Artipedia - Arts News

Kunstraum Innsbruck

THE END WAS YESTERDAY - Part II
May 31 - June 22, 2008

Opening May 30, 2008

Kunstraum Innsbruck
Maria Theresien Str. 34
Arkadenhof
A-6020 Innsbruck

http://www.kunstraum-innsbruck.at

GALERIE IM REGIERUNGSVIERTEL BERLIN + AUTOCENTER present:
THE END WAS YESTERDAY- Part II
at Kunstraum Innsbruck, Austria
May 31 - June 22 2008

Julieta Aranda, Tjorg Douglas Beer, Bozidar Brazda, Iris van Dongen, Tine Furler, Andreas Hofer, Christian Jankowski, John Kleckner, Annika Larsson, Joep van Liefland, Erik van Lieshout, Christopher Miner, Anna Parkina, Daniel Pflumm, Patrick Rieve, Kirstine Roepstorff, RothStauffenberg, Malte Urbschat, Costa Vece

Galerie im Regierungsviertel and Autocenter Berlin are pleased to present their collaborative exhibition THE END WAS YESTERDAY – PART II at Kunstraum Innsbruck from May 31 to June 22, 2008.

THE END WAS YESTERDAY – PART II brings together an international group of 19 contemporary artists depicting various post-apocalyptic phenomena. The exhibition takes place in a world which has already come to an end and deals with the state between apocalypse and an immediate attempt
of reorientation.

Entering the exhibition, there is a stranded, extra-terrestrial object breaking through the wall of the space (Roth Stauffenberg) and Christian Jankowskis Film Angels of Revenge (2006), a profile of unarticulated self-realizations, discharging in abysmal horror-persona.

Patrick Rieve visualises himself from another perspective in a hopeless claustrophobic situation and thus points to the dark sides of contemporary culture, while in her video Pirates (2006/2007), Annika Larsson describes a static rebellious youth movement and Andreas Hofer’s work depicts weapons used in a fight in the future, historicizing them like artefacts from departed worlds.

Tjorg Douglas Beers Installation THANKSGIVIN/MANÖVERGRILL 03 (2008), made from paper figures and painted mirrors attends to hyperparanoid behavioural patterns from politics and society and turns them into a grotesque scenario.

As a central element in the space looms stalactite-like the monumental sculpture Dead Star Diamond (2001-2006) by Kirstine Roepstorff collaging the exploitations of the world and counteracted by sculptural figurations made out of studio garbage by Costa Vece.

Erik van Lieshout’s expressionist drawings and collages merge pornography and street culture with a range of figures from current political coherences into an futile testimony of todays society, and an installation by Joep van Lieflands shows the experimental film Donald Judd Faces of Death (2008) and invites you to a filmic landscape without sound or objects in which cool minimalism relates to shock’nmentary and exploitation film elements. Julieta Aranda carries the absurdity of the perception of time to extremes by commenting on the adjustment of the international date line as a pseudo-utopic solution by the Pacific Archipelago of Kirbati and hence questions the very basic agreement on which our modern exhcanges are based.

Thus THE END WAS YESTERDAY – PART II becomes a survey of post-apocalyptic phenomena and a reversal-accelerator of troubled times.

Dates May 31 - June 22, 2008
Opening May 30, 2008

Organised by Galerie im Regierungsviertel Berlin, Autocenter and Kunstraum Innsbruck.
http://www.galerieimregierungsviertel.org
info@galerieimregierungsviertel.org
http://www.autocenterart.de

Location:
Kunstraum Innsbruck
Maria Theresien Str. 34
Arkadenhof
A-6020 Innsbruck
http://www.kunstraum-innsbruck.at

Institut d’art
contemporain, Villeurbanne

Daniel Buren
Les trois cabanes éclatées en
une ou La cabane éclatée aux trois peaux, 1999-2000
Wood, transparent coloured acrylic
Collection of the Fonds national d’art contemporain,
Ministry of Culture and Communication, Paris.
In trust at the Musée d’art moderne Lille Métropole,
Villeneuve d’Ascq
Copyright photo : Blaise Adilon

