Artipedia - Arts News

Center for Curatorial
Studies, Bard College

CCS Bard Summer Exhibitions
June 14 - September 7, 2008

Center for Curatorial Studies and
Hessel Museum of Art
Bard College, PO Box 5000
Annandale-on-Hudson, NY 12504-5000
845-758-7598
ccs@bard.edu

http://www.bard.edu/ccs

Center for Curatorial Studies, Bard College
June 14 – September 7, 2008

Michael Beutler, Esra Ersen, and Kirstine Roepstorff
Personal Protocols and Other Preferences
CCS Bard Galleries

Bik Van der Pol
I’ve Got Something in My Eye
CCS Bard Hessel Museum of Art

Lisi Raskin
Mobile Observation (Transmitting and Receiving) Station
CCS Bard Audrey and Sydney Irmas Atrium

Christian Philipp Müller
Hudson Valley Tastemakers
Bard College Campus

Opening Reception: Saturday, June 14, 1:00 – 4:00 p.m.

Museum Hours:
Wednesday – Sunday, 1:00 – 5:00 p.m.
Free and open to the public.

Free transportation is available on a chartered bus that leaves from New York City for the opening reception. The bus returns to New York after the opening. For details and reservations, call 845.758.7598 or write ccs@bard.edu

Michael Beutler, Esra Ersen and Kirstine Roepstorff
Personal Protocols and Other Preferences
This collective exhibition brings together work by three Berlin-based artists whose practice engages intensively with situations marked by the reality of particular times and places, filtering them through distinct choices of methods and materials. There is a crafty aspect to the work which takes do-it-yourself techniques seriously as a way of questioning what is standard, whether it is man-made machines, videos filmed with a handheld camera or textile-like collages. Although the physical outcomes are radically different, all three of these artists strictly follow their own personal protocols of production.

Bik Van der Pol
I’ve Got Something in My Eye
Liesbeth Bik and Jos van der Pol have worked collectively since 1995 as Bik Van der Pol.The circulation of knowledge and re-use of existing and left-over spaces, forms and situations are important strategic tools in their work. Much of their work may also be described as context-sensitive and constructively critical: that is, they examine a particular context and question the functions of art, including those of art institutions. For this project, Bik Van der Pol bring together works from the Marieluise Hessel Collection, selections from the collection of the Van Abbemuseum in Eindhoven, their own works, and ephemera from the CCS Bard archive. Following Henri Bergson’s idea that perception is a function of time, the artists have allowed themselves to look at how works potentially are surrounded by different sources of knowledge and how they sometimes grow from and are feed back into these connections. Objects, once acquired for specific reasons, are in a constant flux of ch
anging meaning, both in the context and dynamics of a collection (which means continuously in the company other concepts and perceptions), as well as in time. Bik Van der Pol describe the project as a process of ‘uploading with circumstantial evidence’, a method that proposes a new circle of communication between different types of ‘reflections’, based on premises of ambiguity. In other words: adding to the flux of changing meaning.

Lisi Raskin: Mobile Observation (Transmitting and Receiving) Station
Mobile Observation (Transmitting and Receiving) Station is a new project by Lisi Raskin commissioned by the Center for Curatorial Studies as part of it’s first artist-in-residence program. On April 14, 2008, Raskin departed CCS Bard in a converted cargo van for a month-long journey across the American west to visit sites of nuclear testing and development. Throughout her journey, Raskin will send art works and ephemera back to headquarters at the Center for Curatorial Studies, where they will be processed and displayed by CCS Bard graduate students in a post office/receiving station constructed specifically for the project. The entire Audrey and Sydney Irmas Atrium has been re-configured into a plywood bunker cum post office replete with satellite dish, an artwork receiving station, and an audio and video diary station, which will be updated with intermittent transmissions from the field. The installation will be on view at CCS Bard daily from April 13 - September 7, 2008.

Christian Philipp Müller
Hudson Valley Tastemakers
Christian Philipp Müller’s project, Hudson Valley Tastemakers, is an earth sculpture on the grounds of Bard College that examines the specific tastes of foods resulting from the changing nature, soil and climate of the Hudson Valley and creates a “utopian test site” for new ideas and tastes of the Hudson Valley. Originally installed in 2003, this permanent installation is comprised of six ramp-planters that are filled with soil from Putnam, Dutchess, Columbia, Greene, Ulster and Orange Counties; and contains both planned and spontaneous vegetation. The length of each planter is determined by the proportionate farmland still available in the county. This summer CCS Bard will reinvigorate the project with new plantings, including Calendula Zeolights, Amaranth Burgundy and Pepper Chile Pasilla Bajio.

