Artipedia - Arts News

The Fruitmarket Gallery

Janet Cardiff and George Bures Miller, Dark Pool, 1995
Courtesy Barbara Weiss, Luhring Augustine Gallery and the artists

Janet Cardiff
and George Bures Miller
The House Of Books Has No Windows

Edinburgh Art Festival Exhibition
31 July - 28 September 2008

Organised in collaboration
with Modern Art Oxford

The Fruitmarket Gallery
45 Market Street
Edinburgh
EH1 1DF
P +44 (0) 131 225 2383
F +44 (0) 131 220 3130
info@fruitmarket.co.uk
http://www.fruitmarket.co.uk

A rare chance to experience the work of one of the most internationally respected artist partnerships, Janet Cardiff and George Bures Miller. Cardiff/Miller’s collaborative installations are multi-layered, multi-media experiences. Using objects, images and sound, they collage together impressions and experiences, memory and history, mixing
references to high and popular culture in works which draw an audience into a series of intensely credible fictional worlds.

Canadian artists Cardiff and Miller have been at the forefront of international attention since The Paradise Institute won a special jury prize at the 2001 Venice Biennale. This exhibition brings together six installations, made between 1995 and 2008, and includes a specially commissioned new work.

The six installations in the exhibition entice the viewer into six new worlds,each using whatever means it needs to transport us somewhere else. In one room, we peer into a mini cinema, screening a five-minute mid-western film noir. As we watch, we become part both of the film and the audience, phantom fellow cinema-goers whispering in our ears. Opening an old door into another room, we think we must have strayed into the artists’ studio: a room stuffed with books, record players, speakers, models, notes, drawings and peculiar mechanical devices, all of which start to tell us stories as we wander amongst them, triggering snippets of sound as we go.

Two recent works form the spectacular highlight of the exhibition. Opera for a Small Room (2005) is an installation of 2,000 records, eight robotically-controlled record players and 24 speakers. In a 20-minute, automated performance which collages together arias from Italian operas; rock music; a recording of a stage hypnotist from the 1970s; the sound of rain and a train; and the lonely musings of an opera-lover alone in his room in the middle of nowhere, the piece mesmerises us, as much a piece of theatre as an installation. The Killing Machine (2007) is a darker, bleaker piece, a robotic machine inspired partly by the artists’ hatred of the American system of capital punishment, and partly by Franz Kafka’s chilling short story In The Penal Colony.

Cardiff/Miller’s work has never before been seen in Scotland, and rarely in Great Britain. Original, imaginative and performative, it is a coup for The Fruitmarket Gallery and a treat for its audiences.

Notes to editors
1. Janet Cardiff was born in 1957, Brussels, Ontario, Canada and George Bures Miller in 1960, Vegreville, Alberta, Canada. They both live and work in Berlin, Germany, and Grindrod, British Columbia, Canada.

2. Cardiff/Miller are presenting Murder of Crows, a new multi-media audio installation at the 16th Sydney Biennale, Australia - 18 June – 7 September 2008. In 2007 The Killing Machine and Other Stories 1995–2007 was presented at Museu d’Art Contemporani de Barcelona (MACBA), Barcelona, Spain, and Institut Mathildenhöhe Darmstadt, Germany and MAM Miami Art Museum, Miami, USA.

3. There will be a two-volume publication produced to accompany the exhibition, which will act both as a catalogue to the exhibition and a compendium of notes and drawings for as yet unrealised works. With one volume containing texts on and images of the works exhibited, and the other bringing together sketches, drawings, notes and ideas for works that either may or may not one day be made, the publication offers a range of routes in to the Cardiff/Miller imagination.

4. This exhibition is organised in collaboration with Modern Art Oxford and will be shown at Modern Art Oxford from 14 October 2008 - 18 January 2009

tranzitdisplay

Jan Mancuska:
Southwest pillar and its shadow at the beginning of the novel; in tranzitdisplay, Prague

Ján Mančuška:
Southwest pillar and its shadow
at the beginning of the novel
24.6.-14.9.2008

tranzitdisplay
Resource centre
for contemporrary art
Ditrichova 9
Praha 2
Czech Republic
http://www.tranzitdisplay.cz

Descend the long staircase; the first piece, a long aluminium pole inscribed with a text, is found on the landing approximately halfway down the staircase as it makes a ninety-degree turn to the left. The pole leans against a wall that you see as you walk onto the staircase.

