Artipedia - Arts News

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

Aperture magazine

Summer 2008 in Aperture

To subscribe, visit www.aperture.org/magazine

The summer issue of Aperture (issue 191) features:

• Sophie Calle: A Lover’s Monologue
Giuseppe Merlino considers Calle’s recent project Prenez soin de vous (Take Care of Yourself), exhibited at last year’s Venice Biennale.

• The Films of Robert Frank
Luc Sante discusses Frank’s films Pull My Daisy, The Sin of Jesus, and Me and My Brother.

• Disappearances: The Photographs of Trevor Paglen
Paglen’s work with photography and other media confronts the shadowy world of covert American military programs.

• How Silent Images Can Break the Silence
Through words, photographs, and an extraordinary exhibition, Gilles Peress and John Berger express their responses to Picasso’s Guernica.

• Jane Hammond’s Recombinant DNA
Although known for her paintings and prints, Hammond has produced a series of theatrical
photo-collages.

• Town & Country: Reading for the Leisure Class
Vince Aletti looks back at the heyday of this publication conceived to entertain the affluent elite.

• Off to Camp: The Photographs of James Bidgood
Bidgood’s over-the-top photographs parody the desire they are meant to elicit.

• Susan Derges: The Eden Windows
Derges implements unusual photographic techniques in an extraordinary series inspired by
the elements.

• Heavy Light: Recent Photography and Video from Japan
Aperture speaks with Christopher Phillips and Fuku Noriko, the curators of this
landmark exhibition.

• Picturing the Iraq War Veterans
Mary Panzer looks at how photographers address a grim legacy of war: wounded veterans.

PLUS: Exhibition reviews from New York, Washingtion D.C., Switzerland, and The Netherlands.

Subscribe Now!

Nicola Pecoraro, Untitled, 2007, acrylic and spray paint on paper, 54 x 40 inches.

fette’s gallery is delighted to present Bad Couples, the first solo exhibition in Los Angeles by Italian artist Nicola Pecoraro.

The show consists of large and small works on paper alternating between whimsical and intricate lines, and vibrant, grim and ample strokes. The artist employs a consistent palette of bold colors and dense blacks using ink, spray paint and acrylic, with some elements of collage appearing here and there. Recurrent symbols and narratives are diffused within Pecoraro’s views of disfigured landscapes, futuristic aesthetics and romantic hallucinations.

Nicola Pecoraro has participated in several exhibitions in galleries across the US and Europe. He has recently shown at the new Chinatown Barbershop Gallery in Los Angeles, at Fuse Gallery in New York and Monitor Arte Contemporanea in Rome.
He was part of the touring group exhibition Tinyvices curated by Tim Barber which stopped at colette in Paris and Studio Bee in Tokyo among other spaces.
Pecoraro’s work has appeared in Arkitip, Dazed and Confused, This Is A Magazine, Paperback, Nero and Mousse Magazine. The artist received his BA from Central St Martins College and his MA from Middlesex University.
The artist lives and works in London and Rome.

On the occasion of the exhibition Bad Couples, Nieves and fette’s gallery will publish a book which will be released the evening of the opening.

fette’s gallery is located at 4255 Baldwin Ave., in Culver City. For additional information or visuals, please contact the gallery at (310) 559-7733.

http://www.fette-gallery.com
http://www.nieves.com

Art Basel

Art|39|Basel
Daily from Wednesday, June 4, until Saturday, June 7, 2008
10 - 11 a.m.: Panel Discussion
11 - 11.30 a.m.: Meet the Panelists

Location: Hall 1, Messeplatz, Basel

http://www.artbasel.com

Art Basel Conversations
This year’s Art Basel Conversations again promise a varied program. The forum premieres with a conversation between artists Lawrence Weiner and Jorge Pardo, and the panels that follow feature members of the international artworld discussing the development of new cultural institutions in Eastern Europe, the collection and preservation of new-media art, and galleries working at the edge of a globalized art market.

Art Basel Conversations are a forum encouraging the exchange of ideas by means of panel discussions and personal contact with the panelists and other guests. The participants include well-known artists, collectors, gallerists, and museum directors. Presenting their current and forthcoming projects and reflecting on their experiences and the challenges they face, they provide an inside perspective on the international art scene.

WEDNESDAY | June 4 | ARTIST TALK | Lawrence Weiner, Artist, New York
In conversation with Jorge Pardo, Artist, Los Angeles

THURSDAY | June 5 |
PUBLIC/PRIVATE | FORMING CULTURAL INSTITUTIONS IN EASTERN EUROPE

What is the role of an Eastern European art institution and how has it changed in the last twenty years? What are the effects of globalisation on the local artists and art scenes? Which are the challenges, opportunities and risks posed by public-private partnerships in terms of defining an institution’s vision? How does the development of auction houses, galleries, foundations and private collectors influence the programming of such institutions? And what kind of activities do institutions focus on generating a public for their program?

