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ART FORUM BERLIN 2008

ART FORUM BERLIN 2008
The International Fair for Contemporary Art
31 October to 3 November, Opening October 30, 2008

http://www.art-forum-berlin.com

ART FORUM BERLIN - The International Fair for Contemporary Art will exclusively in 2008 summarize the European art fair season in late October. In the perfect setting of its elegant daylight halls 18-20 on Berlin’s Exhibition Grounds, the fair provides art lovers, curators, artists, collectors and critics from around the globe with a captivating overview of new tendencies in the current art production.

120 galleries from more than 25 countries will show an exceptional selection of works by their artists. Participating exhibitors are coming from Europe, the US, Central America, Japan, Israel, Russia and India. With its concise selection of galleries, the 13th ART FORUM BERLIN has all to be a particularly fascinating edition which surprises with freshness, actuality and a certain cool roughness, typical
for Berlin.

Adamski, Aachen | Akinci, Amsterdam | Mikael Andersen, Copenhagen | Anhava, Helsinki | Arndt & Partner, Berlin | art agents, Hamburg | Asbæk, Copenhagen | Guy Bärtschi, Geneva | Jürgen Becker, Hamburg | Anita Beckers, Frankfurt/Main | Bo Bjerggaard, Copenhagen | Spencer Brownstone, New York | Lena Brüning, Berlin | Ellen de Bruijne, Amsterdam | Buchmann, Berlin | Carreras Mugica, Bilbao | CHARIM, Vienna | Mehdi Chouakri, Berlin | Clages, Cologne | CONRADS, Düsseldorf | CONTEMPORARY FINE ARTS, Berlin | Crone, Berlin | Erika Deák, Budapest | Elizabeth Dee, New York | Deweer, Otegem | Volker Diehl, Berlin | Dina4, Munich | Dogenhaus, Leipzig | EIGEN + ART, Berlin/Leipzig | ESPAI 2NOU2, Barcelona | Max Estrella, Madrid | Fahnemann Projects, Berlin | Figge von Rosen, Cologne | Freight + Volume, New York | SixFriedrichLisaUngar, Munich | fruehsorge, Berlin | Gazonrouge, Athens | Vera Gliem, Cologne | GMG Gallery, Moscow | Goff + Rosenthal, Berlin/New York | Christopher Grimes
, Santa Monica | Karin Guenther, Hamburg | Cristina Guerra, Lisbon | Guild & Greyshkul, New York | Hammelehle und Ahrens, Cologne | Reinhard Hauff, Stuttgart | Erna Hécey, Brussels/Luxembourg | hoet bekaert, Gent | Hohenlohe, Vienna | CORA HÖLZL, Düsseldorf | i8, Reykjavik | IBID PROJECTS, London | Ingleby, Edinburgh | Johnen, Berlin | GALLERI K, Oslo | Iris Kadel, Karlsruhe | GEORG KARGL FINE ARTS, Vienna | KICKEN BERLIN, Berlin | Kirkhoff, Copenhagen | Klemm’s, Berlin | Leo Koenig, New York | Kuckei + Kuckei, Berlin | Bernd Kugler, Innsbruck | Le Guern, Warsaw | Stella Lohaus, Antwerp | Patricia Low, Gstaad | Lüttgenmeijer, Berlin | magnus müller, Berlin | Mai 36, Zurich | Maribel López, Berlin | Martin Asbæk, Copenhagen | Christine Mayer, Munich | nina menocal, Mexico | Karlheinz Meyer, Karlsruhe | Michael Stevenson, Cape Town | Mirchandani + Steinruecke, Mumbai | MKgalerie, Rotterdam | Mireille Mosler, New York | Christian Nagel, Cologne/Berlin | Nathalie Obadia, Paris | Nosbaum & Reding, Luxembourg | Nusser & Baumgart, Munich | Alexander Ochs, Berlin/Beijing | OneTwenty, Gent | PERES PROJECTS, Berlin | Perugi, Padua | PIEROGI, New York/Leipzig | Plan B, Cluj | Gregor Podnar, Berlin/Ljubljana | Praz-Delavallade, Paris | Produzentengalerie, Hamburg | RONMANDOS, Amsterdam | Thaddaeus Ropac, Salzburg/Paris | Rubicon, Dublin | Jette Rudolph, Berlin | Michael Schultz, Berlin | Otto Schweins, Cologne | scq, Santiago de Compostela | SENDA, Barcelona | SEPTEMBER, Berlin | Sfeir-Semler, Hamburg/Beirut | Sies + Höke, Düsseldorf | Diana Stigter, Amsterdam | TaiK, Helsinki | Sassa Trülzsch, Berlin | Vallois, Paris | VAN HORN, Düsseldorf | TIM VAN LAERE, Antwerp | veracortes, Lisbon | Nadja Vilenne, Liège | WAKO, Tokyo | Ursula Walbröl, Düsseldorf | Fons Welters, Amsterdam | Jan Wentrup, Berlin | Michael Wiesehöfer, Cologne | Christina Wilson, Copenhagen | Eva Winkeler, Frankfurt/Main | Wohnmaschine, Berlin | ZAK BRANICKA, Berlin/Kraków | Thomas Zander, Cologne | Michael Zink, Munich | Martin van Zomeren, Amsterdam | Zwinger, Berlin | (subject to change 27.05.2008)

