Artipedia - Arts News

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

Prix Marcel Duchamp

Tatiana Trouvé
Sans titre (de la série “Remanences”) 2008
Pencil on paper, lead, tin
30 x 44 1/2 inches
Courtesy Almine Rech Gallery, Bruxelles
Courtesy Galerie Emmanuel Perrotin, Miami & Paris
Courtesy Galerie Johann König, Berlin

PRIX MARCEL DUCHAMP 2007
TATIANA TROUVÉ
4 BETWEEN 3 AND 2
25 JUNE - 29 SEPTEMBER 2008

ESPACE 315, LEVEL 1

http://www.centrepompidou.fr
http://www.adiaf.com

PRESENTATION OF THE PRIX MARCEL DUCHAMP:
FORUM, CENTRE POMPIDOU, 8 PM, TUESDAY 24 JUNE

Established by the Adiaf (Association pour la Diffusion Internationale de l’Art Français, http://www.adiaf.com ) in partnership with the Centre Pompidou, the Prix Marcel Duchamp is intended to promote the international recognition of artists working in France.

The prize for 2007 has been awarded to Tatiana Trouvé, born in Cosenza (Italy) in 1968, who in recent years has made her mark with exhibitions in France’s leading contemporary art spaces (Double Bind, Palais de Tokyo, Paris, 2007, Aujourd’hui, hier, ou il y a longtemps…, CAPC, Bordeaux, 2004) and solo shows in London and New York, as well participating in group shows in France and abroad.

Trouvé’s exhibition at the Centre Pompidou redefines the geography of Espace 315 to produce an indeterminable space, putting perception into question through the play of scale and perspective. Corridors stretch to infinity, while the space is divided in the middle by a pierced black metal grille; on the walls are new drawings (from the “Remanence” series), black on black, in which forms drawn in graphite pencil or cut from sheet tin emerge and disappear with changes in the angle of view. Bronze sculptures seem to defy the laws of physics, a rope rises up to curve through the air… A whole new world in the interstices of the old.

The title of the exhibition, 4 BETWEEN 3 AND 2, refers to the idea presiding over the creation of this world, the search for an intermediate dimension, a fourth, temporal dimension, between the three dimensions of sculpture and the two dimensions of drawings – a temporality that finds physical expression in the time of the exhibition in a continuous fall of black sand across the walls of the principal space, suggesting the gradual disappearance of the exhibition itself, its obliteration in and by time.

PRIX MARCEL DUCHAMP 2007

NOMINATED ARTISTS
Adam Adach - painting
Pierre Ardouvin - installation
Richard Fauguet - installation
Tatiana Trouvé - installation

JURY OF THE PRIX MARCEL DUCHAMP 2007

Blake Byrne, art collector (Los Angeles, US)
Gilles Fuchs, President of ADIAF (France)
Jacqueline Matisse-Monnier, artist (France)
Alfred Pacquement, Director, Musée National d’Art Moderne, Centre Pompidou,
Silvio Perlstein, art collector (Belgium)
Joëlle Pijaudier, Director, Musées de Strasbourg (France)
Adam Szymczyk, Director, Kunsthalle Basel, (Switzerland)

• The PRIX MARCEL DUCHAMP is awarded each year to an artist resident in France.
• Practitioners in any field of the visual arts are eligible for consideration: painting, sculpture, installation, photography, video…
• Nominated artists are presented at a group show organised as part of the FIAC.
• The show is marked by the publication of a catalogue by the ADIAF.
• The winner receives a prize of 35,000 euros from the ADIAF and is invited by the Musée National d’Art Moderne to produce an original work to be shown for two months at Espace 315 in the Centre Pompidou (production costs being met in part by the ADIAF).
• The Centre Pompidou publishes a monographic catalogue devoted to the winner.

VOLTA4

Melanie Schiff
Self-Portrait after John’s
16″ x 20″ (40. 6 x 50.8 cms)
Archival Inkjet, 2008, Ed. 30

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

http://www.voltashow.com

VOLTA4—opening on June 2nd—announces auxiliary projects and events, including a return of last year’s Outdoor | Sculpture Projects, introducing a works on paper section as well as supplementary artists’ projects that include the Waterside Pavilion, designed by German artist team Wolfgang Winter and Berthold Hoerbelt and the fair’s main entrance, The Gate of Woodoo, designed by Basel based artistic duo, yummy industries. Also two special editions by this year’s Whitney Biennial participants, Melanie Schiff and
Eduardo Sarabia.

The VOLTA4 Outdoor ⎪ Sculpture Project section will once again enliven the Ultra Brag area, with large-scale works and performances, too difficult to show in a standard booth presentation. The projects this year either address the location itself (using the water, the bridge, the grass hillside) or emit light, so that in the evening the illumination changes the abandoned aspect of the harbour area and lights up the pavilion where performances and collector dinners are to be staged.

The Pavilion itself—designed and constructed by Frankfurt-based artists Wolfgang Winter and Berthold Hoerbelt with support by Nüssli, the company responsible for building the VOLTA fair—acts as an architectural counterweight to the main hall, taking advantage of Ultra Brag’s area situation next to the Rhine. Featured inside the Pavilion is the large-scale Winter/Hoerbelt work Mensa, a long steel table, out of which the silhouette of 120 place settings have been cut. All the “unnecessary” parts of the table have been sliced away leaving only the geometric shapes of the dinner service.