Speakers:
Zdenka Badovinac, Director, Museum of Modern Art, Ljubljana; Vit Havranek, Curator and Project Leader, tranzit, Prague; Magda Kardasz, Curator, Zacheta National Gallery of Art, Warsaw; Joanna Mytkowska, Director, Museum of Modern Art, Warsaw
Moderator: Hans Ulrich Obrist, Serpentine Gallery, London

FRIDAY | June 6 | ART COLLECTIONS | Collecting, Protecting and Projecting New Media supported by ZURICH Insurance Company

What role do new media play within a museum collection? What does it mean to maintain a collection of new media? Which technical challenges do new-media collections pose in terms of conservation and future presentation? What are the challenges, risks and opportunities of collecting new media? And what are the specifications and focus for creating such a collection?

Speakers:
Christoph Blasé, Head of Laboratory for Antique Video Systems, ZKM Center for Art and Media, Karlsruhe; Stuart Comer, Film and Video Curator, Tate, London; Pamela Kramlich, Kramlich Collection, San Francisco; Pip Laurenson, Head of Time-based Media Conservation, Tate, London
Moderator: Chrissie Iles, Curator, Whitney Museum of American Art, New York

SATURDAY | June 7 | GALLERY AGENDAS | WORKING FROM THE EDGE OF THE
GLOBAL MARKET

What are the challenges of running a gallery from a far corner of the (art)world?
How does such a gallery remain connected with the international contemporary art scene, despite the distances involved and the need for maintaining interpersonal contacts? Or is it perhaps actually an advantage to work from an ‘exotic‘ locale?

Speakers:
Orly Benzacar, Ruth Benzacar Galeria de Arte, Buenos Aires; Pi Li, Boers-Li Gallery, Beijing; John McCormack, Starkwhite Auckland, Auckland; Gregor Podnar, Galerija Gregor Podnar, Ljubljana/Berlin
Moderator: Philip Tinari, Director, Office for Discourse Engineering, Beijing

http://www.artbasel.com

Paris Photo 2008

Copyright: Rinko Kawauchi
Untitled, from the series of “UTATANE”, 2001
Courtesy of the artist and FOIL GALLERY, Tokyo

Paris Photo 2008

Japan Guest of Honour

November 13 - 16, 2008

Carrousel du Louvre

http://www.parisphoto.fr

A promising wind blows in from contemporary Asia
Guest of honour: Japan

From November 13 to 16, 2008, Paris Photo, the world’s leading fair for 19th century, modern and contemporary photography will bring together 106 exhibitors (85 galleries + 21 publishers) from 18 countries at the Carrousel du Louvre.

A deeply renewed selection
The 2008 selection will bring a profound change with a record number of first-time exhibitors (38 percent, or 32 new arrivals) and one of the highest rates of foreign participation (78 percent of exhibitors are non-French.)

The largest contingent of exhibitors comes from the USA with 19 galleries, followed by France (17), Japan (14), Germany, Spain and the UK (7 each), Holland (3), Italy (2) and one representative for each of the following countries: Austria, China, Denmark, Finland, Hungary, South-Africa, South-Korea. Australia and India will be making their first appearance at the fair (1 gallery each).

Spotlight on Japan: an exceptional overview of Japanese photography
For the first time, Paris Photo is looking towards the Far East and inviting Japan as its guest of honour. This coincides with growing international interest in Japanese photography.

With work by more than 80 artists, Paris Photo will offer an exceptional overview of a unique vision, from the Meiji era to 1930’s avant-garde movements and the post-war years through to the most contemporary production. To date, no exhibition in Europe has brought together such a large number of Japanese photographers.

About thirty galleries in the General Sector will feature Japan’s great classic masters (Shoji Ueda, Ihei Kimura, Masahisa Fukase, Eikoh Hosoe, Shomei Tomastu) and contemporary artists (Hiroshi Sugimoto, Nobuyoshi Araki, Daido Moriyama, Naoya Hatakeyama).

The Statement Section, comprising eight invited Japanese galleries, and the Project Room dedicated to video art will present the exciting work of a young generation of artists mainly born in the mid-sixties and the seventies. A publishers’ space will highlight the central role of photo-books on the Japanese photography scene.

Paris Photo invited the independent curator and photography critic Mariko Takeuchi to curate “Spotlight on Japan”.

5th edition of the BMW- Paris Photo Prize
Launched in 2003 to support contemporary photography, the BMW–Paris Photo Prize has become in less than five years an important landmark in the world of international photography.