Ambition d’art
Alighiero Boetti, Daniel Buren, Jordi Colomer, Tony Cragg, Luciano Fabro, Yona Friedman, Anish Kapoor, On Kawara, Martha Rosler, Jeff Wall, Lawrence Weiner

Exhibition from May 16th to
September 21st 2008
Curator: Jean Louis Maubant

http://www.i-art-c.org

The Institut d’art contemporain in Villeurbanne celebrates its thirtieth anniversary in 2008 and, to mark this occasion, invites its founder, Jean Louis Maubant, to curate an exhibition that will be accompanied by a major publication.

Ambition d’art
“Artists change the world; at the very least, some of them have tried. Or, to be more exact, some change the individual-as-viewer provided he or she accepts this dialogue with art. This was true when the Nouveau Musée came into being some years ago. Since then the Museum has become the Institut d’art contemporain, where art is seen as something that can be worked on and studied. Obviously, this is no less true today, even if our modern, progressive utopias have suffered the onslaught of business, the spectacular and “every man for himself.”

Apprendre à lire l’art - learning to read art – was the title of a Lawrence Weiner exhibition at the Institute and we can well imagine how, from 1978 to 2008, successive programmes have looked for ways to bring this ambition into being. To read the art of one’s time is to potentially read one’s time differently, to see it in the light of what artists bring by way of fresh illumination. Indeed, the history of art is nothing more than an endless to-and-fro between a society and its artists.

All those taking part in Ambition d’art have, to a greater or lesser degree, transformed a percentage - perhaps larger than one might think - of visitors first to the Museum then to the Institute. They challenge us to (re)consider our situation in relation to the world (Alighiero Boetti), our ability to see things (Daniel Buren), how we relate to objects (Tony Cragg), our tendency to forget mythologies and classicism (Luciano Fabro), how we relate to contemporary religious feeling deep within (Anish Kapoor), time and the relationship between individual and infinity (On Kawara), machismo and its consequences (Martha Rosler), the reconstructed image and painting (Jeff Wall), poetry and the generosity of dialogue (Lawrence Weiner), the strange and the offbeat (Jordi Colomer), and the city and the need to always fight for the survival of utopias (Yona Friedman).

Over the course of these thirty years, the Institute has presented more than one hundred and forty artists in solo or small group shows.

The purpose of Ambition d’art is not to look back on and commemorate these past thirty years. Instead it must consider the present in the light of a very recent past. It must also find ways to bring into perspective different stages in each artist’s work. This is another way to read and reveal the art of eleven of the most important artists of these “between the centuries” years.”
Jean Louis Maubant

Publication
This two-volume publication – published by Les Presses du Réel - features all the artists who have contributed to the adventure that is the Institut d’art contemporain.

Volume I, entitled Alphabet, is a compendium of texts by the artists, excerpts from the Muséographie de l’art contemporain, a colloquium held in 1979 at the Nouveau Musée, and critical texts by art professionals on the question of “what has been happening in art and what has changed in contemporary art structures in Europe over the past thirty years.”

Volume II, Archives, retraces the history of the Institut d’art contemporain, exhibition by exhibition from 1978 to 2008, together with a list of works shown and archive documents of meetings, colloquia, master classes, previews and letters exchanged with the artists.

Colloquium
As part of the exhibition, the Institut d’art contemporain is holding the Ambition d’art colloquium on May 30th and 31st 2008, with artists, critics, historians, philosophers and directors of European bodies.

Measured against the Institute’s thirty years, the colloquium will examine factors in the transmission and evaluation of artistic criteria in today’s social and political context.

