.

For further information please visit: http://www.fluxus-east.eu/

ACTIONS AND PERFORMANCES AT THE OPENING NIGHT
17 April 2008, 6 pm -10 pm

Endre Tót: Flyer Action (projection)
Eric Andersen: Opus 1068
Gábor Altorjay: General Pop
Geoffrey Hendricks: Grid 1983-2008, for Charlotte Moorman, nam June Paik and Emmett Williams
George Maciunas: Fluxus News-Policy 6/B/c/3
Variation: Breakdown-andante
(Homage to George Maciunas) Led by the Intermédia Créche Branch: Kati Bessenyei, Gergely Eörtzen Nagy, Zsolt Hajdu, Orsolya Lukács, Bence Rohánszky, Klára Simon, Tamás St.Auby, Dániel Tésy

FLUXUS SYMPOSIUM,
18 April 2008, 11.00 am – 8.00 pm
Hungarian-English translation service will be provided

11.00 am -2.00 pm

Introduction by Barnabás Bencsik, Director, Ludwig Museum-Museum of Contemporary Art
Petra Stegmann: Fluxus East
Jaroslaw Kozlowski: Knitting the NET
Eric Andersen: The Legendary East European Tour of 1964.
Maria Anna Potocka: Questions and Comments Hanging over Fluxus
Gábor Altorjay: Five tables

3.00 pm – 6.00 pm

László Beke: Hungarian Art and the Fluxus
Annamária Szoke: Miklós Erdély and the Fluxus
Ekaterina Obermair: 4′ 33″ Generation Generali
Led by: Ekaterina Obermair, St.Auby Tamás
Conducted by: Wolfgang Obermair
Pavlína Morganová: Czech Action Art in the 1960s and the 1970s
Andrea Bátorová: Parallels to Fluxus in Slovak Alternative Art in the 1960s and 1970s
Gábor Tóth: Secret Music

6.30 pm – 8.00 pm
Discussion with the participation of the artists, scholars and the audience.
Geoffrey Hendricks: A Tone for Roskilde

RELATED EVENTS DURING THE EXHIBITION TIME

Guided tours in the exhibition every Thursday at 6.00 pm, 7.00 pm. in English
18 May 2008 5.00 pm lecture by Milan Knízák with the support of the Czech Center
20 May 2008 6.00 pm lecture by István Antal and János Sugár
31 May 2008. in the framework of lumú 10-10
5 pm-7 pm Discussion about Military Secret by Miklós Erdély, Guests: Annamária Szoke, Dániel Erdély and András Kapitány
8.00 pm Fluxus Videos from the Artpool Archives–presented by Viktor Kotun communication researcher

RELATED EVENTS

16 April, 2008, 5.00 pm
Czech Action Art, exhibition opening in the Czech Center
6.30 pm
Robert Watts: Flux Med (1987), exhibition opening in Artpool P60 Geoffrey Hendricks speaks and performs some scores of Bob Watts

Ludwig Museum
Museum of Contemporary Art
PALACE OF ARTS
H-1095 Budapest, Komor Marcell u. 1
Phone (36 1) 555 3444
Fax: (36 1) 555 3458
info@lumu.hu

Paolo Pennuti, Going to sleep is something absolutely certain in life, 2007, video still, courtesy: e x t r a s p a z i o, Roma

e x t r a s p a z i o gallery
via San Francesco di Sales 16/a
I - 00165 Rome
tel / fax +39 06 68210655
info@extraspazio.it
http://www.extraspazio.it

e x t r a s p a z i o gallery presents Paolo Pennuti’s solo exhibition “Going to sleep is something absolutely certain in life”.

From april 18 to may 16, 2008.