For more information, please call CCS Bard at 845.758.7598, write ccs@bard.edu , or visit http://www.bard.edu/ccs

CCS Bard exhibitions are made possible with support from the Audrey and Sydney Irmas Charitable Foundation, and the Patrons, Supporters and Friends of the Center for Curatorial Studies. Additional support for I’ve Got Something in My Eye provided by the Mondriaan Foundation, Amsterdam. Special thanks to the Robert Mapplethorpe Foundation.

Fonds BKVB

Sanne Peper, detail triptych, 2008

Power of Place
Exhibition for the International
Triennial Apeldoorn 2008
June 11 - September 28 2008

Tuesday - Sunday
from 10 am until 5 pm

Nettenfabriek, Apeldoorn
The Netherlands

http://www.fondsbkvb.nl

Power of Place
The Netherlands Foundation for Visual Arts, Design and Architecture (Fonds BKVB) has organized the exhibition Power of Place. The exhibition is a component of the International Triennial Apeldoorn 2008 and is based on the landscape-study tour throughout the United States, initialized by the Fonds BKVB. Curator Huib Haye van der Werf will present an extraordinary selection of works by the participants of this trip, which are well-established landscape architects, visual artists, designers and critics.

Nettenfabriek
The location ‘Nettenfabriek’ will be transformed into a place that presents various aspects of the subject ‘landscape’. Over 1.600 square meters has been divided into three zones: first an indoor landscape which has been constructed into the floor of the former factory hall, designed by Ester van de Wiel. Following this, a stage and arena designed by Het Observatorium, which is inspired by the American parkways (and the idea that landscapes are often experienced from the highway). The result is an arena consisting of over 55.000 lbs of piled asphalt where debates, presentations and discussions will take place with (inter)national guests on the subject of landscape and its development. These topics will be further contextualized in Cabinets installed by Tjerk Ruimschotel.

The third and final part of the exhibition is the area in which new work is shown of the visual artists who took part in the study tour, and in addition to that existing works of five other artists.

Frank van der Salm has created a spectacular film, compiled of over 50.000 digital photographs which were taken during the study tour by the participants. On location, Erik Odijk has made an enormous drawing inspired by the American scenery ands its ever-changing manifestation. Rudy Luijters has designed a landscape of corn, as a statement on the commodification of food. (The used corn will be recycled after the exhibition). Voebe de Gruyter has built an installation in which local polluted water is evaporated, which stems from her fascination for molecular science as she is interested in the process in which all organisms that live in water slowly feminize, including the observer. Sanne Peper presents a selection of her photographs of the untouched and rough scenery of Arizona which, due to the extra (x-ray) safety precautions at international airports, have been tainted by a sinister veil.

The five artists who didn’t participate in the study tour, but who are represented in Power of Place, all present a different approach to the notion of landscape: Lara Almarcegui (landscape as a cultural phenomenon), Philippine Hoegen (landscape as a façade), Stephan Keppel (urban landscape), Pim Palsgraaf (swelling urbanization) and Eva-Fiore Kovacovsky (landscape as a construction).

The study tour
The study tour to the United States aimed for the east coast, the Mid West and the state of Arizona and was based on the concept of studying the landscape and town planning on three levels: urban landscaping, the green areas near the suburbs and the infrastructure in the endless scenery brought to us by television and popular culture. The exhibition Power of Place intends to show what the effects of this study tour are.

Program of debates and presentations
The aforementioned program of debates and presentations that the Fonds BKVB also organizes is titled ‘The lost dimension. A research of social meaning of landscape.’ For more information on this extensive program, the exhibition Power of Place or the study tour, please visit: http://www.fondsbkvb.nl

The International Triennial Apeldoorn 2008 showcases landscapes, gardens and culture for 100 days.

