Artipedia - Arts News

The Armory Show

THE ARMORY SHOW
March 4-8, 2009

The Armory Show,
The International Fair of New Art
Pier 94

The Armory Show – Modern
Pier 92

http://www.thearmoryshow.com

The Armory Show, The International Fair of New Art, is introducing The Armory Show – Modern, a new section on Pier 92 dedicated to dealers specializing in Modern and secondary market works. Its celebrated contemporary program, known for featuring works directly from the artists’ studios, continues on Pier 94.

Visitors to The Armory Show will now have access not only to the newest trends in the art world, but also to the masterpieces that heralded these developments.

SHOW DATES:
VIP Preview: Wednesday, March 4
Public Hours: Thursday, March 5 through Sunday, March 8

SHOW LOCATION:
Piers 92 and 94
Twelfth Avenue at 55th Street, New York City

Application deadline is June 30, 2008
Applications can be found at http://www.thearmoryshow.com/application

Afterall

Afterall
Issue 18 is available now

Subscribe online at http://www.afterall.org

Afterall Issue 18
Summer 2008

Essays:
Ruth Noack and Roger M. Buergel on documenta 12
Dieter Lesage on Dutch governmentality

Artists
Cameron Jamie by Edwin Carels and Elizabeth Janus
William Pope.L by Rodney McMillian and Nato Thompson
Sturtevant by Belinda Bowring and Bruce Hainley / Sturtevant
Javier Téllez by Michèle Faguet and Melissa Gronlund

Events, Works, Exhibitions:
Ian White on 9 Scripts from a Nation at War
Pablo Lafuente on Jeroen de Rijke and Willem de Rooij’s Mandarin Ducks
Boris Buden on Dušan Makavejev’s W.R.: Mysteries of the Organism

We are pleased to announce the publication of Afterall issue 18.

In this issue of the journal, Ruth Noack and Roger M. Buergel look back on documenta 12, elaborating on the concept of the migration of form and offering their first extended reflection on the exhibition. Dieter Lesage considers the notion of governmentality — which he points out was key to Noack and Buergel’s exhibition series ‘Die Regierung’ — in his analysis of Dutch immigration policies: what is the process by which one becomes a citizen today, and specifically in the Netherlands, a nation that prides itself on tolerance?

The theme of the outsider is a recurrent thread throughout the artist’s essays in this issue: visible in, for example, Cameron Jamie’s studies of folk and popular culture rituals, from the Krampus Christmas tradition in Austria to backyard wrestling in Southern California. William Pope.L, in performances, flyers and installations, examines what it means to be black in America as well as the semiotic structures on which racial difference is based. Javier Téllez questions the definition of madness and modes of marginalisation in his collaborative performances. Finally, analyses of Sturtevant’s work offer different perspectives on her work, alternative to those given through the prism of appropriation.

In the back section, three texts examine critical approaches to film practice: Ian White looks at 9 Scripts from a Nation at War, which was most recently seen in documenta 12; Pablo Lafuente examines strategies of interpellation in Jeroen de Rijke and Willem de Rooij’s Mandarin Ducks; and on the 50th anniversary of Wilhelm Reich’s death, Boris Buden reconsiders Dusan Makavejev’s film W.R.: Mysteries of the Organism (1971) in relation to the post-communist condition.

Afterall journal is co-published by Central Saint Martins College of Art & Design, London and the School of Art at the California Institute of the Arts, Los Angeles, in association with MuHKA, Antwerp.

We would also like to announce the publication of two new titles in Afterall Books’ One Work series: Andy Warhol: Blow Job by Peter Gidal and Alighiero e Boetti: Mappa by Luca Cerizza; as well as a new Afterall Reader, published by Tate and edited by Tanya Leighton, on Art and the
Moving Image.

For more information on the One Work series, please visit http://mitpress.mit.edu/afterall

To order Afterall Readers published by Tate please visit
http://www.tate.org.uk/shop/product.do?id=34613

Issue 18 can be purchased in bookshops across the UK, Europe and America.
For more information on Afterall or to subscribe, visit our website: http://www.afterall.org

MartRovereto

Adrian Paci
Temporary Shelter Centre, 2007
Videoproiezione 16:9, 5’30”, col.
Courtesy Galleria Francesca Kauffmann, Milano

Eurasia. Geographic cross-overs in art
28th June to 16 November 2008

MartRovereto

Corso Bettini, 43 

38068 Rovereto (TN)
http://www.mart.trento.it

The 7th edition of Manifesta, the itinerant Biennale of contemporary art, will be hosted in 2008 by the Regione Autonoma Trentino-Alto Adige. At the same time, the Mart will present the Eurasia. Geographic cross-overs in art exhibition in the Rovereto site of the Museo di Arte Moderna e Contemporanea di Trento e Rovereto from 28th June to 16 November 2008.

