Artipedia - Arts News

2da Trienal Poli/
Gráfica de San Juan

Poster 1, detail

Exhibition: April 18 - June 28, 2009

Artistic Director: Adriano Pedrosa

Co-Curators: Julieta González,
Jens Hoffmann

Guest Curator: Beatriz Santiago

Poster 1: Gabriel Piovanetti & Luis Díaz

Número Cero 1: Magazine by
Carla Zaccagnini

Design by Estella Padilha & Paula Tinoco

2da Trienal Poli/Gráfica de San Juan: América Latina y el Caribe

The 2da Trienal Poli/Gráfica de San Juan: América Latina y el Caribe aims to explore and unfold the concept of the polygraphic into marginal and experimental creative practices working with contemporary art and graphic design. Over a dozen polygraphic platforms will be presented between June 2008 and June 2009, concluding in a large scale presentation opening in April 2009 that will consist of solo and group exhibitions, magazines, posters, artists’ books, postcards, wallpapers, flyers, billboards,
among others.

Posters

The poster is a privileged site of the Trienal. A number of Latin American and Caribbean graphic designers were invited to submit proposals for the series of official posters of which six were selected, each one to be launched periodically up until the opening of the exhibition.

Poster 1: Gabriel Piovanetti & Luis Díaz, San Juan
Poster 2: Alex Quinto, Toronto
Poster 3: Alexander Wright, Caracas
Poster 4: Javier Cirioni & Santiago Velazco, Montevideo
Poster 5: Ena Andrade, Lima
Poster 6: Benkee Chang, Carlos González and Alvaro Bustillos, Caracas

Número Cero

Número Cero is the experimental magazine project of the Trienal. Different teams of critics, curators, artists and designers have been invited to develop several pilot issues of an art periodical; each issue will have the same size and title but distinct content, structure and design.

Carla Zaccagnini (artist, curator and writer, Buenos Aires/São Paulo) and Estella Padilha and Paula Tinoco (graphic designers, São Paulo) are responsible for the first issue, Número Cero 1, titled Mapa Zero, which addresses the geographical territory of the Trienal as an object of exploration. The edition gathers a series of projects developed by 16 artists, who were invited to represent the cities where they live, work, or were born. This group of cities—selected for their geographical location, political position, or the place they occupy in the region’s imaginary—reconfigures the territory and its limits, drawing a unique map of the sub-continent.

Contributors: Narda Alvarado (La Paz), Julián d’Angiolillo (Ushuaia, Argentina), Alexander Apóstol (Caracas), Pablo León de la Barra (Palenque, Mexico), Luz María Bedoya (Lima), Leopoldo Estol (Buenos Aires), Orlando Maneschy (Belém, Brazil), Carlos Motta (Miami), Rachelle Mozman (Panama City), Víctor Muñoz (Medellín), Amilcar Packer (São Paulo), Alejandra Prieto (Santiago de Chile), Chemi Rosado Seijo (San Juan), Carl Trahan (Montreal), María Victoria Portelles (Havana), Héctor Zamora (Mexico City).

Número Cero 2: María Inés Rodríguez, Bogotá/Madrid
Número Cero 3: Jennifer Allora & Guillermo Calzadilla with Charles Juhasz, San Juan
Número Cero 4: Magali Arriola, Mexico City/San Diego
Número Cero 5: Rita Gonzalez, Los Angeles
Número Cero 6: Beatriz Santiago, San Juan & Julieta González, Caracas/San Juan

Artists’ books

The Trienal has commissioned the following 20 artists to produce new limited edition books: Alexander Apóstol (Caracas/Madrid), Juan Araujo (Caracas), Fernando Bryce (Lima/Berlin), Jesús Bubu Negrón (San Juan), Carolina Caycedo (Bogotá/San Juan), Tony Cruz (Puerto Rico), Abraham Cruzvillegas (Mexico City), Alejandro Cesarco (Montevideo/New York), Flavia Gandolfo (Lima), Mario García Torres (Mexico City/ San Diego), Dominique Gonzalez-Foerster (Paris/Rio de Janeiro), Cao Guimarães (Belo Horizonte), Pablo Helguera (Mexico City/New York), Renata Lucas (Ribeirão Preto, Brazil/Rio de Janeiro), Gilda Mantilla & Raimond Chaves (Lima), Mateo López (Bogotá), Rivane Neuenschwander (Belo Horizonte), Popular de Lujo (Bogotá), Nicolás Robbio (Buenos Aires/São Paulo), Chemi Rosado Seijo (San Juan).

information

Instituto de Cultura Puertorriqueña
Antiguo Arsenal de la Marina Española
La Puntilla, Viejo San Juan
P.O. Box 9024184
San Juan, Puerto Rico, 00902-4184
T: 1-787-725-8320; 1-787-724-18770
http://www.icp.gobierno.pr
trienalsanjuan@icp.gobierno.pr

Sleepwalker by Josephine Sacabo

Fifteen photographer’s portfolios to be featured in Artists’ Showcase. The Center for Fine Art Photography’s new print publication.