As you walk down the stairs and stand on the landing dominated by an Art Deco lamp, two views of the space open up to you. A fast, electronic, inhumanly rapid film montage of a naked woman descending a staircase. A young lady with short, probably bleached, blonde hair, holds her back as stiff as a board and she walks down the stairs. We see this film image from the base of the stairs to the right of the central column. If we look to the left, we see ourselves in a long and tall mirror reaching from the floor nearly to the ceiling. The dimensions of the mirror are approximately 5.5 m x 3 m. Approach the mirror; to your right, crossways to the corner of the room, is a black curtain in the shape of the letter U hanging from the ceiling. A film is playing on the space inside the letter U: a view of a landscape, a shot of a meadow, perhaps in a park. All at once the view begins to recede, disappearing inside, and we realize that we saw the view of the meadow in the mirror.

We move on along the mirror: to the left are four small projections – extremely long shots that are static in the short-term, but upon longer viewing shadows move on the ceiling, clouds pass across the sky. These are views of a civil still life – the ceiling of a room, walls, street walls, the fronts of houses.

Two of Mančuška’s familiar installations are in the next room – a film of a performance in which a girl is blackening the parts of her partner’s body he cannot see and a text installation first exhibited two years ago at the Berlin Biennial.

A recording of a visit to the Ján Mančuška exhibition after two weeks, by heart. The exhibition is Mančuška’s first solo show in the country in five years.

Enter,
That which appears…
(Text, aluminium, 2005)

descend the stairs and turn 180° degrees,

Motión Picture (Nude Descending a Staircase)
(Video, architectural space, 2007; Dimensions variable)

turn and take about three steps forward,

From A to B and Back Again
(Video, spatial installation, 2008; Dimensions variable)

move to the left, an image of yourself is to the right;

Big Mirror
(mirror, 3×6m, 2008)

continue straight on, don’t hit the wall,

30 Minutes Photograph
(A series of 3 videos, spatial installation, 2008; Dimensions variable)

walk through the small corridor to the right, toward the light,

The Other (I asked my wife to blacken all the parts of my body which I cannot see.)
(35mm films, light boxes, 2007; Photographic cooperation Martin Polák)

continue on until you reach the black curtain – draw it aside,

20 Minutes After
(Light, aluminium letters in the space, marker handwriting, 2006)

it´s the end, but you can go around once more.

All the artworks:
Courtesy of Andrew Kreps Gallery New York, Meyer Riegger Karlsruhe

tranzitdisplay, a centre for contemporary art, is a synergetic project of the tranzit initiative and the Display Gallery. The facility opened in November 2007.
Exhibitions: Eric Beltrán, All Dressed-Up With Nowhere To Go (WHW), Laboratory, Spoken Word (M.Copeland), E.-L. Ahtila (M. Stjernstedt, H. Holmberg), changing permanent installation of Monument to Transformation, lectures, bookstore, archive, drinks. www.tranzitdisplay.cz

The main partner of tranzitdisplay is Česká spořitelna, a.s., Erste Group.
Additional support is provided by the Czech Ministry of Culture, Prague City Hall, and the Prague 2 City District.
Media partners are the A2 cultural weekly, E15, Flash Art, and Radio 1.

Thanks to the Andrew Kreps Gallery, New York and Meyer Riegger, Karlsruhe.

Queensland Art Gallery

Iñigo Manglano-Ovalle
Always After (The Glass House) (still) 2006
Super 16mm film, transferred to HD digital video, single-channel projection exhibited from HD DVD, 16:9, colour, mono, 9:41 minute loop
Image courtesy: The artist and Galería Soledad Lorenzo, Madrid.
Copy right: Iñigo Manglano-Ovalle

Modern Ruin
An Australian Cinémathèque exhibition and film program
12 July - 12 October 2008

Queensland Art Gallery
Stanley Place
South Bank
Brisbane
Australia
http://www.qag.qld.gov.au/home

A rich vein of contemporary artistic practice revaluates the utopian dreams of the modern period. ‘Modern Ruin’ brings together artists and filmmakers who look back to modern art, architecture and design in order to visually and critically explore their historical failures. The profusion of recent images of modern ruins in art and film can be seen both as a response to particular physical and aesthetic qualities, and also as a metaphor for loss. The works in the exhibition and film program speak of living in the ruins of Modernism; some translate a mood of disappointment, while others are imbued with a melancholy sense of dreams half-remembered. They examine the decay, detritus and survivals of historical modernity.

