Artipedia - Arts News

Spinnerei archiv massiv

Lorenza Lucchi Basili
Space eighty-two, Leipzig
chromogenic print on dibond
105×70cm
2008

Bildarchive 5: Lorenza Lucchi Basili
May 1 - September 16, 2008

Spinnerei archiv massiv
Spinnereistrasse, 7, building 20A
04179 Leipzig
Germany

Tue-Sat 11am-6pm
tel. +49 - 341 - 47 84 141
archivmassiv@spinnerei.de
http://www.spinnerei.de

Spinnerei archiv massiv is proud to present Bildarchive 5, showcasing a site-specific project of Lorenza Lucchi Basili.

For each step of Bildarchive, Spinnerei archiv massiv invites international artists to develop a photographic project on Spinnerei, a huge, former cotton spinning mill complex extending over 70,000 square meters of active surface, distributed in 23 distinct buildings. Today Spinnerei is home to many international art galleries, artists’ studios, workshops, commercial and service activities, and represents the core of the Leipzig art scene. It has received substantial international press coverage as one of today’s global hot spots of contemporary art. As more and more new tenants come in to use and inhabit previously abandoned spaces, Spinnerei is subject to a constant flux of physical, perceptual, and psychological change. The aim of the Bildarchive project is to build a non-documentary narrative of this flux by asking artists with different backgrounds and approaches to photographical work to provide a personal, entirely unconstrained account of their experience of Spinnere
i as a physical, social, symbolic, economic space.

Lucchi Basili has developed her Bildarchive project during a one-month residence at Spinnerei, following a short preliminary visit. Lorenza began her residence without a specific idea in mind, and let it develop through the daily interaction with the place. As the complex’s buildings had been photographed so many times already, she tried to question their conventional imagery. She has found a most striking foundation for an alternative approach to Spinnerei in its receptive mutability to the ever-changing light and weather conditions that are typical of Leipzig’s early Spring, and that paved the way to a perceptual and conceptual conundrum. In her photos, Lorenza has eliminated any recognizable reference to the present age, developing a somewhat suspended imagery that seems to refer to Spinnerei’s past epochs, thereby evoking a sequence of layers of meaning that have piled up during its existence.

The images presented in the exhibition, six large, coupled 120×180 cm chromogenic prints in the main exhibition room, and a smaller 105×70 cm one at the space’s entrance, are only a partial outcome of the project. They establish a subtle dialectics among four of the space’s possible layers of meaning. The postcard set which accompanies each step of the Bildarchive project has been turned by Lucchi Basili into a project in itself, nested within the exhibition project, and presenting a sequence of ten images that define a conceptual and visual loop on one of Spinnerei’s less recognized identities. Any of the other communication materials of the exhibition, including the present release, contain more selected image samples from the overall project, suggesting a possible trans-media and almost viral expansion. The whole body of work of Lucchi Basili’s Spinnerei project will be eventually collected in a forthcoming monographic book, currently in progress.

Lucchi Basili will have another solo show in Germany later this year at uqbar Project Room in Berlin, within the framework of the 3rd European Month of Photography.

Insa Art Space of the
Arts Council Korea

“Dongducheon: A Walk to Remember, A Walk to Envision”

May 8 - July 6, 2008
New Museum of
Contemporary Art, New York
http://www.newmuseum.org

July 16 - Aug. 24, 2008
Insa Art Space, Seoul
http://www.insaartspace.or.kr

Sangdon Kim
Koh Seung Wook
Rho Jae Oon
siren eun youg jung

Insa Art Space of the Arts Council Korea organizes “Dongducheon: A Walk to Remember, A Walk to Envision,” a 2 year-long project for commissioning new art productions and cultural discourses on the local community of Dongducheon in S. Korea. This project is initiated from “Museum as HUB”, an inter-institutional network & partnership program by New Museum of Contemporary Art in New York. Composed of exhibition, workshop, symposium, lectures, talks & discussions, archive and film screening, “Dongducheon Project” presents 12 new artworks by 4 invited Korean artists, Koh Seung Wook, Sangdon Kim, Rho Jae Oon, and siren eun youg jung in exhibitions at New Museum
and IAS.