Corresponding to a difficult time in some countries in our planet, 20 percent of the sale of any of the smaller 6-seater dinner tables by Winter+Hoerbelt will go directly to the international relief organization People in Need (PIN). Working directly with local churches, religious communities and NGO’s, PINs members travel directly to disaster areas cash-in-hand to distribute funds directly to the organizations and victims in need.

The Waterside Pavilion will host also performances by Chicago-based art duo Miller & Shellabarger and other events; during the Press & Professional Preview curator Paco Barragán’s new book, The Art Fair Age, published by CHARTA Books will be presented. The Art Fair Age examines in an analytical, well-documented and irreverent manner the ongoing evolution of the art fair phenomenon.
The VOLTA4 Outdoor ⎪ Sculpture Projects also include work by:

Fabian Seiz, represented by Hamish Morrison Gallery, Berlin, Germany
Maik and Dirk Loebbert, represented by Voges + Partner Galerie, Frankfurt, Germany
Miller & Shellabarger, represented by Western Exhibitions, Chicago, USA
Susanne Starke, represented by Galerie Birgit Ostermeier, Berlin, Germany
CutUp, represented by Seventeen, London, UK
Kristof Kintera, represented by Jiri Svetska Gallery, Prague, Czech Republic
Nathaniel Rackowe, represented by Bischoff/Weiss, London UK
Thomas Möcker, galerieKleindienst, Leipzig, Germany
Rune Olsen, represented by Samson Projects, Chicago
##MORE##

Connecting the sculpture park to the main hall will be a major intervention by Basel-based duo yummy industries, a vast gateway constructed from salvaged wood where visitors can pin their dreams and spells. The structure will lead visitors into the Annex—an architectural addition used in the first VOLTA fair and designed by Berlin architectural team Florence Girod and Philip Engelbrecht—extending the hall to include seven new booths.

Inside the hall, the Curatorial Board chose this year to dedicate the project section of the fair to works on paper. Extending the architectural concept of the VOLTA floor plan—where the gallery level and its attendant well provide a literal breathing space by opening up the visual horizon—the feeling was that paper works might augment the sense of quietude and pause created in this focal point of the fair. In this section, the visitor will find not just drawings, but also paper used in a variety of ways as a support, medium and sculptural material. Artists and galleries participating in the Paper Projects Section are:

Jochen Gerner at Anne Barrault, Paris
Marti Cormand, Darío Escobar, Robert Jack, Marco Maggi, Julianne Swartz at Josée Bienvenu, New York
Jeffrey T Y Lee at Domobaal, London
Claudia Angelmaier at galerieKleindienst, Leipzig
Duke Riley at Magnan Projects, New York
Peter Callesen, Tommy Støckel at Helene Nyborg Contemporary, Copenhagen
Marijn Akkermans, Jodie Carey, Nik Christensen, John Lurie at Galerie Gabriel Rolt, Amsterdam
Diana Cooper, Constantin Luser, Filib Schürmann at Rotwand Gallery, Zurich

Finally, VOLTA4 is proud to announce a collaboration with two Whitney Biennial artists for their 2008 editions: Chicago-based photographer Melanie Schiff’s Self-Portrait after John’s, in an edition of 30, which shows the artist as vulnerable and childlike yet with a strong sexual undertow, and Guadalajara-based artist Eduardo Sarabia’s edition of 30 unique ceramic plates, which continue his exploration of traditional Mexican craft techniques with modern themes. VOLTA would like to thank Kavi Gupta Gallery, Chicago, and I-20 Gallery, New York for their respective support in the production of
the editions.

The complete list of exhibitors is as follows:

Alkatraz Galerija - | Ljubljana | Slovenia
Arratia, Beer | Berlin | Germany
ASPN | Leipzig | Germany
Galerie Anne Barrault | Paris | France
Bendixen Contemporary Art | Copenhagen | Denmark
galerie bertrand & gruner | 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
Rabih Hage (VIP Lounge) | London | U.K.
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
Hamish Morrison | Berlin | Germany
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.
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
Western Exhibitions | Chicago | USA
Wohnmaschine | Berlin | Germany
ZieherSmith | New York | USA

VOLTA visitors can use the VOLTA Bus Shuttle between Art Basel and the other harbour fairs every 15 minutes. The beloved boat shuttle between VOLTA and LISTE will connect once more both fairs, offering the visitors a refreshing trip, every 20 minutes.

Venue: ULTRA BRAG, Südquaistrasse 55, CH-4019, Basel
Press & Professional Preview: Monday June 2nd, 2 – 4 pm
Regular hours: Tuesday June 3rd – Saturday June 7th, noon to 8 pm.

Schirn Kunsthalle Frankfurt

TERENCE KOH
WARHOL REMAINS AS A CHINESE WINTER
GARDEN IN MY HEART (SELF PORTRAIT), 2006
Courtesy Peres Projects, Los Angeles Berlin
copyright the artist

Terence Koh. Captain Buddha
Michael Sailstorfer. 10 000 Stones
28 May - 31 August 2008

Schirn Kunsthalle Frankfurt
Römerberg
60311 Frankfurt, Germany
phone: (+49) 69 29 98 82-0
fax: (+49) 69 29 98 82-240
welcome@schirn.de

http://www.schirn.de

The Schirn Kunsthalle Frankfurt presents the Chinese-Canadian artist Terence Koh and the German artist Michael Sailstorfer in two solo exhibitions.