The Rhône-Alpes Collection tours the region
In resonance with Ambition d’art, the Institut d’art contemporain is showing the Rhône-Alpes Collection in a series of exhibitions across the region. They will continue to vector ideas put forward in Villeurbanne and raise questions about the act of collecting, an integral stage in the production and presentation of art.

Institut d’art contemporain
11, Rue Docteur Dolard
69100 Villeurbanne
T + 33 (0)4 78 03 47 00
F + 33 (0)4 78 03 47 09
iac@i-art-c.org
http://www.i-art-c.org

Opening times
Wednesday and Friday – 1pm to 6pm
Thursday – 1pm to 8pm
Weekends – 1pm to 7pm

Centre d’édition contemporaine

PUBLICATION OF
L’EFFET PAPILLON, 1989 – 2007

June 21 - September 13, 2008
Opening June 20, 2008 (from 6 pm)

Centre d’édition contemporaine
18, rue Saint-Léger
1204 GENEVA
+41 22 310 51 70

Opening Hours:
Tuesday to Friday from
2.30 pm to 6.30 pm
Saturday from 2 pm to 5 pm

http://www.c-e-c.ch

L’EFFET PAPILLON, 1989 – 2007

The title of this book, L’Effet papillon, is used here as a metaphor for the free and uncontrolled propagation of ideas. It alludes to the often delayed effect of an action, a work of art or an exhibition, which sometimes becomes a reference for the general public as well as the specialists. This “effect” is mentioned in the conversation between Hans Ulrich Obrist and Véronique Bacchetta, published in this catalogue, in order to underline the recurring difficulty for an art space or a contemporary art exhibition of never being fully legitimized.

This publication tells, through its archives, the story and evolution of a particular institution – the Centre d’édition contemporaine –, relates its production and its artistic policy, and establishes its place, status and commitment in the field of contemporary art. The spanned period, 1989-2007, is situated long after the creation of the Centre genevois de gravure contemporaine (in the 1960s) which became, in 2001, the Centre d’édition contemporaine. It corresponds to a period during which the Centre opened and developed itself toward a contemporary art in fast mutation. Covering these nineteen years of activity, this book tries to illustrate and comment them, to catalogue and describe them in detail. It is organized in three parts. The first one brings together texts dealing either directly with the Centre as a reference point or, more generally, with publishing through analyses of its recent history – particularly that of the 1960s-70s –, of its different p
roduction and distribution strategies or, more directly, of personal experiences. At the center of the book, a section of colour photographs documents such exhibitions, critical choices and moments deemed crucial to the Centre’s journey and its program. The third part forms the factual side of this development, a catalogue composed of all the editions, exhibitions, events, collaboration and various invitations which, month after month, have formed the “biography” of this place. This last segment is followed by a series of “Snapshots,” a kind of affective addition to
the catalogue.

Published by the Centre d’édition contemporaine, Geneva, 2008

L’EFFET PAPILLON, 1989 – 2007
Catalogue, French, texts by Véronique Bacchetta, Sylvie Boulanger, Lionel Bovier, Brian D. Butler (English/French), Philippe Cuenat, Thomas Hirschhorn, Christoph Keller (German/French), Hans Ulrich Obrist, Alexis Vaillant, 432 pages, 17,5 x 23,5 cm, 61 color ill., 278 black/white ill. ; design: Schönwehrs, Geneva ; printed by Musumeci S.p.A., Quart (Aosta Valley, Italy) ; publication of the Centre d’édition contemporaine, Geneva, 2008 ; distributed by JRP|Ringier, Zurich ; ISBN 978-3-905829-77-8.

The catalogue will be presented at the Centre d’édition contemporaine along with posters by Schönwehrs, the figurines “Les Pisseuses” by Angela Marzullo (edition given to the 2008 members of the association of the Centre d’édition contemporaine) and a soundtrack by Tommi Grönlund.