A panel of prestigious international experts will select the winner of this 12,000 euro prize from among the living artists represented by Paris Photo 2008 participating galleries.

The theme for 2008 is “Never Stand Still”. The short-listed works will be on view during Paris Photo and the award ceremony itself will take place on Thursday, November 13.

Details:
Dates: Thursday, 13 November– Sunday, 16 November, 2008
Opening by invitation only: Wednesday, 12 November, 7:00 pm – 10:00 pm
Venue: Carrousel du Louvre, 99 rue de Rivoli, 75001 Paris, France
Opening hours: Thursday, 13 November from 11:00 am to 8:00 pm, Friday, 14 November from 11:00 am to 9:00 pm, Saturday, 15 November from 11:00 am to 8:00 pm, Sunday, 16 November from 11:00 am to 7:00 pm
Information: http://www.parisphoto.fr
Travel: for your travel arrangements and accommodation, please take advantage of our partnership with :Turon Travel Inc - 2 Wooster Street - New York, NY 10013

T: +1 212 925 54 53 - E-mail: parisphoto@turontravel.com - http://www.turontravel.com

Media liaison: Guillaume Piens - Paris Photo
Reed Expositions France, 52-54 Quai de Dion-Bouton, CS80001, 92806 Puteaux Cedex
Tel: 33 (0) 1 47 56 65 03 - Fax: 33 (0) 1 47 56 65 08 - E-mail: guillaume.piens@reedexpo.fr

List of exhibitors 2008

GALLERIES : Agathe Gaillard (Paris), Oliva Arauna (Madrid), Art Agents Gallery* (Hamburg), Atlas Gallery* (London), Baudoin Lebon (Paris), Bernard Quatrich* (London), Daniel Blau (Munich), Bonni Benrubi (New York), Janet Borden* (New York), Brancolini Grimaldi Arte Contemporanea (Florence), Camera Obscura (Paris), Philippe Chaume*(Paris), Michèle Chomette* (Paris), Cokkie Snoei* (Rotterdam), Stephen Daiter* (Chicago), Deborah Bell* (New York),Claudia Delank *(Cologne), Johannes Faber (Vienna), Les Filles du Calvaire (Paris), Flatland (Utrecht), Eric Franck (London), Fucares (Madrid) Galerie 1900-2000 (Paris), Howard Greenberg (New York), Guido Costa Projects (Turin), Hamiltons (London), Robert Hershkowitz (Sussex, UK), Edwynn Houk (New York), Ingleby* (Edinburg), Jackson Fine Art* (Atlanta), Galerie du Jour agnès b. (Paris), Juana de Aizpuru (Madrid), Keumsan Gallery *(Seoul), Kicken (Berlin), Robert Klein (Boston), Hans P. Kraus Jr. (New York), Kudlek Van der Grinte
n (Cologne), La Fabrica* (Madrid), Luisotti (Santa Monica), Lumière des Roses (Montreuil), Magnum Photos (Paris), Robert Mann* (New York), Martin Asbaek Projects (Copenhagen), Max Estrella (Madrid), m Bochum (Bochum), MEM (Osaka), Michael Hoppen (London), Michael Stevenson (Cape Town), Laurence Miller (New York), Robert Miller (New York), Moises Perez de Albeniz* (Pamplona), Taro Nasu (Tokyo), Nature Morte* (New Delhi), Picture Photo Space (Osaka), Serge Plantureux (Paris), Polaris (Paris), Priska Pasquer (Cologne), Rat Hole Gallery* (Tokyo), Le Réverbère (Lyon), Yancey Richardson (New York), Rose Gallery (Santa Monica), Senda (Barcelona), Sepia International* (New York), 798 Photo Gallery *(Beijing), Silverstein Photography (New York), Stills Gallery* (Sydney), Taik gallery (Helsinki), Taka Ishii* (Tokyo), Toluca (Paris), Vintage (Budapest), Vu’ la Galerie (Paris), Van Zoetendaal (Amsterdam),Weinstein Gallery*(Minneapolis),Esther Woerdehoff (Paris), Xippas (Paris /Athens), Yoshii Gallery* (New York), Zeit-Foto Salon* (Tokyo).

STATEMENT JAPAN: Base Gallery* (Tokyo) : Keisuke Shirota / Foil Gallery* (Tokyo) : Rinko Kawauchi/ G/P* (Tokyo) : Masayuki Shioda, Taisuke Koyama, Yumiko Utsu/ Hiromi Yoshii* (Tokyo) : Nao Tsuda/ Gallery White Room* (Tokyo) : Naruki Oshima/ Shugoarts* (Tokyo): Tomoko Yoneda/ The Third Gallery Aya*(Osaka): Nobuo Asada, Midori Komatsubara, Takashi Suzuki/ Tomio Koyama Gallery* (Tokyo) : Mamoru Tsukuda, Noboru Fukui, Mika Ninagawa.