SPECIAL EXHIBITION
“Difference, what difference?” is the title of ART FORUM BERLIN’s special exhibition this year. The group exhibition addresses the general question of the value and significance of art. For this reason, the showing reflects upon its special function as a mediating situation on the front between the market and discourse. Curator Hans-Jürgen Hafner poses the crucial questions: What is the function of a curated thematic show within an art fair framework? Is it possible that a work of art is not just seen as a commodity in such circumstances? “Difference, what difference?” as an exhibition format imitates the conventions of the art fair. Not just because its concept reflects on the structure ‚art fair’, but also the means and form of display of the art works are derived from the usual conditions of an
art fair.

List of participating artists in formation (please consult our website for updates).

Art lovers are invited to join special programs starting already in the evening of 29 October at Martin-Gropius-Bau featuring the last ten years of acquisitions of the German State Collection. The opening of ART FORUM BERLIN will be flanked by the opening nights of the blockbuster The Universe Klee. Paul Klee at Neue Nationalgalerie and the solo of Jeff Koons at the foyer of Neue Nationalgalerie. Further highlights of the late autumn in Berlin will be solo shows of Andy Warhol, Joseph Beuys and Ayse Erkmen at Hamburger Bahnhof and the group show Deconstructions of the Artists’ Myths’ with works from the Friedrich Christian Flick Collection and others at the Rieck Hall’s, adjacent to the museum. The Intimate in Everyday Life, photographs from the collection of agnès b., Paris, will be shown at C/O Berlin Forum for Visual Dialogues. Additionally, this year’s schedule contains many attractions, exclusive openings, parties and special events. Deutsche Guggenheim will sho
w the always spectacular Anish Kapoor and Akademie der Künste presents the intriguing group show Notation, furthermore Berlin’s European Month of Photography will start during the fair. Last but not least the opening of the brandnew Temporäre Kunsthalle on Schlossplatz will be the exceptional highlight for Berlin’s art scene in late autumn. All of this makes ART FORUM BERLIN 2008 an even more prominent and essential place to be for collectors, curators and lovers of contemporary art.

