Artipedia - Arts News

PULSE New York

Colorfuse, 2008
Entrance to PULSE New York
Courtesy of LWIN Design

PULSE Contemporary Art Fair Debut at Pier 40
Proves a Public, Critical and Commercial Success

http://www.pulse-art.com

PULSE Contemporary Art Fair wrapped up its Pier 40 debut with solid sales, its highest New York attendance to date, and an acclaimed menu of public programs and installations. Over the four-day fair 12,000 visitors, including major collectors, art professionals and critics (up from 9,500 in 2007), browsed the diverse set of premier international galleries to discover and experience a vast selection of contemporary art.

Under the guidance of fair Director Helen Allen, PULSE broke new ground by bringing its 2008 edition to the West Village. According to Allen, “PULSE continually strives to provide a fantastic experience at a thriving contemporary art marketplace. This year in New York we came closer than ever to realizing our vision for an ideal presentation, with new media and performing arts alongside large installations and renowned international galleries. The reward has been enthusiastic exhibitors with consistent sales through the entire weekend.”

Feedback from the 96 exhibitors, which represented more than 20 countries, was incredibly positive, including Vienna gallerist Lukas Feichtner who said, “Visitors gave us an extraordinary response; 100 percent of those to whom I spoke said it was their favorite of the New York fairs. PULSE has demonstrated that it can provide an interesting and enjoyable event that attracts major collections such as Bank of America and J.P Morgan Chase, along with those of private individuals.”
Large-scale photographs, digital prints and new media works were in extremely high demand throughout the course of the Fair. New York’s P.P.O.W. sold a 50,000 USD woven photograph by Dinh Q. Lê, and Richard Levy Gallery of Albuquerque sold a large photograph by Korean In Sook Kim for 60,000 USD. Frankfurt gallerist Anita Beckers reported a complete sellout, including the sale of a work by Sigalit Landau that went to a Southern California-based museum trustee, along with the sale of a large Vee Spears photograph to Tokyo’s CB Art Collection. She later referred to the Fair as her “best ever”. DNA of Berlin, sold two Mariana Vassileva videos, including her Journal (2000-06) to a Guggenheim board member, while hilger contemporary of Vienna experienced brisk sales of John Gerrard’s Grow Finish Unit (Eva, Oklahoma), selling four of the edition at 60,000 USD each, and having another reserved by a major US museum.

Sculptural works were also in high demand, with Baró Cruz of São Paolo moving two small 1960’s aluminum sculptures by Lygia Clark for a combined 150,000 USD, and San Antonio-based Finesilver Gallery’s sale of Leonardo Drew’s large glass-vitrine and cast-paper installation Number 90 to an undisclosed Spanish foundation.

This edition of PULSE New York also presented PULSE Pause and PULSE PERFORMANCE, two new elements of the fair. At the PULSE Pause Reading Room, a collaboration between the Fair and Parsons The New School for Design curated by Jeffrey Walkowiak, an installation by graduate student Brandon Nastanski gained the young artist national press attention. Meanwhile, with PULSE PERFORMANCE, visitors were given solid glimpses of contemporary performing arts courtesy of Brooklyn dance troupe Chez Bushwick and artist Mary Coble.

Crowds gathered to view Mary Coble perform her Blood Script, a 16 hour long performance spread over the course of two sessions, during which hateful insults were tattooed onto the artist’s skin without ink by artist Duke Riley, who is represented by New York’s Magnan Projects. Contact prints were made from her blood from each tattoo and displayed within her performance space. The performance prompted Maura Reilly, Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum to comment, “I’m very interested in the way that Mary pushes the viewer’s experiences and sensibilities while drawing upon the lineage of neo-dada and feminist icons like Catherine Opie. Performances such as these are usually associated with male figures like Chris Burden or Vito Acconci, and it is wonderful to see a young artist push herself in this way. The intervention of a work like this in an art fair is amazing to behold. Kudos to Conner Contemporary and PULSE for brin
ging such a non-commercial work to a market setting.”

Another first for PULSE was The Lounge of Ethereal Fun, a children’s VIP lounge designed by artist Jenny Marketou. Children visiting the Lounge were given the opportunity to relax in high-design seating, decorate balloons, and grant interviews on their collecting habits.