About the Centre d’édition contemporaine
The Centre d’édition contemporaine (Cec) combines the production of printed matter and multiples, and a program of exhibitions which testify at the same time to the specific field of edition and to contemporary art.

Swiss and international artists, emerging or established, are invited each year to exhibit and to realize an edition: prints, publications, artist’s books or multiples.

The Cec has produced, among others, editions of John Armleder, Olivier Bardin, Monica Bonvicini, Claude Closky, François Curlet, Andreas Dobler, Vidya Gastaldon & Jean-Michel Wicker, Fabrice Gygi, Thomas Hirschhorn, Karen Kilimnik, Jakob Kolding, Elke Krystufek, Jérôme Leuba, Olivier Mosset, Gianni Motti, Kristin Oppenheim, Giuseppe Penone, Mai-Thu Perret, Florian Pumhösl, Anne-Julie Raccoursier, Christophe Rey, Markus Schinwald, Roman Signer, Rosemarie Trockel, Luc Tuymans, Emmett Williams and Heimo Zobernig.

For more information, please go to http://www.c-e-c.ch

The catalogue has been published thanks to the help of the Publishing Support Fund of the Republic and Canton of Geneva and has received, among others, the support of the Contemporary Art Fund of the City of Geneva and the Sandoz Family Foundation.

The Centre d’édition contemporaine is supported by the Department of Culture of the City of Geneva, the Swiss Federal Office of Culture, the Pour-cent culturel Migros and benefits by a partnership with the Fondation Nestlé pour l’Art.

SCOPE Basel 2008

Wesley Meuris
“Entrance Kit for Candy & Nut shop”
Modular system – Architectural Entertainment
MB System 340.455
March, 2008
Sculpture, MDF, paint, glass
H.340 x L.455 cm
Courtesy of Annie Gentils Gallery

SCOPE Basel 2008
reflects global reach of
cutting-edge contemporary art fair

June 3 - 8 2008

New Location
Uferstrasse 80
CH-4057 Basel
Switzerland

http://www.scope-art.com

Pre-Fair Events

Press Conference
Sunday June 1 12pm
Brunch followed by ArtTrain
RSVP Press: press@scope-art.com

ArtTrain
Sunday June 1 3:02pm
First class
RSVP VIP: vip@scope-art.com
RSVP Press: press@scope-art.com
Onboard from Zurich to Basel, collectors, curators, and press enjoy performances and an intimate Q&A with program curators, featured artists and SCOPE Founder Alexis Hubshman.

Sneak Preview for Invited Guests
Sunday June 1 5pm
RSVP VIP: vip@scope-art.com
Due to overwhelming response, SCOPE hosts a sneak preview following ArtTrain at the SCOPE Basel Pavilion, Uferstrasse80. Rapid transport provided from ArtTrain to SCOPE.

Sneak Preview event replaces the intimate, May 31, 8pm, Zurich Dinner and Celebration.

Events Schedule
First View
Tuesday June 3 1pm–8pm
Press and all art fair and SCOPE VIP cardholders preview the fair & the premier of Special Programs. Press Lunch begins at 2pm.

Opening night party
Wednesday June 4 9pm–late
SCOPE and modart invite all for a night of celebration at Das Schiff Westquaistrasse 19–Hafen.

Collector Lecture Series and Receptions
Wednesday–Friday June 4–6
Collector Lounge: Sip and Think.

Sports Lounge
Every day, all day.

Limited edition courtesy of GlowLab, Heather Johnson and 3G.

Performances courtesy of Galerie Römerapotheke

Media Partner: likeyou.com - the artnetwork

Exhibitors Open June 3-8 08
Tuesday, June 3, 1pm–8pm
Wednesday, June 4, 10am–8pm
Thursday, June 5, 10am–8pm
Friday, June 6, 10am–8pm
Saturday, June 7, 10am–8pm
Sunday, June 8, 10am–6pm

Basel – SCOPE, the cutting-edge contemporary art fair, returns for the second year to Basel in a new venue, a 60,000 square foot glass pavilion situated on the Rhine. Within walking distance of Art Basel 39, SCOPE will present its most international fair yet, showcasing 85 galleries from all over the world.