ART FORUM BERLIN 2008
The International Fair for Contemporary Art
31 October - 3 November 2008, Opening: Thursday, 30 October 2008
http://www.art-forum-berlin.com

For further information please contact:
Anne Maier at ART FORUM BERLIN
Messedamm 22, DE - 14055 Berlin
Tel.: +49-30-30 38 18 36/-37, Fax: +49-30-30 38 18 38
E-Mail: maier@messe-berlin.de

Dia Art Foundation

DIA ANNOUNCES NEW WEB-BASED PROJECT BY ARTIST ROSA BARBA
Latest in Dia’s series of Artists’ Projects for the web launches May 29, 2008

Dia Art Foundation announces the launch of Vertiginous Mapping, a web-based project by artist Rosa Barba, the latest in Dia’s ongoing series of online artworks. The project can be seen beginning May 29 at http://www.diaart.org/barba . An opening reception will be held at Dia on Thursday, May 29, 2008, from 6 to 8 pm on the fifth floor at 535 West 22nd Street, New York City.

In Vertiginous Mapping, Barba presents a collection of film, images, texts, and audio that she compiled and created while on a residency in Sweden. She shot 16mm film in a city north of the Arctic circle whose inhabitants face the prospect of having to relocate as the result of ground instability caused by massive mining in the area. As with several of her previous works, including Outwardly from the Earth’s Center, 2006, a film about inhabitants of an island trying to stop the seaward drift of their homes, Barba builds upon an unlikely but actual situation. Utilizing conventions of documentary film-making, she weaves together new and historical footage with materials she located in municipal archives, including documentation of Sweden’s switch from driving on the left to the right side of the road in 1967. Rather than building upon a central plot, Barba prefers to present a labyrinth of information, altering and fabricating elements along the way.

Barba is known for her film installations which examine elements of cinematography such as subtitling, projection methods, sound and image. These works vary widely in how they are presented; for example Machine Vision Seekers, 2003, consists of the lines of a script from a projector that swings its image between two corners of a room, while It’s Gonna Happen, 2005, is a film with two narrations, one audio and the other projected as text. Her diverse works present situations that invite speculation and require the viewer to fill in unstated details and overarching narratives, a playful yet almost unsettling experience.

Rosa Barba
Rosa Barba studied at the Academy of Media Arts, Cologne and at the Rijksakademie voor
Beeldende Kunsten in Amsterdam. She has had exhibitions recently at the Project Arts Centre in Dublin (2008), Stedelijk Museum Bureau Amsterdam (2007), Kunstverein Medienturm, Graz (2007), the Baltic Art Center in Visby, Sweden (2006) and in the Kasseler Kunstverein, Fridericianium (2005). Barba lives and works in Cologne and Amsterdam. More information at http://www.rosabarba.com

Artists’ Projects for the Web
Dia initiated a series of web-based works in early 1995, becoming one of the first arts organizations to foster the use of the world wide web as an artistic and conceptual medium. Dia’s collection of web projects currently numbers twenty-eight. Previous projects include Ezra Johnson’s Wrestling with the Blob Beast (2008); Wilfredo Prieto’s A Moment of Silence (2007); Maja Bajevic’s I Wish I was Born in a Hollywood Movie (2006); Dorothy Cross’s Foxglove: digitalis purpurea (2005); Ana Torfs’ Approximations/Contradictions (2004); Allen Ruppersberg’s The New Five Foot Shelf (2004); Glenn Ligon’s Annotations (2003); Shimabuku’s Moon Rabbit (2001); Stephen Vitiello’s Tetrasomia (2000); Diller + Scofidio’s Refresh (1998); and Komar and Melamid’s The Most Wanted Paintings (1995), among others. All may be visited at Dia’s website, http://www.diaart.org

Funding
Funding for this project has been provided the New York State Council on the Arts, a state agency, the Kunststiftung NRW, Düsseldorf, and the Mondriaan Foundation, Amsterdam. Beverages for the launch event compliments Brooklyn Brewery.