This year saw the second edition of PULSE PLAY, a video and new media lounge which was curated by MIT List Visual Arts Center Curator Bill Arning. PULSE’s series of large-scale sculptures and original installations, including works by Paul Mpagi Sepuya, Mark Shetabi, Jennifer Burkley Vasher and Andy Yoder, among others, also made its return.

The PULSE Prize, a cash grant awarded to an emerging artist selected from those exhibiting in the IMPULSE section of the Fair was presented by Malgorzata Romanska, President and CEO of MR Industries to painter Philip Gurrey, of London’s Madder139.

PULSE Contemporary Art Fair will return to Miami this winter to coincide with Art Basel Miami Beach at Soho Studios in the Wynwood District.

About PULSE Contemporary Art Fair:
PULSE Contemporary Art Fair is held annually in New York and Miami and presents high-quality artworks in an environment that serves both seasoned and emerging collectors. The format of the Fair is divided between a main section devoted to a select choice of international galleries invited by the PULSE Committee, and the IMPULSE section featuring solo and two person exhibitions presented by emerging galleries. The Fair provides a friendly, highly selective and innovative context for all of
its constituents.

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 or Elizabeth Reina
Blue Medium, Inc.
T: 212-675-1800
E: andy@bluemedium.com

SPIKE ART MAGAZINE

Cover image: Matthew Barney

SPRING 2008 OUT NOW!
spike art magazine
Kaiserstraße 113–115
1070 Vienna
+43 1 360 85 201
spike@spikeart.at

http://www.spikeart.at

Deutsch / English:

GELITIN
Gelitin’s “La Louvre” in the Musée d’Art Moderne in Paris. By Francesco Stocchi

MIRCEA CANTOR
A lattice-work of chance observations. Ines Gebetsroither on the Romanian artist.
& NEW ARTIST’S EDITION: MIRCEA CANTOR
Please see on http://www.spikeart.at/editionen

FRANCES STARK
The words and the images. Hans-Jürgen Hafner on the work of the American artist.

RASA TODOSIJEVIC
A pioneer of the Belgrade art scene. By Hans Ulrich Obrist. SHORT STORIES by Rasa Todosijevic

GOOD BYE TO ALL THAT
About the state of art criticism in Great Britain. By Julian Stallabrass

ARTIST’S FAVOURITES: Jeremy Deller
Haroon Mirza, Luke Fowler, Ruth Ewan, Jarrett Mitchell, Cary Kwok

CURATOR’S KEY: Vincent Honoré
Le Regard (1966) by Louise Bourgeois

GALERIE ISABELLA BORTOLOZZI, BERLIN
A short portrait by Hans-Jürgen Hafner

BERLIN BIENNALE 5
Rumors and Things in Progress. By Nick Currie

CLEAN DISTORTIONS
On a performance by Micol Assael und Mika Vainio at Johann König Gallery in Berlin. By
Francesco Stocchi

TIME TRAVEL
Design in Stanley Kubricks “2001: A Space Odyssey”. By Ursula Maria Probst

ZERO COMMENTS
Geert Lovink’s new book. A review by Manuel Wisniewski

LJUBLJANA
About the art scene in the Slovenian capital. By Antje Mayer

REVIEWS
Whitney Biennale (Dt./Engl.), Juan Pedro Fabra (Dt./Engl.), Heimo Zobernig / Dan Perjovschi

Michal Budny, “Suite française”, Michael Höpfner, Matthew Barney, Manfred Erjautz, Matias Faldbakken, “SGOZZATA”, Manfred Kuttner, Josephine Meckseper, Paul Thek, “All Inclusive”, Mai-Thu Perret,
Liam Gillick

TBILISI ON MY MIND
By Daniel Baumann

SPIKE ARTISTS’ EDITIONS
Exclusive, numbered and signed by
Gerwald Rockenschaub
Cory Arcangel
Kendell Geers
Liam Gillick
Mircea Cantor

Please visit our booth at ART COLOGNE (April 16–20) and at the VIENNAFAIR
(April 24–27)!