TERENCE KOH. CAPTAIN BUDDHA

In an incredibly short time, Terence Koh’s spectacular performances and experientially intensively accessible installations have made him a highly respected “gesamtkunstwerk”. The Chinese-Canadian artist is one of the most fascinating discoveries of recent years. Like no other artist, he transposes influences from post-minimalism and 1970s body art into a cosmos uniquely his own, governed by decadence and deliberate excess, which grants the viewer instants of fragile beauty. Following up on his spectacular installations at the Kunsthalle Zurich, the Wiener Secession and the Whitney Museum in New York, Terence Koh is installing one of his signature monochrome environments especially for the Schirn; for this exhibition, he will initiate the surreal objects, ritually summoning them to life, in a secret performance. Under the title “Captain Buddha”, visitors who set foot in the luminously flooded room are invited to accompany the artist on a journey that will take them
on a search for themselves through the entire world – India, China, Burma, Belgium, Africa, Mexico and Canada are just some stations along the way – one that aims to reach nirvana and ends in nothingness.

For his installation at the Schirn Kunsthalle, Koh links two worlds that at first glance seem almost antipodal: Buddhism and that popular classic of world literature, Herman Melville’s “Moby Dick” – the tale of the fateful quest of charismatic and supremely obsessed Captain Ahab for the Great White Whale. But the two worlds are alike in their descriptions of endless and irresolvable search - a unity conveyed in the title “Captain Buddha”. For this installation, Koh himself set out on a quest: clad as a monk in a golden robe, he journeyed to fifteen places – Canada, Japan, China, Thailand, Mexico, Germany, Switzerland, Sweden, Israel, Iceland, Belgium, Italy, Spain, Africa, and the USA – in his search for objects, much as Captain Ahab sailed the world over in search of the White Whale. In Terence Koh’s words: “I’m like the captain in Moby Dick. I’m trying to find the White Whale in the white objects, but in the end I find nothing.”

MICHAEL SAILSTORFER. 10 000 STONES

Transformations, context shifts, laying claim to space - Michael Sailstorfer’s works rapidly reveal the artist’s interest in everyday objects and the materials of our immediate environment, and his fascination for the specific identity and history of these objects. Sailstorfer subjects his objects to stringent scrutiny; they are dismantled, dissected, deformed, adapted, reassembled in novel forms and rededicated as poetic-realistic installations. In this process, both the space which they take up and the space that surrounds them are of essential significance. Space becomes the battleground for such antagonistic concepts as home(land) and distance, mobility and stasis, motion and the past. The exhibition in the Schirn presents five works that impressively showcase the artist’s poetic, political and ironic vocabulary – among others the large light installation “Untitled (Junger Römer)” (“Untitled (Young Roman)”), which he created especially for the Schirn. The
work illuminates the urban space from its “table” – a concrete structure in the Schirn’s exterior space.

Untitled (Junger Römer)” (“Untitled (Young Roman)”), the recreation of an old illuminated sign from the former German Democratic Republic with a rhythmically flashing program, confronts visitors even before they enter the Schirn proper. The title of this powerful, eight-meter-long neon skeleton, erected in a prominent location outside the Schirn, is a play on both the song title “Junge Römer” (“Young Romans”) by the Austrian singer Falco and the neighboring “Römer”, Frankfurt’s historic City Hall. The original of the display, the illuminated sign of a radio manufacturer of the former GDR, may still be glimpsed today as an advertising ruin perched above the rooftops of Berlin’s central Mitte district. For the Schirn, Sailstorfer programmed a cycle that causes his neon creation to flash just as it might have over East Berlin in the days of the GDR. Two circles on a horizontal pattern of lines propagate, wave-like, outward, concluding in a colorful final
e of light. This almost psychedelic “quasi-readymade”, bearing the Falco title, emitting radiantly pulsing sound-wave patterns, and sited in the heart of Frankfurt’s old city, undergoes a metamorphosis typical for Sailstorfer: in this work, he links the memory of a tune that evokes the feeling of the 1980s in Germany with the memory of a country that no longer exists to create something new in an entirely different place.

CATALOGUES:

“TERENCE KOH. CAPTAIN BUDDHA”, edited by Martina Weinhart and Max Hollein. With a foreword by Max Hollein and text by Martina Weinhart. German-English, approx. 100 pages, approx. 40 illustrations, soft cover, Verlag der Buchhandlung Walter König, ISBN 978-3-86560-466-8. (Schirn).
“MICHAEL SAILSTORFER. 10 000 STONES”, edited by Matthias Ulrich and Max Hollein. With a foreword by Max Hollein and text by Matthias Ulrich. German-English edition, approx. 70 pages, approx. 45 illustrations, soft cover, Verlag der Buchhandlung Walther König, ISBN 978-3-86560-465-1. (Schirn).