In the video of the same name (with the collaboration of Lorenzo Pazzi and Gianluca Stazi), a nocturnal sequence shot with camera-car depicts a spectral and desolate cityscape.
Against this visual background we hear two voices alternating fragments of speech: the first is a man who speaks in a calm and composed tone about his life, his work and his social position which he feels to be compromised. The second is a voice that mechanically imparts instructions to elicit relaxation and sleep. The overall effect is hypnotic and alienating.
In this work the narrative fragments (images and voices) are deprived of the conventionality of linear succession and recombined to create a new space-time horizon and reconstruct an original poetic syntax, with links and suggestions to be fully explored.
In his artistic procedure, then, Pennuti puts into relation and superimposes different real elements in such a way as to form – through their encounter and synthesis – a new level of representation, as in the case of the photographic and graphic work on show together with the video.

Paolo Pennuti, born 1974 in Forlì, lives and works between Rome and Venice. He is one of the most promising Italian videoartists of his generation.
Apart from his personal production, Paolo Pennuti is also involved in the “Shoggoth” project with Daniele Pezzi.
In 2007 he was awarded first prize by the Bevilacqua La Masa Foundation of Venice, a BLM study grant (for the video Going to sleep is something absolutely certain in life).
In 2004, as Shoggoth, he won the “Progetto video” prize at the Pesaro International Film Festival (with the video Travelgum).

Solo exhibitions: Shoggoth, L’espal - scène conventionnée, Le Mans, 2007 (as Shoggoth); Shoggoth, Villa Serena, Bologna, 2004 (as Shoggoth).

Selected group exhibitions: Vernacular Terrain (tour: Australia, Japan, China), 2008-09 (as Shoggoth); Introduction to Bevilacqua La Masa Foundation archives, CareOf, Milan, 2008; Project Series-Boots Substation, Contemporary Art Museum, St. Louis, Missouri, 2008 (as Shoggoth); I borsisti. 90ma Collettiva Giovani Artisti, Palazzetto Tito, Bevilacqua La Masa Foundation, Venice, 2007; Laws of Relativity, Re Rebaudengo Foundation, Guarene, 2007; Mipdoc, The international showcase for documentary screenings, Cannes, 2007; Invisible miracles, Viafarini, Milan, 2007 (as Shoggoth); Catodica 2, Lipanjepuntin Gallery, Trieste, 2006 (as Shoggoth); Videoreport Italia 04_05, Galleria Comunale d’Arte Contemporanea, Monfalcone, 2006 (as Shoggoth); Media.06, L’arte della città digitale, Villa Serena, Bologna, 2006 (as Shoggoth); Domus circular, Stadio Meazza, Milan (as Shoggoth), 2005; Lastminute.Bo. Ricerche artistiche a Bologna, Museo Laboratorio Arte Contemporanea, La Sapienza Univ!
ersity,
Rome, 2005 (as Shoggoth); Premio Furla, Querini Stampalia Foundation, Venice, 2004 (as Shoggoth); Effetto farfalla, Museo Laboratorio ex manifattura tabacchi, Castel Sant’Angelo, 2004 (as Shoggoth); Keep n’touch, GAM, Bologna, 2004 (as Shoggoth); Pesaro International Film Festival, 2004 (as Shoggoth); Gemine muse, Pinacoteca comunale, Forlì, 2003; Openairvit_03, Randomhaiku, Berlin, 2003.

Education: XIII Advanced Course in Visual Arts, Antonio Ratti Foundation, Como, 2007 (as Shoggoth); Degree in Visual Art Production, IUAV, Venice, 2007; Grant at New York University, 2006; Degree in Philosophy, Bologna University, 2001.

opening hours: monday-friday 3.30-7.30 pm or by appointment

LABoral Centre for Art
and Creative Industries

HOMO LUDENS LUDENS
LOCATING PLAY IN CONTEMPORARY
CULTURE AND SOCIETY
Exhibition: 18th April - 22nd September 2008
Symposium: 19th - 20th April 2008

LABoral Centro de Arte y
Creación Industrial, Gijón
http://www.laboralcentrodearte.org

LABoral Centro de Arte y Creación Industrial presents HOMO LUDENS LUDENS, an international exhibition and symposium exploring games as a critical element in our daily lives and a speculation on the emergence of the “Homo Ludens Ludens”: the contemporary playing man. What does it mean “to play” and to be “a player”?