Dongducheon is a small city with 88,000 population in the land of 96㎢. Located halfway between the capital city Seoul and the South Korean Front Line to North Korea, the city has been allotted by the central government for stationing foreign military bases over the half century since the Japanese Colonial era. Almost the half portion of its territory is occupied currently by the US Army bases, and most of the rest land is taken by mountains. Squeezed in-between, people of Dongducheon have had rare options for their survival besides succumbing to the top-down policies made by mega-structural powers. The city has served-and been structured and represented- only as a “military camp town.” The problem here is not just the fact that there have been a series of whatever interventions, regulations and controls inflicted to the region by external invisible hands behind the scene, but also that the levels and means of the interventions were so fundamental and continuous as to in
terfere onto interpersonal and inter-communal recognition, communication and relationship. In these times of new world order, expansive global capitalism, corporate developmentalism and competitive privatization, the city stands bare in front of us as a site of collective negation, manipulation, elimination, exception, oblivion and non-visibility.

With the help of art and artist as creative public agents, this project suggests to be a medium of reinterpretation, articulation, communication, provocation and action on the region, all of which would eventually require us to critically reexamine the problems of our own minds and attitudes that have contributed to ongoing neglect and misunderstandings on the region. As the first attempt to locate Dongducheon in the structure of art production and cultural discourses, this project wishes to evoke diverse perspectives and discussions on other similar “neighborhood” regions, which is convinced to support autonomous local voices’ awareness and will to envision the future of Dongducheon.

Among numerous social apparatuses framing the contextual understanding of the region, this project claims to set the first priority on the subjects of local community. Artists, corresponding to each individual singularity, approach different communities of the region and develop different tools and ideas in dealing with their most urgent issues. Various forms of interface including casual dialogues over meals and walks, intimate/formal interviews, document/literary text research, field trips, and participatory educational workshop were contrived in this process and employed in final artworks.

In his single channel video “Dribbling Mouth” based on photo archives and literary text, Koh Seung Wook delves into the issue of “naming” the undocumented or misrepresented subjects of the past, and following difficulty in articulating the issues related to them in the present time. Strictly counting on talks and interviews, Sangdon Kim reveals the points of local subjects’ encountering with the external reality and their subsequent counteraction by inventing co-opted new languages and memory in his new pieces, “Little Chicago,” “Foreign Apartment” and “Hold your breath for four minutes.” In “The Narrow Sorrow,” siren eun youg jung, through a series of intimate dialogues with present club workers, illuminates unregistered invisible beings marginalized in contemporary Dongducheon by marking their places and relating their unheard narratives in present situation of the region. In his web publishing “Bite the Bullet!,” Rho Jae Oon addresses the issu
es of perception and recognition structuralized on a fundamental level by the media simulacra of past and future. He examines the key metaphoric images recurring in Hollywood movies on the war memory that have programmed even our future envisioning through fast image circulation and wide dissemination in common culture.

In conjunction to the exhibit, two artist books by Koh Seung Wook and Sangdon Kim are published. A Dongducheon project book compiling talks and lecture programs will be published by IAS, ARKO with more essays by international contributors.

Talk Programs
Artist Talk & Public Discussion, Thursday, May 8, 7:30 p.m ., New Museum Theater
Moderated by Heejin Kim (Curator, IAS) & Lee Daehoon(NGO Studies, Sungkonghoe Univ., Seoul)

Public Forum, Friday, May 9, 7:00-9:00pm, AiCenter, NY
Hosted by Nodutdol activists for Korean Community Development

Lecture #1 : Theodore Hughes, Saturday, May 10, 3 p.m., New Museum Theater (Korean Literature & East Asian Studies, Columbia University, NY)

Lecture #2 : Hyun Sook Kim, Saturday, June 7, 3 p.m., New Museum Theater (Sociology, Wheaton College, MA)

Dongducheon Project Symposium, July 16, 2008, IAS, Seoul
- “Museum as HUB”(New Museum, Vanabbe Museum, Museo Tamayo, Townhouse Gallery, IAS)
- Lecture # 3 : Brian Holmes (Cultural Critic, Paris)
- Artist Talk & Public Discussion
Artists, Hwang Sejun (Art Critic), Kang Hong-gu (Co-Director, Dongducheon People’s Coalition)