DIRECTOR: Max Hollein

CURATORS: Matthias Ulrich (Michael Sailstorfer), Dr. Martina Weinhart (Terence Koh)

OPENING HOURS: Tue., Fri. - Sun. 10 a.m. - 7 p.m., Wed. and Thur. 10 a.m. - 10 p.m.

INFORMATION: http://www.schirn.de

PRESS CONTACT: Dorothea Apovnik, phone: (+49-69) 29 98 82-118, fax: (+49-69) 29 98 82-240, e-mail: dorothea.apovnik@schirn.de, http://www.schirn.de (texts and images for download under PRESS).

Galleria Gottardo

Reliquary Figure
Gabon, Kota, Africa
Wood and Brass
Height: 57 cm
Copyright: Paolo Manusardi, Milano

Ethnopassion
Peggy Guggenheim’s ethnic art collection
28 May - 23 August 2008

http://www.galleria-gottardo.org

From 28 May to 23 August, the Galleria Gottardo in Lugano will be holding the world’s first exhibition of the ethnic artworks collected by one of the twentieth century’s greatest art patrons: Peggy Guggenheim. The idea behind the exhibition is to display the “exotic objects” that embellished the Palazzo Venier dei Leoni during the collector’s lifetime. Since her death, they have been carefully restored and examined by scientific researchers. The restoration project was jointly launched by Galleria Gottardo, the Peggy Guggenheim Collection in Venice and the Museum of Cultures in Lugano with the aim of rediscovering the specific meaning of each object in itself and in the context in which it was purchased.

Peggy Guggenheim’s passion for ethnic art dated back to the period of her tempestuous relationship with Max Ernst, who was a keen collector of this kind of art. When their relationship broke down in 1943, the artist left with all the works in his collection. After settling permanently in Venice and opening her collection to the general public, Peggy rekindled her interest in ethnic art, and, from 1959, she began to acquire works and exhibit them in her home, mixing them with contemporary artworks as she felt inclined. She developed a genuine passion, an involuntary, unconscious attraction for these objects, which was rooted in purely phenomenal interest: she never felt a great need to find out more about their meaning and value. She appreciated their decorative nature, using them as a means of enhancing her interior design and keeping up with the latest fashions.

Based on photographs from the period and the scarce information available on the subject, it is thought that her private collection consisted of around 50 artworks, mainly from Africa and Oceania; 35 of these remained in the estate of Palazzo Venier dei Leoni, where they have been conserved in the museum’s art storage.

The exotic artefacts had always been considered valuable as part of Peggy’s collection, but with uncertainty about the intrinsic value of the items in question when examined outside the classical canons of conventionally understood art in the West.

One of the aims of the “Ethnopassion” exhibition is to transform this view, giving these objects not just the value that they have in the intellectual context that fanned Peggy Guggenheim’s interest for ethnic art, but also an anthropological value arising from the study of the objects and their links with various periods and cultures.

The mandate for the scientific analysis of the collection was given to the
Museum of Cultures of the City of Lugano, under the direction of Francesco Paolo Campione. Thanks to him and his staff, in-depth analysis, including the accurate restoration of the objects, the creation of frames and supports, philological research and scientific classification of the works, visitors to the Galleria Gottardo can admire these artworks in their new found splendour and let their imaginations wander in the magical atmosphere that reigned in Peggy Guggenheim’s palace on the banks of Venice’s Canal Grande, where art, style, passion and creativity met.

The exhibition is curated by Franco Rogantini, Director of Galleria Gottardo and by Philip Rylands, Director of the Peggy Guggenheim Collection in Venice.
Exhibition design and graphic design of the catalogue by Theredbox.

Press conference: Tuesday 27 May 2008 at 11 am
Vernissage: Tuesday 27 May 2008 from 6 pm to 8 pm
Exhibition dates: 28 May - 23 August 2008
Opening hours: Tuesday 2 pm - 5 pm; Wednesday - Saturday 11 am - 5 pm
Closed Sunday and Monday. Admission free
Catalogue: Ethnopassion – Peggy Guggenheim’s ethnic art collection.
(Italian/English) edited by Francesco Paolo Campione
published by Edizioni Gabriele Mazzotta s.r.l.
(ISBN 978-88-202-1879-9)

Galleria Gottardo a cultural foundation of Banca del Gottardo has been organising exhibitions since 1989, with the collaboration of museums, cultural institutions and collectors. In over 15 years of quality exhibitions it has explored human activities pointing at the innumerable facets of art and photography, of ethnography and archaeology, of design and peculiar objects that throughout the years have become the fount of interesting collections and publications. Bearing in mind the geo-linguistic position of our region, the Galleria Gottardo sets itself as a meeting point, a crossing and exchange point between Northern and Southern cultures. Its publishing activity has attained great importance within the framework of its production especially as far as texts and page proof are concerned and the quality of its catalogues. The Galleria Gottardo’s strong point is its availability to dialogue which allows it to find important partners for the realisation of new projects and st
art long-lasting collaborations.