SCOPE Basel 2008 exhibitors, special events, and curatorial programs amplify the fair’s signal achievement: introducing artists, curators, and cutting-edge galleries to new audiences internationally, making it the most comprehensive destination for emerging art available anywhere.

With SCOPE Basel 2008, the fair solidifies its position as a leading presenter in the global art world. Currently with fairs in New York, London, Miami, Basel, and the Hamptons, SCOPE is expanding into Spain, China, and the United Arab Emirates, where a cultural world’s fair of art, music, and film has been commissioned.

SCOPE’s latest achievements are complimented by long-term, world-class, exhibition venue commitments. For SCOPE Basel 08, an undeniable tipping point has brought Volta and Balelatina into its orbit, creating a fully-serviced “art district on the Rhine.” SCOPE New York 2008 was held at the culturally iconic Lincoln Center and SCOPE London has proudly made the hallowed Lord’s Cricket Ground its new home.

SCOPE is the brainchild of Alexis Hubshman, who drew upon his experience as an artist and gallerist to start SCOPE in 2002 in a New York hotel. As the first art fair to bring emerging galleries Peres Projects, Daniel Reich, John Connelly Presents, Taxter & Spengemann and Marella to a wider audience, SCOPE has given many now-prominent emerging artists like Assume Astro Vivid Focus, Scissor Sisters and Black Label their first significant international exposure.

The fair has evolved from an industry niche to an influential global contributor, with ongoing events, educational programs, and the SCOPE Foundation 501(c) 3. With total sales of nearly $100 million, over 250,000 visitors, and wide media attention, SCOPE has helped build a flourishing collector base in the contemporary art market.

At SCOPE Basel 2008, the new pavilion significantly upgrades the exhibition venue, and is serviced by shuttle, water taxi, and pedicab. This year’s edition of the fair builds on SCOPE’s tradition of one-person and thematic group shows, and museum quality programming to create a real-time international survey of emerging art.

SCOPE Special Programs

Museum Presents is a non-commercial 3,500 square foot exhibition space in the SCOPE Basel 2008 pavilion focusing on emerging contemporary art market trends. SCOPE Basel is proud to present By All Means, featuring works from South Asia and its diaspora. This is the SCOPE Foundation’s first curated survey exhibition dedicated to contemporary Indian and South Asian art. The intent of this show is to explore this richly active and highly diversified field of cultural production, which has begun to be recognized as a major contribution to the international art world.

Many of the artists included have substantial exhibition records and are on the brink of larger international recognition. Works included encompass: video, photography, digital media, painting, graphic novels and other expanded media works. While these pieces consider both the history of Indian and South Asia as well as its art, not all of the artists are nationals. Included are the diaspora - those connected, if geographically displaced - in the USA, Canada, and Europe. Furthermore, artists from Pakistan and Bangladesh will provide additional levels of complexity.

Artists included (list pending finalization) Bani Abidi, Sarnath Banerjee, Rohini Devasher, Chitra Ganesh, Sunil Gupta, Yamini Nayar, Ashim Purkayastha, Kiran Subbaiah and Ashok Sukumaran. This project is curated by Thomas Erben, New York.

SCOPE is dedicated to supporting local artists in each city it exhibits. SCOPE Basel 2008 will feature the emerging Swiss curator Reto Thuring presenting four Swiss artists,Valentina Pini, Guadalupe Ruiz, Marc Elsener, and Vincent Kriste. SCOPE president Alexis Hubshman introduces Invisible Heroes, four emerging Swiss artists: Admir Jahic, Pawel Ferus, Comenius Roethlisberger and Smash137.

For more information about SCOPE’s special projects and programs, please visit
http://www.scope-art.com