The ambitious Eurasia exhibition arised from an idea by Achille Bonito Oliva, who will be the exhibition’s curator, flanked by an international team of young international curators comprising Lorenzo Benedetti, Iara Boubnova, Cecilia Casorati, Hu Fang, Christiane Rekade and Julia Trolp.

The exhibition will present a vision of art able to “pierce” every separate identity and indicate the possibilities of an art full of interchanges between Europe and Asia; in other words, “Eurasia”.

The title of the exhibition is borrowed from the name given by Beuys to a series of performances executed between 1966 and 1968, represented in the exhibition by the video of Eurasienstab, 1967, realised on 9th February 1968 at the Wide White Space in Antwerp.

According to Beuys, Eurasia is a geographic vision and, at the same time, an expression of a new, complex artistic identity that is no longer territorial and self-sufficient, but aimed at the world and man.

In 1967, with a Manifesto, the German artist founded the fictitious state of Eurasia. This was an open territory without physical or dogmatic borders: the geographic representation of a utopia, a fusion of Western realism and Oriental mysticism, the venue for a totality as yet not dispersed.

Total art, a new humanism and ethical responsibility are the key words for a project that appears surprising if reconsidered from its inception in the 1960s to the present day, from Beuys to the
latest generation.

Some fundamental aspects of Beuys’ work – multiculturalism and the aspiration towards a total art, his stance regarding going beyond borders, and the “amplified concept of art” – find a timely echo in the work of artists of the young generation.

The exhibition, therefore, aims to stress the overcoming of a purely performative art in favour of a reflection making use of contents and themes of our time, a veritable emergence affirming the value of the co-existence of differences.

Achille Bonito Oliva’s reflection takes its stimulus from the idea that it be possible to consider Beuys’ work in a historical perspective, while re-reading and re-planning it.

The exhibition will trace an original path through the artistic landscape of Eurasia territory and identify viewpoints and projects reacting to the aestheticisation of everyday life and the abuse of reality, proposing a linguistic complexity summarising different expressions.

The awareness that the model of new humanism in Eurasia is effectively being re-used today by many young artists imparts to the exhibition not only the task of documenting their work, but also the ambitious programme of championing an art that finally pays a close attention to reality and translates it into small utopias, between a desire and ecological hope for an improved quality of life.

If it is true, as Achille Bonito Oliva maintains, that “the excess of Duchampian indifference and performative hedonism of the last generation may lead not so much to the Hegelian “death of art” as that of the public, then Eurasia. Geographic cross-overs in art sets itself the objective of recovering a greater attention to social themes, and of promoting the total art of the young of an ideal continent that runs seamlessly from Europe to Asia.

Eurasia. Geographic cross-overs in art
28th June to 16 November 2008.
Project curator:
Achille Bonito Oliva
in collaboration with:
Lorenzo Benedetti
Iara Boubnova
Cecilia Casorati
Hu Fang
Christiane Rekade
Julia Trolp

Organisational coordination:
Elisabetta Barisoni
Julia Trolp

Other summer exhibitions at Mart:

Contemporary Germany. To paint is to narrate. Tim Eitel, David Schnell, Matthias Weischer.
from 28th June 2008 to 26th October 2008
Curated by: Gabriella Belli and Achille Bonito Oliva

Yervant Gianikian - Angela Ricci Lucchi. Tryptich of the 20th century
from 28th June 2008 to 31th August 2008

Giuseppe Capitano. Something Yellow
from 28th June 2008 to 24th August 2008
Curated by: Martina Cavallarin

The Permanent Collection of Mart
from 23rd February 2008 to 12nd October2008
Curated by: Gabriella Belli

Information and bookings
free phone 800 397 760
Tel. +39 0464 438 887
info@mart.trento.it
http://www.mart.trento.it

Opening times
Tues. – Sun. 10 a.m. - 6 p.m.
Fri. 10 a.m. - 9 p.m.
Mondays closed

Public relations
Mart:
Director: Flavia Fossa Margutti
Press office: Luca Melchionna 0464 454127 cel 320 4303487
Clementina Rizzi 0464 454124
press@mart.trento.it