Dia Art Foundation
A nonprofit institution founded in 1974, Dia Art Foundation is internationally renowned for initiating, supporting, presenting, and preserving art projects. Dia presents public programs and its permanent collection of works from the 1960s through the present at Dia:Beacon, Riggio Galleries, in New York’s Hudson Valley. In the fall of 2007 Dia initiated a partnership with The Hispanic Society of America in which Dia presents commissions and projects by contemporary artists in the Hispanic Society’s galleries. Dia is actively engaged in a search for a permanent home for its New York City initiatives. Additionally, Dia maintains long-term, site-specific projects in the western United States, in New York City, and in Bridgehampton on Long Island. For additional public information, visit http://www.diaart.org

* * *
For additional information or materials please contact
Ashley Tickle, Dia Art Foundation, New York City, 212.293.5518 or atickle@diaart.org

LABoral Centre for Art
and Creative Industries

Banquete_nodos y redes
Interactions between art-science-technology-society
in digital culture in Spain
June 6th, 2008 - November 3rd 2008

LABoral Centro de Arte y Creación Industrial, Gijón, Spain

March - July 2009 ZKM, Center for Art and Media, Karlsruhe, Germany

http://www.laboralcentrodearte.org

The banquete_ project came about at the beginning of the 1990s and evolved as a network of conversations and collaborations between artists, scientists, humanists, technologists and activists. The shared motivation has been to encourage and socialise the dialogue between sciences and humanities with a mandate to explore the relationships between biological, social, technological and cultural systems. Over time, this network has given rise to an interactive ACTS (the Spanish acronym for Art-Science-Technology-Society) environment, defining a space of encounter and collaboration between different artistic, scientific and technological centres for research, production and diffusion both here in Spain as well as internationally.

This third edition of banquete_nodos y redes is grounded in the theoretical and practical requirement to explore and visualize the dynamic emergencies of the Net Society. In order to achieve this, it follows a line of inquiry that links together the neuronal structures studied by the histologist Santiago Ramón y Cajal with those social and communication networks studied by the sociologist Manuel Castells. The concept of a network – simultaneously present in nature, society and technology – is used to question the currently prevailing model of cultural production that is based in hegemonic centres and unquestionable axes. In contrast, the dynamic of a network generates horizontal and distributed systems of interconnected nodes in which everything, from ideas and concepts to individuals, organisations and institutions, becomes the catalytic agents for a process of dialogue and transformation of society and culture.

The exhibition features thirty digital and interactive art projects which posit a series of critical reflections and participative experiences while also exploring the new shared matrix of the net. By sustaining an open dialogue with other contexts and practices pertaining to the different branches of science and contemporary thought, banquete_nodos y redes attests an emergent interdisciplinary dynamic in the practice of art within Spain. Photographic-based works, videos, virtual reality installations or participative net.art projects comprise a wide-ranging exhibition which outlines a path through these neuronal micro-worlds and the global dynamics of contemporary societies.

Artists:
Aetherbits/ Antoni Abad/ Eugenio Ampudia/ Marcel-lí Antúnez/ Pablo Armesto/ José Manuel Berenguer/ Clara Boj y Diego Díaz/ Daniel Canogar/ Álvaro Castro/ Alfredo Colunga/ Escoitar/ Evru/ Joan Fontcuberta/ Dora García/ Marta de Gonzalo y Publio Pérez Prieto/ Hackitectura/ Ricardo Iglesias/ Influenza/ Concha Jerez y José Iges/ Kònic Thtr/ Laboratorio de Luz/ Joan Leandre/ Neokinok TV/ Marina Núñez/ Pedro Ortuño/ Raquel Paricio y J. Manuel Moreno/ Platoniq/ Francisco Ruiz de Infante/ Águeda Simó/ Technologies To The People

Idea and concept: Karin Ohlenschläger & Luis Rico
Curator: Karin Ohlenschläger
Exhibition design: Jovino Martínez Sierra (Arquitecto)
Produced by Sociedad Estatal para la Acción Cultural Exterior de España (SEACEX), Fundación Telefónica and LABoral Centro de Arte y Creación Industrial