Power of Place
June 11 – September 28
Nettenfabriek, Spoorstraat 29 Apeldoorn (next to railway station)
Tuesday - Sunday
10 am – 5 pm
http://www.fondsbkvb.nl / http://www.triennale.nl

For press inquiries please contact Mirjam Beerman at +31 (0)20 5231590 or email mbeerman@fondsbkvb.nl

Parasol unit
foundation for contemporary art

Nature morte aux grenades (detail) 2006-2007
Crystal, mild steel, rubber, 95 x 208 x 70 cm
Photo: Marc Domage
Courtesy Galerie Chantal Crousel, Paris

Present Tense: Mona Hatoum
13 June - 8 August 2008

preview 12 June, 6 - 8 pm

Parasol unit
foundation for contemporary art
14 Wharf Road, London N1 7RW
T +44 (0)20 7490 7373
F +44 (0)20 7490 7373
info@parasol-unit.org

http://www.parasol-unit.org

This June, Parasol unit foundation for contemporary art will present an exhibition of important works by the British Palestinian artist Mona Hatoum. The exhibition will present works as yet unseen in London that cover more than a decade of Hatoum’s career. Including large-scale installations, sculpture and works on paper, this exhibition will illustrate the scope of Hatoum’s varied artistic practice that, through residencies and travels, draws its influence and materials from very different cultures and locales. The works in this show were made in places as diverse as Cairo, Stockholm, Jerusalem, rural France and a shaker community in North America.

In the course of her international career Hatoum has created work in a variety of media, including performance, sculpture, video, installation and photography. Her work is rooted in notions of displacement, uncertainty and power structures, subjects that are addressed through the use of familiar, everyday domestic objects transformed into foreign, uncanny things. Hatoum’s practice also deals with issues related to the making of art and, in particular, with questions about the inherent physicality of sculpture as well as our relationship to the formal concerns of space and material.

The works on show at Parasol unit will include Mobile Home II, 2006, an installation of furniture and household possessions that continually shift along horizontal wires strung between two metal street barriers. In perpetual, barely perceptible animation, the work could be a metaphor for a population in constant flux and movement resulting in a world where national and social identities are never fixed. References to unrest and violence will also be evident in the installations Horizon, 1998–99 and Misbah, 2006-07 and Round and Round, 2007, all of which play with the forms of toy soldiers with guns poised for action. In Undercurrent, 2004, cloth-covered electrical cables are woven into a two-metre-square carpet fringed with light-bulbs which illuminate and fade with a mesmerising melancholic pulse, hinting at an ever-present threat to stability. Notions of violence will similarly be referenced through a new sculpture, Nature morte aux grenades, 2008, a collection of colourf
ul crystal shapes resembling hand grenades, placed on a steel trolley. The contrast between the bright, confectionary-like colours of the shapes and the subtext of danger highlights the duality of Hatoum’s approach, blurring the distinction between subject and context in a disturbing manner.

Another work on show will be Present Tense, produced during a residency in Jerusalem in 1996. A floor piece, Present Tense is made out of blocks of local olive oil soap with red glass beads imbedded into its surface, delineating the outline of the map of the Oslo Agreement between Israel and the Palestinian Authorities. Since making this work, Hatoum has frequently used the map as a motif in her work, most recently through a process of material-removal. In both Projection (cotton), 2006 and Baluchi (blue), 2008 the ground appears to have been eroded or dissolved away, leaving a negative space in the form of the ‘Peters Projection’ world map, an image that depicts an accurate

distribution of land mass in its true proportions, as opposed to the more common maps drawn from a Western-centric perspective.

Mona Hatoum was born in Beirut, Lebanon in 1952. She came to the UK in 1975, where she remained following the outbreak of civil war in her homeland, studying at Byam Shaw School of Art and Slade School of Art, and now divides her time between London and Berlin. Hatoum’s career has seen solo exhibitions at museums worldwide including Centre Pompidou, Paris (1994); Museum of Contemporary Art, Chicago (1997), which toured to the New Museum of Contemporary Art, New York; Museum of Modern Art, Oxford and Scottish National Gallery of Modern Art, Edinburgh; Castello di Rivoli, Turin (1999); Tate Britain, London (2000); Hamburger Kunsthalle, Kunstmuseum Bonn, Magasin 3 Stockholm Konsthall (2004); Museum of Contemporary Art, Sydney (2005); and group exhibitions such as The Turner Prize (1995); Documenta 11, Kassel (2002); Venice Biennale (1995 and 2005) and The Biennale of Sydney (2006). Her work is held in collections across the world including Tate, London; Centre Pompidou, Paris;
British Council, London; The Museum of Modern Art, New York; and Los Angeles County Museum of Contemporary Art. Hatoum was nominated for the Turner Prize in 1995. In 2004 she was awarded the Roswitha Haftmann Stiftung Prize (Zurich) and became the first visual arts recipient of the prestigious Sonning Prize (Copenhagen).

Parasol unit foundation for contemporary art is an independent educational charity devoted to promoting contemporary art for the benefit of the public. The core activity of the foundation is to showcase the work of the contemporary leading and young international artists in various media. Each year Parasol unit mounts three to four exhibitions in various media, and each is usually accompanied by a publication. In order to encourage the widest possible access to its exhibition programme, Parasol unit does not charge admission fees.