Insa Art Space, ARKO (Arts Council Korea)
90 Wonseo-dong, Jongno-gu, Seoul, Korea, 110-280
tel. 82 2 760 4728, fax. 82 2 760 4725
http://www.insaartspace.or.kr
http://www.arko.or.kr
Contact: Heejin Kim, hjk@arko.or.kr
ias@arko.or.kr

New Museum of Contemporary Art
235 Bowery
New York, NY 10002
tel. 1. 212.219.1222
http://www.newmuseum.org/
http://www.museumashub.org/

Kunstverein in Hamburg

Sharon Lockhart
Untitled, 2007
courtesy neugerriemschneider, Berlin

SHARON LOCKHART
Through June 15, 2008

Kunstverein in Hamburg
Klosterwall 23
20095 Hamburg
T. 0049-(0)40-33 84 44
F.0049-(0)40-32 21 59
Tue-Sun 11-18
Thu 11-21

http://www.kunstverein.de

Kunstverein in Hamburg is pleased to present a major exhibition of the work of the American artist Sharon Lockhart. This exhibition continues the Kunstverein’s series of wide-ranging solo exhibitions of outstanding artists who work predominantly in the media of film and photography, including Yael Bartana, Willie Doherty, Andrea Fraser, Mark Lewis, Paul McCarthy, and others. The exhibition is accompanied by a catalogue published by DuMont Verlag with essays by Diedrich Diederichsen, Yilmaz Dziewior and Mark Godfrey.

Born in 1964, Lockhart lives in Los Angeles. She is best known for producing works in series, often consisting of both photographs and films, that she develops slowly over time, often after substantial research. The earliest work in the exhibition is Audition (1994), a series of 5 color photographs. Resembling film stills, these photographs show pairs of children reenacting the “first kiss” scene from François Truffaut’s film L’argent de poche (Small Change). This work explores a host of issues that Lockhart would develop further in subsequent works, including her interest in the tensions between photography and film, documentary and art, analytical distance and subjective empathy, socially engaged subject matter and rigorously conceptual form, and the transitional period between childhood and adulthood.

The exhibition continues with works from the late 1990s and 2000s that Lockhart shot in museums. These include Enrique Nava Enedina: Oaxacan Exhibit Hall, National Museum of Anthropology, Mexico City 1999 (1999), a series of photographs focusing on sculptures by the artist Duane Hanson (2003), and a group of photographs picturing an art conservator attempting to re-create the process by which the artist Morris Louis Art created his famous Color Field paintings. These works explore the space of a museum as a site where cultural meaning is produced, the differences between photographic and other modes of representation, and the nature of work.

The exhibition also includes a film and series of photographs that Lockhart produced in Japan based on her interest in the cultural phenomenon of NO-no Ikebana. A working-class response to an academicized art form, NO-no Ikebana is a radical genre of flower arranging in which the artist draws inspiration from vegetables and other items grown on farms—a medium that farmers could practice because they grew the materials. In the film NO (2003), two farmers spread hay across an otherwise empty field, creating what resembles a landscape painting in real time. The related photographic series NO-no Ikebana (2003) consists of 19 photographs divided into 4 groupings depicting the life cycle of an arrangement of brussel sprouts over the course of one month.

One of Lockhart’s most recent series, Pine Flat (2005), is featured in the exhibition in depth. Consisting of a film and a series of photographs, these works developed from her multi-year collaboration with a small community in California’s Sierra Nevada Mountains. The film is presented as a feature-length film consisting of 12 10-minute segments, which is screened theatrically, and a film installation, which is presented in the museum. In the museum, the film is broken down into its segments, which are shown as individual loops over a period of days. Shot in a portrait studio the artist set up in the community, the photographs feature portraits of the children with whom she worked. She encouraged the children to act within the studio’s stark theatrical setting, giving them space to create individual personae for
the camera.