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

LABoral Centro de Arte y Creación Industrial
Los Prados, 121
33394 Gijón (Asturias) Spain
Tel: +34 985 185 577
Fax: +34 985 337 355
info@laboralcentrodearte.org
http://www.laboralcentrodearte.org

Opening Hours: Wednesday to Monday, 12 noon - 8 pm

Parkett

New Parkett with Pawel Althamer,
Louise Bourgeois, and Rachel Harrison
http://www.parkettart.com

Parkett’s explorations and investigations of important international contemporary artists continue in vol. # 82, featuring Pawel Althamer, Louise Bourgeois, and Rachel Harrison.

Additional texts have been written by Kenneth Goldsmith on his UbuWeb creation, Suzanne Hudson on the 60s hippie retreat Esalen, and Jeremy Sigler on Brock Enright. The Cumulus texts are by science fiction novelist Mark von Schlegell and by Catherine Chevalier. The insert is by Sadie Benning. The spine is by Paulina Olowska.

The Polish artist Pawel Althamer brings a shamanistic intensity and quirky sense of spirituality to his work, often extending it through his artist persona into social space, while his obsession with self-portraiture generates an ever-expanding repertoire of spooky “Althamers.” As Massimiliano Gioni points out, “It is surely no coincidence that the artist often represents himself naked, in a sort of Edenic state … Many of his self-portraits and portraits of his family members, in fact, are realized with animal skin and intestines, hay, and hair; part Golems and part fetishes, they possess something of a totemic power.” The history and context including many of his Grotowski-inspired paratheatrical works are discussed in essays by Catherine Wood, and Adam Szymczyk. For his Parkett edition, titled “Retrospective,” Althamer has cast a series of twelve tin figurines – each a miniature of an earlier work – and placed them in a hand-made suitcase.

In his text “Mother of Them All/ Sister of Some” Robert Storr charts Louise Bourgeois’ influence and rivalries from each decade in the last half century, exposing an artist who, well into her nineties, remains a feisty competitor, at times surprisingly territorial of the family tree that continues to grow from her hauntingly personal oeuvre. In a playful reference to her convoluted multi-generational influence, Storr says, “Any artist born after 1965 will have had the unpredictable “new” Bourgeois as a competitive contemporary… and those born later may well have found themselves running to catch up with the ‘old-new’ Bourgeois, as an even newer, shape-shifting Bourgeois has been regularly putting fresh work into the world.” Tracey Emin, in her captivating story of meeting her heroine, brings us through the front door of Bourgeois’ crepuscular house and up close to the legendary French-born artist, where we witness that despite her often intimidating stat
ure she has a provocative sense of humor. Bourgeois is also discussed by the celebrated feminist historian Griselda Pollock who delves into a recent series of red watercolors. One work from the series has been developed into an edition for Parkett called “Maternal Man”—the outline of a standing pregnant man with a visible fetus
growing inside.

New York artist Rachel Harrison combines assemblage techniques and hand-made organic forms that seem to poke fun at their own clunky, slovenly forms. In their emphatic glee, they might be said to have an embarrassing presence; Ina Blom refers to them, ironically, as gaudy rock stars on stage. Many works also function as odd product placements where various packaged goods make jarring, often absurd cameos. Like commodity parasites, these items become embedded within the works’ malformed sculptural bulk. Harrison is discussed in this issue by Blom, Richard Hawkins, Alison Gingeras, and George Baker. For her Parkett edition, humorously titled “Wardrobe Malfunction,” Harrison overpainted a well-known image of the pop star Prince with splashes of sassy bright pigment and printed it as a stunning 10-color lithograph.

For more details on the new Parkett, its content and artist editions, as well as for subscriptions and back issues, please go to http://www.parkettart.com

The comprehensive library of contemporary art:
For the special offer of all 50 available Parkett issues as with 140 in-depth artist portraits, 800 texts and essays and 4000 color reproductions please go to http://www.parkettart.com/order