Information:

Galleria Gottardo
Viale Stefano Franscini 12
6901 Lugano, Switzerland
Tel. +41 91 808 1988
Fax +41 91 808 2447
galleria@gottardo.com
http://www.galleria-gottardo.org

Uessearte
Via Natta 22
I - 22100 Como
Tel. +39 031 269 393
Fax +39 031 267 265
uessearte@tin.it

Horsecross

Vuk Cosic
Still from Kong Kong ASCII, 2008.
22-channel video installation.
Courtesy the artist and Horsecross

Horsecross presents

PRIMARY INGREDIENTS
curated by Iliyana Nedkova
21 May - 31 August 2008

Threshold artspace
Horsecross, Mill Street
Perth, PH1 5HZ, UK

http://www.horsecross.co.uk

This summer, Horsecross presents Primary Ingredients, a major new exhibition at Threshold artspace which premieres five new commissions by Vuk Cosic, Alec Finlay, Clive Gillman, Katja Loher and Valentin Stefanoff showing alongside works by Perry Bard and Krassimir Terziev in the context of twelve works drawn from the Horsecross collection. Featured are sixteen artists from nine countries who employ text – anything from letters and symbols, poems and stories to books and films – as primary ingredients in their visual grammar. Their works allow us to go beyond the omnipresent debate whether text gives artists the opportunity to be more direct than they usually are with images. A fresh opportunity to test our assumptions that words have cognitive primacy in the brain of the viewer.

Artists from the Horsecross collection of contemporary media art featured include Claude Closky, Lei Cox, Dan Perjovschi, Janek Schaefer, Thomson & Craighead and Mare Tralla.

King Kong ASCII Vuk Cosic (Born 1966 in Belgrade. Lives and works in Ljubljana)
A sample of the artist’s signature retro-futuristic ASCII aesthetics featuring the archetype of the giant ape monster. Cosic runs visual havoc by mastering a character encoding paradigm based on the English alphabet but applied to a popular culture icon.

Commissioned and acquired for the Horsecross collection of contemporary media art. Showing as a 22-channel video installation at Threshold Wave. Leading up to Cosic’s first major solo exhibition in a public institution in Scotland at Threshold artspace in 2009.

Cantus Alec Finlay (Born 1966 in Aberdeen. Lives and works in Newcastle-upon-Tyne)
An endless circle poem inspired by the falling rain and Arvo Pärt’s Cantus In Memoriam Benjamin Britten. Finlay interfuses poetry, music and nature in a video loop reminiscent of John Cage’s experience of listening to the sounds of the woodland while playing records in his cabin at Stony Point.

Commissioned and acquired for the Horsecross collection of contemporary media art. Showing as a 22-channel video installation at Threshold Wave. This is the artist’s first major site-specific commission for Threshold artspace.

22 Letters Clive Gillman (Born 1965 in Liverpool. Lives and works in Dundee)
Taking its cue from the 22 video channels of the Threshold Wave, each screen becomes host to a word from an artist’s poem about the bond of trust that exists between artist and audience.

Commissioned and acquired for the Horsecross collection of contemporary media art. Showing as 22-channel video installation at Threshold Wave. This is the artist’s first site-specific work created for Threshold artspace.

Video Optica Katja Loher (Born 1979 in Zurich. Lives and works in New York)
A trilogy of artist’s films where a giant weather balloon meets motion choreography meets Pablo Neruda. Some of the 74 poems and 316 playful questions about life, death, nature and rebirth, which Neruda wrote in the last year of his life, come alive. If the color black runs out where will the stars live?

Commissioned as part of Players – an ongoing strand in the Horsecross collection of contemporary media art exploring the relationship of contemporary art and gaming culture. Showing at Threshold Stage area. This is the artist’s first exhibition in the UK.

How to Read Between the Lines, or Method for Self-Education Valentin Stefanoff
(Born 1959 in Sofia. Lives and works in Paris)
The mystery and power of reading are captured in a series of single, continuous shots gliding along the gap between lines of newsprint in French, English and Bulgarian. The rhythm of text and image is syncopated by a specially composed soundtrack by Dan Senn.

Commissioned and acquired for the Horsecross collection of contemporary media art. Showing as a 22-channel video installation at Threshold Wave. This is the artist’s first exhibition in Scotland.

Man With A Movie Camera. The Global Remake Perry Bard (Born 1944 in Quebec. Lives and works in New York)
Dziga Vertov’s 1929 classic film Man With A Movie Camera enters the twenty first century as a database cinema. Built upon the fundamental constituents of a scene index and shot list, Bard’s work prompts a participatory global remake where anyone can upload their footage to become part of a
worldwide montage.

Exhibited as part of an ongoing strand in the Threshold artspace programme exploring the relationship of live Internet transmissions and contemporary art. This is the first presentation of Bard’s evolving project in Scotland, initially commissioned by The Bigger Picture, Manchester.

The Return of the Beast 1933-2005 Krassimir Terziev (Born 1969 in Dobrich. Lives and works
in Sofia)
Part of the artist’s ongoing inquiry into the basic elements of cinematic grammar, this work superimposes subtitles of the three film versions of King Kong (1933, 1976 and 2005) while questioning our perceptions of time and narrative, the remake and the voiceless protagonist, our collective imagination and memory.

Exhibited as part of an ongoing strand of single-channel works showing at the Threshold Flush areas on eight flat screens. This is the artist’s first exhibition in Scotland.

Primary Ingredients produced by Horsecross for Threshold artspace in partnership with 55degrees and Perthshire Visual Arts Forum.