Lockhart’s works have been presented in major solo exhibitions at museums including the Walker Art Center in Minneapolis, the Museum of Contemporary Art in Chicago, and the Museum Boijmans van Beuningen in Rotterdam, and Kunsthalle in Zurich, as well as in renowned international film festivals in New York and Berlin.

Thanks to the CORA-Kunststiftung, Hamburg for supporting the exhibition.

For further information or image material please contact
Kunstverein in Hamburg, Meike Behm, T. 0049 – (0)40 – 32 21 57, behm@kunstverein.de

Flag Metamorphoses at: Urban Screens Manchester 2007

CALL FOR ENTRIES:

http://www.flag-metamorphoses.net

Next deadline: August 30, 2008 (and ongoing)

Flag Metamorphoses is a participatory art project - a continuously growing series of animations with many authors: The flags of every nation in the world will transform into each other through flash animations. Between each two flags, scenes appear to show an aspect of the relations between the two countries - an exploration into the meaning of imagery on flags, aiming to create interrelated associations through questioning, reassessing, fluidizing and re-mixing of diverse national iconography.
Flag Metamorphoses lays stress on the relations between nations as changing ones: Only in the permanent re-creation of values, symbols and ways of life, in mixing with others and differing from others, identities, cultures and societies stay alive. Each artist who creates a flag animation expresses such a relation in his/her own way. You too can contribute!

To find out how to participate (concept + call in 8 languages), to see Flash flag animations and the list of exhibitions and festivals, please visit: http://www.flag-metamorphoses.net
________________________

Myriam Thyes
Himmelgeister Str. 107 F
40225 Dusseldorf
Germany
Tel: +49-211-9053500
myriam@thyes.com
www.thyes.com

Video still from ‘Intervju med Saskia Holmkvist’ (2005) by Saskia Holmkvist.

Manon de Boer (Brussels, BE), Miriam Bäckström (Stockholm, SE), Kajsa Dahlberg (Malmö, SE and New York, US), Saskia Holmkvist (Stockholm, SE), Kristina Lee Podesva (Vancouver, CA), and Kerry Tribe (Berlin, GE and Los Angeles, US)

Curated by Johan Lundh

Opening reception Friday May 2, between 5 pm and 8 pm, Svarta Havet, Konstfack, (Stockholm SE)

Saturday May 3 and Sunday 4, between 3 pm and 5 pm, Svarta havet

Free admission

‘I’ll Be Your Mirror’ features six performative film and video works which investigate notions of subjectivity and identity through strategic use of the camera. Ranging from experimental self-portraits to hands-on interviews, the artists explore how the moving image can be used both as a self-reflexive tool and a reciprocal form of representation. The artists draw upon the genealogy of video art, as an interdisciplinary medium ideal for examining narrative structures.

Manon De Boer’s ‘Sylvia Kristel — Paris’ (2003), elicits the intricate relationship between identity and memory through recollections of an actress looking back on her earlier career and life. In Miriam Bäckström’s ‘Rebecka’ (2004), the artist considers the ambiguous arena between reality and fiction in a staged interview with an actress. Kajsa Dahlberg’s ‘20 Min (Female Fist)’ (2005), investigates representation and identity through the eyes of a feministic activist. In ‘Intervju med Saskia Holmkvist’ (2005), Saskia Holmkvist focuses on the fabrication of the interview situation itself. Kristina Lee Podesva’s ‘Holiday’ (2007), problematizes the role of the artist and documentary form vis-a-vis themes of globalization, labor, and personal narrative. In ‘Double’ (2001) Kerry Tribe undermines the self-portrait as an artistic genre in a playful way.

The works are unified by a thoughtful concern for the philosophical and cultural possibilities of self-understanding and social interaction in a time when identity often is reduced to a product for consumption or an arbitrary sign. Ultimately, ‘I’ll Be Your Mirror’ sheds light over the contingencies and confinements of self-reflexivity and dialogue in a globalizing, capitalistic, world.