Additional awards include:
• Cover photo in Artists’ ShowCase
• Portfolio exhibition in the Center’s gallery
• Online gallery exhibition of the 15 selected portfolios for two years
• Inclusion in the Center’s Annual Collection CD that goes to publishers, collectors, designers, and brokers
The Deadline for submissions is July 25, 2008. For more information or a prospective about this and other call for entries please visit the Center’s website at http://www.c4fap.org .

Overlooked by Ingrid Saaliste

The Center for Fine Art Photography call for entries for
2008 International Exhibition of Fine Art Photography Deadline July 15, 2008
$800 in Awards

2008 International Exhibition of Fine Art Photography will spotlight images from around the world. All subjects are eligible. The exhibition is open to all domestic and international, professional and amateur photographers working with digital or traditional photography or combinations of both. Information and online submissions at The Center for Fine Art Photography http://www.c4fap.org or email questions to cfe@c4fap.org .

Prospect.1 New Orleans

Alexander Arrechea, Mississippi Bucket, 2008
Project for Prospect.1 New Orleans
Courtesy of the artist and Magnan Projects, New York

PROSPECT.1 NEW ORLEANS
November 1, 2008 - January 18, 2009

Largest Biennial of International Contemporary Art
Ever Organized in the United States

VERNISSAGE: October 30 and 31, 10:00 a.m. to 6:00 p.m.
PRESS CONFERENCE: October 30, 10:00 a.m. to 12:00 noon

http://www.prospectneworleans.org

Prospect.1 New Orleans, the largest biennial of international contemporary art ever organized in the United States, is pleased to announce that its Vernissage will take place on October 30 and 31, 2008 with private previews to be held at all participating venues throughout the city. A Press Conference will be held for all pre-registered and accredited press on Friday, October 30 from 10:00 a.m. to 12:00 noon. Among the highlights of the Vernissage is the Opening Gala at the classic New Orleans restaurant, Antoine’s, on October 31, which will help to underwrite the costs of presenting Prospect.2. (For information on tickets please contact Kate Ross of Livet Richard Company at 212-868-8450 X 206 or Kate@livetreichard.com.) This event will be followed by the annual Frenchman Street Halloween Parade, in which the entire city and visitors turn to the streets to celebrate.

The biennial will then open to the public with a ribbon cutting ceremony on November 1, 2008 at the U.S. Mint, Louisiana State Museum followed by a second ribbon cutting at the Contemporary Arts Center. Other opening weekend events include panel discussions with artists, educators, museum directors, and curators; free concerts featuring local New Orleans musicians; the All-Night Opening Party at Mardi Gras World; and the Farewell Brunch at Commander’s Palace (For information on tickets please contact Kate Ross of Livet Richard Company at 212-868-8450 X 206 or Kate@livetreichard.com.).

The biennial is free to the public and will remain open from 10:00 a.m. to 8:00 p.m. throughout the weekend. Prospect.1 will be on view until January 18, 2008, Wednesday through Sunday in most locations.

Funding
This exhibition has been made possible with the support of Prospect.1 New Orleans Founding Benefactor Toby Devan Lewis. Major exhibition support has been provided by Peter B. Lewis; W New Orleans; The Andy Warhol Foundation for the Visual Arts, Inc.; and Agnes Gund. Additional support has been provided by Sydney and Walda Besthoff, III; Susan Brennan; Beth Rudin DeWoody; Lyn and John Fischbach; Paul J. Leaman, Jr.; Adam Lewis; The O’Grady Foundation; Donna Rosen; Billie Milam Weisman and The Frederick R. Weisman Philanthropic Foundation; Eugenie and Joseph Jones Family Foundation; Virginia Lyons Speed; Prospect.1 Kingfishers Leadership Committee; and Prospect.1 Big Shots Gallery Circle; among others.

U.S. Biennial, Inc., the nonprofit organizer of Prospect.1, continues active outreach for funds to underwrite the exhibition. To make a donation, please visit http://www.prospectneworleans.org

About Prospect.1 New Orleans:
Prospect.1 New Orleans was conceived by Dan Cameron to reinvigorate the city, a historic regional artistic center, following the human, civic, and economic devastation of Hurricane Katrina. The primary goal of the biennial exhibition is to redevelop the city as a cultural destination where the visual arts are celebrated and can once again thrive. New Orleans was the first U.S. city to host a recurring international art exhibition, beginning in 1887 with the Exhibition of the Art Association of New Orleans. In this tradition, Prospect.1 will provide the public with work by 81 artists conceived and developed for the city. The largest international art biennial ever held in the United States, Prospect.1 will reach an estimated audience of 100,000 visitors, half of whom will likely be Louisiana state residents.

For more information on Prospect.1 New Orleans and the opening weekend, or to make a gift, please visit http://www.prospectneworleans.org or contact U.S. Biennial, Inc. at (212) 680-5305 or mail@prospectneworleans.org

Media Contact:

Kellie Honeycutt or Elizabeth Reina
Blue Medium, Inc.
T: (212) 675-1800
F: (212) 675-1855
E: kellie@bluemedium.com

Dia Art Foundation

DIA ANNOUNCES NEW
WEB-BASED PROJECT BY
ARTIST BARBARA BLOOM

Latest in Dia’s series of Artists’ Projects for the web launches June 26, 2008
http://www.diaart.org/bloom

Dia Art Foundation announces the launch of Half Full – Half Empty, a web-based project by artist Barbara Bloom, the latest in Dia’s ongoing series of online artworks. The project can be seen beginning June 26 at http://www.diaart.org/bloom . An opening reception will be held at Dia on Thursday, June 26, 2008, from 6 to 8 pm on the fifth floor at 535 West 22nd Street, New
York City.