The goal of this Symposium, organised jointly with The Planetary Collegium, is to provide the framework for contemporary play, to highlight its interdisciplinary nature, and to show the multifaceted reality of our present-day entertainment society.

ARTISTS PARTICIPATING IN THE EXHIBITION: John Paul Bichard, France Cadet, Derivart, Devart, Hannah Perner-Wilson & Mika Satomi, Ge Jin, Vladan Joler, Radwan Kasmiya, John Klima, La Fiambrera Obrera & Mar de Niebla, Danny Ledonne, Valeriano López, Ludic Society, Marcin Ramocki & Justin Strawhand, Martin Pichlmair & Fares Kayali, Brian Mackern, Larry Miller, MIT Lab - Drew Harry & Dietmar Offenhuber & Orkan Telhan, Molleindustria, Julian Oliver, Orna Portugaly & Daphna Talithman & Sharon Younger, Personal Cinema & the Erasers, Rolando Sánchez, Alex Sanjurjo, Gordan Savicic, Axel Stockburger, Silver & True, Román Torre, David Valentine/MediaShed (ft. Methods of Movement), Volker Morawe & Tilman Reiff, William Wegman.

SYMPOSIUM PARTICIPANTS: Roy Ascott, Laura Baigorri, Laura Beloff, Erich Berger, José Luis de Vincente, Julian Dibbell, Daphne Dragona, Wolfgang Fiel, Gonzalo Frasca, Luis Miguel Girão, Margarete Jahrmann, David McConville, Guto Nóbrega, Julian Oliver, Paolo Pedercini, Mike Phillips, Martin Pichlmair, Michael Punt, Nicolas Reeves, Natacha Roussel, Semi Ryu, Anne Marie Schleiner, Natasha Vita-More, McKenzie Wark, Monika Weiss.

CURATORS:
Erich Berger, Chief Curator, LABoral Centro de Arte y Creación Industrial, Gijón
Laura Baigorri, New Media Arts Curator, Barcelona
Daphne Dragona, New Media Arts Curator, Athens

LABoral Centro de Arte y Creación Industrial is a space for artistic exchange. It is set up with the purpose of establishing an effective alliance between art, design, culture, industry and economic progress and the goal of becoming a space for interaction and dialogue between art, new technologies and industrial creation. It throws a special spotlight on production, creation and research into art concepts still being defined.

Opening Hours: Wednesday to Monday, 12 noon - 8 pm
LABoral Centre for Art and Creative Industries
Los Prados, 121
33394 Gijón (Asturias) Spain
Tel: +34 985 185 577
http://www.laboralcentrodearte.org
info@laboralcentrodearte.org

Trail, Helfenberg, 2004

Hassla Books is proud to announce it’s new publication with photographer Bernhard Fuchs. “Streets and Trails” is Fuchs’ third monograph, and Hassla’s fourth publication.
You can order directly from Hassla at http://www.hasslabooks.com

Institute of Contemporary Arts (ICA) London

Celador: A taste of illusion -
The sweets especially conceived by
Loris Gréaud for Cellar Door

Loris Gréaud
Cellar Door (Once is Always Twice)
25 April - 22 June 2008

Institute of Contemporary Arts
(ICA) London

http://www.ica.org.uk

“This is the story of the Studio, a vast workshop distended in space and time. Even now, machines are whirring, plans are planning, and electrons spinning, all according to a most fantastic choreography.” - From the Cellar Door librett0

The ICA is proud to present the first UK solo exhibition by French artist Loris Gréaud, entitled Cellar Door (Once is Always Twice). Gréaud, one of the most innovative and distinctive artists to emerge on the international art scene in recent years, is presenting a new installation consisting of three almost identical rooms, and which draws on his interweaving interests in art, architecture and music.