For more info about the project and high-resolution press images, contact Johan Lundh at: iwillbeyourmirror@gmail.com

Konstfack
LM Ericssons väg 14
126 37 Hägersten
P: 08-450 41 00
F: 08-450 41 29
W: www.konstfack.se

VOLTA4

VOLTA4 – Basel
June 2nd- June 7th, 2008

http://www.voltashow.com

After the brilliant U.S. debut of the Basel show with VOLTA NY, the engines barely have time to cool as VOLTA gets revved up for its traditional stop in Switzerland in June. VOLTA4, the fourth edition of Basel’s cutting edge art fair, brings several positions in new and emerging art from 63 galleries around the world. The ULTRA BRAG facility at the Basel harbour is the place to be this June during the Basel Art Week.

VOLTA4, the 2008 edition, will take place once again at the ULTRA BRAG premises in the Basel Harbour. VOLTA4 is proud to continue its partnership with Sallfort AG, one of Basel’s most reputable asset management firms, and Helvetia Versicherungen, insurance leader in the European market, who will return to sponsor the VIP Lounge. This year the Sallfort/Helvetia VIP will further be furnished by London-based design studio Rabih Hage, who will equip the Lounge with furniture pieces by some of today’s most cutting-edge designers. Further adding the the atmosphere will be the large-scale installation by German artists Wolfgang Winter + Berthold Hoerbelt who will design a waterside pavilion for visitors to eat and relax whose central focus will be the artwork Mensa, a die-cut steel table, long enough to accommodate 120 guests.

As instituted in 2006, the VOLTA4 selection was made with the input of the Curatorial Board to guarantee an independence of choices. The members of the VOLTA4 Curatorial Board are Christoph Doswald, Art Critic; James Elaine, Curator, Hammer Projects; Francesco Manacorda, Curator, Barbican Gallery; Chus Martinez, Director, Frankfurter Kunstverein; and Jasper Sharp, Curator and Writer. The Curatorial Board – together with founding gallerists Kavi Gupta, Friedrich Loock and Uli Voges and VOLTA’s Executive Director Amanda Coulson—have invited following galleries to Basel
for 2008:

Alkatraz | Galerija | Ljubljana Slovenia
ASPN | Leipzig | Germany
Galerie Anne Barrault | Paris | France
Bendixen Contemporary Art | Copenhagen | Denmark
Bertrand & Gruner Galerie | Geneva | Switzerland
Josée Bienvenu | New York | USA
Bischoff/Weiss | London | U.K.
Spencer Brownstone Gallery | New York | USA
Cardenas Bellanger | Paris | France
Cohan and Leslie | New York | USA
Galerie Conrads | Düsseldorf | Germany
COSAR HMT | Düsseldorf | Germany
Dogenhaus | Leipzig | Germany
Domobaal | London | U.K.
galerie frank elbaz | Paris | France
Eleven Rivington | New York | USA
Derek Eller | New York | USA
f a projects| London | U.K.
FEINKOST | Berlin | Germany
Vera Gliem Gallery | Cologne | Germany
Green on Red | Dublin | Ireland
Christopher Grimes Gallery | Santa Monica | USA
Andreas Grimm Gallery | Munich/New York | Germany/USA
Galería Enrique Guerrero | Mexico | Mexico
H’art Gallery | Bucharest | Romania
Galerie Michael Janssen | Berlin/Cologne | Germany
Kavi Gupta | Chicago/Leipzig | USA/Germany
galerieKleindienst | Leipzig | Germany
Galeria Leme | Sao Paulo | Brazil
Grace Li Gallery | Zurich | Switzerland
Galerie Loevenbruck | Paris | France
Magnan Projects | New York | USA
Maisterravalbuena | Madrid | Spain
Taro Nasu | Tokyo | Japan
Newman Popiashvili | New York | USA
Helene Nyborg Contemporary | Copenhagen | Denmark
One in the Other | London | U.K.
Galerie Birgit Ostermeier | Berlin | Germany
PIEROGI | New York/Leipzig | USA/Germany
Alexandre Pollazzon Ltd | London | U.K.
Prometeogallery | Milan | Italy
Sandroni Rey | Los Angeles | USA
Riflemaker | London | U.K.
David Risley Gallery | London | U.K.
Roebling Hall | New York | USA
Galeria Nara Roesler | Sao Paulo | Brazil
ROKEBY | London | U.K.
Galerie Gabriel Rolt | Amsterdam | The Netherlands
Rotwand | Zurich | Switzerland
Samson Projects | Boston | USA
Alon Segev Gallery | Tel-Aviv | Israel
Seventeen | London | U.K.
Silverman Gallery | San Francisco | USA
Galerija Skuc | Ljubljana | Slovenia
Steinle Contemporary | Munich | Germany
Michael Stevenson Gallery | Cape Town | South Africa
Jiri Svestka | Prague | Czech Republic
Tache-Lévy Gallery | Brussels | Belgium
Travesía Cuatro | Madrid | Spain
V1 Gallery | Copenhagen | Denmark
galerie nadjaVilenne | Liège | Belgium
Voges + Partner Galerie | Frankfurt | Germany
Wohnmaschine | Berlin | Germany
ZieherSmith | New York | USA