Reminiscent of several of Bloom’s favorite forms–still life painting, the radio play, and the Nouveau Roman of the 1950’s—Half Full – Half Empty is a still life that does not remain still: a close up of a table, ordinary yet referring to still life painting. A book, keys, ball, paper, grapes, wine glasses, a gift, and a candle are also visible. These almost still objects have movement in time without any visible agency. On an accompanying soundtrack a dialogue between a male and a female voice is encountered in the form of three parallel running versions of a conversation: Present (two adults,) Future (two old people,) or Past (two children).

In the absence of any visible human hand, the objects on the table that would typically serve as clues or signifiers, as illustrators of the narrative, take on a more central role as conveyors of meaning. The protagonists of the work are the grapes that disappear, the teacup that fills and spills, the candle that lights and later blows out, the glasses that reflect the room where the conversation takes place. The common subjects for what is visible and audible are memory and the passage of time.

As in much of Bloom’s work, absence and inference play a central role. She has come to refer to her works as Visual Innuendo, and has often quoted a saying that goes: “A drink before, and a cigarette after, are the three best things in life.”

Barbara Bloom was born in Los Angeles in 1951; she studied at Bennington College, and with John Baldessari at the California Institute of the Arts. For many years she lived and worked in Amsterdam and Berlin before returning to the United States in the mid 1990s. She has exhibited at the Museum of Modern Art, New York; the Museum of Contemporary Art, Los Angeles; the MAK, Vienna; the Serpentine Gallery, London and other international venues, including the Venice Biennale (1988) where she received the Due Mille Award. She is the recipient of awards from the Guggenheim Foundation, the Wexner Center for the Arts, and the Getty Research Institute.

The Collections of Barbara Bloom, a major survey of her work, was presented in early 2008 at the International Center of Photography in New York City, and will travel in late summer to the Martin-Gropius-Bau. Berlin. A book of the same title has been published by Steidl Verlag, She currently lives and works in New York City.

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

Funding
Funding for this project has been provided the New York State Council on the Arts, a state agency. Beverages for the launch event compliments Brooklyn Brewery.

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

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

Museum Ludwig

Tobias Rehberger – the chicken-and-egg-no-problem wall-painting, 2008
Installation view, Stedelijk Museum CS Amsterdam
Photo: Gert Jan van Rooij
Copyright: Tobias Rehberger

Tobias Rehberger – the chicken-and-egg-no-problem wall-painting
28.06. - 21.09.2008

http://www.museum-ludwig.de

As if in a march past, Tobias Rehberger presents in this installation some 40 works spread along 70 metres. Casting chronology to the wind, he has simply placed works from 15 years of creative production next to one another: chairs reminiscent of designer classics, his ‘vase portraits’, artificial limbs mounted on plinths, paper flowers with a Japanese ring to them, lamps made of Velcro tape, objects made of Perspex, video racks. Lit by spotlights, the works all cast their shadows onto the white wall facing them. The old works are bathed in a new glory, while simultaneously a new work comes into being: a mural made of light, shadows and colour.

With this installation Tobias Rehberger transposes three dimensions into two. By combining the play of light with painting for his wall piece, he retains the dependency between the objects in space and what is depicted on the wall – for if the lights went out the wall painting would more or less disappear. “I like the idea that something elaborate and solid could be the starting point for something vague and sketchy“, as Tobias Rehberger comments on his installation.

Is this a retrospective or a new work? Right from the outset Tobias Rehberger was clear in his mind that the exhibition was not going to be a retrospective, although his remit – to present works from the last 15 years – virtually compelled him to do a retrospective: “Since we said from the beginning that it should be an exhibition of existing works, I thought about what that means. I thought about the classical way of dealing with this – which is the retrospective. But I was not interested in the more ‘historical’ approach to the overview of existing work. Therefore I asked myself what, from my own point of view, could be interesting about an exhibition of existing works. For me it was how this presentation could produce ‘non-existing’ works“. Although Tobias Rehberger’s exhibition has a hint of a retrospective about it, it is first and foremost a new installation. The choice of works was made not according to their importance for his oeuvre, but according
to their function as raw material for something new. The artworks – normally an end in themselves – are here simultaneously the means to an end.

What was there first: the chicken or the egg? Tobias Rehberger’s wall painting cannot be imagined without his sculptures, just as the egg is impossible without the chicken. But: is a three-dimensional work conceivable without a two-dimensional sketch? Is a chicken possible without an egg? What came first? Rehberger’s sculptural work and its shadow image confront one another like he chicken and the egg.

The exhibition has been taken on from the Stedelijk Museum CS in Amsterdam.

For more information: http://www.museum-ludwig.de