Ruination is the shadow of progress and utopian thinking. From the Enlightenment, the idea of the modern was associated with the creation of new bodies of knowledge, progress and the perfection of self and society. From the second half of the nineteenth century, modernity came to signify industrialisation and urbanisation. Modernism as a movement in art, literature, architecture and design, is associated with the avant-gardes of the early twentieth century, with radical innovation and the creation of new languages. A return by artists and filmmakers to Modernism’s purified forms and autonomous objects represents an attempt to imagine new meanings for them. The forms of the past emerge at particular times, and often for particular reasons, as fragments or ruins. The contemporary landscape of art and film is littered with such ruins, palimpsests of creation, form and disintegration. The question is how to decipher them in order to create constellations of meaning that move be
tween past, present and future.

The exhibition features film, video and installation works by artists and filmmakers including Chris Cornish, Nina Fischer and Maroan el Sani, Andreas Fogarasi, Cyprien Gaillard, Haines/Hinterding, Ann Lislegaard, David Maljkovic, Iñigo Manglano-Ovalle, Ursula Mayer, Corey McCorkle, Tracey Moffatt (collaboration with Gary Hillberg), Laurent Montaron, Deimantas Narkevičius, Susan Norrie, and Anri Sala. The film program explores historical paradoxes and faultlines in the dream of progress and urban modernity, and includes films by Michelangelo Antonioni, Jean Cocteau, Joaquim Pedro de Andrade, Manthia Diawara, Stan Douglas, Dominique Gonzalez-Foerster, José Luis Guerín, William Kentridge, Guillaume Leblon, Bill Morrison, Francesco Rosi, Roberto Rossellini, Alain Tanner, Andrei Tarkovsky, Jacques Tati, Wang Bing and Orson Welles.

Entry to exhibition and film program is free. For details of screenings throughout the exhibition period, please visit the Gallery website.

The catalogue accompanying ‘Modern Ruin’ is available at the Gallery Store, RRP $9.95 (incl. GST) or purchase online at http://www.australianartbooks.com.

Lecture:

Friday 12 Sept 5.30pm / Cinema A
Modern Ruin Kathryn Weir
Curator’s introduction to the exhibition and film program.

Street address
Stanley Place
South Bank
Brisbane

Postal address
PO Box 3686
South Brisbane
Queensland 4101
Australia

Phone
+ 61 (0)7 3840 7303

Opening hours
Monday to Friday 10.00am – 5.00pm
Saturday and Sunday 9.00am – 5.00pm

(The Australian Cinémathèque will have late opening hours when evening screenings are scheduled.)

Open until 9.30pm on Fridays for the Up Late program

Galleria Civica
di Arte Contemporanea

Meir Tati, Doom 2, 2007, International Prize for Performance Third edition, Centrale di Fies, Dro (Tn), Ph. Hugo Munoz, courtesy Galleria Civica di Arte Contemporanea, Trento.

International Prize for Performance. Fourth edition
deadline for applications:
August 31st, 2008
final evenings:
October 10th and 11th, 2008

Galleria Civica di Arte Contemporanea
Via Belenzani 46
38100 Trento - Italia
galleria_civica@comune.trento.it
http://www.workartonline.net

The official announcement of the International Prize for Performance, organized by the Galleria Civica di Arte Contemporanea of Trento, in collaboration with Centro Servizi Culturali Santa Chiara and with the support of Fondazione Cassa di Risparmio of Trento and Rovereto, is out. The Prize, which counts its fourth edition this year, can be characterized as the first and only prize for performance that exists in the world and proposes the same formula as last years, which saw high participation numbers from both the public and the artists.


All artists of all nationalities, from all formative backgrounds (visual arts, dance, music, poetry, etc.) and born from January 1st, 1973 are invited to participate. The first prize is fixed at 5,000 euros and there will also be minor prizes awarded.

At least one place will be reserved amongst the finalists for the artists born or resident in Trentino-South Tyrol, the province of Verona or the Austrian Tyrol.

The initiative aims to select among the participants twelve young performers from all over the world, who are invited to realize a previously unseen performance on the evenings of October 10th and 11th, 2008 at the Teatro Sociale of Trento. Performances will run under the eyes of a jury composed of some of the most absolute names in the Italian and international contemporary art world, one of whom will be president, the artist and performer Carlos Amorales.