PUBLISHERS: Antiquariaat L. van Paddenburgh (Leiden), Aperture (New York), Librairie La Chambre Claire (Paris), Filigranes Editions (Paris), Simon Finch Rare Books (London), Harper’s Books (East Hampton), Hatje Cantz (Stuttgart), Journal (Stockhölm), Librairie 213 (Paris), Lodima Press (Revere/USA), Florence Loewy (Paris), Tissato Nakahara (Paris), Denis Ozanne (Paris), Phaidon (Paris/London), Schaden.com (Cologne), Steidl (Gottingen/ London).

JAPANESE PHOTO-BOOKS: Akaaka Art publishing* (Tokyo), Book shop m* (Tokyo), Little More* (Tokyo), Seigensha* (Tokyo), Tosei-Sha* (Tokyo)

* Newcomers
List on May 16, 2008

migros museum für gegenwartskunst

Piotr Uklanski
Ohne Titel (Tiger, Bursting)
1998
Color photograph on aluminum behind Perspex
49 x 40 cm
Photo: A. Burger, Zurich
Collection migros museum für gegenwartskunst, Zurich

SAMMLUNG / COLLECTION
migros museum für gegenwartskunst Zürich
1978 - 2008

1st June - 17th August 2008

Press Conference: Friday, 30th May, 2008, 11.30 am
Opening: Saturday, 31st May 2008, 6 pm
Art Basel Reception: Sunday, 1st June, 5 pm

http://www.migrosmuseum.ch

This exhibition has been organised to mark the 30th anniversary of the Migros-Genossenschafts-Bund’s collecting activities, and has involved a three-year overhaul of the entire collection. A large number of old and new works from the collection is being displayed, encompassing all the various collection periods – from Minimalism and Conceptual Art in the 1960s and 1970s to contemporary works setting socio-political, performative, glamorous or surreal strategies off against each another. The integration of the collection, which looks at contemporary art production directed at a broad-minded public and provides continual exposure to new and different thematic points of view, into a lively environment, is the central concern of the exhibition. With this purpose in mind, exhibition architecture by Markus Schinwald is being used, which gives the observer the opportunity to have a “new view” of the works.

The exhibition is curated by Heike Munder and Markus Schinwald.

COLLECTION CATALOGUE!
A comprehensive collection catalogue with text contributions by Lionel Bovier, Dan Fox, Gisèle Girgis & Hedy Graber, Raphael Gygax, Tom Holert, Heike Munder, Bettina Steinbrügge, Philip Ursprung, Astrid Wege, Judith Welter, Jan Verwoert, Tirdad Zolghadr has been published by JRP|Ringier. This itemises the core inventory of the collection for the first time.

Artists shown in the exhibition:
Carl Andre – Art & Language – Atelier van Lieshout – John Baldessari – Lothar Baumgarten – Alighiero Boetti – Christine Borland – Olaf Breuning – Christoph Büchel – Heidi Bucher – Stefan Burger – Tom Burr – Jean-Marc Bustamante – Maurizio Cattelan – Marc Camille Chaimowicz – Spartacus Chetwynd – Marlene Dumas – Elmgreen & Dragset – Berta Fischer – Urs Fischer – Sylvie Fleury – Gabríela Fridriksdóttir – Douglas Gordon – San Keller – Sol LeWitt – Christian Marclay – Olivier Mosset – Juan Muñoz – Bruce Nauman – Olaf Nicolai – Cady Noland – Henrik Olesen – Giulio Paolini – David Renggli – Ugo Rondinone – Ed Ruscha – Robert Ryman –Jean-Frédéric Schnyder – Paul Thek – Rirkrit Tiravanija – Niele Toroni – Piotr Uklanski – Banks Violette – Philip Wiegard –Stephen Willats – Christopher Wool

PUBLIC GUIDED TOURS!
Sunday, 1st & 15th & 29th June, 13th July, 3rd & 17th August at 3 pm, as well as Thursday, 19th June & 14th August at 6.30 pm. FAMILY GUIDED TOUR: Sunday, 22nd June at 1.30 pm.

Opening hours: Tues / Wed / Fri Midday–6 pm, Thurs Midday–8 pm, Sat / Sun 11 am–5 pm.

Between 5 pm and 8 pm each Thursday museum entrance is free.

migros museum für gegenwartskunst
Limmatstrasse 270
8005 Zürich
T. +41 44 277 20 50
F. +41 44 277 62 86
info@migrosmuseum.ch
http://www.migrosmuseum.ch

The migros museum für gegenwartskunst is an institution of the Migros-Kulturprozent.
http://www.kulturprozent.ch

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.