Geta Brătescu, No to Violence, 1974, Courtesy Moderna galerija Ljubljana, Foto: Mihai Brătescu | Ana Lupas, Humid Installation, 1970, Courtesy Ana Lupas

GALERIE IM TAXISPALAIS

Geta Brătescu
Ana Lupas
28 June – 24 August 2008

Curated by: Alina Şerban in collaboration with Silvia Eiblmayr

Geta Brătescu is regarded as one of the most remarkable personalities of Romanian post-war avant-garde art. The exhibition at Galerie im Taxispalais Innsbruck represents the first extensive international presentation of her performances, films, drawings and objects that she created in Bucharest during the mid-seventies. Brătescu’s oeuvre results from a complex act of self-examination, which aims to objectify body and things, in a movement from the subjective and real towards a state of the objective and the abstraction.

In the 1970s, Geta Brătescu developed an intermedia concept for space-specific, performative works in which she investigated the relation between physiognomy, the body and the surrounding space. Her first recorded performance entitled “The Studio” (1978, camera: Ion Grigorescu) functions as a self-representational story exploring and processing the artist’s mental and physical environment. For Brătescu her studio is the space to redefine the Self, the space where the artist confesses freely her pleasure in playfulness; it is a stage where ideas come alive and where the performed gestures disclose alternative scripts to the day-to-day condition.

“Towards White” (1975), “Self-Portrait, Towards White” (1975) and “From Black to White” (1976) can be perceived as the sequences of a theatrical play, where the acting role, assumed by the artist, brings into discussion questions of self-identity and its cancellation and of the dematerialization of the object and the body in space.

In the film “Hands” (1977, camera: Ion Grigorescu), subtitled “For the eye, the hand of my body reconstitutes my portrait”, the actors are the artist’s hands. Through a cinematic succession of suggestive gestural movements, the hands are seen as selecting, playing with small objects and then drawing their linear profile on the table, providing an alternative mode of reconstructing the artist’s portrait / identity.

Geta Brătescu was born in Ploiesti in 1926. She lives and works in Bukarest.

An exhibition catalogue is being published.
___________________________________________

Ana Lupas figures among the most important international artists who, through a sophisticated process of creation, have continually expanded the understandings of Conceptual Art. Author of objects, textiles, environments, happenings, installations, performances, Ana Lupas has developed, starting from the mid-sixties, a complex nest of art interventions which have systematically aimed at dismantling the traditional structure of the artwork. Aspiring at a re-connection with the natural, at a rehabilitation of a virtual universal harmony, her performative installations and objects acquire utopian feature and monumental presence.

The exhibition at Galerie im Taxispalais is focusing on two extensive outdoor installations produced during the mid-sixties and beginning of the seventies. 1970 Ana Lupas created the first large “Humid Installation” in Mârgău village, Transylvania which was realized with the help of 100 inhabitants of the village. Dozens of lines hung with wet, white linen were drawn over the whole of a hill, modulating the space, aiming to an infinite dimension and to a global natural continuation.

Already in 1964 Lupas created the work “Solemn Process“, minimalist objects manufactured of straw in various dimensions: steles, wreaths and circles which were installed and arranged outdoors and inside the village’s houses. Involving the people in the production of these objects, “Solemn Process“ embodies a traditional ritual whose solemnity generates not only the production of formal structures beautiful in their representation which melt within the rural surroundings, but also a new reconsideration of the conditions of creation of the art object.

In her later process-related steps Lupas transformed some of her early works by conveying them into new materials. For example, she created linen-formed sheets out of bitumen-saturated textile, paper or aluminum; for her straw objects she produced closed, sculptural plate repositories which she entitled “cans“. Lupas shows a space-filling installation of these sculptures, whose interior is not revealed anymore, together with two large tableaus of images from 1964. Further on show is an indoor version of „Humid Installation“.

Ana Lupas was born in Cluj in 1940. She lives and works in Cluj.

An exhibition catalogue is being published.

Information
Karin Jaschke, Press and Publicity, karin.jaschke@tirol.gv.at
Silvia Eiblmayr, Director

Galerie im Taxispalais
Maria-Theresien-Str. 45
A-6020 Innsbruck, Austria
T +43 512 508 3171
http://www.galerieimtaxispalais.at

Thanks to
Promocult – Project supported by Ministry of Culture and Cults, Romania
Romanian Cultural Institute, Vienna
Centre for Visual Introspection, Bukarest