Other members of the jury are specialists with different backgrounds, in order to guarantee the Prize a multidisciplinary character; they are: Carlo Antonelli(music critic and Director of “Rolling Stone” Italia), Helena Kontova (Co-director “Flash Art”), Gian Marco Montesano (artist, Artistic Director of Teatro Stabile dell’Innovazione, Pescara), Catherine Wood (Curator of Contemporary art and performance at Tate Modern, London), Franco Oss Noser (Director of Centro Servizi Culturali Santa Chiara of Trento) and Fabio Cavallucci (Artistic Director of Galleria Civica di Arte Contemporanea of Trento).

Applications must include all materials, as specified in the official announcement, and be sent via email to performance@galleriacivica.it (posted materials will not be accepted).

The deadline for the application form and materials is fixed at 12:00 PM on Sunday, August 31st, 2008 (Italian time).

The official announcement is available at http://www.workartonline.net

Info:
Galleria Civica di Arte Contemporanea
Via Belenzani 46
38100 Trento - Italia
T: +39 0461 985511
F: +39 0461 237033
E: galleria_civica@comune.trento.it
W: http://www.workartonline.net

Wyspa Institute of Art in Gdansk

Photo:
Maks Bochenek please do not abandon word “photo” like it happened last time

Translate:
The Impossible Collection
Opening: 1 August 2008 at 7pm

Wyspa Institute of Art
Wyspa Progress Foundation
The former grounds of Gdansk Shipyard
ul. Doki 1/145 B
80-958 Gdansk

http://www.wyspa.art.pl

Curator: Aneta Szyłak
Assistant curator and coordinator: Roma Piotrowska

Densification is the word which best shows the way in which the project is located within the concept of a collection and its presentation. It is not scrupulousness, regularity, archivability, predictability or a defined way of looking that plays a role here but subjectivity, openness, potentiality, heterogeneity and ambiguity. This is the second version of this project, which last autumn took on the form of curatorial workshops, a presentation of the “Mobile Archive” from the Digital Art Lab in Holon and Elzbieta Jablonska’s performance “Kitchen”.

“The Impossible Collection” is an exhibition of the collection of the Wyspa Progress Foundation, translated, transferred, taken to impossibility. A collection usually constitutes one of the traps of the institutional format. Its exhibition often builds definitions, generates unambiguity, systemises permissible meanings. “The Impossible Collection” is an expression of resistance, a call for the variability and modality of the way of exhibiting and viewing and an appeal for an active viewer who will give it new life.

“The Impossible Collection” is a series of forms of accumulation, a set of works from collections, archive materials and books. It is also a series of interventions and ephemeral events planned by the Wyspa curators and invited guests. This is not an exhibition of the “best in the collection” type but an attempt to provoke new readings of the very phenomenon of collecting and to build minimal, ephemeral, individual meanings between works and collections.

It also recalls the earlier realised projects of the Wyspa Art Institute and their influence on the thickening of the material and notional communications of institutions.

“Translate: The Impossible Collection” opens the spaces of the inadequacy and lack of significance, accumulates meanings and possibilities. The narrations of artists, the narration of the institution, the narrations of curators and the tales of the invited guests become entwined in a complicated palimpsest in which the space of the gallery changes roles with the space of the store-room, the office, the workshop.

The Wyspa Progress Foundation has been collecting artists’ works since 1995 and its first spectacular presentation, entitled “A Collection of Contemporary Art on the Occasion of Gdansk’s Millennium”, took place in 1997. Since that time, the collection has grown thanks to donations from artists, without public support and outside the system of regional collections of contemporary art. This is also another dimension of its “impossibility”.

Artists in the collection: Fanny Adler, AZORRO, Jarosław Bartolowicz, Bogna Burska, Centreal, Maureen Connor, Stanisław Drozdz, Roman Dziadkiewicz, Adam Garnek, Katarzyna Gorna, Izabela Gustowska, Elżbieta Jablonska, Piotr Jaros, Hiwa K., Robert Kaja, Kijewski & Kocur, Grzegorz Klaman, Tomasz Kopcewicz, Jarosław Kozakiewicz, Dominika Krechowicz, Kamil Kuskowski, Leszek Lewandowski, Zbigniew Libera, Rene Lück, Jarosław Modzelewski, Dorota Nieznalska, Ewa Partum, Joanna Rajkowska, Roland Schefferski, Allan Sekula, Janek Simon, Dominika Skutnik, Marek Sobczyk, Andrzej Syska, Michał Szlaga, Grzegorz Sztwiertnia, Twozywo, Ania Witkowska, Adam Witkowski, Krzysztof Wroblewski, Artur Zmijewski.