VOLTA4 will open doors on Monday, June 2nd. The Professional and Press Preview will take place from 2 to 4 pm. Regular Opening Hours: Tuesday June 3rd to Saturday June 7th from noon to 8 pm.

VOLTA4 Press Contacts:
Amanda Coulson
Executive Director
Creixell Espilla-Gilart
Project Manager & PR
press@voltashow.com

Wood Street Galleries

“Text Memory”
Friday, April 25 - Sunday, June 1, 2008

http://www.woodstreetgalleries.org

“Text Memory” is comprised of two full-room instillations, The Last Days in the Beginning of March by Jim Campbell and Want (continuous) by Mark Scheeff. Both instillations use illumination and text to create poignant imagery.

In The Last Days in the Beginning of March, Campbell creates an immersive space that fabricates reality through the innovative use of light, memory, and text. The gallery ceiling is adorned with thirty custom made lights that create rhythmic light patterns on the floor and each pool of light is monitored to reflect the pulse of a previously recorded event. The fluctuating light sequence is complimented with wall text that defines each specific event and provides a narrative framework for the piece. The Last Day in the Beginning of March is a poetic blend of reality and fiction that is intended to chronicle the last days in someone’s life.

Mark Scheeff also provides a glimpse into human emotions in his instillation, Want (continuous). Scheeff places three spotlights on the gallery ceiling and leaves the room pitch black, creating the illusion of a stage. Thermal receipt printers will drop 1’’ by 3’’ paper slips from the ceiling that contain textual ads representing collective desires. Information was gathered from online personal ads, online prayer sites, and from a database of individuals waiting for an organ transplants—these incarnations of want reflect the universal longing for love, security, and health. The fluttering rain of paper accumulates throughout the duration of the exhibit and slowly fills the space with traces of how life could be different.

Both Campbell and Scheeff will be at the Wood Street Galleries on April 26 at 1 p.m. to further describe their distinct pieces in an Artist Talk.

Jim Campbell has shown his work internationally and throughout North America in institutions such as the Whitney Museum of Art, San Francisco Museum of Modern Art; the Carpenter Center, Harvard University; The International Center for Photography, New York, and the Intercommunication Center in Tokyo. His electronic art work is included in the collections of the Museum of Modern Art in New York, the Whitney Museum of American Art, the Metropolitan Museum of Art, the San Francisco Museum of Modern Art; the University Art Museum at Berkeley. In 1992 he created one of the first permanent public interactive video artworks in the United States in Phoenix, Arizona. He has lectured on interactive media art at many Institutions throughout the world, including the Museum of Modern Art in NY. He has received many grants and awards including a Rockefeller Grant in Multimedia, three Langlois Foundation Grants, and a Guggenheim Fellowship. As an engineer he holds almost twenty patents in t
he field of video image processing.

He was born in Chicago in 1956 and lives in San Francisco. He received 2 Bachelor of Science Degrees in Mathematics and Engineering from MIT in 1978.

Mark Scheeff’s sculpture and installation work combines the physical and the computational. His work repurposes his background in engineering (with its emphasis on utility, societal progress and technical mastery) to investigate a set of questions not normally addressed by these skills and attitudes.
As a research engineer, he has built robots that are social with people. These robots used lifelike gesture and facial expressions to portray emotion and respond to humans in their vicinity. He also has built countless instruments for scientists studying materials, biology, high energy physics and
nano-science.