New commissions supported by the Scottish Arts Council.

Accompanied by new issues of Read More – Horsecross journal of critical writing ISSN 1755-0866 (Online). Specially designed, each issue features a newly commissioned essay about a selected work from the collection.

Launched in September 2005, Threshold artspace is about positioning Perth and Scotland within the contemporary art world at large through commissioning, exhibiting, publishing and collecting.

Horsecross is a new agency delivering cultural activities at Threshold artspace, Perth Concert Hall and Perth Theatre. Threshold artspace and Perth Concert Hall sit on the site of the original Horsecross – Perth’s 17th century horse market. The name is synonymous with bustling regeneration activity in the heart of the city.

For further details please contact Iliyana Nedkova, Horsecross Creative Director (New Media Art) tel: +44 (0)1738 477743 e-mail: inedkova@horsecross.co.uk or iliyana@arcprojects.org

The Showroom

Sebastian Buerkner
Emotion Machine
[co-commission with Animate Projects]
14 May - 22 June 2008

Opening
Tuesday 13 May 19.00 - 21.00 hrs

First Thursdays Late Night Opening
5 June until 20.30 hrs

http://www.theshowroom.org

The Showroom is delighted to announce that it is working with Animate Projects on a co-commission of new animation works by Sebastian Buerkner. The resulting show Emotion Machine will be presented at The Showroom through May and June this year.

Buerkner is one of the most innovative artists working with animation today. His sophisticated visual language, elaborately drawn in Flash, is preoccupied with the creation of parallel or fantasy worlds that often defy logic and challenge our understanding of space and time. Buerkner’s layered and fragmentary imagery seems to suggest incomplete memories, or provide tantalising glimpses into the artist’s subconscious through the perspective of his films’ subjects. The effect is a dizzying sense of disorientation, often augmented by Buerkner’s use of split screen or multiple projections which, combined with his use of repetition and almost stroboscopic editing, mean that the viewer is left trying to grasp or piece together an elusive narrative thread.

His work for The Showroom and Animate Projects will comprise a series of newly commissioned monitor-based works and a large-scale projection. These works will attempt an analytical investigation into the presentation of emotional states using animation – Buerkner will draw from his visual lexicon to create associations between particular emotions and values such as speed, weight, colour, form and sharpness. Through the process of editing together rapidly changing, rich and complex imagery, Buerkner’s aim is to disrupt the viewer’s ability to read and process the images presented thereby unlocking the door into their own subconscious.

Sebastian Buerkner has made projects for Kohlenhof Kunstverein Nurnberg, Whitechapel Project Space, London and LUX at Lounge Gallery, London. He has also participated in group shows and screenings at Site Gallery, Sheffield, Tate Liverpool, Barbican, London and Kunsthalle Wien, Vienna. His film Purple Grey (2006) was broadcast as part of AnimateTV on Channel 4. Sebastian Buerkner currently lives and works in London.

For further information please contact Natasha Tebbs at The Showroom ( 020 8983 4115, natasha@theshowroom.org ) or Emma Pettit at Margaret London ( 07852 196539, emma@margaretlondon.com , http://www.margaretlondon.com ). For Animate Projects visit http://www.animateprojects.org

The Showroom is financially assisted by Arts Council England, London Office, Moose Foundation for the Arts and the many members of the gallery’s Friends Scheme.

The Showroom
44 Bonner Road
London E2 9JS
T. +44 (0)20 8983 4115
F. +44 (0)20 8981 4112
Wednesday - Sunday 13.00 - 18.00 hrs
tellmemore@theshowroom.org
http://www.theshowroom.org

WANÅS 2008

Emily Prince, American Servicemen and Women who have died in Iraq and Afghanistan (but not including the wounded, nor the Iraqis nor the Afghanis), 2004-, 4,302 pencil drawings on paper, 10,2 x 7,6 cm each. Courtesy The Saatchi Gallery, London. Photo: Anders Norrsell

WANÅS 2008: LOSS
May 18 - October 19

http://www.wanas.se

In an era defined by a significant interest in the past, subjects such as historiography, collective memory and the passing of time permeate contemporary artistic expression. The group exhibition Loss includes photography, installations, sculptures and video works by seventeen artists actively engaged in investigating these topics. The works on display follow three main lines of inquiry: works that constitute innovative alternatives to the Western world’s traditional concepts of monuments, works that comment on existing memorials, and works that, in a broader sense, refer to our memory processes.

Participating artists are: Lida Abdul, Christian Boltanski, Jon Brunberg, Matthew Buckingham, Ann Böttcher, Sophie Calle, Mona Hatoum, Emily Jacir, Regina José Galindo, Alejandra Lundén, Deimantas Narkevicius, Zoran Naskovski, Emily Prince, Fernando Sánchez Castillo, Esther Shalev-Gerz, Sissel Tolaas and Kara Walker. Jon Brunberg, Ann Böttcher, Alejandra Lundén, Emily Prince and Esther Shalev-Gerz are exhibiting new or significantly updated works. This is the first time that Regina José Galindo and Emily Prince exhibit in Sweden.

Curators: Elna Svenle and Marika Wachtmeister

The exhibition catalogue includes texts by Ph.D. Max Liljefors, Lund University, Professor Marita Sturken, New York University, Elna Svenle, Marika Wachtmeister, and the author Per Wästberg.