Guests:

30 August, 6 pm
Nina Möntman will lecture On how to belong to your Art. Institution. Art Institutions in a Situation of changed Public Interest.

29 August 6 pm Livia Paldi „Balázs Béla Studio” a lecture dealing with the issues of integrating this specific archive-collection into the Kunsthalle Budapest and its programmes, as well as about the questions of presenting it, and its cultural-political history in the form of an exhibition.

The exhibition is part of the three-year-long project entitled “Translate”, initiated by the European Institute for Progressive Cultural Policies and financed by the European Commission. The project in Gdansk is also supported by the Baltic Property Trust.

Opening: 1 August 2008 at 7pm
The exhibition will be open until 4 September 2008
Opening hours: from 2 August to 4 September 2008, from Tuesdays to Sundays 12.00 - 18.00

ART LA 2009

ART LA 2009

The New
Los Angeles International Contemporary Art Fair
relocates to the Barker Hanger
January 23 - 25, 2009

EXHIBITOR
APPLICATION
NOW AVAILABLE
Materials Due: August 26, 2008

http://www.art-la.com

We are pleased to announce that the application for the 2009 edition of ART LA, The New Los Angeles International Contemporary Art Fair, is now available. The deadline to submit materials is August 26, 2008.

The fair relocates for the 2009 edition to the historic Barker Hangar at the Santa Monica Airport. The Barker Hangar is known as one of Southern California’s premier charity and arts events venues and is now home to the premier international contemporary art fair of the West Coast. In 2008, ART LA hosted top international and US based galleries from Los Angeles, New York, Berlin, Tokyo, London, Auckland, and beyond. The new expansive venue allows the fair to increase the number of participants to approximately 75 galleries; ten more than last January’s event.

ART LA 2009 will be an intimate and accessible event, presenting a focused and progressive roster of the most compelling contemporary art galleries operating today. The exhibitors will be a balance of established blue chip and emerging galleries with a strong concentration of Los Angeles participants.

Together, with our local support network of museum partners, collectors, artists, and press, ART LA will program a series of special exhibits, performances, conversations, and collection tours. Our partners will aid us in spotlighting L.A.’s thriving contemporary arts landscape and will continue to support our position as one of the major annual cultural events taking place in greater Los Angeles.

Galleries from all over the world are invited to apply to ART LA. Please contact our offices with any questions about the application process.

>> DOWNLOAD ART LA 2009 APPLICATION HERE

Please visit our website http://www.art-la.com in the coming weeks for updates on ART LA 2009.

Estreitorama

Pinhole Photographic Exhibition - LUISH COELHO

Since conceptual artists began to use the photography to document, to record or as an element of their projects, activities and performances, it began to change its meaning, freed itself from formal ties and pointed to other directions totaly differents.

For this exhibition, LUISH COELHO uses photography as a way of building and developing a plastic language where can coexist differents ways of thinking critically the reality.

The artist’s intention is to show different fragments of the same universe. Full of colors and movement, the images bring us stories of finding a collective identity in the fight against individualism, absorbing roots and memories daily.

Colorida Art Gallery
Costa do Castelo, 63
Lisbon - Portugal
Tel. 351 21 1512142
www.colorida.pt

ERSTE Foundation

Photo of Igor Zabel by Dejan Habicht

‘What, How & for Whom’ from Zagreb
the first to be awarded EUR 40.000

Igor Zabel Association
for Culture and Theory
Jamnikarjeva 16, 1000 Ljubljana, Slovenia
http://www.igorzabelassociation.org

ERSTE Foundation
Graben 21, 1010 Vienna, Austria
http://www.erstestiftung.org

The Croatian curatorial collective What, How & for Whom (WHW) is the first recipient of the Igor Zabel Award for Culture and Theory 2008. Initiated and funded by ERSTE Foundation, the prize recognizes outstanding cultural activities related to the Central and South Eastern European region. The award will be granted for the first time in 2008. Besides the award the German editor, writer and linguist Fouad Asfour, the Turkish writer Erden Kosova and the Serbian collective Prelom are awarded with a working grant for one year. The award ceremony, accompanied by the presentation of a new book addressing the work of Igor Zabel will be held in Ljubljana on Friday, 21 November 2008.