Gréaud’s practice is characterised by a desire to fuse different fields of knowledge and activity, in a manner which is both futuristic and utopian. His modus operandi is comparable to that of cinematic production and he often works with experts from diverse disciplines (including architects and scientists). Gréaud’s work is orientated to ideas and processes rather than finished form, and his projects are liable to manifest themselves in different ways over time, and move between rumour and fact.

Cellar Door is an ambitious artistic experiment that has a range of manifestations. One is Gréaud’s installation at the ICA; another is a major exhibition at Palais de Tokyo, Paris (until 27 April); a third is an opera – scored by Thomas Roussel with a libretto by Raimundas Malasauskas and Aaron Schuster – which will be staged at the Paris Opera at the end of the year; and a fourth is the actual studio space which Gréaud is building for himself on the outskirts of Paris. The notion of an artist’s studio is fundamental to Cellar Door: operating as a symbol of imagination and potential, and as the starting point of a perpetual cycle of activity; but also manifesting itself as an actual physical space, one which will provide Gréaud with the tools to realise future projects. The artist considers all of these diverse manifestations of Cellar Door as a single object.

Gréaud’s installation at the ICA, with its three almost identical rooms, reveals another of the artist’s key preoccupations – the notion of doubling and repetition. The repeating elements within the rooms include: high-speed automatic doors which open like shutters; special light-emitting speakers designed by the artist (used to play the opera); a wall-mounted text piece rendered from mirrored lettering (When people tell me that I know how this story is going to end I usually tell them: wait till the end and you will see yourself…); and a carpet with a pattern derived in part from architect Buckminster Fuller’s experiments with the geodesic dome (Fuller is a forefather of the current debate on architecture and global economy, and an emblematic figure for Gréaud).

The title of Cellar Door is inspired by JRR Tolkien’s essay English and Welsh (1955), in which the author and linguist remarked on the beauty of the words ‘cellar door’ – a famous example of euphonious phrasing. A further twist to the project is found in the creation of Celador: a taste of illusion – a bag of sweets (dispensed from a vending machine in the ICA’s bar), specially conceived by the artist, which – disconcertingly - have no taste whatsoever. The artist’s intention is that the consumer can project whatever flavour they like onto it – thus reflecting the open-ended and collaborative nature of the Cellar Door project as a whole.

Loris Gréaud (born 1979 in Eaubonne, lives in Paris) studied at the Conservatoire de Musique in Paris and at the École Nationale Supérieure des Beaux-arts de Cergy. Trained across a broad range of disciplines, in the past Gréaud has set up his own record label and in 2004 he created DGZ Research – with architects Marc Dölger and Damien Ziakovic – a multidisciplinary production studio to realize his projects. His solo exhibitions include Silence Goes More Quickly When Played Backwards, Le Plateau, Frac Île de France, Paris (2005), Illusion is a Revolutionary Weapon, Swiss Institute, New York (2006) and Devils Tower, Prix Paul Ricard 2005, Centre Pompidou, Paris (2006). His solo performances include Crossfading, Whitney Museum, New York (2006) and Tremors Were Forever, Mori Museum, Tokyo (2007). His group exhibitions include BMW, IX Baltic Triennale, CAC, Vilnius (2005) and Airs de Paris, Centre Pompidou, Paris (2007).

Loris Gréaud: Cellar Door (Once is Always Twice) is accompanied by an artist’s book featuring the libretto of Cellar Door (published by JRP / Ringier), and a CD featuring a recording of the opera (produced by La Manufacture du Disque). The exhibition in the ICA’s lower gallery runs concurrently with Nought to Sixty, a season of solo projects by emerging artists from the UK and Ireland, taking place in the ICA’s upper galleries (5 May – 2 November 2008).

http://www.ica.org.uk