He was born in 1969, raised in California, and has B.S. and M.S. degrees in Mechanical Engineering from Stanford University.

Wood Street Galleries are located at 601 Wood Street above the T-Station in downtown Pittsburgh’s Cultural District, the Galleries are FREE and open to the public Tuesday-Thursday, 11 a.m. – 6 p.m.; Friday and Saturday, 11 a.m. - 8 p.m. For more information, call Wood Street Galleries at
(412) 471-5605 or visit http://www.woodstreetgalleries.org

Support for Wood Street Galleries has been provided by the Howard Heinz
Endowment and the Pennsylvania Council on the Arts. Additional support provided by
the Port Authority of Allegheny County and The Andy Warhol Foundation for the
Visual Arts.

Ania Bas / Tecnalia

Call for artists to collaborate on joint research projects with companies and organisations located in the Basque country, Spain.

http://www.disonancias.com

Deadline for applications: 7 July 2008, 9 am (local time).
Collaboration period: from 15 October 2008 to 15 July 2009 (9 months).
Fields of research: mainly associated with urban dynamics, creative environments, technologies (data visualisation) and materials (glass, wire).
For more information: http://www.disonancias.com

DISONANCIAS is pleased to announce the call for proposals from international artists who wish to participate in its third annual edition.

DISONANCIAS is a platform that promotes relationships between artists and companies, research centres or public organisations in order to foster innovation in all its aspects and transmit to society the importance of developing creative environments.

Artists are asked to develop, in collaboration with a team, a prototype, procedure or idea based on a framework predefined by one of the participating entities: either companies (BULTZAKI, EZARRI, PROIEK, SEGUROS LAGUN ARO), public organisations (Vitoria-Gasteiz City Council, EiTB) or universities (Tecnológico Fundación Deusto, Mondragón Unibertsitatea).

The concepts they wish to investigate can be grouped within three main fields:

- investigations related to urban dynamics: social and commercial dynamics for the city centre (Vitoria-Gasteiz City Council), an encounter point based on urban furniture and on the concept of urbanotics (PROIEK), and new uses for a branch network (SEGUROS LAGUN ARO).

- related to the development of creative environments, in this case for the different users of a Faculty of Engineering (Mondragón Unibertsitatea).

- investigations related to technological or material application/developments: visualisation of Artificial Intelligence techniques (Tecnológico Fundación Deusto - S3Lab), new applications for recycled glass or glass mosaics (EZARRI), new applications for wire and metal tube (BULTZAKI).

In the special case of EiTB (Basque Radio and Television), the artist(s) is requested to research into the documentary format using documentation reflecting the processes developed within the
collaboration projects.

The submitted proposals will be examined by a jury including Jorge Luis Marzo and Juan Freire. The pre-selected artists will be informed in mid-July, and will get a chance to defend their project during a conference call with the hosting organisation. The final decision will be taken by the hosting entities and will be communicated at the end of August 2008.

DISONANCIAS gives priority to the involvement of artists who: are committed to their environment; feel that art can be a factor of social transformation; are interested in stimulating interaction between different cultural and social systems; and who can contribute to collective work.

The call is open to artists working with any type of medium and in any discipline, either individually or as a group. There is no limit on age, nationality or place of residence.

The selected artists or group of artists will each receive a minimum amount of 10,000 euros – up to 12,000 euros, depending on their geographical origin - as a fee for the work carried out and for their travel and accommodation costs. Costs that may be generated in the development of the research work and associated with external companies and suppliers should not exceed 6,000 euros + VAT, and they should be previously approved by the hosting entity.

Full information regarding the participating organisations, the teams that will be involved, the concepts they wish to investigate, and the rules for participation is available at http://www.disonancias.com

For more information you can also send us a message to info@disonancias.com , or call us on
+34 943 27 85 01.

DISONANCIAS is sponsored mainly by the Basque Government (Industry, Trade and Tourism Department), is supported by Innobasque, and is promoted by Grupo Xabide.
DISONANCIAS is member of artsactive.net.

