Artipedia - Arts News

DRASKO BOGDANOVIC: INTROSPECTRE, 2007

It’s our great pleasure to announce that Toronto Photographer Drasko Bogdanovic has won yet another accolade, this time from the Ontario Society of Artists!
Introspectre, the artist’s moody yet luminous image of a male nude, won the Curry’s Prize for Artistic Merit at the society’s recent juried show. The winners were announced this past Wednesday at a ceremony and reception opening the 134th annual show, open to May 23 at the John B. Aird Gallery at the Provincial Courts, 900 Bay Street in Toronto. Only a month earlier, a specially printed edition of Introspectre became one of the highest bids at SNAP! 2008, the AIDS Committee of Toronto’s annual gala and auction.
To celebrate, the artist is developing a new edition of ten chromogenic prints on Bamboo 290 paper. Bamboo 290 – made from 90% bamboo fibres and 10% cotton – combines spiritual photography with environmental friendliness. This natural warm-toned and OBA free genuine art paper offers maximum aging resistance. It guarantees an extremely large colour gamut and a high colour density.
Drasko Bogdanovic was born in Sarajevo, Bosnia in 1977. An early fascination with the Hollywood magazines and black & white photography of the distant West instilled an early glamorous aesthetic and a constant desire to juxtapose Classical posture with natural light, especially in his later nudes. A classically trained musician and self taught painter, Drasko picked up a camera as a teenager soon after emigrating to Canada as a means to capture images that he might later portray on canvas. Even his early work on this medium made attempts to develop a graphic aesthetic that he would only recognise and realise some years later when he turned to photography exclusively. Today his landscape and architecture photography capture cities’ geometry, immutable personalities and intrinsic emotions; his photography has appeared in domestic newspapers and magazines and has been featured in local and national advertising campaigns.

Arch & Company Fine Arts provides curatorial services to individual, small business, corporate and institutional collectors wishing to enrich their corporate culture and improve public relations by building purposeful collections and public exhibitions of Fine Art in the workplace. For more information on how your organization can inspire Creativity by installing art in your workplace call us at 1.866.557.7169 or visit our Virtual Gallery at www.Archart.ca.

Circa Art Magazine

Front cover: Daphne Wright: Lamb, 2006,
Marble dust and resin
Courtesy the artist / Frith Street Gallery

Circa Issue 123, Spring 2007
Circa Art Magazine
43 / 44 Temple Bar
Dublin 2
Ireland
Phone: +353 1 67 97 388
editor@recirca.com
http://www.recirca.com

subscriptions / purchase / PDFs:
http://www.recirca.com/subscribe

The spring issue of Ireland’s journal of record for contemporary visual art is now on sale. The 112 full-colour pages include news, feature articles, reviews, a host of images, and advertising from Ireland’s main art spaces.

Feature articles
Letter from Karachi Amra Ali - a tour d’horizon from the Pakistani capital | Act without words: Unique act, an exhibition of nonfigurative painting at Dublin City Gallery the Hugh Lane Eimear McKeith - a preview of an important show of abstract work at the Hugh Lane | What form must we take? Jessica Foley - on ‘transversal’ and other practices that slip the noose of formal constraints | Selective memories, collective histories Declan Long - on art from Northern Ireland | Daphne Wright: The body and its death cast Laura Mansfield - a look at recent work by Daphne Wright

Reviews
Belfast Una Walker: Reports from an agent in the field Justin McKeown | Lorraine Burrell: Pictures from a family album Susan MacWilliam | Brendan O’Neill: Ye must be bored again Slavka Sverakova | Cork Crawford Open 2007 – the sleep of reason Fergal Gaynor | Derry Bea McMahon and Brendan Earley: True complex Declan Sheehan | Dublin Alan Phelan: Ralph Eamon Odo Barbara Charlotte Bonham-Carter | Robert Bordo: Blind spot Gemma Tipton | Conor McFeely: The case of the midwife toad (the unrepeatable experiment) Alan Phelan | Jane Jermyn, Gerda Teljeur, Juliana Walters: Surface tension Niall de Buitléar | Galway Human Resources: City of ideas Michaële Cutaya | Kilnaboy Amanda Dunsmore: Mr and Mrs Krab’s Utopia Michaële Cutaya | Leitrim Fionna Murray: A Real corner of the world Brian Fay | Limerick Samuel Walsh: The Divine comedy Karen Normoyle-Haugh | Manchester Dan Shipsides: Radical architecture Cherry Smyth | Philadelphia Brian Kennedy: Passage Tim Maul | Portadown Mark
McGreevy: A gap in the bright Slavka Sverakova | Various venues Design week Linda King

Now open: the Circa online shop, with books, catalogues and magazines relating to art in and from Ireland; see http://www.recirca.com/shop

Circa is supported by The Arts Council / An Chomhairle Ealaíon, The Arts Council of Northern Ireland, and Culture Ireland.

Ursula Blickle Foundation

The Defenders Part 2
Choreographic object by William Forsythe
Photo: Katrin Tüffers

William Forsythe. Suspense
May 18 - June 29, 2008

An exhibition of the
Ursula Blickle Foundation

Ursula Blickle Foundation
Mühlweg 18, 76703 Kraichtal-UÖ
Germany
Phone +49 7251 60919
Fax +49 7251 68687
presse@ursula-blickle-stiftung.de
http://www.ursula-blickle-stiftung.de

“I am inclined to believe that precisely because we are bodies and possess perceptive mechanisms we also possess a concept of time. I suspect our ability to construct time is predicated on the manner in which the body integrates its perceptions and upon the action necessary to generate these perceptions.”
(William Forsythe, From the exhibition catalogue)

William Forsythe is one of the most significant and innovative choreographers working in the area of contemporary dance today. While director of the Ballet Frankfurt and now, with The Forsythe Company, he has dared to transcend the boundaries of his genre, to great international acclaim. Working on the globe’s major stages, he has redefined the parameters of the performing arts.