The Igor Zabel Award for Culture and Theory acknowledges the work of a cultural protagonist whose work is dedicated to internationally broaden the knowledge of visual culture in the Central and South Eastern European region. The laureate is selected by an international renowned expert committee. The jury was appointed by ERSTE Foundation and in 2008 consists of the following members: Eda Čufer, publicist, curator and dramaturge, (Slovenia/USA), Josef Dabernig, artist (Austria), Charles Esche, curator and director of the Van-Abbe-Museum (Netherlands). Candidates for the award were international curators, theorists, writers, critics who are coming from or living and/or working in the region, whose work spans Central and South Eastern Europe respectively. In addition to the award of EUR 40.000 three working grants of EUR 12.000 each are awarded, two by the jury, one by the laureate.

Igor Zabel Award for Culture and Theory – Winner 2008 (prize money EUR 40.000):

What, How & for Whom (WHW) (Ivet Ćurlin, Ana Dević, Nataša Ilić and Sabina Sabolović) is a Zagreb based curatorial collective founded in 1999. The group became quickly known internationally due to the success of their first projects: What, How and for Whom, on the occasion of the 153rd anniversary of the Communist Manifesto; Broadcasting, a project, dedicated to Nikola Tesla, and START dedicated to young artists from the region. WHW is currently curating the 11th Istanbul Biennial (2009). The award has been given to WHW because of their unique working practice as a curatorial collective that has been dedicated to exploring relevant contemporary artistic issues in relation to social issues concerning the world after 1989. The jury views their work as continuing the principles represented in the diverse yet precise practice of Igor Zabel.

Igor Zabel Award for Culture and Theory – Grants 2008 (EUR 12.000 each):

Fouad Asfour is a linguist living and working in Vienna (Austria) and Johannesburg (South Africa) as a freelance writer, editor, programme coordinator and linguistic advisor. Asfour’s specific experience has been gained through his engagements in art fields and arenas of cultural theories. The jury recognizes his specific dialectical method which goes closer to the subject of the artist in synergy with critical political disposition as honourable in the memory of Igor Zabel.

Erden Kosova is a writer, publishing and editing in two Istanbul-based contemporary art magazines ‘art-ist’ and ‘Resmi Gorus’ and a member of a post-anarchist collective which runs the magazine project ‘Siyahi’. Kosova is also a PhD candidate in the theory of visual culture department at Goldsmiths College in London. He was awarded as a promising writer, who we anticipate will contribute much to defining the region in a way that does justice to Igor Zabel’s own understanding of this geography.

Prelom Kolektiv is a collective from Belgrade. The journal Prelom was established in 2001 as a project of the Belgrade Center for Contemporary Art, and from the very outset becaome a space for critical query of the political constellations between art, film and social theory in contemporary post-Yugoslav context. In the summer of 2004, the editorial board founded an independent organisation – Prelom Kolektiv, constituting itself as a publisher and laying the foundations for expanding activities - exhibitions, conferences, discussions, activist actions - beyond producing the Prelom journal.

The Igor Zabel Association of Culture and Theory

Igor Zabel (1958 – 2005) was a Slovenian curator, writer and cultural theorist, all his life engaged and actively involved in many fields of theory and culture: as a philosopher, author, essayist, modern and contemporary art curator, literary and art critic, translator, and teacher of new generations of curators and critics of contemporary art. The Igor Zabel Association for Culture and Theory was founded in February 2008 by Mateja Kos Zabel, Bojan Zabel and ERSTE Foundation as a dedication to the curator’s and writer’s enormous contribution to As a curator and writer, he tirelessly called fora profound exploration of the political, social, and cultural undercurrents in this these areas that could potentially ensure a better understanding of the post-communist condition in the global context today. With dedication to his enormous contribution the Igor Zabel Association for Culture and Theory was founded in February 2008 by Mateja Kos Zabel, Bojan Zabel and ERSTE Foundat
ion. T. The association’s objective is further to promote Igor Zabel’s heritage and highlight the importance and ongoing influence of his work, to enhance the knowledge exchange and networking in contemporary visual arts and culture and to strengthen the cultural dialogue in the Central and South Eastern European region and beyond.
http://www.igorzabelassociation.org