On September 26, 2008, the Wanås Foundation hosts a seminar on the aesthetics and interpretation of contemporary memorials. Participants: Ph.D. Patrick Amsellem, Associate Curator of Photography at the Brooklyn Museum, Max Liljefors, Marita Sturken, and James E. Young, Professor of English and Judaic Studies at the University of Massachusetts Amherst. The seminar is open to the public. Register by email to pedagogik@wanas.se by September 5, 2008.

THE WANÅS FOUNDATION
Box 67, SE-289 21 Knislinge, Sweden
Tel +46 44-660 71/661 58
e-post@wanas.se
http://www.wanas.se

Open: May 18 - September 7, 11am - 5pm, all days except Monday
September 8 - October 19, Saturday and Sunday, 11am - 5pm

Austrian Cultural Forum
New York

Martin Maximilian Michl & Markus Iser: Zine (2006)
still from DVD video,1:02 minutes
Courtesy the artists

Bread And Soccer:
In the Arena of Art
May 28 - September 13 | 2008

Austrian Cultural Forum New York
11 East 52nd Street
New York, NY 10022
212 319 5300
Gallery hours:
Monday - Saturday | 10 am - 6 pm

http://www.acfny.org

Bread And Soccer: In the Arena of Art

Exhibition dates: May 28 - September 13 | 2008
Gallery hours: Monday - Saturday | 10 am - 6 pm

Gustavo Artigas
Roderick Buchanan
Julius Deutschbauer/TONSPURvienna
Thomas Feuerstein
Pia Lindman
Nives Widauer
Martin Maximilian Michel & Markus Iser
Klaus Pobitzer
Serge Spitzer
Spencer Tunick
Monika Wührer

Curators: Trevor Smith and Jürgen Weishäupl
Commissioner and Producer: Andreas Stadler
Exhibition Coordinator: Elisabeth Haider
Exhibition Assistance: Natascha Boojar, Catharina Coreth, Stephanie Pereira, Maria Simma,
Susanne Zöhrer

The exhibition is generously supported by Austrian Airlines, Duggal, Ottakringer, Red Bull New York, RZB Finance, Settepani, Zumtobel Staff
Supporting Institutions Federal Ministery of Education, Arts and Culture; 2008 - Österreich am Ball

Bread and Soccer: In the Arena of Art

Throughout much of the world, soccer has long been more than just a sport. It is a cultural phenomenon, an arena in which local rivalries and national dramas have been played out long before satellite broadcasting made it possible for games to be beamed around the world and experienced simultaneously by hundreds of millions of viewers. Even as professional baseball, football, basketball and hockey attract bigger audiences in the United States, there is nothing that compares with soccer as the global game.

In June 2008, Austria and Switzerland play host to the European championship soccer tournament UEFA Euro 2008™, a sporting spectacle that to Europe and in many other parts of the world is more important than America’s Superbowl. On this occasion, the Austrian Culture Forum has commissioned an exhibition Bread and Soccer: in the arena of art that explores not only the magical flowing rhythm of the game itself but the unique energy and identity that soccer fans have brought to the sport. Eleven artists (like the eleven players on a soccer team) present works that suggest ways in which the cult of spectatorship meets the culture of participation.

The nationalistic and cultural aspects of the sport are explored in Gustavo Artigas’ Rules of the Game. He documents a sporting event that he sponsored which consisted of two Mexican soccer teams and two American basketball teams, playing against one another, simultaneously, on the same court. Klaus Pobitzer (born 1971, lives and works in Vienna) presents a graphic installation in homage to women’s soccer teams.

Bread and Soccer is an exhibition that looks at art, soccer and mass spectacle from the place where the amateur and the professional intermingle. Monika Wührer (lives and works in New York) will conduct a series of foosball tournaments as a contact point between professional soccer players, exhibition visitors, and fans. Over the last fifteen years, Roderick Buchanan (born 1965, lives and works in Glasgow) has produced an extraordinary range of works exploring the culture of spectatorship and participation, particularly in relation to the game of soccer. He will premiere a new video commissioned for this exhibition entitled Wrong Time, Wrong Place. Martin Maximilian Michl and Markus Iser born 1977 and 1975, live and work in Salzburg) have produced a stunning viral video wherein people in the streets re-enact Zinedine Zidane’s famous headbutt in the final of the last soccer world cup.

Fascination and mastery, participation and belonging blend in heady and hallucinatory ways that blur distinctions between the individual and the mass. Thomas Feuerstein (born 1968, lives and works in Vienna) is a philosopher and visual artist who is producing a computer generated installation in which large crowd scenes are animated and abstracted through new computer techniques. Pia Lindman (born 1965, lives and works in New York) layers multiple exposures of sports stadiums to produce haunting meditations contrasting the monumental structure of the stadiums to the fluctuating density and movement of the audience. Spencer Tunick (born 1967, lives and works in New York) is producing a new video based on a recent project in Ernst Happel soccer stadium in Vienna. Nives Widauer (born 1965, lives and works in Vienna) provides an alternative soundtrack to the singing of the national anthems that precede each game. Julius Deutschbauer/TONSPURvienna presents an Insult Arena, a site-
specific sound installation which recreates the insults hurled by fans at the
opposing team.