Through his oeuvre, Forsythe has made a major contribution to expanding how dance is perceived. In this exhibition, he presents new installations and films, which the visitor experiences as choreographic spaces. Using performance, installation and dance, the exhibition provides a multilayered encounter with the human body and physical space, as well as with choreography per se and its
production strategies.

A number of the works on display in the Ursula Blickle Foundation will be accessible to the general public for the first time, independently of their original staging, thereby offering a representative overview of Forsythe’s repertoire of installations. As a stand-alone compendium of his choreographic works and performances, the installations on view provide a formal vocabulary that draws the viewer into a multifaceted space-body continuum. Forsythe’s objective is thus to expand the possibilities of how dance is performed and perceived. “The Defenders” enacts a sentence from philosopher Blaise Pascal which perceives the foibles of human inattention as a moral inversion of the strangest kind. The spectators’ expectations of a successful performativity and the confounding of those expectations are forces that direct their bodies around the work.

“You Made Me a Monster Partitur” – an additional work that can also be seen in the exhibition – is an example of Forsythe’s attention to the problematic of assumptions about literacy. Dramatic as one of the work’s subjects is, the actual focus of the installation is dimensional translation: something a dancer does every day with countless perceptions, the results of which constitute concrete marks in the medium of time. The question raised is, must literature be sustained in time to be considered such. The pieces will be staged again at the exhibition’s opening in the Ursula Blickle Foundation. Two videos, which will premiere during the exhibition, provide a glimpse of Forsythe’s approach to creating moving images in myriad forms by referencing the physical body as well as time and space – three parameters that all play a key role in the works on display throughout the exhibition.

The exhibition was developed by William Forsythe
in cooperation with Markus Weisbeck.

An exhibition catalogue is also available, documenting a dialogue between Daniel Birnbaum and William Forsythe. The catalogue is published by jrp/ringier, Zürich.
Designed by http://www.surface.de

Press information
Katja Schroeder, Phone +49 176 23622819
presse@ursula-blickle-stiftung.de

Opening hours
Wed. 2 - 5 p.m., Sun. 2 - 6 p.m.
and by appointment

Westfälischer Kunstverein

Martin Boyce, This Place is Close and Unfolded, 2008
Installation view Westfälischer Kunstverein, Münster

Martin Boyce
This Place is Close and Unfolded
April 19 - June 8, 2008

Westfälischer Kunstverein
Domplatz 10
D-48143 Münster
T +49-251-46157
F +49-251-45479

http://www.westfaelischer-kunstverein.de

Martin Boyce, one of the most important and internationally acclaimed sculptors of his generation, has developed a new large-scale project for the Westfälischer Kunstverein, Münster. The group of works, entitled ‘This Place is Close and Unfolded’ takes the Kunstverein’s exhibition space of the 1970s as a starting point to create once again a symbiosis of an atmospheric urban landscape and a new piece of autonomous sculpture.

In his oeuvre, Boyce explores the heritage of modern design and architecture of the first half of the twentieth century, a legacy inhabited by the dream of a better world. These utopian promises – broken today – left behind a residue of Modernist forms and ideas that Boyce uses as a basis for his sculptures, installations and murals. Individual works draw on the visual language and fabrication of iconic Modernist designs, and Boyce is interested in the lives of these objects — the extent to which they are informed by the context of their original manufacture, and the alternative life they might lead if separated from that meaning.

Specifically, a photograph found in a book on French Modernist gardens, an image of four concrete trees created by Joël and Jan Martel for the 1925 Exposition des Arts Décoratifs in Paris, has emerged as an important reference. These he says, “represent a perfect collapse of architecture and nature,” and are emblematic of his ongoing exploration of the oppositional elements of contemporary urban existence: the natural versus the constructed, the populated versus the uninhabited, the old versus
the new.

Boyce used this element as a ground structure for We Are Still and Reflective, 2007 as his contribution for sculpture projects münster 07 with which he created a concrete piece, as meditative as it is urban, on the grounds of the former zoological garden in Münster.

The tree element now develops into a new group of objects, silkscreen prints and wordings. The room in the Kunstverein, structured by two tree-like pillars, becomes a breathing space by opening skylights and leaving air and rain in. ‘This Place Is Close and Unfolded’ is like a stroll through a tale, recollecting walks through forlorn cityscapes with weathered elements of civilization. Estranged from their original purpose, Boyce’s sculpture group forms a cohesive and immersive environment, an imagined or dreamed landscape that is both eerie and liminal.

A publication in cooperation with Ikon Gallery, Birmingham and the Frac des Pays de la Loire, Carquefou will be published by JRP/Ringier in autumn 2008.

Martin Boyce. This Place is Close and Unfolded. is generously funded by The Henry Moore Foundation and the British Council.

Martin Boyce. This Place is Close and Unfolded
April 19 - June 8, 2008
open Tues - Sun 10am - 6pm, Thursday 10am - 9pm