CONTACTS

Igor Zabel Association for Culture and Theory
Jamnikarjeva 16, 1000 Ljubljana, Slovenia
dunja.kukovec at gmail.com
office at igorzabelassociation.org
http://www.igorzabelassociation.org

ERSTE Foundation, Communications: Maribel Königer, Jovana Trifunovic
Graben 21, 1010 Vienna, Austria
Tel. +43 50100 15105, press@erstestiftung.org, http://www.erstestiftung.org

ERSTE Foundation

ERSTE Foundation is active in the Central and South Eastern European region. Since commencing its work in 2003, it has been developing projects independently and in collaboration with partners within the three programmes Social Affairs, Culture and Europe. The Foundation wants to play an active role in linking actors and locations of contemporary culture and to discovering and understanding recent cultural history. Being the major shareholder of Erste Group, ERSTE Foundation is one of the largest foundations indigenous to the region. It draws its mandate from the tradition of the savings banks, which were founded more than 180 years ago to serve the common good.
http://www.erstestiftung.org

Locarno
International Film Festival

AKA ANA by Antoine D’Agata shown in Play Forward at the International Filmfestival Locarno

The 61st International
Film Festival presents

Play Forward
6 - 16 August 2008

Via Ciseri 23
6600 Locarno
Switzerland
http://www.pardo.ch

Acting as an interface for film, video art and all other media, Play Forward is the privileged observatory for all contemporary forms of audio-visual experimentation and creation. The programme showcases intriguing, sometimes extreme works whose common denominator is that they all stand at the intersection of video art and all other arts.

Play Forward 2008 features established artists across the generations such as the American Doug Aitken, the Italians Olivo Barbieri, Maia Guarnaccia and Masbedo, the Swiss Emmanuelle Antille and Frédéric Choffat, the French Stephen Dean, Pierre Coulibeuf, Ange Leccia, Vincent Dieutre, and the Austrians Josef Dabernig and Erwin Wurm. Latin America will also feature strongly in Play Forward this year, notably the Argentine Miguel Angel Ríos and the Mexican Teresa Serrano.

This selection is the result of a significant network established by the Play Forward section in the milieu of contemporary audio-visual creation, and through collaboration with prestigious art galleries such as the Sara Meltzer Gallery, the 303 Gallery and the Florence Lynch Gallery (New York), Hotel (London) Noire Contemporary Art (Torino), Monitor (Rome), Lokal_30 (Warsaw), and several others.

Provocative French photographer Antoine d’Agata (Magnum agency) will present his film made in Japan, Aka Ana, while Lebanese filmmaker Danielle Arbid delivers a project that began life as a radio broadcast, This Smell of Sex. Renowned writer Michel Houellebecq will unveil his first feature film as a world première at Locarno: the adaptation of his novel La Possibilité d’une île (The Possibility of an Island) . An outstanding documentary, La Fura in vivo, follows Catalan theatre company Fura del Baus as they prepare a show for Beijing. Finally, Anorexia. Storia di un’immagine revisits last year’s controversial poster campaign by Italian photographer Oliviero Toscani.

In another much anticipated moment, the multimedia show Marlene Kuntz vs. Fraulein Else, associating «The History of Cinema» to a more contemporary musical expression, will be accompanied by the Italian band Marlene Kuntz live orchestration of Paul Czinner’s silent movie (Germany, 1928).

For the third consecutive year, video artists, filmmakers, critics and professionals will debate relationships between film and other contemporary visual art forms at the Forum. Somewhere in between – part III. Monday, August 11th at 11.00 a.m.

Locarno International Film Festival 6 - 16 August 2008
Via Ciseri 23 - 6600 Locarno – Switzerland
phone +41 91 756 21 51 Fax +41 91 756 21 59
http://www.pardo.ch

A Collection of Male Nude Photography by Drasko Bogdanovic

Serbian-Canadian photographer Drasko Bogdanovic is a man of many talents. In addition to his widely collected landscape-abstracts and his work as a portrait photographer, the Toronto artist also has a healthy preoccupation with the male form. The nude male form, that is.
In Flagrante, as the name suggests, represents the body of work you might find if you broke into not a museum archive, but a bedside drawer; and what better place to host and showcase this new collection of work than an emporium of sexual pleasure.
In Flagrante will be well hung at the Come As You Are from August 8 to September 30. 701 Queen Street West, Toronto.

For More Information:
Antonio Arch
Arch & Company Fine Arts
416 928 1287
www.archart.ca