For additional information, orders and subscriptions please contact:
spike art magazine
Kaiserstraße 113–115
1070 Vienna
+43 1 360 85 201
editionen@spikeart.at

The Museum of Modern Art,
New York

Image Copyright: 2008 Studio Olafur Eliasson

Take your time: Olafur Eliasson
April 20 - June 30, 2008

On view at The Museum of Modern Art & P.S.1 Contemporary Art Center

http://www.moma.org

MoMA AND P.S.1 PRESENT THE MAJOR SURVEY TAKE YOUR TIME: OLAFUR ELIASSON

The Museum of Modern Art and P.S.1 Contemporary Art Center present Take your time: Olafur Eliasson, the first comprehensive survey in the United States to explore the highly experimental work of Olafur Eliasson, whose large-scale immersive environments and installations elegantly recreate the extremes of landscape and atmosphere in his native Iceland. In his work, Eliasson recontextualizes elements such as light, water, ice, fog, stone, and moss to create unique situations that shift the viewer’s perception of place and self. By transforming the galleries into hybrid spaces of nature and culture, Eliasson prompts an intensive engagement with the world and offers a fresh consideration of everyday life.

The exhibition’s 38 works include 14 of those featured in the originating exhibition first presented at the San Francisco Museum of Modern Art as well as 24 additional works, six of which were uniquely designed for this exhibition. Drawing from public and private collections worldwide, the exhibition will be on view at MoMA and P.S.1. from April 20 through June 30, 2008.

The exhibition is organized by Madeleine Grynsztejn, former Elise S. Haas Senior Curator of Painting and Sculpture at the San Francisco Museum of Modern Art (SFMOMA), where the exhibition originated. In New York, it is coordinated and expanded by Roxana Marcoci, Curator, Department of Photography; and Klaus Biesenbach, Chief Curator, Department of Media, The Museum of Modern Art.

Probing the cognitive aspects of what it means to see, Eliasson creates complex optical phenomena using simple, makeshift technical devices: Colored bulbs bathe a room in yellow light, turning everything inside monochrome; strobes illuminate a thin curtain of falling water, causing the eye to “freeze” the droplets in midair; kaleidoscopes produce colorful prismatic effects; mirrors reflect spotlight beams, revealing an artificial dimension. By making visible the mechanics of his works and laying bare the artifice of the illusion, Eliasson points to the elliptical relationship between reality, perception,
and representation.

Inspired by the meteorology and terrain of his native Scandinavia, Eliasson often recontextualizes natural phenomena, as exemplified by his wall of reindeer moss at MoMA and indoor rainbow and upward-flowing waterfall at P.S.1. In his works these sights appear natural, yet invariably they are artificially induced. Even as his work fosters wonder, it also emphasizes the ways in which cultural institutions mediate our perception of natural phenomena.

The monumental new installation Take your time (2008), one of the six new works Eliasson created for the New York presentation, takes its name from the exhibition’s title. A circular mirror, 40 feet in diameter and weighing 600 pounds, is mounted to the ceiling of P.S.1’s largest gallery at an angle and rotates at one revolution per minute, destabilizing viewers’ perception of space as they pass
underneath it.

Eliasson presents perception as it is lived in the world. Because people do not stand in front of his works as if before a picture, but rather inside them, actively engaged, his installations posit the very act of looking as a social experience. In MoMA’s Marron Atrium, for instance, an electric fan hangs from the ceiling to swing above the visitors below. The fan’s ever-changing, unpredictable arcs provide a striking metaphor for perception in motion. Eliasson engages in an ongoing exploration of subjectivity, reflection, and the fluid boundary between nature and culture, revealing the degree to which reality is constructed and helping us to reflect more critically on our experience of it.

Take your time: Olafur Eliasson was circulated by the San Francisco Museum of Modern Art and organized there by Madeleine Grynsztejn. At The Museum of Modern Art and P.S.1 Contemporary Art Center the exhibition was expanded, and its organization and installation were overseen by Roxana Marcoci and Klaus Biesenbach.

Lead support was provided by Helen and Charles Schwab and the Mimi and Peter Haas Fund. Generous support was provided by the Bernard Osher Foundation, the Barbro Osher Pro Suecia Foundation, and SFMOMA’s Collectors Forum. Additional support was provided by Patricia and William Wilson III, the Andy Warhol Foundation for the Visual Arts, and the National Endowment for the Arts.