Events:

3rd July, 7.30pm – First Thursday

Renowned critic and writer Michael Archer will discuss Mona Hatoum’s works in the exhibition. Michael Archer interviewed Mona Hatoum for her 1997 monograph, published by Phaidon. As well as contributing to several other monographs and numerous catalogues, he writes regularly for Artforum and Art Monthly, and is the author of Art Since 1960 (Thames & Hudson 1997).

Booking is essential due to limited places.
To book please call 020 7490 7373, or alternatively e-mail info@parasol-unit.org

Opening hours: Tues-Sat, 10 am-6 pm. Sun 12-5 pm
First Thursday of each month open until 9pm

Kadist Art Foundation

Pushwagner
Detail from “Klaxton”, 1990
acrylic on canvas
private collection (Oslo)

Like an Attali Report, but different
On fiction and political imagination
June 15 - July 27, 2008

Opening on Saturday, June 14

Kadist Art Foundation
19bis-21 rue des Trois Frères
F-75018
Phone/Fax : +33 1 42 51 83 49
contact@kadist.org

http://www.kadist.org

Yael Bartana, Gregg Bordowitz, Heman Chong, Ciprian Muresan, Deimantas Narkevicius, Redza Piyadasa, Pushwagner, Anatoli Osmolovsky, Mona Vatamanu & Florin Tudor

Curated by Cosmin Costinas

The Attali Report (or the Report of the Commission for the Liberation of French Growth), commissioned by President Sarkozy, was published half a year ago, provoking a long series of discussions, mainly confined to the French public arena and mainly focused on the report’s concrete proposals, set to implement a neoliberal model for the French economy and society. But the Attali Report is a surprisingly interesting text, especially in its emphatic high brow literary introduction, being one of the first major instances where the neoliberal system is asserted beyond the rather discreet discourse of the “necessary reforms” through which it has insinuated itself since the eighties. It is now invested with the value of a concrete historical paradigm, of a describable era of revolutionary novelty, making the Attali Report a relevant document for the current attempts to imagine a dominant narrative representing and organizing the scope of our global system.

However, this exhibition is neither about the Attali Report nor is it a report itself. It does, nonetheless, try to unfold fictions and images that offer an insight on different narratives that have been overlapping for the past decades in our thinking of politics, at different times and in different localities. It refers to the disintegration of the communist utopia and some images, passions, stories and reactions that came along with this process; it visits the meeting of fiction and Utopian thinking on both sides of the Iron Curtain; it mentions some processes of exoticization and nation building; it acknowledges the formation of communities of struggle and resistance. But the works don’t passively present such narratives, they alter them and participate - albeit indirectly - to their fabrication. The exhibition works at this point of interaction between story telling and political imagination, a knot that encapsulates the political potential of art as an agent of represen
tation. It brings together these occurrences and positions, sometimes contradictory, sometimes doubtful and sometimes passionately engaged and determined.

The reference to the Attali report on the state of France, a highly specific and local anchor, is used to take the discussion into a wider perspective, to mark the moments and the blockages - as well as some parallel areas of articulation - that have contributed to the current crisis in the imagination of a language and a scope for politics.

The exhibition is accompanied by interventions of writers and critics and by a film program that reiterates a few lines of the exhibition, using the cinematic language and its potentials.

Opening hours
Thursday – Sunday, 2pm to 7pm

Accompanying program

Saturday, June 14, 11am
Interventions by Sven Luetticken and Simon Sheikh.

Saturday, June 14, 1pm
Screening of the film “Fast Trip, Long Drop” (1994) by Gregg Bordowitz, with an introduction by
the artist.

Friday, June 20, 8pm
“Agitators” (1971) by Dezso Magyar.
“Family Nest” (1979) by Bela Tarr.

Sunday, June 22, 8pm
“I am Cuba” (1964) by Mikhail Kalatozov.

Tuesday, June 25, 8pm
“Out of the Present” (1995) by Andrei Ujica.

The film program and the talks will take place at the cinema Ciné 13, located in the vicinity of Kadist
Art Foundation.

Ciné 13
1 ave Junot
F-75018 Paris
Phone : +33 1 42 51 13 79
http://www.cine13-theatre.com/

The exhibition is generously supported by Plan B, Cluj; OCA - Office for Contemporary Art Norway, Oslo; Royal Danish Embassy in Paris; Lithuanian Institute, Vilnius.