A final highlight is Serge Spitzer’s (born 1951, lives and works in New York) remarkable sculpture, Global Culture (Red) 2004-05, a robotic table that magically keeps a soccer ball balanced on its surface, even as the table tilts and swivels in all directions, drawing attention back to the simple physical and artistic wonder that is at the core of the beautiful game.

Film screenings

ELEVEN MINUTES: MAY 30, 2008, 6 pm | 11 short films
FRANKREICH WIR KOMMEN: JUNE 11, 2008, 6 pm | JUNE 18, 8 pm | by Michael Glawogger 1999
ONE DAY IN EUROPE: JUNE 11, 2008, 8 pm | JUNE 19, 6 pm | by Hannes Stöhr 2005
ESCAPE TO VICTORY: JUNE 12, 2008, 6 pm | JUNE 19, 8 pm | by John Huston 1981
OFFSIDE: JUNE 12, 2008, 8 pm | JUNE 18, 6 pm | by Jafar Panahi 2006

Foosball tournaments with Monika Wührer and the New York Red Bulls

June 10, 2008: 7 - 10 pm
July 15, 2008: 7 - 10 pm
September 4, 2008: 7 - 10 pm

Fondazione Querini Stampalia

Maria Morganti
Diario cromatico / Colour Diary

Mariateresa Sartori
Il suono della lingua / The Sound of Language

Curated by
Chiara Bertola

http://www.querinistampalia.it

Fondazione Querini Stampalia, Venice
25 May - 14 September 2008

Opening
Saturday 24 May 2008 at 6 p.m.

Maria Morganti’s Diario cromatico and Mariateresa Sartori’s Il suono della lingua continue the Conservare il futuro project promoted by the Querini Stampalia Foundation and the Veneto Regional Government and centred on the relationship between ancient and contemporary art, between a past to be safeguarded and a future to be planned.

Diario cromatico
by Maria Morganti

Here are annotations written by the artist over the span of two years, from the summer of 2006 to the winter of 2008, after observing various paintings in the Foundation’s museum: she “experienced” the colours and then transferred them, as soon as she arrived in the studio, onto canvas. This is Maria Morganti’s project: simple yet rigorous and intense.

The artist has substituted five works, which had originally been placed over the doors of the museum, with five monochromes of the same size, painted to harmonise with the antique pictures. Each painting has its starting point in her constant frequentation of the rooms in the gallery, after which, each time, she took memories of a certain colour back with her to her studio.

This process can be seen at the upper edge of each canvas where the “history” of these layers is recorded by being coagulated into slender stripes of colour: the colour diary, the accumulation
of experience.

The artist has also kept a parallel diary in which to note down, from time to time, all the sources of inspiration for her “painting from memory”. A dialogue between her and the colour which is offered to the viewers in order to involve them in the creative process.

As an appendix to the project is a series of photographs taken by Morganti in her studio and which portray, always from the same view point, the various layers of colour as they are built up; furthermore there is a series of silk-screens, experimental works created together with Fiorenzo Fallani. These show another, more chemical and contemporary, aspect of the colour resulting from her experiences in the Querini Stampalia.

Il suono della lingua
by Mariateresa Sartori

Each work by Mariateresa Sartori is an analytical passage aimed at breaking down the rigid boundaries which man has established for limiting knowledge and expression.

The project created for the Foundation inquires into the expressive possibilities of language from the point of view of rhythm, melody, and sonority. By leaving unchanged the typical ways of using a library, within the dictionary room with its open shelves the artist has placed books with earphones that allow the visitor/reader the experience of reading in their own language a significant poem, but one made unrecognisable from a semantic point of view because of the altered order of the consonants while the intonation and the metrical scansion is kept the same: the result is something completely incomprehensible but absurdly familiar.

The same method is used to re-elaborate poetry in eleven of the most widely spoken languages in the world by intervening on particularly representative poems from each of the chosen tongues.

The visitors are invited to see another room, this work both provokes and requires an intimate relationship with the listeners, who stand in the centre of a darkened space, concentrated and ready to listen as they would be for the reading of a poem. The sounds of language, detached from their semantic weight and revealed in their essence as sound, are in a way subtracted from time and space. The artist allows us to go back through hearing to something primary and forgotten: the pure and ancient sound of words.

Promoted by
Fondazione Querini Stampalia
Veneto Regional Government (an initiative financed in accordance with article 45 of the law 1/2004 for regional help for contemporary art)

With the support of
Galleria Michela Rizzo, Venice

Exhibition period
from 25 May to 14 September 2008

Opening hours
From Tuesday to Saturday 10 a.m. to 8 p.m.
Sunday 10 a.m. to 7 p.m.
Closed Monday

Catalogues
Edizioni Gli Ori, Prato

The programs of Fondazione Querini Stampalia are supported by
Comune di Venezia and Fondazione di Venezia

For information
Fondazione Querini Stampalia
Santa Maria Formosa,
Castello 5252, 30122 Venice
tel +39 041 2711411 fax +39 041 2711445
http://www.querinistampalia.it

Press office
phone +39 041 2711441
fax +39 041 2711445
e-mail: ufficiostampa@querinistampalia.org