Kunsthalle Bremen

Marcel Odenbach:
Performance Aachen 1978
(Photo: Anne Gold)

Marcel Odenbach
“Caught while escaping”
Plans 1975-1983. Video installations. New drawings
6 April - 8 June 2008

Kunsthalle Bremen
Am Wall 207
D - 28195 Bremen
T +49 (0)421 329 08-0
F +49 (0)421 329 08-47
office@kunsthalle-bremen.de

http://www.kunsthalle-bremen.de

For ten years now, the Kunsthalle Bremen has been devoting major exhibitions with catalogues to the most influential artists of video art, like Nam June Paik or Peter Campus, but also to successful younger artists such as Björn Melhus, Diana Thater or Yves Netzhammer.

This year, we will be focusing on one of the most significant, internationally productive and – for several decades – successful German artists: Marcel Odenbach.

The exhibition and the catalogue concentrate on his “Plans” from 1975 – 1983; these are fascinating collage sheets with texts and drawings relating to the artist’s performances and installations employing video. The “Plans” will be exhibited and published in their entirety for the first time, whether they were realised or remained concepts. One highlight in this context is the 22-metre-long collage “Freeing myself from my thoughts”, which combines everyday and personal observations made by the 22-year-old artist with pieces torn from newspapers, and drawings. During a performance in 1976, Marcel Odenbach tore up this strip after he had wrapped himself in it. The collage will be reassembled for the first time for our exhibition, and the full work is reproduced in the catalogue.

At the centre of this exhibition, we are showing one of Odenbach’s main works, “Oh, how good that no-one knows” dating from 1999. In this large-format, four-part projection, historical recordings (“found footage”) from German history are combined with the artist’s own new images and then interwoven with his own and cited film images showing past and contemporary Africa. Personal responsibility, emotional proximity and the presence of history are united on four large-format picture surfaces within a single room, and the viewer stands at their centre. Three more prize-winning video tapes illustrate the links between Odenbach’s paper “Plans” and the realised works and offer a vivid insight into the artist’s œuvre. Our survey is completed by four new large-format works on paper.

The exhibition is accompanied by a catalogue:
Marcel Odenbach - “Caught on the Point of Escape”
Plans 1975-1983. Video installations. New drawings
With texts by Wulf Herzogenrath, Angela Breidbach and Sabine Maria Schmidt
as well as over 70 coloured images on 180 pages
german/english
Verlag Walther König

An exhibition by the Förderkreis für Gegenwartskunst in the Kunstverein Bremen.
The exhibition is kindly supported by Bremer Landesbank.

Opening Hours
Wednesday to Sunday
10 a.m. - 5 p.m.
Tuesday 10 a.m. - 6 p.m.
Monday closed

Easter Sunday and Easter Monday
1 May/Ascension Day, Whit Monday and Whit Sunday
10 a.m. - 5 p.m.

www.grackleworld.com

Grackle is an at-a-glance database of modern and contemporary art exhibitions available for tour.
www.grackleworld.com

Grackle is an online database of contemporary art exhibitions available for tour. Curators may search the database by artist, curator, organization, floorspace, dates of availability, price, and by most recent posts. Searching the database for exhibitions to borrow is free.

To add an exhibition to the database curators may purchase an annual membership. The membership allows for adding unlimited posts. Grackle provides a password-accessed template that facilitates quick uploading of images and exhibition details. The template accommodates exhibitions in development as well as those completed and/or already on tour. Members can update, edit, or activate and deactivate posts on Grackle at any time. An ‘e-mail a friend’ button allows posts to be forwarded as links to colleagues who might be interested in borrowing the exhibition.

Currently there about 150 member museums, university galleries, and independent curators from North and South America, Asia, Europe and the Middle East. Members and subscribers receive a monthly e-newsletter about new posts. Every month the Grackle team selects an artist to feature independent of the exhibitions on the database, Grackle is not a general listing service; it will only accept posts that are intended for touring.

For more information about Grackle or to search for exhibitions to borrow, please visit www.grackleworld.com

To request an annual membership to post exhibitions contact Regine Basha or Christopher K. Ho at info@grackleworld.com