The New York showing is made possible by the Mimi and Peter Haas Fund.

Additional funding is provided by Jerry I. Speyer and Katherine G. Farley, Danish Ministry of Culture, and Skagen Designs.

PUBLIC PROGRAMS

The three-day symposium The Colors of the Brain, a collaboration with the Graduate School of Architecture, Planning and Preservation (GSAPP) of Columbia University and with Studio Olafur Eliasson, reviews and critiques contemporary cultural theories of color that have emerged from artistic and scientific practice. Programs take place at MoMA (April 18), at Columbia (April 19), and at Studio Olafur Eliasson in Berlin (May 9).

On April 22, the panel discussion Proto-Cinema: Contemporary Art and the Geometry of Motion explores how contemporary artists address the interstice between film and photography by deconstructing the mediums through various conceptual uses, and how such elements are incorporated into exhibitions.

For more information, please visit http://www.moma.org/thinkmodern

ONLINE PROJECT

Find images of the works in the exhibition, video interviews, interactive floor plans, background information, and images of the Olafur Eliasson Studio online with the April 20 launch of http://www.moma.org/olafureliasson . The site will also display pictures taken by select visitors on cell-phone cameras that will snap images at random intervals, conveying the experiential nature of the installations and the journey that visitors experience passing through them.

For press inquiries, please contact:
MoMA: Meg Blackburn, 212/708-9757 or meg_blackburn@moma.org
P.S.1: April Hunt, 718/786-3139 or april@ps1.org

THE MUSEUM OF MODERN ART
11 West 53 Street
New York, NY 10019
(212) 708-9400
http://www.moma.org

Portikus and MMK
Museum für
Moderne Kunst

I AM A MAN

Parade by Arto Lindsay and students at the Staatliche Hochschule für Bildende Künste–Städelschule–, Frankfurt

A project by Portikus and MMK Museum für Moderne Kunst for Frankfurter Positionen 2008

Date: April 19, 2008
Begins at 3 pm
Start at Portikus–across Alte Brücke–down
Fahrgasse to MMK

Street festival outside the MMK begins at 6 pm

http://www.portikus.de
http://www.mmk-frankfurt.de

I AM A MAN is a parade by Arto Lindsay and the students of the Städelschule in Frankfurt.

This parade was conceived as part of the Frankfurter Positionen whose theme this year is
Inventing Life.

The title of the parade is taken from signs carried in a demonstration led by Dr. Martin Luther King during the garbage workers strike in Memphis during the 60’s and will feature various groups that allude, some more abstractly and some less abstractly, to the notion of a body both liberated by and at odds with improvements visited on it.

Marchers will include a Spielmannszug (a german brass band), a local parade band, and a group of robot dogs (the recently discontinued Sony Aibos) that carry speakers, one dog per instrument.

Among other groups we will have a small crowd of philosophers carrying on a debate on the subject of the language specificity of philosophy instigated by Heidegger’s well known remark that among modern languages only German is suitable for philosophy. Some lindy hopper, some bonsais and some cheerleaders will add to our heterogeneity.

The parade will also feature virtuoso dancer Richard Siegal, until recently a member of the Forsythe Company, Marivaldo Paim, master percussionist from Ilê Aiyê in Bahia and Nico Vascellari, a young Italian hard core punk musiician and artist.

Arto Lindsay is an American musician and artist who lives in Salvador, Bahia in Brasil. He began performing in New York in the late late 1970’s with his band DNA.

Lindsay has collaborated with visual artists such as Vito Acconci, Dominique Gonzalez-Foerster and, on a carnaval parade in Bahia, with Matthew Barney.

A project by

Portikus
Alte Brücke 2 / Maininsel
D-60596 Frankfurt am Main
http://www.portikus.de

and

MMK Museum für Moderne Kunst
Domstraße 10
D-60311 Frankfurt am Main
http://www.mmk-frankfurt.de

As part of
Frankfurter Positionen 2008
http://www.frankfurterpositionen.de

An initiative of BHF-BANK-STIFTUNG